1-20 of 34 items from 2015 « Prev | Next »
For the second week in a row, Agents of S.H.I.E.L.D.'s villains stole the episode right out from under its heroes. Last week, it was Kyle MacLachlan and his team of misfit supervillains; this week, it's Grant Ward and the face-changing Agent 33, banding together in a productive, often-homicidal union that begins with a thinly veiled riff on Pulp Fiction and ends with a thinly veiled riff on A Clockwork Orange.This week's episode is called "Love in the Time of Hydra" — but while Ward and Agent 33 make a pretty excellent team, I'm not yet convinced we're actually seeing the first stirrings of true romance between them. Grant Ward isn't exactly a sociopath, but he's somewhere in that spectrum, and his affection for Agent 33 is suspiciously coincident with her ability to help him in a series of high-risk missions. Whatever the future of their relationship, Ward and Agent 33 »
- Scott Meslow
Directed by Paul Tibbitt.
When a diabolical pirate above the sea steals the secret Krabby Patty formula, SpongeBob and his nemesis Plankton must team up in order to get it back.
“Sponge Out of Water”: a suitably teasing sub-titled for the second (and hugely overdue) sequel to 2004’s SpongeBob Squarepants Movie, which promises more nautical shenanigans in and around Bikini Bottom with the titular sponge and his marine friends. Why it took so long for a sequel to appear in the first place despite its $140 million worldwide gross is a mystery the size of SpongeBob’s crabby-patty recipe, but back into the ocean we go, though be sure to take some ibuprofen with you, as Sponge Out »
- Scott J. Davis
Sam Carey on Barry Lyndon and the Oscars…
March 1976 saw One Flew Over The Cuckoo’s Nest fly in to the 48th Academy Awards and leave with statues for Best Actor, Best Actress, Best Screenplay, Best Director and Best Picture. It was only the second time a single film has walked away with awards in the ‘big five’ categories yet, it should never have happened. Instead, in its place should have stood Stanley Kubrick’s Barry Lyndon.
Following the media furore of 1971’s A Clockwork Orange – Kubrick withdrew the film from theatres after groups imitated the attacks of ultra-violent lead character Alex and his group – the director turned his attentions to the 18th century. On the surface a huge departure from his previous work the film, Barry Lyndon, is nevertheless quintessentially Kubrick.
What sets Kubrick’s tenth feature apart from every other film released in 1975 is its polish. Stanley Kubrick »
- Gary Collinson
Directed by Norman Jewison.
In the not-too-distant future the corporations control everything, and when they tell top sportsman James Caan he can’t play the game of rollerball anymore he decides to challenge the controlling bodies.
Do you remember the old Bitmap Brothers computer games Speedball and Speedball 2: Brutal Deluxe? For those that don’t they were a pair of games where the idea was to get the ball in the opponent’s goal using a variety of throws, rolls and casual violence as you kick, punch and barge as many other players as you can. Great games and they would have made a great film, if only one hadn’t been made over a decade earlier in the shape of Rollerball, a dark sci-fi thriller that has loftier »
- Gary Collinson
Above: French poster by Boris Grinsson for You’ll Never Get Rich (Sidney Lanfield, USA, 1941).In the new edition of Film Comment, out this week, I write about British airbrush artist Philip Castle and his iconic poster for Stanley Kubrick’s A Clockwork Orange. The other man behind that poster, aside from Kubrick himself, was producer, director and writer Mike Kaplan who, at the time, was Kubrick’s marketing guru.Kaplan, who has been collecting movie posters, as well as art directing them, for 35 years, is a tireless proselytizer for the art form and his latest project is a labor of love and a pure delight. Gotta Dance! The Art of the Dance Movie Poster, a book he wrote and curated, was born out of a touring exhibition of his own personal collection that he has been exhibiting around the country for the past few years. Its latest stop is »
- Adrian Curry
Well timed in light of the unveiling of the Apple Watch, “Creative Control” reps a big step forward for its co-writer/director, Benjamin Dickinson, following his promising 2012 debut, “First Winter.” The story of an ad exec who finds his priorities rewired while testing a pair of eyeglasses that constitute “the first actually convincing augmented-reality system” doesn’t exactly have new things to say about technology and alienation. But a contemplative tone, a zigzagging narrative, superb widescreen black-and-white cinematography and an infusion of dry humor make it feel genuinely fresh. Critical nurturing could help this moody, offbeat indie find its audience.
