1-20 of 44 items from 2015 « Prev | Next »
Walter Murch is extraordinary even within his own field, four times Oscar-nominated for film editing, three times nominated for sound mixing, achieving a landmark double when he won both for his work on 1997 movie “The English Patient.” This week, he attends the Camerimage film festival, which is devoted to the art of cinematography, to receive the Special Award to an Editor with Unique Visual Sensitivity.
In a career that spans over 40 years, Murch is perhaps best known for his collaborations with Francis Ford Coppola, beginning in 1969 with “The Rain People.” After working with George Lucas on “Thx 1138” (1971), which he co-wrote, and “American Graffiti” (1973), Murch returned to Coppola for 1974’s “The Conversation,” receiving his first Academy Award nomination as a result. Murch’s pioneering achievements were acknowledged by Coppola on his follow-up, the 1979 Palme d’Or winner “Apocalypse Now,” for which he was granted, in what is seen as a film-history first, »
- Damon Wise
The Legacy of Octopussy: Mendes Returns to 007 on Autopilot
A good act is hard to follow, and Spectre, the latest installment in the enduring legacy of British MI5 super spy James Bond, is evidence of the adage. Agent 007 returns for his twenty-fourth feature, the fourth reincarnation of Daniel Craig, and this follows the success of 2012’s Skyfall, considered a game changer in the franchise with box office profits luring not only its star back for another chapter but returning director Sam Mendes and screenwriters John Logan, Neal Purvis, and Robert Wade (with Black Mass and Edge of Tomorrow scribe Jez Butterworth along for the ride, too). Aiming to present us with more of Bond’s murky origin story, touched upon with foreboding flourishes in the last installment, this end result is an overly-complicated and increasingly silly follow-up attempting nearly the same narrative tricks but without the same dramatic success. A »
- Nicholas Bell
Top Ten Scream Queens: Barbara Steele, who both emitted screams and made others do same, is in a category of her own. Top Ten Scream Queens Halloween is over until next year, but the equally bewitching Day of the Dead is just around the corner. So, dead or alive, here's my revised and expanded list of cinema's Top Ten Scream Queens. This highly personal compilation is based on how memorable – as opposed to how loud or how frequent – were the screams. That's the key reason you won't find listed below actresses featured in gory slasher films. After all, the screams – and just about everything else in such movies – are as meaningless as their plots. You also won't find any screaming guys (i.e., Scream Kings) on the list below even though I've got absolutely nothing against guys who scream in horror, whether in movies or in life. There are »
- Andre Soares
Directed by Julián Soler
Julián Soler’s Pánico is part-understated horror gem, part-mad scientist absurdism. This three-part anthology film starts really strong, with visible influences from Welles and Kurosawa, and then takes a left turn with something that would be very much at home in a Rex Carlton-produced episode of Tales from the Crypt.
There’s virtually no dialogue in the first seventeen minutes of the film. But there are a whole lot of screams. Ana Martín plays an unnamed woman shrieking and running through a forest away from a purple-clad woman wielding a knife. There are a few flashbacks, one indicating a possible gang rape, the grotesque close-ups of which remind of Janet Leigh’s interaction with a gang of thugs in Touch of Evil, but for the most part this first short film (titled, simply, Panic) gets its mileage out of some pretty compositions and camera movements from Soler. »
- Neal Dhand
Welcome back to This is Our Design. All good things come in small packages. All great podcasts come a couple days late. We’re not really sure if either of these things is true, but we know this: you don’t owe us your listenership…you owe us Awe (we’re actually not very sure about this, either; we just like to believe it). This week, co-hosts Sean Colletti and Kate Kulzick are joined by author Cooper S. Beckett of Eat The Rudecast as the crew breaks down yet another strong central sequence in addition to talking about folk tales and much more. This all leads in, of course, to “Kate’s Classical Corner” and “The Devil in the Details,” which are always ready to shock and disturb you with how thorough they are. As always, you can e-mail us at thisisourdesign666[at]gmail.com.
