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Here are a bunch of little bites to satisfy your hunger for movie culture: Classic Movie Injuries of the Day: In honor of this month's 25th anniversary of Home Alone, a bunch of doctors diagnosed Harry and Marv's injuries inflicted by Kevin (via Devour): Animation Studio Tribute of the Day: In honor of this month's 20th anniversary of Toy Story, here's a tribute to the past two decades of Pixar (via /Film): Cosplay of the Day: Hayao Miyazaki cosplay is always wonderful, and this Princess Mononoke is no exception (via KamiKame): Vintage Film of the Day: George Melies's The Legend of Rip Van Winkle was released on this day all the way back in 1905. Watch it below. Film History Lesson of...
- Christopher Campbell
Fans of The Legend of Zelda series have wanted a movie adaptation for years and despite the many recent rumours we still have not received any official word of a big screen version of Hyrule happening any time soon. In the meantime artist Matt Vincehas created some amazing concept posters for a Legend of Zelda movie directed by the legendary Hayao Miyazaki. Hopefully, Nintendo will see these posters making their rounds online and consider asking Studio Ghibli to collaborate with the Japanese giant and give fans what they truly deserve. Check out the concept posters below, and let us know what you think.
The post ‘Legend of Zelda’ Movie Poster Art if Directed by Hayao Miyazaki appeared first on PopOptiq. »
- Ricky Fernandes
This week on Off The Shelf, Ryan is joined by Brian Saur to take a look at the new DVD and Blu-ray releases for the week of November 17th, 2015, and chat about some follow-up and home video news.
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Episode Links & Notes Follow-up Wireless Headphones / Bluetooth Transmitter MST3K Kickstarter Update Arrow Low-Quantity Update News Vudu Expands Warner 4K Movie Offering Upcoming Scream Factory Blu-ray Releases Twilight Time Pre-orders: Friday, November 20th New Releases The Apu Trilogy A Bullet For Joey Catch My Soul Chaplin’s Essanay Comedies The City of Lost Children The Collected Works of Hayao Miyazaki Deadliest Prey Deadly Prey Faults Faust Gatchaman The Hobbit: The Battle of Five Armies Extended Edition The House on Carroll Street In Cold Blood Jimmy’s Hall Living In Oblivion Man From U.N.C.L.E. Meru Pitfall Requiescant Troll / Troll 2 We’re Back! A Dinosaur »
- Ryan Gallagher
Every week we dive into the cream of the crop when it comes to home releases, including Blu-ray and DVDs, as well as recommended deals of the week. Check out our rundown below and return every Tuesday for the best (or most interesting) films one can take home. Note that if you’re looking to support the site, every purchase you make through the links below helps us and is greatly appreciated.
The Apu Trilogy (Satyajit Ray)
Although it premiered 60 years ago this week at the Museum of Modern Art, Satyajit Ray‘s Pather Panchali remains among both the most accomplished of debuts and cinema’s most universally relatable experiences. Accentuating the basics of human emotions to result in the most complex of reactions, Ray’s subsequent trilogy of films follows the hardships of a Bengali boy as he passes into adulthood, a delicately powerful tale of transition that’s now been gloriously restored. »
- TFS Staff
Rome – The upcoming European Film Awards will fete Italian producer and distributor Andrea Occhipinti with the Prix Eurimages dedicated to celebrating the key role of co-productions in boosting the growth of the European film industry.
Occhipinti’s Rome-based shingle Lucky Red over the past 28 years has distributed some 250 titles and produced more than 40 feature films, a large portion of which supported by Eurimages. Eurimages is the Council of Europe’s fund supporting European co-productions. It also helps promote their theatrical distribution.
Standout Euro co-prods Lucky Red has handled include Paolo Sorrentino’s “Il Divo” and “This Must Be The Place,” Dardenne brothers-directed “The Kid With a Bike,” and Michel Ocelot’s toon “Azur et Asmar.”