Dickinson’s “First Winter,” set at a yoga farm, was a survivalist picture that hinged on a reversal of expectations; its characters approached the abyss and stared back. In some ways, “Creative Control” tells a similar tale in the tech realm. David (played by Dickinson) has taken charge of a dream account, »
- Ben Kenigsberg
Halloween may be over seven months away, but on the set of Rob Zombie's 31, the autumnal season is in full force and trick-or-treaters could pop up at any minute. Filming began yesterday on 31, Rob Zombie's Halloween-set horror film that takes place on the horror-soaked holiday at a place called Murder World. In recent weeks several key cast members have been added to the fright film and yesterday another big-name addition was announced: Malcolm McDowell.
In addition to playing Dr. Samuel Loomis in Rob Zombie's Halloweeen (2007) and Halloween II (2009), McDowell has played memorable characters aplenty in his legendary career and is perhaps best known for playing Alex in Stanley Kubrick's A Clockwork Orange. Now he'll add the character of Father Murder to his résumé. Announced by Zombie on his Facebook page, Father Murder is the "owner of Murder World", the sinister setting of the film where five kidnapped »
- Derek Anderson
Premiering in the Midnight Madness section of the 2013 Toronto International Film Festival, Hitoshi Matsumoto’s latest slice of insanity, R100, is his most perverse yet. If only there could have been more of a definable method to the madness. After a wide range of festival play, the title received a limited theatrical release at the end of 2014 and has gone on to acquire something of a cult following thanks to its generally amusing array of batshit crazy set pieces.
After his delightful if belabored 2007 debut Big Man Japan put him on the map, director Matsumoto returns with another slice of strangeness, with an S&M inspired fever dream of alternate realities that’s not quite as compelling as it is confounding. Drug fueled hallucinations, secret clubs and leather harnessed vixens abound, but this is more Rihanna’s style of S&M, teasingly vague rather than titillating or sinister. Fans of »
- Nicholas Bell
Before its demise in 1980, “Camera Three” was a show focused on different forms of art that aired on Sunday mornings on CBS. In 1972, they spend an episode examining Stanley Kubrick’s infamous adaptation of “A Clockwork Orange,” and thanks to the fine people of Dangerous Minds, you can stream the whole episode on the futuristic device of your choice. Running half-an-hour long and featuring the trio of cinema historian William Everson, 'Clockwork' author Anthony Burgess, and the film’s star Malcolm McDowell, the episode aired around the same time of the film’s U.S. release in February of 1972,, notably, before any of the controversy surrounding the film occurred in the U.K. It’s an extremely informative and entertaining discussion of the sort that’s sorely missed on American television these days, especially post-Roger Ebert. Watch Camera Three’s “Examination of Kubrick’s A Clockwork Orange” below and »
- Cain Rodriguez
At least once a month, Cinelinx will chose one director for an in-depth examination of the “signatures” that they leave behind in their work. This week we’re examining the trademark style and calling signs of Stanley Kubrick as director.
Kubrick’s interest in visual arts began with photography before he became interested in filmmaking. He enjoyed making short films and became very proficient at doing so. Eventually he made his first feature film The Killing Fields (1953) as an exercise in low-budget filmmaking. That film was not a commercial success, and he had to work hard to get funding to keep working as a filmmaker. His next film, Killer’s Kiss (1955) involved a lot of experimentation, so much that it ended up eating into the budget and costing Kubrick a profit. As a result, he decided to work with a professional crew on his next film, The Killing (1956), which also did not become commercially successful, »
- email@example.com (G.S. Perno)
After treating cinema fans for more than a decade, Ee's 2-for-1 ticket offer is coming to an end today (February 25). We'll certainly miss breaking up the week with a cut-price cinema visit, and the end of the promotion has made us all nostalgic about the classic Orange Wednesdays ads that started it all off.
