6 items from 2016
Ah, nostalgia. I can still remember rushing home from school on a Friday and having my grandmother drive my best friend and I over to Blockbuster Video. We’d always rent two movies (and overdose on candy and popcorn, no doubt), immediately go home and watch them back-to-back and maybe, if we were lucky, sneak in another viewing on Saturday before having to rush back to the Quik Drop. This is how I came to see films like Darren Aronofsky’s “Requiem for a Dream,” and how I came to fall in love with old movies like “The Thin Man” and everything Hitchcock. Read More: 15 Great Directorial Debuts By Actors Sure, now, everything is at our fingertips –– and inching closer to our cerebrums by the second –– but there is something to be said about enjoying that evening with your family or friends, passing the time together strolling around the store »
- Samantha Vacca
Did Quentin Tarantino stumble this time out? His tale of western killers sharing a snowbound cabin builds almost zero suspense, and the verbal excess and violent grossness lack Tarantino's usual clever, wickedly funny edge. And 70mm cooped up in a dim interior? It's A Long Day's Journey into Lincoln Logs. Totally dig Jennifer Jason Leigh and Ennio Morricone, though. The Hateful Eight Blu-ray + DVD + Digital HD Anchor Bay / Weinstein 2015 / Color / 2.76 widescreen (Ultra Panavision 70) / 187 min. / Street Date March 29, 2016 / 39.99 Starring Samuel L. Jackson, Kurt Russell, Bruce Dern, Jennifer Jason Leigh, Tim Roth, Walton Goggins, Demián Bichir, Michael Madsen, James Parks, Dana Gourrier, Zoë Bell, Lee Horsley, Gene Jones, Channing Tatum. Cinematography Robert Richardson Film Editor Fred Raskin Original Music Ennio Morricone Production Design Yohei Taneda Produced by Richard N. Gladstein, Shannon McIntosh, Stacey Sher Written and Directed by Quentin Tarantino
Reviewed by Glenn Erickson
Quentin Tarantino's opening title sequence card announces »
- Glenn Erickson
This week’s Jump Cut is all about determining the best year ever in cinema.
“But how can you figure that out?!” you shout at whatever device you’re reading this on. “Film is too subjective an art form for you to make overarching statements like that!”
That’s a very good point, but you’re overlooking two things: 1) the Oscar best picture nominations, and 2) film ratings on the Internet Movie Database. Both obviously have degrees of subjectivity, but that’s levelled off somewhat with each institution’s sheer number of voters or raters.
So, to work out what year was the best ever for cinema, we’ve taken all the films nominated for each year’s Best Picture Oscar, and then worked out their average IMDb rating. I’ll just point out that these were the ratings as of the week of the 88th Academy Awards on 22nd February »
- Oli Davis
The best picture doesn’t always win Best Picture. Sometimes the best film of the year gets robbed. Cinelinx looks at the movies which should have won Best Picture but didn’t.
Whenever the Best Picture winner is announced at the Oscars, sometimes we say, “Yeah, that deserved to win,” but then again, sometimes we say, “Huh? Are they kidding me?!” There are a lot of backstage politics and extenuating factors in Hollywood that can determine which film wins the big trophy. The worthiest film doesn’t always take the statue home. Going back over the 88-year history of the Academy Awards, we look at which films didn’t really deserve to win and the ones which rightfully should have won.
The Best Pictures and the Better Pictures:
1927-8: The Winner-Wings
What should have won: Sunrise (Sunrise was given a special award for Artistic Quality of Production, but it »
- firstname.lastname@example.org (Rob Young)
From a pop culture perspective, private detectives stand for all that’s memorable about film noir. The indifference, the wittiness, and the moral ambiguity that define each urban knight has since become the stuff of parodied legend. We’re talking about the mediators between the crooks and the cops, the embodiment of back alley grayness that’s so tough to pin down. P.I.’s could cooperate with the law if needed, but they could just as soon do business with the bad guys for the right price. To a certain extent, that is – shamus work has always attracted the ignored and the ethical. The Wild West has mythical men with no name, The Asphalt Jungle has names with investigating licenses attached to them. Instead of a poncho and a ten gallon hat, they’re provided a fedora and trench coat.
The archetype has undergone many faces throughout Hollywood’s history, »
- Danilo Castro
The stage is set for a David vs. Goliath battle at the 88th academy awards.
In one corner are the Goliath box office hits that Oscarcast viewers have heard of — and maybe even seen: This year’s top three on the nominations tally are Fox’s “The Revenant” (12 noms), Warner Bros.’ “Mad Max: Fury Road” (10) and Fox’s “The Martian” (seven).
Together, they’ve amassed over $1.2 billion at the global box office.
In the other corner are the likes of Fox Searchlight’s “Brooklyn,” which was acquired at Sundance and had a production budget of $11 million, and A24’s “Room,” which is the first best picture nominee for the emerging studio.
Together, they’ve made just over $40 million at the domestic box office (though neither one is close to finished, especially with three weeks to go until the Oscars).
Blockbuster Oscar winners such as “Rocky” and “Titanic” have given way »
- Geoff Berkshire and Tim Gray
6 items from 2016
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