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As team Arrow finally catches up to the boomerang-wielding Villain, they find that he is more than a match for them. Luckily for Oliver and friends though, they have unexpected help from the Flash, which brings the two heroes into another team-up to stop this dangerous Foe.
I was wondering if this second half of the Flash/Arrow crossover event would be similar or better than it’s first part and after watching The Brave and the Bold I would say that it is just as good but delivered something quite different to what ‘Flash vs. Arrow’ gave us.
Since the first episode gave us the physical superhero vs. superhero brawl (which was excellent, as I said in it‘s review), as well as the Mentor and student relationship between Oliver and Barry (as the speedster is still »
"What if?" is the burning question our favorite sci-fi movies ask: What if Earth was invaded by aliens or giant spiders? What makes us human once we start bending the laws of genetics and robotics? And if we worked out really really hard, would we ever have Linda Hamilton's arms in "Terminator 2"?
Here are some of the best of the sci-fi genre now streaming on Netflix, including Chris Evans in "Snowpiercer," Bruce Willis in "The Fifth Element" and plenty of Godzilla and the crew of the USS Enterprise.
1. "Antiviral" (2012) Nr
David Cronenberg's son, Brandon, makes his film debut with this gore-filled horror flick about a company who deals in viruses collected from celebrities since people want to be infected with the same diseases as the ultra-famous.
2. "Barbarella" (1968) PG
The cult film, starring Jane Fonda as the sexy space babe of the title, may be overlong, but it's an eye-popping must-see '60s flashback. »
- Sharon Knolle
Eureka! Entertainment let fly with a volley of announcements earlier today, unveiling their slate for the first quarter of 2015 on both their Masters of Cinema and Eureka! Classics labels.New to Masters of Cinema will be Stanley Donen's Two For The Road, starring Audrey Hepburn and Albert Finney; Fritz Lang's Metropolis gets a 2-disc steelbook re-release that also includes the kitsch classic Giorgio Moroder presents: Metropolis; Claude Lanzmann's epic documentary Shoah arrives alongside 4 Films After Shoah, including Last Of The Unjust; Elia Kazan's Wild River, Sidney Lumet's little-seen cop drama The Offence starring Sean Connery; Raymond Bernard's deeply moving Wwi drama Wooden Crosses; Anthony Mann's Man Of The West with Gary Cooper; and Federico Fellini's Satyricon. On the Eureka! Classics label, Bill Gunn's Ganja And...
[Read the whole post on twitchfilm.com...]
The CW has unveiled the official trailer for "Flash vs. Arrow," next week's two-night crossover event of its two biggest shows as the heroes come together to stop a threat that could destroy Central City. You can see that trailer below.
Producer Marc Guggenheim has also given some interviews about the episodes and revealed new details about the rest of the seasons for both shows.
In a big surprise, the hardline rule of keeping things real world in "Arrow" and not including metahumans is being thrown out the window. He tells Cbr: "What's fun about episode 8 for Arrow is it proved to me, as a writer and a producer, hey, you know what? You can do metahumans on Arrow without feeling like the show is changing its tone too much. It's something that we all sort of collectively realized -- hey, the show can handle that."
He also confirms to »
- Garth Franklin
Directed by Robert Wiene
In the period of Germany’s Weimar Republic, a unique and volatile pre- and post-war era within a window of less than 20 years, the German people were experiencing a torrent of new ideological, social, and political shifts. What was once traditional and normal was giving way to the modern and unusual. What was typically viewed as quintessentially German was now being inundated by outside influences, by strange and foreign people and their imported cultural baggage. Whether or not these elements were as directly and obviously portrayed in movies as some like Siegfreid Kracauer and Lotte Eisner would argue (quite convincingly in many ways), there can be little doubt that film was influenced to one degree or another by this state of the German populous. The times were surely changing, and in no film »
- Jeremy Carr
Justin Simien’s Sundance-awarded campus comedy “Dear White People” has made a real buzz at Stockholm, with screening sold out and additional screenings added during festival’s last weekend. Since its U.S. release last month through Roadside Attractions, the film has earned more than $3 million. Pic is also about to be sold to Scandinavian territory.
Variety’s Jon Asp chatted with the director during the fest in the Swedish capital.
Variety: How has a year with the film been like, from Sundance till now?
Simien: It’s been enlightening and profound to say the least watching this film with so many different audiences. I’m so happy and grateful the response has been both
enthusiastic and thoughtful on the whole.
Variety: Could you foresee all this attention?
