14 items from 2015
Author and film critic Michael Smith's launched a podcast, discussing Agnès Varda with Chicago writers Ben Sachs and Kat Sachs. More listening: Paul Schrader is in the Projection Booth, discussing Blue Collar (1978). Adam Schartoff's guests on Filmwax Radio include Roger Corman, Stanley Nelson, Oren Moverman and Dwayne Epstein, author of Lee Marvin: Point Blank. Zach Lewis and Kyle Stevens discuss the work of Mike Nichols. Plus a commentary track for Charles Chaplin's A Woman of Paris and a bit of viewing: Launching the A.V. Club’s new video discussion series, Film Club, A.A. Dowd and Ignatiy Vishnevetsky discuss Camille Delamarre's The Transporter: Refueled and the best films of the summer movie season. » - David Hudson »
Criterion digitally restores this earlier release, a combination offering of Robert Siodmak’s 1946 film noir masterpiece The Killers paired with Don Siegel’s retro 1964 remake. Famed adaptations of Ernest Hemingway’s short story, both filmmakers take liberties with the original material to create aggressively different products. Siodmak’s version is not only the German ex-pat’s enduring masterpiece, it’s a definite cornerstone of classic American film noir. Though Siegel’s 60s rehash is considered tacky pastiche of the era, it’s brutal, hard boiled B-grade pulp, notable for its own significant instances.
Siodmak’s version arrived during a golden era of noir, premiering a year after WWII officially ended, with cinematic masculine representation on the eve of an overhaul as method acting would soon reign supreme. Hemingway’s spare story gets a face life from Anthony Veiller (The Stranger; Night of the Iguana), using the murder as a jumping »
- Nicholas Bell
Oscar winning producer Robert Chartoff, who shared an Academy Award win with his producing partner Irwin Winkler for 1976’s Rocky, has died aged 81. Chartoff, who was battling pancreatic cancer, died on Wednesday.
He had been partnered with Winkler for many years, and was behind such films such as They Shoot Horses, Don’t They?, The Gambler, True Confessions and Point Blank. The duo would win an Oscar for their work on Rocky, and were also Oscar-nominated for Martin Scorsese’s Raging Bull and The Right Stuff, directed by Philip Kaufman.
More recently, Chartoff had worked on Ender’s Game, Sylvester Stallone’s upcoming film Scarpa, and the latest entry into the Rocky franchise Creed, which stars Michael B. Jordan (Fantastic Four) as the son of famous fighter Apollo Creed who is trained by Rocky, and is due for release in 2016.
Chartoff-Winkler produced all of the Rocky films, with the first earning 10 Oscar nominations, »
- Scott J. Davis
Robert Chartoff, who shared an Oscar with partner Irwin Winkler to produce “Rocky,” and was Oscar-nommed for Martin Scorsese’s “Raging Bull” and Philip Kaufman’s “The Right Stuff,” died Wednesday in Santa Monica. He was 81 and had been battling pancreatic cancer.
The duo were responsible for numerous influential films of the late ’60s and 1970s through their Chartoff-Winkler Productions, including Sydney Pollack’s “They Shoot Horses, Don’t They?,” Robert De Niro and Robert Duvall starrer “True Confessions,” John Boorman’s “Point Blank” and James Caan starrer “The Gambler.”
- Pat Saperstein
Robert Chartoff, the Oscar-winning producer whose credits included the classic films “Rocky” and “Raging Bull,” died Wednesday at his home in Santa Monica. He was 81. Chartoff died after a battle with pancreatic cancer. Born in 1933, Chartoff attended Union College and Columbia University Law School before embarking on his film career, which included more than 30 films. With his longtime partner Irwin Winkler, he produced the 1976 film “Rocky,” which won him an Academy Award. See photos: Hollywood's Notable Deaths of 2015 Other films in Chartoff’s catalog include the 1967 Lee Marvin-Angie Dickinson crime drama “Point Blank,” 1978’s “Comes a Horseman,” the. »
- Tim Kenneally
John Boorman: "the relationship between memory and imagination is very mysterious.” Photo: Richard Mowe
John Boorman, the British director who made some of cinema’s most seminal films (Point Blank, Deliverance, Excalibur, Leo the Last) has returned to the fray at 82 with Queen And Country, an autobiographical companion piece to his Oscar winning Hope And Glory.
Richard Mowe: How close is the film to your memories of the time and did you almost become an accidental film-maker?
John Boorman: Very close. All the incidents in the film occurred to me and all the characters were people I knew and met at the time. When I came out of the Army I got a job as a trainee film editor. I thought I could be very happy being a film editor for the rest of my life. But then I moved to Southern Television, and there, as a director-editor, »
- Richard Mowe
From anime to pitch-black thrillers, here's our pick of the underappreciated movies of 1987...
Sometimes, the challenge with these lists isn't just what to put in, but what to leave out. We loved Princess Bride, but with a decent showing at the box office and a huge cult following, isn't it a bit too popular to be described as underappreciated? Likewise Joe Dante's Innerspace, a fabulously geeky, comic reworking of the 60s sci-fi flick, Fantastic Voyage.
