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Hou Hsiao-hsien’s “The Assassin” will play as the opening of next month’s Cine Fan Summer International Film Festival (Siff), a popular spin off event of the Hong Kong International Film Festival. Woody Allen’s “Irrational Man” will close the festival that runs Aug 11-25.
In between, the Siff will play a further 30 films, including “Wild City,” the return to Hong Kong of top local director Ringo lam, who has not made a Hong Kong film for over 10 years.
Contemporary Japanese films screening include “Love & Peace,” by Sono Sion, “Yakuza Apocalypse,” by Miike Takashi, “Prophecy,” by Nikamura Yoshihiro and “Flying Colors,” directed by Doi Nobuhiro.
- Patrick Frater
By Alex Simon
They say that clothes make the man. They also make the man in the movie and, sometimes, even make the movie itself live on in the annals of classic filmdom. With that in mind, here is a list (in no particular order) of ten gents and the characters they played who changed our sartorial habits forever.
1. Michael Douglas/Gordon Gecko—Wall Street
Arguably the movie that set the style for second half of the 1980s, Oliver Stone’s Wall Street featured Michael Douglas’ Oscar-winning turn as corporate raider Gordon Gecko, whose ruthlessness in the boardroom was only matched by his sense of style. Douglas is all clean lines in his pinstripe suits, suspenders and slicked-back hair, creating an iconic look that screamed “power” and “go fuck yourself” simultaneously.
Stanley Kubrick’s dystopian sci-fi allegory is one of cinema’s great dark satires, »
- The Hollywood Interview.com
Richard Gere has enjoyed — and is still enjoying — the sort of hugely successful, long, eclectic career that nearly every actor would kill for. Gere started gathering serious attention in Terrence Malick’s “Days of Heaven” in 1978, but it was his role as the titular “American Gigolo” in Paul Schrader’s now-iconic 1980 film that vaulted him to Hollywood stardom. He went on to sweep Debra Winger off her feet in “An Officer and a Gentleman,” and saved Julia Roberts from a life of prostitution in “Pretty Woman” (reteaming later with Roberts on “Runaway Bride”). Gere tackled song and dance with “The Cotton Club” and “Chicago,” danced around the law as a corrupt cop in “Internal Affairs” and donned armor as Lancelot in “First Knight.” More recently, he’s walked on the seamier side of Wall Street (“Arbitrage”) and stayed over at “The Second Best Exotic Marigold Hotel.”
The Karlovy Vary Intl. »
- Iain Blair
The Misfits, 1961.
Directed by John Huston.
Roslyn – wounded, shivering and cynical after her divorce – meets experienced cowboy Gay and move in with him. Harm to innocent creatures is a recurring theme as Roslyn becomes increasingly distressed by the masculine aspects of Gay’s lifestyle, and is evident when Gay’s friend Perce is injured in a brutal rodeo.
