16 items from 2015
Whatever you think of the results of the poll of critics the BBC's conducted to come up with its list of the "100 greatest American films," we can surely all agree that we're glad to have the notes on the top 25: Glenn Kenny, for example, on #1, Orson Welles's Citizen Kane, Stephanie Zacharek on #2, Francis Ford Coppola's The Godfather, Ali Arikan on #4, Stanley Kubrick's 2001: A Space Odyssey, Bilge Ebiri on #6, F.W. Murnau's Sunrise, Molly Haskell on #11, Welles's The Magnificent Ambersons, Jonathan Rosenbaum on #18, Charles Chaplin's City Lights and so on. Also today: Ai Weiwei gets his passport back; remembering E.L. Doctorow—and more. » - David Hudson »
BBC Culture has this week unveiled a new list of the top 100 American films, as voted for by a pool of international film critics from across the globe. The format of the poll was that any film that would make the list had to have recieved funding from a Us source, and the directors of the films did not need to be from the USA, nor did the films voted for need to be filmed in the Us.
Critics were asked to submit their top 10 lists, which would try to find the top 100 American films that while “not necessarily the most important, but the greatest on an emotional level”. The list, as you may have guessed, is very different to the lists curated by say the BFI or AFI over the years, so there are certainly a few surprises on here, with Steve McQueen’s 12 Years A Slave (2013), Terrence Malick »
- Scott J. Davis
First off, let's make one thing clear. We're not scratching our heads at Spike Lee's "Do The Right Thing" making the BBC's 100 greatest American films. That movie, of which an image accompanies this post, not only made the list, but ranked appropriately at no. 25. It's the rest of the selections that have us scratching and, yes, shaking our heads in disbelief. A wonderful page view driver, these sorts of lists make great fodder for passionate movie fans no matter what their age or part of the world they hail from. There is nothing more entertaining than watching two critics from opposite ends of the globe try to debate whether "The Dark Knight" should have been nominated for best picture or make a list like this. Even in this age of short form content where Vines, Shapchats and Instagram videos have captured viewers attention, movies will continue to inspire because »
- Gregory Ellwood
Leave it to the Brits to compile a list of the best American films of all-time. BBC Culture has published a list of what it calls "The 100 Greatest American Films", as selected by 62 international film critics in order to "get a global perspective on American film." As BBC Culture notes, the critics polled represent a combination of broadcasters, book authors and reviewers at various newspapers and magazines across the world. As for what makes an American filmc "Any movie that received funding from a U.S. source," BBC Culture's publication states, which is to say the terminology was quite loose, but the list contains a majority of the staples you'd expect to see. Citizen Kane -- what elsec -- comes in at #1, and in typical fashion The Godfather follows at #2. Vertigo, which in 2012 topped Sight & Sound's list of the greatest films of all-time, comes in at #3 on BBC Culture's list. »
- Jordan Benesh
Every now and then a major publication or news organisation comes up with a top fifty or one hundred films of all time list - a list which always stirs up debate, discussion and often interesting arguments about the justifications of the list's inclusions, ordering and notable exclusions.
Today it's the turn of BBC Culture who consulted sixty-two international film critics including print reviews, bloggers, broadcasters and film academics to come up with what they consider the one-hundred greatest American films of all time. To qualify, the film had to be made by a U.S. studio or mostly funded by American money.
Usually when a list of this type is done it is by institutes or publications within the United States asking American critics their favourites. This time it's non-American critics born outside the culture what they think are the best representations of that culture. Specifically they were asked »
- Garth Franklin
Names include actors, directors and producers.
The 2015 Talents Sarajevo has unveiled the 71 rising actors, directors, DoPs, film critics, producers and screenwriters from Southeast Europe and Southern Caucasus that will attend a week of masterclasses, panel discussions, networking and training opportunities.
The Sarajevo Film Festival’s training platform for emerging talent was founded in 2007 in collaboration with the Berlinale Talents program.
It has become a regional hub where aspiring film professionals train, meet and exchange ideas, and the number of people interested in participating in the six-day programme has been growing.
This year, a record number of 320 applications were made for participation in Talents Sarajevo. Film directors formed the majority among the applicants with 164 applications.