- Sean Colletti
The Brits are playing the Americans, the American is playing the Russian, the Swede is playing the German, and everybody is playing everybody in Guy Ritchie’s accent fluid, punctuation hogging The Man From U.N.C.L.E. Just weeks after Tom Cruise flew into theatres for a fifth Impossible Mission, another name-brand defector from Mother Boobtube is out to prove it’s the top asset in this den of cinematic spies called 2015. While it’s not the cleverest, funniest, smartest, or most consistent espionage flick so far this year, The Man From U.N.C.L.E. is certainly the Guy Ritchiest of the bunch, for better and worse.
Co-scripted by Ritchie, along with Sherlock Holmes collaborator Lionel Wigram, The Man From U.N.C.L.E. is a 5th-grader’s envisioning of a ‘60s spy movie. That’s a compliment. Ritchie, born the same year that the original U.N.C.L.E. series ended its TV run, is a stylist first, »
- Sam Woolf
Paris– The Deauville American film festival will pay homage to Orson Welles to mark the centenary of his birth during its upcoming 41st edition.
As part of the tribute to Welles, three of his classic movies will be screened: “Citizen Kane,” “The Lady From Shanghai” and “Touch of Evil.” Clara and Julia Kuperberg’s documentary feature “This Is Orson Welles,” which is produced by TCM Cinema and Wichita Films, will also play.
Deauville described Welles as an “enduring legend of world cinema, who at an early age reinvented the grammar of his art with his masterpiece ‘Citizen Kane.’ François Truffaut spoke of how Welles had inspired so many filmmaking careers. He also put his stamp of innovation on films such as ‘Falstaff,’ ‘Mr. Arkadin’ and ‘Touch of Evil.'”
The fest also quoted Welles: “It’s required not to be shy with the camera, ravish it and force it into »
- Elsa Keslassy
BBC Culture has this week unveiled a new list of the top 100 American films, as voted for by a pool of international film critics from across the globe. The format of the poll was that any film that would make the list had to have recieved funding from a Us source, and the directors of the films did not need to be from the USA, nor did the films voted for need to be filmed in the Us.
Critics were asked to submit their top 10 lists, which would try to find the top 100 American films that while “not necessarily the most important, but the greatest on an emotional level”. The list, as you may have guessed, is very different to the lists curated by say the BFI or AFI over the years, so there are certainly a few surprises on here, with Steve McQueen’s 12 Years A Slave (2013), Terrence Malick »
- Scott J. Davis
First off, let's make one thing clear. We're not scratching our heads at Spike Lee's "Do The Right Thing" making the BBC's 100 greatest American films. That movie, of which an image accompanies this post, not only made the list, but ranked appropriately at no. 25. It's the rest of the selections that have us scratching and, yes, shaking our heads in disbelief. A wonderful page view driver, these sorts of lists make great fodder for passionate movie fans no matter what their age or part of the world they hail from. There is nothing more entertaining than watching two critics from opposite ends of the globe try to debate whether "The Dark Knight" should have been nominated for best picture or make a list like this. Even in this age of short form content where Vines, Shapchats and Instagram videos have captured viewers attention, movies will continue to inspire because »
- Gregory Ellwood
Leave it to the Brits to compile a list of the best American films of all-time. BBC Culture has published a list of what it calls "The 100 Greatest American Films", as selected by 62 international film critics in order to "get a global perspective on American film." As BBC Culture notes, the critics polled represent a combination of broadcasters, book authors and reviewers at various newspapers and magazines across the world. As for what makes an American filmc "Any movie that received funding from a U.S. source," BBC Culture's publication states, which is to say the terminology was quite loose, but the list contains a majority of the staples you'd expect to see. Citizen Kane -- what elsec -- comes in at #1, and in typical fashion The Godfather follows at #2. Vertigo, which in 2012 topped Sight & Sound's list of the greatest films of all-time, comes in at #3 on BBC Culture's list. »
- Jordan Benesh
Every now and then a major publication or news organisation comes up with a top fifty or one hundred films of all time list - a list which always stirs up debate, discussion and often interesting arguments about the justifications of the list's inclusions, ordering and notable exclusions.
