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Depraved convicts ! Crazy Manhattan gin parties! Society dames poaching other women's husbands! A flimflam artist scamming the uptown sophisticates! All these forbidden attractions are here and more -- including Bette Davis's epochal seduction line about impulsive kissing versus good hair care. It's a 9th collection of racy pre-Code wonders. Forbidden Hollywood Volume 9 Big City Blues, Hell's Highway, The Cabin in the Cotton, When Ladies Meet, I Sell Anything DVD-r The Warner Archive Collection 1932-1934 / B&W / 1:37 flat Academy / 63, 62, 78, 85, 70 min. / Street Date October 27, 2015 / available through the WBshop / 40.99 Starring Joan Blondell, Eric Linden, Humphrey Bogart; Richard Dix, Tom Brown; Richard Barthelmess, Bette Davis, Dorothy Jordan, Berton Churchill; Ann Harding, Robert Montgomery, Myrna Loy, Alice Brady, Frank Morgan; Pat O' Brien, Ann Dvorak, Claire Dodd, Roscoe Karns. Cinematography James Van Trees; Edward Cronjager; Barney McGill; Ray June Written by Lillie Hayward, Ward Morehouse, from his play; Samuel Ornitz, Robert Tasker, Rowland Brown »
- Glenn Erickson
Whether it’s John Wayne in The Searchers or Anthony Hopkins in Silence Of The Lambs, great actors are sometimes lucky enough to play a character who they seem to truly embody. While it doesn’t happen very often, when it does it’s something to behold and reminds you just how magical movies can be.
All actors strive towards that iconic role which will secure their place as one of the greatest performers in the history of cinema, but few manage to get a shot at pulling it off. Incredible screenplays are hardly falling out of the sky over Hollywood, and the result is that great actors often find themselves picking up work which doesn’t reflect their innate ability as a performer.
That said, great actors don’t need to be in truly iconic roles to show off their talent, and there are some exceptional performers »
- Andrew Dilks
Mar Del Plata – A name helmer, and part of Latin America’s build in distaff directors, Chile’s Dominga Sotomayor (“Thursday Till Sunday,” “Mar”) is set to produce Felipe Galvez’s historical drama“Los colonos” (“The Settlers”), one of the most ambitious film projects presented over the last three days at Mar del Plata’s inaugural LoboLab co-production forum and its eventual winner. Matias Hernandez will also produce for Cinestacion.
“The Settlers” won first prize in October at the Valdivia Fest’s 3rd Feature Development Competition.
Made under the strong influence of John Ford’s “The Searchers,” Galvez said at LoboLab, “The Settlers,” which is set in 1905, lifts the lid on the slaughter of Chile’s indigenous population by European emigrants of humble origin.
“This is the unknown history of Chile. It’s not in the history books. We’re really interested in showing violence, but going back before Pinochet’s dictatorship, »
- John Hopewell
Maureen O'Hara: Queen of Technicolor. Maureen O'Hara movies: TCM tribute Veteran actress and Honorary Oscar recipient Maureen O'Hara, who died at age 95 on Oct. 24, '15, in Boise, Idaho, will be remembered by Turner Classic Movies with a 24-hour film tribute on Friday, Nov. 20. At one point known as “The Queen of Technicolor” – alongside “Eastern” star Maria Montez – the red-headed O'Hara (born Maureen FitzSimons on Aug. 17, 1920, in Ranelagh, County Dublin) was featured in more than 50 movies from 1938 to 1971 – in addition to one brief 1991 comeback (Chris Columbus' Only the Lonely). Maureen O'Hara and John Wayne Setting any hint of modesty aside, Maureen O'Hara wrote in her 2004 autobiography (with John Nicoletti), 'Tis Herself, that “I was the only leading lady big enough and tough enough for John Wayne.” Wayne, for his part, once said (as quoted in 'Tis Herself): There's only one woman who has been my friend over the »
- Andre Soares
