17 items from 2013
The Kid Stays in the Picture, 2002.
Documentary about legendary Paramount producer Robert Evans (the film shares the same name as Evans' famous 1994 autobiography).
Robert Evans was once the most revered man in Hollywood. Throughout the late 60s and most of the 70s, Evans’ role as producer on such hits as Rosemary’s Baby, The Godfather and Chinatown made him the real star.
Or not – the truth is that, during Robert Evans’ stint as influential head of Paramount, the director reigned as king in Hollywood. But you’d not take that fact away from The Kid Stays in the Picture. Telling the story of Evans’ time as a Big Deal Producer, adapted from Evans’ book of the same name and narrated by Evans himself, Kid is out to glorify its man.
You’d think Robert Evans was the producer by which they’re all measured, »
- Flickering Myth
DVD Distributors attempting to rebrand a movie as something it's not, by overly emphasizing a star's cameo appearance on the cover or a film's slight influences towards one particular genre or another, isn't as uncommon as it should be. Last Kind Words is a perfect example thanks to Rlj Entertainment painting the film as a creepy horror film when really it's more of a morbid love story than anything else. Except, it's hard to market a morbid love story. Unless it takes off into cult fandom like Harold and Maude, an unconventional romance can be tough to find an audience for. Maybe that's why Rlj thought it would be easier to mask Last Kind Words as a full out horror, but really the cover does a disservice to the nice but creepy tale of love to be found on the DVD.
- Lex Walker
Director Lasse Hallstrom ventured into somewhat generic territory with the Nicholas Sparks adaptation Safe Haven (though I've heard there's a rather shocking ending for this kind of story), but now he's taking on something that sounds interesting and original. Deadline has word that the What's Eating Gilbert Grape? director has been hired by DreamWorks to adapt The Hundred-Foot Journey, based on Richard C. Morais' novel of the same name. In addition, Helen Mirren is being lined up to take the lead role in a story that sounds a bit like Romeo & Juliet meets Harold and Maude set in the restaurant world. Read on! The story follows the rivalry between an Indian restaurant which sits like 100 feet away from an upscale three-Michelin-star restaurant in France, run by an eccentric and seemingly ruthless chef named Madame Mallory (Mirren). However, Mallory ends up forming a bond with the young Indian boy whose family owns the other restaurant. »
- Ethan Anderton
Tags: The AfterEllen.com HuddleAfterEllen HuddleDesert HeartsLoving AnnabelleHarold and MaudePortia de RossiEllen DeGeneresCluelessQueer as FolkIMDb
As Aaliyah once sang, "Age ain't nothin but a number." Unfortunately, she was 13 and married to R. Kelly and had to get divorced, but not all May-December love stories are so tragic. With so much talk about age differences lately, whether its celebrity pairings or inane court cases, we thought we'd share our favorites.
Dorothy Snarker: Harold and Maude, which if you May youngsters out there haven't watched, you should for the Cat Stevens soundtrack alone. But mostly because Ruth Gordon is everything you've ever wanted to be when you grew up.
Bridget McManus: My vote goes to Tom Hanks and Elizabeth Perkins in Big. Although Hanks' Josh Baskin character is physically in an adult male body for most of the film let's not forget that he's just a 12-year-old boy wooing the 30-something New York businesswoman Susan. »
There are many reasons why a director will leap out from behind the camera and appear in their own film: vanity, posterity, a last-minute replacement for a cast member, an in-joke for the fans.
Some have so rarely crossed the border that spotting them is akin to sighting a rare breed, those few seconds of film almost transformed into a collector’s item. Others have made it into their trademark: Alfred Hitchcock, the king of the cameo, famously appeared (via everything from a walk-on role to a photograph in a newspaper) in thirty-seven of his own films. And although the likes of, say, Hal Ashby’s cameo in Harold and Maude (where he’s credited as Bearded Man Watching Model Train) aren’t necessarily weird, the sudden close-up of his rather arresting visage is the type of thing that whooshes over the head of the casual viewer while turning the »
- Dan Wakefield
Like most other festivals, the Tribeca Film Festival is filled with films good, bad, and mediocre, but the nadir of my cinematic experiences here so far is certainly Scott Coffey's Adult World, a would-be comedy and self-described "satire" that is as grating and obnoxious as the performance by Emma Roberts at its center. There's hardly an actual human character to be found here; it's practically all broad caricature with people reduced to single character traits. There is exactly one redeeming facet to this film which saves it from being completely unbearable, but I'll elaborate on that later.Adult World introduces us to its heroine Amy (Emma Roberts) in its opening scene - a nod to Harold and Maude - in which, after sighing to her Sylvia...
