3 items from 2014
So, how on Earth does a movie, made at the height of fame for both Bill Murray and Dan Aykroyd, not get released? That's a complicated one to answer, but for comedy fans, the 1984 movie "Nothing Lasts Forever" is something of a holy grail film, but thanks to the (probably temporary) powers of the interwebs, you can see the film that MGM apparently twice prevented from screening at the Cannes Film Festival. Written and directed by longtime "Saturday Night Live" veteran Tom Schiller, "Nothing Lasts Forever" is ambitious stuff, telling the story of a young man ("Gremlins" star Zach Galligan) who gets caught in the machinations of a totalitarian retro/future New York City. Aykroyd plays Galligan's boss, Murray gets an extended cameo, Mort Sahl, Lawrence Tierney, Imogene Coca and Larry “Bud” Melman take on supporting roles, and Howard Shore provided the score. So what happened? It's hard to say. »
- Kevin Jagernauth
London — As the lineup for the third Sundance London film and music festival is unveiled, Variety talks to John Cooper, director of the Sundance Film Festival, and Trevor Groth, Sundance’s director of programming, about the selection (see below for full lineup).
Sundance London, which runs April 25-27, will include 21 feature films and 18 shorts across five sections, as well as live performances by a number of musical acts, which will be linked to movies screening at the fest, and a series of panel discussions.
Cooper says that when Robert Redford and the Sundance team set up the London event, one of their motivations was to give added exposure to U.S. indie films in the international market.
“We realized that the international life of an American independent film was crucial to its success,” he says. The London fest’s creation was partly driven by an impulse to do “anything we »
- Leo Barraclough
If there was one genre that spawned countless knock-offs (some better than the films they were imitating, others not so much) it was the slasher film. Even some films that were touted as the greats amongst the sub-genre would be still hidden in the shadows of the films they were emulating. There’s a waterfall effect to these films that start with Psycho and fall through Black Christmas onto Friday the 13th. But within the sub-genre, a splintering could be found as well, creating a mutated family hierarchy of slasherdom. Every slasher film had to find some sort of way of setting itself apart from the other, by creating some sort of different villain who was unstoppable and creative in ways that kept bodies in seats. »
- Nathan Smith
3 items from 2014
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