1-20 of 67 items from 2017 « Prev | Next »
Nathalie Baye and Xavier BeauvoisThe strength of women left alone to fend for themselves is the communal focus of actor and director Xavier Beauvois’s The Guardians. After directing Of Gods and Men (2010), Beauvois’s excellent neo-western set among French monks in Algeria, we lost sight of this under-estimated director—his next was a quasi-comedy I’m dying to see about ruffians stealing Chaplin’s corpse—though it was a delight to encounter him earlier this year before the camera as one of Juliette Binoche’s many love (and sex) interests in Claire Denis’s Let the Sunshine In. I am very glad indeed that Beauvois is back in the director’s seat and in the international spotlight with The Guardians, adapted from an obscure 1924 novel by Ernest Pérochon about a struggling farmstead on the home front of the First World War, and one of the exceptional films of the year. »
With a seemingly endless amount of streaming options — not only the titles at our disposal, but services themselves — we’ve taken it upon ourselves to highlight the titles that have recently hit platforms. Every week, one will be able to see the cream of the crop (or perhaps some simply interesting picks) of streaming titles (new and old) across platforms such as Netflix, iTunes, Amazon, and more (note: U.S. only). Check out our rundown for this week’s selections below.
From start to finish, The Big Sick, directed by Michael Showalter, works as a lovingly-rendered, cinematic answer to the dinner party question: “So how did you two meet?” Based on comedian Kumail Nanjiani‘s real life (he co-wrote the screenplay with his wife Emily V. Gordon), we meet Kumail (Nanjiani) as he finishes a stand-up set in Chicago. He becomes fast friends with a »
- Jordan Raup
The RiderThe lineup for the 2017 Telluride Film Festival (September 1st - 4th) has been announced:
Arthur Miller: Writer (Rebecca Miller, U.S.)Battle of the Sexes (Valerie Faris & Jonathan Dayton, U.S.)Darkest Hour (Joe Wright, U.K.)Downsizing (Alexander Payne, U.S.)Eating Animals (Christopher Quinn, U.S.)Faces Places (Agnès Varda & Jr, France)A Fantastic Woman (Sebastián Lelio, Chile/U.S./Germany/Spain)Film Stars Don’t Die in Liverpool (Paul McGuigan, U.K.)First Reformed (Paul Schrader, U.S.)First They Killed My Father (Angelina Jolie, U.S./Cambodia)Foxtrot (Samuel Maoz, Israel)Hostages (Rezo Gigineishvili, Georgia/Russia/Poland)Hostiles (Scott Cooper, U.S.)Human Flow (Ai Weiwei, U.S./Germany)The Insult (Ziad Doueiri, France-Lebanon)Lady Bird (Greta Gerwig, U.S.)Land of the Free (Camilla Magid, Denmark-Finland)Lean on Pete (Andrew Haigh, U.K./U.S)Loveless (Andrey Zvyagintsev, Russia/France/Belgium/Germany)Love, »
Now in its 44th year, Telluride Film Festival provides the launching pad for many of the fall’s biggest films and, as usual, we don’t know the line-up until right before it kicks off. Beginning this Friday, they’ve now unveiled the full slate, which features much of the expected players — new films from Guillermo del Toro, Greta Gerwig, Alexander Payne, Joe Wright, and Todd Haynes — as well as the latest work from Paul Schrader, Andrew Haigh, Agnes Varda, Ken Burns, Errol Morris, and more.
Check out the line-up below.
Arthur Miller: Writer (d. Rebecca Miller, U.S., 2017)
A Fantastic Woman (d. Sebastián Lelio, Chile-u.S.-Germany-Spain, 2017)
Film Stars Don’T Die In Liverpool (d. »
- Jordan Raup
Joe Wright’s “Darkest Hour,” Scott Cooper’s “Hostiles,” Angelina Jolie’s “First They Killed My Father,” and Greta Gerwig’s “Lady Bird” will unspool for audiences at the 44th annual Telluride Film Festival, organizers announced Thursday.
Also set for debuts at the four-day event, unfolding over the Labor Day weekend, are Jonathan Dayton and Valerie Faris’ “Battle of the Sexes,” starring Emma Stone and Steve Carell; and Paul McGuigan’s “Film Stars Don’t Die in Liverpool,” with Annette Bening and Jamie Bell.
