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Bill Hader has come a long way since his stint on Saturday Night Live, creating many popular characters and impersonations such as Stefon, Vincent Price and CNN’s Jack Cafferty. He is one of the highlights in such films as Adventureland, Knocked Up, Superbad and Pineapple Express, and so it is easy to see why author Mike Sacks interviewed him for his new book Poking A Dead Frog. In it, Hader talks about his career and he also lists 200 essential movies every comedy writer should see. Xo Jane recently published the list for those of us who haven’t had a chance to read the book yet. There are a ton of great recommendations and plenty I haven’t yet seen, but sadly my favourite comedy of all time isn’t mentioned. That would be Some Like It Hot. Still, it really is a great list with a mix of old and new. »
Up until now, actor Michael Cera's flirtation with music has been mild, relegated to backup vocals on Weezer's 2010 track "Hang On" and stints with bands Mister Heavenly and The Long Goodbye. But on Aug. 8, the 26-year-old released his bedroom-skuzzed debut album true that to Bandcamp quietly, amplified four days later when friend Jonah Hill tweeted a link to his 4.42 million followers. Currently in New York for a Broadway stint in This Is Our Youth, Cera explained to Billboard how his nighttime hobby became a 17-track LP. Did you go into writing songs
- Steven J. Horowitz, Billboard
Without a doubt, Robert Altman is one of the most influential directors in American film history. Always creative, innovative, subversive and prolific, he took chances and tried almost every single genre and narrative approach without sacrificing his distinct style until his passing in 2006. His commercial and/or critical hits are each bona fide classics in American cinema. "Nashville," "Mash," "The Long Goodbye," "McCabe and Mrs. Miller," "The Player," "Short Cuts," "Gosford Park"… the list goes on and on. Even his misses (does anyone remember "O.C. and Stiggs," Altman’s bizarre attempt at an '80s sex comedy?) are fascinating. Now you can get your Altman fix by revisiting an excellent documentary that has been kicking around online. Originally produced and broadcast in 1996 by England’s Channel 4 (let’s face it, the European audience appreciated Altman a lot more than Americans ever did) as part of »
- Oktay Ege Kozak
Rather a lot of content from Entertainment Weekly's Fall Preview issue has been digitized in the last several hours by (evidently) super-nerds who can't wait for magazine poobahs, studio marketeers and other old media stick-in-the-muds to get their act together. This means the first official image from Paul Thomas Anderson's hugely anticipated "Inherent Vice" is pretty small. Nonetheless we get a look at Josh Brolin and Joaquin Phoenix in the Thomas Pynchon adaptation, and apparently it's going to be just as bonkers as expected. "A piece of fruit plays a major role. It's frozen. And it's my friend," Brolin told the magazine. "Even talking about it now makes me chuckle." So yeah, Wtf, and yes "The Long Goodbye" and Cheech and Chong are both cited as influences on the film. "Inherent Vice" arrives in limited release on December 12th and goes wide on January 9, 2015. Pic below, and in case you're wondering, »
- Kevin Jagernauth
(Cbr) The world was saddened to learn of Robin Williams’ passing on Monday, and the circumstances surrounding his death only made it more tragic. Most of us, however, prefer to remember the comedy legend through the times he made us smile. Perhaps it was his goofy silliness as the alien Mork, or his stellar voice work in "Aladdin," or the way he managed to fill out the form of an old lady in "Mrs. Doubtfire." He had loads of dramatic roles as well, from "The Fisher King" to "Dead Poets Society." Williams could make you empathize with the hurting soul underneath the clown, the man behind the facade. For all his versatility — from playing a cartoon bat trying to save the rainforest to a frightening stalker working at a photo booth — it’s a shame Williams was never in a superhero movie, especially in an era when the likes of Robert Redford, »
- Larry Cruz, Comic Book Resources
Super jam-packed week here at Tfe. We were possibly over-posting which brings us to Icymi because sure you did miss something. I've put the goods under song headers this morning just because.
Tfe got schizophrenic as Amir bitched about superhero franchises just as Anne Marie was celebrating them with live Comic Con coverage.
We gave Sandra Bullock a teensy look-back for her 50th. But I was mostly feeling love in short post form for players who get too little attention these days: Mary Steenburgen is always boss, John Leguizamo is an oft inspired clown, and on a clear day you can see Barbara Harris forever. I'm glad to know there are other fans out there of all three.
I was worried that Ynms efforts were getting stale but the inspiration faucet was suddenly turned back on for Imitation Game. And how about a »
- NATHANIEL R
The New York Film Festival scored a real coup in nabbing Paul Thomas Anderson's latest film, "Inherent Vice," for a Centerpiece slot at the upcoming 52nd annual event. The film has been an early favorite among awards prognosticators as Anderson has found recent luck in the season, even when the odds seemed stacked against him (such as when "The Master" appeared to be a bit of a lost cause with the actors before going on to score three Oscar nominations). But the way I hear it, "Inherent Vice" is a very different Paul Thomas Anderson experience altogether. It is apparently a very faithful adaptation of Thomas Pynchon's novel, which offers a zany blend of humor that could — I stress could — prove a tough sell to Academy types. "It's Bonkers — weird, weird, weird," one person who saw the film told me. "It made me laugh out loud several times, »
- Kristopher Tapley
We're giving 1973 some context as we approach the Smackdown. Here's Matthew Eng on an Altman film.
