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Nat Geo Acquires Climate Change Pic from Leonardo DiCaprio, Partners with Katie Couric on Gender Doc

13 hours ago | Variety - TV News | See recent Variety - TV News news »

National Geographic Channel has acquired the worldwide rights to an untitled climate change feature documentary produced by Fisher Stevens and Leonardo DiCaprio, the cable network announced at their Television Critics Association summer press tour panel Saturday. NatGeo plans to release the film theatrically in New York and Los Angeles in October, followed by a global premiere on National Geographic Channels worldwide preceding the U.S. election in November.

The film presents an account of how society can prevent the demise of endangered species, ecosystems and native communities across the globe. Audiences are presented with visual evidence of a worsening environmental crisis that is inflicting irreversible damage on landscapes from Greenland to Indonesia, disturbing the balance of our planet’s climate and hastening the extinction of beloved animals. DiCaprio interviews individuals from every facet of society in both developing and developed nations who provide their views on what must be done today – and in the future – to transition »

- Laura Prudom

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Mariah Carey Reveals James Packer Was a ''Huge Fan'' Before They Ever Even Met: Why It Didn't Scare Her Off

26 July 2016 10:55 AM, PDT | E! Online | See recent E! Online news »

Mariah Carey just proved that it's totally possible for a star to end up falling in love with a fan...In fact, that's exactly what happened between her and James Packer (yes, meaning there's hope for you and your celeb crush)! The 46-year-old singer sat down for an interview with Complex magazine, opening up about her love life and revealing that her fiancé was a big fan before the two ever even met. After her split from Nick Cannon (which we'll get to later), Mariah said she really wasn't looking for love, but then her friend, filmmaker Brett Ratner, introduced her to "a regular, normal person," Packer. Even though he admitted to being long obsessed with her music and »

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See Adrien Brody's Painting That Sold for Over $275,000 at Leonardo DiCaprio's Foundation Gala

21 July 2016 6:50 PM, PDT | | See recent news »

Adrien Brody, the modern Renaissance man? The Oscar-winning actor, who also has credits as a director, producer and composer, has added painter to his impressive resumé. Brody, 43, took a year and a half off from acting to focus on art, and has been showcasing his paintings as of late. On Wednesday, the creative auctioned off his "Tiger on Last Legs" artwork at the third-annual Leonardo DiCaprio Foundation Gala in St. Tropez. The actor-turned-painter was in esteemed company as famed pieces from Jeff Koons, Pablo Picasso, Urs Fischer, Olafur Eliasson and Adrian Villar Rojas were also up for bid. Impressively, Brody's »

- Karen Mizoguchi

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See Adrien Brody's Painting That Sold for Over $275,000 at Leonardo DiCaprio's Foundation Gala

21 July 2016 6:50 PM, PDT | | See recent news »

Adrien Brody, the modern Renaissance man? The Oscar-winning actor, who also has credits as a director, producer and composer, has added painter to his impressive resumé. Brody, 43, took a year and a half off from acting to focus on art, and has been showcasing his paintings as of late. On Wednesday, the creative auctioned off his "Tiger on Last Legs" artwork at the third-annual Leonardo DiCaprio Foundation Gala in St. Tropez. The actor-turned-painter was in esteemed company as famed pieces from Jeff Koons, Pablo Picasso, Urs Fischer, Olafur Eliasson and Adrian Villar Rojas were also up for bid. Impressively, Brody's »

- Karen Mizoguchi

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John Crowley to Follow ‘Brooklyn’ with ‘The Goldfinch’; ‘Don Quixote’ Possibly Adds Willem Dafoe and Stellan Skarsgård

20 July 2016 12:12 PM, PDT | The Film Stage | See recent The Film Stage news »

Combine the director of a beloved Best Picture nominee with a recent Pulitzer winner and you have… well, the results have yet to be seen, but Warner Bros. and Brett Ratner‘s RatPac Entertainment (what a vile name) are tapping Brooklyn helmer John Crowley for The Goldfinch, their adaptation of Donna Tartt‘s 2013 novel of loss, grief, violence, and redemption. [Deadline]

This might be the most natural choice among contemporary directors, though The Goldfinch has a much darker undertone than Crowley’s smash hit. Tartt’s epic kicks off with a terrorist attack (upon New York’s Metropolitan Museum of Art) that spares 13-year-old Theodore Decker and takes his mother, with whom he stays connected through Carel Fabritius’ eponymous painting — an item he stole from the attack’s site. That work follows him through years and years of pain, up to and including an eventual redemption.