Dubbed 'Orange Gold Spots', they starred Brennan Brown and Steve Furst as two clueless film execs listening to pitches from some of Hollywood's finest. Brilliantly lampooning the bean counter thinking of studio suits and the fragile creative egos of A-listers, the likes of Patrick Swayze, Macaulay Culkin and Carrie Fisher all stepped up to offer their increasingly compromised film pitches:
This early offering sought to capture that creative moment when the lightbulb flicks on... unfortunately Brown's dim-witted exec can't quite grasp what's dangling right in front of him. Stanley Kubrick would be livid. »
Sunday’s Academy Awards marked an historical moment in the annals of cinematography. With his win for “Birdman,” Emmanuel Lubezki became just the fifth cinematographer ever in Hollywood history to win back-to-back Oscars (he took home the statuette last year for “Gravity”). Lubezki’s impressive and deservingly Oscar-winning “single-take” illusion will surely be much discussed over the coming weeks, but let’s take a moment now to turn back the pages of the history books and revisit one of the late, great cinematographers — John Alcott. Alcott passed away nearly 30 years ago, but he remains, in memory, one of the best cinematographers of his time. Though he has multiple additional credits to his name, he is best known for his four collaborations with Stanley Kubrick. The two men first worked together on “2001: A Space Odyssey”; their partnership then continued over Kubrick’s next three films, “A Clockwork Orange,” “Barry Lyndon, »
- Zach Hollwedel
This article contains a spoiler for the ending of Interstellar.
In case you missed it, the Oscars were this past weekend and Birdman was the big winner. The Academy’s choice to award Alejandro González Iñárritu's fever dream was a genuine shock, with Boyhood the running favourite for many months. Nonetheless, some things never change, and in that vein it's certainly a non-surprise the Academy also hardly noticed the most ambitious blockbuster of 2014: the Christopher Nolan space epic, Interstellar. Indeed, I use the phrase "non-surprise", because how could it be a winner when it was only nominated for the bare minimum of five Oscars in technical categories that are reserved as consolation prizes?
This is by all means par for the course with a film that has »
With the Oscars this weekend I thought it would be fun to look at movies that were snubbed from them and translate them to video games. When I followed the Oscars closely I noticed movies would be snubbed for such lame excuses. Putting it lightly, if your movie is a big blockbuster event… It will probably be ignored. If it’s action, if it's science fiction, if it’s mainstream, and even if it’s adapted it will have trouble competing. Lord of the Rings somehow fought through it all to win, but for the most part this stands true. So what games would win Game of the Year(Goty), but wouldn’t win an Oscar?
Normal 0 false false false En-us X-none X-none MicrosoftInternetExplorer4
(For this article, Goty isn’t just from the Vga’s as I feel that is mostly an advertising platform. These games won, or were nominated »
- firstname.lastname@example.org (Dustin Spino)
Here’s a true deep cut, evidently taped off New Jersey’s Wnet and now resurrected on the internet. This ’80s profile of d.p. John Alcott (A Clockwork Orange, Barry Lyndon) features a lot of on-set footage of the cinematographer plying his craft; if you’re a big Beastmaster fan, this is for you. If just interested in the Kubrick stories you may want to skip to the 8-minute mark (where the d.p. talks about his initial collaborations with the director) and then to 14:20 or so, where Alcott discusses waiting patiently to capture very particular wind and cloud changes on the set of Barry […] »
- Filmmaker Staff
If you haven’t seen Nicolas Winding Refn’s “Bronson” yet, you really should. The outspoken and controversial Danish director broke into the mainstream with his neon-and-blood-slicked urban fairy tale “Drive," and swiftly rejected popular acceptance a mere three years later with the polarizing and underrated “Only God Forgives.” But it is 2008’s “Bronson” – a delirious kaleidoscope of psychotic violence, sickening humor, and eye-popping color schemes – that remains arguably his most vital work. It’s the film that made the world take notice of Tom Hardy, who gave his most over-the-top and entertaining performance to date (which is really saying something) as Britian’s most violent prisoner. And yet while the film certainly owes a modest degree of its stark-raving-mad energy to sources that run the gamut from “A Clockwork Orange” to Wagnerian opera, “Bronson” is its own strange potion. It’s certainly no more of a standard prison movie »
- Nicholas Laskin
Stars: Sterling Hayden, Coleen Gray, Vince Edwards, Jay C. Flippen, Ted de Corsia, Marie Windsor, Elisha Cook Jr., Joe Sawyer, Timothy Carey, Kola Kwariani, Dorothy Adams | Written and Directed by Stanley Kubrick
It goes without saying that film fans know that Stanley Kubrick was a master of his art. All masters though have a starting point where they were learning and in some respects were yet to evolve into the legends that they would become. With the Arrow Academy release of The Killing on Blu-ray, which also includes Killer’s Kiss we get to see a director who had a vision, but was yet to perfect his style.
