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Directed by John Frankenheimer.
A group of mercenaries are hired by Irish terrorists to retrieve a case to stop it falling into Russian hands.
In case you didn’t know, ronin are Samurai warriors whose masters have been killed, leaving the warriors free to roam the land as swords-for-hire to anybody willing to pay them. The movie Ronin informs you of this in the title cards so you could be forgiven for thinking this is going to be a bloodthirsty martial arts epic in the vein of Shogun Assassin until you are thrown into a Paris bistro as a ragtag group of shifty characters are assembling. We don’t know them, they don’t know each other and only one person knows why they are there – that person being »
Cinema Retro has received the following press release:
The Los Angeles Comic Book And Science Fiction Convention presents Classic Movie Poster Artist Robert Tanenbaum, Jean Hale (In Like Flint), Sharyn Wynters (The Female Bunch), and Donna Loren (Bikini Beach) at the August 20, 2017 Show.
Robert Tanenbaum is a Movie Poster Artist with an over 50 year career illustrating every film genre such as Science Fiction, Horror, Comedy, War, Drama and Martial Arts. Robert has illustrated such Classic Movie Posters as A Christmas Story, Battle For The Planet Of The Apes, Cujo, Five Fingers Of Death, Black Christmas, Super Fly, The Color Of Money, My Bodyguard, Dirty Mary Crazy Larry, The Iron Cross, The Eagle Has Landed, Ransom, Cleopatra Jones And The Casino Of Gold, Hot Potato, Mel Brooks High Anxiety and Silent Night, Evil Night. Robert’s art is featured on the first announcement that Jaws was being made into a Movie. »
- firstname.lastname@example.org (Cinema Retro)
“All the films in this book share an air of disreputability… I have tried to avoid using the word art about the movies in this book, not just because I didn’t want to inflate my claims for them, but because the word is used far too often to shut down discussion rather than open it up. If something has been acclaimed as art, it’s not just beyond criticism but often seen as above the mere mortals for whom its presumably been made. It’s a sealed artifact that offers no way in. It is as much a lie to claim we can be moved only by what has been given the imprimatur of art as it would be to deny that there are, in these scruffy movies, the very things we expect from art: avenues into human emotion and psychology, or into the character and texture of the time the films were made, »
- Dennis Cozzalio
If you’ve seen his list of favorite movies or ever heard him talk about film in general, you probably won’t be surprised to learn that Edgar Wright is pretty good at movie trivia. The cast of “Baby Driver” would agree: “Edgar will win this,” laughs Jon Hamm as he, Ansel Elgort and Eiza González sit down for a few rounds of questions with their writer/director.
Before they start playing, Elgort reveals that he asked Wright for some recommendations because he’d seen relatively few movies before shooting “Baby Driver” — and got a list of the filmmaker’s 1,000 favorite movies in response. Naturally, he then asked him to narrow it down to 20.
In part because it’s “Jeopardy!” style, Hamm actually gets the first question right: “Baby Boom” is the 1987 movie »
- Michael Nordine
The United States is “my country, right or wrong,” of course, and I consider myself a patriotic person, but I’ve never felt that patriotism meant blind fealty to the idea of America’s rightful dominance over global politics or culture, and certainly not to its alleged preferred status on God’s short list of favored nations, or that allegiance to said country was a license to justify or rationalize every instance of misguided, foolish, narrow-minded domestic or foreign policy.
In 2012, when this piece was first posted, it seemed like a good moment to throw the country’s history and contradictions into some sort of quick relief, and the most expedient way of doing that for me was to look at the way the United States (and the philosophies at its core) were reflected in the movies, and not just the ones which approached the country head-on as a subject. »
- Dennis Cozzalio
For decades, the car chase has existed as a timeless equalizer, settling scores with stomach-churning speed and velocity. The best of these chases employ vintage muscle-cars with practical effects and stunt work to achieve these amazing shots in camera. If CGI is used in the scene, it’s only to sweeten the practical effects and stunts.
The landscape is an equally essential ingredient, providing opportunities and obstacles for the drivers to embrace and overcome. The car chase grounds the action in an identifiable reality, menacing us with the ever-present possibility of death at high-speed. It also taps into something deep within everyone who’s ever gotten behind the wheel of a car: driving fast is as addictive as it is life-threatening.
- Tony Hinds
There’s nothing like a good car chase in a movie. Maybe it’s the daring-do of the stunt drivers that makes you feel you’re in danger even though you’re comfortably in your seat, or the high stakes of the moment in which the characters we’re rooting for will either get out of the situation or have a gruesome finale, but an impressive car-chase scene can make even a mediocre movie a beloved classic. What makes a car chase legendary, you ask? They’re the ones that keep you at the edge of your seat and actually fit in with the rest of the plot.