We still love John Ford's bitter-sentimental look back at the lost Myth of the West. John Wayne and James Stewart are at least thirty years too old for their roles, but everything seems to be happening in a foggy reverie, so what's the difference, Pilgrim? Great comedy and Lee Marvin's marvelous villain, plus the assertive 'print the Legend' message that's been hotly debated ever since. The Man Who Shot Liberty Valance Blu-ray Warner Home Video / Paramount 1962 / B&W / 1:85 widescreen / 123 min. / Street Date October 13, 2015 / 14.98 Starring John Wayne, James Stewart, Vera Miles, Lee Marvin, Edmond O'Brien, Andy Devine, Ken Murray, John Carradine, Jeanette Nolan, John Qualen, Willis Bouchey, Carleton Young, Woody Strode, Denver Pyle, Strother Martin, Lee Van Cleef Cinematography William H. Clothier Production Designer Eddie Imazu & Hal Pereira Film Editor Otho Lovering Original Music Cyril J. Mockridge Writing credits James Warner Bellah & Willis Goldbeck from a story by »
- Glenn Erickson
Sitges– Thriller “The Invitation” took best picture at the 48th Sitges Film Festival on Saturday. Helmed by Karyn Kusama, “Invitation” explores the near sub-genre consisting of a friends’ party that emotionally and dramaticallyheads out of control. “Invitation” opened 2015’s SXSW Fest and received from Variety reviewer Justin Chang the thumbs up of being “teasingly effective.”
Movie marks Brooklyn -born Kusama’s most acclaimed outing since her debut “Girlfight,” which nabbed Grand Jury and Best Director in Sundance 2000.
First-timer S. Craig Zhaler won director for “Bone Tomahawk,” a Wild West horror western following four men trying to rescue captives menaced by cannibals. Film stars Kurt Russell, Bob Johnson’s Rlj Entertainment – formerly Image Ent. –has Canada and U.S. rights of this humorous western satire echoing John Ford’s “The Searchers. »
- Emilio Mayorga
This week, Neil Calloway agrees with Steven Spielberg about Comic Book Movies…
A month or so after it began, and some might say right in time for his new film, the Tom Hanks starring Cold War espionage thriller Bridge of Spies, the debate over Steven Spielberg’s comments regarding comic book movies rumbles on.
To be fair, it’s not much of a debate; film feuds are hardly like the 1990s West Coast Vs East Coast Hip Hop Rivalry; it’s not even Taylor Swift sniping at Katy Perry. Spielberg just mentioned that films come in cycles; once the Western was dominant, now it’s the Comic Book Movie. The early 1990s psychological thriller now only exists as bad TV movies, and the occasional gem such as Gone Girl. The action buddy movie hardly gets made now. Marvel Studios Head Honcho Kevin Feige responded by saying people had been predicting »
- Neil Calloway
As I also asked previously in an article I wrote about the Lone Ranger (Here), is John Ford's classic western "The Searchers" yet another example of black history "lost, stolen or betrayed" as they used to say? First of all, let me say that I love all movies - all kinds - but westerns just might be my favorite genre. I suppose I got my love of them from my father who loved westerns to death. And I'm convinced he saw maybe every western ever made, even small obscure B westerns, and could tell you the theater he first saw the film in. And there are so many great westerns that I love, like "The Good and The Bad and The Ugly," "For a Few Dollars More," »
What’s the purpose of making a movie inspired by another movie? Usually it’s best to remake an imperfect film in order to refine some brilliant nugget left unexamined in the original. But remaking a masterpiece seems bound to failure (Let Gus van Sant’s Psycho forever stand as the monument for this inauspicious strategy). So I was worried when I first heard about this film: a modern-day French homage to The Searchers, one of my favorite movies? In the John Ford original, a father-like figure spends years obsessively hunting down a girl who was kidnapped by Comanches; in Thomas Bidegain’s Les cowboys, a father spends years obsessively hunting down his daughter who ran away to become a Muslim fundamentalist.That being said, Les cowboys is a really good movie—I’ll get to that—but it raises questions about what it is, exactly, that you’re paying »
- Doug Dibbern
Nanni Moretti, with John Turturro for Mia Madre, and The Lobster director Yorgos Lanthimos, Rachel Weisz and Ariane Labed will appear today, while Guy Maddin and Evan Johnson discuss The Forbidden Room on both nights.