The Goldfinch is likely to »

- Nick Newman

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"Brooklyn" Helmer To Direct "The Goldfinch"

20 July 2016 12:02 PM, PDT | Dark Horizons | See recent Dark Horizons news »

Warner Bros. Pictures has set "Brooklyn" director John Crowley as helmer of its big-screen adaptation of Donna Tartt's 2013 novel "The Goldfinch".

Based on the Pulitzer Prize-winning and best-selling novel, the story follows thirteen-year-old New Yorker Theo Decker whose mother is killed during a terrorist attack at a museum in the city.

Theo survives, beginning an odyssey that involves one of the museum's paintings and runs into his adult life.

Peter Straughan ("Tinker Tailor Soldier Spy") adapted the script while casting will begin this Fall. Nina Jacobson, Brett Ratner and Brad Simpson are producing.

Source: THR »

- Garth Franklin

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The Movie Adaptation of The Goldfinch Has Found a Director

20 July 2016 10:55 AM, PDT | POPSUGAR | See recent BuzzSugar news »

For any fans excited about the adaptation of Donna Tartt's novel The Goldfinch, you're in luck. The movie version of the Pulitzer Prize-winning book about the life of a 13-year-old boy who steals the priceless Carel Fabritius painting "The Goldfinch" after a bomb goes off in the Metropolitan Museum of Art will reportedly be directed by John Crowley. So far, Crowley has been at the helm of episodes of True Detective and, most notably, 2015's Oscar-nominated hit Brooklyn, so The Goldfinch is definitely in good hands. The team who adapted The Hunger Games, Nina Jacobson and Brad Simpson, will join with Brett Ratner to produce. Until the highly anticipated film makes its debut, check out who we think should star. »

- Quinn Keaney

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‘The Goldfinch’: ‘Brooklyn’ Director John Crowley to Adapt Donna Tartt’s Pulitzer Prize–Winning Novel

20 July 2016 9:49 AM, PDT | Indiewire | See recent Indiewire news »

John Crowley is set to bring another acclaimed New York novel to the silver screen. Deadline reports that the “Brooklyn” director has been hired to helm the adaptation of Donna Tartt’s “The Goldfinch,” a bestseller that won the Pulitzer Prize two years ago. RatPat Entertainment and Warner Bros. are developing the project with a script by “Tinker Tailor Soldier Spy” screenwriter Peter Straughan.

Read More: Donna Tartt, Annie Baker Win Pulitzers

James Packer will serve as executive producer, with Color Force’s Nina Jacobson and Brad Simpson producing alongside RatPac co-founder Brett Ratner. Crowley, who’s worked extensively in theater on both sides of the Atlantic, also directed “Boy A,” “Closed Circuit” and an episode from the underrated second season of “True Detective.” “Brooklyn” received three Oscar nominations: Best Actress for Saoirse Ronan, Best Adapted Screenplay for Nick Hornby and Best Picture.

Read More: How They Transported Saoirse Ronan »

- Michael Nordine

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John Crowley Eyed to Direct Adaptation of ‘The Goldfinch’

20 July 2016 9:05 AM, PDT | Variety - Film News | See recent Variety - Film News news »

John Crowley is in talks to direct the highly anticipated adaptation of Donna Tartt’s Pulitzer Prize-winning novel “The Goldfinch.”

Warner Bros. acquired the rights to the sought after novel in 2014 and tapped Peter Straughan to adapt the script. With a script now in, Crowley soon rose to the top of the list of people to helm the project and insiders now say an offer has been put on the table.

The story, which takes place over two decades, follows a 13-year-old boy who loses his mother in a bombing at the Metropolitan Museum of Art. He survives the explosion, steals the Carel Fabritius painting the Goldfinch, gets taken in by an Upper East Side family and eventually reunites with his father, an alcoholic gambling addict who takes him to Las Vegas.

