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To give the impending Smackdown some context we're looking at the year 1973. Here's Glenn on tickets sold...
1973 was like the end of a box-office era. While year-end charts weren’t suffocated with superheroes, CGI natural disasters, and dystopian visions of futuristic societies for a little while yet, but 1973 was as far as I can tell the last year to not have a single now-traditional effects-driven film in the top ten hits of the year. Just one year later in 1974 the end-of-year charts would include the one-two punch The Towering Inferno and Earthquake (plus Airport '75), and 1975 essentially ushered in the modern era of the blockbuster with Jaws and since then it's been a steady increase.
Here is what the top ten films of 1973 looked like.
01 The Sting $156m
02 The Exorcist $128m
03 American Graffiti $96.3m
04 Papillon $53.3
05 The Way We Were $45m
06 Magnum Force $39.7
07 Last Tango In Paris $36.1
08 Live And Let Die »
- Glenn Dunks
“New York has always embraced me,” Bernardo Bertolucci reflects. The 73-year-old director is on the phone from Rome, talking about a visit he made to the city in December 2010 for a comprehensive Museum of Modern Art retrospective of his work. It was there that Bertolucci emerged from what seemed to be years of seclusion and depression and allowed the world to see him as he was – a man confined to a wheelchair, the result of several operations to deal with years of crippling back pain. “That was the first time I appeared in a wheelchair in public,” he says.Of course, when Bertolucci talks of the city’s embrace, he’s also thinking of the momentous 1972 premiere of Last Tango in Paris at the New York Film Festival. “That date should become a landmark in movie history,” famously declared The New Yorker’s Pauline Kael at the time, comparing the »
- Bilge Ebiri
Italian director Bernardo Bertolucci enters the living room of his Rome apartment through a door that had been in New York’s now-defunct New Yorker Theater, the legendary mecca for film buffs where his “Before the Revolution” screened in 1965, when he was 24.
Wheelchair-bound due to a back injury, a white cat sitting on his lap, the 74-year-old helmer asks his assistant to turn off the 4K projector beaming images on the wall, and begins to speak about his latest film, “Me and You,” as well as to muse on his lingering desire to work in 3D.
The maestro’s first feature since 2004’s “The Dreamers,” “Me and You” (Io e te) — also Bertolucci’s first Italian-language film in 32 years — debuted in Cannes in 2012 to mixed reviews; in 2012, it made a strong $2 million-plus in Italy and played in key markets in Europe. The film opened in New York on July 4 via niche distrib Emerging Pictures. »
- Nick Vivarelli
The Supporting Actress Smackdown of '73 arrives on July 31st, just over two weeks from now. You need to get your votes in too if you want to participate (instructions at the bottom of this post). If you've wandered in from elsewhere and are like, "What's a Smackdown?," here's how it started.
The Smackdown Panel for July
Without further ado let's meet our panel who will be discussing popular classics Paper Moon, The Exorcist, and American Graffiti as well as the more obscure title Summer Wishes Winter Dreams. All of the Supporting Actress nominees this Oscar vintage were first timers and so are our Smackdown panelists.
Dana Delany is an actress working on stage, screen, television and now internet. She was last seen starring in "Body of Proof" on ABC. In August you can rate and review the pilot "Hand of God" in which she co-stars with Ron Perlman on Amazon. »
- NATHANIEL R
The guiding principle behind “Fire in the Hole” seems to be that if the show can cover enough physical ground and extend its reach over a great enough span of time, that will make up for a set of relationships that have ceased to evolve and a plot that’s freezing up. There’s a lot of inert dialogue scenes where people try to work out their thoughts and feelings, including one in which Violet expresses her disappointment in her “warrior” Jason for even having thoughts and feelings. (Remembering the day they met, she says that she could tell right away that “you were a man like they used to make them, who lived by a code of honor and dignity, and with an iron-forged c**k!” Stick that on your next Father’s Day card.) These philosophical debates don’t do much for the audience, but hey—there are flashbacks! »
- Phil Dyess-Nugent
The reason there hasn't been a new Bernardo Bertolucci film for more than ten years is because the now 72-year-old master filmmaker of The Conformist, Last Tango in Paris and The Last Emperor, has been having health problems. His bad back led to multiple surgeries and ultimately left him wheelchair-bound. Me and You (Io e te), his first film since The Dreamers, and his first Italian language film in more than 30 years, is a gentle, affecting coming-of-age story masterfully told.The film is unexpectedly sweet. Sure, there are a bit of Bertolucci's usual sexual innuendos and brashness but skin is kept to a bare minimum. Don't despair yet, because there is a lot to love in Me and You. I can see why the project,...
[Read the whole post on twitchfilm.com...]
Nr, 1 Hr., 20 Mins.
Directed by Ignacio Ferreras, a disciple of Sylvain Chomet (The Triplets of Belleville), and dubbed into English from Spanish, this animated gem tells a story of friendship in an old folks’ home. Emilio (Martin Sheen) is dumped there by his son after one too many senior moments, while Miguel (George Coe), a white-haired Randle McMurphy, cuts deals and runs the joint. The animation artfully transitions between what is real and what the aging residents think is real. Rare is the “cartoon” that penetrates and even haunts; Wrinkles is not easily forgotten. (Available on iTunes and VOD »
- EW staff
Bertolucci at Cannes, two years agoThere was a time when the release of every new film from Italian director Bernardo Bertolucci would cause some level of controversy. Consider that in a career that spans more than five decades, he has directed films like The Conformist. Last Tango in Paris and The Dreamers. His latest film, Me and You, was made almost a decade after The Dreamers. It premiered at Cannes more than two years ago but is being released only now, almost as if the publicity for his films has gotten as quiet as the man himself, now sitting (and directing) permanently in wheel chairs.