The Killing is a heist movie that when it was first released didn’t make that much of an impact, but not surprisingly when it comes to Kubrick’s work has grown to be respected and revered as a true classic of the genre. »
- Paul Metcalf
The Conversation is a new feature at Sound on Sight bringing together Drew Morton and Landon Palmer in a passionate debate about cinema new and old. For their second piece, they will discuss Stanley Kubrick’s film The Killing (1956).
Stanley Kubrick’s The Killing (1956) is not my favorite work by the visionary director. In fact, the film probably wouldn’t even make it onto a list of my top five Kubrick films. Yet, with a career that included such amazing films as Paths of Glory (1957),Dr. Strangelove or: How I Learned to Stop Worrying and Love the Bomb (1964),2001: A Space Odyssey (1968), Barry Lyndon (1975), and The Shining (1980), that’s not an indication that The Killing is a film of poor quality but an indication that Kubrick’s body of work comes the closest to cinematic perfection than any director I can think of. Thus, while The Killing »
- Landon Palmer
Now this is a list that could result in a lot of fascinating dissection and thanks to HitFix it comes to our attention almost three years after it was originally released back in 2012, celebrating the Motion Picture Editors Guild's 75th anniversary. Over at HitFix, Kris Tapley asks, "Is this news to anyone elsec" Um, yes, I find it immensely interesting and a perfect starting point for anyone looking to further explore the art of film editing. In an accompanying article we get the particulars concerning what films were eligible and how films were to be considered: In our Jan-feb 12 issue, we asked Guild members to vote on what they consider to be the Best Edited Films of all time. Any feature-length film from any country in the world was eligible. And by "Best Edited," we explained, we didn't just mean picture; sound, music and mixing were to be considered as well. »
- Brad Brevet
A random bit of researching on a Tuesday night led me to something I didn't know existed: The Motion Picture Editors Guild's list of the 75 best-edited films of all time. It was a feature in part celebrating the Guild's 75th anniversary in 2012. Is this news to anyone else? I confess to having missed it entirely. Naturally, I had to dig in. What was immediately striking to me about the list — which was decided upon by the Guild membership and, per instruction, was considered in terms of picture and sound editorial as opposed to just the former — was the most popular decade ranking. Naturally, the 1970s led with 17 mentions, but right on its heels was the 1990s. I wouldn't have expected that but I happen to agree with the assessment. Thelma Schoonmaker's work on "Raging Bull" came out on top, an objectively difficult choice to dispute, really. It was so transformative, »
- Kristopher Tapley
1-20 of 34 items from 2015 « Prev | Next »
IMDb.com, Inc. takes no responsibility for the content or accuracy of the above news articles, Tweets, or blog posts. This content is published for the entertainment of our users only. The news articles, Tweets, and blog posts do not represent IMDb's opinions nor can we guarantee that the reporting therein is completely factual. Please visit the source responsible for the item in question to report any concerns you may have regarding content or accuracy.See our NewsDesk partners