Simien: Since American filmmakers, particular ones dealing with racial subject matter, are oftentimes told by industry “experts” their films won’t travel »
- Jon Asp
This story first appeared in the Nov. 14 issue of The Hollywood Reporter magazine. In 1929, Fritz Lang, The visionary director of Metropolis, faced the challenge of how to stage a rocket ship launch for his silent science-fiction film Woman in the Moon. His solution was to create a "countdown," in which the blastoff would be preceded by a reverse ticking of seconds — "Ten, nine, eight ..." — until the rockets were fired. The filmmaker also accurately conceived of the multistage rocket, conjured a realistic sense of weightlessness and conveyed the experience of a figure-eight flight
- Todd McCarthy
Racial tension in the Obama era is given a sharp analysis in the satire Dear White People, a microcosm of modern America that takes place on a college campus, following the lives of four different students. Elements of identity and power vividly come into play, as black students confront racism at its most ridiculous and grotesque. For example: Troy (Brandon P Bell) is looking to fit in with the leaders of a satire magazine, but has to conform his ideals to do so; Coco (Teyonha Parris) wants to use what she considers to be her black identity to get a reality show contract. Writer/director Justin Simien’s film is a hilarious reflection of a society that still needs to get itself together, regardless of a black president living in the White House.
This film marks the feature debut of Simien, who has previous experience with an online series called “Inst Msgs, »
- Nick Allen
Oliver “Ollie” Queen
More Fun Comics #73 (1941)
Nicknames and Aliases
The Emerald Archer, The Battling Bowman, The Arrow, The Hood.
Powers and Abilities
Green Arrow is a phenomenal archer, considered one of the best in the DC Universe, as well as an accomplished hand-to-hand combatant, swordsman, and detective.
Weaknesses and Achilles’ Heels
Blondes in fishnet stockings, women in general, infidelity.
Gadgets and Accessories
Everything Batman has, but with the word “arrow” replacing the word “Bat”, as well as an assortment of bows and arrows, including various “trick” arrows, like gas arrows, boomerang arrows, glue arrows, and the infamous boxing glove arrow.
Friends and Allies
Red Arrow/Arsenal (Roy Harper, his adopted son and former ward and sidekick, the original Speedy), Connor Hawke (his son, who operated as Green Arrow when Ollie was dead), Black Canary (Dinah Lance, his occasional wife), Speedy (Mia Dearden, a later sidekick) Green Lantern (Hal Jordan, »
- Austin Gorton
Our weekly round-up of all the latest superhero news and talking points, including Batman v Superman: Dawn of Justice, Gotham, The Flash, Arrow, Constantine, Justice League: Throne of Atlantis, Guardians of the Galaxy, Avengers: Age of Ultron, Captain America 3, Iron Man 4, Agents of S.H.I.E.L.D., Agent Carter, Daredevil, Avengers Assemble, Big Hero 6, The Fantastic Four, X-Men: Apocalypse, X-Men: Days of Future Past and more…
…As a new low-quality look at the Dark Knight arrives online, Ben Affleck has been speaking about his role in 2016’s big DC superhero ensemble Batman v Superman: Dawn of Justice during a promotional interview for his latest film Gone Girl, although he wasn’t prepared to give much away: “I can tell you that I’m very excited and it’s very exciting. I can tell you that in my entire career, I haven’t had so many people come up to me and »
- Gary Collinson
More an illustration of a prolix thesis than a groundbreaking docu, the film takes Siegfried Kracauer’s seminal 1947 study on Weimar cinema and reiterates numerous points found in the book, with little acknowledgment that scholarship, still indebted to Kracauer, has moved on. Missing from Suchsland’s work is any nod to non-German influences, and his complete disregard for Wilhelmine cinema (i.e., before Weimar) ignores significant research of the past 20 years. Still, image quality is strong enough to make a nice DVD.
Kracauer’s thrust, that the themes in Weimar cinema prefigure the rise of Nazism and can be seen as red flags for those trained to recognize them, was revolutionary, especially in 1947. Suchsland situates the great critic/historian in his time, discussing his grounding in the philosophies of the era, specifically Marxism, Nietzsche and Freud. What’s less discussed is his need as an exile from the Third Reich »
- Jay Weissberg
As the spindly figure of Cesare ambles along with a damsel in distress slung over his shoulder, hunted by the law on a pathway that defies all architectural sense, a few things are being born into the popular cinema vernacular. Not only do you realise that this is Expressionism functioning at its highest, but you get the feeling that every psychological thriller, gothic fable and crime noir is being formed in an early, embryonic state, over the course of a mere seventy-seven minutes.
Sitting on a bench, a man by the name of Francis relates a tale to an elderly companion. It’s a tale of woe, of murder, of foreboding horror; cutting back in time to the town of Holstenwall, an ominous new attraction rolls into the annual fair – with an even more ominous figure at the helm. Dr. Caligari presents Cesare the Somnambulist, a sleepwalking near-zombie who can »
- Gary Green
★★★☆☆Fritz Lang is a behemoth entity who encompasses cinema from the Weimar age to playing a director called 'Fritz Lang' in Jean-Luc Godard's Le Mepris (1963). Within this startling career are elements of his disdain for the influence of the powerful and how guilt destroys and enables. Frau im Mond (1929) is the latest instalment of Eureka's Masters of Cinema look at early Lang following on from Metropolis, M, the Mabuse films and Die Nibelungen. After Metropolis in 1927 was there anywhere for Lang to go? He ventured after escape, imagination and the boy's own thrill of space flight. Two years after his operatic yearning for communality he gazed towards the moon - that friend for the lonesome to talk to.
- CineVue UK
Glenn here to discuss a lil something from 1989, but first a divergence to the modern day.
