1-20 of 23 items from 2014 « Prev | Next »
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
We wanted to give a heads-up for an exciting new publication by filmmaker, projectionist, and Notebook contributor Paul Clipson. Published by Land And Sea, Reel is a limited edition "287 page book collecting approximately 15 years of drawings and notes from his job as head projectionist/av tech at SFMoMA. The drawings illustrate the moment before the "cigarette burn" (a symbol used in film projection to indicate when to change the reel of film) shows as a reference intended to assist part-time projectionists."
Only 100 copies will be available, with 5 "artist edition" versions, which come with a DVD Clipson has made for this release of "cigarette" moments, a dust jacket of film stills, and a signed and numbered slip case. More information can be found here.
If you are in the San Francisco area, the gallery Will Brown will be hosting an event for the book release today, Sunday, March 9. If you are in the New York area, »
- Paul Clipson
It's amazing to think that it's been almost three years since LCD Soundsystem called it quits with a marathon final show at Madison Square Garden on April 2. The good news is that soon you'll finally be able to listen to the whole set from the comfort of the chair you put next to your record player. The Long Goodbye: LCD Soundsystem Live at Madison Square Garden will come out on April 19, Record Store Day, as a 5xLP vinyl boxed set and then May 20 with a full digital and vinyl wide release. Read the full, extensive track list below; watch a performance of "All My Friends" from the show, taken from the documentary Shut Up and Play the Hits; and decide whether this release makes them closer or further away from a reunion.The Long Goodbye:01 “Dance Yrself Clean”02 “Drunk Girls”03 “I Can Change”04 “Time to Get Away”05 “Get »
- Jesse David Fox
There’s a haze that covers Robert Altman’s films; from the sun drenched beaches of The Long Goodbye to the cavernous interiors of McCabe and Mrs. Miller, Altman’s films find loquacious antiheroes attempting to understand the details of their murky surroundings. Today would be Altman’s 89th birthday and we’re celebrating with a line-up of documentaries that illuminate [...] »
- Zade Constantine
Neal Thompson is Senior Editor at Amazon Books. He is also a journalist & author, amateur photographer/videographer, and compulsive reader-writer. Neal interviewed Michael Connelly, creator of Bosch, a new Amazon Original Pilot.
In 1992, a seasoned crime reporter named Michael Connelly published his first novel, the story of a body in a drainpipe, a bank robbery, and police corruption, based partly on a true crime that had occurred in La. Featuring Hieronymous “Harry” Bosch, a Vietnam vet turned Lapd detective, The Black Echo won the Edgar Award for Best First Novel, established Connelly as a new voice in the mystery/thriller world and Bosch as one of the more complex characters in modern crime fiction.
Now, more than a dozen novels later, Bosch is coming to the little screen. Amazon Studios has produced the first episode in a hoped-for series entitled Bosch, co-written by Connelly and with Titus Welliver (who has »
Directed by Robert Altman
Robert Altman’s foray into film in the 70s left him with a body of work densely packed with revered quality, which enshrined him as one of the great American directors. M*A*S*H, Nashville, McCabe & Mrs. Miller, The Long Goodbye, and 3 Women would have been enough to designate him a worthy auteur, one who spoke a certain mystical anti-Hollywood language with beams of nostalgia resonating from current cinephiles who wonder, “How did they get away with that?”. It wasn’t by fitting in with contemporaries such as Scorsese and Hellman or emulating the previous nouvelle vague that made Altman a mainstay in cinematic history — much of that is due to his unabashed critique of genre understanding, his unique editing, and, perhaps unexpectedly, his understanding of his subjects in a »
- Zach Lewis
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