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20 items from 2016

Jon Voight Ridiculed for Adoring Donald Trump Video at Gop Convention

21 July 2016 7:35 PM, PDT | The Wrap | See recent The Wrap news »

Jon Voight came to praise Donald Trump Thursday evening, at least on video, and was immediately met with online ridicule. The prolific “Midnight Cowboy” actor lent his voice to a glowing video that ran before Trump formally accepted the Gop nomination in Cleveland. In the video, Voight narrated Trump’s past business successes and said that as president, Trump “will not apologize to the world for our success.” Also Read: Donald Trump In, Roger Ailes Out in Historic Gop Reshuffle Voight is well known in Hollywood for his conservative views and has been an outspoken supporter of Trump, whom he called “funny, »

- Scott Collins

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Michael Cimino: A Filmmaker Who Dared to Dream Big

2 July 2016 5:56 PM, PDT | Variety - Film News | See recent Variety - Film News news »

It’s easy to think of the 1970s as a time of things falling apart. The counterculture was still doing its slow-burn flameout, and most of the decade lingered under the twin shadows of Vietnam and Watergate, which together blew a hole in our collective sense of faith. The great American filmmakers of the era — directors like Coppola, Scorsese, Altman — responded by holding a mirror up to our doubt and alienation. Yet as dark as some of their movies could be, the New Hollywood was never about tearing things down. It was about looking at the place that America had become and seeing it as something stirring and redemptive, tragic and effusive, intimate and grand. It was about picking up the pieces of a broken but still exhilarating landscape and finding, within them, a new kind of American dream.2

When it came to that mission, no filmmaker of his time dreamed bigger than Michael Cimino, »

- Owen Gleiberman

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The Panic in Needle Park

25 June 2016 7:50 PM, PDT | Trailers from Hell | See recent Trailers from Hell news »

Drug addicts! Who in 1970 really knew what life was like for them? Jerry Schatzberg, Joan Didion and John Gregory Dunne's story of hell on the streets of NYC provided a stunning debut for Al Pacino -- and should have done the same for Kitty Winn. It sounds too tough to watch, but it's riveting. The Panic in Needle Park Blu-ray Twilight Time Limited Edition 1971 / Color / 1:85 widescreen / 109 min. / Ship Date June 14, 2016 / available through Twilight Time Movies / 29.95 Starring Al Pacino, Kitty Winn, Alan Vint, Richard Bright, Marcia Jean Kurtz, Raul Julia, Joe Santos, Paul Sorvino Cinematography Adam Holender Film Editor Evan Lottman Original Music Ned Rorem Written by Joan Didion, John Gregory Dunne from the novel by James Mills. Produced by Dominique Dunne, Roger M. Rothstein Directed by Jerry Schatzberg

Reviewed by Glenn Erickson

We all know how the 1970s upheaval in Hollywood brought new talent to film -- actors, »

- Glenn Erickson

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On this day in pop culture history: ‘Star Wars’ entered our galaxy

25 May 2016 8:00 AM, PDT | Hitfix | See recent Hitfix news »

39 years ago today, audiences were first taken to the galaxy far, far away that would deeply embed itself in popular culture and ignite the imaginations of sci-fi fans for generations to come. Star Wars opened in theaters on May 25, 1977, the Wednesday before Memorial Day that year. (Yep, next year we’ll be celebrating the 40th anniversary of Star Wars.) The film that would launch one of the biggest cultural phenomenons of all time started small, opening in fewer than 40 theaters. But when the movie started to break records in its small release, 20th Century Fox accelerated its release plans. Soon audiences across the world were captivated by the Millennium Falcon and binary sunsets and lightsaber duels. Six years to the day after the release of the first film, Return of the Jedi opened in theaters. The Empire Strikes Back had hit theaters in May 1980, when Star Wars was a summer and not a Christmas event. »

- Emily Rome

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The Chase (1946)

