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Written and drawn by Mia Goodwin
Published by Action Lab (Danger Zone)
There is a real glut of Magical Girl (and Magical Girl inspired) comics starting to come out from a variety of publishers, including Zodiac Starforce, Power Up, and even Babs Tarr’s work on Batgirl. However, Mia Goodwin’s Tomboy #1 stands out from these other titles by combining the bright cheerfulness of the Magical Girl genre with the pain of losing a best friend as well as the vigilante genre with a touch of a police procedural. It is influenced by the recent 2011 Magical Girl anime Madoka Magica, which looks at the dark cost of being a magical girl and isn’t all fun, games, and transformation sequences. It is fitting that the comic opens with introspective voice-over narration, a bleak blue color palette, and its protagonist, hockey player and Magical Girl enthusiast, Addison covered in blood. »
- Logan Dalton
Written by Richard Collins
Directed by Don Siegel
It is the dawn of great social change in the United States, a time when the public consciousness is about to reckon with real, humanity-based issues that plague the country underneath the veneer of perfection. A wave of riots have exploded in prisons across the country, alerting the media, politicians and ordinary citizens that the penitentiary system is deeply flawed. The prisoners are guilty of crimes, yes, but their confinement conditions go beyond the sort of punishment they should serve. Filmed on location at Folsom State Prison in California, Riot in Cell Block 11 concerns the inmate uprising led by James Dunn (Neville Brand), supported closely by a man nicknamed The Colonel (Robert Osterloh) and dangerous felon Mike Carnie (Leo Gordon) among others. The Warden, Reynolds (Emile Meyer), and Commissioner Haskell (Frank Faylen) have »
- Edgar Chaput
The year that gave us Gremlins, Ghostbusters and The Temple Of Doom also gave us these 20 underappreciated movies...
It's been said that 1984 was a vintage year for movies, and looking back, it's easy to see why. The likes of Ghostbusters and Gremlins served up comedy, action and the macabre in equal measure. James Cameron's The Terminator cemented Arnold Schwarzenegger's star status and gave us one of the greatest sci-fi action movies of the decade.
This was also the year where the Coen brothers made their screen debut with the stunning thriller Blood Simple, and when the Zucker brothers followed up Airplane! with the equally hilarious Top Secret! And we still haven't even mentioned Beverly Hills Cop, This Is Spinal Tap, The Karate Kid, Indiana Jones And The Temple Of Doom and the unexpectedly successful romantic comedy, Splash. Then there was Milos Forman's sumptuous period drama Amadeus, which »
The 1970’s was an excellent decade for movies. Pop culture and reality collided to give audiences the most gritty, emotional, and entertaining films they had ever seen. This is our list of the 25 movies from the 1970’s that everyone should see.
Until the 1970’s film was mainly just a pastime. You went to the movies to unwind. You enjoyed comedies, musicals, and sprawling adventurous epics. The 1970’s effectively changed what movies were and what they could be. This important decade paved the way for modern film making by not only challenging traditional methods, but by fundamentally changing audience expectations of what movies could be. The 1970’s gave birth to the blockbuster, piqued our interest in regards to violence and sex on film, glorified the exploits of bad guys for the first time, and really pushed the boundaries to explore new frontiers that had never been depicted on film before.
- email@example.com (G.S. Perno)
There’s a moment in Mission: Impossible—Rogue Nation — Tom Cruise career-saver, franchise Mvp and the summer's best non-Imperator Furiosa action blockbuster — where the CIA director refers to the film's relentless hero as "the living manifestation of destiny." As a government official talking about an unpredictable agent, the line is patently (if knowingly) ridiculous. As Alec Baldwin talking about Tom Cruise, the dialogue sounds right on the money. That phrase could be dropped into the first sentence of his biography and nobody would think twice.
