7 items from 2014
The Paul Verhoeven filmography screens at the Tiff Bell Lightbox through April 4th, culminating in a screening of his new “crowdsourced” film, Tricked.
Common wisdom dictates that cynicism and sentimentality are carefully linked, if not outright synonymous. In filmic terms, the most comfortable formulation of that argument is to align, for instance, romantic comedies with socially-acceptable (and, often, utterly noxious) notions of gender politics. Through the deployment of relationships and character profiles that support popular notions of how women and men behave, these movies are able to exploit comfortable mores in order to mainline easy pathos. What’s less common is to consider how that relationship between affect and effect can be subverted, perhaps because it’s relatively rare for truly subversive artists to be handed the proverbial keys to the kingdom.
- Simon Howell
This year’s Best Actor race is shaping up to be one of the greatest of all time. And by greatest, I mean both the most competitive and also the most outstanding, in the sense that each nominee is excellent — hypothetical winners in almost any other year. They also reflect the depth of superb male performances in 2013. Consider: Tom Hanks (Captain Phillips), Robert Redford (All Is Lost), Joaquin Phoneix (Her), Oscar Isaac (Inside Llewyn Davis), and Michael B. Jordan (Fruitvale Station) all missed the cut.
EW’s Owen Gleiberman recently analyzed this year’s Best Actor race, calling it the most “fiercely, »
- Jeff Labrecque
Alice Eve might be best known for her roles in Star Trek Into Darkness and Starter for 10, but speaking to the Brit actress for the home release of drama Cold Comes the Night one thing stands out: she really knows her movies.
"I love everything about Stealing Beauty," she told Digital Spy. "There's a dysfunctional family, a cross-generational relationship, the loss of innocence, and the stamp the loss of innocence puts on you for the rest of your life."
Bertolucci's 1996 film starred Liv Tyler as an American girl who heads to the Tuscan countryside after the death of her mother. Seeking to uncover the identity of her father and lose her virginity to a boy she met four years earlier, Stealing Beauty has »
With apologies to Dylan Farrow, who would attach sterner moral implications to this question than those I intend: what's your favourite Woody Allen movie of the 21st century? It's been a slightly painful question for a while now, usually drawing less-than-ringing endorsements along the lines of: "Midnight in Paris was harmless enough", or: "Vicky Cristina Barcelona, if you mute the voiceover bits." At last, however, there's an easy answer: Blue Jasmine (Warner, 12), imperfect as it is in fractious and interesting ways, is something genuinely remarkable.
Much of that comes down to Cate Blanchett's daring, last-nerve performance as the title character, a spoilt society wife experiencing the mother of all Xanax comedowns after her husband is jailed for tax fraud – a tragicomic turn of Gena Rowlands proportions that is all »
- Guy Lodge
The years 1968 to 1973 saw the release of such seminal taboo-busting films as “Midnight Cowboy,” “Barbarella,” “If…,” “Women in Love,” “The Damned,” “Trash,” “Sunday Bloody Sunday,” “Carnal Knowledge,” “Performance,” “The Devils,” “Straw Dogs,” “Last Tango in Paris,” “Deep Throat” and, of course, “A Clockwork Orange.” In this excerpt, Malcolm McDowell confronts a skittish Anthony Burgess while the two men do press chores for “A Clockwork Orange” — and Stanley Kubrick stays behind in England “controlling everything.” “Sexplosion” goes on sale today. * * * Anthony Burgess, author of “A Clockwork Orange,” harbored doubts about Stanley Kubrick’s screen adaptation of his »
- Robert Hofler
The movie business is tough. One slip-up can cost major movie stars their career, and only very rarely does Hollywood allow for second chances. There are all kinds of reasons why actors have fallen by the wayside – often, they’ve just failed to make shrewd choices when picking projects, or they didn’t play the Tinseltown politics to their advantage.
But sometimes, even the actor you assumed least likely to find themselves back in favour manage to make comebacks. Take Marlon Brando, for example – arguably the biggest movie star in the world in the 50s, Brando had become box office poison by the late 60s. Worse still, he had built a reputation as a diva; hardly anybody wanted to work with him.
- Brogan Morris
Morbid movies have been a feature of cinema from its earliest days, with films such as Nosferatu, Un Chien Andalou, L’age d’or and The Cabinet of Dr Caligari. They were frowned upon by our moral guardians for being unwholesome, but it didn’t stop their proliferation down the decades. By the 1960s, many taboos of cinema – like nudity, gore and graphic sex – had been busted wide open, leaving filmmakers all over the world free to engage in an all manner of previously off-limits subjects.
The 1970s were flooded with morbid films, though – Straw Dogs, The Devils, Last Tango in Paris, Last House on the Left, and The Texas Chainsaw Massacre (just to name a few). These films gave the censors the run around, but they set a precedent for subsequent writers and directors to attain new heights of ghoulishness. There are no sacred cows left today »
- Clare Simpson
7 items from 2014
IMDb.com, Inc. takes no responsibility for the content or accuracy of the above news articles, Tweets, or blog posts. This content is published for the entertainment of our users only. The news articles, Tweets, and blog posts do not represent IMDb's opinions nor can we guarantee that the reporting therein is completely factual. Please visit the source responsible for the item in question to report any concerns you may have regarding content or accuracy.See our NewsDesk partners