A number of films set for premieres at the Venice Film Festival will also make the journey to the southwest Colorado ski village, including Guillermo del Toro’s “The Shape of Water,” Andrew Haigh’s “Lean on Pete,” Paul Schrader’s “First Reformed,” and Alexander Payne’s “Downsizing.”
Telluride Film Festival Director on Hidden Gems and a Banner Year for Women
Titles scheduled to finally surface in the States after previous international »
- Kristopher Tapley
Iconic actress Jeanne Moreau’s death this week at 89 received muted American coverage, with remembrances that hardly captured Moreau’s essential presence and influence in world cinema. Overshadowed by the passing of Sam Shepard the day before (more contemporary, American, prominent in multiple fields, and younger), she received back-page obituaries in major papers. Her lack of any Oscar nominations, or a deserved honorary award, didn’t help the cause.
Even more unfortunate is the treatment of her death reflects American audiences’ ever-increasing disinterest in French-language film. Jeanne Moreau is significant for her transcendent artistry and the directors with whom she worked, but she also represented the iconic qualities of her country’s cinema.
Though the boom in “art houses” (a term popularized in the late 1940s) came more from Italian films (“Rome, Open City,” “Shoe Shine,” and particularly “Bicycle Thief”), French film became a steady part of the subtitled market by the mid-1950s. »
- Tom Brueggemann
Jeanne Moreau was loved by two men onscreen and by millions more who sat in the dark. One third of the cinema’s ultimate love triangle, in Francois Truffaut’s “Jules et Jim” (which, let’s admit, really ought to have been called “Catherine” after her character), Moreau was a face of not only the French New Wave, but a revolution in European art cinema at large, working with such directors as Michelangelo Antonioni (“La notte”) and Luis Buñuel (“Diary of a Chambermaid”).
Much has been written about how these directors transformed the course of cinema, but they couldn’t have done it without their stars — every bit as vital to modern performance as the Method actors were almost a decade earlier in the United States. Actresses like Moreau embodied a new kind of freedom, both in the spontaneous, seemingly unpredictable style of their performances and in the liberated characters they played.
- Peter Debruge
Tributes poured in Monday for the late Jeanne Moreau, the iconic actress who began her career in the 1950s and starred in films by Louis Malle, Francois Truffaut, Jacques Demy, Michelangelo Antonioni, Orson Welles and Luis Bunuel.
The president of Cannes Film Festival, Pierre Lescure, tweeted: “She was strong and she didn’t like to see people pour their hearts out. Sorry, Jeanne, but this is beyond us. We are crying.” Moreau won the award for best actress at Cannes in 1960 for “Seven Days… Seven Nights,” presided over the main competition jury twice, and received an honorary palm in 2003.
Jeanne Moreau est morte.
Elle était forte et n'aimait guère qu'on s'épanche.
- Elsa Keslassy
The mayor of the Paris district in which Moreau lived confirmed her death.
French President Emmanuel Macron called her “a legend of cinema and theater … an actress engaged in the whirlwind of life with an absolute freedom.” Pierre Lescure, president of the Cannes Film Festival, tweeted: “She was strong and she didn’t like to see people pour their hearts out. Sorry, Jeanne, but this is beyond us. We are crying.”
Celebrities Who Died in 2017
Moreau was honored with a 1965 Time magazine cover story, rare for a foreign actress, and was compared to such screen greats as Garbo and Monroe. Since her rise to prominence in the mid-’50s, she epitomized the tenets of the French new wave, boasting a womanly sexuality and a fierce independent spirit. Orson Welles, »
- Carmel Dagan and Richard Natale
Well-reviewed erotic period thriller “Lady Macbeth” (Roadside Attractions) led the new specialized limited lineup. But a below-$15,000 start at five major New York/Los Angeles theaters came in well below other stronger recent debuts.
With studio sequel “War for the Planet of the Apes” nabbing better-than-usual critical response (watch out for “Dunkirk” this week) and many popular films expanding, it’s getting tougher for even acclaimed new films to stand out.
Two top Sundance premieres — U.S. Narrative Competition title “To the Bone” and U.S. Documentary Audience Award winner “Chasing Coral” — both premiered on Netflix along with limited theatrical play. As usual for the company, the grosses went unreported.