Lucky Red has had a hand in many other successful co-prods by directors from all over the world, including Lars Von Trier, Patrice Leconte, Wong Kar-Wai, Park Chan-Wook, Peter Mullan, Francois Ozon, Gurinder Chadha, Hayao Miyazaki, »
- Nick Vivarelli
Read More: Takashi Murakami on Bringing Art to Life in Directorial Debut 'Jellyfish Eyes' Ask most cinephiles to define Japanese film today, and they're likely to cite the usual suspects: Akira Kurosawa and his "Seven Samurai." Yasujiro Ozu and his "Tokyo Story." Hayao Miyazaki and his "Princess Mononoke." While their golden years may have ended over a decade ago (or, in some cases, several), their legendary works have left indelible marks not only on contemporary filmmakers within Japan, but on the styles of significant American cinema from Martin Scorcese and Quentin Tarantin to Pixar. But their era — the indisputable height of the nation's cinematic history — is one that the Japanese film industry hasn't been able to replicate or even come close to reviving ever since, a grievance expressed all the more emphatically by the many independent filmmakers presenting their work at last week's 2015 Tokyo International Film Festival (Tiff). At first. »
- Anisha Jhaveri
Sad news for genre fans of all ages. Melissa Mathison has passed away today at the age of 65. She is perhaps best known as the screenwriter behind director Steven Spielberg's blockbuster smash hit E.T. the Extra-Terrestrial, which arrived in theaters in the summer of 1982. She succumbed to a long illness reports Deadline.
Melissa Mathison was a graduate of Uc Berkeley, and a native of Los Angeles, born in the city in 1950. She was 29 years old when she first broke big in Hollywood, providing the hit film The Black Stallion with its screenplay way back in 1979. From there, she would write E.T. the Extra-Terrestrial, which opened the same year as her film The Escape Artist, which starred Raul Julia, Desi Arnaz and Teri Garr.
What makes a movie character relatable? What makes them fully realized and human? In this new video from Channel Criswell, Lewis Bond offers that some of the most three-dimensional characters actually appear in animated films, specifically those of master craftsman Hayao Miyazaki (“Howl's Moving Castle,” “Spirited Away,” “Princess Mononoke”). As Bond argues early on in the nearly 17-minute video essay, Miyazaki was not content with making “shallow” films, which animated features were often given leeway to be, especially early on in the medium. Miyazaki himself stated that, “one consistent theme in my work, is watching good animation, and surpassing it.” To achieve that lofty goal, the filmmaker embraced depth, focusing on emotionally layered, realistically conceived characters. “His aim wasn’t to make films that spoke down to children. His aim was to make films that would help us all understand the human condition,” Bond states. His narration continues, “Miyazaki’s animations. »
- Zach Hollwedel
Here are a bunch of little bites to satisfy your hunger for movie culture: Trailer Reaction of the Day: You've seen the Star Wars: The Force Awakens actors react to the new trailer. Now watch other Disney characters watch it: Trailer Remix of the Day: Watch another version of the final Star Wars: The Force Awakens trailer in which Han Solo flashes back to scenes from the original trilogy (via Live for Films): Tattoo of the Day: And you thought nobody liked Jar-Jar Binks. View post on imgur.com Movie Comparison of the Day: Critic Michael Mirasol sees similarities between part of Star Wars: The Force Awakens and Hayao Miyazaki's Nausicaa of the Valley of the Wind: Only Jj knows. But I can dream of a...