When the superstar first stepped »
We're at the dawn of a new age. It is, to be blunt, a very creepy new age. If you saw "Ant-Man," you got a glimpse of it in the opening scene where '80s-era Michael Douglas shows up, and for the first time, it felt like they could stage actual dramatic scenes involving actors who have been aged backwards or, in the most extreme possible cases, brought back from the dead. For years, there's been a script in La that has been an example of someone's ambition exceeding the ability of the town's FX artists. "The Gemini Man" was supposed to pit a mysterious serial killer against an older police detective, only to reveal that the killer was a decades-younger clone of the detective, allowing "Unforgiven"-era Clint Eastwood to go head to head with "Dirty Harry"-era Eastwood. That's just an example of who they could cast, of course. »
- Drew McWeeny
You might think you can do a decent Christopher Walken, but really, you can't touch the professionals. Here, from Kevin Spacey to Steve Coogan, are the very finest impersonators in the business (of other people in the business).
1. Kevin Spacey
To know Kevin Spacey is to know his impersonations. Willing to bust out a Brando at the drop of a hat, the former Old Vic head honcho was more than willing to obey James Lipton's commands during his appearance on Inside The Actors Studio.
Teresa Wright ca. 1945. Teresa Wright movies on TCM: 'The Little Foxes,' 'The Pride of the Yankees' Pretty, talented Teresa Wright made a relatively small number of movies: 28 in all, over the course of more than half a century. Most of her films have already been shown on Turner Classic Movies, so it's more than a little disappointing that TCM will not be presenting Teresa Wright rarities such as The Imperfect Lady and The Trouble with Women – two 1947 releases co-starring Ray Milland – on Aug. 4, '15, a "Summer Under the Stars" day dedicated to the only performer to date to have been shortlisted for Academy Awards for their first three film roles. TCM's Teresa Wright day would also have benefited from a presentation of The Search for Bridey Murphy (1956), an unusual entry – parapsychology, reincarnation – in the Wright movie canon and/or Roseland (1977), a little-remembered entry in James Ivory's canon. »
- Andre Soares
I interviewed Takeshi Kitano, aka "Beat" Takeshi, in spring of 2001 regarding "Brother," his first film shot on American soil. Kitano is arguably, still, the biggest star in Japan, one whose influence crosscuts virtually all areas of media.
Memories: Kitano was surrounded by a small entourage of Japanese men, one of whom was his interpreter. He was formal and stoic in his interaction with me, but never unfriendly. As Sofia Coppola so deftly portrayed in "Lost in Translation," the English to Japanese process of translating can often be time-consuming for what amounts to seemingly little that's been said. Kitano rarely made eye contact or smiled, although when he would laugh softly, a crooked grin would form on one side of his mouth, the right. The other striking thing about Kitano's appearance was a tic, or slight tremor, that would appear on the left side of his face, the after-effect of a »
- The Hollywood Interview.com
Cinema Retro proudly presents its latest "Movie Classics" special edition issue: "The American Westerns of Clint Eastwood", the perfect companion to our acclaimed special issue dedicated to the three Clint Eastwood Westerns directed by Sergio Leone.
"The American Westerns of Clint Eastwood" is a 116 page limited edition publication. Each of Eastwood's American Westerns is covered in detail in individual chapters:
"Hang "Em High" "Paint Your Wagon" "Two Mules for Sister Sara" "The Beguiled" "Joe Kidd" "High Plains Drifter" The Outlaw Josey Wales" "Pale Rider" "Unforgiven" Special section covering early film roles and TV Western appearances
Featuring hundreds of photographs, rare behind-the-scenes stills an movie poster art, including location photos (then and now) and even props that exist to this day in private collections!!
We are also very honored to present unseen movie poster designs by the legendary Bill Gold, who has overseen the advertising campaigns for most of Eastwood's films »
- firstname.lastname@example.org (Cinema Retro)
Clint Eastwood revisited Harry Callahan three more times, usually whenever his career was in the dumps. If Dirty Harry was a cultural phenomenon and Magnum Force a respectable follow-up, the rest are uninspired cash-ins. The main law Harry enforces in these sequels is the Law of Diminishing Returns.
