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Frank Ocean: musician, visual-album releaser, list-making cinephile. Following on the heels of his latest album finally being made available to the eager public, Ocean has revealed his 100 favorite films. Originally posted on Genius, which has a breakdown of how movies like “The Little Mermaid” and “Eyes Wide Shut” made their way into his lyrics (“I’m feeling like Stanley Kubrick, this is some visionary shit/Been tryna film pleasure with my eyes wide shut but it keeps on moving”), the list contains a mix of familiar favorites (“Annie Hall,” “The Royal Tenenbaums”) and comparatively obscure arthouse fare (“Woyzeck,” “Sonatine”). Avail yourself of all 100 below.
“The Last Laugh”
- Michael Nordine
After a few delays, Frank Ocean‘s Channel Orange follow-up, Blond, has now arrived and, with it, not only an additional visual album, but Boys Don’t Cry, a magazine that only a select few were able to get their hands on. (Although, if you believe the artist’s mom, we can expect a wider release soon.) In between a personal statement about his new work and a Kanye West poem about McDonalds, Ocean also listed his favorite films of all-time and we have the full list today.
Clocking at 207.23 hours, as Ocean notes, his list includes classics from Andrei Tarkovsky, David Lynch, Ingmar Bergman, Stanley Kubrick, Martin Scorsese, Orson Welles, Rainer Werner Fassbinder, Jean Cocteau, Alfred Hitchcock, Francis Ford Coppola, Fritz Lang, Werner Herzog, Akira Kurosawa, Ridley Scott, Bernardo Bertolucci, Sergei Eisenstein, F. W. Murnau, Luis Buñuel, and more.
As for some more recent titles, it looks like The Royal Tenenbaums »
- Jordan Raup
Generally speaking, if you’ve seen one “greatest films of all time” list, you’ve seen them all, with the top choices usually containing some configuration of “Citizen Kane,” “The Godfather,” and “Vertigo.” History tends to solidify critical consensus which makes a list of more contemporary movies all the more interesting. With less time and perspective to […]
- Kevin Jagernauth
The Twitter-verse got very creative overnight with the trending hashtag #TrumpExplainsMoviePlots, where users wittily conjured up the way Donald Trump would describe a movie plot.
“She gets out and she starts asking me all sorts of ridiculous questions,” said Trump. “You could see there was blood coming out of her eyes, blood coming out of her wherever. In my opinion, she was off base.” He later claimed that “wherever” meant Kelly’s nose.
The tweet poked fun at this line of reasoning: “A 10 gets killed in motel by loser. Blood coming of her whatever. Not a Trump hotel, folks.”
A 10 gets killed in motel by loser. Blood coming of her whatever. Not a Trump hotel, folks. #TrumpExplainsMoviePlots pic.twitter.com/WcAPkDx2IJ
— Jorge I. Castillo (@jicastillo) August »
- Maria Cavassuto
Morning, Daily Deaders! In today’s Horror Highlights, fans of “The Caped Crusader” may be interested in the photos and release details for Tweeterhead’s Batman ’66 “Noir” variant maquette. Also: a bonus features Blu-ray clip and trailer from Shout! Factory’s The Transformers: The Movie Blu-ray and a look at preview pages and cover art for issue #30 of Dark Horse’s Buffy the Vampire Slayer Season 10 comic book series.
We will begin Pre-Selling our Batman ’66 “Noir” Variant next Wednesday, August 17th. We were given the chance to make these Super limited edition maquettes featuring our original Batman maquette with Black Cape, Cowl, Boots, Briefs, and Gloves.
This piece is limited to just 100 hand-numbered pieces and will retail for $199.99. This Batman Maquette does Not include the computer half of the base like the original did. »
- Tamika Jones
Japanese art filmmaking writ large by director Hiroshi Teshigahara: a strange allegorical fantasy about a man imprisoned in a sand pit, and compelled to make a primitive living with the woman who lives there. Perhaps it's about marriage... Woman in the Dunes Blu-ray The Criterion Collection 394 1964 / B&W / 1:33 full frame / 148 min. / Suna no onna / available through The Criterion Collection / Street Date August 23, 2016 / 39.95 Starring Eiji Okada, Kyoko Kishida, Hiroko Ito Production Design Totetsu Hirakawa, Masao Yamazaki Produced by Tadashi Oono, Iichi Ichikawa Cinematography Hiroshi Segawa Film Editor Fuzako Shuzui Original Music Toru Takemitsu Written by Kobo Abe Directed by Hiroshi Teshigahara
Reviewed by Glenn Erickson
In the 1960s the public interest in art cinema reached out beyond France and Italy, finally giving an opening for more exotic fare from Japan. Director Hiroshi Teshigahara earned his moment in the spotlight with 1964's Woman in the Dunes, an adaptation of a book by Kobo Abe. »
- Glenn Erickson
From Citizen Kane to Gangs of New York, cinema has been warning of the inexorable rise of the Republican candidate for years
Donald Trump has been in a Woody Allen movie, a Home Alone sequel and Zoolander. The screenwriter Bob Gale admitted villain Biff Tannen – the bully who strikes it rich and builds a “huge” tower named after himself in Back to the Future 2 – was modelled on Trump. Meryl Streep went orange face for a charity gala in New York and Johnny Depp gave his best performance in years as the Donald in a Funny or Die sketch.
