1-20 of 33 items from 2017 « Prev | Next »
Image Source: Getty / Sunset Boulevard It's hard to believe it's almost been 62 years since James Dean passed away. The Rebel Without a Cause actor was only 24 years old when he was killed in a car accident in Cholame, CA, on Sept. 30, 1955. James and mechanic Rolf Wütherich had been driving the actor's Porsche 550 Spyder to a car race in Salinas, CA, when they were struck by a Ford Tudor, which was driven by 23-year-old Donald Turnupseed, at an intersection on CA 41. "[Turnupseed] just didn't see Dean coming until the last, split second, and it was too late," Chp officer Ernie Tripke told the La Times in 2005. "We weren't qualified to say that [Dean] was deceased, but I think he was darn close to it." Rolf suffered a broken jaw and leg, while Donald had "very minor injuries" and was not detained. James died at the scene of the accident. Image Source: Getty / Bettmann »
- Monica Sisavat
In Hollywood, if there’s one thing more powerful that a single A-lister who seems incapable of taking a sartorial misstep on the red carpet, it’s two super chic superstars. But being one of the best dressed couples to grace any event is no easy feat, it comes with a whole lot of steep couture competition. While thus far in 2017 all eyes have been glued on the buzziest new pair in the biz, Jennifer Lopez and Alex Rodriquez, who somehow manage to make even a sweaty gym sesh into an editorial-caliber affair, props should also be given to stylish »
- Emily Kirkpatrick
Natalie Wood was one of the brightest Hollywood stars in the '70s. She solidified herself as a serious actress with appearances in movies like West Side Story and Rebel Without a Cause, but her life was tragically cut short when she mysteriously drowned while boating with her husband, Robert Wagner, at age 43 on Nov. 28, 1981. The couple had gone sailing for the weekend around Catalina Island on their 60-foot yacht, Splendour, with Natalie's Brainstorm costar Christopher Walken and captain Dennis Davern. Authorities found Natalie's body one mile south of the Splendour yacht, off an isolated cove called Blue Cavern Point. She was wearing a flannel nightgown, wool socks, and a down-filled jacket. Related17 of Hollywood's Most Horrifying Murders After an autopsy was conducted, authorities revealed that Natalie's arms had been covered in bruises, a scratch was found on her neck, and she had abrasions on her face. »
- Monica Sisavat
Every week, IndieWire asks a select handful of film critics two questions and publishes the results on Monday. (The answer to the second, “What is the best film in theaters right now?”, can be found at the end of this post.)
A recent article (based on a very unscientific poll) argued that millennials don’t really care about old movies. Maybe that’s true, and maybe it isn’t, but the fact remains that many people disregard classic cinema on principle. These people are missing out, but it only takes one film — the right film — to change their minds and forever alter their viewing habits.
This week’s question: What is one classic film you would recommend to someone who doesn’t watch them?
Candice Frederick (@ReelTalker), Hello Beautiful, /Film, Thrillist, etc
“Rebel Without a Cause.” I’ll out myself by saying that I’ve only recently seen this film »
- David Ehrlich
From August 4th through August 6th, Flashback Weekend Chicago Horror Con took over the Windy City, and Daily Dead was on hand for all the horror-fied festivities. Throughout all three days, this writer served as one of Flashback’s co-hosts, and brought back some highlights from several of the panels held over the course of the convention.
Below is the first part of our excerpts from the panel featuring the women of A Nightmare on Elm Street, Heather Langenkamp, Amanda Wyss, and Ronee Blakley. The actresses discussed how the landmark film from Wes Craven helped define a generation of kids who were directly affected by divorce, and they also shared stories from their experiences collaborating with Craven. In case you missed it, you can read part 1 of our A Nightmare on Elm Street panel coverage Here.
One thing I want to discuss is the relationship between Marge and Nancy in Nightmare. »
- Heather Wixson
The seminal teen flick “Fast Times at Ridgemont High” is celebrating its 35th anniversary on Sunday.