6 May 2016 7:26 PM, PDT | Trailers from Hell | See recent Trailers from Hell news »

An exercise in dizzy disorientation, this Cornell Woolrich crazy-house noir pulls the rug out from under us at least three times. You want delirium, you got it -- the secret words for today are "Obsessive" and "Perverse." Innocent Robert Cummings is no match for sicko psychos Peter Lorre and Steve Cochran. The Chase Blu-ray Kino Classics 1946 / B&W / 1:37 flat Academy / 86 min. / Street Date May 24, 2016 / available through Kino Lorber / 29.95 Starring Robert Cummings, Michèle Morgan, Steve Cochran, Peter Lorre, Lloyd Corrigan, Jack Holt, Don Wilson, Alexis Minotis, Nina Koschetz, Yolanda Lacca, James Westerfield, Shirley O'Hara. Cinematography Frank F. Planer Film Editor Edward Mann Original Music Michel Michelet Written by Philip Yordan from the book The Black Path of Fear by Cornell Woolrich Produced by Seymour Nebenzal Directed by Arthur D. Ripley

Reviewed by Glenn Erickson

As Guy Maddin says on his (recommended) commentary, the public domain copies of this show were »

- Glenn Erickson

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In the French Style

23 April 2016 6:36 AM, PDT | Trailers from Hell | See recent Trailers from Hell news »

It's a genuine forgotten gem: American student Jean Seberg's five-year adventure in Paris is mostly a period of romantic frustration. Irwin Shaw and Robert Parrish's look at the problems of an independent woman is remarkably insightful; the chronically miscast and underused Ms. Seberg is luminous. In the French Style Blu-ray Twilight Time Limited Edition 1963 / B&W / 1:66 widescreen / 105 min. / Ship Date April 12, 2016 / available through Twilight Time Movies / 29.95 Starring Jean Seberg, Stanley Baker, Phillippe Forquet, Addison Powell, Jack Hedley, Maurice Teynac, Claudine Auger, James Leo Herlihy, Ann Lewis, Barbara Sommers. Cinematography Michel Kelber Original Music Joseph Kosma Written by Irwin Shaw from his short stories Produced by Irwin Shaw, Robert Parrish Directed by Robert Parrish

Reviewed by Glenn Erickson

Talk about elusive movies: on must keep an eye on the TCM logs to catch many of the films of director Robert Parrish. I had to wait for the advent of »

- Glenn Erickson

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Ninth Annual QFest St. Louis – Lgbtq Film Festival Begins Friday at The Hi-Pointe Backlot

19 April 2016 8:19 PM, PDT | WeAreMovieGeeks.com | See recent WeAreMovieGeeks.com news »

Come get your Q on starting this Friday! The Ninth Annual QFest St. Louis, presented by Cinema St. Louis, runs April 24-28 at the Hi-Pointe Backlot Theatre. The St. Louis-based Lgbtq film festival, QFest will present an eclectic slate of 28 films – 13 features (seven narratives and six documentaries) and 15 short subjects. The participating filmmakers represent a wide variety of voices in contemporary queer world cinema. The mission of the film festival is to use the art of contemporary gay cinema to spotlight the lives of Lgbtq people and to celebrate queer culture.

The 2016 QFest St. Louis begins on Sunday, April 24, and runs through Thursday, April 28. Tickets are on sale now for all shows. Cost is $12 each or $10 for students and Cinema St. Louis members with valid and current IDs. All screenings will be held at the Hi-Pointe Backlot Theatre, located at 1002 Hi Pointe Place, directly behind the Hi-Pointe Theatre. Advance sales »