Edgar Wright’s Baby Driver opens Wednesday, June 28th. Baby (Ansel Elgort), is an innocent-looking getaway driver who gets hardened criminals from point A to point B, with daredevil flair and a personal soundtrack running through his head. That’s because he »
- Tom Stockman
“An Asgardian titan. A Wakandan warrior bred to be a king. The very first Sorcerer Supreme.”
When you read a teaser as cryptic and powerful as that, you know you’re in for something special. But when you also consider that the story its hyping up will be written by Jason Aaron and illustrated by Esad Ribic, with a double gatefold cover provided by the legendary Joe Quesada, then you truly know the House of Ideas isn’t messing around. Such is the case with Marvel Legacy #1, a monumental one-shot slated to hit shelves this fall that intends on showing us how it’s “all connected.”
I say that because the publisher intends on taking us back to 1,000,000 BC, when “when iconic torch-bearers such as Odin, Iron Fist, Star Brand, Ghost Rider, Phoenix, Agamotto, and Black Panther come together for the startling origin of the Marvel Universe.” From the sound of that, »
- Eric Joseph
If you’ve been keeping up with the recent happenings at Marvel, then you’re well aware of Generations, an upcoming endeavor consisting of ten one-shots uniting heroes who have adopted various mantles, both past and present. In other words, expect to see team-ups featuring the likes of Wolverines Laura Kinney and Logan, and even Thors Odinson and Jane Foster.
What’s more is that we recently discovered this seemingly standalone tale will, in fact, have some sort of intertwining with Secret Empire, the House of Ideas’ currently in progress major crossover event. Sure, we probably won’t know all of the specifics until the actual periodicals ship, but it remains clear that something called “the Vanishing Point” is the reasoning for these otherwise anachronistic team-ups.
- Eric Joseph
Marvel Comics has unveiled the covers for its upcoming 10-issue series Generations, which brings together iconic and present day heroes such as Miles Morales and Peter Parker, Amadeus Cho and Bruce Banner, Iron Man and Ironheart, and Laura Kinney and Logan. Check them out here…
Generations: The Bravest starring Captain Mar-Vell and Captain Marvel
Generations: The Bravest starring Captain Mar-Vell and Captain Marvel variant
Generations: The Iron starring Iron Man and Ironheart
Generations: The Iron starring Iron Man and Ironheart variant
Generations: The Marvels starring Ms. Marvel and Ms. Marvel
Generations: The Marvels starring Ms. Marvel and Ms. Marvel variant
Generations: The Spiders starring Peter Parker: Spider-Man and Miles Morales: Spider-Man
Generations: The Spiders starring Peter Parker: Spider-Man »
- Amie Cranswick
Having recently learned that the sixth issue will experience a minor delay, we turn our attention toward some breaking news concerning Marvel’s currently unfolding event series, Secret Empire, specifically the tenth issue that was confirmed as being added not long ago.
You see, Marvel PR just sent out a newly unveiled cover for Secret Empire #10 that, quite obviously, bears a striking resemblance to that of Alex Ross’ promo artwork for Generations, a series of one-shots to be released in the near future that feature various versions of heroes teaming up for reasons unknown, with Thor Odinson and Jane Foster serving as examples, much like Wolverines Laura Kinney and Logan.
Putting two and two together, we can’t help but think these two books that previously seemed to be unrelated will lead into this fall’s Marvel Legacy one-shot that’s said to return many titles starring the House of »
- Eric Joseph
Film critic Charles Taylor’s first collection of essays, “Opening Wednesday at a Theater or Drive-in Near You: The Shadow Cinema of the American ’70s,” explores the rich history of ’70s-era American filmmaking through a unique lens, opting to highlight some of the period’s underseen and often underappreciated gems. As one of the most fruitful times in American filmmaking, Taylor understands why certain features — including offerings from such respected filmmakers as Jonathan Demme, Walter Hill, and Irvin Kershner — didn’t quite make it big at a crowded box office, but he’s also eager to give them their due.
Told with an eye towards the current state of cinema — a blockbuster-driven machine that Taylor calls “nonsensical” and contributing to “the destruction of the idea of content” — the book is a loving look at some forgotten gems and the power of moviemaking that can often be ignored. In our excerpt from the book, »
- Indiewire Staff
Edgar Wright is going to deliver one of the best movies of the summer when “Baby Driver” opens in theaters June 28, but before he does he’s looking back at the classic car chase movies that inspired his latest high-energy genre ride. The British Film Institute is launching a new screening series this month entitled “Edgar Wright presents Car Car Land,” which will find the director presenting the 10 movies that led him to create “Baby Driver.”
“These movies are a literal crash course in the best car action from the 60s, 70s and 80s,” wrote Wright in an official introduction to the series. “I can’t make any claims to being a great driver and I’m not even sure you could call me a gearhead (I would struggle to change a flat). However, »
- Zack Sharf
Since any New York City cinephile has a nearly suffocating wealth of theatrical options, we figured it’d be best to compile some of the more worthwhile repertory showings into one handy list. Displayed below are a few of the city’s most reliable theaters and links to screenings of their weekend offerings — films you’re not likely to see in a theater again anytime soon, and many of which are, also, on 35mm. If you have a chance to attend any of these, we’re of the mind that it’s time extremely well-spent.