RatPac is financing the project with principal Brett Ratner producing, joining with “The Hunger Games” producer Nina Jacobson »

- Justin Kroll

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‘Brooklyn’ Helmer John Crowley To Direct Donna Tartt’s Pulitzer Novel ‘Goldfinch’

20 July 2016 9:00 AM, PDT | Deadline | See recent Deadline news »

Exclusive: Brooklyn helmer John Crowley has been tapped by RatPac Entertainment and Warner Bros to direct the screen adaptation of Donna Tartt's Pulitzer Prize-winning bestseller The Goldfinch. The film will be produced by Nina Jacobson and Brad Simpson of Color Force, along with RatPac's Brett Ratner, with James Packer executive producer. Tinker, Tailor, Soldier Spy scribe Peter Straughan wrote the script. The novel focuses on Theo Decker, a 13-year-old New Yorker who… »

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Why I Wrote a Book About The Unheralded Genius in Michael Bay’s Films

14 July 2016 9:44 AM, PDT | | See recent FilmSchoolRejects news »

Fsr Illustration

About two years ago, I wrote a book on the films of Michael Bay. This unauthorized critical examination saw release in November 2014 under the title Michael F-ing Bay: The Unheralded Genius in Michael Bay’s Films. I knew I was throwing down a gauntlet with a provocative title like that and the reaction to that mere declaration. One troll kept loudly accusing me of writing the book so Michael Bay would hire me. He must have really liked this joke because he made it on several posts, across many websites that carried the announcement of my book. (The Broken Projector was one such outlet and I had a very interesting conversation with Scott Beggs about the book.) This suggested to me that not only did he have no understanding of how Hollywood worked, he almost certainly hadn’t read the book.

That question “Why would someone write a book about Michael Bay?” has »

- The Bitter Script Reader

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Editorial: Fox meet Marvel

30 June 2016 12:30 PM, PDT | LatinoReview | See recent LatinoReview news »

Fox’s treatment of Marvel properties is unacceptable.  There, I’ve established how I feel. Now, let’s run down why it’s so exciting that one day we may see them work with Marvel in a capacity similar to Sony. To put it bluntly, it feels like Fox is just in it for the money. I’m aware of how capitalism works, but the difference between someone who cares about what they are doing and someone rifling through your pockets is glaringly obvious. Many of you will disagree, but let’s take a peek back in time. We’ll begin with X-Men.

In 2000, a time before Sam Raimi’s first Spider-Man film, X-Men was a triumph.  Not many people cared about the fact that Hugh Jackman looked nothing like the comic book version of Wolverine. It was just cool to see a man with claws tearing through stuff. But, »

- Tyler Richardson

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Vinnie Jones Joins 'Kingsman: The Golden Circle'

29 June 2016 5:00 PM, PDT | LatinoReview | See recent LatinoReview news »

Vinnie Jones has decided to sign on for a role in Matthew Vaughn's sequel Kingsman: The Golden Circle.

Reunited with mathew vaughn

Vinnie Jones (@VinnieJones65) June 27, 2016

ITSJulianne moore we were on set filming the kingsman great being with mathew vaughn who gave me my 1st job LS2SB

Vinnie Jones (@VinnieJones65) June 28, 2016

Jones and Vaughn last collaborated on Snatch, and, before that, Lock, Stock And Two Smoking Barrels, both of which Vaughn produced. 

Jones was also in X-men: The Last Stand, which was originally going to be directed by Vaughn, until Vaughn opted out because he didn't think he had enough time to make a proper X-Men film. Brett Ratner stepped in and proved that Vaughn was right, and there was not enough time to make a decent X-Men film. 

Jones will join Taron Egerton, Channing Tatum, Jeff Bridges, »

- Philip Sticco

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Matthew Vaughn's Kingsman: The Golden Circle Adds X-men: The Last Stand's Vinnie Jones

29 June 2016 9:39 AM, PDT | | See recent ComicBookMovie news »

Eighteen years after making his acting debut in the Matthew Vaughn-produced Lock, Stock and Two Smoking Barrels, former soccer player-turned-actor Vinnie Jones is reuniting with Vaughn for 20th Century Fox's highly anticipated Kingsman: The Golden Circle.  Jones revealed the news himself on his recently reactivated Twitter account by posting a series of videos and photos of him on-set and in costume. Details on his role are unavailable, but considering one of the photos he posted features him alongside Academy Award-winner Julianne Moore, who's playing the film's main villain, it's probably safe to assume his character will also be one of a nefarious nature.  In addition to Lock, Stock and Two Smoking Barrels, Jones worked with Vaughn again two years later on Snatch. He's also made a few treks into the comic book movie genre, first starring as Cain Marko a.k.a. the unstoppable Juggernaut in Brett Ratner's »

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George A. Romero to Receive a Star on the Hollywood Walk of Fame

28 June 2016 3:40 PM, PDT | DailyDead | See recent DailyDead news »

It was announced today that George A. Romero, the legendary filmmaker and godfather of the modern zombie, will receive a star on the Hollywood Walk of Fame as part of a Class of 2017 that also includes Chris Pratt, Amy Adams, and Ryan Reynolds.