- Tom Stockman

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Blue Denim

5 April 2016 12:24 AM, PDT | Trailers from Hell | See recent Trailers from Hell news »

Hollywood tackles the big issues! This adapted play about an unwanted teen pregnancy is actually quite good, thanks to fine performances by Carol Lynley and Brandon De Wilde, who convince as cherubic high schoolers 'too young to know the score.' And hey, the teen trauma is set to an intense music score by Bernard Herrmann. Blue Denim 20th Century Fox Cinema Archives 1959 / B&W / 2:35 widescreen / 89 min. / Street Date March 16, 2016 / available through Amazon / 19.98 Starring Carol Lynley, Brandon De Wilde, Macdonald Carey, Marsha Hunt, Warren Berlinger, Vaughn Taylor, Roberta Shore, Malcolm Atterbury, Anthony J. Corso, Gregg Martell, William Schallert. Cinematography Leo Tover Film Editor William Reynolds, George Leggewie Original Music Bernard Herrmann Written by Edith Sommer, Philip Dunne from the play by James Leo Herlihy and William Noble Produced by Charles Brackett Directed by Philip Dunne

Reviewed by Glenn Erickson

Sex education today is erratic, with no established standard, but »

- Glenn Erickson

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'Darling' Dir. Mickey Keating on Being Inspired by Classic Horror to Form Highly Stylized Nightmares

1 April 2016 6:12 PM, PDT | Sydney's Buzz | See recent Sydney's Buzz news »

Channeling some of the most legendary masters of tension and fright in cinema history, young auteur Mickey Keating takes an empty New York house and a lonely young woman and molds these two seemingly traditional tropes into a black-and-white nightmare. Plunging into the viewer’s sense with bone-shaking atmospheric sounds and cohesively deranged editing, “Darling” shatters any expectations and delivers an immersive experience of intimate horror. The film’s star, Lauren Ashley Carter is an absolute revelation. Each scream, gesture, and diabolically spoken line of dialogue compliments the elegantly designed frames inspired by 1960s genre gems. Unsettling from its opening frame to its unshakable horrifying conclusion, Keating’s minimalist creation is an alluring and elegantly diabolical vision. An exquisite genre work to be counted among the best horror films of the year.

"Darling" is now playing in NYC at the Village East Cinema and opens April 8 in Los Angeles at the Arena Cinema. 

Carlos Aguilar: I made the big mistake of watching "Darling" at night. It was absolutely terrifying. It took me by surprise, because its very economical in its design, but its very powerful in the emotions that it provokes. Tell me a little bit about the inception of the project and the films that you use as references or influences that inspired its visual aesthetics. 

Mickey Keating:  I think first and foremost its an homage to 1960s psychological horror movies with fractured narratives told with untrustworthy protagonists. Films like "The Haunting," "The Innocents," "Repulsion," "Diabolique," "That Cold Day in the Park" by Robert Altman, which show a much more restrained, psychological decent into madness. That's what really inspired me to write this one. In terms of composition and framing and camerawork, I turned towards a lot of Haneke films and then also restrained Kubrick-ian and Hitchcock-ian type black-and-white horror movies. It was a great eclectic mix of all these insane, beautiful works of art.

Aguilar: While writing "Darling," were you certain from the start that you wanted it to be focused on a single character with a story that takes place in a single location and very economical in its mechanics? 

Mickey Keating: Definitely. It was very important for me to have this movie be this way because my two previous films were really about characters that were playing off one another, really interacting, debating and fighting one another, so with this film I wanted to be much quieter. I wanted to focus on one single person predominately. From the very beginning it was this way. If we could have had no characters in the film we would have tried.

Aguilar: Can you talk about your stylistic decisions including choosing to make the film in black-and-white, the unique framing, and the evocative lighting? The film is definitely a departure from what we commonly see today in the horror genre. 

Mickey Keating: I think what was really important for me with this movie was a certain level of restraint. Horror movies, especially indie horror movies, in the past 5 years, have been nothing but hand-held footage and not necessarily about anything beyond trying to capture this weird pathetic intensity and also jump scares. What I really wanted to try and do was push back and go in the complete opposite direction of that. From the get go it was supposed to be like this. The script's not very long and it was all about, "Ok, we’re going to try to make every shot a painting." We knew we were going to really fixate on how we could tell the story the best way possible with the composition, which is a much more traditional approach in terms of classical filmmaking techniques. It was very satisfying to strip that back and really get back on the same page as traditional audiences and not have to try to fool them with fake realism or anything like that.