The opening of Me and You promises more of the director’s provocative thematic interests. Lorenzo (Jacopo Olmo Antinori) is a troubled looking teenager finishing a conversation with his psychiatrist. He is reclusive and detached, and his misbehaviours are confirmed when we overhear a conversation »
- Amir S.
Title: Me & You (Io e Te) Director: Bernardo Bertolucci Starring: Jacopo Olmo Antinori, Tea Falco, Sonia Bergamasco, Veronica Lazar, Tommaso Ragno, Pippo Delbono. When it comes to Bernardo Bertolucci, undoubtably the expectations are very high: he shocked with ‘Last Tango In Paris,’ enchanted with ‘The Last Emperor’ and had a great come back with ‘The Dreamers’ in 2003. Now the Italian Maestro returns with a story on borderline siblings. Lorenzo (Jacopo Olmo Antinori), a quirky 14-year-old loner who has difficult relationships with his parents and peers, decides to take a break from it all by hiding in his building’s neglected basement, when everyone thinks he’s skiing with his classmates [ Read More ]
The post Me & You (Io e Te) Movie Review appeared first on Shockya.com. »
- Chiara Spagnoli Gabardi
Bernardo Bertolucci's name conjures up memories of tense dramas involving dark subject matter, philosophical intrigue and political subtext, from "Last Tango in Paris" to "The Conformist" and later efforts like "The Dreamers." With those precedents in mind, the director's first credit in a decade, "Me and You," may come as something of a surprise: Adapting Niccolo Ammaniti's novella, the movie almost exclusively takes place in a basement, where drug addict Olivia (Tea Falco) spends time with her curious younger brother Lorenzo (newcomer Jacopo Olmo Antinori, in an Antoine Doinel-like role marked by early teen excitement). As the pair hang around and talk about life, Lorenzo is initially smitten with his sister's hip facade, before confronting its more dangerous extremes. With a soundtrack that includes Arcade Fire and a largely bittersweet tone sustained throughout, "Me and You" showcases a side of Bertolucci we've never quite seen »
- Eric Kohn
Although he couldn’t know it at the time, Kanye West inadvertently gave voice to his own future wedding guests with this lyric from 2007′s “Stronger”: “You should be honored by my lateness/that I would even show up to this fake sh–/So go ahead go nuts/go apesh–.” (Important note: Beyoncé and Jay Z declined to show up to “this fake sh–.”)
As everyone is all too aware, Kim Kardashian made her third trip down the aisle this past weekend. (#ThirdTimesTheCharm?) And now E! — because of course — has photos of the big event. Photo one is a »
- Erin Strecker
Hollywood comedy Bad Neighbours ruled for the second consecutive weekend at the Australian box-office while two Australian films struggled to find audiences.
Including previews, the film starring Don Hany and Hugo Weaving has grossed $96,000. Hany plays a criminal serving a long stretch for murder who is rehabilitated by a program caring for wounded eagles and other big birds in a minimum-security prison farm.
Sophie Hyde.s 52 Tuesdays fell by 26%, fetching $17,500 in its second weekend on 10 screens and $80,000 thus far. Both films generated positive reviews and wide media coverage, underlining that sometimes that isn't enough to attract cinemagoers.
B.O. takings totalled a shade over $11 million, down from the previous weekend.s $11.4 million, according to Rentrak, but only two titles clocked more than $1 million.
- Don Groves
So this weekend we’ve seen Jude Law take a walk on the wild side in the title role of Dom Hemingway. Now, we also get a new film starring a stateside screen beauty, Scarlett Johansson as she takes a walk on the weird side. Very weird. She stars in almost every minute of Under The Skin from director Jonathon Glazer who gave us the enormously entertaining Sexy Beast (Ben Kingley’s character might have been “mates” with Dom!). But Skin is no look at the cockney criminal class. This film is based on a 2000 science fiction novel from Michel Faber. Now we’re used to seeing Ms. J dashing about in CG backdrops in big budget blockbusters like Michael Bay’s The Island and over at Marvel Studios as the sublime Shield agent the Black Widow in, so far, three epics. But this film’s not in the same »
- Jim Batts
BBC One's Last Tango in Halifax is to be remade for French television.
The romantic drama will be adapted by BBC Worldwide and production company Newen.
Jean-Louis Blot, Director BBC Worldwide France, said: "We are excited to work with Newen teams to develop and co-produce Last Tango in Halifax. This is the beginning of a collaboration we hope long and successful."
The UK show has aired two series since it launched in November 2012, with a third currently in the works.
Watch clips from Last Tango in Halifax's most recent episode below: »
Looks like the DVR won’t be getting that much-needed summer vacation.
Not every network has released their summer skeds just yet, but it’s clear that there will be an unprecedented number of scripted skeins on the broadcast networks from June through August. And of course, cable networks have long seen the warm-weather months as a time for its originals to shine.
“Six Feet Under,” “Monk” and “The Closer” are examples of cable shows that thrived out of the box in part because of a dirth of competition during summer. Those bowing this summer won’t have that luxury.
After some rough starts in the ratings for shows that premiered in the thick of the broadcast season, TNT has switched »
- Rick Kissell
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
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