7 items from 2017
Ellen Ripley in all her butt-kicking glory is kicking off today's Horror Highlights. Funko's Ellen Ripley Rock Candy collectible will hit stores soon! Also: details on Splathouse podcast's Hobgoblins (1988) discussion, Alamo Drafthouse and Kodak's first-ever Reel Film Day, and release details for Bigfoot the Movie.
Funko's Ellen Ripley Rock Candy Collectible: From Funko: "A Pop! and ReAction just aren't enough - Ellen Ripley will be joining the Rock Candy line soon!
Splathouse Podcast Presents a Hobgoblins Discussion: From Splathouse: "For your consideration: Our four panelists (Sarah, Mike, John, and Jim) are joined by a Twitter friend (@parkerandcooley), an Academy Award nominee (Christopher Walken), a quiet coyote, and Rick Sloane (writer/director of The Visitants and Vice Academy). Can the gang survive the chaos or will they be seduced by the evil, mind-altering Hobgoblins? Find out this week!
Plus! All the regular bullshit you love: What Do Ya Know? »
- Tamika Jones
Richard Schickel, the longtime film critic for Time magazine who also wrote 37 books, mostly on film, and directed a number of documentaries on film subjects, died on Saturday in Los Angeles of complications from a series of strokes, his family told the Los Angeles Times. He was 84.
“He was one of the fathers of American film criticism,” his daughter, writer Erika Schickel, told the Times. “He had a singular voice. When he wrote or spoke, he had an old-fashioned way of turning a phrase. He was blunt and succinct both on the page and in life.”
He wrote and/or directed more than 30 documentaries, mostly for television.
Schickel shared a 1977 Emmy nomination for the documentary “Life Goes to the Movies” and received two nominations in 1987 for the documentary “Minnelli on Minnelli: Liza Remembers Vincente,” which he directed.
Schickel wrote film reviews for Life magazine from 1965 until the magazine folded in »
- Carmel Dagan
“Cain, Curtiz, And Crawford”
Mildred Pierce is one curious piece of cinema. As film critics Molly Haskell and Robert Polito point out in their fascinating conversation that is a supplement on this beautifully-presented Blu-ray release from The Criterion Collection, Pierce is a movie that almost doesn’t know what it wants to be. In many ways it is a woman’s picture, that is, a melodrama, but it’s disguised inside a manufactured film noir.
This reasoning is sound, for in spite of novelist James M. Cain being known for terrific pulp crime fiction (Double Indemnity, The Postman Always Rings Twice), his 1941 novel Mildred Pierce is not a crime story, unless you want to say that a young woman having an affair with her stepfather is “criminal.” The book is indeed hardboiled and pulpy, but there is no murder in it.
On the other hand, Michael Curtiz »
- email@example.com (Cinema Retro)
“Have you ever heard somebody say, ‘I can’t watch black-and-white movies?'” asks the creator of the Now You See It YouTube channel in his latest video. Said video essayist takes issue with that mindset, and he’s here to explain why in just four minutes. “Black and white can do just as much as color,” he contends, and for Exhibit A he turns to film noir.
Read More: 8 Essential Film Noir Movies MoMI is Resurrecting From the 1940s
Our intrepid host uses examples of both good and bad parodies to make a point: “Saturday Night Live” got it wrong by using low-contrast black and white in a recent skit inspired by “Casablanca,” while an old “Calvin and Hobbes” comic strip mimicked the style much more skillfully. The poor imitation demonstrated by the likes of “SNL,” he argues, is why some consider black and white to be boring — they »
- Michael Nordine
The Criterion Collection 860
1945 / B&W / 1:37 flat Academy / 111 min. / available through The Criterion Collection / Street Date , 2017 /
Cinematography: Ernest Haller
Art Direction: Anton Grot
Film Editor: David Weisbart
Original Music: Max Steiner
Directed by Michael Curtiz
James M. Cain’s 1941 novel Mildred Pierce offers a venal and self-destructive view of America not with a story of respectable bourgeois society, not the criminal underworld. A de-classed, suburb-dwelling nobody fights her way onto the social register by using men and by hard work… and then watches as her obsessive goals blow up in her face In Cain’s worldview it’s every woman for herself. He drags in an odd personal theme, »
- Glenn Erickson
Dana Andrews movies: Film noir actor excelled in both major and minor crime dramas. Dana Andrews movies: First-rate film noir actor excelled in both classics & minor fare One of the best-looking and most underrated actors of the studio era, Dana Andrews was a first-rate film noir/crime thriller star. Oftentimes dismissed as no more than a “dependable” or “reliable” leading man, in truth Andrews brought to life complex characters that never quite fit into the mold of Hollywood's standardized heroes – or rather, antiheroes. Unlike the cynical, tough-talking, and (albeit at times self-delusionally) self-confident characters played by the likes of Alan Ladd, Edward G. Robinson, James Cagney, Humphrey Bogart, and, however lazily, Robert Mitchum, Andrews created portrayals of tortured men at odds with their social standing, their sense of ethics, and even their romantic yearnings. Not infrequently, there was only a very fine line separating his (anti)heroes from most movie villains. »
- Andre Soares
The East Coast and West Coast have been playing tug of war over the top Oscar the past dozen years, and this year the regional divide is especially pronounced.
“La La Land” and “Manchester by the Sea,” two of the awards season’s earliest and enduring favorites, represent each other’s coastal opposite: Kenneth Lonergan’s prototypically New England “Manchester by the Sea” is as wintry and repressed as Damien Chazelle’s retro Los Angeles musical is sun-drenched and yearning. It’s impossible to imagine either movie set elsewhere: the chill is palpable from the moment Casey Affleck’s handyman starts shoveling snow at the outset of “Manchester by the Sea.” “La La Land,” by contrast, opens with a gridlock-defying dance routine on a freeway, establishing Emma Stone’s Mia as a wannabe actress driving a Prius, the eco-friendly car popular with the city’s creative class.
Both movies hope »
- Diane Garrett
7 items from 2017
IMDb.com, Inc. takes no responsibility for the content or accuracy of the above news articles, Tweets, or blog posts. This content is published for the entertainment of our users only. The news articles, Tweets, and blog posts do not represent IMDb's opinions nor can we guarantee that the reporting therein is completely factual. Please visit the source responsible for the item in question to report any concerns you may have regarding content or accuracy.See our NewsDesk partners