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We can all breathe again now that we know that Huck was not the shooter, but that's far from all we learned. Seriously. We have so much to talk about, TV Fanatics and Gladiators, so let's get to it...
The biggest reveal of tonight, just as Jim predicted in the "Happy Birthday, Mr. President" Round Table, is that Huck was not the shooter but was actually cleaning up after the shooter. The shooter who lured him to the hotel for the purposes of framing him for the assassination of Fitzgerald Grant.
The shooter who just so happens to be his girlfriend from AA, Becky. Who is actually a trained spy just like Huck.
Boom. That was my head exploding. »
- email@example.com (Miranda Wicker)
The Warner Archive Collection continues its rollout of fanboy-centric DC Comics properties with the December 11 DVD release of the original 1974 television pilot, Wonder Woman, starring Cathy Lee Crosby; and the much-requested sophomore season of the Alexander Salkind & Ilya Salkind produced Superboy: The Complete Second Season.
Before Lynda Carter took the heroine back to World War 2 for her "New, Original" incarnation in 1975, statuesque tennis pro-turned-performer Cathy Lee Crosby swung the magic lasso in a very different TV incarnation of Wonder Woman. As developed by scribe John D.F. Black (Star Trek, Shaft), and seemingly influenced by her recent turn as a mod, cat-suited crime-fighter in the pages of her DC Comics home, this Amazon Princess was more superspy than superhero. Still, many of the expected wondrous elements from bracelets and lassos to Paradise Island and invisible jets all make an appearance, albeit with a sleek, seventies espionage super-action refit. Three years »
It's no secret that Jane Fonda is my favorite movie star of all time, so when she sits down with a gregarious homosexual (two, in fact -- hey, Sandra Bernhard!) on live late night TV and spills about Elizabeth Taylor ("A mensch!"), Faye Dunaway ("Sad."), and Ted Turner's misbegotten fling with Bo Derek, I need to make it everyone's responsibility to listen up.
First, let's learn about the role Jane desperately wanted and didn't get.
And for the hell of it, let's watch as Jane and Sandra sort through a bunch of workout tape titles and pick out the real and phony ones.
Here are my reactions, numbered as usual.
With this year’s release of On The Road, Water Salles has achieved what many thought was impossible; a film adaptation of Jack Kerouac’s book. A film version had been in the works for years, notable filmmakers from Francis Ford Coppola to Gus van Sant wanted their hands on the property to create the ultimate of road movies. In appreciation of Salles’s work, this article takes a look at 10 other iconic road movies and why they make such a lasting impression.
Road trips have been part of our cinematic experience for a long time. In fact, the earliest American films often contain an on-the-road plot that reflects the nomadic roots of American history; discovering new frontiers and forging identities. The genre developed even further after World War II when the automobile industry boomed. Then the 60’s arrived and iconic road movies came to the forefront once more with »
- Maggy van Eijk
“Silver Linings Playbook” has thus far been greeted with excellent reviews, enthusiastic audience reaction and strong box office performance in limited release. -Insertgroups:8- But can it achieve something we haven’t seen in more than thirty years -- receive an Oscar nomination in every acting category? Since the supporting categories were introduced for the film year of 1936, a total of 13 lucky pictures have managed to do the trick: “My Man Godfrey,” “Mrs. Miniver,” “For Whom the Bell Tolls,” “Johnny Belinda,” ‘Sunset Boulevard,” “A Streetcar Named Desire,” “From Here to Eternity,” “Who’s Afraid of Virginia Woolf?,” “Bonnie and Clyde,” “Guess Who’s Coming to Dinner,” “Network,” “Coming Home” and “Reds.” For a number of years, it seemed to happen fairly regularly. Now it’ »
Directed by Tony Scott
Screenplay by Quentin Tarantino
“Not since Bonnie and Clyde have two people been so good at being bad”.
Written by one-of-a-kind Quentin Tarantino (Reservoir Dogs, Pulp Fiction) and directed by Tony Scott (Top Gun, Hunger, Crimson Tide), True Romance is if anything consistently entertaining. This outlaw-lovers-on-the-run flick became an instant cult classic – an energetic, gruesome and gleefully amoral prototypical road movie that recycles a number of elements of films from the past as far back as Fritz Lang’s You Only Live Once and Nicholas Ray’s They Live by Night. And while those and other more obvious inspirations such as Bonnie and Clyde and Terrence Malick’s Badlands (of which actually borrows its score) are noticeable, it still packs enough verve and gusto to create something entirely fresh and influential on its own right. Dominated by the machismo of Quentin Tarantino and »
It may be world famous for independent film-making, but – judging by its lineup for 2013 – the Sundance film festival is not short on grand ambition when it comes to blockbuster idols and award-season darlings. Organisers revealed yesterday that Daniel Radcliffe, Octavia Spencer, Casey Affleck, Rooney Mara and Jessica Biel will all feature in next year's haul at the event founded and made famous by Robert Redford.