Given Dirty Harry‘s San Francisco setting, something like The Enforcer (1976) was inevitable. After all, San Fran hosted Haight-Ashbury, hippie capital of the world; was a favored site for Black Panther and Sds protests; headquarters of the nascent gay rights movement; victim of Weathermen bombings and the racially-charged Zebra murders. Writers Gail Morgan Hickman and S.W. Schurr based their script, originally titled “Moving Target,” on the Symbionese Liberation Army which kidnapped Patty Hearst. Dean Riesner (who cowrote the original Harry) and Stirling Silliphant (In the Heat of the Night) polished the film.
Harry battles the People’s Revolutionary Strike Froce, led by »
- Christopher Saunders
Harry Callahan’s next adventure originated with John Milius, Hollywood’s favorite gun fanatic, surfer and “Zen anarchist.” Milius wrote B Movies for American International Pictures before breaking through with two Westerns, The Life and Times of Judge Roy Bean and Jeremiah Johnson. His knack for macho action and pulpy, colorful dialogue fit Dirty Harry perfectly; Milius wrote his draft in 21 days, receiving a Purdey shotgun as payment.
Though uncredited, Milius claims credit for Harry‘s dialogue, especially the “Do I feel lucky?” monologue. Others, including Richard Schickel, credit Harry Julian Fink with that speech. Clint Eastwood marginalizes Milius’s contributions to the film, admitting “we might have taken a few good items John had in there.” Milius resented this: “Look at the movie and you tell me who wrote that,” he challenged an interviewer.
Milius soon moved past any hurt feelings. After reading several articles on Brazil’s “death »
- Christopher Saunders
1971 was an incredibly violent year for movies. That year saw, among others, Tom Laughlin’s Billy Jack, with its half-Indian hero karate-chopping rednecks; William Friedkin’s The French Connection, its dogged cops stymied by well-heeled drug runners; Stanley Kubrick’s A Clockwork Orange, banned for the copycat crimes it reportedly inspired; and Sam Peckinpah’s Straw Dogs, featuring the most controversial rape in cinema history. Every bloody shooting, sexual assault and death by penis statue reflected a world gone mad.
It seemed a reaction to America’s skyrocketing crime. Between 1963 and 1975, violent crimes tripled; riots, robberies and assassinations racked major cities. The antiwar and Civil Rights movements generated violent offshoots like the Weathermen and Black Panthers. Citizens blamed politicians like New York Mayor John Lindsay (the original “limousine liberal”), who proclaimed “Peace cannot be imposed on our cities by force of arms,” and Earl Warren’s Supreme Court, »
- Christopher Saunders
“I read comic books when I was a kid; I don’t read them now,” said Eastwood during a question and answer session about his life and career at the Las Vegas exhibition trade show CinemaCon on Wednesday.
That means he won’t be appearing in a Marvel movie anytime soon. “I prefer adult-oriented pictures,” Eastwood said. “I mean that in the PG-13 or R sense, but that’s as far as it goes.”
Eastwood also revealed that even though he’s world famous, he still buys tickets to see movies on the bigscreen. He most recently made the trip to the multiplexes to see “The Grand Budapest Hotel” and plans to support his son Scott by paying full freight to see “The Longest Ride. »
- Brent Lang and Dave McNary
Code number 007 is on the mind of fans as they anticipate the new Bond film which is expected to be released this year.
Commander James Bond, Cmg, Rn is a fictional character created by novelist and British journalist Ian Fleming in 1952. Bond is a Secret Service agent who is a composite based upon a number of commandos known by Ian Fleming during his service in the Naval Intelligence Division during World War II. The character’s name was appropriated by Fleming from American ornithologist James Bond. The code number 007 is from one of the key achievements of British naval intelligence, breaking the German diplomatic code in World War I.