[Read the whole post on twitchfilm.com...]
Brief Encounter has beaten Casablanca to the title of 'Best Romantic Film' in a new list for Time Out London.
> Read the full top 100 on the 'Time Out' website
Time Out London's film editor Dave Calhoun said: "What makes the Time Out list so exciting and unusual is that it's not just the opinion of three sun-starved film critics sitting in a darkened room and writing a list.
"Instead, we got off our sofas and asked 101 real experts in movies and romance for their personal take on the matter - and our top 100 romantic films reflects their very personal choices."
Roger Ebert, who died on April 4 at the age of 70, didn't suffer fools gladly: The acclaimed Chicago Sun-Times film critic and Pulitzer Prize winner wrote some of the most widely read scathing reviews of the last five decades.
"I hated this movie," he wrote of the famous Rob Reiner bomb "North" in 1994. "Hated hated hated hated hated this movie. Hated it. Hated every simpering stupid vacant audience-insulting moment of it. Hated the sensibility that thought anyone would like it. Hated the implied insult to the audience by its belief that anyone would be entertained by it."
Ebert didn't always reserve his ire for universally panned features: He slammed beloved films like "Harold and Maude," "Fight Club" and even "Zoolander." Ben Stiller's comedy came out on Sept. 28, 2001, just under three weeks after the terrorist attacks on Sept. 11, 2001, and despite its status as beloved cult classic (Terrence Malick is a fan), Ebert was unamused. »
- Christopher Rosen
Ioncinema.com’s Ioncinephile of the Month feature focuses on an emerging filmmaker from the world of cinema. This April, we’ve got a first: two for the price of one. Husband and wife filmmaking team of Ron Eyal and Eleanor Burke premiered Stranger Things at such fests as Slamdance (Winner Grand Jury Prize Best Narrative Feature), Raindance (Winner Grand Jury Prize Best U.K. Feature), Woodstock, Karlovy Vary, and is now they’ve got a one week theatrical run (April 5 – 11) at the reRun Theater in Brooklyn. Here is our profile on the filmmaker team and worth checking out is our accompanying original/combined personal Top Ten films list.
Eric Lavallee: During your childhood…what films were important to you?
Eleanor Burke: I remember going to the cinema as a very young child. The ceremony of it all was impressive: the velvet curtains, the hush as the lights went down. »
- Eric Lavallee
Every year the film world loses a great many talents from both in front of and behind the screen. But film critics, for whatever reason, don’t get that smattering of solemn, respectful applause that comes around on Oscar night. So often they are regarded as parasites, whose entire source of income is schadenfreude and whose purpose is increasingly non-existent in the internet age. All of which makes Roger Ebert’s recent death at the age of 70 all the more tragic and remarkable.
