The Searchers
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2015 | 2014 | 2013 | 2012 | 2011 | 2010 | 2009 | 2008 | 2007

12 items from 2015


Watch: Gorgeous Supercut Puts the First and Final Shots of Movies Side-by-Side

19 March 2015 9:03 AM, PDT | Indiewire | See recent Indiewire news »

This surprisingly moving video edit by Jacob T. Swinney places the first and final shots of 55 beautiful films side-by-side. We don't typically realize how symmetrical and similar these first and final images can be, though of course the similarities are purposeful. Other times, when the two shots are strikingly different, the simple contrast depicts the journey a film has taken. The complimentary images from Richard Linklater's "Boyhood," for example, represent an entire lifetime, beginning with young Mason looking up into the sky, and ending with college-age Mason off with a new friend, looking for a brief second directly into the camera.  Many of these first and last shots are iconic. Stanley Kubrick's "2001: a Space Odyssey" opens with a celestial shot of the sun rising above the earth, and ends with a floating fetus. John Ford's "The Searchers" is bookended by two open doorways through which you can see the mountainous western. »

- Anya Jaremko-Greenwold

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Daily | Senses, desistfilm, Criticism

16 March 2015 10:37 AM, PDT | Keyframe | See recent Keyframe news »

The new issue of Senses of Cinema features a good handful of pieces on Michelangelo Antonioni and two on Paul Thomas Anderson. Also in today's roundup of news and views: A new short film from Jean-Luc Godard; Martin Scorsese on John Ford's The Searchers; an issue of Criticism devoted to Andy Warhol, desistfilm on Alfred Hitchcock, Isidore Isou, Peter Tscherkassky, Michael Robinson and David OReilly; an interview with Terence Stamp; articles on Thom Andersen's The Thoughts That Once We Had, Richard Linklater's Boyhood, Lisandro Alonso's Jauja and Alain Resnais—and more. » - David Hudson »

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Daily | Senses, desistfilm, Criticism

16 March 2015 10:37 AM, PDT | Keyframe | See recent Keyframe news »

The new issue of Senses of Cinema features a good handful of pieces on Michelangelo Antonioni and two on Paul Thomas Anderson. Also in today's roundup of news and views: A new short film from Jean-Luc Godard; Martin Scorsese on John Ford's The Searchers; an issue of Criticism devoted to Andy Warhol, desistfilm on Alfred Hitchcock, Isidore Isou, Peter Tscherkassky, Michael Robinson and David OReilly; an interview with Terence Stamp; articles on Thom Andersen's The Thoughts That Once We Had, Richard Linklater's Boyhood, Lisandro Alonso's Jauja and Alain Resnais—and more. » - David Hudson »

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Den Of Geek Book Club: The Searchers - The Making Of An American Legend

16 March 2015 5:34 AM, PDT | Den of Geek | See recent Den of Geek news »

Glenn Frankel's exploration of famous John Ford's Western, The Searchers, is our Den Of Geek Book Club non-fiction choice this month...

John Ford's The Searchers is a film that has had many interpretations placed upon it since it was released in 1956. Some would say it's a plea for tolerance. Others would point out that some scenes contain a less forgiving message. The key element of Glenn Frankel’s book takes a different stance. It starts with surprising fact – that The Searchers is, in fact, based on a true story, taking its inspiration from events that played a huge part in the way settlers viewed Native Americans in the nineteenth century, and beyond.  

The Making Of An American Legend charts the way that truth can become legend, and legend can become film. Of course, John Ford loved these sorts of distinctions; 'When the legend becomes fact, print the legend' »

- louisamellor

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The Story Of Film: An Odyssey – The DVD Review

10 March 2015 7:22 AM, PDT | WeAreMovieGeeks.com | See recent WeAreMovieGeeks.com news »

I love the movies, really, truly I do, I love the movies. Cinema, motion pictures, movies, film, whatever you want to label this peculiar art form that we all cherish here at We Are Movie Geeks, I have loved it ever since the first time I saw a movie on television, in a theater or at a drive-in. I wish I could recall the first movie I ever saw and what the medium was in which I saw it.

One of my earliest memories was the yearly showing of Wizard of Oz on television and my delight at seeing Judy Garland in a different movie, Pigskin Parade, and realizing that actors made a living by appearing in more than one movie or television series.

I can recall seeing Battle Beyond the Stars at the Pine Hill Drive-in in Piedmont, Missouri, one of the Russian space movies bought and re-edited by Roger Corman. »

- Sam Moffitt

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The Salvation Review

26 February 2015 3:48 PM, PST | We Got This Covered | See recent We Got This Covered news »

With his tough, chiseled face, Danish actor Mads Mikkelsen has one of world cinema’s best mugs. The actor carries so much of the weight of his many characters in his face, whether it be Hannibal Lecter’s suave cunning on television or anguished despair in his triumphant role in Thomas Vinterberg’s The Hunt. Naturally, as a stoic settler trying to get retribution on a bloodthirsty baddie in The Salvation, a pastiche to the westerns of John Ford and Sergio Leone, Mikkelsen is magnetic, expressing deep hurt and pain with just a glower or grimace.

