1-20 of 21 items from 2013 « Prev | Next »
Directed by Ben Wheatley
Either Ben Wheatley is a boiling pot of pent-up rage, or he is the complete opposite and thus finds perverse pleasure in humouring the rage fantasies and violent tendencies of the frustrated working-class white English male. Even last year’s grit-fest, Kill List, is not entirely void of something approximating humour, even at its bleakest, blackest moments. But with this his third narrative feature, humour takes centre stage and everything springs forth from and brings forth comedy: the gory violence, the psychotic romance, the meat-and-potatoes relationship drama, the deranged road trip through northern England with a caravan in tow.
Thirty-something Tina (Alice Lowe) lives with her possessive, borderline personality mother in a house filled with countless photographs and sketches of their beloved deceased terrier Poppy, whose death by knitting needle »
Emil and the Detectives is a popular novel that was filmed several times and once by Disney. The version you want to see, however, and which you very possibly can't see, is the one scripted by Billy (or "Billie") Wilder and directed by some bloke called Gerhardt Lamprecht. I don't know his other films, but he appears to be amazing.
Emil, visiting his granny in Berlin, is drugged by an evil criminal man on the train and robbed of the money he was delivering. The film has carefully set Emil up as a spirited young fellow, kind and thoughtful but also a little naughty. A prank involving a public statue has left him in fear of being pinched by the police, so when he's robbed he joins forces with a gang of kids to get his cash back.
The combination of location naturalism and studio artifice, which is at »
- David Cairns
Tribeca Film Winona Ryder '15 Films ranked in order of how much we wanted to be her'
Gold Derby thinks Bette Midler should host the Tonys. Co-sign
poll by twiigs.com
two pieces by friend Drew on smart studio planning
Indiewire on Marvel Studios game plan and how it kinda sorta follows Steven Soderbergh's recent speech/advice (though that's, generally speaking, a stretch since Marvel movies are not about the auteurs point of view and Soderbergh was actually ranting against massive setpieces above human drama, wasn't he? -- I lost track, solid points are definitely raised)
The Playlist on Disney's unbeatable multibillion dollar slate for 2015 from Pixar to Marvel Studios. Total world domination forthcoming!
- NATHANIEL R
Hit Me With Your Best Shot Episode 4.8
Double bourbon is fine, Walter."
As a baby cinephile in the 1980s I grew up with Body Heat (1981) as my noir of choice. Before I had any biblical knowledge of my own, I was utterly enthralled by Kathleen Turner's come-hither challenge and roaming hands, William Hurt's 'not-too-smart' insatiable lust and that broken window in a sticky Florida summer. For reasons that seem immature/absurd now, I avoided Double Indemnity for many years afterwards feeling 'I'd already seen it'. Never mind that Body Heat was less a remake than an "inspired by" or that Body Heat's reign as the Best of the Neo Noirs does nothing to diminish the bewitching "rotten to the core" vortex of Double Indemnity's scheming plot and sexual shenanigans.
Different noirs for different eras. But the long shadow that Body Heat cast on my early views »
- NATHANIEL R
From the moment they met it was murder."
The fact that Barbara Stanwyck never won a competitive Oscar could drive anyone to the deadly deed!
For this week's edition of Hit Me With Your Best Shot we asked fellow denizens of the web to look at Double Indemnity with us. If you click on any of the still's selected as "Best Shot" after the jump it'll take you to the corresponding article, eleven of them in total. This movie is a stone cold fox. »
- NATHANIEL R
Paul Verhoeven is responsible for some of the most memorable, most bonkers Hollywood blockbuster moments in recent memory: The three-breasted alien in Total Recall, a revealing leg-uncrossing in Basic Instinct, pretty much everything in Showgirls. But the Dutch director hasn’t made a American project since 2000′s Hollow Man and hasn’t made any kind of film since 2006′s well-received Black Book.
With Tricked, which screened at this year’s Tribeca Film Festival, Verhoeven returns to the directing chair, but not without a little help from his fans. The film is a bit of an experiment: Using only a five-minute script from a professional screenwriter, »
- Keith Staskiewicz
...straight down the line."
Don't cross Barbara Stanwyck. Get all up in your noir this week with the classic Double Indemnity (1944), available on Netflix Instant Watch., Amazon Instant Video, or for purchase on iTunes. We'll see you back here Wednesday night (5/1) for the next "Hit Me With Your Best Shot" episode. Join us!
Other Big Dates in Early May...
5/2: Summer Movie Madness kicks off with Iron Man 3 and big buckets of popcorn will be consumed right here.
5/7: Team Experience, which recently picked the best new millenial directors, returns with a list of the Best... nah, we won't spoil it ahead of time but trust - you won't want to miss it!