Thomas Bidegain's take on John Ford’s The Searchers, Les Cowboys, and star Finnegan Oldfield plus Michel Gondry for Microbe & Gasoline (Microbe Et Gasoil) will appear later in the week. Jia Zhangke with Zhao Tao will present Mountains May Depart and Walter Salles for Jia Zhangke, A Guy from Fenyang.
Two documentaries with their subjects appearing - Robert Frank joins Laura Israel for Don't Blink: Robert Frank and Brian De Palma blow in with Noah Baumbach and Jake Paltrow for De Palma. Michael Moore for Where To Invade Next and My Golden Days »
- Anne-Katrin Titze
Third Cut is the Deepest: Akin’s Barren Examination of Armenian Genocide
Turkish-German director Fatih Akin concludes his decade in the making ‘Love, Death, and the Devil’ trilogy with The Cut, a film documenting the devastation of the 1915 Armenian genocide. It is the second film to reach theatrical release in 2015 dealing with the century old tragedy, following the aptly titled 1915 directed by Garin Hovannisian and Alec Mouhibian (both films notably star French-Armenian actor Simon Abkarian), and does convey a certain sense of nobly epic proportions in regards to the detrimental scope of an event robbed of the same historical urgency as several genocides since. But the nature of these horrors are lost in Akin’s overly refined handling of the material, whittled down to one father’s ceaseless journey to reclaim the kin war has separated him from. Those unlikely to appreciate a certain sense of honorable intention in Akin »
- Nicholas Bell
My Darling Clementine, 1946.
A Western retelling of the shoot-out at the Ok Corral.
John Ford’s classic Western gets a prestigious release on Blu-ray containing a stagecoach load of extras and features uncovering the legend of Ford and his personal vision of the Wild West.
My Darling Clementine is a perfect example of Ford’s brand of pure Western, containing elements of gun-toting action, wry humour and episodic tragedy. An overriding bleakness informs the film, which at its heart is an examination of the relationship between the Marshall of Tombstone, Wyatt Earp (a definitive role for Henry Fonda) and the morally ambiguous, tuberculosis suffering Doc Holliday (Victor Mature).
Focusing on the events that inspire the famous battle, the film takes us on the route taken by the Earp »
- Robert W Monk
Steven Spielberg’s Bridge of Spies, starring Tom Hanks, will make its World Premiere at the 53rd New York International Film Festival, running from September 25 to October 11. The film was one of 26 announced as part of the festival’s main slate, along with one of four World Premieres.
Some of the main slate highlights include Todd Haynes’s Carol, featuring Cannes Best Actress Winner Rooney Mara alongside Cate Blanchett, Miguel Gomes’s three part saga Arabian Nights, Hou Hsiao-Hsien’s The Assassin, the Us premiere of Michael Moore’s latest Where to Invade Next, Michel Gondry’s French film Microbe et Gasoil, and the World Premiere of the documentary Don’t Blink: Robert Frank, about the life of the fames photographer and filmmaker.