The date for Romero's star ceremony has not been revealed yet, but we'll keep Daily Dead readers updated on future announcements. In the meantime, we have the official press release with full details, as well as a video (via Variety) of the Class of 2017 announcements:

Press Release: Hollywood, CA. June 28, 2016 —A new group of entertainment professionals in Motion Pictures, Television, Live Theatre, Radio and Recording have been selected to receive stars on the Hollywood Walk of Fame, it was announced today,  Tuesday, June 28, 2016 by the Walk of Fame Selection Committee of the Hollywood Chamber of Commerce. These honorees were chosen from among hundreds of nominations to the »

- Derek Anderson

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George A. Romero, zombie godfather, is finally getting a star on the Hollywood Walk of Fame

28 June 2016 3:37 PM, PDT | Hitfix | See recent Hitfix news »

After years spent trying to get George A. Romero a star on the Hollywood Walk of Fame, fans of the Night of the Living Dead director are finally getting their wish. At the age of 76 and three years after Orlando Bloom, the Godfather of the Undead has been bestowed with the dubious honor of paying $30,000 to have his name immortalized in a chintzy terrazzo and brass star on the grungy, gum-spackled sidewalks of Hollywood (note: the requisite funds do not normally come from the celebrity’s own pocket). The decision was announced in a YouTube video that revealed the names of all 972,000 2017 honorees, a list that includes Amy Adams, Jason Bateman, Goldie Hawn, Dwayne Johnson, Chris Pratt, Brett Ratner, Ryan Reynolds, Mark Ruffalo and Rita Wilson (and that’s just on the “film” side). Romero has been the subject of Walk of Fame talk for awhile now, most notably in »

- Chris Eggertsen

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X-Men: where now after X-Men: Apocalypse?

27 June 2016 11:22 AM, PDT | Den of Geek | See recent Den of Geek news »




With X-Men: Apocalypse settling for just over $500m at the global box office, in what direction should the series head next? A few thoughts.

The X-Men franchise has never been one to set the box office alight in the way that, say, The Avengers does, with 2014’s Days Of Future Past’s box office topping out at $748 million world wide. Granted, X-Men kickstarted the current cinematic superhero revolution to much acclaim but after the initial two entries in the franchise, public and critical reception began to dwindle, as did box office returns.

X-Men: First Class proved to be the creative shot in the arm that the franchise needed and with Days Of Future Past hitting the highest box office results yet, it was expected that Apocalypse would catapult the series nearer to the billion-dollar club.

But it didn’t. In fact, X-Men: Apocalypse’s take is just north of $500m, »

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Night Will Fall

20 June 2016 8:13 PM, PDT | Trailers from Hell | See recent Trailers from Hell news »

The Holocaust needs to be retold forever, but it's a tough topic to address without distortion or trivialization. André SInger's docu is about the Allied film record of the liberation of the camps -- horrific footage that was used in the war crimes trials and cut into documentaries -- that were then suppressed and locked away. In 2008, an abandoned film supervised by Alfred Hitchcock was finally finished. Night Will Fall DVD-r The Warner Archive Collection 2014 / Color / 1:78 enhanced widescreen / 75 min. / Street Date January 27, 2016 / available through the WBshop / 21.99 Narrators Helena Bonham Carter, Jasper Britton. Cinematography Richard Blanshard Film Editors Arik Lahav, Stephen Miller Original Music Nicolas Singer Written by Lynette Singer Produced by Sally Angel, Brett Ratner <Directed by André Singer

