7 items from 2013
Everybody knows that Easter weekend is all about the chocolate nests and the Mini-Eggs - and the crucifixion and resurrection of Jesus, if that's your bag - but let's not forget the other crucial element of any long holiday weekend: movies on telly.
Whether you're in the mood for Jennifer Lawrence, animated dragons or well-oiled, scantily-clad Spartan warriors, we're confident that the Digital Spy Easter movie list has got something for everyone.
March 29, 7pm, Film4
John Hughes's slacker classic is the definition of perfect holiday viewing, following charismatic wise guy Ferris (Matthew Broderick) and his downtrodden, depressive best friend Cameron (Alan Ruck) as they skive off school and spend a day living it up in downtown Chicago.
March 29, 10pm, More4
The Coen brothers' Best Picture-winning thriller is a hypnotically tense treat, featuring one of the most frightening villains ever committed »
This week’s movie poster I present for no better reason than that I came across it this week and fell in love with it. Not that I have any great love for motorbikes or CHiPS-style shenanigans, and I’d never heard of the film before, nor its director William Nigh. But I love its blazing color, its windswept momentum, its faultless typography, and of course its romantic French title, Agent Cyclone (though its German title, Achtung - Überfallkommando!, is even better). The only thing I don't like is the over-large Universal Film title in its blackletter font, something that works much better on French horror movie posters than it does here.
Made in 1936, Crash Donovan runs just over an hour and weaves a series of chases and stunts around a love triangle consisting of carnival stuntman Michael “Crash” Donovan, California Highway Patrolman Johnnie Allen and Doris Tennyson, daughter of the chief of the Patrol. »
- Adrian Curry
Paul Risker continues his Terry Gilliam retrospective...
In Part 3 of this ‘Retrospective Series’ I likened Brazil to Orson Welles’ The Trial and David Lynch’s Blue Velvet. There is another comparison that can be drawn between Welles and Gilliam, but this time it is Gilliam who has previously drawn the comparison, contextualising his ordeal with Munchausen to that of Orson Welles and The Magnificent Ambersons.
When it became common knowledge that Welles’ Citizen Kane was about newspaper tycoon William Randolph Hearst, the conflict that erupted engulfed the whole of Hollywood, as other studios offered to reimburse Rko if they saw fit to destroy the print of the film. Welles had acted with gall, the Hollywood elite had a long memory and his comeuppance was quick to follow, in fact on his next film: The Magnificent Ambersons. The producers cut forty minutes of footage, and just as Sid Sheinberg would add his happy ending to Brazil, »
- Flickering Myth
Cowboys who gallop and ride
Know how to take things in stride
They always have their pride
Cowboys who gallop and ride
Atrocious! Add your own melody and hold your nose. I made up that ditty, or one close to it, years ago and I don’t know why. (To provide a contrast to good verse? To avoid thinking about something I should have been thinking about?) Shrug. But it’s in my head today, maybe, is because last night on what we refer to around here as “the cowboy channel” had a “six gun salute” to Tim Holt, who was one of my favorite actors when I was six or seven. Five old movies: I watched two and recorded the other three for watching late at night when I’m not ready for the trek to the bedroom but should be. He was a favorite of my childhood, was ol’ Tim, »
- Dennis O'Neil
It was a busy, busy week of movie watching for me. It began with a second viewing of Side Effects on Monday (read my review here), a screening of Identity Thief on Tuesday (read my review here), a screening of Beautiful Creatures on Wednesday, a screening of Safe Haven on Thursday and last night, as the picture above indicates, I caught a screening of Top Gun in 3D in IMAX. The Top Gun screening was fantastic. Now first off, the IMAX screen I saw Top Gun on wasn't the traditional 60' x 80' screen, it was the local Pacific Science Center's Paccar IMAX screen, which is 35' x 60' screen. So, no, it wasn't the complete IMAX setting, but the great thing about this screen as compared to a traditional multiplex, faux IMAX presentation is the intimacy of the seating. They have you as close to the screen as possible »
- Brad Brevet
Last night I watched Orson Welles' 1942 film The Magnificent Ambersons for the first time. Of course, like everyone else, I'm watching the edited down 88-minute version of the film, which was recently re-released by Warner Home Video along with the 70th anniversary release of Citizen Kane, but at this point you take what you get as it seems decided we'll never see the original 148-minute version. As David Kamp wrote in his 2002 Vanity Fair piece, Ambersons is considered one of the "two great 'lost' movies in the annals of Hollywood filmmaking" along with Erich von Stroheim's Greed, which Christopher Nolan recently pegged as a Criterion hopeful. I've had Kamp's piece bookmarked for the longest time, not wanting to read it before seeing the movie myself and I was finally able to do so. It's a fascinating story of how the film came to be an hour shorter than »
- Brad Brevet
We're halfway through our daily countdowns, with part 15 out of 30 in our listing of the 300 Greatest Films Ever Made. These are numbers 160-151.
157) Pinocchio (1940) Walt Disney USA Animated
155) The King’S Speech (2010) Tom Hooper USA/British
153) The Leopard (1963) Lucianno Visconti France/ Italy
152) Beckett (1964) Peter Glenville USA
151) The Magnificent Ambersons (1942) Orsen Wells USA
Numbers 150-141 coming up next.
film cultureClassicslist300 »
- firstname.lastname@example.org (Rob Young)
7 items from 2013
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