$68,813 in 5 theaters; PTA (per theater average): $13,762
This low-budget 19th-century adultery drama’s roots are closer to “Madame Bovary” and “Lady Chatterly’s Lover” than Shakespeare. With its bodice-ripping appeal, »
- Tom Brueggemann
Paris-based film group Mk2 is expanding its footprint in Spain with the acquisition of a 15-screen theater in Madrid, becoming the country’s third-largest exhibitor.
Following the acquisition of the cinema chain Cine/Sur in Andalusia in 2014, MK2 has acquired Cines Dreams Palacio de Hielo, Spain’s busiest theater with 930,000 tickets sold in 2016.
MK2, which was advised by the lawyers firm Perez-Llorca, now boasts 10 theaters with 128 screens and an estimated 5 million moviegoers in Spain.
The company has now 22 theaters in total across France and Spain. With 196 screens in total, MK2 attracts a cumulated 10 million moviegoers.
MK2’s Cine/Sur circuit hosts the Seville film festival, among other events.
In recent years, MK2 has also been investing in virtual reality and launched Europe’s first permanent location-based Vr facility in Paris, adjacent »
- Elsa Keslassy
Paris — Paul Hudson’s L.A. based Outsider Pictures has boarded “1,200 Souls,” a fantasy thriller set in the high Pyrenees, and one of the highlights at the 10th Spain-Ile de France Small is Biutiful in Paris, a prestigious boutique Spain-France co-production forum which unspooled June 23.
Outsider Pictures is handling international sales rights on “1,200 Souls,” the latest movie from the Zaragoza-based producer-director tandem of Marta Cabrera and Pablo Aragues whose “Novatos,” also repped by Hudson, was a Netflix worldwide distribution pick-up.
In his first two features, Aragues tackled sects (“Vigilo el camino”) and hazing (“Novatos”). Backed by the Aragon Film Commission, “1,200 Souls” is set in a small town in the lap of the Pyrenees, to which a young woman, Carla, returns to scatter her mother’s ashes, only to be confronted by violence, deaths and the seemingly supernatural, such as spontaneous combustion.
A film about “a girl looking for her origins,” Cabrera told Variety, »
- John Hopewell and Elsa Keslassy
Every so often, usually while walking around Toronto on a busy day, I'll be struck by the vividness and accuracy of Agnès Varda's singular portrayal of a day in the life (barely two hours, really, making it even more remarkable) spent in the various layers and spaces of the urban environment. I speak, of course, of Cléo from 5 to 7, Varda's 1962 classic and the first film of hers I fell in love with. In those instances, I'll find myself returning to the moments I've cherry-picked as my favorites over the years, skipping across the linear sequence of events that follow the titular singer (Corinne Marchand) across Paris as she waits for the results from a medical examination within the film's designated timeframe (minus half an hour, as the film famously ends at the ninety minute mark). More than for any other film, engaging in these mental replays feels very much like replaying the events of a day I had once experienced myself long ago—albeit one that I’ve been able to revisit and come to know nearly by heart, complete with all of my favorite moments and details waiting in their proper places, so often have I gone back to that June 21st in Paris, 1961.Varda has even made it relatively easy for anyone who wishes to explore and investigate to their heart's content the events of that fateful first day of summer from so long ago now, not only by making such a crisp cinematic itinerary of the various locations visited in the film itself, but also by helpfully providing a map in her book Varda par Agnès complete with a color-coded legend indicating the locations of key scenes from the film, practically inviting the reader to recreate Cléo’s journey for themselves on the streets of present-day Paris. At once attentive and relaxed in its tour of the city (mainly focused in the Left Bank), Cléo is ably conducted in a number of different registers: as an uncommonly lovely essay-poem on the ebb and flow of urban life, an at-times somber meditation on the precarious balance between life and death, and a revealing and honest study of female identity and the ways it is scrutinized and distorted in the public’s relentless gaze. In a feat of remarkable economy and resourcefulness, the film was shot in chronological order across a five-week period, beginning on the date of the story’s events, synchronized as closely as possible to the times in the day Cléo experiences them, in keeping with narrative fidelity and proper quality of light for each scene. Neatly arranged into thirteen chapters, each with its duration clearly stated so we can easily keep track in real time, Cléo’s lucid odyssey through the various public and private spaces that make up her day is observational cinema at its most fertile, free, and magically attuned to its subjects, partly the result of Varda and her team’s carefully planned and executed shoot, partly that of simply being in the right places at the right times.Together, the films of the French New Wave make up one of the most valuable and immersive audiovisual documents of a specific time and place in history—namely France in the late 1950s and early 1960s—that we have. This is especially true of the