Not only did the coming-of-age tale set in Southern California launch the careers of director Amy Heckerling and writer Cameron Crowe, the comedy catapulted Sean Penn, Jennifer Jason Leigh, Phoebe Cates, and Judge Reinhold into stardom.
And in 2005, “Fast Times,” which was based on Crowe’s 1981 book chronicling his adventures going undercover at a San Diego high school, was selected for preservation in the Library of Congress’ National Film Registry as being “culturally, historically, or aesthetically significant.”
Ironically, “Fast Times” had to overcome many obstacles during production and almost failed to get released.
Among the early difficulties the production encountered was finding a director for the comedy, which also featured future best actor Oscar winners Forest Whitaker and Nicolas Cage — billed as Nicolas Coppola — as well as Eric Stoltz and Anthony Edwards.
- Susan King
Jason from Mnpp here with this week's "Beauty vs Beast." On this day in 1911 was born the writer-director Nicholas Ray, whose movies have come to seem fairly ahead of their time. His biggest success would of course be 1955's Rebel Without a Cause (his only Oscar nomination was for that film's script) but several of his other works have grown in reputation over the decades, and we're here to look at maybe the weirdest of them all - 1954's technicolor acid-western Johnny Guitar. (See Also: Tfe's "Hit Me With Your Best Shot" entry for this movie.)
Guitar stars Joan Crawford as the "railroad tramp" Vienna, who runs a saloon and is drawn to bad men, and her cowgirl nemesis Emma Small, played by an enthusiastically hateful Mercedes McCambridge. The actresses apparently tore it up behind the scenes (everybody who's spoken of the filming of this film makes it sound like »
Edgar Wright knows cinema. It’s evident in the way he writes his characters. It’s evident in how he chooses to tell his stories. It’s evident in the little visual nods he sprinkles into each scene, like tiny cinematic sprinkles – though they may seem unnecessary, they add to the delightful treat for film lovers. And so, with each new film, he pushes himself in terms of telling a new type of story and delivering it in a way that pushes his exhilarating style. It’s impossible to watch an Edgar Wright film and not feel the energy he has for the project, complete with those fun little sprinkles on top.
His unabashed glee for filmmaking has come to a head with Baby Driver. Years of studying film, analyzing the camerawork, acknowledging the tropes, and listening to the importance of a solid soundtrack, has amounted to a cinematic fervor »
- Michael Haffner
Colombia’s fledgling Bogota indie film festival, IndieBo, has scored a coup with Martin Scorsese’s Film Foundation in a pact that will have the festival screening a selection of 10 restored classics from the foundation’s library starting this year.
Among the titles in the selection are Marlon Brando’s 1961 Western “One-Eyed Jacks,” Joseph L. Mankiewicz’s “All About Eve,” Elia Kazan’s “On the Waterfront,” Frank Capra’s “It Happened One Night,” Nicholas Ray’s “Rebel Without a Cause” and Billy Wilder’s “Witness for the Prosecution.”
“This will be an annual event; some of these titles have never screened in Colombia,” said IndieBo artistic director/programmer Juan Carvajal, who cobbled the agreement with the foundation in New York.
He added: “After seeing ‘One Eyed Jacks’ and [Andrei Tarkovsky’s 1979 sci-fi epic] “Stalker” in New York, I felt that Colombia had to live this marvelous and unique experience, too, and that’s what drove me to pursue this agreement.” The »
- Anna Marie de la Fuente
Don’t look to this noir for hardboiled cynicism – for his first feature Nicholas Ray instead gives us a dose of fatalist romance. Transposed from the previous decade, a pair of fugitives takes what happiness they can find, always aware that a grim fate waits ahead. The show is a career-making triumph and a real classic from Rko — which shelved it for more than a year.
