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Ken Loach’s new film starts off with archival footage of New York City in the 1920s — dense, concrete skylines, the streets awash with people, bread lines, homeless men sleeping in the streets, urban vitality giving way to urban despair. Then it slams right out of that opening credits sequence into a verdant expanse of road in rural Ireland. The immediate effect is one of relief, like someone just allowed us a deep breath of fresh air. An ironic way to kick off a story that’s all about running away and liberation and the looming presence of the past. Also, perhaps, an ironic way to start off a movie that’s more Footloose than The Wind That Shakes the Barley. But more on that in a bit.Jimmy’s Hall tells the story of Irish activist Jimmy Gralton (Barry Ward), who fled his wartorn country for America in the 1920s. »
- Bilge Ebiri
“I’m old, not obsolete,” mutters Arnold Schwarzenegger’s aging android in “Terminator Genisys,” and his words could be a wishful mantra for this nervy, silly, almost admirably misguided attempt to give the 31-year-old franchise a massive cybernetic facelift. More or less rewriting everything we thought we knew about the Connor genealogy, the properties of liquid metal, and the rules of post-1984 time travel, this f/x-encrusted reboot feels at once back-to-basics and confoundingly revisionist, teeming with alternate timelines and rejiggered character histories (the most perplexing of which finds Sarah Connor now continually referring to Schwarzenegger’s Terminator as “Pops”). Consider it the 3D blockbuster equivalent of disruptive technology, and while online fans have already voiced their displeasure, the movie’s willingness to veer crazily off-course feels less objectionable than the monotony and sense of self-parody that kick in long before the whimper of a finish. (Justin Chang »
- Variety Staff
This is a reprint of our review from the 2014 Cannes Film Festival. It was announced here in Cannes that Ken Loach, who had long mooted this year’s Competition entry “Jimmy’s Hall” as his last film, had at least partially relented (possibly in the face of the general rending of clothes and gnashing of teeth that greeted the suggestion here: Cannes loves Ken), and is thinking of embarking on another project. Good thing too, because “Jimmy’s Hall” would be no great cap to a long, singular filmmaking career--it’s a twee and tweedy period “Footloose,” into which Loach’s trademark left wing sympathies are not so much woven as photocopied and stapled onto alternate pages of the script. The Robbie Ryan cinematography ensures everything looks tremendous, all emeralds and warm browns and autumnal Irish ochers, but it’s a richness and texture that isn’t matched by anything else in the film. »
- Jessica Kiang
Actor, writer and co-founder of 7:84, the touring company that left an indelible mark on British theatre
Elizabeth MacLennan, who has died of leukaemia aged 77, was an actor, writer and one of those passionate, pioneering women who periodically erupt to change the British theatre. In 1971 she joined forces with her husband, the playwright John McGrath, and her brother David, to form the 7:84 theatre company. Over the next 17 years, eventually creating two separate branches, it was to tour England and Scotland addressing political issues in a popular form with phenomenal success. After the demise of the companies and her husband’s death in 2002, MacLennan turned increasingly to writing and lecturing without ever abandoning her socialist convictions.
She was born in Glasgow into a distinguished medical family. Her father, Hector, was an obstetrician and her mother, Isobel, a public health doctor. Liz enjoyed an undeniably privileged upbringing, going first to Laurel »
- Michael Billington
Jimmy’S Hall Sony Pictures Classics Reviewed by: Harvey Karten for Shockya. Databased on Rotten Tomatoes. Grade: B+ Director: Ken Loach Screenwriter: Paul Laverty Cast: Barry Ward, Francis Magee, Aileen Henry, Simone Kirby, Stella McGirl, Sorcha Fox, Martin Lucey, Mikel Murfi, Shane O’Brien Screened at: Sony, NYC, 4/9/15 Opens: July 1, 2015 Ken Loach, who directed “Jimmy’s Hall,” is no mushy liberal who would waste too much of his valuable time pushing for a 25-cent wage hike for McDonald’s workers—however important that may be to them. Loach is for the working class, but wants nothing less than radical change. Giving workers a few more crumbs from the king’s table does nothing [ Read More ]
The post Jimmy’s Hall Movie Review appeared first on Shockya.com. »
- Harvey Karten
Exclusive: BBC Films and BFI also set to board as core funders on theatrical documentary.
Louise Osmond, the UK director behind Sundance winner Dark Horse, is to direct Sixteen Films’ upcoming theatrical documentary exploring Ken Loach’s 50-year-old career through the battles fought around his films.
“Louise is a wonderful, observational filmmaker so she’s an ideal person to have come on board,” said Loach’s long-time producer Rebecca O’Brien at Sixteen Films.
Osmond replaces Loach’s son, Jim Loach, who was attached to the project when it was first announced last October.
“In the end, Jim decided not to do it and I can understand why - it’s too close to home,” said O’Brien.