There’s an unmistakable sense of nostalgia that permeates Robert Altman’s seldom-seen 1973 neo-noir The Long Goodbye, an air of reminiscence highlighted by the film’s title track, a nifty, pliable, lovelorn little number composed by John Williams and Johnny Mercer that gets incorporated endlessly throughout the movie, evoking sporadic familiarity, even though we rarely hear the same version twice. It transforms itself, from scene-to-scene, into a flimsy piece of supermarket Muzak, an ivory-tickled barroom ditty, even a castanet-laden flamenco. It’s a caressing torch ballad one moment and a marching band’s funeral hymn the next. The song, in all its reimagined incarnations, continually threatens to embed itself into the viewer’s mind, but just as quickly eludes any tighter hold. It’s as though the film, in its own increasingly weary, tumbledown sort of way, »
- Matthew Eng
Good is the man who inspires the words “persuasively ambivalent” in a New York Times obituary. Actor James Garner died last night in his California home of natural causes. Long before I’d discover as a suburban teenager Elmore Leonard or Altman’s The Long Goodbye there was Jim Rockford, the Malibu p.i. with his trailer home on the beach, troublemaking ex-con pal, on-again, off-again lawyer girlfriend. It seemed like a way to live. From the Times: “Maverick” had been in part a send-up of the conventional western drama, and “The Rockford Files” similarly made fun of the standard television detective, the […] »
- Scott Macaulay
Given the who’s-who of collaborators and acolytes of the late Robert Altman assembled for this feature-length tribute, it would have been all too easy for director Ron Mann to let the film turn into a loose, digressive — indeed, Altmanesque — jamboree of war stories and portable wisdom. But to great, stirring effect, “Altman” charts a different course, drawing on a wealth of existing material to tell the filmmaker’s story largely in his own, brashly eloquent words, and through generous clips from his massive, admittedly uneven, always uncompromising filmography. The result captures Altman the artist and the man, the one inseparable from the other, about as well as any two-hour film could hope to do. The pic makes its broadcast debut on Epix Aug. 6, following its June 20 premiere as part of the UCLA Film and Television Archive’s ongoing Altman retrospective.
Working closely with Altman’s widow, Kathryn, and his frequent producer, »
- Scott Foundas
Vilmos Zsigmond, Asc was given the “Pierre Angénieux Excellens in Cinematography” award at this year’s Cannes Film Festival. It was a fitting tribute to the 83-year-old director of photography, who chronicled the events of the 1956 Hungarian revolution before leaving his country soon afterwards. In 1962 he became a naturalized citizen of the United States, settling in Los Angeles. During the ’70s Zsigmond established himself as one of the world’s great cinematographers, working on Robert Altman’s McCabe & Mrs. Miller and The Long Goodbye, John Boorman’s Deliverance, and Steven Spielberg’s The Sugarland Express and Close Encounters of the Third Kind, […] »
- Kaleem Aftab
We here at Tfh have always thought of the great Vilmos Zsigmond as one of "our" movie icons, having begun his distinguished cinematographic career in the humble swamps of low budget exploitation before rising on his own merit to a justly celebrated mainstream career. So it is with fond memories of the likes of The Sadist, The Name of the Game is Kill, The Time Travelers and Five Bloody Graves that we congratulate him on this latest award: From The Daily News - The legendary Hungarian-American cinematographer Vilmos Zsigmond, director of photography of the soon-to-be-released film ‘Atatürk,’ will receive a Life Time Achievement Award today from the 67th Cannes International Film Festival 2014.
In an extraordinary, Academy Award-winning career spanning some six decades, Zsigmond’s outstanding credits include “The Deer Hunter” and “Heaven’s Gate” directed by Michael Cimino, “Close Encounters Of The Third Kind” and “Sugarland Express” by Steven Spielberg, »
- TFH Team
Less animation, plenty of reality, and another two-hour comedy block reduced — those are some of the quick take-aways from Fox’s 2014 fall schedule announcement.
First up: On Mondays, the network will launch perhaps fall’s most-anticipated new drama, the Batman prequel series Gotham at 8 p.m. followed by the sophomore return of Sleepy Hollow at 9 p.m. Fox has ordered 16 episodes of Gotham and 18 episodes of Sleepy Hollow. On Tuesdays, ambitious new reality show Utopia, in which contestants try to build a perfect society over the course of a year, will open for New Girl and The Mindy Project (which »
- James Hibberd
Two young British actors are set to join the cast of Disney and Lucas Film's Star Wars: Episode VII
Relative newcomer, 22 year old Daisy Ridley (represented by Jonathan Arun) from London has landed a yet-undisclosed part, but it seems likely to be the daughter of Hans Solo and Princess Leia, for which open auditions were held.