Aguilar: Editing is a crucial part of what makes "Darling" successful. You chose to use intercuts that can be perceived as flashbacks to what brought the character to this point or as premonitions of what's yet to come. 

Mickey Keating: Absolutely. While I was writing the movie, we were also watching a whole bunch of 1960s experimental films. Even the works of John Schlesinger, like "Midnight Cowboy," or especially that dream sequence in "The Exorcist."There was this really exciting notion back then that had this fluidity in editing. The editor is just as present as the cinematographer or anyone else on the film. That’s what we kind of wanted to do, create this almost liquid type of storytelling that’s very abrupt and in a weird way upsetting. I think the goal was to make the audience who endured the film really unsettled and uncomfortable and always on edge. I feel like an exciting, effective horror film for me is a horror film that I can never really see where anything is coming from. That’s what we really tried with this one.

Aguilar: What builds the unsettling atmosphere in "Darling" is the fantastic sound work that enhances the imagery on screen. This is clearly of crucial importance in horror films but sometimes it can be feel overused or on-the-nose. Not in this case. Tell me about the process of creating this other layer of emotion through sound. 

Mickey Keating: Definitely. Because the film takes place mostly inside in the house, it was really important for me. Sound is a huge passion of mine, sound design is one of my favorite things in the world, and I think that it's often underutilized. Going back to that idea of pure naturalism, it just kind of exists in the space. What I wanted to do from the very beginning of shooting was give each room, each floor, each kind of location in the house its own sound and its own feeling, as if the house is its own being. Darling walks throughout its body. When she gets up to the door on the top floor, that’s like being in its brain and in the middle that’s like being in its lungs. Every single area is set up differently. It's really upsetting in a way because it makes you very disturbed. Where we looked to for that was the video game "Silent Hill." It has the greatest example of sound work in the entire world because the majority of the first game, especially, is walking around. There are very few monsters in that game, but you are so constantly horrified and on edge because you can never anticipate what’s gonna come next because that sound Is always moving, always liquid, and always changing. Very disturbing I feel.

Aguilar: "Darling" is also a period piece even though this is never specified or delved into. It's a very noticeable quality of the film that coincides with the films that inspire you, but is not a definite factor in how we perceive the story. 

Mickey Keating: I think if we had decided to go full blown 1960’s black-and-white probably we would have been pushing it a little bit too far. I didn’t want tot make a movie that wouldn’t be able to get an audience on all, or at least some level. My favorite thing I’ve ever read about David Lynch is that his moves exist in a dream-time in a way. They’re very heavy handed 1950s but clearly there’s some from the 80s. All these references make all of his films very anachronistic, and that’s was my intention. While its definitely a 1960s type of horror film, we never explicitly say it. The fact that the world is all black-and-white and New York sounds very strange in the film, it almost seems like it exists on another plane, or at least that was my intention.

Aguilar: Tell me about your star, Lauren Ashley Carter, who is terrific and terrifying beyond belief. Her screams and her facial expressions are really hard to shake off once the film is over. 

Mickey Keating: I knew Lauren because she was in my previous film, and in my previous film she's one of the victims. She screams, she’s terrified, and so for this movie I wanted to flip that on its head. I wanted to cast her again and see where else she, as an actor, could go. When I was talking to her I referenced a lot of movies like "The Seventh Continent" by Michael Haneke and we also talked about those old 1920s horror movies where you see those violent screams that burn in your mind. She totally took that and ran with it. It was very exciting to be able to bring her on board. She’s definitely fantastic. It was also very exciting to be able to bring Sean Young on board as well as Brian Morvant, from my previous film, who plays the antagonist in the film. I wanted to flip that again and have him play the victim in this one. It was really a total world of friends making movies with friends, which is very satisfying.