In a smaller development, the title of »
After the foolish fondness of The Angel’s Share (2012), Ken Loach is back in familiar ground with the story of Jimmy Gralton, who built a community hall in Ireland’s County Leitrim in the early 1920s that enraged the local haves. Also involved with reinstating an evicted tenant farmer, he fled to America for ten years or so, before returning to do the same thing all over again. The heart of the film is expressed in the words of his mother, at the hearing on his deportation in 1933 (the only Irishman ever to be deported from his country): “Why is an old tin hall so dangerous?”
The first cause of all the trouble is that education is the preserve of the church, and Father Sheridan is royally pissed – the hall is a place (the only place) for local kids to learn drawing, literature, boxing, and so on. The priest »
- Tom Newth
"With a new programming team and revitalized sense of purpose, the Los Angeles Film Festival launches its 21st edition Wednesday with a reinvigorated mission," begins Mark Olsen in the Los Angeles Times. The paper's a sponsor, so you'll find a lot of coverage there. Preview some of the titles lined up in the Buzz section for L.A. premieres: Marielle Heller's The Diary of a Teenage Girl, Maya Forbes's Infinitely Polar Bear, Ken Loach's Jimmy's Hall, Patrick Brice's The Overnight and Sebastian Schipper's Victoria, the one-shot wonder that's opening tomorrow in the city where it was filmed and then premiered, Berlin. » - David Hudson »
As Film Independent's 21st Los Angeles Film Festival gets under way at La Live downtown with the June 10th opening of Paul Weitz's Sundance hit comedy "Grandma," starring the incomparable Lily Tomlin, the big question surrounding this year's program is whether festival director Stephanie Allain's new vision for the selection (booked by a new, less experienced programming team led by Roya Rastegar) will lure audiences. Read: David Ansen's Departure from Laff Signals New Direction for the Festival The fourth festival under producer Allain ("Beyond the Lights") has taken a dramatic turn. While there are plenty of Cannes, SXSW and Sundance hits such as Ken Loach’s "Jimmy’s Hall," "Diary of a Teenage Girl," "Infinitely Polar Bear," and Russell Brand doc "Brand: A Second Coming," among the 45 world premieres there are fewer galas with »
- Anne Thompson
More than 40 artists and film-makers write to Guardian to accuse cinemas of becoming ‘silent accomplices’ to persecution of Palestinian people
Seret 2015, the London Israeli film and television festival, is due to open with a gala screening at Bafta of the film Hill Start on Thursday. There will then be screenings at cinemas including Curzon Soho and Odeon Swiss Cottage in London.
Continue reading »
- Mark Brown
Heart of Glass: Costanzo’s Uncomfortable, Emotional Glance at Madness
Must every cinematic portrait of mental illness be ‘illuminating?’ Your answer to that question may gauge your reaction to Italian director Sergio Costanzo’s New York set domestic horror film, Hungry Hearts, a film best walked into cold. Ambiguity reigns supreme, and for those enjoying a feeling of befuddlement, a rarity in the contemporary cinematic landscape of political correctness, may find Costanzo’s adaptation of Marco Franzoso’s novel a winning concoction. Drawing comparisons to early works by Roman Polanski in how it swiftly throws an unraveling relationship drama into the domestic level of hell, the film instead recalls an era when allowances were made for cinematic representation of strange behaviors and dysfunctional relationships. Surprisingly odd, yet leaving us, roughly, with the feeling of being slapped, perhaps by today’s standards the film can best be understood as the anti-romcom, »
- Nicholas Bell
Hadley Freeman's latest book has harnessed her love of 80s movies, and gone into detail about just why they work so well. Entitled Life Moves Pretty Fast, you won't be surprised to hear that Ferris Bueller's Day Off features in there. But then so does Dirty Dancing, Top Gun, Ghostbusters, Back To The Future and Eddie Murphy.
So what makes 80s movies so special? That seemed a logical place to start, as we caught up with Hadley for a chat...
Can I start by throwing a paraphrased movie quote at you? That line in The Truman Show about accepting the reality with which we're presented? At what point did you come to accept and realise that the movies of the 80s were so special to you? As you grew up with them, »
Given the number of films in competition (19), the correspondingly infinite number of possible award/talent configurations, and the sheer impossibility of guessing at the individual and collective tastes of nine jurors, predicting the major award winners at the Cannes Film Festival is obviously a fool’s errand — and one that our critics on the Croisette have gladly undertaken.