The interest is also growing for participation in the Pack&Pitch segment of the program, with 55 applications received this year compared to 19 in 2014.
This segment of the programme is dedicated to film directors and producers and offers them a chance to learn »
- firstname.lastname@example.org (Michael Rosser)
It’s been over two years since “The Immigrant” made its world premiere at Cannes, and writer/director James Gray is hard at work getting "The Lost City Of Z" ready to shoot later this year. Nevertheless, he managed to find the time to stop by film critic Peter Labuza’s podcast “The Cinephiliacs” for a candid hour-long chat. The conversation covers Gray’s career in film, but what’s perhaps most revealing is hearing the two talk in depth about Federico Fellini's 1957 classic “Nights of Cabiria.” Read More: James Gray Talks 'The Immigrant,' Diving Into TV With 'Red Road,' And His Own Favorite Films Having talked about the importance of storytelling early on in the episode, Gray singles out “Nights of Cabiria” for its astonishing simplicity and how it still manages to evoke “a vaguely operatic silent film feeling." The director notes Fellini’s »
- Ken Guidry
About midway through watching Charlie Chaplin's Limelight for the first time I got to thinking about what makes a great filmmaker. It seems easy enough to spot a great film, while you're watching it as you get that "You'll know it when you see it" vibe, but I started to focus on what exactly it was about the films of great filmmakers that make them stand out from the rest. Films from great filmmakers stand alone, they can't be duplicated and in this age of remakes and reboots no one would dare attempt try and remake their work. In terms of Chaplin, could you imagine a remake of Modern Times, The Great Dictator, City Lights or The Gold Rushc Forget the fact they are silent films and the business of it all. Just focus on the artistry and what makes those films great. What makes those films classicsc I'll answer for you. »
- Brad Brevet
By: Jay Dyer
Ian Fleming’s James Bond is one of the most recognizable and successful characters in modern popular culture. The novels have sold over 100 million copies, and the film franchise is the second most successful in history, having been recently displaced by the Harry Potter series. For most readers and viewers, 007 is merely a Western pop icon. However, there is much more at work in the novels and films than appears on the surface. In fact, there are deeper undercurrents, themes, symbols, and messages that operate as psychological warfare propaganda and an in-depth semiotic analysis of the novels and films yields an interpretation that confirms this thesis. Much has been written on the subject of Ian Fleming’s James Bond. From Umberto Eco’s older essay “Narrative Structures in Fleming” to Christoph Linders’ modern collections The James Bond Phenomenon and Revisioning 007: James Bond and Casino Royale, there »
- Jay Dyer
Chicago – The showcase and respect given to filmmakers at the recently completed 2015 Chicago Critics Film Festival (Ccff) meant that the top directors made appearances on behalf of their featured films. James Ponsoldt of “The End of the Tour” and Patrick Brice of “The Overnight” are two prime artists at the top of their game.
HollywoodChicago.com also got a chance to talk to Ponsoldt and Brice after their screenings at the Ccff, and the insights provided context to their art.
James Ponsoldt, Director of “The End of the Tour”
James Ponsoldt is a great friend to the festival, having screened his film “The Spectacular Now” at the first Ccff in 2013. He returned with “The End of of the Tour,” a superior and poignant understanding of author David Foster Wallace (a career-defining role for Jason Segel), as he takes his last book tour promoting his famous novel, “Infinite Jest.”
- email@example.com (Adam Fendelman)
The New York Indian Film Festival (Nyiff), which opens next week on May 4th, will showcase a series of special screenings of Vishal Bhardwaj’s brilliant Shakespeare Trilogy Maqbool, Omkara, and Haider. If that wasn’t cool enough, after each screening there will be a discussion with Bhardwaj, who will not only talk about the film but take the audience on journey of his career in Hindi film and music.
