10 items from 2015
The Hollywood Reporter calls Josh Karp's Orson Welles's Last Movie: The Making of The Other Side of the Wind "an early contender for this year's best book about Hollywood"—and Vanity Fair's running a generous excerpt. Meantime, Jonathan Rosenbaum's posted his 2006 review of Simon Callow's biography of Welles. Also in today's roundup: Seven philosophers each pick a film to address an essential question. Zach Lewis on Jean-Luc Godard's Adieu au langage. A talk with Pedro Costa. Clayton Dillard on Preston Sturges's Sullivan's Travels. Steven Boone on Shirley Clarke's The Connection. Yusef Sayed on Sidney Lumet's The Offence. Kim Morgan on Stanley Kubrick's The Killing. And more. » - David Hudson »
CopAt the ripe age of twenty-six—the two were born within days of each other in 1928—James B. Harris and Stanley Kubrick formed Harris-Kubrick Productions. With Kubrick leading the charge behind the camera and Harris acting as the right-hand-man producer, the duo completed three major critical successes: The Killing (1956), Paths of Glory (1957), and Lolita (1962). But where Kubrick’s subsequent work has achieved a supreme, hall-of-fame stature, Harris’s own directorial career—consisting of five excellent movies made across a four-decade span—remains, despite the valiant effort of a few notable English-language critics (Michael Atkinson, Jonathan Rosenbaum), on the relative sidelines. The latest attempt to boost Harris’s reputation: BAMcinématek’s week-long retrospective of Harris’s producing and directing output, selected by “Overdue” co-programmers Nick Pinkerton and Nicolas Rapold.Harris and Kubrick stopped working together amidst a pre-production disagreement during the making of what would become Dr. Strangelove or: How I Learned to Stop Worrying and Love the Bomb »
- Danny King
Gotham Season 1, Episode 16: ‘The Blind Fortune Teller’
Written by Bruno Heller
Directed by Jeremy Hunt
Airs Mondays at 8pm Et on Fox
The season returns in stride with this week’s episode that is full of Batman mythology nods, with fun character moments that build momentum for the season’s subplots that are showing lots of promising development. At the center of the episode is the relationship of Gordon and Leslie, which is budding in interesting ways and is well integrated with the case of the week. The case of the week addresses two iconic Batman characters in one fell swoop, a bold attempt for the series that could’ve easily been a misstep. However, it is done efficiently enough that it will hold interest in the long run, as there are more stories that they could mine with the characters introduced here.
Fish’s plot is developing very quickly, »
- Jean Pierre Diez
The Killing, 1956.
Directed by Stanley Kubrick.
A group of men plan to steal money from a local race track, scrupulously planning the heist, and coming across a host of obstacles.
The Killing is rarely cited when referencing heist films such as Inside Man and Ocean’s Eleven, yet it is deeply imbedded in their – and many others’ – genetics. Coming from the great Stanley Kubrick, expect a film as carefully constructed as the caper within it. Even with a story that now seems standard, The Killing has barely aged, and despite some predictability (mostly thanks to a number of contemporary films copying its style) the finale packs a punch.
Building up to a perfectly devised conclusion, The Killing relies on a motif of meticulousness, with the loud diegetics of ticking clocks, the constant criss-crossing of people, »
- Gary Collinson
Stars: Sterling Hayden, Coleen Gray, Vince Edwards, Jay C. Flippen, Ted de Corsia, Marie Windsor, Elisha Cook Jr., Joe Sawyer, Timothy Carey, Kola Kwariani, Dorothy Adams | Written and Directed by Stanley Kubrick
It goes without saying that film fans know that Stanley Kubrick was a master of his art. All masters though have a starting point where they were learning and in some respects were yet to evolve into the legends that they would become. With the Arrow Academy release of The Killing on Blu-ray, which also includes Killer’s Kiss we get to see a director who had a vision, but was yet to perfect his style.
The Killing is a heist movie that when it was first released didn’t make that much of an impact, but not surprisingly when it comes to Kubrick’s work has grown to be respected and revered as a true classic of the genre. »
- Paul Metcalf
It’s Monday, which means it’s time to empty your pockets in honour of the almighty New Home Entertainment Releases God for those in the UK. Here are our top picks out today (just click on the pictures to be taken to the order page):
When Thomas wakes up trapped in a massive maze with a groups of other boys, he has no memory of the outside world other than strange dreams about a mysterious organisation known as W.C.K.D. Only by piecing together fragments of his past with clues he discovers in the maze can Thomas hope to uncover his true purpose and a way to escape. Based on the best-selling novel by James Dasnher.
Black Mirror – Series 1-2 + Special
1. The National Anthem: Prime Minister Michael Callow faces a huge and shocking dilemma when Princess Susannah, a much-loved member of the Royal Family, »
- Oli Davis
The Killing, 1956.
Directed by Stanley Kubrick.
Seven men are intent on executing the perfect robbery and taking a racetrack for two million dollars. But nothing goes quite as planned…
Kubrick’s third feature was something of a make or break for him. Given what happened following its release that may sound somewhat ridiculous, but in the film world of the mid-1950’s Kubrick, even at the incredibly young age of 28, truly needed a project that would show off his clear-eyed vision and premium levels of creativity and storytelling. His previous two features, Fear and Desire (1953) and Killers Kiss (1955) (also included as an extra on this release) had met with limited success, both financial and critical. The master-waiting-to-happen had to have a project to really put everything at his disposal into. »
- Robert W Monk
The Conversation is a new feature at Sound on Sight bringing together Drew Morton and Landon Palmer in a passionate debate about cinema new and old. For their second piece, they will discuss Stanley Kubrick’s film The Killing (1956).
Stanley Kubrick’s The Killing (1956) is not my favorite work by the visionary director. In fact, the film probably wouldn’t even make it onto a list of my top five Kubrick films. Yet, with a career that included such amazing films as Paths of Glory (1957),Dr. Strangelove or: How I Learned to Stop Worrying and Love the Bomb (1964),2001: A Space Odyssey (1968), Barry Lyndon (1975), and The Shining (1980), that’s not an indication that The Killing is a film of poor quality but an indication that Kubrick’s body of work comes the closest to cinematic perfection than any director I can think of. Thus, while The Killing »
- Landon Palmer
The works of Stanley Kubrick have changed film making forever. They have stood the test of time and only become more important and impactful as they age. For these reasons, we honor the legendary director and his most sucessful films.
In each genre of art there are certain individuals whose works transcend the eras of their creation to become something more than just art. These pioneers of culture push the boundaries of their respective crafts to deliver masterpieces that are truly timeless. Often times the true impact of their work is not properly recognized until many years after their work is released. Stanley Kubrick is one of these rare individuals. In the craft of making film, Kubrick was a visionary ahead of his time and on the leading edge of pop culture trends that helped define humanity in the 20th century. His abilities and talents as director, in particular, changed »
- email@example.com (G.S. Perno)
Before The Killing, Dr. Strangelove, 2001: A Space Odyssey, or even The Shining, Stanley Kubrick was a young artist with a passion for images. While he hadn’t made some of the greatest films of all-time yet, it seems like the director had a keen eye for people and places around him.
Dangerous Minds posted a series of photographs on Thursday that were taken by the future director during the summer of 1946 in the New York City subway for Look magazine, a competitor to Life. According to the site, Kubrick was just 16 years old, thus would begin a relationship with the magazine that would last several years, until he began making movies in earnest around the age of 23, in the early 1950s.
The photographs feature a self portrait of the filmmaker followed by shots of the people moving through the subway and interacting with each other including a couple standing »
- Zach Dennis
10 items from 2015
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