- Christopher Campbell
Japanese animation is at an interesting crossroads. At home, it’s obviously as big as ever, and there’s a smattering of hardcore otaku across the world. But the filmmakers who won the most acclaim for those movies, in the West at least, have started to drift away—Oscar-winner Hayao Miyazaki has retired, as has his colleague Isao Takahata, with their Studio Ghibli home winding down, while Satoshi Kon passed away five years ago, and “Akira” helmer Katsuhiro Otomo hasn’t made an animated feature in a decade. But there is hope, and some of it is in the form of director Mamoru Hosoda, who’s become one of the most hotly-tipped anime filmmakers of the last few years. Though he came from somewhat ignoble beginnings (his first feature was “Digimon: The Movie,” and he was allegedly fired off Ghibli’s “Howl’s Moving Castle”), he’s consistently impressed with »
- Oliver Lyttelton
Kadokawa is a major player in the manga and anime markets, with the former feeding the latter.
Among its most successful collaborators is Mamoru Hosoda, an animator who has taken over the hitmaker mantle of maestro Hayao Miyazaki with such films as “The Girl Who Leapt Through Time” (2006), “Summer Wars” (2009), “Wolf Children” (2012) and this year’s “The Boy and the Beast,” which earned $57 million since its July release. The first film was released by Kadokawa and all four were accompanied by comics and novels.
Kadokawa, however, faces the same turmoil as other Japanese publishers and production companies. The company is responding to a range of challenges from the rampant piracy in its backyard to rapid user migration from print to digital.
In July, Kadokawa and five other Japanese producers invested $3 million in increased capitalization for Anime Consortium Japan, a streaming, e-commerce and licensing company that offers anime in 10 languages to »
- Mark Schilling
Madrid – Mexico City-based Fotosintesis Media, a joint initiative of Mexico’s Mantarraya Group and writer-director Miguel Uriegas, is producing “The Angel in the Clock,” a 2D animation film which is launching cause-driven entertainment in Mexico.
Written by Rosanna Curiel from an original idea by Uriegas, who provided concept art on Mantarraya’s first toon pic production, pre-school “The Incredible Story of the Stone Boy,” taking a co-director credit, “Angel” turns on an eight-year-old girl, Emilia, whop has leukemia, and wants to stop time. She meets Malachi, an angel who lives inside her cuckoo clock, who takes her to a magical realm, the fields of time, where hundreds of clock-castles soar to the sky, protecting human time on earth. There she learns the importance of living in the here and now, what the present can give us allowing us to fight for what we want the most.
The real world is kept pretty realistic, »
- John Hopewell
When Marnie Was There review: As always, Studio Ghibli provide us with a film for children that adults are more likely to appreciate. When Marnie Was There review
Over the years Studio Ghibli has given us far too many incredible films. It’s almost unfair when you think about it. So after the retirement of their in house genius, Hayao Miyazaki, the studio announced a period of restructuring and planning where they would discuss the future of the studio. This poorly translated to “We’re done making films, you’ll never see another,” for some reason as people began to fear the worst. Although no such claim was made, many believe that When Marnie Was There could be the studio’s last feature length animated film. Permanent or not, When Marnie Was There offers up a splendid way to end a remarkable era for the studio before they decide how to proceed. »
- Luke Ryan Baldock
"Creating animation means creating a fictional world. That world soothes the spirit of those who are disheartened and exhausted from dealing with the sharp edges of reality." Time for another stunning look at the work of Hayao Miyazaki in a 16-minute tribute video about "The Essence of Humanity" in his films. Made by Lewis Bond, the same guy behind Channel Criswell who also made the Colour in Storytelling video, it's an extensive look at Miyazaki's focus on the emotional intricacies of his subjects, and storytelling in his films. He even explores some of his history, referencing how the Russian animated film The Snow Queen (1957) first showed the potential of human emotion in animation. This is a good one - take a watch. Description from YouTube: "Fantasy and realism blend perfectly in the world of Miyazaki. Today we look at the genius behind it all." Thank you to The Film Stage »
- Alex Billington
Although he’s put feature filmmaking behind him, the landmark work of Studio Ghibli’s Hayao Miyazaki will certainly be an influence for filmmakers as long as animation is around. Perfectly timed with the November release of an eye-popping Blu-ray set of his complete collection, today brings a stellar video essay that looks at the essence of humanity in his films.
