12 items from 2017
What events led up to the most brutal battles yet between humans and their simian counterparts? David F. Walker (co-writer of Tarzan on the Planet of the Apes) will answer that question in Boom! Studios' comic book series prequel to War of the Planet of the Apes, coming out this July just before the new film hits theaters from 20th Century Fox. For our latest Q&A feature, we had the chance to discuss the new four-issue series with Walker, as well as his Day of the Dead and Escape from New York dream projects.
Thanks for taking the time to answer some questions for us today, David. How did you initially get involved with the new War for the Planet of the Apes comic book series from Boom! Studios and Twentieth Century Fox Consumer Products?
- Derek Anderson
Long Strange Trip (Amazon Video)
I was stoked have scored a ticket for the limited-run (one week) theatrical screening of the new Grateful Dead documentary at IFC Cinema in the West Village. A four-hour love fest for Deadheads young and old, and more importantly for those music fans and the curious who just never got "it" and what it means to be a Deadhead. Expertly handled by director Amir Bar-Lev, there is so much to mine here that I can't imagine how much was left on the cutting room floor. (Props to executive producer Martin Scorsese, too.) Jerry's Frankenstein story frames the movie in a way that initially seems odd but by the end of the film makes perfect sense. After all, like the Monster, the band was "assembled" by the various parts (members, friends, fans, staff) that comprised it. Messy, joyous entropy in action; seemingly random, but actually spiritually »
- Dusty Wright
A killer book (Dog Soldiers) must hide behind a Credence Clearwater tune. Karel Reisz’s killer movie about the moral residue of Vietnam scores as both drama and action, as disillusioned counterculture smugglers versus corrupt narcotics cops. Just don’t expect it to really have much to say about the Vietnam experience. But hey, the cast is tops — Nick Nolte, Richard Masur, Anthony Zerbe — and the marvelous Tuesday Weld is even better as a pill-soaked involuntary initiate into the pre- War On Drugs smuggling scene.
Who’ll Stop the Rain
1978 / Color / 1:85 widescreen / 126 min. / Street Date May 16, 2017 / Available from the Twilight Time Movies Store 29.95
Cinematography: Richard H. Kiline
Supervising Film Editor: John Bloom
Original Music: Laurence Rosenthal
- Glenn Erickson
Jack Nicholson is the driving force, but this rerelease reminds us how delicately he is supported by the rest of the cast
Think about Milos Forman’s multi-Oscar-winning 1975 adaptation of the Ken Kesey novel, and the first thing likely to come to mind is Jack Nicholson’s performance. It’s extraordinary, a completely uninhibited powerplay, which dominates the screen. But what’s remarkable, when you watch this BFI rerelease in honour of Nicholson’s 80th birthday, is the way Forman is able to balance this enormous, film-dominating turn, and draw our eyes to the supporting characters – to the scaly chill and stillness of Louise Fletcher’s glare as Nurse Ratched, to the immutable sadness of Will Sampson’s Chief. It’s not just Nicholson’s performance that makes this film a masterpiece; it’s the fact that Forman was able to prevent that performance from capsizing the whole enterprise.
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- Wendy Ide
The rereleased adaptation of Ken Kesey’s novel features a mesmerising central performance – and a villain who now seems much more likable
Here is the bruised-plum role that put Jack Nicholson into the biggest of big leagues: the role that Kirk Douglas created for the original Broadway version and once coveted for the movie he helped develop – but it’s the part that arguably put Nicholson on the career path to ham craziness.
Miloš Forman’s 1975 version of Ken Kesey’s novel is back on cinema rerelease and Nicholson is Mac McMurphy, the subversive wildman and incorrigible troublemaker, sent down for statutory rape, whose unstable behaviour gets him a transfer to what he clearly thinks will be the cushy option of the mental institution.
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- Peter Bradshaw
On 22 April, the incomparable Jack Nicholson will reach 80. In celebration of this milestone birthday, the BFI is bringing the magnificent 1975 tragicomedy in which he starred, One Flew Over the Cuckoo’s Nest, back to big screens across the UK on 14 April 2017. We are giving three lucky winners a pair of tickets to a BFI Southbank screening of the film between 20 and 24 April 2017
Nicholson’s unforgettable performance as the ingenious, heroic free spirit Rp ‘Mac’ McMurphy, who leads an uprising in the men’s ward of a mental hospital run by callous Nurse Rached (Louise Fletcher), won him his first Best Actor Oscar®.