Reviewed by Glenn Erickson

Documentaries about the Holocaust have always been problematical. In some ways the subject was deemed a cultural taboo, to be discussed in only the gravest terms. For years after the war most Americans saw only chosen snippets of film footage, glimpses of the horrors in the death camps. The images published in magazine photo articles were more than people wanted to see.. There were plenty of exceptions, but most ordinary Americans first saw extended documentary footage in -- of all things -- a for-profit Hollywood picture in which big stars portrayed victims and villains. The movie, Stanley Kramer's Judgment at Nuremberg was actually in good taste, and had a laudable social purpose. The graphic film from the camp was part of the actual Nuremberg trials, after all. It showed a reality of our times that had been suppressed, whether for questions of taste or decency, or because 'the public couldn't take it.' I believe America accepted 'not seeing' because we were not yet a nation of morbid voyeurs. (Live and learn... from Joe Dante: "Actually I think the first time American audiences were exposed to Death Camp footage was in Welles' The Stranger, long before Judgment at Nuremberg.") Art film viewers saw Alain Resnais' Night and Fog, a quiet, haunting film that avoids emotional sensationalism by telling the story through views of Auschwitz as it was in 1955 and non-confrontational narration. Italians, East Germans, Russians and others eventually made dramatic movies that showed the experiences of various concentration camp victims. Many of these dramas were good, but none could embrace the near-cosmic immensity of the horror. Can any single experience help us to come to grips with the fate of millions? And then there's the problem of the endless footage of corpses -- these formerly taboo images are still too much for sensitive people. The English, the Americans and the Russians all filmed in the camps that they liberated. Night Will Fall tells the story of the 1945 production and then abandonment of a long-form film documentary officially sanctioned by the Allied victors. It was produced by Sidney Bernstein and partly overseen by Alfred Hitchcock. The director developed a script and an approach for a document intended to quash present and future claims that the mass murders were faked, exaggerated or a political illusion. A cut called German Concentration Camps Factual Survey (Gccfs) was prepared up to a certain point, but then shelved, with no go-ahead for a finish. The U.S. Army finally brought in Billy Wilder to supervise a shorter version called Death Mills. But Wilder's film also remained classified, and was not released to the public either. A version of it was shown to German audiences. The docu footage was also projected at the Nuremberg trials, as evidence against the German war criminals. Night Will Fall was announced almost ten years ago, in newspaper articles that explained that the British Imperial War Museum was finally going to complete the original Gccfs. Yet we had already seen much of Gccfs on PBS TV in 1985. All but the last reel of the film was located, in its work print form. It screened at least twice on PBS as Frontline: Memory of the Camps; I taped the second airing on VHS and have a burned DVD of it around somewhere. The 'new' Memory of the Camps was finished in 2014. The Warner Archive Collection's Night Will Fall is a documentary about the making of these movies back at the close of the war. Holocaust survivors, surviving Signal Corps cameramen and the producer of Schindler's List -- himself an Auschwitz survivor - are among the on-camera interviewees. Various personalities including directors Billy Wilder and Alfred Hitchcock are represented by archived interviews on film and audiotape. The details of the liberation and the Signal Corps' activities are certainly interesting. We also want to know about the involvement of Hitchcock and Wilder, although all we get are a few remarks and notes on Hitchcock's concerns with the narrative, in audio bites that I would guess were taken from the famed Hitchcock/Truffaut interviews. Hitchcock asks for the inclusion of panning shots, to help prove that what was seen wasn't being faked. Wilder says much the same thing. When it comes time to explain why the project stalled, we're shown a couple of paragraphs in some documents that suggest that America did not want to antagonize the German population with this negative material. The inference is that with the Cold War heating up, most forms of de-Nazification were abandoned after the obvious death camp villains and high-ranking Nazis were executed or locked away. Washington wanted German cooperation in opposing Stalin, and put a halt to the bringing of many more German war criminals to justice. The Russian attitude was quite different. A Soviet Army cinematographer interviewed for Night Will Fall tells us that when their troops liberated a camp, their first action was to shoot every German guard as soon as they were positively identified. That's sounds okay to me. As I said, the 'finished'1945 film German Concentration Camps Factual Survey was also released in 2014. It retains the title Memory of the Camps and is credited to Sidney Bernstein and Alfred Hitchcock. Night Will Fall ends with a final couple of minutes of the 'finished' Memory. It consists of a semi-poetic narration and an edited sequence showing, in graphic close-up, ten or so victims by the side of the road, presumably executed during the retreat of the camp guards. It's everything the movie shouldn't be, a repetitive series of shock cuts to staring corpses with parts of their heads blown away. I can only compare it to one of the intolerably gory highway safety films that aim only to shock the audience. The brain of one corpse lies in a neat heap alongside a skull blown wide open; another man's head seems to be missing above the nose. I'm not sure what the point is. If it's done to produce a blast of more extreme horror to reach the audience, it's a failure. I must admit that I'm conservative on this issue, as I believe that too much of the audience will compare this real carnage to effects they see in the latest zombie thriller. That sickens me the same way I felt when I witnessed high schoolers on a bus describing the awful 9/11 coverage as, 'really cool.' Night Will Fall has value, but to me its style, making even mild use of editing techniques from today's Reality Programming, is inappropriate. The horror of this reality is blatant, banal even. The most responsible way to use the the horror footage would be to simply lay out the raw takes, with slates and camera stops, like legal evidence. Night Will Fall aestheticizes many shots. In one sequence, close-ups of massed