12 items from 2017
As Ry Cooder’s slide guitar sounds melancholy echoes, the man suddenly appears in the desert, walking purposely toward some vague destination off in the distance. His sunbaked face covered with several days of beard, his pinstripe suit dusty and ill-matched with a red baseball cap, he is plainly driven by some inner demons. Just as plainly, he isn’t going to last much longer.
That’s how Harry Dean Stanton first appears in “Paris, Texas,” the classic 1984 drama directed by Wim Wenders from a screenplay credited to Sam Shepard and L.M. Kit Carson. And while taking stock of the much-respected actor on the occasion of his passing — Stanton died Friday in Los Angeles at the age of 91 — I cannot help viewing that unforgettable image as metaphoric: After a long trudge through a wilderness of secondary roles, he finally broke through in this film to get the attention he so richly deserved.
Of course, »
- Joe Leydon
In the mid ’40s, the Universal Monsters were in a tough spot. Up until then, the ’40s had been a nonstop flow of sequels and one-offs, with an avalanche of Invisible Men, Draculas (Draculi?), and the odd Frozen Ghost here and there releasing at a steady clip. But this high release rate had made them stale, and by the time 1946 came around, the studio was in desperate need of a new, recognizable monster.
Enter Rondo Hatton. A journalist-turned-b-movie-bit-player, Hatton had been afflicted with acromegaly for most of his adult life, which enlarged his jaw and pronounced his forehead over the years. This distinctive appearance led to him being cast as nameless goons up until the ’40s, when he got his big, career-defining role as The Creeper.
Curiously, The Creeper’s first appearance wasn’t in a horror film at all. It was in The Pearl of Death (1944), one of the »
- Perry Ruhland
Hampton Fancher, the beguiling subject of Michael Almereyda's Escapes and co-screenwriter of Ridley Scott's Blade Runner and Denis Villeneuve's upcoming Blade Runner 2049, shared some memories of Jerry Lewis, who died at the age of 91 this past Sunday, August 20, at his home in Las Vegas, Nevada.
We started out with Michael Pfleghar's film Romeo Und Julia 70 where Hampton interviewed Jerry Lewis, went onto the connection to Joan Blackman and Hal B Wallis for Norman Taurog's Visit To A Small Planet, Rainer Werner Fassbinder's In A Year With 13 Moons (In Einem Jahr Mit 13 Monden) and You're Never Too Young with Dean Martin and Lewis, a gurney in Frank Tashlin's The Disorderly Orderly and a rabbit in Geisha Boy, meeting Jack Benny and Buddy Hackett, »
- Anne-Katrin Titze
“Well, nobody’s perfect,” may be the last line of “Some Like It Hot,” but BBC Culture’s newest list of the 100 greatest comedies of all time comes pretty darn close. Billy Wilder’s cross-dressing buddy comedy earned the most votes, but the rest of the list is as robust and varied as one would hope, containing slam dunk smash hits as well as lesser known hidden gems.
Read More:The 25 Best Comedies of the 21st Century, Ranked
The survey included responses from 253 film critics internationally, with freelancers writing in from Syria, Azerbaijan, and Montenegro. For a deeper dive into your favorite critics’ comedic tastes, each individual top ten list is also available for perusal. IndieWire’s Eric Kohn, David Ehrlich, and Kate Erbland participated; their number one picks were “City Lights,” “Forgetting Sarah Marshall,” and “National Lampoon’s Christmas Vacation,” respectively.
Read More:Jerry Lewis, King of Comedy, Dies at 91
“Dr. Strangelove, »
- Jude Dry
After polling critics from around the world for the greatest American films of all-time, BBC has now forged ahead in the attempt to get a consensus on the best comedies of all-time. After polling 253 film critics, including 118 women and 135 men, from 52 countries and six continents a simple, the list of the 100 greatest is now here.
Featuring canonical classics such as Some Like It Hot, Dr. Strangelove, Annie Hall, Duck Soup, Playtime, and more in the top 10, there’s some interesting observations looking at the rest of the list. Toni Erdmann is the most recent inclusion, while the highest Wes Anderson pick is The Royal Tenenbaums. There’s also a healthy dose of Chaplin and Lubitsch with four films each, and the recently departed Jerry Lewis has a pair of inclusions.
Check out the list below (and my ballot) and see more on their official site.
- Jordan Raup
Every week, IndieWire asks a select handful of film and TV critics two questions and publishes the results on Monday. (The answer to the second, “What is the best film in theaters right now?”, can be found at the end of this post.)