Radcliffe appears as the poet Allen Ginsberg in Kill Your Darlings, set in the aftermath of the 1944 murder of David Kammerer by beat crowd alumnus Lucien Carr, who claimed Kammerer had been stalking him. John Krokidas's film also stars Ben Foster as William Burroughs, Jennifer Jason Leigh as Naomi Ginsberg, Elizabeth Olsen as Edie Parker and Jack Huston as Jack Kerouac. »
- Ben Child
Casey Affleck, Rooney Mara, Dean Stockwell: Sundance 2013 movies [See previous article: "Daniel Radcliffe as Gay Poet Allan Ginsberg: Sundance 2013 Movies."] Casey Affleck and Rooney Mara star in David Lowery’s Ain’t Them Bodies Saints, a Sundance Creative Producing Labs effort which has been described (whether accurately or not, I don’t know) as the early 21st century’s Bonnie and Clyde. The story follows "an outlaw who escapes from prison and sets out across the Texas hills to reunite with his wife and the daughter he [...] »
- Andre Soares
Directed by Ben Wheatley.
A dark comedy about Chris and Tina's murderous trip around the English countryside.
“He’s not a person, Tina; he’s a Daily Mail reader.”
If only blind murder was so simple.
In the beginning of Sightseers, it is. Chris' (Steve Oram) homicidal tendencies are incited by the slightest of provocations; a father carelessly littering on the ground; a writer who’s more successful; a walker for being rude (and posh). It's to whom the last person the above quote belongs. He had shouted at Tina (Alice Lowe) about picking up her dog's faeces on the ground, so Chris crushed his skull against a boulder as though he were trying to light some primitive fire.
It conjures up images of Bonnie and Clyde, of Mickey and Mallory Knox. They're a particularly American myth, the madly-in-love »
- Chris Villeneuve
This past summer, "Lawless," a gripping, based-on-a-true-story gangster movie from Australian director John Hillcoat, opened and closed without much fanfare, despite its uniformly excellent cast (included: Tom Hardy, Jessica Chastain, Shia LeBeouf, Guy Pearce, Mia Wasikowska and Gary Oldman) and the fact that it was a really terrific movie. Thankfully, if you missed it in the theaters, you have a second chance as "Lawless" debuts on Blu-ray, DVD and iTunes this week. To mark the occasion, we got to speak to Hillcoat about the top five films that influenced his thrilling film. 1) "Bonnie & Clyde" (Arthur Penn, 1967) Unsurprisingly, Hillcoat's first choice is Arthur Penn's immortal "Bonnie and Clyde," a similarly dusty look at old timey outlaws. "I've always been very inspired by that film," Hillcoat confessed (and, now that we think of it, you can see bits of the film in his debut, the settlers-versus-aborigines »
- Drew Taylor
By Tom O'Neil, GoldDerby.com "Les Miserables" is the early frontrunner to win Best Picture at the Oscars, according to the experts polled by Gold Derby, and it may even end up setting two historic records. Pundits predict the Tom Hooper-directed flick will win Best Supporting Actress (Anne Hathaway), Art Direction, Best Song ("Suddenly") and Sound Mixing. Overall, expect "Les Mis" to reap 12 to 16 bids. Currently, the record is 14 held by "All About Eve" (1950) and "Titanic" (1997). If "Les Mis" beats "Lincoln" to reap the most noms this year, that'll be an encouraging sign since the movie with the most nominations wins Best Picture more than two-thirds of the time. "Les Miserables" could also set a record for most acting bids in one film. That distinction is currently shared by nine flicks that reaped five: "All About Eve" (1950), "Bonnie and Clyde" (1967), "From Here to Eternity" (1953), "Godfather, Part II" (1974), "Mrs. Miniver" (1942), "Network »
- Alex Suskind
When I first saw The Avengers on the big screen I worried if it could be as large and as magnificent on the smaller screen. Few blockbuster films had achieved such success in creating a fun experience and the size of screen help sell audiences on the Marvel Universe gone wild. But believe me, true believers, if you have a tricked out home theater this is one of the essential blu-ray purchases you’ll make this year.