The Criterion Collection 880
1948 / B&W / 1:37 flat Academy / 95 min. / available through The Criterion Collection / Street Date June 13, 2017 / 39.95
Cinematography: George E. Diskant
Film Editor: Sherman Todd
Original Music: Leigh Harline
Produced by John Houseman
Directed by Nicholas Ray »
- Glenn Erickson
Close-Up is a column that spotlights films now playing on Mubi. Nicholas Ray's In a Lonely Place (1950) is playing June 2 - July 2, 2017 on Mubi in the United Kingdom as part of the series The American Noir.Although mostly remembered now by the public for his 1955 classic Rebel Without a Cause, Nicholas Ray left behind him a legacy of over twenty feature films. A veritable cinematic explorer, Ray traversed genres ranging from noir, western (most notably his 1954 gender-bending cult Trucolor extravaganza Johnny Guitar), melodrama, epic and experimental film. He dared as few would to shoot in remote and forbidding locations such as the Arctic and Everglades National Park. What are Ray’s films about? As in his signature piece Rebel, despite Ray’s wide-ranging endeavors in genre and subject matter we are often met with anti-hero protagonists who struggle and rail against authority while lamenting their meaningless and circumscribed existences. »
Mubi will be showing the retrospective Philippe Garrel: Fight for Eternity from May 1 - July 5, 2017 in most countries around the world.Les enfants désaccordésQuestion: I must ask you here about one concept you discuss in your book, one that also might be thought of, next to the structural work, as another way to break from the story in the film. The concept is muzan, and I find it quite difficult to think of a proper translation of it into English. How do you employ this concept into your films, and does it, in fact, have anything to do with the way you wish to break away from the story?
Yoshishige Yoshida: I understand the word in itself, as you would understand the literal meaning of the kanji: something which expresses the impossibility of attaining stability or change for the better. Yes, I believe this is the meaning of the concept that I use. »
Close-Up is a column that spotlights films now playing on Mubi. John Carpenter's Christine (1983) is showing May 4 - June 3 and Starman (1984) is showing May 5 - June 4, 2017 in the United Kingdom.ChristineWas it too dark? Too bleak? Too gory? Did it have the misfortune of opening when American moviegoers were flocking to E.T.? Either way, when John Carpenter's The Thing landed in the summer of 1982, with an apocalyptic cliffhanger and the most surreally grotesque, tactile, gooey monster effects you never realized could be put on film, it fizzled. "It was hated," Carpenter later recalled at a screening in Los Angeles. "Hated by fans. I lost a job. People hated me. They thought I was this horrible, violent—" He trailed off and joked, "And I was." The audience laughed, because by now The Thing's exalted place in movie geek culture is secure: an exquisitely paranoid horror classic and arguably the crown »
Author: Dave Roper
So, we come to the end of this particular series. We’ve covered a number of aspects of the creative input into film-making, including actors, actresses, writers composers, and directors (in two parts). We’ve stopped short of costume, make-up, special effects, art design and others, however our final stop is Cinematography. The Dop exerts plenty of influence over the look of the film. Yes, lighting, production design and the director’s vision are key too, but the consistency and persistence with which certain directors stick with and return to a trusted Dop shows just how much they contribute.
Seven has a unique visual aesthetic. Plenty of films have gone for the “always raining, always dark” approach, but contrast Seven with something like AvP: Requiem for a shining example of how hard it is to pull off effectively. And contrast is the word. Seven »
- Dave Roper
Welcome to another installment of Movies to Show My Son. This is the blog series were I discuss movies I can’t way to show my son in the future. I’ll be covering my own personal experience with the movie, movie and life lessons I hope he will learn, and lastly my concerns about showing said film. This week’s film is Cool Hand Luke.
This is the first film in this series that was shown to me by my father. It was a somewhat impromptu event as I was searching our DVD shelves for a specific movie one day for a reason I cannot remember. Although it was against my personal beliefs our DVD collection was not alphabetized. Blasphemy I know! The benefit came one day when I came across the DVD of Cool Hand Luke.