Trump is ubiquitous. Should he win in November, Donald J Trump will be the first internet meme to become president. He’s even in movies that he isn’t in. Here are four cinematic avatars which predicted the resistible rise of the Trumpster.
Continue reading »
- John Bleasdale
As is usually the case with the films of Paul Thomas Anderson, we’re not exactly holding our breath that we’ll be seeing his next collaboration with Daniel Day-Lewis anytime soon. To help ease the wait for their reunion following There Will Be Blood, an extensive conversation has now surfaced online, featuring the pair at NYC’s 92nd Street Y, discussing their 2007 sprawling masterwork not long after its release.
Comparisons to Citizen Kane, being influenced by Treasure of Sierra Madre, why the last line is why Daniel Day-Lewis wanted to do the film, how Jonny Greenwood delivered over two hours of music, shooting on the same location as Giant, and more are discussed during the talk. “My decision-making process has to happen in such a way that I’m absolutely unaware of it, otherwise I’m somehow objectifying a situation that demands something utterly different,” Day-Lewis notes, speaking to »
- Jordan Raup
“The motion picture you are about to witness may startle you. It would not have been possible, otherwise, to sufficiently emphasize the frightful toll of the new drug menace which is destroying the youth of America in alarmingly increasing numbers. Marihuana!”
Reefer Madness screens Thursday August 4th at 7:00pm at Schlafly Bottleworks (7260 Southwest Avenue Maplewood, Mo 63143). $6 for the screening.
In 1932, Harry Anslinger was named head of the Federal Bureau of Narcotics. The position was not much more than a figurehead because all the bureau was involved in was the amount of morphine etc. that were in medicine like cough syrup. Anslinger wanted more power and the best way to get power was to put more “narcotics” under his control. So he set his sights on marijuana. He met and became friends with Charles Randolph Hearst (the Citizen Kane guy!) and they talked about their shared dislike of cannabis. During this time, »
- Tom Stockman
There are a lot of adjectives you can use to describe Mr. Robot, but "hopeful" isn't usually one of them. No matter how you slice it, this is a place where loved ones turn up dead, no one's to be trusted, and people eat pills out of their own puke to make the pain go away. But this week's hour-long episode, entitled "eps2.2_init1.asec," (because Mr. Robot, people) is about as bright and shiny as this show is ever likely to get. We even see a real smile out of Elliot — no Adderall involved. »
Paul Greengrass has spent the past twenty-plus years crafting lean, energetic action films such as his Bourne entries — a franchise he returns to this Friday with Jason Bourne — and equally taut docudramas such as Captain Philips and United 93. His staging and editing of action has become a seminal staple of modern cinema, though it has proven hard to properly imitate as the coherence he often achieves is lost on his imitators. His films explore national paranoia and wounded heroes (often Matt Damon), while his style focuses on kinetic, intimate, and spur-of-the-moment action and storytelling.
Thanks to BFI‘s most recent Sight & Sound poll, Greengrass has compiled a list of his ten favorite films, many of which globe trot outside of the U.S. to everywhere from France (Godard), to Japan (Kurosawa), and Russia (Eisenstein), among others. There’s a clear connective thread between the French New Wave style of »
- Mike Mazzanti
“Hillary’s America,” the third documentary from author, filmmaker and convicted felon Dinesh D’Souza, begins with an undeniably fascinating premise: What if a Twitter egg made a movie? While D’Souza’s previous feature-length attacks on the Democratic Party were similarly falsified and foaming at the mouth (remember the part in 2014’s “America” when he argued that Hillary Clinton wants to use Nasa to turn the United States into her own personal panopticon of terror?), “Hillary’s America” is different — this time, it’s personal.
In January of 2014, D’Souza was indicted for violating campaign finance laws after it was discovered that he made illegal contributions to Wendy Long’s Senate bid (she wound up losing by more than 40 percentage points). He was found guilty, and accused the court of selective persecution on the basis that the Obama administration was supposedly trying to silence its dissidents.
“It all began »
- David Ehrlich
When Steven Spielberg is enthused, his sentences pick up speed and momentum, the words coming in long, unpunctuated bursts that have you worried he’s going to forget to breathe. Just over a month ago, he tells me, his eldest daughter Jessica had a baby girl, his fourth grandchild. Spielberg has seven children, aged between 19 and 39; now he is making up stories for his grandchildren the way he did for them. “They’re all stories of empowerment, and being magical or able to read your mom and dad’s mind, or your best friend being a Tyrannosaurus rex that only you know about and he lives in your backyard,” he explains excitedly.
We are »
- Tom Shone
In honor of Bastille Day, July 14, France’s independence day, here is a list of five top French Revolution films (in no particular order). Not all the films are French and not all have to do with The Revolution. but all celebrate French patriotism or the revolutionary ideals of Liberté, Égalité et Fraternité.