What we've gone for instead is a mix of genre fare, dramas and animated films that may have garnered a cult following since, but didn't do well either critically or financially at the time of release. Some of the movies on our list just about made their money back, but none made anything close to the sort of returns enjoyed by the likes of 1987's biggest films - Three Men And A Baby, Fatal Attraction »
All week our writers will debate: Which was the greatest film year of the past half century. Click here for a complete list of our essays. It’s perhaps a little quaint to choose a year that I wasn’t even alive during to represent the best year of cinema. I was not there to observe how any of these films conversed with the culture around them when they were first screened. So, although I am choosing the glorious year of 1973, I am choosing not just due to a perusal of top ten lists that year—but because the films that were released that year greatly influenced how I engage with movies now, in 2015. Films speak to more than just the audiences that watch them—they speak to each other. Filmmakers inspire each other. Allusions are made. A patchwork begins. These are the movies of our lives. Having grown up with cinema in the 90s, »
- Brian Formo
Though it was overshadowed at the time by sexier fare, one of the bigger events of last year’s Cannes Film Festival for cinephiles was the arrival of “Queen & Country,” the first film in eight years from 82-year-old director John Boorman (it's a 27-years-later sequel of his Oscar-nominated “Hope & Glory”). With that film now in theaters and following a Film Forum retrospective of his work last month, we've looked back at the career of one of the most fascinating filmmakers of the last quarter-century. Never the most prolific of helmers (he’s made only seventeen features over a fifty-year career), Boorman’s also been tricky to pin down: there’s little on the surface that links the Nouveau Vague crime flick stylings of “Point Blank” to the big-budget excess of “Excalibur” to the sweet, modest “Queen & Country” (read our review of the latter here), to say nothing of the searing survival tale “Deliverance. »
- The Playlist Staff
By Alex Simon
John Boorman first made his name as a filmmaker to be reckoned with upon the release of 1967’s Point Blank, one of the seminal films of that decade. Classics such as Deliverance (1972), Excalibur (1981) and The Emerald Forest (1985) followed, with 1987’s Hope and Glory, Boorman’s personal memoir of growing up in Ww II London during the Blitz, being one of his career high points, garnering five Oscar nominations, including Best Picture, as well as winning a Golden Globe for Best Motion Picture (comedy) and sweeping that year’s BAFTAs in every major category.
2015 finds John Boorman, now 82, releasing what he says might be his swan song as a filmmaker, Queen and Country, the long-awaited sequel to Hope and Glory. The film finds Boorman’s alter ego Bill Rohan (Callum Turner) serving in the British army during the Korean War, »
- The Hollywood Interview.com
Tour of Duty: Boorman Returns to Autobiographical Elements
Now at 82 years of age, British auteur John Boorman returns with Queen and Country his first feature since 2006. It is a follow-up to one of the director’s most cherished titles, Hope and Glory (1987), which documents war-torn England through the eyes of a child as his family survives the blitz. Though it’s been nearly thirty years, Boorman sets this follow-up chapter only nine years in the future, leaving behind the horrors of WWII for the Cold War ethics of the Korean conflict. Much like he managed with the film’s predecessor, Boorman achieves success by making the film a personal, insular story about a small group of characters’ experiences. The powerful emotional possibilities of the child’s perspective is left behind, now a young man discovering who he wants to be and what values he wishes to cherish. This makes for a more reserved, »
- Nicholas Bell
At a retrospective at New York's Film Forum, including the baroque thriller, Point Blank, the Appalachian nightmare, Deliverance, the bizarre, sci-fi adventure, Zardoz, and his epic Arthurian legend, Excalibur, Director John Boorman premiered Queen And Country, the sequel to his semi-autobiographical 1987 opus, Hope and Glory. In a short but sweet chat, Director Boorman spoke with us about the magic of Lee Marvin, directing Mifune, and wrangling the sexual tension between Merlin and Morgana Le Fay. The Lady Miz Diva: You're here for the Film Forum's retrospective of your work, but also for the premiere of your newest film, Queen and Country, the sequel to your 1987 film, Hope and Glory. What brought you back to that autobiographical story now, nearly thirty years later?John Boorman: ...
[Read the whole post on twitchfilm.com...]
Cameos, mistakes and in-jokes. We’ve trawled the Game Of Thrones season 4 DVD commentaries for what went on behind the scenes…
Warning: contains spoilers for Game Of Thrones season 4.
If you’re a busy Game Of Thrones fan who can’t find the spare ten hours required to re-watch season four with the accompanying disc commentaries, then we have your back. Gleaned from said audio tracks provided by the cast, crew and creators George R.R. Martin, Dan Weiss and David Benioff, is the below list of nerdy facts and anecdotes about the making of season four.
Granted, skip the commentaries and you won’t experience first-hand Peter Dinklage’s rendition of Let It Go from Frozen, a stream of filthy innuendo from Lena Headey, or the general sense of awe, adoration and good-natured mockery everyone who works on the show has for everyone else (“If only you could act, Peter »
The most famous movies made by John Boorman are Point Blank, Deliverance, and Hope and Glory, three disparate, elegantly constructed pictures that almost any director would be proud to have on a résumé. But the movies the 82-year-old Boorman made before, after, and in between those extraordinary benchmarks fill in a grand and much broader story in this unicorn tapestry of a career. Corral his best-known work in the center, if you must. But the only way to understand Boorman, if such a thing is fully possible, is to sharpen your depth of field so that every intricately woven flower slips into focus. In other words, to see the greatness of Boorman is to reckon with the fact that the man who put Sean Connery in a red diaper and swinging hippie brai »
14 items from 2015
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