Adapted from Ken Kesey’s best-selling 1962 novel, directed by Miloš Forman (Amadeus, Man on the Moon) and produced by Saul Zaentz (Amadeus, The English Patient) and Michael Douglas (his first producer role), One Flew Over the Cuckoo’s Nest was only the second film ever to »
‘We filmed it at a real mental hospital and some of the patients joined the crew. We had an arsonist in the art department’
My father, Kirk, had acquired the rights to Ken Kesey’s novel in the early 1960s and developed it into a Broadway play, with him playing the lead character, Rp McMurphy. He tried for years to turn it into a film, but it never got any momentum. Meanwhile, I was at university in Santa Barbara and was very politically active, what with the Vietnam war going on. I loved the book: it was a brilliantly conceived story of one man against the system. I had never thought about producing, but told my dad: “Let me run with this.”
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- Interviews by Phil Hoad
Oscar-winner Michael Douglas revealed the ups and downs in his film career during a live conversation with Ben Mankiewicz at the eighth annual TCM Classic Film Festival on Saturday. Held at Hollywood’s historic Montalban Theatre, the two-hour discussion covered everything from Douglas’s early television roles to his work on Marvel’s upcoming “Ant-Man and the Wasp.” Here are some of the surprising highlights.
In 1969, Douglas made his feature debut in “Hail, Hero!” an obscure anti-war drama about a college student who joins the army during the Vietnam war. “Arthur Kennedy played my father, and in the movie he takes my long hair and he chops it all off,” Douglas said. “So I’m showing it to my dad (Kirk Douglas) and he said “You should go to my barber. There’s a way to do that so it looks halfway decent, so you won’t look like a total dork. »
- Matthew Chernov
“Long Strange Trip” is a movie that every Deadhead in the kozmic universe will want to see, and with good reason: At three hours and 58 minutes, it has the sprawl and generosity of a good Dead show, yet there’s nothing indulgent about it — it’s an ardent piece of documentary classicism. The film counts Martin Scorsese among its executive producers, and it was directed by Amir Bar-Lev (“The Tillman Story”), who works with the historical meticulousness a subject like this one deserves. Bar-Lev, who grew up in the Bay Area, uses the long-form running time to digress where he sees fit, but mostly he stays hooked to the center of his subject: how the Grateful Dead, after rising to prominence as an electric jam band in the late ’60s — the hippie minstrels of the Haight-Ashbury circus — took on a wriggling, effusive identity of their own that could be shaped »
- Owen Gleiberman
With a budget of $1.5 million, 2017 Best Picture winner “Moonlight” cost less than a 30-second ad during the Oscars (reported price: $2.2 million). And, among the category’s 89 winners, it stands as the lowest-budgeted film in the Academy Awards’ history.
To determine the 10 least expensive Best Picture winners, we looked back at each year, researched reported budgets, and then calculated them at 2017 dollar values. Although independent films have dominated the Oscars for the last decade, the only indie to make the cut from that period was “Crash.” Nor did Woody Allen’s “Annie Hall,” or some black-and-white studio classics like “Casablanca” or “The Lost Weekend.”
The 10 straddle almost every decade of the Oscars and come from either independent producers or smaller distributors (four of the 10 were released by United Artists).
For comparison, the most expensive film to win remains “Titanic;” its adjusted budget was $300 million more than “Moonlight.” That total dwarfs the »
- Tom Brueggemann
For the first time in more than 40 years, “One Flew Over the Cuckoo’s Nest” has a new trailer. BFI is re-releasing the multiple Oscar winner to mark the occasion of Jack Nicholson’s 80th birthday, which the actor will celebrate on April 14. Watch the new trailer below.
Read More: Watch: 13 Minutes of Deleted Scenes From ‘One Flew Over the Cuckoo’s Nest’
Miloš Forman’s adaptation of the best-selling novel by Ken Kesey belongs to an exclusive club: “Cuckoo’s Nest” is just one of three films to win the Academy Awards for Best Picture, Director, Actor, Actress and Screenplay, the other two being “It Happened One Night” and “The Silence of the Lambs.” Made for $3 million, it grossed more than $100 million.
Read More: Watch: Exploring the Set-Ups in ‘One Flew Over the Cuckoo’s Nest’
- Michael Nordine
It may be tempting, and not entirely inaccurate, to describe Christopher Smith’s “Detour” as “Sliding Doors” reimagined by Quentin Tarantino, but this cleverly twisty neo-noir thriller turns out to be more substantial and surprising than such logline shorthand might suggest. Indeed, some VOD viewers likely will desire an instant replay of the film, to more fully appreciate (or at least better understand) how its parallel plotlines contrast and converge to intriguing effect. The only real downside to a rerun: A few minor gaps in logic could be more annoying the second time around.
Tye Sheridan offers an engaging variation of the prototypical noir protagonist as Harper, a Los Angeles law student who blames Vincent (Stephen Moyer), his despised stepfather, for the auto crash that left his mother comatose. While drowning his sorrows in a seedy bar, Harper makes the mistake of chatting up Johnny Ray (Emory Cohen of “Brooklyn »
- Joe Leydon
12 items from 2017
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