The Avengers accomplished Marvel Studios’ Phase I in spades. It collected all of these larger than life characters established in other films, and put them on a bigger stage against more unimaginable villains for the big screen. They used the solo films to develop these characters and then brought the all-star cast together to accomplish a few more goals–besides making gobs of money, that is: 1) To kick cinema ass. 2) Expand the horizons »
- Ernie Estrella
The films of Jerry Schatzberg, particularly the key works he directed in the 1970s, have been undervalued in the eyes of many critics who, in their survey of American cinema have elevated other directors to iconic status. (He is not alone – Michael Ritchie is another director richly deserving of re-evaluation.) So this brief retrospective, which includes a masterclass with the filmmaker, is a very welcome addition to the third edition of the American Film Festival.
Although Schatzberg has not made a film for some years, his work continues with his photography. In these images one can still see what made his film work so compelling; like other great directors of the 1970s, Schatzberg's attention to faces and how they contrast with the world around them creates an intimacy between the image and spectator. One can see it in Morgan Freeman's face in the most recent film screening 1987's Street Smart (Schatzberg was one of the first directors to really utilise the actor's versatility and power). It is also present in Faye Dunaway's pained expressions in Schatzberg's devastating feature debut Puzzle of a Downfall Child (1970). Stripped of the glamour that most audiences came to expect from the star of Bonnie and Clyde (1968), Dunaway presents a compelling and convincing portrait of a model suffering from some kind of mental breakdown, detailing the minutiae of her illness, through which reality and the imaginary blur.
The remaining two films in the programme have come to define Schatzberg's film work. Panic in Needle Park (1971) is a searing portrait of drug addiction that introduced the world to Al Pacino. Scarecrow (1973), in stark contrast, is a road movie about two drifters. the film was made between Pacino's star-making appearances as Michael Corleone in Francis Ford Coppola's Godfather films, and also stars Gene Hackman, fresh from his Oscar-winning performance in The French Connection (1972).
Panic in Needle Park, whose title is taken from a square in uptown New York that was popular amongst drug addicts, is one of the most intense films made about drug addiction. It continues a trend that began with Otto Preminger's 1956 drama The Man with the Golden Arm, in its explicit detailing of the destructive impact of heroin addiction. In terms of its representation of New York life, it falls somewhere between John Schlesinger's Midnight Cowboy (1969) and the more corrosive Taxi Driver (1976) in recording the city's descent from purgatory to some kind of hell – on film, at least. Al Pacino, who plays Bobby, acts with a freshness that stands in stark contrast to his later, more mannered performances. In his first major role, he is surprisingly comfortable in front of the camera. Schatzberg allows him the space to explore Bobby's constantly changing personality, whilst never losing the intimacy he creates between the characters and audience.
Scarecrow is more lyrical, particularly in the interplay between character and landscape. Ostensibly a road movie, the film moves from jocular interplay between Pacino and Hackman's characters, before turning darker, as one of the men's mental instability consumes them. The film picked up the top prize, the Palme d'Or at the 1973 Cannes Film Festival, worthy recognition of the film's power and Schatzberg's place as the cinematic laureate of the downtrodden.
Ian Haydn Smith
Aff English Daily Editor
- Ian Haydn Smith
Before I go on, let me announce something important about last night's Good Wife: Nick, jealous of Cary's rapport with Kalinda, snarked at Cary for wearing nice suits and then called him "gay." It was a typically incendiary Nick move, but the remark provoked the cutest damn Cary face I have ever seen, so if we treat this as a mathematical equation, we arrive at: Cary + Gay = Cute. Pencils down. I call this a victory. Nick, kill yourself.
Too bad this episode was pretty awful. While the majority of it focused on likable daughter Grace and her weird, flirty relationship with a well-groomed peer whose ex-girlfriend (also named Grace, because of Symbolism) just killed herself, The Good Wife slagged around in lame old storylines we don't care too much about. The firm is going under, but a new case involving a murderess and a hit man may save it altogether »
When we left off in last week's episode, Rick was awoken from his zombie-killing stupor by a phone call. So he did what any human being would do in the vicinity of a ringing phone, he answered it. Tonight's episode entitled "Hounded" was written by Scott M. Gimple and directed by Dan Attias.
Spoiler Alert: Do not read any further if you haven’t watched the episode yet. This is a recap, not a review. Continue only if you have watched it.