I’ve written many obituaries to famous film figures on my blog, Mumby at the Movies. Whenever the need to pay tribute arises, I always attempt to explain how the individual in question has impacted on me personally, to make the whole experience a little less prone to platitude. With Roger Ebert, I find myself at a complete loss in doing so. Not because the man left »
- Daniel Mumby
Feature Simon Brew 5 Apr 2013 - 06:55
The basic requirement of someone going in to review a movie, is that you can come away from said film with an opinion, and the guts of an 800 word review with a star rating at the bottom. The vast majority of the time of course, that's entirely the case. Granted, the modern day rush to get a review online within an hour of the credits rolling (we've been guilty of this in the past) tends to cut down on the increasingly valuable thinking and gestating time, but most people can come up with »
Richard Linklater's Bernie is already shaping up to be a welcome addition to the canon of odd-couple black comedies that includes Harold And Maude, Planes, Trains And Automobiles and, to a lesser extent, Throw Momma From The Train. The cranky 'momma' character here is a wealthy widow played by the great Shirley MacLaine. As the movie's new trailer demonstrates, she is definitely not channelling The Apartment's Fran Kubelik in this one. Perhaps surprisingly, the movie is based on a real-life incident that was originally reported in Texas Monthly magazine. Black, who reunites with his old School Of Rock director, is Bernie, a man whose innate loveliness is tested to its very limits (and beyond) by Marjorie's incessant needling, carping and nagging.The consequences leave Black with a massive windfall and curious D.A. Matthew McConaughey with some detective work to do.Linklater fans have a double dose of »
For screen actors, age is an inescapable physical characteristic that's difficult to mask -- though people certainly try. To complicate matters, it's easy for some of the characters that they play to be primarily defined by their years relative to the other members of the cast. But today, we come not to condemn tales like "On Golden Pond" that thrust twilight years to the forefront, making it the primary focus of the overall narrative. Instead, during this time before the end of awards season, we come to praise a few actors and characters that garnered recognition during their respective years that were able portray something beyond a number on a birth certificate. One of the best late-career examples of transcending the conventions of these characters is Ruth Gordon, who through "Harold and Maude," left a lasting portrait of a woman with the vitality of someone a half-century her junior. But »
- Steve Greene
Ioncinema.com’s Ioncinephile of the Month feature focuses on an emerging filmmaker from the world of cinema. This February, we feature Matt Boyd, an independent filmmaker whose debut docu feature, A Rubberband Is an Unlikely Instrument premiered at such fests as Hot Docs in Toronto and Raindance Film Festival in London, and is now set to be released theatrically (with a one week run starting February 8th at ReRun Theater in Dumbo Brooklyn) via Factory 25 folks. We’ve charted the filmmaker’s journey into film and how he found the subject for his documentary and as added bonus material: you can plunge into Matt Boyd’s personal Top Ten films of all time.
Eric Lavallee: During your childhood…what films were important to you? How did your love affair with film began?
Matt Boyd: I can’t say any films were necessarily very important to me as a child. »
- Eric Lavallee
There may be a slight possibility that standards for movie titles have become more lenient over the years, since we can't really fathom an action movie like this week's "Bullet to the Head" coming out in 1954 with a title like that. No sir.
The Sylvester Stallone vehicle does stick in your head for some reason, so we thought we'd dig in and find the most gruesome, lurid and downright threatening movie titles ever conceived. Remember, the criteria here ain't the violent content of the film itself, just its nastified handle.
15. '8 Million Ways to Die' (1986)
The unlikely combination of star Jeff Bridges, screenwriter Oliver Stone and director Hal Ashby ("Harold and Maude") came up with this neo-noir concoction, which failed to ignite at the box office and ultimately served as Ashby's swan song. The film itself has a pulpy, sub-"Miami Vice" plot about an alcoholic ex-detective drawn into a »
- Max Evry
“Let’s go get sushi and not pay.” Many films would kill to have as many quotable lines and memorable scenes as Repo Man has during its 92 minute running time. The 1984 cult classic may not have as large of a following as other cult films like The Rocky Horror Picture Show, Harold and Maude, and Heathers, but that doesn’t mean it shouldn’t. In fact, The Criterion Collection is here to remind us why we should pay more attention to this unique film that deftly blends 80′s punk culture, sci-fi weirdness, and Reagan-era politics. Director Alex Cox is most known for his following film Sid and Nancy – a film that documents the ups and down of the real-life rock and roll couple. However, the Oxford law student (yes, you read that correctly) released Repo Man two years prior as his feature length film debut. Emilio Estevez and Harry Dean Stanton »
- Michael Haffner
One of the many pleasures of the Criterion Collection comes in the form of their monthly newsletters, in which they make good on a series of crude drawings hinting at upcoming releases (which in 2012 gave us a Robert Downey Sr. retrospective, “Quadrophenia,” and “Harold and Maude” among many others). It's a fun, collaborative peek into the months ahead, and in their fourth-annual Mega-Clue drawing for 2013, the folks over at CriterionCast have parsed out what looks to be a promising year indeed. While much clearer and more stripped down than last year's installment, the New Years Hint still holds a number of contentious clues within. However, there are some near certainties, such as the candy-loving woman seen in Mike Leigh's film “Life is Sweet,” the flames of Teinosuke Kinugasa's samurai film “Gate of Hell,” the Pink Pearl giveaway of David Lynch's “Eraserhead,” and the huge clock's indication »
- Charlie Schmidlin
17 items from 2013
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