corpses are rendered in negative, turning the horror into stylized 'art.' Fake 'end of reel' blips and flashes are added for style, as in any modern Reality Show, where the only rule is to hype the subject matter using any editorial trick that will keep the frame alive. A s hort piece of footage has been digitally sharpened, and looks as if a sub-par tape source had been run through a bad electronic filter. Is this splitting hairs, and being oversensitive? I suppose that times change and that revisionism happens with everything. But this grim, vitally important history is now leaning toward becoming another entertainment choice. Other snippets of the new 'finished' Memory of the Camps are glimpsed in Night Will Fall. The new film appears to use the same or much of the same narration text. I can't tell if that reconstituted ending was part of the original, because when the original Memory showed on PBS, a card came up informing us that the final 'Auschwitz' chapter had been removed at an earlier date. What remained of the original rough cut ended there. I've always theorized that it was snipped off to be given to documentarians and Stanley Kramer. Many of the standard shots of Auschwitz that we see, often in terrible quality, may have come from that reel. The new Memory of the Camps doesn't retain the original narration, as read by actor Trevor Howard. The original version was unusually eerie and effective because it was just a sequence of raw shots with insert title cards and maps, and the only audio on the soundtrack was Trevor Howard's distinctive voice. It is a very good read. Howard seems to be suppressing his anger all the way through, reading the more ironic comments as if he's personally offended. It's as if the Army Intelligence officer Trevor Howard plays in The Third Man had been asked to record the narration. The new narrator in the finished (2014) clips we see gives a smooth and uninflected read, which to me revises and re-interprets everything. The Holocaust shouldn't need mood music to tell us how to react -- although I realize that that a music track might have been part of the plan in 1945 as well. And it's possible that Hitchcock and Sidney Bernstein, when they heard Trevor Howard's interpretation of the narration script, already knew that they wanted something else. But Howard's track is the one that came from the battlefield of the original production, and should be preserved. I remember buying a copy of a previously classified Army movie about 1950s atom tests, only to find that the original narration had been similarly tossed away and replaced with a new one that sometimes didn't even align with the graphics on screen. This to me makes the movie a censored, worthless revision. Watch William Wyler and John Sturges' docu Thunderbolt on TCM sometime. The Army wasn't keen to show that movie either, and we can tell why -- it's an honest account of how fighter bomber pilots, mostly unopposed in the air, pressed their advantage over retreating Germans in Italy. The narration and the comments by the pilots are bloodthirsty and merciless. Apparently the Army did not like seeing its personnel presented as gleeful killers. Thunderbolt was released only several years after it was finished, by a small studio. Like I said above, I realize that my comments about the style of Night Will Fall are highly subjective and prejudiced. But they are my honest thoughts on the film. The Warner Archive Collection DVD-r of Night Will Fall is a good enhanced encoding of a show that consists of new interviews and the old atrocity documentation footage. The improved quality of the film from the camps spares us nothing. If there are more ways to mangle, burn or abuse a human body, I don't want to know about them. The audio and other technical specs are of a high quality as well. The disc's three extras offer much added value. The first is a lengthy lecture by Professor Rainer Schulze, who re-traces basically the entire subject matter of Night Will Fall on a higher plane, with more detail and information. The lecture answers many questions that the main feature doesn't touch. Schulze also discusses the politics behind the ways the 'hot potato' death camp footage was shown, and then not shown. Frankly, I can see a spokesman like Professor Schulze being excluded from a new 'entertainment' documentary because (a.) he probes deeply into uncomfortable aspects of the subject and (b.) he's a German with a German accent. Want to learn more about this appalling yet essential history lesson? This is a fine study piece. The second and third extras are two shorter concentration camp docus that show how both sides depicted the horror, using much of the same footage. Oświecim (Auschwitz) is the Russian film. It has a Russian title card but English opening and ending text cards -- with a misspelling. It identifies the 'great men' that will insure that the Fascists are brought to justice as Roosevelt, Stalin and Churchill -- even though Roosevelt had been dead for a year. The Russian docu refers to the war criminals mostly as Fascists, not Germans, perhaps because they wanted to show the film in the Russian sector of defeated Germany. The narration is fairly specific about what we're seeing, describing the things done to individual prisoners and identifying a number of them by name. Adults and children pose for the camera as Russian doctors examine them. The last film is indeed the Billy Wilder supervised Death Mills, which covers much of the same content. Although it consists mostly of British and American film, it also uses a great deal of Russian footage, with a narration track that says totally different things about some of the victims we see. At one point the narration refers to the brutish-looking female SS guards as Amazons, and says that they are 'Deadlier than the Male.' Is that evidence of Billy Wilder's input? My bias against Night Will Fall is probably a more generalized rant against today's commercial documentaries, many of which are, I think, compromised by the need to compete with other forms of entertainment. The show does have interesting content and may be perfect for someone unfamiliar with the subject. If a viewer wants a show to introduce the subject of Genocide to children, I can't see this or any atrocity footage being the right thing to show them. For others, the excellent extras greatly enhance the film's desirability. On a scale of Excellent, Good, Fair, and Poor, Night Will Fall DVD-r rates: Movie: Good Video: Very good Sound: Excellent Supplements: One informational lecture short subjects and two short docus made right after the war (see above) Deaf and Hearing Impaired Friendly? Yes; Subtitles: English Packaging: Keep case Reviewed: June 18, 2016 small>(5144fall)