Daisy was cast as Jessie in Youngers for Big Talk Productions in 2012. She then played a guest lead role in BBC TV series Casualty followed by small roles in Toast of London, Mr Selfridge and Silent Witness. She will make her feature film debut playing Alicia in the second Inbetweeners movie "The Long Goodbye" which will open in UK cinemas this August.
- email@example.com (ScreenTerrier)
With Isle of Dogs’ director Tammi Sutton’s latest feature Ripped-Off gearing up for principal photography in Los Angeles, CA this spring, we caught up with the filmmaker to discuss what happens when car thieves steal the wrong vehicle (this being a Sutton film, all sorts of stylized hell will break loose, more than likely). Read on.
Currently casting, Ripped-Off was written by Jeff Sisson, and will be produced by Caprice Conley, with cinematography by Jonas Navickas. The film’s tagline is as follows; “They stole the wrong car... Now heads are gonna’ roll."
“The inception of Ripped-Off honestly started when I was winding down filming my last two features in Europe and England,” stated Sutton (her last feature currently in release, the gritty Andrew Howard and Barbara Nedeljakova-starring crime thriller Isle of Dogs, bowed to DVD via Green Apples on January 28, 2014.)
“When I was there and homesick for Los Angeles, »
- Sean Decker
As follow-up to the critical darling The Master, Paul Thomas Anderson is bringing us Inherent Vice, a 1970s-set crime drama based on the Thomas Pynchon novel about a drug-fueled detective on a search for his missing ex-girlfriend. His cast includes Jena Malone, Joaquin Phoenix, Josh Brolin, Reese Witherspoon, Owen Wilson, Benicio Del Toro, and Maya Rudolph. This much-anticipated film isn't scheduled to hit theaters until December, but one insider has tipped what fans should expect from P.T. Anderson's latest. The Film Stage spoke with an audience member from an early screening of the film. Read this unnamed viewer's impressions below: "Mix together The Big Lebowski and Altman.s The Long Goodbye, turn it into a two-and-a-half hour Pt Anderson epic and you.re getting close to the awesome experience of Inherent Vice. Even Joaquin Phoenix.s performance has echoes of 70′s Elliot Gould with a touch of The Dude. »
I don't think there's enough sunshine in all of California to brighten up the dark state of affairs everyone is in as Mad Men begins the first half of its last lap. Where does one begin in this cold January of 1969? Peggy crumpled on the floor in sobs of her great-big-investment Upper West Side apartment? Roger passed out naked on the floor of his filthy, garbage-littered hotel-room-cum-counterculture-commune? Ken – still sporting an eye patch from his little shotgun mishap with the Chevy execs – completely overwhelmed and overworked? A happy, suntanned Pete – seriously, »
Feature Ryan Lambie 19 Mar 2014 - 06:21
The 1977 docu-drama Pumping Iron launched Schwarzenegger's career, and led to an era of fitness obsession and action heroes, Ryan writes...
In February 1976, the Whitney Museum in New York played host to a highly unusual exhibit: Arnold Schwarzenegger, clad in little more than a tiny pair of brown briefs, posing like a Greek statue on a rotating platform. Around him, some of the Manhattan art scene's most famous critics sat and pontificated.
Called Articulate Muscle: The Male Body In Art, the exhibition included two fellow Mr Universe bodybuilders, Frank Zane and Ed Corney, plus a panel of artists and historians, who discussed the notion of "the body itself as an art medium". The event was inspired and organised by Charles Gaines, a former weight lifter and author of the book Pumping Iron, a candid and in-depth account of bodybuilding with photographs by George Butler.
Originally expected to attract around 300 visitors, »
People complain all the time that there’s nothing good to watch on Netflix, but the truth is, that’s just because we usually like to complain more than we like to do a little work. In reality, there are tons of good movies to watch on Netflix, you just have to do a little digging to find them. For instance, here are 20 movies, ranging from good to great, that just got added to their streaming service recently. No digging required. Click on the films’ titles to be taken to their Netflix page so you can add them to your queue. Happy vegging. Pick of the Month: The Long Goodbye (1973) Probably the best compliment a movie can receive is Joel and Ethan Coen citing it as an influence, so seeing as the brothers Coen have gone on record as saying that Robert Altman’s The Long Goodbye is a big influence on their The Big Lebowski—which »
- Nathan Adams
Struggles of young New Yorkers have provided fodder for countless portraits of urban angst that vainly strive to reach for the tropes of Woody Allen. "Wild Canaries" has all the markings of this formula, but makes some admirable attempts to shake it up by stuffing the usual routine into a detective story. If the "Scooby-Doo" gang grew up and moved into a cramped Manhattan apartment building, they might resemble the oddball characters populating director Lawrence Michael Levine's bubbly murder mystery, in which the ultimate solution to the whodunit scenario matters less than the wily energy its characters bring to uncovering the puzzle. "Wild Canaries" exists somewhere on the spectrum between Robert Altman's "The Long Goodbye" and Aaron Katz's "Cold Weather:" Moody protagonists, swept up in the aimless flow of their lives, seek escape from its monotonous rhythms. As Noah, Levine plays the self-involved fiancé to the much younger Barri (Sophia Takal, »
- Eric Kohn
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