Merle led his band of merry men through the woods and came across some body parts that were arranged into a message,"Go Back," deciphered by the scaredy cat with a slightly difficult last name but Merle kept calling him "Neil" anyway. When Merle taunted Michonne, she jumped down from above, decapitated one and stabbed another, all with her little "pig sticker". Merle started shooting and clipped Michonne's leg. »
- KW Low
If you’re in New York this weekend head over to the Museum of Modern Art for the museum and Filmmaker‘s annual screenings of the nominees for our “Best Film Not Playing at a Theater Near You” Gotham Award. Playing are Terence Nance’s wildly inventive doc/fiction relationship deconstruction, An Oversimplification of her Beauty (pictured); Amy Semitz’s psycho-noir romance, Sun Don’t Shine; Alex Karpovsky’s real-life filmmaker comedy, Red Flag; the Zellner Brothers darkly humorous metaphysical exploration, Kid-Thing; and Frank V. Ross’s subtle and affecting relationship drama, Tiger Tail in Blue. I’ll be joining Nick Dawson, Alicia Van Couvering, MoMA”s Josh Siegel and the Ifp’s Milton Tabbot to intro and do Q&A’s with the filmmakers and actors. The complete schedule is here at the link.
At Indiewire, Eric Kohn previews the program and includes individual assessments of the films. From »
- Scott Macaulay
I got to experience an unexpected spectrum of American genre cinema here at the Viennale by yet again ignoring the new in favor of the old. Watching in a continuum Fritz Lang's Man Hunt (1941), in the Film Museum's retrospective, John Ford's Donovan's Reef (1963), programmed in the Viennale “for Jean-Marie Straub,” John Carpenter's The Thing (1982), shown in the retrospective sidebar “They Wanted to See Something Different” curated by Jörg Buttgereit, and Tony Scott's Unstoppable (2010) gave me an ellipticalt glimpse of the movement and address of a certain strain of popular American cinema from the middle of the 20th century to the present.
It would be foolish to take Man Hunt as a sort of pure example of Hollywood's industrial genre making of its time, unself-conscious; after all, Ford's own Stagecoach came two years earlier, electrically alive with awareness of the conventions of nearly forty years of the Western in cinema. »
- Daniel Kasman
Tags: Once Upon A TimeOnce Upon a Time recapsSwanQueenIMDb
Previously on Once Upon A Time... Rumpelstiltskin cut off Captain Eyeliner's hand, Team Badass started a quest for a compass and a scruffy guy got a postcard from a dove.
We begin this week's tale in the Enchanted Forest, present-day. Hook is leading the beautiful team of badass ladies towards the giant beanstalk that they allegedly have to climb.
Emma gives her sorry version of the Jack and the Beanstalk tale, which is mostly vague and, according to Hook, almost entirely wrong. He tells the real version of the story while Snow adorably nods along in confirmation. There's one big bad giant left up there in the clouds, and he has enchanted the beanstalk so only people with the magic cuffs can climb it, of course. Hook tells the girls to wrestle each other for it and after I silently chided him for being gross, »
After The Twilight Saga ends for Kristen Stewart this November 16th, she may have a role lined up to star opposite Ben Affleck in Focus. We previously reported that Affleck was circling a role, and Warner Bros. was looking to fast-track the project once they found a female lead. It looks like Stewart is their choice. Focus, written and directed by Glenn Ficarra and John Requa of Crazy Stupid Love, tells the story of a "veteran con man who gets involved with a newcomer to the grifter business. They get involved romantically but that becomes perilous in a business where they lie and cheat for a living. The complications of the encounter haunt them when they meet up again in the future.” Hit the jump for more. Variety reports that Stewart is in talks to star opposite Affleck as the female lead in Focus. The writer/director duo previously wanted »
- Dave Trumbore
Halloween is upon us, and—in true Hollywood fashion—celebs are unleashing all sorts of sartorial tricks and treats as they show off their snazzy costumes. From Miley Cyrus channeling Nicki Minaj to Jessica Simpson rocking a sexy medieval frock to Neil Patrick Harris showing off his dark side, the stars definitely shined in a whole new way. Meanwhile,Scott Disick hosted an American Psycho–themed party in Sin City, Matthew Morrison conjured up old-school Justin Timberlake, Emma Roberts gave us her aunt Julia Roberts' Pretty Woman outfit, Ryan Seacrest and Julianne Hough stepped out as Bonnie and Clyde, and Kim Kardashian made for a marvelous mermaid with Kanye West as her captain. And »
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