Paris-situated films, which create the alluring image of an interconnected network of overlapping stories concentrated in a single city. The sharing of certain actors, cinematographers, writers, composers, and other key artists and technicians across different films by different directors especially helped make the impression of one Paris holding an eclectic anthology of New Wave tales. This perception was further reinforced by the cheeky self-referential winks and nods that so many of the New Wave directors—Jean-Luc Godard in particular—lovingly included in their films as gestures of solidarity and support with their nouvelle vague comrades. This is why the eponymous hero of Jean-Pierre Melville’s Bob le flambeur, noted by many as a crucial New Wave precursor, gets name-checked by Jean-Paul Belmondo in Godard’s Breathless, why Truffaut muses Marie Dubois and Jeanne Moreau both pop up in A Woman Is a Woman, with Moreau getting asked by Belmondo how Jules and Jim is coming along, and why Anna Karina’s Nana glimpses a giant poster for the same Truffaut film as she is being driven to her fate in the final moments of Vivre sa vie.Varda got in on the fun herself in Cléo from 5 to 7 not only by casting Michel Legrand, who provided the film with its robust score, as Cléo’s musical partner Bob (a part that gives the legendary composer a substantial amount of screen time and amply shows off his incandescent charm), but also by extending the invitation to Godard, Karina, Sami Frey, Eddie Constantine, Jean-Claude Brialy, producer Georges de Beauregard, and Alan Scott, who had appeared in Jacques Demy’s Lola. They all show up in Les fiancés du pont Macdonald, the silent comedy short-within-the-film that serves triple duty as a welcome diversion for our stressed heroine, a loving cinephilic tribute to the legacy of Chaplin, Keaton, and Lloyd, and an irresistible, bite-sized New Wave party. And yet I find Cléo to be perhaps the most enchanting of all the New Wave films not for the aesthetic commonalities and cleverly devised linkages that bind it to The 400 Blows, Breathless, Paris Belongs to Us, and its other cinematic brethren, but rather for the tapestry of curious details that root it in its specific time and place and entice on the power of their inherent uniqueness and beauty. “Here,” Varda seems to say as she follows Cléo across the city, “let’s have a look at these interesting people and places on this first day of summer here in Paris, and see what we can see after watching them for a while.” The film’s opening scene continues to extend this invitation as it draws us in closer. It shows us, through the sepia-hued Eastmancolor that deviates from the rest of the film’s silvery monochrome and the “God’s eye” overhead shots (long before Martin Scorsese and Wes Anderson adopted the technique as their own), the cryptic spectacle of Tarot cards being shuffled, placed down, and turned over to reveal the story of Cléo’s potential fate before we’ve even gotten a chance to properly meet Cléo herself. The slightly macabre illustrations to which Varda and cinematographer Jean Rabier dedicate their tight close-ups and the elderly card reader’s accompanying explanations of their meanings lend an air of prophecy to the events to come while also fueling Cléo’s anxiety surrounding her fate (when pressed for a clearer forecast of the future through a palm reading, the reader’s evasive response is less than inspiring). This introduction effectively locks us into Cléo’s perspective, preparing us for the next hour and a half that we will spend quietly observing as, following her distraught exit from the reader’s apartment, she grapples with her fears and insecurities, contemplates and revises her appearance and the identity behind it (tellingly, we discover late in the film that Cléo's real name is Florence), and comes to terms with the ultimately fragile nature of her own mortality. In our allotted chunk of time with her, we see the pouty girl-child subtly shift and adjust her attitude, inching a little closer towards a place of earned maturity, grace, and acceptance regarding her fate, wherever it may take her.Along the way, the film seems to expand to take in as much of the people and places around Cléo as it can. Scene by scene, her Paris makes itself felt and known through key peripheral details: a pair of lovers having an argument in a café near where Cléo sits, listening in; the procession of uniformed officers on horseback heard clip-clopping through the street on the soundtrack and seen reflected in the array of mirrors placed throughout a hat shop; a spider web of shattered mirror and a cloth pressed against a bloody wound, indicating some incident that occurred just before Cléo happened along the scene of the confused aftermath. Other stimuli fill a dazzling program of serendipitous entertainments for us to take in one by one: whirlwind rides in two taxis and a bus, an intimate musical rehearsal in Cléo’s chic, kitten-filled apartment (with Legrand, no less, clearly having a great time, his nimble fingers releasing ecstatic bursts of notes and melodies from Cléo’s piano as if they were exotic birds), the aforementioned silent short, a sculpting studio (the space alive with the indescribably pleasant sound of chisels being tapped at