Last night’s MTV Video Music Awards were like stepping into a pop culture gulag. It’s easy to get misty-eyed thinking about Vma ceremonies of years past, when the network actually showed music videos and the form felt truly like art. Despite being aware of last night’s winner, “Wrecking Ball” by Miley Cyrus the icky Terry Richardson, I don’t claim to have near enough knowledge of modern music videos to truly complain. It does seem harder to imagine Neil Young, Peter Gabriel, or Pearl Jam winning these days though, doesn’t it? Are there brilliant works that just aren’t being recognized?
It’s been some time since videos were genuine pop culture moments and the internet certainly doesn’t help. Beyoncé appears to be the only one who’s been »
- Glenn Dunks
In 1929, just two years after changing the face of cinematic science fiction with Metropolis, German filmmaker Fritz Lang returned to the genre with the infinitely more grounded and realistic Frau Im Mond (Woman In The Moon).Far less well-known than its predecessor, Frau Im Mond would prove Lang's only other foray into the sci-fi genre, despite numerous attempts to get similarly themed projects off the ground after moving to Hollywood. In this film, Lang strives for a documentary-style authenticity in his tale of rival entrepreneurs battling to be part of mankind's first manned lunar mission. Many of the film's technical details prove incredibly accurate, influential and prescient, with Lang often credited with coining the take-off countdown in this film that would be adopted by space...
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Even though the corporate specialty film entity known as Kino Lorber turns five this year, the roots of the firm reach back decades, a fact that’s essential to understanding its tactical methods and strategic goals.
Back in 2009 when the late Donald Krim’s Kino Intl. merged with Richard Lorber’s Lorber Ht Digital, the union was touted in the New York Times as making the combined entity “the biggest of the little guys.”
Krim, a world-class world film aesthete and tireless champion of foreign language and classic cinema, died of cancer in 2011, but the new firm benefitted by having in Lorber a second father with credentials and stamina rooted in the same passions and practical savvy.
Though the firm is centered in New York, Lorber spoke to Variety from his home in Paris, and the tireless film pro has been a familiar and vital face on the international film festival circuit for decades. »
- Steven Gaydos
Directed by Fritz Lang.
A child-killer is on the loose. The police can’t seem to track him down and the crime gangs even take the matter into their hands. One man labels the murderer with the letter ‘M’ on his back using chalk, and slowly the culprit is found out…
In the media storm involving Rolf Harris and Jimmy Saville, it seems to be the relevant moment to rerelease the incredible thriller M. An unforgettable tale of a child-killer, Hans – labelled by the letter ‘M’ – preys on children using balloons and sweets. His horrific acts are not only investigated by the police but by the victims, gangs and criminals of the town. As part of the Peter Lorre season at the BFI, M is a must-see in the actor’s catalogue as it defined his character in many of his future films, »
- Simon Columb
In an era where special effects are common place, it’s startling to go back and see how filmmakers from a different era built fantastical worlds without so much as a pixel. One of the most staggering examples of using practical effects to bring a new and strange world to life remains Fritz Lang’s landmark and iconic “Metropolis.” In 1984, the synth pioneer Giorgio Moroder used his cultural cachet to produce a controversial new version of Lang’s film. Thanks to the powers of the internet and Open Culture, you can now see this cultural oddity for yourself. Because the original intended frame rate for Lang’s film was unknown, one of the most controversial aspects of the Moroder version of “Metropolis” is that its 24 frames-per-second, and that’s even before you factor in the splashes of color replacing the original black-and-white photography, sound effects and many cut scenes. Cinephiles »
- Cain Rodriguez
First comes a warning.
Everyone has their white whale; that elusive treasure or goal that they fetishise and dare to find and covet. For some it was the lost footage from Fritz Lang’s Metropolis. For others it was the mythical buried reels of The Wicker Man, which rather ludicrously had been rumoured for years to be buried in the concrete foundations of an English motorway. For me it was always the deleted scenes of David Lynch’s much maligned Twin Peaks prequel Fire Walk with Me. Even in a pre-internet, pre-dvd extras age, I obsessed over this rumoured material and what possible insights it may offer into Lynch’s labyrinthian mystery. And now, thanks to the Twin Peaks: The Entire Mystery Blu-ray set, they are finally here. So how do they stack up? What do they tell us? »
- Michael Parkes
Electronic music maestro Giorgio Moroder is a hit maker, megaproducer and all-around cool guy. An icon of ‘70s disco and dance era, Moroder stepped back in time to the ‘20s when he composed a unique restoration and edit of Fritz Lang’s Metropolis in 1984. Moroder’s cut featured color tinting, special effects, subtitles, a faster frame rate and an electronic soundtrack with music by Pat Benatar, Billy Squier, Adam Ant and Freddie Mercury. Website Open Culture recently highlighted the film and you can watch it below if you're curious. Lang’s influential film about a class struggle in a dystopian society has timeless appeal, so while Moroder’s blend of pop and art doesn’t exactly fit perfectly with Lang’s vision, it is a truly...
- Alison Nastasi
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