8 items from 2014
Cary Grant films on TCM: Gender-bending 'I Was a Male War Bride' (photo: Cary Grant not gay at all in 'I Was a Male War Bride') More Cary Grant films tonight, as Turner Classic Movies continues with its Star of the Month presentations. Right now, TCM is showing the World War II action-drama Destination Tokyo, in which Grant finds himself aboard a U.S. submarine alongside John Garfield. Directed by Delmer Daves, who a decade later would direct a series of classy Westerns (e.g., 3:10 to Yuma, The Hanging Tree), Destination Tokyo is pure flag-waving propaganda, plodding its way through the dangerous waters of war-movie stereotypes and speechifying banalities. The film's key point of interest is Grant himself — not because of he's any good, but because he has been cast against type as a tough submarine commander. It's always odd to see debonair Cary Grant »
- Andre Soares
Christopher Reeve: 'Superman' and his movies (photo: Christopher Reeve in 'Superman' 1978) Christopher Reeve, Superman in four movies from 1978 to 1987, died ten years ago today. In 1995, while taking part in a cross-country horse race in Culpeper, Virginia, Reeve was thrown off his horse, hitting his head on the top rail of a jump; the near-fatal accident left him paralyzed from the neck down. He ultimately succumbed to heart failure at age 52 on October 10, 2004. Long before he was cast as Superman aka Clark Kent, the Manhattan-born (as Christopher D'Olier Reeve on September 25, 1952), Cornell University and Juillard School for Drama alumnus was an ambitious young actor whose theatrical apprenticeship included, while still a teenager, some time as an observer at London's Old Vic and Paris' Comédie Française. At age 23, he landed his first Broadway role in a production of Enid Bagnold's A Matter of Gravity, starring Katharine Hepburn. »
- Andre Soares
“Stop the presses” was a line of dialogue used in all manner of thrillers and mysteries throughout Hollywood’s Golden age as a reflection of the movies’ love affair with newspapers and crusading reporters. Now this romance has had its bumps, since for every The Front Page or His Girl Friday, there’s a Citizen Kane who created news events to sell copy. But overall, the seekers of truth, the reporters have been the heroes in cinema (is it any wonder that Superman’s human disguise is that of “mild, mannered reporter for a great metropolitan newspaper”?). One of the best examples may be 1976′s All The President’S Men with Woodward and Bernstein as an investigative dynamic duo who would follow every lead, turn over every rock in order to publish the facts. The fourth estate isn’t what it used to be in today’s world what with »
- Jim Batts
To anyone familiar with the many Hollywood newspaper comedies of the 1930s and 1940s, of course, this swell of alarmism about contemporary journalism will no doubt seem amusing. Diminished standards, ethical bankruptcy, the easy propagation of mistruths—this conception is nothing new. Let’s consider the history. In 1928, former reporters Ben Hecht and Charles MacArthur wrote The Front Page, a hugely popular Broadway comedy which satirized the unscrupulousness of the newspaper business. The play concerned the efforts of Walter Burns, the ruthless editor of a big-city daily, to orchestrate the last-minute exoneration of a criminal sentenced to be hanged, which he hopes will both secure his paper a landmark exclusive and convince his former star reporter to return to the masthead once more. Its best-known adaptation, His Girl Friday, would arrive in 1940 courtesy of Howard Hawks. But Lewis Milestone's 1931 version remains perhaps the more influential: its success ushered in »
It is not too shabby in what the Northeast (New England) part of the United States has produced in terms of past and present actors/actresses making their show business dreams come true. Film careers can be a lot like ice cubes–they start out solid and cool but if you sit around in stagnation your efforts and hard work can melt away before one’s very eyes. Certainly no one can accuse this talented crop of thespians of being one-hit wonders on the big screen. After all, one does not become a recipient of an Academy Award by just sheer luck and charitable fortune.
As a native Bostonian and life long New Englander, I felt compelled to spotlight those Massachusetts-born and bred actors from the same region that had ultimate success on the big screen in winning the Oscar for their acting achievement and contribution to the motion picture industry. »
- Frank Ochieng
The 2014 march of outstanding documentaries about artists continues on with the best of the impressive group of feature films. But this artist’s means of expression are not the brush as in Tim”S Vermeer or still photography as seen in Finding Vivian Maier or cinema itself (along with many superb illustrators) in Jodoworsky’S Dune. Nope, this artist’s (and after viewing this film, that title is not up for debate) means of expression were words with typewriters, computer keyboards, and his own voice utilized instead of brushes on canvas or cameras. The subject of Steve James’s (Hoop Dreams, The Interrupters) new feature documentary is celebrated, Pulitzer Prize-winning film critic Roger Ebert. He had been a fixture on TV screens for decades, discussing and debating current movies usually with Gene Siskel, so you may think that you know everything about good ole’ “Uncle Rog”. But though he left »
- Jim Batts
The front page of WWE.com has looked at a potential Sting vs The Undertaker encounter, hyping it as “the most talked about match that’s never happened.”
This WWE acknowledgement of fan desires for Sting vs Undertaker could be read as a directional creative step the company are taking toward Sting and Undertaker at WrestleMania 31. The feature is certain to stir interest for that match. Indeed, that was the match which was reportedly being lined up for Sting, according to reports from a couple of months ago.
Is the WWE website featuring Sting vs Undertaker a sign that the company are building this match? The answer is no, not according to The Wrestling Observer, who report that WWE.com doing this feature was mere coincidence… or at least that’s what they’ve been told anyway.
The observer source, who apparently works at WWE.com, reveals that »
- Grahame Herbert
So, we’ve arrived at the top 20, slowly creeping toward those films that are exactly what a romantic comedy should be. We’ve seen films that fall into the category, but lean more toward other genres. We’ve seen romantic films that are funny enough to be comedies, but don’t entirely represent the spirit of the rom-com, despite being brilliant films. Now, we form a clearer picture of what a romantic comedy is. Not all of the films in this section are necessarily “good,” but they’re all iconic, definitive romantic comedies (hence their inclusion). Memorability does not necessarily come partnered with quality. It means right place, right time.
courtesy of totalfilm.com
20. Sleepless in Seattle (1993)
- Joshua Gaul
8 items from 2014
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