This week’s question: In honor of the bone-crunching “Atomic Blonde,” what is the greatest movie fight scene?
I’ve got a soft spot for wuxia so the “best fight scene” immediately evokes Zhang Yimou in my mind. I could list every fight in “Hero,” sequences so spellbindingly beautiful and graceful you forget you’re watching violence. The bamboo forest battle from “House of Flying Daggers” is another all-timer, a mesmerizing fight that almost entirely takes place in the air. And the bone-crunching, table-smashing »
- David Ehrlich
Nobody is more virile than a blind man in a bad movie. From Army Ranger Lieutenant Colonel Frank Slade in “Scent of a Woman” to Virgil Adamson in “At First Sight,” these characters are cartoons of masculinity, using their dicks like antennae as they help guide the sighted people in their lives towards some kind of personal growth. While blind women are often rendered as pretty, pitiable things in desperate need of assistance (a trope that Charlie Chaplin inadvertently helped cement in “City Lights,” and that Lars von Trier very deliberately weaponized in “Dancer in the Dark”), their male counterparts are seen as horny, feral animals who compensate for their sightlessness with bat-like sonar and a bloodhound’s sense of smell.
- David Ehrlich
Get in touch to send in cinephile news and discoveries. For daily updates follow us @NotebookMUBI.NEWSBlind DetectiveThe San Francisco Museum of Modern Art will hosting what we believe—and correct us if we'r wrong—is the first significant retrospective in the United States of the great Hong Kong genre director Johnnie To.Recommended VIEWINGFor one more day only Gabe Klinger's Double Play: James Benning and Richard Linklater, a 2013 documentary about two directors on different ends of American independent cinema, will be available to watch for free on Vimeo.A lovely collaboration between Thai auteur Apichatpong Weerasethakul (Uncle Boonmee Who Can Recall His Past Lives) and Japanese composer (and sometimes actor) Ryuichi Sakamoto on the video for a track on his new album, async. Related: the director and composer are holding a short film competition stemming from the album. Critics Christopher Small and James Corning have lately been contributing excellent video essays to the Notebook on such directors as William Friedkin, John Carpenter, and Ernst Lubitsch. For Fandor, they've made another excellent directorial dive, in this case into the contradictory cinema of Hollywood comedy director Leo McCarey.Kirsten Dunst and Elle Fanning shoot "Girls Gone Wild 1863" behind the scenes of Sofia Coppola's The Beguiled. Warning: risqué ankle footage!Recommended Reading
The new issues of Cahiers du cinéma (out now) and Cinema Scope (coming soon) both focus on the just-completely Cannes Film Festival and have Robert Pattinson in the Safdie brothers' Good Time on the cover. Cahiers editor Stéphane Delorme has written a scathing, and to our eyes accurate, assessment of the festival, which we're reading in (please excuse us) adapted Google translation:The program of the Official is truly a program, in the programmatic sense: it has encouraged a certain type of hateful, hollow and pretentious cinema which is becoming sadly the cinema of our time.... In this context, two small wonders emerged: Good Time by the Safdies and The Day After by Hong Sang-soo... Dumont, Garrel, Claire Denis, everyone would have deserved the Palme. Authors in an insolent form that are renewed (musical comedy, sex, comedy) and who still know what it means to stage, edit, plan.This week the great American actress Gina Rowlands celebrated her 85th birthday, and Sheila O'Malley has written an excellent article on her and some of her key performances for RogerEbert.com:Rowlands' work has a way of creating anxiety in viewers. The boundary line between character and actress is obliterated; or, it was never there in the first place. Her work is so unlike what we see from most other actresses (even very good ones) that it's unnerving to watch.Alfred Hitchcock on the set of RopeAmerican Cinematographer has republished an essential 1967 interview with "The Cameraman's Director," Alfred Hitchcock:Q: Do you feel that lighting is perhaps the most important single element in the creation of cinematic mood?
