1-20 of 38 items from 2017 « Prev | Next »
There has been a demand for a quality horror movie in recent years, following the successes of genre affair such as It Follows, Lights Out and Don't Breathe. Even though horror movies often do well financially, they don't often land with critics. Even those previously mentioned movies weren't immune to their fair share of critics who simply disagreed with the general consensus. But that is what makes Jordan Peele's horror movie Get Out a truly big deal, because the movie miraculously still holds a perfect 100 percent on Rotten Tomatoes.
As of this writing, with 135 reviews counted, the hit horror flick still boasts an unblemished, 100 percent approval rating from critics on Rotten Tomatoes. That isn't just unreasonably impressive for a horror movie, it is borderline impossible for any movie to achieve. Plenty of movies hold perfect scores on Rotten Tomatoes, but they are often classics such as Citizen Kane, or well-liked, »
Just because a movie or a celebrity wins an Oscar, that doesn't mean the win was deserved. While the Academy Awards are seen as the capstone to awards season -- and one of the highest honors in the business -- we all know that stars and movies get snubbed or overlooked all the time.
What's worse is when we look back at what did win, and shake our heads in confusion and disbelief. So, with the 89th Academy Awards just around the corner, let's take a look back over the show's illustrious history at a few times the Academy voters clearly made a mistake.
Watch: 2017 Oscar Awards Nominees: 'La La Land' Leads With 14 Nominations
1. How Green Was My Valley wins Best Picture at the 14th Academy Awards in 1942
20th Century Fox
Why care what longtime Food Network personality Alton Brown thinks about the nominees in the Oscar’s cinematography category? Because he knows lenses, film stock, and formats as well as he knows ingredients, recipes, and cooking techniques.
“I started off as a cameraman when I was still in college, and moved into shooting music videos in the ‘80s, then became a full-time cinematographer and a director-cameraman for TV spots, which I did for about 10 years,” Brown says.
Eventually burnt out by the ad business, Brown saw two choices. “I could either move on to New York or Hollywood and concentrate on shooting, or I could go to culinary school and try to make a food show.”
He chose the latter, resulting in the groundbreaking 14-season series “Good Eats,” which holds up so well that repeats continue airing today. Brown directed 200 of its 250 episodes. He calls his latest show, “Iron Chef Gauntlet, »
- Paula Hendrickson
Continuing a series of Guardian writers’ all-time Academy picks, Gwilym Mumford explains why the 1970 winner remains a vital and progressive triumph
The Oscars best picture category has a long and ignoble history of favouring the inoffensive over the revolutionary – Citizen Kane lost out to How Green Was My Valley. Forrest Gump defeated Pulp Fiction. The Third Man, 2001: A Space Odyssey and Do The Right Thing failed to even be nominated for best picture. (It’s a cruel world when Crash can win the thing and that lot can’t even get a look in). As a rule, the Academy tends to be behind the times – #OscarsSoWhite is recent evidence of that.
All of which makes the decision to crown Midnight Cowboy best picture in 1970 seem, in retrospect, like such a welcome aberration. It was a rare moment when Hollywood saw the coming changes in cinema and, rather than ignore »
- Gwilym Mumford
Often referred to as the “Citizen Kane of bad movies,” Tommy Wiseau’s The Room wrote its name in cinema’s history books for all the wrong reasons back in 2003. A spluttering mess of plot holes and cringe-worthy dialogue, Wiseau’s self-confessed passion project – one which he wrote, directed and starred in – has since gone on to become something of a cult classic, and soon James Franco and Co. will introduce moviegoers to the story behind the so-called misguided masterpiece.
Its title? The Disaster Artist, a big-screen rendition of Greg Sestero’s novel of the same name. Those already familiar with Sestero’s source material will know all too well that the author pulls no punches in his autopsy of The Room, which is hardly surprising given he co-starred in the cult original as conflicted best friend Mark. Fast forward to 2017 and it is Dave Franco that will be playing the part of Mark, »
- Michael Briers
Even if we haven’t seen it, we have all heard of The Room, writer/director/star Tommy Wisseau’s cult movie that was all passion and very little skill, and has been described as “the Citizen Kane of bad movies”. Greg Sestero, who starred in the movie as Mark (all together now, “oh hai, Mark”), chronicled his time working on the movie in the book The Disaster Artist, which was optioned as a movie by James Franco almost three years ago. For this behind the scenes look at the making of The Room, Franco would take on directing duties as well as stepping into the role of Wisseau, with brother Dave co-starring as Sestero. On top of that, a fantastic supporting cast includes Zac Efron, Bryan Cranston, Jacki Weaver, Alison Brie, Sharon Stone, and Hannibal Buress. We’ve seen hide nor hair of the movie so far, but with »
- email@example.com (Tom White)
It’s just a few weeks until this year’s Oscars, which means the Hollywood machine is running out of steam to provide “new angles” on various awards season campaigns and Oscar bloggers are trying to squeeze traffic out of last-minute prediction shifts. It’s fitting, then, that around this time every year we get a rather substantial update of one of the most comprehensive polls on the greatest films of all-time, not simply the November/December releases with the biggest marketing budget come Academy Awards time.
