11 items from 2014
For an artist whose practice is predicated on the somewhat subversive, it's no surprise that Peter Coffin would stack a playlist with Miles Davis and Kraftwerk and Tonto's Expanding Headband. "I don't have anything interesting or quotable to say about the songs I sent,” he wrote, somewhat teasingly, "They inspire different moods." Coffins's works do, too — whether with his outdoor Cloud installations or oversize taxidermy animal sculptures or slow-motion videos. For those times when you don’t know where you want to go but want the journey to inspire you, listen up.Terry Riley, "In the Summer" Miles Davis, "Little Church" Toots Thielemans, "Love Theme From 'The Getaway' Yesterday & Today" Kraftwerk, "Ananas Symphonie (pineapple symphony)" David Crosby, "Laughing" Tonto's Expanding Headband, "Riversong" Lifetones, "Good Side" Carlos Santana & John McLaughlin, "Naima" Grace Jones, "The Fashion Show" Was (not Was), "Wheel Me Out" »
- Julie Baumgardner
No one would accuse the Hollywood Foreign Press Association of being a refined institution, but when you think about the kinds of movies, TV shows, actors, and actresses who've ended up with Golden Globes, it's actually staggering how the HFPA has gotten away with maintaining its image as a must-see event. Drunk people at the dais is, I guess, still a sufficient enough reason to tune in. Let's celebrate today's nominations with a fond look back at some silly things that have won Golden Globes. 1. "Green Card" (Best Motion Picture -- Comedy) What a classic. Nothing says "comedic wonderful good times" like Gerard Depardieu and Andie MacDowell mixing it up in an immigration romcom. Fun fact: My aunt saw this movie in Germany, noticed the reaction of the crowd, and was embarrassed on America's behalf. 2. Twiggy (Best Newcomer of the Year, Actress) I love Twiggy! She was great as a »
- Louis Virtel
The feature debut from directorial siblings Simon and Zeke Hawkins is a tense and earthy film noir that wears its pulp influences proudly on its sleeve as it weaves a tale of love, betrayal and escape through the underbelly of the barren Texas wilderness. From its opening moments, Bad Turn Worse (formerly titled We Gotta Get Out Of This Place) - the first feature from the New York City-born Hawkins brothers - declares its love for hard-boiled crime writer Jim Thompson (the man responsible for such noir classics as The Getaway and After Dark, My Sweet). A young couple hanging out in a diner momentarily discuss the correct vernacular for traditional southern cooking, before turning their attentions to the merits of the acclaimed pulp fiction...
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Set in Boston in 1978, Wilde plays a woman who has brokered a meeting in a deserted warehouse between two Irishmen (Murphy, Smiley) and a gang led by Hammer and Evans who are selling them a stash of guns.
When shots are fired in the handover, a heart stopping game of survival ensues. The plan is to do a "muscular, tough and spare" 1970s-style crime movie along the lines of Sam Peckinpah's "The Getaway".
Wheatley is writing and will direct the project which aims to begin shooting in the Spring. Andy Starke will produce and StudioCanal has already nabbed the U. »
- Garth Franklin
This new trailer for Bad Turn Worse opens with a reference to crime fiction writer Jim Thompson, and the reference to the guy who wrote The Getaway and The Killer Inside Me sets the tone for a story that indeed seems to go deep into dark territory. There are a few kids (Jeremy Allen White, […]
- Russ Fischer
The Rover, 2014.
Directed by David Michôd.
10 years after a global economic collapse, a hardened loner pursues the men who stole his only possession, his car. Along the way, he captures one of the thieves’ brother, and the duo form an uneasy bond during the dangerous journey.
The title card tells us we’re in ‘Australia, 10 years after the collapse’. Guy Pearce’s Eric sits in his car, a nondescript BMW, as the wind outside howls through the open desert landscape. The world outside the car is desolate, dry, and dust clings to the window like a reminder that it will never go away. This, we will learn, is Eric’s sanctuary and safe place and there aren’t many of them.