5/8: A mini 'Katharine Hepburn Fest' kicks off with a "best shot" for Summertime. We'll look at a few other movies, too.
5/10: The Great Gatsby. I'm worried but you know we'll be discussin' »
- NATHANIEL R
I have a confession to make. I only selected A Star is Born (1954) for this week's edition of 'Best Shot' as an excuse to talk about one of the all-time greatest movie scenes. I'm talking All Time All Time. The scene is the shot and the shot is the scene and the scene justifies the whole movie's title... although it might be more accurately titled A Star is Reborn. I can't let it stop me that several people have already chosen it as their Preferred Shot though this will have the unfortunate effect of making a quite extraordinary whole movie look a little front-heavy since The Scene comes very early in the film.
Take it honey. Take it from the top...
And so she does, glancing over sheet music, humming the melodic line, and easing herself into her spotlight as the mood sweeps over her. She then unleashes »
- NATHANIEL R
Directed by Billy Wilder
Billy Wilder’s films are perfection. From Double Indemnity to Some Like It Hot, Wilder never made a bad film. And while his earlier films are some of my absolute favorites, I had always skipped over The Lost Weekend. Put it down to my skepticism of casting handsome romantic leading man Ray Milland in such a grim role and the sheer weight of the subject matter.
Milland is Don Birnam, a struggling writer who hasn’t written anything since first coming to New York and having magazines immediately reject his work. He tries to write but never seems to be able to finish his stories. Instead, he spends his time and money finishing bottles of liquor. For the past six years, Birnam has battled his writer’s block with alcohol. An inexplicably patient and loyal girlfriend, »
- Katherine Springer
I've mentioned before how several years ago I created a list using Roger Ebert's Great Movies, Oscar Best Picture winners, IMDb's Top 250, etc. and began going through them doing my best to see as many of the films on these lists that I had not seen as I possibly could to up my film I.Q. Well, someone has gone through the exhaustive effort to take all of the films Roger Ebert wrote about in his three "Great Movies" books, all of which are compiled on his website and added them to a Letterbxd list and I've added that list below. I'm not positive every movie on his list is here, but by my count there are 363 different titles listed (more if you count the trilogies, the Up docs and Decalogue) and of those 363, I have personally seen 229 and have added an * next to those I've seen. Clearly I have some work to do, »
- Brad Brevet
I've mentioned before how several years ago I created a list using Roger Ebert's Great Movies, Oscar Best Picture winners, IMDb's Top 250, etc. and began going through them doing my best to see as many of the films on these lists that I had not seen as I possibly could to up my film I.Q. Well, someone has gone through the exhaustive effort to take all of the films Roger Ebert wrote about in his three "Great Movies" books, all of which are compiled on his website and added them to a Letterbxd list and I've added that list below. I'm not positive every movie on his list is here, but by my count there are 362 different titles listed (more if you count the trilogies and Decalogue) and of those 362, I have personally seen 229 and have added an * next to those I've seen. Clearly I have some work to do, »
- Brad Brevet
“Yes, I killed him. I killed him for money – and a woman – and I didn’t get the money and I didn’t get the woman. Pretty, isn’t it?”
Cold-blooded, brutal, and stylishly directed by Billy Wilder, Double Indemnity is a prime example of The Film Noir genre and remains highly influential in its look, attitude and story. The 1944 crime drama set the pattern for that distinctive post-war genre: a shadowy, nighttime urban world of deception and betrayal usually distinguished by its “hard-boiled” dialogue, corrupt characters and the obligatory femme fatale who preys on the primal urges of an ordinary Joe hungry for sex and easy wealth.
Phyllis Dietrichson (Barbara Stanwyck) seduces insurance agent Walter Neff (Fred MacMurray) into murdering her husband to collect his accident policy. The murder goes as planned, but after the couple’s passion cools, each becomes suspicious of the other’s motives. The plan »
- Tom Stockman
Andy and I were just talking about the movie Blade Runner last night. It has always been a film that intrigues and fascinates me and is one of those classics that I frequently go back to watch at least once a year. As of late, I’ve been on a 1940′s-1950′s film-noir kick and have been soaking in a number of films in that style ranging from low-budget and little known fare like Detour to more acclaimed titles like Double Indemnity. Blade Runner is very much a futuristic noir in the style of these moody and stylized pieces of cinema. A large contributor to the film working in this style is the score. Film composer Vangelis used synthesizers and classical arrangements to breathe life into Ridley Scott’s rainy and neon-lit cityscapes. Fans of the score and collectors of vinyl will be happy to hear that the soundtrack is heading our way. »
- Michael Haffner
By Joey Magidson
Everyone knows the saying “it’s an honor just to be nominated,” right? Well, that’s certainly the case, but there are always times when it just doesn’t seem right for a film to leave Oscar night empty handed. Tons of worthy films aren’t even nominated each year, but there is also no shortage of flicks that receive a solid amount of nominations and wind up winning nothing.