Visit DVD Savant's Main Column Page Glenn Erickson answers most reader mail:

Text © Copyright 2016 Glenn Erickson


- Glenn Erickson

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Brendan Fraser to Star in Bollywood Thriller ‘The Field’ as a Gun-Running Villain

16 June 2016 9:27 AM, PDT | Indiewire | See recent Indiewire news »

Brendan Fraser’s mummy-killing days may be behind him, but Encino Man will rise again. The actor has just been announced as the villain in “The Field,” a Bollywood gangster drama marking the directorial debut of Rohit Karn Batra. He’s set to star as a gun-runner named Charu whose “illicit dealings with the Indian underworld wedges him in the middle of the family implosion.”

Read More: History Orders ‘Texas Rising’ Miniseries, Starring Bill Paxton, Brendan Fraser, Ray Liotta and Directed by Roland Joffé

Ray Liotta was initially attached the project when first it was announced in 2014, but alterations to the screenplay led to personnel changes as well. “The more the script evolved,” said Batra, “the more obvious it became Brendan was the best choice for the idiosyncratic role of Charu. For a director to explore this journey with him in a place like India is nothing less than a once in a lifetime opportunity.” India isn’t as well known to the outside world for its hard-hitting genre fare as it is for its musicals, but anyone who’s seen Anurag Kashyap’s five-hour “Gangs of Wasseypur” knows that “The Field” won’t be the first mob movie to emerge from Bollywood.

Read More: Review: Indian Mob Epic ‘Gangs of Wasseypur’ Reinvents the Bollywood Gangster Pic with Pop Panache

Prem Chopra, Ronit Roy, Neeraj Kabi, Vineet Singh and Radhika Apte will all be starring alongside Fraser, whose work in “Airheads” and “The Scout” has gone unheralded for far too long.

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- Michael Nordine

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Eddie Murphy Will Make Another 'Beverly Hills Cop' Movie

15 June 2016 7:14 AM, PDT | Fandango | See recent Fandango news »

Axel Foley will return! A fourth Beverly Hills Cop movie has been in various stages of development for years. First as a movie with Brett Ratner that never happened, then as a TV show with Axel Foley's son that wasn't picked up, then back to a big-screen sequel a few years ago. After bringing on the writers of Mission: Impossible - Ghost Protocol and the latest Teenage Mutant Ninja Turtles movie, Josh Appelbaum and Andre Nemec, Eddie Murphy and producer Jerry Bruckheimer have...

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