different tempos through soft stone), a frog swallower, a burly street performer who wiggles an iron spike through his arm, and the soothing sights and sounds of the Parc de Montsouris, among a hundred other subtle and overt pleasures scattered throughout this gently orchestrated city symphony, a heap of specificities found and sorted into a chorus of universal experience.Very much in her own way, across a body of work informed by a boundless spirit of generosity, Agnès Varda has gone about carefully collecting and preserving a marvelously varied assortment of subjects throughout her busy life, shedding fresh light on some of the most unlikely (and overlooked) people and places in the world. She refers to her self-made approach to filmmaking as ciné-criture (her own version of Alexandre Astruc's caméra-stylo), which, as we’ve come to know it through Varda’s intensely personal works, is a little like cinema, a little like writing, and uses aspects of both media to make a compassionate, genuine, and wholly original film language. Just as Antoine (Antoine Bourseiller), the dreamy young man whom Cléo encounters in the Parc de Montsouris, translates the world around them into a stream of fanciful observations and flowery speech, so too does Varda, in allegiance with poetry, ditch any semblance of objectivity, going instead for presenting the world simply as she sees it, investing it with her own unmistakable blend of charm, warmth, eloquence, and empathy, all somehow executed with nary a shred of ego or preachiness.“All these stories we simply can’t understand!” randomly exclaims a café patron to her young companion at one point late in Cléo’s journey, perhaps suddenly becoming aware, as we gradually have, of the unfathomable multitude of trajectories that trace themselves across every city every day in a dense tangle of narrative strands. In picking up Cléo’s and diligently following it with her camera for an hour and a half, Varda draws our attention to all those other strands that make up the lives of other people, leading off into their own directions, fated to become entangled with others still. Wisely, deftly, one discovered strand at a time, she helps us better appreciate, again and again, the humble miracle of so many lives coursing and thriving alongside each other, each one special and strange, each rooted in its own distinct flavor of being-ness. Cléo from 5 to 7 in turn roots us in another person’s life for its short time span and ends up giving us a whole universe, casually overflowing with meaning, life, lives, and the myriad details that shape and define them. No, we can’t understand all the stories we come across in a day. But then again, sometimes we don’t really need to understand so much as simply see. See, and accept, and appreciate what is...and then move along to whatever’s next. »
With a tip of the hat to Jacques Tati, Charlie Chaplin, and Jacques Demy, husband/wife team Fiona Gordon and Dominique Abel’s Lost in Paris is a whimsical, almost silent comedy set on the streets and in the parks of Paris.
Several years ago Aunt Martha (one of the final roles from the late, great Emmanuelle Riva) departs from a snowy arctic Canadian outpost for sunnier Paris. Several years later she’s lived quite a life with a reputation around the neighborhood, and now the stubborn elderly Martha refuses to leave her apartment and move into a nursing home. She writes to the older Fiona (Gordon), now a librarian in a remote village that looks like it might house Santa’s workshop, and summons her on the adventure of a lifetime to Paris. The only problem is Fiona’s French is rusty, leading to many a misadventure when she »
- John Fink
This is how a trip to Cannes begins: You get on a massive airliner from JFK to Nice, a red-eye flight on which dozens of the film industry’s most powerful people slingshot over the ocean while watching “Bridget Jones’ Baby” in monastic silence. When you land, touching down on a thin strip of concrete that juts out of a twinkling azure sea, the airport is so quiet and empty that you fear you’ve arrived a week too early by mistake.
Then you leave baggage claim and all hell breaks loose.
A Beautiful World
Stepping through the sliding doors and onto French soil, you’re immediately confronted by a human funnel of paparazzi, a hundred cameramen crawling over each other for a better look at who’s just arrived — it’s like if Fellini had directed “World War Z.” And yet, for all of the competition and clamor, the »
- David Ehrlich
There was once a time — it now sounds ageist and sexist — when something would get written off as “an old man’s movie.” That meant a film created by a director at an age where just watching it, you could feel a certain stiffness in the joints, a too-slowed-down-for-its-own-good pace, a nagging (as opposed to enlightening) stillness of gaze. Examples of old man’s movies would be Alain Resnais’ “Wild Grass,” Elia Kazan’s “The Last Tycoon,” and — to me, though many would consider this opinion blasphemous — Akira Kurosawa’s “Ran.” But has there ever been a director who gives the lie to the old-man’s-movie trope like Agnès Varda? She’s 88, and makes films like she’s 28. Her movies are the opposite of old wo(man’s) movies. They’re a tonic — just watching them makes you feel younger.
