Junior Bonner
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2015 | 2014 | 2011 | 2010 | 2008

7 items from 2015


On Mubi / Off #1: "Terminal Island" & "Spectre"

23 November 2015 8:15 AM, PST | MUBI | See recent MUBI news »

The parameters, mutually agreed upon by my editor Danny Kasman and myself, are these: A bi-weekly (every two weeks) column, entitled "On Mubi / Off," covering two films—one currently available on the Mubi streaming platform in the United States, the other screening offsite (in theaters, on VOD, Blu-ray/DVD, etc). The movies may share some similarities in approach, execution and theme, or they may not. Mostly, my own interests and curiosity will dictate what films are covered and in what way, and I hope you'll find the prose, the pairings, and/or the analysis compelling enough to follow along.On MUBITerminal Island (Stephanie Rothman, 1973)Sight unseen, I thought Stephanie Rothman's 1973 exploitation cheapie Terminal Island would make for a good inaugural article lead-off—something Z-grade disreputable to complement the A-level sleaze (not necessarily a criticism) of the other movie covered in this column. (We'll get to you momentarily, Mr. Bond. »

- Keith Uhlich

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Film Review: ‘Steve McQueen: The Man & Le Mans’

13 November 2015 9:05 AM, PST | Variety - Film News | See recent Variety - Film News news »

If you see only one 44-years-later postmortem on a critical and commercial misfire this season, it might as well be “Steve McQueen: The Man & Le Mans,” an inside-baseball documentary best appreciated by movie geeks with a taste for cautionary tales about superstar hubris, slow-motion trainwrecks and dream projects that devolve into, if not full-blown nightmares, then extremely rude awakenings. It might also attract longtime fans of McQueen, who died of cancer in 1980, as well as a few under-30 curiosity seekers interested in knowing what the “King of Cool” was all about. And, yes, there’s definite appeal for those fervent cultists who insist “Le Mans,” the 1971 film maudit examined here, is some kind of underappreciated masterwork, though there certainly aren’t enough of those folks to make much of a difference. Theatrical pit stops will be fleeting, but the movie could have respectable mileage in small-screen platforms.

Some of »

- Joe Leydon

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Viennale 2015. Lions and tigers and bears. Oh my!

8 November 2015 5:01 AM, PST | MUBI | See recent MUBI news »

Chis Marker's Chat écoutant la musiqueThere are dog people and there are cat people, this we know, and there are even people who claim to be of both—though latent sympathies remain unspoken, like with a parent and which child is their favorite. With the Vienna Film Festival welcoming me with a tumbling collection of dog and cat short films spanning cinema's history—the Austrian Film Museum, an essential destination each year collaborating with the Viennale, is hosting a “a brief zoology of cinema” throughout the festivities—it is clear that filmmakers, too, have their preference. Silent cinema decidedly prefers the more easily trained and exhibited canine, with 1907’s surreal favorite Les chiens savants as a certain kind of cruel pinnacle. For the cats, Chris Marker, already the presiding figure over so much in 20th century art, I think we can easily claim is the cine-laureate. One need not know »

- Daniel Kasman

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Tiff 2015. Correspondences #13

21 September 2015 5:38 AM, PDT | MUBI | See recent MUBI news »

Dear Fernando,You are done with the festival I know, but I since I have finally caught up with Anomalisa, I wanted to answer you about it. Back in Cannes you may recall how much I enjoyed Yorgos Lanthimos's The Lobster, but wondered if the second time around it would carry such a punch—in other words, how founded the experience of that film is on the first encounter. This is the very question I asked myself again after sitting through Duke Johnson and Charlie Kaufman's animated puppet drama, a wonderfully unsettling viewing experience of constant awkwardness, drawn-out deadtime, halted humor, and a truly never ending awareness that at no point did I have any idea what kind of movie this was or where it might be going. Isn't that wild? So used to genres and conventions, signposts, patterns, throwbacks and homages, it often feels like few films come as a true surprise. »

- Daniel Kasman

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Locarno 2015. Conclusion

17 August 2015 5:34 AM, PDT | MUBI | See recent MUBI news »

Jinxed!I am leaving the Locarno Film Festival with two final movies in my heart, wonderful, punched-around old films that felt sunshine fresh. Sam Peckinpah's effortless, laconic rodeo family drama, Junior Bonner (1971), and Don Siegel's brash, one-of-a-kind comedy of Reno luck and murder, Jinxed! (1981), embodied for me the relaxed ease of this festival that allows its attendees to avoid the bullshit of the red carpet, of the film industry, of the all-pervasive hype machine, and embrace the too often unseen, unsung corners of cinema: the madcap, the modest, the experimental, the cracked-and-scratched old and the still-wet young.Floating in the placid center of Lake Maggiore or lifted high by funicular, gondola and ski lift to the top of Locarno's highest point, the over-lapped peaks of Swiss mountains completely ensconce this festival with nuzzling immensity, but also give the sense of an unusual isolation and remoteness to such a culturally essential event. »

- Daniel Kasman

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Locarno 2015. The Traitor and the Hero

4 August 2015 7:10 AM, PDT | MUBI | See recent MUBI news »

This article by Fernando Ganzo is an excerpt from Capricci's monograph Sam Peckinpah, edited by Ganzo, which accompanies this year's retrospective at the Locarno Film Festival.Warren Oates in Bring Me the Head of Alfredo Garcia. © Park Circus / MGM“Don’t ever ruin your career as a loser with a shitty success.”—Jorge OteizaThere is only one thing that can be said about a person as erratic, contradictory, mythomaniac, complex and profound as Sam Peckinpah: here is a director who was made in the image of his characters, those men who belong to a different era, born too late, in a world that opposed all freedom and eccentricity. We like to describe Peckinpah as one of the fathers of New Hollywood, of the baroque aesthetic of the 1970s, as someone who had a primordial and often regrettable influence on that particular style. This is not completely false. However, this »

- Notebook

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Locarno 2015. Lineup

20 July 2015 5:43 AM, PDT | MUBI | See recent MUBI news »

Hong Sang-soo's Right Now, Wrong Then.The lineup for the 2015 festival has been revealed, including new films by Hong Sang-soo, Andrzej Zulawski, Chantal Akerman, Athina Rachel Tsangari, and others, alongside retrospectives and tributes dedicated to Sam Peckinpah, Michael Cimino, Bulle Ogier, and much more.Piazza GRANDERicki and the Flash (Jonathan Demme, USA)La belle saison (Catherine Corsini, France)Le dernier passage (Pascal Magontier, France)Der staat gegen Fritz Bauer (Lars Kraume, Germany)Southpaw (Antoine Fuqua, USA)Trainwreck (Judd Apatow, USA)Jack (Elisabeth Scharang, Austria)Floride (Philippe Le Guay, France)The Deer Hunter (Michael Cimino, UK/USA)Erlkönig (Georges Schwizgebel, Switzerland)Guibord s'en va-t-en guerre (Philippe Falardeau, Canada)Bombay Velvet (Anurag Kashyap, India)Pastorale cilentana (Mario Martone, Italy)La vanite (Lionel Baier, Switzerland/France)The Laundryman (Lee Chung, Taiwan)Me and Earl and the Dying Girl (Alfonso Gomez-Rejon, USA) I pugni ni tasca (Marco Bellocchio, Italy)Heliopolis (Sérgio Machado, Brazil)Amnesia (Barbet Schroeder, »

- Notebook

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2015 | 2014 | 2011 | 2010 | 2008

7 items from 2015


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