Fleming’s fiction character appeared in a series of twelve novels, two short story collections, a number of continuation novels, and over twenty Bond films. Spanning more than half of a century, there have been several actors who played James Bond on the big screen. »
- Gary Collinson
Over the course of film history, we've seen plenty of long-time actors step behind the camera to take up their directorial ambitions. Clint Eastwood did it. Mel Gibson did it. George Clooney did it. What do these three have in commonc Well, for starters, they are all men, so there's that. Further, they are all white, but more on that later. More to the point of the article, these men all eased into their directorial careers by starring in their respective debuts, using their presence on screen to help market their talents off it. And with his feature directorial effort The Water Diviner, which hits limited theaters this week, Russell Crowe is just the most recent addition to a growing list of actors who have decided to try their hand behind the camera. Like Eastwood, Gibson, and Clooney before him, the Best Actor winner stars in his first feature as director, »
- Jordan Benesh
Edward Aiona, the prop master for 31 feature films, including three that won Academy Awards for best picture, “Ordinary People” (1980), “Rain Man” (1988) and “Unforgiven” (1992), as well as 28 episodes of network series television, died March 31 at Tarzana Hospital of lung cancer compounded by chronic heart trouble. He was 83.
Aiona was closely associated with Clint Eastwood: Aiona made his debut as property master on Dirty Harry film “Magnum Force” in 1973 and then worked on every Eastwood film until Aiona’s retirement in 1996.
Between films with Eastwood, Aiona also collaborated as prop master with directors including Martin Scorsese (“Alice Doesn’t Live Here Anymore”), John Milius (“Big Wednesday”), Sydney Pollack (“The Electric Horseman” and “Absence of Malice”), Barry Levinson (“Rain Man”) and John Carpenter (“Memoirs of an Invisible Man”).
“He was extreme in getting what was required for the screenplay,” said Mike Sexton, Aiona’s assistant before becoming prop master at Eastwood’s »
- Variety Staff
Directed by Albert Pyun
In the future, a dangerous plague wipes out much of humanity, civilization crumbling away with it. Enter the pirates, gangs that reap barbaric pleasure out of rape and pillage. One such faction is led by the Goliath-like figure of Fender (Vincent Klyn), a psychotic individual seeking to intercept a female cyborg, Pearl (Dayle Haddon), traversing the United States to Atlanta and carrying the secret medicinal knowledge that will help the country’s few remaining doctors determine a cure to the deadly virus. Dayle cannot make the journey alone, requiring the help of tracker Gibson (Jean-Claude Van Damme) a man wrestling with his own demons and wanting to settle a score with the nefarious Fender.
Right from the opening minutes it is abundantly clear that the filmmakers wish to ape the general tone and aesthetic »
- Edgar Chaput
Werewolf movies can either be a howlin’ good time like Adrián García Bogliano’s Late Phases, taking a bite out of softer genre efforts, or they can be like David Hayter’s Wolves, a mainstream safety net that makes you want to cuddle a werewolf instead of run away in fear. Werewolves can be horrifying, menacing beasts, or overgrown house pets, spanning a varied spectrum of physical embodiments from humanistic (Wer) to cartoony (Wolves), which is why I have to commend filmmaker Lowell Dean on creating a werewolf movie full of gore, hilarity, and a werewolf police officer who’s more of a comic book hero than furry mythical creature. WolfCop is “Dirty Harry only hairier,” and his first case is every bit a bonkers B-Movie revival that midnight movie fans pray for – littered with fairytale references and a little animalistic cavorting for all you furry exhibitionists out there!
- Matt Donato
Teresa Wright and Matt Damon in 'The Rainmaker' Teresa Wright: From Marlon Brando to Matt Damon (See preceding post: "Teresa Wright vs. Samuel Goldwyn: Nasty Falling Out.") "I'd rather have luck than brains!" Teresa Wright was quoted as saying in the early 1950s. That's understandable, considering her post-Samuel Goldwyn choice of movie roles, some of which may have seemed promising on paper. Wright was Marlon Brando's first Hollywood leading lady, but that didn't help her to bounce back following the very public spat with her former boss. After all, The Men was released before Elia Kazan's film version of A Streetcar Named Desire turned Brando into a major international star. Chances are that good film offers were scarce. After Wright's brief 1950 comeback, for the third time in less than a decade she would be gone from the big screen for more than a year. »
- Andre Soares
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