Oddly, there are not a lot of great French films on the Revolution, although it certainly seems a ripe subject for an epic. Still, all these are great films, in the spirit of the day. Vive La France!
The great French actor Gerard Depardieu stars as Danton, one of the early leaders of the Revolution but who fell from power as revolutionary leaders became more radical, in this excellent French film from Polish director Andrzej Wajda. It is considered one of the best films on the Revolution, but it was also a covert jab at the »
- Movie Geeks
I have to begin this week's tweet roundup with this amazing find from Scott Feinberg - a press clipping about Citizen Kane on Oscar night and the room reaction to every mention of the film.
Portion of Nyt dispatch from 1942 Oscars ceremony pertaining to Citizen Kane's poor showing ("boos and catcalls") pic.twitter.com/tNs3hmREGe
— Scott Feinberg (@ScottFeinberg) July 7, 2016
Crazy, right? The politics of the moment are always so hard to properly contextualize after the fact when it comes to art that endures.
More entertainment tweets ahead but first a joyous announcement from our friend and podcast mate Katey Rich »
- NATHANIEL R
Simon Brew Published Date Sunday, July 10, 2016 - 18:09
As the credits played over the end of Paul Feig’s much-talked-about new take on Ghostbusters, my mind was awash. There were things that didn’t quite work. There were bits I really liked. How did it measure up compared to the others? What did I want to say about it?
And then I stopped, and realised I had a great big grin on my face (bolstered still further by the excellent, unmissable end credits). I think that’s something to easily lose sight of. That this is – for all the noise that’s followed the project for the last year – ultimately supposed to be a big, broad summer comedy blockbuster. Its aim is to entertain. In that respect, I think Ghostbusters is mission accomplished. Stacked next to any Transformers film, for instance, and it’s not even the slightest sniff of a competition. »
“He assembled a temp score [existing music used during editing], which was very influential and exerted a pretty strong influence on ‘Drive,'” said Martinez in a recent interview with IndieWire. “On ‘Neon Demon’ he really threw me a curveball, he had it temped from top to bottom exclusively with music of Bernard Herrmann.”
The scores of the legendary Hollywood composer Herrmann, most commonly remembered for creating big, dramatic orchestral music for films like “Citizen Kane,” “Pyscho,” “Vertigo” and “Taxi Driver”, are in a different sonic universe from Martinez’s scores, which are defined by sparse, modern music that gives his films a dark, electronic undertone.
“Nicolas said, ‘I »
- Chris O'Falt
Article by Jim Batts, Dana Jung, Sam Moffitt, and Tom Stockman
Special effects legend Ray Harryhausen, whose dazzling and innovative visual effects work on fantasy adventure films such as Jason And The Argonauts and The 7th Voyage Of Sinbad passed away in 2013 at age 92. In 1933, the then-13-year-old Ray Harryhausen saw King Kong at a Hollywood theater and was inspired – not only by Kong, who was clearly not just a man in a gorilla suit, but also by the dinosaurs. He came out of the theatre “stunned and haunted. They looked absolutely lifelike … I wanted to know how it was done.” It was done by using stop-motion animation: jointed models filmed one frame at a time to simulate movement. Harryhausen was to become the prime exponent of the technique and its combination with live action. The influence of Harryhausen on film luminaries like Steven Spielberg, George Lucas, Peter Jackson, and »
- Movie Geeks
The 2000 film “Center Stage” — the source material for “Center Stage: On Pointe,” which is itself the third film in what we are now forced to call the “Center Stage” universe — is, for what it is, modestly brilliant. Written by Carol Heikkinen, who also wrote cult classic “Empire Records,” and directed by Nicholas Hytner, a theater director of some acclaim, the original “Center Stage” is a slightly too-cerebral melodrama about the pressures of professional dance meeting the pressures of being a teenager. It did not do notably well at the box office, but — like “Empire Records” — “Center Stage” found an audience after its theatrical release, due to some combination of home video sales and TV airings of the relatively family-friendly film.
Because the film is so easy to watch — this is a nice way of saying “mediocre” — it invites repeat viewings, to the point that what happens ceases to matter at all. Instead »
- Sonia Saraiya
Michael Moore’s 12th annual Traverse City Film Festival is right around the corner. This year the celebration will run from July 26 -31 in Michigan and boast over 200 film screenings. Unlike any other, the historical events will feature productions like “The 33,” “Citizen Kane,” “Dope,” “Hell or High Water,” “Here Alone,” “Hunt for the Wilderpeople,” “Mustang” and many more critically acclaimed films.
Some of this year’s special events also include Michiganders Make Movies, a selection of films made by people from Michigan, free morning filmmaker panels, Kids Fest, midnight movie interruptions with comedian Doug Benson, The Sidebar: Food on Film and Open Space, an outdoor cinema under the stars.
Traverse City Film Festival will also include films centering around the Presidential election and a worldwide live screening event of Moore’s new picture, »
- Liz Calvario
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