- Brian Welk
Family Matters: Wolfe’s Unsettling Debut a Thriller with a Mean Streak
Premiering in the Directors’ Fortnight sidebar at the 2014 Cannes Film Festival, director Daniel Wolfe’s directorial debut, Catch Me Daddy, is most likely to inspire awe or ire as a denuded genre thriller, pared down to the barest essentials of abject miserabilism. There’s no one to innately empathize with, beyond being exposed to a central victim whom we must logically root for given her ambitious rebellion against the patriarchal straightjacket she was weaned from. Unfolding with methodical calm, the first time filmmaker manages to instill a mounting dread thanks to surprising, even shocking moments of gruesome violence, and that’s despite its lack of emotional posturing. Down and out working class folks thrust into dire straits is the name of the game here, and though a bit of additional context would’ve enhanced the basic premise, »
- Nicholas Bell
At Reverse Shot, Fernando F. Croce previews "The Essential John Ford," a series at New York's Museum of the Moving Image that's "an invaluable overview of the artist’s often paradoxical moods, ranging from the spacious buoyancy of Young Mr. Lincoln/tag> to the claustrophobic bleakness of The Man Who Shot Liberty Valance/tag>. The canon classics are there (including Stagecoach/tag>, The Grapes of Wrath/tag>, and The Searchers/tag>), and so are lesser-known titles (the thorny maternal journey of Pilgrimage/tag>, the travelogue surrealism of Mogambo/tag>, the rowdy theatrics of Upstream/tag>) ready to be rediscovered." Writing for Artforum, Nick Pinkerton argues that "Ford is one of the mightiest figures in international cinema, and one of the greatest American artists in any medium, full stop." » - David Hudson »
Bruce Campbell just came across the most amazing thing he's ever seen and wants to share it with you. But is it literally the most amazing thing he's ever seen? It's hard to know! This is the most amazing thing I have ever seen. #AshvsEvilDead https://t.co/CmftXf0OPF — Bruce Campbell (@GroovyBruce) July 2, 2015 "What if Sam Raimi directed Bruce Campbell as Ash as John Wayne as Ethan Edwards in 'The Searchers'?" Well, what if? You're about to find out thanks to this YouTube video. After watching, let us know if it's the most amazing thing you've ever seen in the comments. Or if it's not, let us know that too! »
- Chris Eggertsen
Groovy. After some very brief teases spelling out a good bit of text but not a lot of footage, today we get our first official look at Ash (Bruce Campbell) back again after 23 years -- that is, if you don't count that post-credits tease at the end of 2013's Evil Dead -- in Starz' new original series "Ash vs. Evil Dead," slated to begin its 10-episode season sometime this fall. There's not a whole hell of a lot you can really say about just a single image, but it's worth noting this is the first official look and introduction to soon-to-be series regulars and fellow Value Shop employees, Pablo (Ray Santiago) and Kelly (Dana DeLorenzo). Both characters aid our titular character, as he returns to crank the chainsaw back on and fight a Deadite plague threatening to destroy all of mankind. Also signed on to star, but not featured in »
- Will Ashton
Bruce Campbell is back, baby! Yes, after nearly 22 years away, Ashley Williams has returned to fight the Deadites once again in Starz's epic 10 episode first season of Ash Vs. Evil Dead. EW delivers the first official photo, which shows Bruce Campbell in his iconic blue shirt, covered in blood, ready to do battle with his legendary chainsaw hand. He is joined by his two new sidekicks, giving us a first look at Pablo (Ray Santiago) and Kelly (Dana DeLorenzo).
Bruce Campbell reprises his role as Ash, an aging stock boy at Value Stop who must face the demons of his past as humanity faces a very scary apocalypse. This time, he is getting the help of two co-workers, who will aid the man in saving the world. Apparently Ash hasn't bothered to change his clothes in the past two decades. About where he has been and what he has been up to, »
Starz has released the first photo of Bruce Campbell in the upcoming "Ash vs. Evil Dead" series. Campbell reprises the role he played in Sam Raimi's classic cult horror film series, with Raimi returning as executive producer.
Speaking with EW about the return of Ash, Campbell says: "It's The Searchers with carnage and mayhem. I'm relegated a little bit into the John Wayne mode these days with my team - the young, virile, evil fighters who will pair up with Ash and take on this nemesis: this never ending, ever evolving nemesis." The series is slated to premiere later this year.
Source: EW »
- Garth Franklin
"...the final battle would not be fought in the future. It would be fought here, in our present. Tonight..."
You can tell a lot about how effective a movie scene is by watching it again with the sound turned off. Stripped of its dialogue, sound effects and music, can the sequence still communicate its message?
James Cameron's The Terminator, blessed though it is with a superb score by Brad Fiedel and numerous quotable lines, could work almost as well as a silent movie. So much of Cameron's feature debut (discounting Piranha II: The Spawning, from which he was fired after just two weeks) is told through body language and skilful shot composition.
Watch The Terminator's opening again without sound, and you'll see just how effective and lean its visual storytelling is. »
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