9 items from 2013
AMC’s Hell on Wheels Season 3, starring Anson Mount and Common, will air on Saturdays come August. Despite sluggish ratings, AMC is making an admirable move by sticking by its historical railroad drama – a move that they didn’t make when dealing with cult favorite conspiracy series, Rubicon.
Fridays and Saturdays are traditionally dead slots for TV. When a series is on the verge of cancellation, it typically gets pushed to Fridays. In this instance, Hell on Wheels is going to Saturdays with a new branding pitch from the network.
Introducing Western Saturdays.
Saturday night airings of Hell on Wheels third season will be book-ended with a few vintage, gunslinging western flicks, such as: El Dorado, The Shootist, Hang ‘em High, A Fistful of Dollars and The Man Who Shot Liberty Valance.
Does it sound more like Western Saturdays or more like replay Saturdays?
Saturdays may not be a totally dead spot. »
- Bags Hooper
Season 3 of the period drama will premiere on Aug. 3 in its new Saturdays-at-9/8c berth, where it will launch a new night of original programming for the cabler and cap a day of Western-themed fare, including newly acquired films such as El Dorado, The Man Who Shot Liberty Valance and The Shootist and special anniversary airings of Hondo (1953), McLintock! (1963), Hang ‘Em High (1968) and High Plains Drifter (1973).
“A new episode of Hell on Wheels »
- Matt Webb Mitovich
The cabler has typically shown off its movie roots on Saturdays, with a particular focus on Westerns, but is evolving to include in its programming that night original series “Hell,” which will air along with such newly incorporated Paramount Picture films such as “The Man Who Shot Liberty Valance” and “The Shootist.”
In addition, AMC has acquired TV series “Rawhide,” starring Clint Eastwood, which joins “The Rifleman” on Saturdays beginning April 20, and will also air miniseries “Lonesome Dove” and for the first time “Return to Lonesome Dove.”
- Jon Weisman
I've mentioned before how several years ago I created a list using Roger Ebert's Great Movies, Oscar Best Picture winners, IMDb's Top 250, etc. and began going through them doing my best to see as many of the films on these lists that I had not seen as I possibly could to up my film I.Q. Well, someone has gone through the exhaustive effort to take all of the films Roger Ebert wrote about in his three "Great Movies" books, all of which are compiled on his website and added them to a Letterbxd list and I've added that list below. I'm not positive every movie on his list is here, but by my count there are 363 different titles listed (more if you count the trilogies, the Up docs and Decalogue) and of those 363, I have personally seen 229 and have added an * next to those I've seen. Clearly I have some work to do, »
- Brad Brevet
I've mentioned before how several years ago I created a list using Roger Ebert's Great Movies, Oscar Best Picture winners, IMDb's Top 250, etc. and began going through them doing my best to see as many of the films on these lists that I had not seen as I possibly could to up my film I.Q. Well, someone has gone through the exhaustive effort to take all of the films Roger Ebert wrote about in his three "Great Movies" books, all of which are compiled on his website and added them to a Letterbxd list and I've added that list below. I'm not positive every movie on his list is here, but by my count there are 362 different titles listed (more if you count the trilogies and Decalogue) and of those 362, I have personally seen 229 and have added an * next to those I've seen. Clearly I have some work to do, »
- Brad Brevet
This week I didn't have a chance to watch any movies at home, though I did continue reading Glenn Frankel's "The Searchers: The Making of an American Legend", which I mentioned in last week's "What I Watched". Last week I was only a few pages in to the film, now I'm about 125 pages deep and it continues to get increasingly fascinating as Frankel has gone so deep into the history of the people that inspired the film and tells their story in such a compelling way it is very hard to put down. This past week Martin Scorsese actually wrote about the book and the film for The Hollywood Reporter, here's a snippet: Ethan also is genuinely scary. His obsessiveness, his absolute hatred of Comanches and all Native Americans and his loneliness set him apart from any other characters Wayne played and, really, from most protagonists in American movies. »
- Brad Brevet
As Sound on Sight’s Western month reaches its conclusion, two of the hosts of your favorite Disney movie podcast, Mousterpiece Cinema, Josh Spiegel and Gabe Bucsko met in the show’s vaunted and secretive HQ to discuss and debate what many people would claim is the greatest Western of all time: the 1956 John Ford film The Searchers. One of your hosts considers that claim perfectly accurate, and the other one is Josh. Who’s right? Who’s wrong? Can this debate ever be settled? It’s up to Josh and Gabe to answer these hard questions, so read on for the answers!
Josh: I don’t remember much about my freshman year in college–thanks more to an unfailingly poor memory than to partying, I assure you–but one clear memory is that of my fall-semester film professor blowing his gasket when I told him I hated one of his favorite movies. »
- Josh Spiegel
Feature Paul Martinovic Jan 18, 2013
Howard Hawks, one of the most successful Western directors of all time and a key influence on Sergio Leone, once said a great movie can be defined as one with "three great scenes, and no bad ones." There can be few directors who understood the power of great scenes quite as strongly as Leone, the director of the Dollars trilogy and de facto godfather of the spaghetti western.
Some might argue his emphasis on great individual moments was to his detriment, as the MacGuffin-laden plots of his films seem to exist mainly as devices on which he can hang his elaborate setpieces, and were subsequently labeled as exercises in pure style. While the artistic and intellectual merits of the three films are up for debate, »
The “adult” Western – as it would come to be called – was a long time coming. A Hollywood staple since the days of The Great Train Robbery (1903), the Western offered spectacle and action set against the uniquely American milieu of the Old West – a historical period which, at the dawn of the motion picture industry, was still fresh in the nation’s memory. What the genre rarely offered was dramatic substance.
Early Westerns often adopted the same traditions of the popular Wild West literature and dime novels of the 19th and early 20th centuries producing, as a consequence, highly romantic, almost purely mythic portraits the Old West. Through the early decades of the motion picture industry, the genre went through several creative cycles, alternately tilting from fanciful to realistic and back again. By the early sound era, and despite such serious efforts as The Big Trail (1930) and The Virginian (1929), Hollywood Westerns were, »
- Bill Mesce
9 items from 2013
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