Marilyn Monroe, Montgomery Clift and Clark Gable seem to exist in an era, whereby Hollywood is all glitz and glamour. Studio stars dress impeccably and look perfect. The iconic Monroe of Some Like it Hot; the cheeky charm of Gable in Gone with the Wind; the boyish sincerity of Clift in From Here to Eternity. The extended run of The Misfits at the BFI puts all three together in a different dusty landscape, at a point whereby their stars were beginning to fall and tragically, »
- Simon Columb
African-American film 'Bert Williams: Lime Kiln Club Field Day.' With Williams and Odessa Warren Grey.* Rare, early 20th-century African-American film among San Francisco Silent Film Festival highlights Directed by Edwin Middleton and T. Hayes Hunter, the Biograph Company's Lime Kiln Club Field Day (1913) was the film I most looked forward to at the 2015 edition of the San Francisco Silent Film Festival. One hundred years old, unfinished, and destined to be scrapped and tossed into the dust bin, it rose from the ashes. Starring entertainer Bert Williams – whose film appearances have virtually disappeared, but whose legacy lives on – Lime Kiln Club Field Day has become a rare example of African-American life in the first years of the 20th century. In the introduction to the film, the audience was treated to a treasure trove of Black memorabilia: sheet music, stills, promotional material, and newspaper clippings that survive. Details of the »
- Danny Fortune
Constance Cummings: Actress in minor Hollywood movies became major British stage star Constance Cummings: Actress went from Harold Lloyd and Frank Capra to Noël Coward and Eugene O'Neill Born on May 15, 1910, actress Constance Cummings, whose career spanned about six decades on stage, in films, and on television in both the U.S. and the U.K., would have turned 105 this year. Unlike other Broadway imports such as Ann Harding, Katharine Hepburn, and Claudette Colbert, the pretty, elegant Cummings – who could have been turned into a less edgy Constance Bennett had she landed at Rko or Paramount instead of Columbia – never became a Hollywood star. In fact, her most acclaimed work, whether in films or – more frequently – on stage, was almost invariably found in British productions. That's most likely why the name Constance Cummings – despite the DVD availability of several of her best-received stage performances – is all but forgotten. »
- Andre Soares
This week marks the 10th anniversary of the release of "Crash" (on May 6, 2005), an all-star movie whose controversy came not from its provocative treatment of racial issues but from its Best Picture Oscar victory a few months later, against what many critics felt was a much more deserving movie, "Brokeback Mountain."
The "Crash" vs. "Brokeback" battle is one of those lingering disputes that makes the Academy Awards so fascinating, year after year. Moviegoers and critics who revisit older movies are constantly judging the Academy's judgment. Even decades of hindsight may not always be enough to tell whether the Oscar voters of a particular year got it right or wrong. Whether it's "Birdman" vs. "Boyhood," "The King's Speech" vs. "The Social Network," "Saving Private Ryan" vs. "Shakespeare in Love" or even "An American in Paris" vs. "A Streetcar Named Desire," we're still confirming the Academy's taste or dismissing it as hopelessly off-base years later. »
- Gary Susman
Written by William Hurlbut
Directed by John M. Stahl
Directed by Douglas Sirk
The debate about the necessity and worth of continual remakes rages on every year. Will the new version be as good as the original? Or even better? Should it have even been made to begin with? While we do seem to hear more about this recently, the concept of a remark is, of course, nothing new. Examples go back to the very dawn of cinema. What makes a remake particularly worthwhile, however, is when the films involved are dissimilar in certain aspects yet notably congruent in other areas: just enough to keep the basic premise or theme consistent, but varied enough to keep it up to date and original in one way or another. If both versions have their merits, a considerate comparison and contrast »
- Jeremy Carr
“Monogamy isn’t realistic” says a soon-to-be-divorced dad to his two pre-teen daughters in an early scene from Judd Apatow’s “Trainwreck.” Two decades later, those words have taken their toll on one of those erstwhile little girls — a tart-tongued, booze-swilling serial dater (writer-star Amy Schumer) whose love life is barreling downhill with ever-increasing velocity. She’s the screwed-up, screwball heroine at the center of a somewhat shaggy, frequently hilarious romantic comedy that, like much of Apatow’s best work, delicately balances irreverent raunch with candid insights into the give-and-take of grown-up relationships. The change in scenery (New York from L.A.) and gender emphases serves Apatow well, as does Schumer’s excitingly original comic voice, which should spell a critical and commercial rebound for the comedy impresario, following the mixed fortunes of his more sober, semi-autobiographical “Funny People” and “This Is 40.” The Universal release opens wide July 17 following »
- Scott Foundas
The Oscars have given out a Film Editing award for 81 of its 87 years. "Birdman" just became the 10th film to win Best Picture without at least reaping a bid in that race, which went to "Whiplash." Indeed, when nominations were announced last month, many pundits viewed the snub of "Birdman" in this category as a very bad omen for the film's chances in Best Picture. Indeed, the last Best Picture without a corresponding nomination for Film Editing was "Ordinary People" back in 1980. The cutting prize that year went to "Raging Bull." Below, the eight other years where the Best Picture winner was not even in the running for Best Editing. -Break- 1934: "It Happened One Night" (Film Editing winner: "Eskimo") 1937: "The Life of Emile Zola" (Film Editing winner: "Lost Horizon") 1948: "Hamlet" (Film Editing winner: "The Naked City") ...' »
The 87th Academy Awards are this Sunday evening, and we're counting down the minutes!
