In the Bag (1956) - News Poster



Shailene Woodley Found a Suggestive Horseradish

  • Vulture
Shailene Woodley Found a Suggestive Horseradish
Shailene Woodley likes nature. You knew this; everyone knows this — even Shailene Woodley, which is why she played along with the joke and brought a giant bag of herbs to The Tonight Show Starring Jimmy Fallon last night. In the bag: garlic, ginger, and a horseradish that will make it impossible for you to keep a straight face at seders from now on.Lol, come on, look at that "root." Look, Shailene Woodley can be funny!
See full article at Vulture »

It’s In The Bag

A former vaudevillian, the great comedian Fred Allen found his fame in radio but was unable to navigate a suitable transition to TV (“Television is a medium,” he once observed, “because it is neither rare nor well done.”). He made a few casual appearances in movies but only once, in 1945, did he take full advantage of that particular medium.

That film, one of the “lost” trailers featured in our Great Global Trailer Search, was, until its recent home video revival, very nearly a lost film in itself. More’s the pity because It’s in the Bag, Allen’s sole starring vehicle, is an overlooked comic gem.

A surreal-screwball farce fueled by Allen’s perpetually perplexed sad sack persona and out-of-left-field set pieces (like a nightmarish trip to the movies that predicts the vertiginous pitfalls of a crowded Imax theater), It’s in the Bag recalls the anything goes Paramount
See full article at Trailers from Hell »

Review: 'The Bag Man' Starring Robert De Niro, John Cusack & Crispin Glover

The first sign there is something seriously wrong with “The Bag Man” is the poster. In the same size font, we see the names of the film’s three stars: John Cusack, Rebecca Da Costa, and Robert De Niro. Equal billing for Cusack, De Niro, and … Da Costa? Who is Rebecca De Costa? Why is her name given equal status? And for that matter, why does De Niro look like Bernie Madoff playing Robert Evans, or vice versa? And why does Cusack look more like Richard Nixon here than he did playing Nixon in “Lee DanielsThe Butler”? And what to make of the writing underneath the title “The Bag Man”? It reads: “The Cat’S In The Bag,” followed by “Inspired By The Story ‘The Cat’ By Marie-louise Von Franz”? What the hell is happening here?! The movie itself is equally confounding and wildly off-putting. It is, I think,
See full article at The Playlist »

London Film Festival 2013: full line-up

London Film Festival 2013: full line-up
Browse all the sections of the 57th London Film Festival (Oct 9-20) including the galas, competition titles and individual sections.

Alphabetical list of titles by section including feature premiere status

Wp = Wp

Ep = European Premiere

IP = International Premiere

UK = UK Premiere


Opening Night

Captain Phillips, Paul Greengrass (Us) Ep

Closing Night

Saving Mr Banks, John Lee Hancock (Us/UK) Ep

Philomena, Stephen Frears (UK) UK12 Years A Slave, Steve Mcqueen (UK) EPGravity, Alfonso Cuaron (Us) UKInside Llewyn Davis, Ethan Coen, Joel Coen (Us) UKLabor Day, Jason Reitman (Us) EPThe Invisible Woman, Ralph Fiennes (UK), EPThe Epic Of Everest, John Noel (UK) WPBlue Is The Warmest Colour, Abdellatif Kechiche (France) UKNight Moves, Kelly Reichardt (Us) UKStranger By The Lake, Alain Guiraudie (France) UKDon Jon, Joseph Gordon-Levitt (Us) UKMystery Road, Ivan Sen (Australia) UKOnly Lovers Left Alive, Jim Jarmusch (Us) UKNebraska, Alexander Payne (Us) UKWe Are The Best!, Lukas Moodysson (Sweden) EPFoosball 3D, Juan Jose Campanella (Argentina
See full article at ScreenDaily »

'Whose Line Is It Anyway?' is back: GIFs plus Aisha Tyler and special guest-stars

If you're anything like us, you've been a fan of "Whose Line Is It Anyway?" since the British episodes started airing on Comedy Central in the early 1990s. And you are also extremely happy to have these funny folks back on your TV.

The premiere episode featured a couple new improvers, Gary Anthony Williams and Heather Anne Campbell, plus some special guests -- "Walking Dead's" Lauren Cohan and "Glee's" Kevin McHale.

Favorite games were played -- Scenes From a Hat, Let's Make a Date, Living Scenery -- plus there were new games, like What's In the Bag and Sideways Scene. The Sideways Scene was particularly a lot of fun, as the improves laid on their sides and performed on a red set, which was then shown right-way up on TV. Trust us, it's a lot cooler than it sounds here.

What did you think about Aisha Tyler as the new host?
See full article at Zap2It - From Inside the Box »

Tony Scott: A Moving Target—Movement A

  • MUBI
Part of the Tony Scott: A Moving Target critical project. Go here for the project's description, index and links to project's other movement.

This is one "movement" of our exquisite corpse-style critical project, Tony Scott: A Moving Target, which coincidentally begins with a look at Crimson Tide, the same movie that begins the other movement. As outlined in the introduction to the entire project, this project began in my mind, as something fairly simple: a snaking continuum of scene analysis. This is only in part what resulted.

The varied responses I got back from my group—"mine" in the sense that it is the one I participated in, since Gina's contribution closes Movement B—seem to say as much about the participating critics as they do about Tony Scott's films and the overlap between the two: the perception of Scott's films and career. Thus many entries, including my own,
See full article at MUBI »

Start Me Up

  • MUBI
This article is part of the critical project Tony Scott: A Moving Target in which an analysis of a scene from a Tony Scott film is passed anonymously to the next participant in the project to respond to with an analysis of his or her own.

<- the previous analysis | movement index | the next analysis ->

"Visually the film is quite impressive, something like a confetti storm in which the spectator never gets to rest."

Manny Farber, 1968

Participating in this writing game is a little like being crossed between Robert Bresson’s A Man Escaped (1956) and Jean Genet’s Un chant d’amour (1950). Both prison films, both about Men on Fire. One implicitly gay, the other explicitly so. Alone in my cell, like in Bresson, I am doing my bit to chip my way through to collective freedom and enlightenment. And, meanwhile, I am being presented, like in Genet, with things—all kinds of things—to help me along,
See full article at MUBI »

See also

Showtimes | External Sites