At that time the far majority of films in our household fit into two categories. »
- Dan Clark
“Here is the screen’s most shocking exposé, of the ‘Baby-Facers’ just taking their first stumbling steps down Sin Street U.S.A.!” Robert Altman’s first feature film is far too good to be described as any but an expert step toward an impressive career. But he had to deal with a young actor who drove him up the wall, Tom Laughlin.
1957 / B&W / 1:66 widescreen / 72 min. / Street Date March 21, 2017 / available through the Olive Films website / 29.98
Starring: Tom Laughlin, Peter Miller, Richard Bakalyan, Rosemary Howard, Helen Hawley, Leonard Belove, Lotus Corelli, James Lantz, Christine Altman, George Mason Kuhn, Pat Stedman, Norman Zands, James Leria, Julia Lee, Lou Lombardo.
Cinematography: Charles Paddock
Film Editor: Helene Turner
Second Unit Director: Reza Badiyi
Produced, Written and Directed by Robert Altman
The hoods of tomorrow! The gun molls of the future!
Ah, the glorious Juvenile Delinquency film, or J.D. Epic, »
- Glenn Erickson
A extensive look at all those movies James Franco directed.
James Franco has done a lot of things, we’ve heard. Following a successful turn on Judd Apatow’s Freaks and Geeks and a well-received starring spot on a TNT biopic on James Dean, he turned immediately to a litany of pursuits: from playwriting and English degrees to painting and directing no less than ten feature-lengths. The latter project interested me. Were they any good? In Franco’s Rolling Stone profile last year, Jonah Weiner ran around a thesaurus of words like “dizzying,” “indefatigable“ and, wait for it, “multihyphenate” to describe his subject but none of those words mean very much. Paul Klee painted over a thousand paintings in the penultimate last year of his life. So could I. So what?
- Andrew Karpan
Robert Altman was making a living as an industrial filmmaker in Kansas City, Missouri when an opportunity arose that would change his life — and the history of American movies — forever. It was the mid-1950s and juvenile delinquent movies like The Blackboard Jungle and Rebel Without a Cause were burning up the box office, so the son of a movie theater chain owner approached Altman with idea of producing his own teen film. Altman banged out a script in three or four days, and on a budget of $60,000 shot his first feature, The Delinquents, in two weeks with […] »
- Jim Hemphill
Silly nostalgists, ‘Power Rangers’ is for kids.
There is a fine line between what is simply not for me and something that is actually objectively awful. For the most part, Power Rangers falls on the former side. I turned 40 this week, so the idea of being too old for anything is admittedly a frustrating personal issue right now. When Mighty Morphin Power Rangers was all the rage, I was a teenager working at a Toys “R” Us dealing with parents trying desperately to find all the action figures before Christmas. It was the latest craze. The Cabbage Patch Kids of the ’90s.
Now the kids who wanted Power Rangers toys when their popularity was big news are adults and filled with nostalgia. That is why Power Rangers has been made and presumably why it’s not a movie for kids. There’s also a strong fanbase who seem not to just be looking back to their childhood »
- Christopher Campbell
“La La Land,” as expected, dominated the Oscar crafts, with Damien Chazelle’s musical valentine taking four awards for cinematography, production design, score, and original song. Still, it was predicted to win at least three more.
And it was a great night for Disney and its trio of winners: the zeitgeist-grabbing “Zootopia” (animated feature), Disney Animation’s third Oscar in four years, which trumpeted tolerance ahead of the Presidential election; Alan Barillaro’s fine-feathered “Piper” (animated short), Pixar’s R&D sculpting project that ended its 15-year shorts drought; and Jon Favreau’s “The Jungle Book” (VFX), which innovated photographic-based realism. The award was shared by production VFX supervisor Rob Legato, Mpc’s VFX supervisor Adam Valdez, Weta Digital’s VFX supervisor Dan Lemmon, and Andrew R. Jones, the animation supervisor.
In winning his third Oscar, Legato expanded a live-action ethos for believably integrating virtual characters and environments (created by »
- Bill Desowitz
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