We've already given you our Oscar predictions, and now we're bringing you a few of the best (and craziest) Academy Awards facts. From the first Best Actor winner to the "one dollar" Oscar rule, here are 25 things you (probably) don't know about the Oscars.
1. The youngest Oscar winner was Tatum O'Neal, who won Best Supporting Actress for "Paper Moon" (1973) when she was only 10 years old. Shirley Temple won the short-lived Juvenile Award at 6 years old.
3. After winning Best Actress for "Cabaret" (1972), Liza Minnelli became (and still is) the only Oscar winner whose parents both earned Oscars. Her mother, Judy Garland, received an honorary award in 1939 and her father, Vincente Minnelli, »
- Jonny Black
Valentine's Day is this weekend and many couples are going to celebrate by heading to the multiplex and seeing Fifty Shades of Grey. Analysts are saying it might gross an astonishing $100 million during the four-day weekend despite mostly scathing reviews. Some critics are saying that parts of the movie are so inadvertently funny you almost feel like you're watching a romantic comedy.
By Anjelica Oswald
With the DGA Award in hand, Alejandro Gonzalez Inarritu has become a frontrunner in the best director Oscar race for Birdman.
Only seven winners of the DGA Award have not won the best director Oscar in the 66 years that the Directors Guild of America has given the award. The most recent case was two years ago, when Ben Affleck wasn’t even nominated for the best director Oscar for Argo, which won best picture.
No American has won for best director since 2011 and if Inarritu, who is from Mexico, takes the Oscar this year, the trend will continue. Inarritu could become the second Latin American director to win for best director, following Alfonso Cuaron’s win last year.
In the 86 years since the Academy Awards’ inception, 89 Oscars have been given for best director. Twenty-six awards (29 percent) went to non-American born directors.
At the first annual »
- Anjelica Oswald
Daniel Radcliffe has been acting since the age of 9, when he played the young David Copperfield opposite Maggie Smith in the BBC’s 1999 adaptation of the classic Dickens story. But it was in 2001, when Radcliffe was cast as the titular boy wizard of Harry Potter and the Philosopher’s Stone that he became an internationally recognised movie star. Eight feature films, adapted from the seven novels by Jk Rowling, were to follow, grossing more than $7bn at the global box office.
With roles in December Boys and My Boy Jack, Radcliffe proved he was no one-trick pony. But it was his 2007 turn on stage – in Thea Sharrock’s West End revival of Peter Shaffer’s play Equus – that established Radcliffe as a serious young actor. Then 17, Radcliffe earned rave reviews for his haunting turn as Alan Strang, a role that required him to disrobe. The actor was nominated for a »
- Phil Wheat
Terrence Malick is having a busy week, which for the director who formerly took ages between films, must rank among his busiest. Malick has first been working on a documentary called Voyage of Time that will incorporate footage from The Tree of Life and be “a celebration of the universe, displaying the whole of time, from its start to its final collapse,” according to a press release via HitFix. One version of the film will be just 40 minutes long, will feature narration by Brad Pitt, and will appear on IMAX screens. Another longer version will appear in traditional theaters and will be narrated by Cate Blanchett. Neither version has a release date just yet but are being planned for 2016.