As recent Danish immigrant Jon, Mikkelsen’s bloodied and blistered face is a wall to show just how resolute he can be. Jon crossed the Atlantic with his brother (Mikael Persbrandt) in the 1860s with the hopes of making a living in a frontier town. He learned the customs and language, as did the »

- Jordan Adler

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Catch Me Daddy review – big scenes and bold ideas in honour-killing drama

26 February 2015 1:30 PM, PST | The Guardian - Film News | See recent The Guardian - Film News news »

This flawed but ambitious film about a British Pakistani family who hire a posse of thugs to hunt down their errant daughter is a tough look at contemporary gender politics

Daniel Wolfe’s debut movie arrives in the UK after its premiere at Cannes last year: a tough drama about contemporary Britain’s tribal and gender politics. This is ambitious work from a promising talent. There are big scenes, bold ideas and great images – created with Robbie Ryan’s tremendous cinematography. It is based on the murderous phenomenon of “honour killing” in British Pakistani communities. When Laila (Sameena Jabeen Ahmed) runs away to be with her white boyfriend, Aaron (Conor McCarron), her family hires a posse of tough guys to get her back, a little like John Ford’s The Searchers.

Continue reading »

- Peter Bradshaw

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Examining the Christopher Nolan backlash

23 February 2015 10:33 PM, PST | Den of Geek | See recent Den of Geek news »

Another Oscars season, and Christopher Nolan is overlooked again. With Interstellar getting a mixed reaction, we look at the Nolan backlash.

This article contains a spoiler for the ending of Interstellar.

In case you missed it, the Oscars were this past weekend and Birdman was the big winner. The Academy’s choice to award Alejandro González Iñárritu's fever dream was a genuine shock, with Boyhood the running favourite for many months. Nonetheless, some things never change, and in that vein it's certainly a non-surprise the Academy also hardly noticed the most ambitious blockbuster of 2014: the Christopher Nolan space epic, Interstellar. Indeed, I use the phrase "non-surprise", because how could it be a winner when it was only nominated for the bare minimum of five Oscars in technical categories that are reserved as consolation prizes?

This is by all means par for the course with a film that has »

- simonbrew

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Sundance 2015: ‘Slow West’ immersive in scope and proudly lethargic in pacing

8 February 2015 11:13 PM, PST | SoundOnSight | See recent SoundOnSight news »

 

Michael Fassbender and Kodi Smit- McPhee in “Slow West

Slow West

Written by John Maclean

Directed by John Maclean

USA, 2015

Slow West is immersive in scope and proudly lethargic in its pacing. It envelops you in the dangerous world of the 19th-century Wild West, where a lovestruck Scot is chasing a woman in hope of saving her from the “dead or alive” bounty on her head. Teenager Jay Cavendish (Kodi Smith-McPhee of The Young Ones and The Road) is joined by mysterious charmer Silas (Michael Fassbender) who teaches him how to survive the elements and outlaws even as he sets his sights on getting the bounty himself. Slow West is reminiscent of the care taken in John Ford’s love letters to the West (The SearchersStagecoach) as it has the same sensibilities and tensions that are drawn out between love, duty, and the sad reality of circumstance. It »

- Lane Scarberry

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Sundance 2015: Best of the Festival

6 February 2015 8:17 PM, PST | SoundOnSight | See recent SoundOnSight news »

The snowy streets of Park City, Utah have cleared out and another Sundance has come to an end. Me and Earl and the Dying Girl appears to be this year’s breakout independent film but there were several other movies that a made a quieter critical splash that are just waiting to be discovered by a wider audience. They consist of a tightly wound, tension-filled western, a cerebral discussion about America, creativity, and privacy, a musical icon’s emotional bio pic, a powerful coming-of-age tearjerker, and one peculiar romantic comedy. What follows are my highlights of a diversely entertaining Sundance 2015:

Jesse Eisenberg and Jason Segel in “The End of the Tour”

The End of the Tour

Directed by James Ponsoldt

Written by David Lipsky and Donald Marguiles

The End of the Tour is the next offering from director James Ponsoldt, who brought us Smashed and The Spectacular Now. With »

- Lane Scarberry

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'Art and the theory of art': "The Man from Laramie" and the Anthony Mann Western

26 January 2015 5:04 AM, PST | MUBI | See recent MUBI news »

Anthony Mann

As much as any other filmmaker who found a niche in a given genre, in the 10 Westerns Anthony Mann directed from 1950 to 1958 he carved out a place in film history as one who not only reveled in the conventions of that particular form, but also as one who imbued in it a distinct aesthetic and narrative approach. In doing so, Mann created Westerns that were simultaneously about the making of the West as a historical phenomenon, as well as about the making of its own developing cinematic genus. At the same time, he also established the traits that would define his auteur status, formal devices that lend his work the qualities of a director who enjoyed, understood, and readily exploited and manipulated a type of film's essential features.

Though he made several fine pictures outside the Western, Mann as an American auteur is most notably recognized for his work in this field, »

- Jeremy Carr

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John Ostrander: Walking Tall On the Small Screen

18 January 2015 5:00 AM, PST | Comicmix.com | See recent Comicmix news »

I was not always a big fan of Westerns. My knowledge/memory of them were largely drawn from TV shows of my childhood – and not always the best ones. They were dominated by The Lone Ranger, Roy Rogers, Gene Autry (although I was never a big Autry fan) and shows like them. Westerns dominated TV in those days in ways that I don’t think any genre dominates any more.

It was my late wife, Kimberly Yale, who really schooled me in movie Westerns and the difference between a John Ford Western, ones by Howard Hawks, and Budd Boetticher’s Westerns. I finally learned and grasped what powerful movies they were, Just a few years ago, I got to see John Ford’s masterpiece The Searchers on the big screen and it was only then that I really understood how powerful it was and why its star, John Wayne, was such an icon. »

- John Ostrander

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2015 | 2014 | 2013 | 2012 | 2011 | 2010 | 2009 | 2008 | 2007

12 items from 2015


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