Aguilar: Her character is sort of a blend between a victim and a villain. She has this sort of duality about her throughout the film, which that doesn’t let us know what she really is until late in the film. 

Mickey Keating: Absolutely. That even goes back to southern gothic literature or even a movie like "Taxi Driver." When Travis is doing the pushups and we see he has all these scars all up his back, we know he clearly has a very disturbed past, and yet somehow he's still the protagonist. Travis Bickle was always a big point of reference for that as well.

Aguilar: What would you say were some of the most difficult hurdles you had to overcome to make an independent horror film at this scale and with the particularities that "Darling" showcases? How difficult was it to get people on board with the project you envisioned? 

Mickey Keating: There are plenty. Its never easy. I think that at all scales of movies there's always stuff that’s very difficult, stressful and horrible to deal with and that never really changes. If you have enough money to solve anybody's problem, then clearly theres somebody who will charge that rate. It's never quite easy. I think the main challenge on a film like this was first and foremost that I wanted to make a black-and-white movie. A lot of people, when I even mentioned it before I even shot it, would say, "Oh don’t do black-and-white because you can't sell it." Clearly that’s not the case, so it's interesting. I feel like if I had brought this to any other production company besides Glass Eye Pix it wouldn't have happened. Nobody wants to be the guy saying, "Alright, lets make a black-and-white period horror movie,"  but everyone wants to come on board after the fact, which is very very frustrating to me in a lot of ways. I think that’s one of the challenges, being able to step back and say, "No, we're going to find a way to make this. We're going to figure out something. No matter what anyone says we're going to make this movie this way." Another challenge that really kind of comes to mind was, shooting in New York City in November was not easy. It was raining and it was cold. I’m from Florida originally and I live in California, so it was just a nightmare. But I think what’s fortunate about these movies is that we make them for a price so we make the movies that we are excited to make. Hopefully the right people that are drawn to them are drawn to them and everybody is happy at the end of the day. Overall it was a great experience.

 Aguilar: The constraints that come with independent filmmaking, whether these are financial or logistical, often force artists to elevate their creativity to new heights in order to find solutions. Of course having more money makes things easier. Creative freedom that comes with a reasonable budget would be ideal. 

Mickey Keating: Absolutely, there is a difference between committee filmmaking and having an individual voice. For all these movies that we are referencing and celebrating that used to be a no-brainer. You got a lot of money and you could make something that was very personal. Now, the way that the landscape of filmmaking has changed, every cent that you get that’s more than $1 million comes with a great big asterisk. It was great to be able to do something that was very personal. I had a great support system through Glass Eye Pix, they were totally like, “Yeah, do your thing.” It was great.

Aguilar: How have audiences reacted to the film? There is, of course, a niche audiences that will probaly enjoy the elegant madness of the film. Has that been the case? 

Mickey Keating: In general in terms of the movies that I make, people are either very rabidly passionate about them or rabidly hateful towards them [Laughs]. The people who have been supportive of “Darling” have been very vocally supportive. I feel like what’s so fun about a movie like this is that in the first 30 seconds of it you are going to decide whether it’s a movie for you or not. In a way that’s very exciting because people who have stayed on the roller-coaster and gone all the way through are very adamant about how they feel and the emotions that it invoked. To me it just comes down to the fact that you are creating a conversation with your audience. The more you can talk about it, it’s a sign of an effective film and there have been a lot of conversations about this one so far, which is very exciting.

Aguilar: This is a film that takes a seemingly peaceful locations and a passive character and turns those preconceived notions on their head. 

Mickey Keating: Definitely, We kind of approached the movie almost like a drug trip using the chapters. I’m not use drugs guy, but I think you can see that at the beginning there is this excitement and the further you get along down the rabbit hole or down the drug trip it becomes more jarring and fractured, and then by the last chapter it’s almost something like a hangover. It was very exciting to try to tell that story that way.