His latest film however, Knight of Cups, is about to premiere at the Berlinale on February 8 (watch the trailer here), and the full plot revealed for the film sounds perfectly Malick-esque. »
- Brian Welk
Simone Simon in 'La Bête Humaine' 1938: Jean Renoir's film noir (photo: Jean Gabin and Simone Simon in 'La Bête Humaine') (See previous post: "'Cat People' 1942 Actress Simone Simon Remembered.") In the late 1930s, with her Hollywood career stalled while facing competition at 20th Century-Fox from another French import, Annabella (later Tyrone Power's wife), Simone Simon returned to France. Once there, she reestablished herself as an actress to be reckoned with in Jean Renoir's La Bête Humaine. An updated version of Émile Zola's 1890 novel, La Bête Humaine is enveloped in a dark, brooding atmosphere not uncommon in pre-World War II French films. Known for their "poetic realism," examples from that era include Renoir's own The Lower Depths (1936), Julien Duvivier's La Belle Équipe (1936) and Pépé le Moko (1937), and particularly Marcel Carné's Port of Shadows (1938) and Daybreak (1939). This thematic and »
- Andre Soares
One thing I know after seeing Godzilla is Gareth Edwards doesn’t need a good script to deliver a great blockbuster. I don’t think I could even tell you the plot from memory right now, and yet I stand by my opinion that the monster movie reboot was one of the most spectacular and thrilling pieces of cinema released last year. Before that, with Monsters, he wowed me with a tired story recycled from It Happened One Night by throwing in some giant aliens and crafty direction. He could go ahead and make his Star Wars spin-off with no screenplay at all, and I’m sure I’d be happy. But I can’t speak for the rest of the franchise’s fans out there — especially if any overlap with the large group of people who hate what he did with Godzilla – and I certainly can’t speak for Disney and LucasFilm. They »
- Christopher Campbell
I got around to a lot more movies this week, beginning with last Sunday evening where I caught Die Hard and Die Hard with a Vengeance on Encore. I know everyone pretty much loves Die Hard, but I'm not sure I don't love With a Vengeance a little more, I just love Samuel L. Jackson in that movie and Jeremy Irons is a perfect villain. Things took a bit of a dip when I went to the theater to watch The Boy Next Door, but I quickly resolved that with It Happened One Night, which became my latest Best Movies entry. Then I got a hankering to watch Strangers on a Train after it was recently announced David Fincher, Ben Affleck and Gillian Flynn were looking to put together a remake. I was also thinking it might become Best Movies entry #9, but after watching it and Robert Walker's performance »
- Brad Brevet
The above exchange from Frank Capra's romantic gem It Happened One Night doesn't necessarily give you any insight into the plot. Without the knowledge of what came before, or the visual of Claudet Colbert as spoiled sophisticate Ellie Andrews warily climbing into the car with the man she's traveled alongside from Florida to New York City, the joke probably doesn't pack much of an umph. But once you've seen this 1935 Best Picture winner as many times as I have, you never know which lines will jump out and make you laugh more than you previously did in the past. It Happened One Night is one of those wonderful Hollywood accidents. Neither Colbert nor her co-star, Clark Gable, were the first choices for the lead roles. In fact, it wasn't until Colbert won for Best Actress that she publicly thanked Capra for making the film (despite not even attending the Oscars, »
- Brad Brevet
The American Film Institute is probably best known for those lists of the 100 Greatest Movies of All Time (y'know... if it's an American production in some way). Well, every year they hold their own awards, because every group of people has to have awards. They recognize the ten best films (for this year, it's eleven due to a tie) and the ten best television programs of the year. There are not winners in these categories, but each one gets celebrated. On that front, I kind of like the AFI approach to awards. Along with the awards, AFI has put together this four and a half minute montage chronicling the last 120 years of film. Now, it would be ridiculous to cover every single year. Instead, they start with 1894's Strong Man and jump every ten years, showcasing films like Rear Window, The Godfather: Part II, Pulp Fiction, and Eternal Sunshine of the Spotless Mind »
- Mike Shutt
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