The Magnificent Ambersons
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5 items from 2014

The James Clayton Column: the mystery editors

20 February 2014 1:36 AM, PST | Den of Geek | See recent Den of Geek news »

Feature James Clayton 21 Feb 2014 - 06:09

Editors are a vital yet oft-overlooked part of filmmaking. James takes a closer look at the work of these mystery craftspeople...

Here's a pretty disturbing proposition for you to mentally chop down into easily digestible chunks - Lars Von Trier's Nymphomaniac makes its way into cinemas this week. The controversial Danish director's new ensemble movie revolves around the reminiscence of a sex addict named Joe (Charlotte Gainsbourg) who's found in the street by an academic (Stellan Skarsgård). Joe proceeds to tell him her personal story and the film plays out in flashbacks across different time periods, fleshed out by an array of well-known actors who engage themselves in graphic carnal activity.

In truth, however, none of the stars - among them Shia Labeouf, Jamie Bell, Uma Thurman and Willem Dafoe - have sex in this frank, visceral feature, even though it may appear that they are. »

- ryanlambie

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The Wild Imagination of David O. Russell: 'I'm an Add Guy'

5 February 2014 9:00 AM, PST | The Hollywood Reporter | See recent The Hollywood Reporter news »

This story first appeared in the Feb. 14 issue of The Hollywood Reporter magazine. David O. Russell digs into a large canvas tote bag, yanking out books, CDs, notepads and pens, straining the seams of his black three-piece suit (one of five identical J.Crew suits he wears each day). There are DVDs of Orson Welles' The Magnificent Ambersons and Stanley Kramer's Guess Who's Coming to Dinner; a paperback called The Art of Living: The Classical Manual on Virtue, Happiness, and Effectiveness, from the writings of Epictetus; a thank-you card from Russell's lawyer, Bruce Ramer; a half-finished

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- Stephen Galloway

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Welles's The Lady From Shanghai Returns to the Big Screen at Film Forum

28 January 2014 9:00 PM, PST | Village Voice | See recent Village Voice news »

The cinema of Orson Welles is defined by compromise -- by funding lost, control wrested away, footage excised and eradicated.

With his debut film, Welles enjoyed unprecedented freedom and authority; his final one has languished uncompleted and unseen for nearly 40 years, embroiled to this day in legal controversy. History portrays his narrative as a strong man's grip gradually loosening. What ought to be remembered, and what's so extraordinary, is that the greatness of his art has survived these concessions: His films endure even as fragments of their author's original vision, from the incomplete historical sweep of The Magnificent Ambersons (a masterpiece undiminished by its studio-mandated elisions) to the maimed and malformed Touch of Evil (assembled p »

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Criterion Collection: The Long Day Closes | Blu-ray Review

28 January 2014 7:00 AM, PST | ioncinema | See recent ioncinema news »

The inimitable Terence Davies gets his first Criterion treatment this month with his 1992 title, The Long Day Closes, a superb memory poem drenched in melancholy nostalgia. A follow-up to the much more dark and brutal Distant Voices, Still Lives (1988), Davies returns once more to the memoirs of a ravaged childhood, further expanded upon from his first three short films which comprised The Terence Davies Trilogy (1976-1984). Swimming freely between quiet fantasy sequences and recollections of free associations as we drift in and out of abandoned ramshackle buildings of the past like a restless spirit, there is a delicate and fragile longing in Davies’ second feature, a ruminative exploration absent from the pained dirge of his previous film.

Bud (Leigh McCormack) is a bright and lonely 11 year old boy growing up in 1950’s Liverpool. Absent a father figure, Bud spends most of his time at home with his mother (Marjorie Yates »

- Nicholas Bell

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Film Review: ‘Return to Nuke ’Em High Volume 1’

10 January 2014 10:52 AM, PST | Variety - Film News | See recent Variety - Film News news »

Rabid fans who delight in the wretched excess — or, if you prefer, excessive wretchedness — of Lloyd Kaufman’s infamous Troma schlock factory will doubtless embrace “Return to Nuke ‘Em High Volume 1” with all the fervent appreciation that a more conventional cinephile might reserve for a fully restored edition of “The Magnificent Ambersons.” Other viewers, especially those unaccustomed to Troma’s output, will likely be befuddled, repulsed, disgusted and/or painfully bored by this aggressively offensive and purposefully cheesy horror romp. Such over-the-top tastelessness is very much an acquired taste, although the Troma fanbase conceivably could push the pic into profit.

The term “freewheeling” does not begin to describe the slapdash, anything-goes quality of the screenplay co-written by Troma mogul Kaufman, who returned to the director’s chair for the first time in eight years to oversee this kinda-sorta sequel to his 1986 “Class of Nuke ‘Em High.” The original film — which »

- Joe Leydon

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