 Aguilar: Seems like this is a busy year for you. What is the next frightening trip you are taking us on? 

Mickey Keating: I have another movie coming out soon called "Carnage Park" that we premiered at Sudnance and SXSW this year. It'll be out in the summer. I also just wrapped another film called "Psychopaths," which is an ensemble serial killers movie. It's basically a whole bunch of stories about a whole bunch of serial killers over the course of one night in Los Angeles. This film's sensibilities are a bit closer to "Darling's" because "Carnage Park" is definitely a Sam Peckinpah-esque, Neo-Western, survival type movie. "Psychopaths" is much more of a psychedelic fever dream, which we are very excited to start showing people.  »

- Carlos Aguilar

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Meryl Streep and Dustin Hoffman in Kramer vs. Kramer: the On-Set Drama Behind the Landmark Oscar-Winning Film

29 March 2016 3:30 PM, PDT | PEOPLE.com | See recent PEOPLE.com news »

Actors have difficult moments making films all the time, but news that Meryl Streep and Dustin Hoffman feuded on the set of Kramer vs. Kramer is a far bigger deal. We're talking about two of the most respected actors of their generations, with 26 Oscar nominations between them (her: 19; him: 7). When you're dealing with two Hollywood and Broadway heavyweights of that caliber, it sounds like a real-life clash of the titans. But it's important to remember that in 1978, it just wasn't that way. In the adaptation of his upcoming biography, Her Again: Becoming Meryl Streep, published by Vanity Fair, author Michael Schulman »

- Alynda Wheat, @AlyndaWheat

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Meryl Streep and Dustin Hoffman in Kramer vs. Kramer: the On-Set Drama Behind the Landmark Oscar-Winning Film

29 March 2016 3:30 PM, PDT | PEOPLE.com | See recent PEOPLE.com news »

Actors have difficult moments making films all the time, but news that Meryl Streep and Dustin Hoffman feuded on the set of Kramer vs. Kramer is a far bigger deal. We're talking about two of the most respected actors of their generations, with 26 Oscar nominations between them (her: 19; him: 7). When you're dealing with two Hollywood and Broadway heavyweights of that caliber, it sounds like a real-life clash of the titans. But it's important to remember that in 1978, it just wasn't that way. In the adaptation of his upcoming biography, Her Again: Becoming Meryl Streep, published by Vanity Fair, author Michael Schulman »

- Alynda Wheat, @AlyndaWheat

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Ninth Annual Qfest St. Louis – Lgbtq Film Festival Runs April 24-28th at The Hi-Pointe Backlot

29 March 2016 7:19 AM, PDT | WeAreMovieGeeks.com | See recent WeAreMovieGeeks.com news »

It’s almost time to get your Q on, St. Louis!! The Ninth Annual QFest St. Louis, presented byCinema St. Louis, runs April 24-28th at The Hi-Pointe Backlot (1002 Hi Pointe Place)

The St. Louis-based Lgbtq film festival, QFest will present an eclectic slate of  films from filmmakers that represent a wide variety of voices in contemporary queer world cinema. The mission of the film festival is to use the art of contemporary gay cinema to illustrate the diversity of the Lgbtq community and to explore the complexities of living an alternative lifestyle.

All screenings at the Hi-Pointe Backlot, 1002 Hi Pointe Place, St. Louis, Mo 63117. Individual tickets are $12 for general admission, $10 for students and Cinema St. Louis members with valid and current photo IDs.

