3 items from 2012
By Lee Pfeiffer
While most film historians consider She Wore a Yellow Ribbon to be the best of John Ford's fabled "Cavalry Trilogy", for my money Fort Apache was far and away the strongest of the films. Ribbon and Rio Grande are certainly excellent films but they are primarily compromised by Ford's penchant for overt sentimentality. Fort Apache, however, is a far more sinister look at the West, one that was decades ahead of its time in terms of presenting the case of the Native Americans in a sympathetic fashion. It's ironic that people like Marlon Brando, who extolled the cause of Native American rights, would cite Ford's films as having been detrimental to the Indian cause. In fact, Ford was so highly regarded by the Navajo that he was made an honorary member of the tribe, primarily because of his consistent efforts to improve their lives. Ford became »
- firstname.lastname@example.org (Cinema Retro)
Reservoir Dogs was the first independent film I ever saw, and I remember being completely blown away by it. I think I was around 15 years old when I watched the movie on VHS. I watched it over at a friend's house, and we couldn't believe what we were seeing. I loved this film, and to this day, I still enjoy watching it. The film was released in 1992, and it took movies to a new level. The movie was not only incredibly cool, but at the time it seemed to break the rules of conventional storytelling.
This tribute includes footage for the film and interviews with people such as Scott Aukerman, Q. Allan Brocka, Edward Bunker, Kevin Eastman, F.X. Feeney, Richard Gladstein, Chris Hardwick, Monte Hellman, Michael Jace, Tad Lumpkin, Christopher McDonald, Drew McWeeny, Gregory Nicotero, Brett Ratner, Andrea Savage, Rob Schmidt, Julie Strain, SuicideGirls, Quentin Tarantino, Judy Tenuta, Steven Wright, »
Like the double-wide premiere for HBO's Boardwalk Empire, the pilot for the network's new horse-racing series Luck—first broadcast December 11th, and then re-run this past Sunday—represents a meeting of two distinctive authorial voices. In the case of the Boardwalk Empire pilot—a high-water mark of style and efficiency that the frequently-frustrating series has never managed to live up to, aside from a couple of episodes neatly directed by Carpenterite horror specialist Brad Anderson—it was episode director / series executive producer Martin Scorsese and episode writer / series creator Terrence Winter; in the case of Luck, it's episode director / series executive producer Michael Mann and episode writer / series creator David Milch.
The interplay of low-lifes and big spenders in Luck's pilot is distinctly Milch's. It's clear from the episode's structure alone—a lot of jargony horse-racing intrigue spinning around a story about four track regulars who finally win it »
3 items from 2012
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