Her new one, “Visages Villages” (which does indeed take place in villages, »
- Owen Gleiberman
7:00 – August 2017 Announcements
33:30 – Good Morning & I Was Born, But
40:25 – Michael Haneke
43:30 – Alex Ross Perry
47:40 – Criterion Daily
1:00:00 – FilmStruck
Episode Links Making a Cover: Criterion’s Breaking Point Criterion Close-Up 19: A Conversation with Alex Cox Criterion – The Breaking Point Criterion – Meantime Criterion – Hopscotch Criterion – La Poison Criterion – Sid & Nancy FilmStruck – Coming Soon Movies Leaving FilmStruck Episode Credits Aaron West: Twitter | Website | Letterboxd Mark Hurne: Twitter | Letterboxd Criterion Now: Twitter | Facebook Group Criterion Cast: Facebook | Twitter
Music for the show is from Fatboy Roberts’ Geek Remixed project. »
- Aaron West
French mini-major MK2 Films has acquired all rights to late Iranian film master Abbas Kiarostami’s first 20 movies.
Under the agreement – signed with the Institute Kanoon (Institut iranien pour le Développement Intellectuel des Enfants et des Adolescents), MK2 will restore the 20 films of Kiarostami in 4K. Among the acquired titles are “Where is My Friend’s Home,””And Life Goes On” and “The Traveler,” Kiarostami’s first feature film.
“And Life Goes On” complete the trilogy including “Where is My Friend’s House?” and “Through the Olive Trees,” both of which are already acquired by MK2.
Some of the acquired titles include films that mostly unknown, as well as 14 short- and medium-length films, notably his very first film, “The Bread and Alley,” which came out in 1970.
MK2 now owns nearly all of Kiarostami’s films. The French company already detained rights to Kiarostami’s more recent films, notably “Like Someone in Love, »
- Elsa Keslassy
Stephane Brize, whose 2016 film “The Measure of a Man” competed at Cannes and earned its star Vincent Lindon a prize, is re-teaming with Lindon for “Un autre monde.”
MK2, which previously handled Brize’s “Une vie,” an adaptation of Guy de Maupassant’s classic novel, and “The Measure of a Man,” has acquired international sales on “Un autre monde.”
Christophe Rossignon and Philip Boeffard at Nord-Ouest Films are producing the film; it had produced “The Measure of a Man.”
“Un autre monde” stars Lindon as an union leader representing workers who are facing layoffs because their factory is closing. As the closing of the factory becomes more highly publicized, Lindon’s character quickly becomes a prominent figure in the media.
“The script of ‘Un autre monde’ is one of the most powerful I’ve read — it’s both political and humanistic in the subtle way that it portrays each side. »
- Elsa Keslassy
Stunningly losing the best picture Oscar may turn out to be the best thing that could have happened to La La Land (Lionsgate, 12), Damien Chazelle’s sun-bright, sour-sweet satsuma of a musical. Formally released from the prestige pressure bestowed by such a title, the film that inspired such a hysterical pre-Oscar backlash as to be labelled “fascist propaganda” in certain quarters of the internet can be cherished once more as the bijou beauty it is – a film out not to change the world, but to wistfully warm it up a little. Stylistically riffing on Jacques Demy and Stanley Donen with frisky magpie cheek, Chazelle’s picture is steeped in nostalgia, but not just of the gilded “they don’t make ’em like they used to” variety. Its simple, starry-eyed boy-meets-girl story deals in emotional nostalgia too, »
- Guy Lodge
1-20 of 67 items from 2017 « Prev | Next »
IMDb.com, Inc. takes no responsibility for the content or accuracy of the above news articles, Tweets, or blog posts. This content is published for the entertainment of our users only. The news articles, Tweets, and blog posts do not represent IMDb's opinions nor can we guarantee that the reporting therein is completely factual. Please visit the source responsible for the item in question to report any concerns you may have regarding content or accuracy.See our NewsDesk partners