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Movie Poster of the Week: “Harvey”

18 April 2014 8:19 AM, PDT

Above: French grande for Harvey (Henry Koster, USA, 1950) by Roger Cartier.

Movie Poster of the Week is on semi-hiatus for the Easter holiday, so in the spirit of the season I thought I’d simply offer up Roger Cartier’s beautiful vernal French poster for everybody’s favorite invisible rabbit. Of course, that didn’t stop me searching out every other international poster for the film. (I especially love the much more sinister Donnie Darko-esque German design.)

Above: the German poster.

Above: the Swedish design.

Above: an alternative French poster.

Above: the U.S. one sheet.

Above: the U.S. three sheet.

Above: the U.S. half-sheet.

Above: U.S. Savings Bond tie-in poster.

Above: U.S. press book. 

Posters courtesy of Doctor Macro and Heritage Auctions. »

- Adrian Curry

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Cannes 2014. Official Competition Lineup

17 April 2014 5:45 AM, PDT

Cannes has announced the lineup for the Official Competition and Un Certain Regard section, as well as special screenings, for the 67th edition of the festival.



Opening Night: Grace de Monaco (Olivier Dahan)

Sils Maria (Olivier Assayas)

Maps to the Stars (David Cronenberg)

Saint Laurent (Bertrand Bonello)

Kis Uykusu (Nuri Bilge Ceylan)

Deux jours, une nuit (Jean-Pierre et Luc Dardenne)

Mommy (Xavier Dolan)

Captives (Atom Egoyan)

Adieu au langage (Jean-Luc Godard)

The Search (Michel Hazanavicius)

The Homesman (Tommy Lee Jones)

Futatsume no Mado (Naomi Kawase)

Mr. Turner (Mike Leigh)

Jimmy's Hall (Ken Loach)

Fox Catcher (Bennett Miller)

Le Meraviglie (Alice Rohrwacher)

Timbuktu (Abderrahmane Sissako)

Relatos Salvajes (Damian Szifron)

Leviathan (Andrey Zvyagintsev)


Un Certain Regard

Opening Night: Party Girl (Marie Amachoukeli, Claire Burger, Samuel Theis)

Jauja (Lisandro Alonso)

La Chambre Bleue (Mathieu Amalric)

Incompresa (Asia Argento)

Titli (Kanu Behl)

The Disappearance of Eleanor Rigby: Him and Her (Ned Benson)

Bird People »

- Notebook

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The Noteworthy: Mubi + Tumblr, Friedkin Rediscoveries, Swallowing Celluloid

15 April 2014 10:40 PM, PDT

Above: a production still from the set of Manoel de Oliveira’s new production O velho do restelo, via our new Mubi Tumblr! Sight & Sound is poised to unveil a Best Documentaries of All Time list and Richard Brody has unveiled his ballot in advance, with annotations:

"...The history of documentary filmmaking isn’t the fact of capturing events on the wing but the idea of doing so, not the invention of investigative recording but its reinvention. That’s why, for this list, I selected movies that open new vistas for documentary filmmaking, which imply vectors of activity and thought that are still being realized today by the era’s best documentarists—and why, in mentioning these films, each of them implies many others that they have inspired. "

Above: Nathan Silver is turning to Kickstarter to fund his next project, Stinking Heaven. Keep your eyes out for his brilliant film, »

- Adam Cook

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The Forgotten: "Russian Pioneers" (1968)

15 April 2014 10:23 AM, PDT

What would it look like if Ken Russell had been a Soviet filmmaker? One clue can be found in the spy flick The Billion Dollar Brain, starring Michael Caine. The cheeky English auteur succeeded in making an espionage caper in which the Russians are the heroes and the Americans the villains, and indulged his love of Eisenstein with a version of the battle on the ice from Alexander Nevsky.

Another clue can be found in Pervorossiyanye (a.k.a. Russian Pioneers, 1968) by Aleksandr Ivanov and Yevgeni Shiffers. The Great Leap Forward here is the blending of dialectical montage with a pop art influence derived from Antonioni. The filmmakers even paint their landscapes, and actors, for maximum graphic effect. The anamorphic lens has a tendency to warp and abstract backgrounds in close shots, creating smeared and elongated blurs of light out of everything. Here this is taken to the next logical step, »

- David Cairns

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15 April 2014 8:32 AM, PDT

The second entry in a new and on-going series of audiovisual essays by Cristina Álvarez López and Adrian Martin.


Martin Scorsese once said (while shooting Cape Fear in 1991) that it’s hard to show characters walking out their front door, going over to their car while talking about something or other, and getting in. Hard to make that visually, dramatically, cinematically interesting. Hard to ingeniously compress it, or elide it altogether, as his master (one of many masters) Alexander Mackendrick would have done. Hard to manoeuvre in every sense—to do it well, and then fit into its exact, best spot in the whole film, the total structure. Such scenes, strung together in a jazzy, Spike Lee-style curve over two or three hours, constitute a narrative archipelago in Scorsese: a pattern of disconnected islands, not a whole, smoothed-out landscape.

We know from The Wolf of Wall Street (2013) that Scorsese is not terribly interested, »

- Cristina Álvarez López & Adrian Martin

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"Something, Anything": A Conversation with Paul Harrill

14 April 2014 8:35 AM, PDT

Paul Harrill’s Something, Anything, which co-premiered recently at the Wisconsin Film Festival and the Sarasota Film Festival, is a portrait of a young woman in crisis. Peggy [Ashley Shelton] has already achieved her “stereotypically Southern” (as she’s described in the press kit) ambitions: a successful career in realty, a husband, a house in the suburbs, and a baby on the way. In the opening moments of the film, however, she’s forced to confront her dissatisfaction with it all. A family tragedy sends Peggy on a sojourn that leads her to the Abbey of Gethsemani in Kentucky and, eventually, to a simpler life in a small apartment overlooking the Tennessee River.

Harrill first gained recognition in 2001 when his short film, Gina, An Actress, Age 29, won the top prize at Sundance and enjoyed an impressive run of screenings at international festivals. Starring Amy Hubbard and Frankie Faison (Burrell from The Wire »

- Darren Hughes

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