When Eric leaves his car and gets a drink, another car loses control, crashes, and is stuck. The three men inside have guns, »
- Gary Collinson
To recall the cinema of Charles Bronson, one can’t get far without referencing his sterling epoch in 1970s era American film, a period eclipsed mightily by the star’s work with director Michael Winner. Kino Lorber resurrects one of the star’s lesser remembered titles, Mr. Majestyk, a 1974 action flick written by the great Elmore Leonard and directed by the illustrious Richard Fleischer, known for a varied career that included a penchant for true crime related titles (Compulsion; The Boston Strangler; 10 Rillington Place), and famed adaptations of pulpy novels, like Soylent Green and the infamous Mandingo. Unfortunately, Fleisher’s title opened one week prior to the juggernaut known as Death Wish back in July of 1974, and has perhaps been unfairly overshadowed ever since.
Bronson stars as Vince Majestyk, a humble melon farmer whose only desire is to harvest his crop of watermelons. A Vietnam veteran, Majestyk steps to in »
- Nicholas Bell
“It’s a Sicilian message. It means Luca Brasi sleeps with the fishes.“
The Godfather screens this Friday and Saturday nights (June 27th and 28th) at midnight at the Tivoli Theater as part of their ‘Reel Late at the Tivoli’ Midnight series.
Everyone has their favorite The Godfather characters, favorite moments, favorite lines. There are so very many good reasons why The Godfather will always be remembered so fondly. No matter how many times you see it the film never fails to make an impact. Even if you’ve seen it so often you essentially have it memorized line for line and shot for shot, it remains a thrilling experience. From the famous opening scene with Marlon Brando’s Don Vito Corleone receiving requests for favors on the occasion of his daughter’s wedding all the way to the end and the final settling of all family business the film never lets up. »
- Tom Stockman
Austin maverick filmmaker Robert Rodriguez is set to launch his small-screen reboot of his cult-favorite film From Dusk Till Dawn, but his TV ambitions don’t stop there. With his new Latino-themed/English-speaking cable network El Rey, the Spy Kids and Desperado writer-director-producer-editor is trying to carve a whole new path for cool TV shows that sheds the usual big network note-giving development process. We interviewed Rodriguez at his Austin-based Troublemaker Studios about his new network and Dusk (which will premiere at the South By Southwest Film Festival this weekend). Below Rodriguez reveals how the genre-mashup Dusk got made, teases »
- James Hibberd
Gareth Evans' follow-up to his highly successful 2011 film "The Raid" is one of the more sophisticated, complex and brutal action films ever made. Set mere hours after the conclusion of the first film, "The Raid 2: Berandal" immediately sets a different tone than the first film, with a long shot from a crane showing a green field, and a grave cut into the ground as cars slowly approach it.
From this quiet beginning comes a flurry of plot -- characters, names, faces are thrown at the audience -- and then a flurry of action. From a balletic fight in a confined car to a shocking and frankly inimitable battle in a muddy prison yard, Evans, along with his choreography team that includes the film's stars (led by Iko Uwais), have really outdone themselves.
Moviefone Canada sat down with Evans after the rapturous screening during the 2014 Sundance film Festival to »
- Jason Gorber
In the 1970s and 80s, Walter Hill established his reputation as one the most distinctive action-movie directors Hollywood has produced, an exponent of lyrical violence in the class of Sam Peckinpah, for whom he scripted The Getaway. His first six movies – Hard Times, The Driver, The Warriors, The Long Riders, Southern Comfort, 48 Hrs – all terse, lean, unsentimental, were commercial and critical successes and are now classics. His seventh, Streets of Fire, lost money and went down badly with Us critics, possibly because many of them thought it resembled The Warriors too closely and because there were no stars apart from former child actress Diane Lane. It's now something of a cult classic that anticipated the current fashion for films based on graphic novels.
The film, Hill has said, is "by design, comic strip in orientation, mock-epic in structure, movie-heroic in acting style, operatic in visual style, »
- Philip French
11 items from 2014
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