11 items from 2016
Most British crime films of the '40s and '50s have been slow crossing the pond, but Olive Films has a winner here, a gloss on Yank gangster pix from an earlier era. Just clear of prison, a tough criminal vows to punish the gang that abandoned him, and carries it out a ruthless revenge. But I think it was a mistake for him to involve that dance hall girl... Appointment with Crime Blu-ray Olive Films 1946 / B&W / 1:37 flat Academy / 91 min. / Street Date June 21, 2016 / available through the Olive Films website / 29.98 Starring William Hartnell, Herbert Lom, Joyce Howard, Robert Beatty, Raymond Lovell, Alan Wheatley. Cinematography Gerald Moss, James Wilson Film Editor Monica Kimick Original Music George Melachrino Produced by Louis H. Jackson Written and Directed by John Harlow
Reviewed by Glenn Erickson
Ask today's American film fan about old British crime films, and he'll probably not be able to »
- Glenn Erickson
Since any New York cinephile has a nearly suffocating wealth of theatrical options, we figured it’d be best to compile some of the more worthwhile repertory showings into one handy list. Displayed below are a few of the city’s most reliable theaters and links to screenings of their weekend offerings — films you’re not likely to see in a theater again anytime soon, and many of which are, also, on 35mm. If you have a chance to attend any of these, we’re of the mind that it’s time extremely well-spent.
Anthology Film Archive
A Jia Zhangke retrospective comes to an end. If you’ve not yet seen Mountains May Depart, »
- Nick Newman
This noir hits with the force of a blast furnace -- Cy Endfield's wrenching tale of social neglect and injustice will tie your stomach in knots. Sound like fun? An unemployed man turns to crime and reaps a whirlwind of disproportionate retribution. It's surely the most powerful of all filmic accusations thrown at the American status quo. Try and Get Me! Blu-ray Olive Films 1950 / B&W / 1:37 flat Academy / 92 min. / Street Date April 19, 2016 / The Sound of Fury / available through the Olive Films website / 29.95 Starring Frank Lovejoy, Kathleen Ryan, Richard Carlson, Lloyd Bridges, Katherine Locke, Adele Jergens, Art Smith, Renzo Cesana, Irene Vernon, Cliff Clark, Donald Smelick, Joe E. Ross. Cinematography Guy Roe Production Design Perry Ferguson Film Editor George Amy Original Music Hugo Friedhofer Written by Jo Pagano from his novel The Condemned Produced by Robert Stillman Directed by Cyril Endfield
Reviewed by Glenn Erickson
Socially conscious 'issue' movies are not all made equal. »
- Glenn Erickson
Hollywood thrillers loved portraying Belfast as an adrenalised war zone full of hard men and across-the-barricades love affairs. But it was more thoughtful visions – the wounded freedom fighter of Odd Man Out, Angel’s languid saxophonist – that helped a traumatised city find itself
If you didn’t laugh in Belfast in the 1970s, you’d cry. Gates around the city centre clanged shut every night. Tourists feared to tread. It was rubbish, but it was ours.
We didn’t only live there; we also saw it on TV and in movies. Film-makers were fascinated by us, by our intractable little war, our film-noir city. Just as you thought of yourself as a normal teenager, buying records and saving for a new jacket, you’d see a news programme with bodies of Belfast people in open coffins, and blackness would descend. You’d hear stories of the Shankill Butchers who, a few streets away, »
- Mark Cousins
Once Arizona took it upon herself to reveal April’s pregnancy to Jackson in last week’s Grey’s Anatomy, the stage was set for this week’s episode to feature showdowns explosive enough to make the Averys’ break-up seem amicable by comparison. Did “I Am Not Waiting Anymore” deliver on its promise of fireworks? Read on and find out!
RelatedGrey’s Anatomy: Martin Henderson on Sibling Twist and ‘Enabling’ [Spoiler]
‘You Told Robbins, And You Didn’T Tell Me?’ | As the hour began, we rewound to just before “Odd Man Out” left off, with Arizona learning from Jackson that he »
Several characters found themselves in unfortunate situations in Grey's Anatomy season 12 episode 14, "Odd Man Out," but fortunately, people -- the characters themselves or someone else -- also made things better. Richard mixed up the pairings to give the residents a chance to check out a new specialty, and Meredith and Amelia in particular didn't seem too pleased with having Jo and Penny on their services, respectively. Meanwhile, Arizona made a risky decision for her patient and a tough one about April's pregnancy.
Here are the ways someone fixed a bad situation in "Odd Man Out."
What if, instead of Laverne and Shirley, J.R. and Sue Ellen, and Benson and Stabler, it had been Laverne and Stabler, J.R. and Shirley, and Benson and Sue Ellen? Wouldn’t that have been awesome? In this week’s Grey’s Anatomy, Richard seemed to think so, so he shook up all of Grey Sloan by switching the resident/attending pairings. The result? Read on…
That's more like it! After a nap-inducing episode last week, Grey's Anatomy was back on track with "Odd Man Out," directed by Kevin McKidd (Owen Hunt) and guest-starring both Casey Wilson and...wait for it...Rita Moreno. Did Arizona save quadruplets? Did April tell Jackson about her pregnancy? Did Meredith call back hottie oncologist Dr. Will Thorpe? Read on for all the scoop!
Official photos from season 12 episode 14 of Grey's Anatomy, airing Thursday, March 17 at 8pm on ABC.
"Odd Man Out" -- Richard throws everyone for a loop when he switches the resident and attending pairings, and Arizona takes a huge risk on a woman who is pregnant with quadruplets. Meanwhile, April is faced with a difficult decision. Guest starring are Scott Elrod as Major Will Thorpe, Rita Moreno as Gayle, Casey Wilson as Courtney Hall, Jay Ali as Doug, Lance Henriksen as Griffin McColl and Jamie Rose as Lena. »
Mark and Aaron are joined by Matt Sheardown of … Criterion Close-Up. You heard right. Long story. Matt is also a video games expert, so we borrowed his expertise as we broke down and evaluated the controversial Criterion release of Takashi Murakami’s Jellyfish Eyes. We discuss the visuals, the influences, the intended audience, and how to classify it as a genre. We also ask the big question, which many have asked since the announcement — is it worthy of Criterion?
About the film:
The world-famous artist Takashi Murakami made his directorial debut with Jellyfish Eyes, taking his boundless imagination to the screen in a tale of friendship and loyalty that also addresses humanity’s propensity for destruction. After moving to a country town with his mother following his father’s death, a young boy befriends a charming, flying, jellyfish-like sprite—only to discover that his schoolmates have similar friends, and that »
- Aaron West
Displaying a transparency that few filmmakers of his fame and / or caliber would even bother with, Steven Soderbergh has, for a couple of years, been keen on releasing lists of what he watched and read during the previous twelve months. If you’re at all interested in this sort of thing — and why not? what else are you even doing with your day? — the 2015 selection should be of strong interest, this being a time when he was fully enmeshed in the world of creating television.
He’s clearly observing the medium with a close eye, be it what’s on air or what his friends (specifically David Fincher and his stillborn projects) show him, and how that might relate to his apparent love of 48 Hours Mystery or approach to a comparatively light slate of cinematic assignments — specifically: it seems odd that the last time he watched Magic Mike Xxl, a »
- Nick Newman
11 items from 2016
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