A lot goes into actually winning an Academy Award. Quality, of course, comes into play, but a little less than I’d prefer. Politics has its place, too, both in terms of capturing the zeitgeist and also in campaigning for the win. Oscar voters love to be wooed. One can occasionally win without campaigning, but by and large the Academy wants you to want it.
While it’s not included below, Up in the Air »
- Joey Magidson
Scott Z. Burns is responsible for some of the best adult-oriented thrillers of the last six years, including "The Bourne Ultimatum," "Contagion" and, now, "Side Effects." Those last two films mark the second and third times Burns wrote a film directed by Steven Soderbergh (their first collaboration was "The Informant!"), and it's a relationship that has served both men well. Burns writes scripts that would have been at home in the 1970s and 1980s, and Soderbergh likes that era too. (Soderbergh even used the Saul Bass 1970s Warner Bros. logo at the beginning of "Magic Mike".)
"This was a kind of movie that used to be made a lot," Soderbergh said of "Side Effects" at a recent screening hosted by The Film Society of Lincoln Center in New York. "I don't know if it just got priced out of existence or what. […] They just kind of went away. I was »
- Christopher Rosen
‘Side Effects’ is a provocative thriller about Emily and Martin (Rooney Mara and Channing Tatum) a successful New York couple whose world unravels when a new drug prescribed by Emily’s psychiatrist (Jude Law), intended to treat anxiety has unexpected side effects. Marriages are ruined, Banks’ practice is decimated and someone is dead, Banks becomes obsessed with finding an answer. But the truth he uncovers threatens to destroy whatever is left of his career and his private life.
At a recent press conference we asked the cast of ‘Side Effects’ about their view on the field of psychiatry, Rooney Mara being the new kid on the block and what keeps the other actors coming back to Steven Soderbergh, Why Steven doesn’t like rehearsals, and if ‘Liberace: Behind the Candelabra’ will be his last film.
Channing, ‘Side Effects’ seems to be yet another film in what’s been a »
- Fernando Esquivel
It's hard for me to remember ever being disappointed by a Jude Law performance. There are certainly some less-than-stellar movies on his resume-- his new film, Steven Soderbergh's "Side Effects," is not one of those; it's an outstanding performance and film -- but Law always delivers. Why don't we talk about Jude Law's performances more often? Do we take Law for granted?
In "Side Effects", Law stars as Dr. Jonathan Banks, a psychiatrist who runs into trouble when the depressed young woman he's treating for depression (Rooney Mara) commits a serious crime that may or may not have been caused by her medication. (There are a lot of twists and turns in "Side Effects," and the less you know about the plot, the better.) Ahead, Law talks about the joys of working with the now-retired Steven Soderbergh, why "Sherlock Holmes: A Game of Shadows" is better than "Sherlock Holmes, »
- Mike Ryan
Side Effects is a provocative thriller about Emily and Martin (Rooney Mara and Channing Tatum), a successful New York couple whose world unravels when a new drug prescribed by Emily’s psychiatrist (Jude Law) – intended to treat anxiety – has unexpected side effects.
Emily (Academy Award nominee Rooney Mara) and Martin Taylor (Channing Tatum) are a young, beautiful, wealthy couple living the good life, with a mansion, a sailboat and every luxury money can buy—until Martin is sent to prison for insider trading. For four years, Emily waits for him in a tiny apartment in upper Manhattan, but his release is just as devastating as his incarceration and Emily sinks into a deep depression.
After a failed suicide attempt, psychiatrist Jonathan Banks »
- Michelle McCue
Our daily countdown continues with part 22 out of 30 in our list of the 300 Greatest Films Ever Made. These are numbers 90-81.
89) Yojimbo (1961) Akira Kurasawa Japan
88) Dracula (1931) Todd Browning USA
85) My Fair Lady (1964) George Cuckor USA
83) A Hard Days Night (1964) Richard Lester British
Numbers 80-71 coming up next.
film cultureClassicslist300 »
- firstname.lastname@example.org (Rob Young)
But an interview with her for Sos by a short(ish), badly dressed, nerdy man with a Ph.D? Well … if my name were Leonard, I would adjust my glasses and stress about our height difference; if Raj, I would become mute; if Howard, I would hit on her at once; and if it were Sheldon, then I might just faint.
However, if, in an alternate universe, I was a freelance journalist interviewing her for, say, a men’s magazine such as Loaded, I would write that
We met when she tapped me on the shoulder at the patio bar of the Chateau Marmont Hotel on Sunset Boulevard.
She is a very leggy and tall – 5ft 11in (1.80m) – lady, who began her acting career in Hollywood in the 1950s, »
- Roger Bourke
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