Palme d’Or: “The Assassin.” Word on the street — and among British bookies — is that my own favorite film of the fest, Yorgos Lanthimos’ high-wire relationship fantasy “The Lobster,” is the one to beat, though whether that’s based on honest hearsay or a projection of the Coen brothers’ taste for dryer-than-dust comedy, I can’t say. As much as it would thrill me to see such a singular combination of concept-y formalism and perverse heart-tugging take the prize, I have a hard time seeing it as the unifying consensus »
- Guy Lodge and Justin Chang
This week Neil Calloway looks at what winning the Palme d’Or can do to your box office…
So we are in the middle of the Cannes Film Festival, and it’s easy to dismiss it as a two-week publicity vehicle for beautiful actresses to get photographed next to middle-aged European film directors on the Croisette, or a time for oligarchs and their trophy wives to entertain fading Hollywood stars on their super yachts. However, the importance of the festival to the film industry cannot be understated.
Cannes is the biggest film industry event of the year; the Oscars comes close but that only lasts one night. It is, in fact, one of the biggest annual events of any kind. As William Goldman points out in Hype and Glory, his entertaining memoir of sitting on the juries for both Cannes and the Miss America Pageant, the World Cup and Olympics are bigger, »
- Neil Calloway
We've arrived at Roger Moore's penultimate Bond. But isn't it about time somebody fought Octopussy's corner?
After the comedown of For Your Eyes Only, the series is back on a high. A very good-natured, occasionally thrilling escapade that boasts an impressive roster of villains, a finely developed heroine, unusually meaty roles for series stalwarts General Gogol and Q, a nuclear bomb and a gloriously stupid title. Yes, Roger Moore has aged to the point where counting the wrinkles is a legitimate distraction. And many valid criticisms can be levelled about plot and credibility. But the good outweighs, or certainly overwhelms, the bad in Octopussy. Still, he really should have quit after this one.
The Villain: Kamal Khan got his break by winning the talent competition Sa Re Ga Ma Pa Singing Superstar - and that was just the beginning. 2012 hit Ishk Sufiana launched Khan into stardom and he bagged »
In Cannes with new movie Irrational Man, veteran director reveals his unease about forthcoming online streaming series and says he’d reshoot all his previous films if he could
The Cannes film festival is well within Woody Allen’s comfort zone. This is the director’s 11th time at the festival, where – as with fellow auteurs Ken Loach and Paolo Sorrentino – he’s routinely received with yet greater adoration than on his home soil. But the director used the press conference for his new movie, Irrational Man, to confess misgivings about his next project, a six-episode TV show for Amazon Prime.
“It was a catastrophic mistake for me,” Allen said, speaking with what appeared to be a mix of irony and genuine anxiety. “I’m struggling with it at home. I never should have gotten into it. I thought it was going to be easy. You do a movie and »
- Catherine Shoard
Described as a “dramatic comedy”, it revolves around a father and son’s attempts to a get a brand new Mercedes into Gaza during an Israeli blockade, after the father promises the son’s new bride the car as a gift.
Determined to keep the promise, the pair will go to any lengths to get the prestigious vehicle into the closed territory.
Zoabi, whose credits include the comic Man Without a Cellphone, will direct the film from an original first screenplay by writer Anne Koski-Wood.
“Anne’s starting point was imagining what on earth normal life could be like in Gaza… it’s a difficult concept and this evolved into a dramatic »
Exclusive: Other new titles on slate include Pattaya and Critics’ Week screener Learn by Heart.
Described as a black comedy, combining the absurdity of the Coen Brothers and the tenderness of Ken Loach’s social comedies, the film is currently shooting in Mallorca.
British director Ken Loach’s Sixteen Films production shingle, France’s Le Pact, Germany’s Pandora and Egypt’s Film Clinic have joined forces to co-produce Gaza-set dramedy “Catch the Moon,” by Palestinian director Sameh Zoabi. Pic marks a rare multi-pronged European-Arab co-production that could serve as a new model for mounting Arab movies with mainstream elements.
Le Pacte will handle world sales.
Rebecca O’Brien, who is Loach’s partner in Sixteen Films, is producing “Moon,” which is described as a heart-warming comedy.
“Moon” is about a young Palestinian named Halim who’s father whimsically commits to providing him and his future bride a Mercedes Benz as dowry, only to realize this is impossible due to the current Israeli blockade of the Gaza strip. They need to provide this dowry in order for the marriage to go ahead.
“Moon” marks Zoabi’s (pictured) second feature following “Man Without a Cell Phone, »
- Nick Vivarelli
The Italian auteur is to receive the Pardo d’onore at the Locarno Film Festival in August.
Italian director Marco Bellocchio is to be honored with the Pardo d’onore Swisscom at this year’s Locarno Film Festival.
Bellocchio’s debut feature Fists In The Pocket screened at Locarno in 1965, winning the Vela d’argento, and the film will play again this year as a special Piazza Grande screening on August 14. The restored print is being sold internationally by The Match Factory.
Bellocchio will also take part in a masterclass in the Spazio Cinema.
A regular visitor to Locarno, the Italian auteur’s Victory March played in competition in 1976. He was president of the jury in 1997 and in 1998, the Festival featured a major retrospective of his work.
- firstname.lastname@example.org (Sarah Cooper)
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