Gibson’s “Hacksaw Ridge,” a World War II epic centered on conscientious objector Desmond Doss, feels like a prestige battle picture cut from the Allan Dwan/William Wellman mold.
“One of the best compliments I’ve received is, ‘Wow, it’s like the way they used to make films,’” Gibson said recently on Variety’s “Playback” podcast. “I said, ‘You mean like back in the ‘40s?’ And they said, ‘No, like back in the ’80s’ — like it’s ancient history!”
Such comments are a reflection, the director says, of the fact that the character of the feature-film business has changed. “It’s like chain restaurants or something,” he said. “I believe that if something is good,
She was born in London on Feb. 4, 1918, during a German zeppelin bombing. Her father’s forbears were traveling players and puppeteers in Renaissance Italy. Later generations migrated to England in the 17th century. Her father, Stanley Lupino, was a noted comedian, and her mother, Connie Emerald, was an actress who was also descended from a theatrical family. A cousin, Lupino Lane, was an internationally popular song-and-dance man.
As a child, she improvised and acted scenes with her younger sister, Rita, in a small
“Queer ’90s” continues with the likes of Basic Instinct, The Crying Game, and Priscilla.
Films from George Cukor and Azazel Jacobs can be seen on Friday.
The Disney documentary Oceans plays this Saturday; Allan Dwan’s The Inside Story screens this Sunday.
Anthology Film Archives
A series on voyeurism and surveillance brings Citizenfour, Haroun Farocki’s Prison Images,
While known most casually as the Cool Mom of awards ceremonies – here, you and your friends can drink as much champagne as you want but make sure you do it under my roof, in front of my cameras – the Hollywood Foreign Press Association accomplishes much more every year than pulling off Oscar season’s liveliest, sloppiest party. At their annual Grants Banquet last week, the HFPA awarded over two million dollars worth of grants to non-profit arts organizations, higher education fellowships, professional trainings, and other film-centric or adjacent projects and spaces.
To Angelino cinephiles, film history buffs, and fans of landmark cultural sites, one additional grant announcement might spark some interest: a $500,000 grant to renovate and restore the legendary movie palace, the Egyptian Theater. Home to reams of Golden Age Hollywood lore and, contemporarily, the encyclopedic repertory organization American Cinematheque – the recipients of the grant, and masterminds
Kansas City delivery man Joe Rolfe (John Payne) is at the wrong place at the wrong time when he’s nabbed by the cops as the driver of a heist involving
Harold Lloyd’s mastery of comic timing comes through his respect for environment. While other slapsticians bent reality into a joke, Lloyd’s joke is blending himself into the cruelty of reality. Speedy — his final silent feature — brought him to the streets of New York City to put his Glasses Character into the bustling metropolis, attempting to hold a job and save a fledgling horse-drawn trolley business from corporate conspiracy. Lloyd’s natural comic timing — less mannered than both Keaton and Chaplin — makes him just odd enough to pratfall around the streets with his one-track (or one-baseball diamond) mind, managing to be overly polite and overly clueless at the same time. When he attempts to get a trolley seat for his gal on a crowded car,
Videodrome: Limited Edition
Combining the bio-horror elements of his earlier films whilst anticipating the technological themes of his later work, Videodrome exemplifies Cronenberg’s extraordinary talent for making both visceral and cerebral cinema. Max Renn (James Woods) is looking for fresh new content for his TV channel when he happens across some illegal S&M-style broadcasts called ‘Videodrome’. Embroiling his girlfriend Nicki (Debbie Harry) in his search for the source, his
"Every January at the Sundance Film Festival, a movie or two will pop, exciting a cinematic congregation that descends on this resort town praying for the next big thing and at times finding it. Last year the festival got the party started with “Whiplash,” one of its opening selections, and then sent attendees into raptures with “Boyhood.” No single title has dominated this year’s event, yet after a slow start that had some writing off the event before it really got going, good and great movies — from coming-of-age tales like The Diary of a Teenage Girl and Me and Earl and the Dying Girl to documentaries
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