Film Society of Lincoln Center
The Melville series continues, while a print of the Harold Lloyd-led Grandma’s Boy plays with live piano accompaniment on Sunday morning.
Larry Cohen films are given their due in a retrospective., while »
- Nick Newman
Ben Robins on Guardians of the Galaxy and its exploitation influences…
Exploitation is a bit of a nasty word no matter the context, and in the movie world, it usually means something cheap and in many cases, derivative. It’s never properly been defined, and doing so here without page after page of background would prove tough, but the term, in a nutshell, is usually used to describe low-brow ‘B-movies’ that rip-off or ‘exploit’ mainstream heavy-hitters. After Steven Spielberg’s Jaws there was Michael Anderson’s Orca, and Joe Dante’s Piranha. After The Italian Job there was everything from Death Race 2000 to Vanishing Point (that was in itself, lovingly rejigged for Tarantino’s 2007 exploitation send-up Death Proof). They make just enough from the cult crowd but very rarely breach the dominant markets. Unless, of course, the film’s name is something stupid enough to go viral, like Sharknado. »
- Ben Robins
Like peanut butter and jelly, car chases and movies are two things that just go together perfectly. A chase is inherently interesting to watch - someone is trying their best to get away by any means possible, while the other party is trying to stop them from doing so. The danger involved, the threat of violence, and even the thrill of the hunt are all part of why we often can’t look away. A car chase is the next level of chase. They are fast - an embodiment of man and machine together. They are also dangerous - the stakes are incredibly high, and not just for the people involved in the chase.
- email@example.com (G.S. Perno)
Tarantino has promises to keep and miles to go before he sleeps.Rip it, drop the title card, call it Death Proof, re-release it!“‘Death Proof’ has got to be the worst movie I ever make. And for a left-handed movie, that wasn’t so bad, all right? — so if that’s the worst I ever get, I’m good. But I do think one of those out-of-touch, old, limp, flaccid-dick movies costs you three good movies as far as your rating is concerned.” — Quentin Tarantino, 2012 (THR Round Table Interview)
It’s the ten year anniversary of the release of Death Proof, a gonzo experiment in meta-cinematic storytelling that puts all of Tarantino’s subtle nods and fetishes into the spotlight. It’s great. I’m not going to hear anybody trash-talking this joint. Okay, so Tarantino goes on to acknowledge in the interview he’s talking bullshit on himself to make a point. But »
- William Dass
Looking back on this still-young century makes clear that 2007 was a major time for cinematic happenings — and, on the basis of this retrospective, one we’re not quite through with ten years on. One’s mind might quickly flash to a few big titles that will be represented, but it is the plurality of both festival and theatrical premieres that truly surprises: late works from old masters, debuts from filmmakers who’ve since become some of our most-respected artists, and mid-career turning points that didn’t necessarily announce themselves as such at the time. Join us as an assembled team, many of whom were coming of age that year, takes on their favorites.
Grindhouse was intended to be the ultimate homage to the kinda cool, kinda sexy, kinda divine (but not too divine as to make you realize you’re still dealing with trash), kinda exploitation cinema on which Quentin Tarantino »
- The Film Stage
This season of Legends of Tomorrow has had a continuous trend that the team played a pivotal impact on every major fantasy myth in modern history. So far we have seen the Legends influence key people and events like George Lucas creating Star Wars and making Camelot a reality. “Fellowship Of The Spear” continued the trend with the Legends requiring the help of J.R.R. Tolkein to help find the blood of Jesus Christ.
This week’s episode of Legends of Tomorrow took a darker turn with the Legion getting control of The Spear of Destiny, the return of Snart joining the Legion, and the turn of Mick against the Legends. The episode started off on a high note for the team getting the remaining pieces of the Spear of Destiny from Thawne at the Vanishing Point. The heist although easy for the Legends brought more guilt among Mick »
- Michael Connally
“Revenge never dies” in Dead West, the new film from writer/director Jeff Ferrell. And with the road trip revenge thriller coming out on DVD via Rlj Entertainment this Tuesday, we caught up with Ferrell for our latest Q&A feature. In today’s Horror Highlights, we also have photos from last week’s Los Angeles fan screening of Rings and the trailer and release details for The Burningmoore Deaths.
Jeff Ferrell: The idea for Dead West was born during the shooting of my first movie, Ghostlight. One night after filming, I was with the lead actor, Brian Sutherland, in his hotel room. We were drinking beers and throwing ideas around, when he suddenly said, “I really wanna play a serial killer. Write »
- Derek Anderson
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