A: Motion picture mood is often thought of as almost exclusively a matter of lighting, dark lighting. It isn’t. Mood is apprehension. That’s what you’ve got in that crop-duster scene. In other words, as I said years and years ago, I prefer “murder by the babbling brook.” you’ve got some of that in The Trouble With Harry. Where did I lay the dead body? Among the most beautiful colors I could find. Autumn in Vermont. Went up there and waited for the leaves to turn. We did it in counterpoint. I wanted to take a nasty taste away by making the setting beautiful. I have sometimes been accused of building a film around an effect, but in my sort of film you often have to do that if you want to get something other than the cliche.We think it's safe to say that Twin Peaks: The Return, despite being 7 episodes and nearly as many hours in, remains a mystery. We're hosting on-going and in-depth recaps of the episodes as they premiere, and at Filmmaker magazine Michael Sicinski has proposed five ideas about David Lynch and Mark Frost's new...thing:This transfer of violent energy is connected to the Black Lodge [...] but more significantly it is related to the program before us. Lynch is warning us that Twin Peaks is not background TV, and that in certain respects it is dangerous stuff. Sorry, young lovers. You need to watch that glass box carefully, because you’re strapping in for the long haul.EXTRASSome jaw-dropping analysis by Jean-Luc Godard on the relationship between film and television, courtesy of critic Max Nelson.From the Filmadrid festival, a meeting of two great figures in the film world: scholar Laura Mulvey and filmmaker Jonas Mekas.Confirming the sense of humor of Robert Bresson (he who put Chaplin's The Gold Rush and City Lights as his favorite films) is this photo of the perhaps the greatest of all filmmakers riding the donkey that appeared in his masterpiece Au hazard Balthazar. »
Who won the world’s biggest musical entertainment show? We were in Kiev to follow every single second of randomness
• Review: gorilla suits, Gypsy hip-hop – and the winner was half-decent
And we leave you with a wrap of the whole night, complete with gorilla suits and gypsy hip-hop.
Related: Eurovision 2017: Gorilla suits, gypsy hip-hop, and the winner was half-decent
So that’s It for another Eurovision, and it’s goodbye from Kiev! Thank you all for joining in and helping me keep it together, and a massive thanks to Alice for being an extra pair of eyes and ears on this crazy night. I know Eurovision isn’t everyone’s cup of tea, but it’s one of my favourite nights of the year - being here in Kiev in your liveblog company has been an absolute joy.
We’re on Twitter @heidistephens and @alice »
- Heidi Stephens
Happy “Eraserhead” day! David Lynch’s first feature was released on March 19, 1977, and his surrealistic ode to fatherhood has been a topic of conversation among interviewers ever since. Although Lynch has gone on the record as literally saying “I never talk about themes,” it hasn’t stopped scores of journalists from trying to get him to explain the meaning of “Erasherhead.”
Below are five fantastic interviews — from the ’70s, ’80s, ’90s, ’00s, and ’10s — where Lynch analyzes the film as only he can. Watching all of them is a fascinating glimpse into his mind, as well as an opportunity to see how his ideas have changed as he’s grown older.
This 1979 gem appears to be the earliest recorded Lynch interview. “Eraserhead” is the primary focus, and it’s a fascinating time capsule. »
- William Earl
Judson & Collin are here to contradict everything they said about the Oscars last week as they examine the legacy of The Artist and discuss Charlie Chaplin's City Lights and how it gave the silent film industry a small boom before the talkies took complete control of Hollywood. They also briefly discuss HBO's Girls and give a shoutout to the gentlemen of the Atlantic Screen Connection.
Join us now and in the future. You can listen here or on iTunes, and now available on Android/Google Play! Please rate, review, and share our podcast! Be sure to check out and follow the official Twitter for upcoming episodes. @AnotherFilmPod on Twitter.
MoviespodcastCINEMAANOTHER Film Podcastcharlie Chaplinthe Artistcity Lightssilentsilent Erasilent FILMSOscars »
- email@example.com (Collin Llewellyn)
Joe Richards Mar 24, 2017
Need to find a bit of movie happiness? Here are 25 films that might just do the trick...
Let's face it, we could all probably do with a little bit of cheering up right about now. Times are scary and times are tough, so it's perfectly natural to look for some kind of reassurance that everything will indeed be all right in the end.
Film is perhaps one of the most powerful and effective tools in doing this. It can be a transportative experience, an escape from reality, and, most importantly, it can act as a reminder of all that is good in the world.
With that in mind, here’s a list of 25 movies that are almost-guaranteed to make you smile and restore your faith in humanity...
In truth, any of Charlie Chaplin’s films are perfect for those times when you just need to smile. »
12 items from 2017
IMDb.com, Inc. takes no responsibility for the content or accuracy of the above news articles, Tweets, or blog posts. This content is published for the entertainment of our users only. The news articles, Tweets, and blog posts do not represent IMDb's opinions nor can we guarantee that the reporting therein is completely factual. Please visit the source responsible for the item in question to report any concerns you may have regarding content or accuracy.See our NewsDesk partners