That’s right, They Shoot Pictures, Don’t They? has now published their 2017 edition of 1,000 Greatest Films, culled together from an exhaustive list of major publications and critics. Still topped by Citizen Kane, I often find the most interesting portion to be those films that have most moved around, for better or worse, especially those with newfound critical admiration. This year, Terrence Malick »
- Jordan Raup
I left John Wick: Chapter 2 with a bloody nose and a limp that refuses to be shaken off. It’s a ballet of bullets, a grand opera of all things “fu.” Alongside a few others, I had the pleasure of talking with director and veteran stunt man Chad Stahelski about Keanu, Chan and forcing friends to fall downstairs.
See Also: Read our review of John Wick: Chapter 2
Was That The Most Difficult Scene (an opening sequence involving a “gang bang of cars” as Wick attempts to steal back his own) To Coordinate?
Actually no, it was pretty easy. When you come from that background-one of my best friends Darren Prescott, our stunt coordinator for that-we started doing stunt work way back in 1992 and he did a lot of the Bourne films. »
- Amie Cranswick
Plenty of directors have gleefully disregarded W.C. Fields’ old movie adage – “never work with children or animals” – but documentary filmmaker Ceyda Torun all but tossed it out the window when it came time to make her feature debut. With “Kedi,” Torun is all about the animals, specifically an adorable series of Turkish street cats that happily make their homes on the streets of Istanbul. The result is a wonderfully unique and deeply charming look at feral felines and the many humans who love and care for them, all told from a distinctly cat’s eye view.
For the Turkish filmmaker, the indelible cats that roam the various neighborhoods that make up her hometown are more than just subjects, they are cherished friends, and the film finds its true heart when it illuminates the special bonds between the cats and the people who endeavor to make their lives better though food, »
- Kate Erbland
With a seemingly endless amount of streaming options — not only the titles at our disposal, but services themselves — we’ve taken it upon ourselves to highlight the titles that have recently hit platforms. Every week, one will be able to see the cream of the crop (or perhaps some simply interesting picks) of streaming titles (new and old) across platforms such as Netflix, iTunes, Amazon, and more (note: U.S. only). Check out our rundown for this week’s selections below.
Crimson Peak works as many things: a melodramatic romance; both the recreation of a period and a revival of the way movies have made us perceive it; a genre-jumping comedy; and a critique of capitalistic excess. It does these things earnestly and without compromise, and it’s far braver — far more admirable — for having done so. What Guillermo del Toro’s new film doesn »
- The Film Stage
If Grumpy Cat is the blockbuster franchise of cat videos, “Kedi” is the “Citizen Kane” of the genre. Though technically a sophisticated, artful documentary from Turkish filmmaker Ceyda Torun, “Kedi” will automatically find devout fans among anyone who delights at all things feline. (I’m an unapologetic member of that club.) Shot throughout the streets of Istanbul, the movie takes the inherent appeal of its subject and goes beyond the call of duty.
Cat lovers may be content with a mashup of feline faces bounding around the city, but hell, YouTube’s got that covered. “Kedi” isolates the profound relationship between man and cat by exploring it across several adorable cases in a city dense with examples. The result is at once hypnotic and charming, a movie with the capacity to elicit both the Omg-level effusiveness of internet memes and existential insights. Torun interviews a variety of locals about their bonds with the creatures, »
- Eric Kohn
James Franco’s movie about the worst movie ever made — which became a beloved cult classic — will join Terrence Malick’s latest and others at the 2017 SXSW Film Festival. “The Disaster Artist” sees Franco as director and star playing “The Room” filmmaker Tommy Wiseau, who made “the Citizen Kane of bad movies,” according to the festival guide. Franco gathers a cast of family and frequent collaborators in brother Dave Franco, Seth Rogen, Zac Efron, Alison Brie, Ari Graynor, Josh Hutcherson and Jacki Weaver. The ensemble will tell the story behind the genesis of “The Room,” about a love triangle set in. »
- Matt Donnelly
SXSW made the announcement Tuesday. Franco directed “The Disaster Artist,” based on the making of Tommy Wiseau’s incomprehensible “The Room,” which some describe as the “’Citizen Kane’ of bad movies.” Franco also stars along with sibling Dave Franco, Seth Rogen, Josh Hutcherson, Ari Graynor, Jacki Weaver and Alison Brie.
The program is also attempting to set up a screening of the original “The Room,” which first screened in 2003.
The festival, which is heading into its 24th year, will open March 10 in Austin with the previously announced Terrence Malick movie “Song to Song” with Rooney Mara, Ryan Gosling, Michael Fassbender, and Natalie Portman. It announced most of the lineup a week ago, including world premieres of “Baby Driver” and “The Ballad of Lefty Brown.”
The new announcement includes the SXSW Midnighters section of 10 genre films, »
- Dave McNary
Note: Comments from Paul W.S. Anderson are taken from Lights, Camera, Game Over!: How Video Game Movies Get Made, which is available for pre-order now.