Created by Channel Criswell, he argues, “Miyazaki is not your typical animator. He took an approach to animated filmmaking that concentrates on the emotional intricacies of his subjects as opposed to creating, ironically, cartoony characters. His aim wasn’t to make things that spoke down to children. His aim was to make films that would help all us further understand the human condition.”
In looking at the director’s preference for internal subtleties over external flair, the 17-minute video essay eloquently conveys his approach. Through gorgeous clips and interviews from the own filmmaker, »
- Jordan Raup
When Marnie Was There will be Studio Ghibli's last feature. We look at Ghibli's final films and what they mean for the future of animation.
If there’s one abiding message behind Studio Ghibli’s animated output, it’s that nothing is permanent. Happiness is delicate; summers pass; memories fade. But the brilliance of the Japanese animation house’s movies is that they find joy in the fleeting, not just melancholy. The encounter between two children and adorably rotund woodland spirits in My Neighbour Totoro is all the more special because it’s presented very definitely as a one-off: a chance meeting that can never happen again.
Studio Ghibli was founded in 1984 following the success of Nausicaa Of The Valley Of The Wind, Hayao Miyazaki’s masterful, dazzlingly detailed sci-fi fantasy. From that point on, Miyazaki was established as the sharpest prong on Ghibli’s creative trident, the others »
There are great places to start for anyone unfamiliar with Japanese animation. You need a basis for visuals like Akira and Ghost in the Shell, for action like Ninja Scroll or Redline, but I wouldn’t know where to send someone for heart and humor. I’m sure most people would say Hayao Miyazaki films are the way to go, right? See, I’m not a big anime fan. I’ve got favorite films like those above, and there are series I adore like Cowboy Bebop, but I’m not anxious or often hunting new items. Mamoru Hosoda is a director I’m not familiar with, but after seeing the trailer for The Boy and the Beast a while back and hearing nothing but raves, I was ecstatic when it was added to the Fantastic Fest roster. It didn’t disappoint.
A nine year old boy has run away from »
- Mike Hassler
To say that Japanese customs seem somewhat strange to those in the western world is a drastic understatement. Kids spending fortunes at the dentist getting their teeth knocked wonky (a bizarre current fashion trend) and buying underwear from vending machines (pretty handy, you must admit), to the suicide forrest, which is exactly what it sounds like – life in Japan is so far removed from life as we know it that most of us simply can’t believe what we read.
But even the existence of the aforementioned forrest seems less crazy when you consider that suicide has been engrained in Japanese culture since the days of the samurai and their hara-kiri rituals, and you have to look at the art form that is Japanese anime in much the same way. Adult themes have been slowly working their way into anime since Japanese artists started experimenting with the medium, »
- Phil Archbold
Studio Ghibli may celebrate its 40th anniversary this year by quietly ceasing feature filmmaking. But its place in animation history is secure. On its 20th anniversary, the Busan festival is recognizing the company as its Asian Film Maker of the Year.
Founded in 1985, Studio Ghibli is the most successful company in the history of the huge Japanese animation industry, if success is measured by box office numbers and international prizes. Most of those prizes and numbers belong to studio co-founder and mainstay Hayao Miyazaki, who also gave Studio Ghibli its name from a WWII Italian aircraft, with ‘Ghibli’ being an Arabic word for the hot desert winds of North Africa.
From the beginning, Ghibli aimed higher, with quality feature animation that »
- Mark Schilling
If there's a man out there (or company) that can hawk a product to children and adults alike, it's Hayao Miyazaki and his decades-long animation house, Studio Ghibli. From Asahi beers to the famed Studio Ghibli museum, this collection of ads that ran from 1992-2015 offers a glimpse into the wonderful world of Miyazaki's bygone pencil, paper and film era. Read More: Hayao Miyazaki Confirms Retirement, Says Studio Ghibli Not Making Any More Feature Films »
- Ruben Guevara
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