Today it's the turn of BBC Culture who consulted sixty-two international film critics including print reviews, bloggers, broadcasters and film academics to come up with what they consider the one-hundred greatest American films of all time. To qualify, the film had to be made by a U.S. studio or mostly funded by American money.
Usually when a list of this type is done it is by institutes or publications within the United States asking American critics their favourites. This time it's non-American critics born outside the culture what they think are the best representations of that culture. Specifically they were asked »
- Garth Franklin
Hong Sang-soo's Right Now, Wrong Then.The lineup for the 2015 festival has been revealed, including new films by Hong Sang-soo, Andrzej Zulawski, Chantal Akerman, Athina Rachel Tsangari, and others, alongside retrospectives and tributes dedicated to Sam Peckinpah, Michael Cimino, Bulle Ogier, and much more.Piazza GRANDERicki and the Flash (Jonathan Demme, USA)La belle saison (Catherine Corsini, France)Le dernier passage (Pascal Magontier, France)Der staat gegen Fritz Bauer (Lars Kraume, Germany)Southpaw (Antoine Fuqua, USA)Trainwreck (Judd Apatow, USA)Jack (Elisabeth Scharang, Austria)Floride (Philippe Le Guay, France)The Deer Hunter (Michael Cimino, UK/USA)Erlkönig (Georges Schwizgebel, Switzerland)Guibord s'en va-t-en guerre (Philippe Falardeau, Canada)Bombay Velvet (Anurag Kashyap, India)Pastorale cilentana (Mario Martone, Italy)La vanite (Lionel Baier, Switzerland/France)The Laundryman (Lee Chung, Taiwan)Me and Earl and the Dying Girl (Alfonso Gomez-Rejon, USA) I pugni ni tasca (Marco Bellocchio, Italy)Heliopolis (Sérgio Machado, Brazil)Amnesia (Barbet Schroeder, »
Orson Welles gave one of his most Shakespearean performances as an ageing, corrupt police chief in this remarkable melodrama
All liberals should memorise this film’s superb line, spoken by, all of people, Charlton Heston: “A policeman’s job is only easy in a police state!” Orson Welles’s brilliant 1958 noir melodrama Touch of Evil is now on rerelease. Adapted by Welles from Whit Masterson’s pulp thriller Badge of Evil, it had streaks of teen degradation and reefer madness, and the most intense interracial relationship since The Searchers.
Related: How Orson Welles shattered the Hollywood image
Continue reading »
- Peter Bradshaw
Spoilers ahead for the second season of True Detective. The first season of True Detective was, if nothing else, a hotbed of references and influences — everything from Nietzsche to Robert Chambers’s book The King in Yellow to Orson Welles’s Touch of Evil to the films of Michael Mann. The arrival of the second season suggests things will be no different this time around — no matter what series creator Nic Pizzolatto and his directors may actually say. And one of the most prominent influences on this new season appears to be the work of David Lynch. Of course, Pizzolatto has made his fondness for Lynch known in the past, and the director’s Lost Highway felt like a key influence on last season as well. (Plus, Twin Peaks is already the granddaddy of most shows that feature an ongoing investigation over an entire season.) But based on what we’ve seen, »
- Bilge Ebiri
Directed by Chuck Workman
A documentary exploring the life and work of Orson Welles…
Vincent van Gogh, famously, sold only one painting in his lifetime. Leonardo Da Vinci struggled to finish many of the commissions he was given – his Last Supper is technically unfinished as he intended to include a roof on the mural. Magician: The Astonishing Life and Work of Orson Welles lifts the widely-respected filmmaker to such heights. Akin to van Gogh and Da Vinci, his canon of films includes multiple financial losses, alongside incomplete masterpieces that, even now, are rumoured to be lost in the deepest depths of Southern America. From Citizen Kane to F for Fake, his history is fascinating, and director Chuck Workman, takes us on the bumpy journey through his life.