The first of the trilogy Maqbool (2003), starring Irfan Khan, Tabu, Pankaj Kapoor, Om Puri, Naseeruddin Shah was based on Macbeth, while 2006’s Omkara, based on Othello, starred Ajay Devgan, Saif Ali Khan, Vivek Oberoi, Kareena Kapoor, Konkona Sen Sharma, Bipasha Basu, Naseeruddin Shah then there was his latest film, Haider, his version of Hamlet, that starred Shahid Kapoor, Tabu, Shraddha Kapoor, Kay Kay Menon, Irfan Khan. Each of the epic films have received national and international acclaim as well as a huge fan following. »
- Stacey Yount
Michiel Huisman is well-known for his many standout TV roles, but this month, he's hitting the big screen opposite Blake Lively in the romantic drama The Age of Adaline. Chances are you recognize the handsome actor from shows like Game of Thrones, Nashville, and Orphan Black, or maybe you remember him as Jonathan in Wild. In this month's film, Michiel plays Ellis, the charming, romantic man who falls for Adaline (Blake), a woman who never grows old. We recently sat down with the actor to talk about the movie, and he touched on what he loved about the film, what he had a hard time accepting, and why it felt like such a "natural thing" for Blake to become a mother in real life. Keep reading to see what Michiel had to say about his costar and his upcoming film, then check out what he told us about Game of Thrones. »
Film London has awarded 21 filmmaking teams across the capital with funds to make short films through its London Calling and London Calling Plus initiatives. A record 620 applications were received this year.
The scheme invests more than $300,000 (£200,000) in London’s short filmmakers with production funding, training and a platform to showcase the films to the industry.
Last year’s slate included Riz Ahmad’s Daytimer, which premiered at Sundance; the BAFTA-nominated Three Brothers; and Loco Award-winning Two Dosas.
This year’s slate includes Chick or Treat from rising internet stars Mandem On The Wall; The Monster, which will star Richard Glover (A Field In England, Sightseers); Rainbow Party, which marks the directorial debut of BAFTA-nominated producer Eva Sigurdardottir; and Above, which was scripted by award-winning playwright Michael Bhim.
Chick or Treat is one of the projects selected by London Calling Plus, now »
- firstname.lastname@example.org (Michael Rosser)
Orson Welles indisputably made a huge impact on the film industry, both in terms of technical proficiency and storytelling sophistication. However, Welles was never the biggest fan of films themselves. He just saw it as a way to tell stories he wanted to. That makes sense to me of how he approached filmmaking. Had he been a movie fan, I don't know if he would have thought so much outside of the box about to make them than he did. That isn't to say he didn't like all movies. In the early 1950s, Welles managed to cobble together a list of his ten favorite films for Sound on Sight (via Open Culture). As he had only been exposed to a couple of decades of cinema, I think this is a very interesting list, and one that makes a lot of sense for someone like Welles. City Lights (dir. Charles Chaplin) Greed (dir. »
- Mike Shutt
FX Networks has an aggressive plan to expand its comedy biz in 2015. This year the cabler will launch two series that aim to follow the lead of critically-hailed game changer “Louie,” and Fox’s flagship cabler will take bigger steps to differentiate the branding between comedies on the mothership channel and its Fxx offspring.
The latter half of that strategy began in earnest this week with the debut of “Man Seeking Woman,” a surrealist look at the dating lives of a group of twentysomethings starring Jay Baruchel (“This Is the End”) and executive produced by Lorne Michaels. The half-hour follows Fxx flagship series “It’s Always Sunny In Philadelphia,” a cult favorite that is now entering its tenth season as a remarkably steady ratings performer.
The wacky narcissists on “Sunny” find themselves arrested for arson one week and hooked on crack the next, while when Baruchel says he’s dating »
- Geoff Berkshire
It was curious yesterday when The Lego Movie,” one of the best reviewed animated movies of 2014, couldn’t make the final cut in the Best Animated Film category at the Oscars. Just as curious yesterday, the film’s co-director Phil Lord called his own film “a classic.” To be fair to Lord, he’s not the first director to laud his own film. Case in point? Federico Fellini. The folks over at Open Culture have shared Fellini’s top 10 list from Sight And Sound and as expected, it’s very idiosyncratic. First of all, the list isn’t confined to only 10 selections —Fellini left the list open for as few as 12 movies to as many as 131. How? He had three Charlie Chaplin films tied for the top spot (“The Circus,” “City Lights” and “Monsieur Verdoux”) and declined to list a title for the next spot, opting instead to write “Any »
- Cain Rodriguez
16 items from 2015
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