Regular listeners to the Flickering Myth Podcast will know that my movie tastes aren’t the norm when it comes to being a paid ‘film critic’. I have little interest in The Godfather or Citizen Kane, but will happily talk ad nauseam about the Child’s Play series or Friday the 13th. When it comes to Spielberg I’m more Jurassic Park and Raiders of the Lost Ark than Jaws and Schindler’s List, and I loathe the works of Woody Allen and Wes Anderson. I’ve not seen any of the films nominated for Best Picture at this year’s Oscars. Not one. Come to think of it, I didn’t see any of last year’s either. »
- Luke Owen
Graeme Robertson on why film quality is subjective…
It’s a wonderful job being a film critic. Being able to watch films and write about them all hours of the day and night, discussing them with your fellow critics and generally have a merry old time talking about how wonderful it is to be a film critic.
Although when we disagree on something that’s when the fights start, with critics climbing into the steel cages ready to defend the honour of the films that they proclaim to be the best against the wretched scum who think otherwise.
Or something a bit less dramatic than that, like a polite discussion or a particularly stern talk over a pint or two.
Recently my Flickering colleague Samuel Brace penned an article (which you should all read by the way) in which he argued that with regards to films, “Quality is very much objective. »
- Graeme Robertson
Brogan Morris Feb 8, 2017
Some films earn critical acclaim and you only want to watch them once. Goodfellas? We could watch it on loop...
What is the most compulsively watchable film of all time? Not the greatest film – there are lists dedicated to solving that particular conundrum scattered all over the internet. Rather, the one film that begs you to return again and again, the one you can’t help but see through to the end when you happen to bump into it on a late night channel surf. Citizen Kane, Vertigo, 8 ½: greats, undisputed classics long vaunted by critics, but not necessarily the kinds of movies with the irresistible pull of a truly, compulsively watchable movie.
What could be the best of these? Raiders Of The Lost Ark, with its peak-Spielberg action-adventure stylings? Airplane!, a riotous and unfailingly quotable comedy that spawned a thousand imitators? Could even one as »
It’s finally the month of the Oscars, and while you catch up on the best films of last year, there’s also a wealth of promising new films to check out in theaters. From horror to action to documentaries to the top Sundance winner to a Polish cannibal horror mermaid musical, there’s something for everyone. We should also note that, for those looking to repertory options, Josef von Sternberg’s newly restored final film Anatahan will start rolling out this week.
Matinees to See: Journey to the West: The Demons Strike Back (2/3), Youth in Oregon (2/3), The Space Between Us (2/3), David Brent: Life on the Road (2/10), The Great Wall (2/17), Land of Mine (2/17), Kiki (2/24)
Synopsis: An all-female horror anthology.
Why You Should See It: After the anthologies V/H/S and The ABCs of Death ran their course, »
- Jordan Raup
“He was an icon of his craft of motion picture sound re-recording, recognized with the highest honors of his field,” his daughter Jennifer Portman wrote on her Facebook page. “He was eccentric, irreverent, and real.”
Portman received two Oscar sound nominations in 1973 for Francis Ford Coppola’s “The Godfather” and Michael Ritchie’s “The Candidate.” He was also double-nominated in 1974 for Peter Bogdanovich’s “Paper Moon” and Mike Nichols’ “The Day of the Dolphin.”
Portman received his first nom in 1971 for “Kotch,” directed by Jack Lemmon. He was also up for Oscars for Mel Brooks’ “Young Frankenstein,” Herbert Ross’ “Funny Lady,” Michael Apted’s “Coal Miner’s Daughter, »
- Dave McNary
It's been delightful if sometimes gruelling, webchatting to you all. Let's do it again sometime!
Mike Thorne says:
I think it's quite important with Wagner to distinguish between German nationalism as espoused by the new German Reich, from Wagner's conception of a cultural phenomenon, which is a fundamental kind of Teutonic conception of life. Which is semi-mystical, and almost anthropological, with its roots as Wagner conceived of it, in pre-history. Whether this is an attractive or real thing or not is obviously a matter for discussion, but it's a different thing from a specific nationalism of a kind that Wagner was increasingly prevalent in the 19th century across Europe and beyond. Wagner was intellectually an extraordinary mix of influences, he was never as »
- Guardian Staff
The shower murder in Alfred Hitchcock’s “Psycho” sits alongside the opening of “Citizen Kane” and the climax of “2001: A Space Odyssey” as one of the most famous movie scenes in history, but the reasons are both obvious and elusive. Alfred Hitchcock’s 1960 proto-slasher film jarred audiences with the sudden death of leading lady Janet Leigh midway through, in a grisly, taboo-shattering bout of nudity and knifing at the ends of a shadowy, cross-dressing Norman Bates. As a complex narrative strategy and a subversive stunt, it kickstarted decades of conversations, so it’s surprising it took so long for someone to make a movie about it.
Enter “78/52,” the latest film-history deep-dive from Alexandre O. Phillipe (“Doc of the Dead,” “The People vs. George Lucas”). A compendium of appreciations, close readings, and reminiscences on the bloody death scene and its lasting impact, Phillipe’s brisk cinematic essay consolidates the enthusiasm »
- Eric Kohn
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