Split into small, bite size chunks such as ‘The Boy Wonder’ and ‘The »
- Simon Columb
Big, grizzled, with spit and stubble, Orson Welles dismantled the notion of what a movie star should look like. As it returns to cinemas, Michael Newton celebrates his Touch of Evil, the last great film noir of Hollywood’s golden age
In Jonathan Swift’s Gulliver’s Travels, Gulliver finds himself in the kingdom of Brobdingnag, where the people are 60ft tall. Scale is everything; blown up to gigantic proportions the human face becomes rough, pitted, the seemingly immaculate skin unmasked as imperfect. In the 20th century, Brobdingnag transformed into the picture house, a place for the pygmy public to stare up at the great stars. However, far from seeming less perfect, the enlarged human face seemed more wonderful, smoothed-out by celluloid, unattainable. Yet still strangeness clung to these super-sized persons, those colossal faces.
Welles understood this, and so returned us to the Swiftian vision. In his movies, the human »
- Michael Newton
Central and Eastern Europe's flagship festival, running from July 3 to 11 this summer, is one for moviegoers hungry for discoveries, curiosities and breakouts. This year, Kviff asked six prominent directors to personally present a film favorite that has defined their own style as filmmakers. Read More: Karlovy Vary Film Fest Lineup Lures Adventurous Cinephiles, Young Directors Cine-essayist Mark Cousins, who will bring a new feature doc to the fest this year, presents the Iranian-French film "A Moment of Innocence" (Nun va Goldoon, 1996) by one of the leading directors of the Iranian new wave, Mohsen Makhmalbaf. Kim Ki-duk will present the lovely "Poetry" (Shi), directed by his colleague and countryman Lee Chang-dong in 2010. Sergei Loznitsa will show director Kira Muratova’s magnum opus, "The Asthenic Syndrome" (Astenicheskiy sindrom, 1989). Luis Miñarro chose the Orson Welles’ legendary 1958 film noir "Touch of Evil," »
- Ryan Lattanzio
London — The 50th edition of the Karlovy Vary Film Festival is to include a special section entitled Six Close Encounters, in which six directors who share a history with the festival will present one of their favorite films.
“It is extremely important to us that we maintain long-term relationships with filmmakers whose work we follow continuously, often from the beginning of their careers, which in many cases were launched at the festival,” artistic director Karel Och said.
With this in mind, the event asked six directors to select and personally present a favorite film that played a fundamental role in defining their own filmmaking styles.
- Leo Barraclough
Six selected directors include Michaël R. Roskam [pictured], Kim Ki-duk and Sion Sono.
Six international directors who share a history with the Karlovy Vary International Film Festival (July 3-11) are to present one of their favourite films at the 50th edition of the festival in the Czech spa town.
Each will select and personally present a favourite film that played a fundamental role in defining their own styles on filmmaking.
“It is extremely important to us that we maintain long-term relationships with filmmakers whose work we follow continuously, often from the beginning of their careers, which in many cases were launched at the Karlovy Vary International Film Festival,” says Kviff artistic director Karel Och.
- email@example.com (Michael Rosser)
Charlton Heston (starring here as Mexican border cop Mike Vargas) was apparently instrumental in persuading B-movie producer Albert Zugsmith to hire Orson Welles – who hadn’t directed in Hollywood for a decade – to make Touch of Evil.
Beginning with one of the most celebrated tracking shots in cinema history, a bravura three-minute take in which a bomb is planted in a car that then explodes after crossing the Us border, Welles created a baroque, highly stylised masterpiece from inauspiciously pulpy source material.
With its story of murder, marijuana and police corruption, Touch of Evil is considered among the last of the 1940s/50s cycle of crime thrillers known as film noir. Welles’ vivid turn as corpulent bent cop Quinlan »
- Gary Collinson
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