4 items from 2013
Despite Oz: The Great and Powerful pulling in a record breaking March box office of $80.2 million, the reviews for the prequel to the 1939 classic have been decidedly mixed. The film currently holds 60% favorability on Rotten Tomatoes (though it has an 82% audience rating), making it –perhaps- a worthy see, but that’s only 8% better than Bryan Singer’s Jack the Giant Slayer, which has taken in only $27 million in two-weeks of release based on a $200 million budget. While Oz cost roughly the same (though rumors suggest the film’s budget ballooned to $215 million) its reviews are bound connect with the viewing audience eventually, which should effectively drop the box-office totals next week by at least 60%. It should, though, coast for a win then, as nothing huge is scheduled to open.
As any New York cinephile knows, Film Forum is in the middle of a four-week, 66-film retrospective devoted to what Dave Kehr in The New York Times called “the last full year of unbridled Hollywood filmmaking before the Code,” or what Film Forum is trumpeting as “Hollywood’s Naughtiest, Bawdiest Year.”
I’ve written about pre-Code posters before, but 1933 as a whole offers more than just silk robes and daringly revealed flesh. I’ve gathered as many posters, inserts and window cards as I could for the films programmed in the series, sticking with American posters (though there are some stunning European variations on these, like this Swedish Hold Your Man) and American films (though Bruce Goldstein has also programmed a handful of foreign titles). The quality of draughtsmanship varies wildly, with the poster for Frank Capra’s Lady for a Day, above, among the finest. But for me the »
- Adrian Curry
Feature Ryan Lambie Jan 23, 2013
In this occasional series of 'remarkable things' articles, we've mostly focused exclusively on movies that were critical or financial flops. Previous entries have included Jaws: The Revenge, Battlefield Earth and RoboCop 3, which all suffered in both critics' reviews and at the box office.
This time, our choice isn't a notorious flop at all - it's Tango & Cash, a film which actually made a few million dollars more than it cost to make. At this stage in Sylvester Stallone's career, which featured the critical and financial nightmares Rocky V, Oscar and Stop! Or My Mom Will Shoot, Tango & Cash was a comparative blockbuster.
In terms of critical reception, though, Tango & Cash fared less well. It was nominated for three Razzies (though won precisely none) and reviews »
Orson Welles Week! continues at Trailers from Hell with director and Tfh creator Joe Dante introducing Welles' "The Lady from Shanghai," drastically recut prior to its 1947 release by Columbia president Harry Cohn. Dante calls the film "a shell of what might have been a classic." What remains of Orson Welles' fourth Hollywood effort is dazzlingly inventive and narratively jumbled, due to Columbia prexy Harry Cohn cutting Welles' version by nearly an hour. Still considered a key film noir, Dave Kehr once called it "the weirdest great film ever made". The last few cards of most surviving versions of this trailer are replaced with a Columbia logo. »
- Trailers From Hell
4 items from 2013
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