Advance tickets may be purchased at the Hi-Pointe Backlot box office or website. For more info, visit the Cinema St. Louis site Here

http://www.cinemastlouis. »

- Tom Stockman

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Why film editor Jim Clark was Hollywood’s greatest repairman

18 March 2016 2:00 AM, PDT | The Guardian - Film News | See recent The Guardian - Film News news »

He completely recut Midnight Cowboy, won an Oscar for The Killing Fields and worked on James Bond. William Boyd remembers the film editor they called Dr Clark, because he could make sick movies well again

One of the many adages that circulate in the movie business is that every film is made three times: once when it is written, once when it is shot and once, finally, when it is edited. Like many an old saw it is true, but I believe that it is a truth that can only really be recognised by people who have been physically involved in the making of a film. I don’t think audiences, or film critics or film theorists, for that matter, have any real idea of how a film can be totally reshaped and reinvented in the cutting room. As a film-maker, you hope that the editing process is merely an »

- William Boyd

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Jon Voight Endorses Donald Trump: ‘I’m Saying I Like This Guy’

9 March 2016 10:20 AM, PST | The Wrap | See recent The Wrap news »

Don’t worry, Donald Trump; Jon Voight has your back. “Midnight Cowboy” actor and notable showbiz conservative Voight has thrown his support behind the Gop presidential candidate, Breitbart reports. “I’m not someone who’s saying he’s the best of this group. I’m saying I like this guy,” the Oscar-winning actor told Breitbart in an interview published Wednesday. Also Read: Watch Donald Trump Lie About Hitler to George Stephanopoulos (Video) “He’s an answer to our problems. We need to get behind him,” Voight added. “The Republicans need to unite behind this man. We need somebody to go »

- Tim Kenneally

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Jim Clark, Oscar-Winning Editor of ‘The Killing Fields,’ Dies at 84

1 March 2016 3:44 PM, PST | Variety - Film News | See recent Variety - Film News news »

Jim Clark, who won an Oscar for editing Roland Joffé’s “The Killing Fields” and was also nominated for his work on the director’s film “The Mission,” died in the U.K. on Feb. 25. He was 84 and had been ill for some time.

News of his death was announced by the Guild of British Film and TV Editors on Feb. 26.

His credits also include Stanley Donen’s “Charade” (1963); John Schlesinger’s “Darling” (1965), “The Day of the Locust” (1975) and “Marathon Man” (1976); Michael Apted’s “Agatha” (1979), “Nell” (1994) and Bond film “The World Is Not Enough”; Michael Caton-Jones’ “Memphis Belle” (1990) and “City by the Sea” (2002); and Mike Leigh’s “Vera Drake” (2004) and “Happy-Go-Lucky” (2008).

In addition to the Schlesinger films listed above, he did uncredited work on the director’s “Far From the Madding Crowd” and served as a creative consultant on the helmer’s 1969 classic “Midnight Cowboy.”

Clark received the American Cinema »

- Carmel Dagan

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Oscar-winning editor Jim Clark dies aged 85

1 March 2016 3:32 AM, PST | ScreenDaily | See recent ScreenDaily news »

The British film editor’s credits included The Killing Fields, The Mission and Vera Drake.

Jim Clark, the Oscar-winning film editor, has died aged 85 following an illness.

The Guild of British Film and Television Editors (Gbfte), of which Clark was a founding editor, released a statement describing Clark as a “likeable and respected man” who “will be missed especially by Laurence his wife.”

Clark’s glittering career encompassed more than 40 films, including his Oscar and BAFTA-winning work on Roland Joffé’s 1984 war drama The Killing Fields and his BAFTA-winning work on the same director’s historical drama The Mission.

Additional credits included John Schlesinger’s Midnight Cowboy, on which he was a creative consultant, and more recently as editor for James Bond film The World Is Not Enough and Mike Leigh’s Vera Drake.

Clark detailed some of his colourful experiences in the well-received 2011 memoir Dream Repairman: Adventures in Film Editing.

Douglas Slocombe

Clark »

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Best Picture and Better Picture: Movies That Should Have Won the Oscar but Didn’t

19 February 2016 3:34 PM, PST | Cinelinx | See recent Cinelinx news »

 The best picture doesn’t always win Best Picture. Sometimes the best film of the year gets robbed. Cinelinx looks at the movies which should have won Best Picture but didn’t.

