6 items from 2015
Since 1989, the National Film Registry of the Library of Congress has been accomplishing the important task of preserving films that “represent important cultural, artistic and historic achievements in filmmaking.” From films way back in 1897 all the way up to 2004, they’ve now reached 675 films that celebrate our heritage and encapsulate our film history.
Today they’ve unveiled their 2015 list, which includes classics such as Douglas Sirk‘s melodrama Imitation of Life, Hal Ashby‘s Being There, and John Frankenheimer‘s Seconds. Perhaps the most popular picks, The Shawshank Redemption, Ghostbusters, Top Gun, and L.A. Confidential were also added. Check out the full list below.
Being There (1979)
Chance, a simple-minded gardener (Peter Sellers) whose only contact with the outside world is through television, becomes the toast of the town following a series of misunderstandings. Forced outside his protected environment by the death of his wealthy boss, Chance subsumes his late employer’s persona, »
- Jordan Raup
Each year, the Library of Congress adds 25 notable films to its permanent collection, ensuring that the titles will be preserved for generations to come. The 2015 class is typically eclectic, ranging from silent films to 1980s blockbusters, edgy indies to educational films such as the Disney-produced 1946 entry “The Story of Menstruation.”
“Selecting a film for the National Film Registry recognizes its importance to cinema and America’s cultural and artistic history,” said acting Librarian of Congress David Mao. “The registry is an invaluable way to advance public awareness of the richness, creativity and variety of our nation’s film heritage.”
The 2015 selections bring the number of titles in the registry to 675. The films are selected by Library of Congress staffers and the National Film Preservation Board, after reviewing nominations made »
- Variety Staff
If the transformation is a character’s external change then the meltdown is the internal equivalent. Sometimes the most terrifying part of a horror film isn’t when the monster pops out, but when a character loses his or her grip on reality. The psychosis can begin gradually, exacerbated by stress, sickness, or an outside tormentor. Often the character begins a film in complete control of his or her mental faculties. But control is a relative term, and in a horror film, the illusion of control can be just as powerful as actual agency. The options: denial or embracement. The psychological break will come soon enough. The only question is, how broken will the person be once it does?
Alien (1979) – Ash malfunctions
The crew of the cargo ship Nostromo has just about had it. Awakened from a cozy hypersleep to answer the worst wrong number in interstellar history, they then »
Body/mind transference, the central idea behind the thriller Self/Less, is so flush with opportunity that it’s frustrating to see this new movie fly off the rails so early and so completely. Self/Less has the premise for thought-provoking science-fiction, but it doesn’t have the gumption. It would rather be a blockbuster than a mind-bender but it turns out to be neither. Ben Kingsley stars as Damian Hale, a miserly real-estate magnate at death’s door who pays a quarter million dollars for the services of the shadowy corporation known as ‘Phoenix Biogenics’ (we know he’s rich because he’s shown in his Trump-style penthouse complete with solid gold doors and bannister). Albright (Matthew Goode), Phoenix’s spiffy young chief, offers his clients ‘Shedding’, a process of transferring the mind from the old and sick body into a healthy younger human grown organically in their lab. »
- Tom Stockman
A brand new you that just might be the old someone else is the quandary at the center of “Self/less,” an initially intriguing parable about man’s lust for immortality that quickly devolves into a substandard shoot-’em-up designed to rebrand star Ryan Reynolds as a brawny action hero in the Jason Statham mold. But even the resourceful, likable Reynolds is at a loss to elevate this rather dreary piece of would-be escapism, which calls out for the wry, pulpy touch of a John Carpenter (or his acolyte David Twohy) and instead gets the strained self-seriousness of director Tarsem Singh. July 10 release from Universal/Focus’ relaunched genre label Gramercy Pictures will have its work cut out for it against the big guns of summer.
- Scott Foundas
'San Andreas' movie with Dwayne Johnson. 'San Andreas' movie box office: $100 million domestic milestone today As the old saying (sort of) goes: If you build it, they will come. Warner Bros. built a gigantic video game, called it San Andreas, and They have come to check out Dwayne Johnson perform miraculous deeds not seen since ... George Miller's Mad Max: Fury Road, released two weeks earlier. Embraced by moviegoers, hungry for quality, original storylines and well-delineated characters – and with the assistance of 3D surcharges – the San Andreas movie debuted with $54.58 million from 3,777 theaters on its first weekend out (May 29-31) in North America. Down a perfectly acceptable 52 percent on its second weekend (June 5-7), the special effects-laden actioner collected an extra $25.83 million, trailing only the Melissa McCarthy-Jason Statham comedy Spy, (with $29.08 million) as found at Box Office Mojo.* And that's how this original movie – it's not officially a remake, »
- Zac Gille
6 items from 2015
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