Whenever the Best Picture winner is announced at the Oscars, sometimes we say, “Yeah, that deserved to win,” but then again, sometimes we say, “Huh? Are they kidding me?!” There are a lot of backstage politics and extenuating factors in Hollywood that can determine which film wins the big trophy. The worthiest film doesn’t always take the statue home. Going back over the 88-year history of the Academy Awards, we look at which films didn’t really deserve to win and the ones which rightfully should have won.

The Best Pictures and the Better Pictures:


1927-8: The Winner-Wings

What should have won: Sunrise (Sunrise was given a special award for Artistic Quality of Production, but it »

- feeds@cinelinx.com (Rob Young)

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Movie Review: Rams

19 February 2016 2:00 AM, PST | CinemaNerdz | See recent CinemaNerdz news »

Ultimately, it is unsurprising the love between estranged brothers at the heart of an isolated farming community in Iceland, so, at the heart of this film, is a strong one, disguised in a vehement stalemate where neither has spoken to the other in forty years. You wonder briefly where this schism comes from, but get swept into the emotional drama of both men losing their livelihood, a loss that asserts itself as a foil for their estrangement. Rams (Hrútar) can be bleak if you fast forward and pause in chunks, but reveals a vulnerable humanity punctuated by on-location natural beauty. Not since Midnight Cowboy perhaps, have I felt a brotherly love so wrapped in tactile closeness.

Early in Rams, local veterinarians give devastating news to brothers Gummi (Sigurður Sigurjónsson) and Kiddi (Theodór Júlíusson) along with their Bardardalur farming community. One of Kiddi’s rams has contracted scrapie, an incurable disease »

- Dina Paulson

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Oscar Trivia: Facts About the Academy Awards

8 February 2016 8:03 AM, PST | Cinelinx | See recent Cinelinx news »

With the Oscars quickly approaching, here are some fun facts about the Academy Awards throughout the years.

 Oscar Facts:

Q) Which films have won the most academy awards?

A) It was a three-way draw between Ben Hur, Titanic and Lord of Rings: Return of the King at 11 each.


Q) Which films have the most Oscar nominations?

A) All About Eve and Titanic are tied for the most nominations, with 14 each.


Q) What was the longest film to ever win the Best Picture Oscar?

A) Gone With the Wind at 3 hours and 56 minutes.


Q) Which was the shortest Best Picture winner?

A) Marty at 90 minutes.


Q) Which sequels have won Best Picture?

A) The Godfather Part 2, and Lord of the Rings: Return of the King.


Q) Which movies won best picture but were not nominated for Best Director?

A) Wings (1928), Grand Hotel (1931), Driving Miss Daisy (1989) and Argo (2012)


Q) What was the »

- feeds@cinelinx.com (Rob Young)

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Review: "The Graduate" (1967) Starring Anne Bancroft And Dustin Hoffman; Criterion Blu-ray Special Edition

8 February 2016 3:34 AM, PST | Cinemaretro.com | See recent CinemaRetro news »

“Jesus Loves You More Than You Will Know”

By Raymond Benson

Although it has been released before on Blu-ray, the “Criterion treatment” is always welcome for a classic, well-known film such as The Graduate. Quite simply, it’s one of the most beloved pictures of the 60s, one that hit a nerve in the public consciousness. It helped define those wildly changing years at the end of the decade, illustrating how the country’s youth rebelled against an established society that they were expected to join. The Graduate is a landmark of the New Hollywood movement that took over the studios in those years and held reign through the 70s.

Director Mike Nichols, fresh from his success as a debut helmsman for Who’s Afraid of Virginia Woolf? (1966), gave us a romantic comedy unlike anything we’d seen previously—mainly because of the radically daring casting of an unknown actor named Dustin Hoffman. »

- nospam@example.com (Cinema Retro)

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