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Barry Lyndon (1975) More at IMDbPro »
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1-20 of 29 items from 2010 « Prev | Next »
News Shorts: December 28th 2010
28 December 2010 7:29 AM, PST | Dark Horizons | See recent Dark Horizons news »
The first stills from My Idiot Brother, The Other Woman, Take Shelter, Upside Down and some blurry behind-the-scenes photos from Captain America: The First Avenger.
The first trailer is out for the Steven Spielberg-produced alien invasion series "Falling Skies" which kicks off this Summer on TNT.
"Australian stunt man Scott McLean has been hospitalized following an accident on the set of "The Hangover" sequel in Thailand. McLean is now in a coma due to injuries sustained during a stunt involving two cars crashing into each other at high speed in Bangkok…" (full details)
"The Len Wiseman-directed, Colin Farrell-led remake of "Total Recall" reportedly has a price tag sitting at around $200 million…" (full details)
"Turns out Ving Rhames wants $7.7 million for his cameo in the fourth "Mission: Impossible", more than double his fee for the last film…" (full details)
"Bryan Singer will shoot his 3D "Jack the Giant »
- Garth Franklin
News Shorts: December 28th 2010
28 December 2010 7:29 AM, PST | Dark Horizons | See recent Dark Horizons news »
The first stills from My Idiot Brother, The Other Woman, Take Shelter, Upside Down and some blurry behind-the-scenes photos from Captain America: The First Avenger.
The first trailer is out for the Steven Spielberg-produced alien invasion series "Falling Skies" which kicks off this Summer on TNT.
"Australian stunt man Scott McLean has been hospitalized following an accident on the set of "The Hangover" sequel in Thailand. McLean is now in a coma due to injuries sustained during a stunt involving two cars crashing into each other at high speed in Bangkok…" (full details)
"The Len Wiseman-directed, Colin Farrell-led remake of "Total Recall" reportedly has a price tag sitting at around $200 million…" (full details)
"Turns out Ving Rhames wants $7.7 million for his cameo in the fourth "Mission: Impossible", more than double his fee for the last film…" (full details)
"Bryan Singer will shoot his 3D "Jack the Giant »
- Garth Franklin
Bryan Singer To Shoot ‘Jack The Giant Killer’ In The Dark
27 December 2010 2:00 PM, PST | Slash Film | See recent Slash Film news »
Most people who go to the movies take it for granted, but light is as important a facet of cinema as the budget or the script. Without light, your movie couldn't be projected up onto the big screen. And without light on set, the cameras wouldn't be able to recognize the image in front of them. Or would they? Bryan Singer popped online recently to write a little bit about his upcoming film Jack The Giant Killer. He said he's going to shoot it in 3D using Epic Red cameras and that, because he's using that camera and the film is set before electricity, he can "more effectively explore the use of natural light." Is Singer making his Barry Lyndon? Read more after the jump. Bleeding Cool [1] unearthed this quote from Singer. Here's exactly what he had to say. I’m very much looking forward to using the Epic Red »
- Germain Lussier
The Studio Auteur: Stanley Kubrick
15 December 2010 3:38 PM, PST | SoundOnSight | See recent SoundOnSight news »
Throughout the 1960s-early 1970s, a combination of financial desperation, creative daring, and an adventurous movie-going public had produced a creative detonation in mainstream American movies not seen before or since. Each year of the period seemed to bring at least one mightily ambitious visual experiment by a new contributor to the commercial movie scene, the “look” of that effort being as much a part of its identity as its characters and story. One could pick no better representative of the trend than Stanley Kubrick, for no director of the time so extended the boundaries of mainstream commercial filmmaking, or what it meant to be a mainstream commercial filmmaker.
For the most part, Kubrick’s professional ascent was built on the taking of standard genres – the war story, science fiction tale, sword-and-sandal epic – and twisting them into shapes so singular that each Kubrick outing became an acknowledged one-of-a-kind classic. Paths of Glory »
- Ricky
Blu-Ray Review: Salon Kitty
21 November 2010 2:39 PM, PST | Twitch | See recent Twitch news »
Tinto Brass has always had a touch for making exploitative movies that look like real movies. This is not an insult. It is the truth. His command of sleazy grandeur is probably why Bob Guccione handed him the reigns to Caligula. A new uncensored cut of Brass' Salon Kitty (1976) from Blue Underground shows the director near the height of his filthy powers. This isn't just regular trash. This is really artful trash.
Kitty Kellerman (played by Ingrid Thulin) runs Salon Kitty -- a brothel where the German elite come to relax. An amorphously perverse Nazi general named Wallenberg (Helmet Burger) forces Kitty to move to a new building, which is wired for spying, and swaps out her trusted stable with a bunch of SS spies. In the middle of all of this scheming is a committed Nazi concubine named Margherita (Teresa Ann Savoy).
Salon Kitty is based on a non-fiction book by Peter Norden. »
The Rise And Fall Of the Hollywood Auteur: Part 1
17 November 2010 4:10 PM, PST | SoundOnSight | See recent SoundOnSight news »
Part I: Super Chiefs — Calley, Evans, Zanuck and the Passing of the Studio Torches
From the 1960s into the 1980s, one by one, the legendary studios of old – MGM, United Artists, Warner Bros., Paramount, Columbia, 20th Century Fox — were gobbled up by conglomerates, some of which had had almost no previous interests in the entertainment business, such as Paramount’s acquirer, Gulf + Western (a motley collection of properties ranging from Caribbean sugar companies to auto parts), and Kinney National Service (a hodgepodge of funeral homes and parking lots which bought up Warner Bros.). This corporatization of the major studios – the once mighty fiefdoms of the old moguls subjugated by invaders with little or no practical or emotional affinity for movies – is often viewed disparagingly as a sea change signaling the end of the grand Old Hollywood; the Hollywood of Gable and Garland, of Casablanca (1942) and Gone with the Wind (1939).
Factually, »
- Bill Mesce
Check Out Tma's 100 Greatest Movies Of All Time List
15 November 2010 10:56 AM, PST | GeekTyrant | See recent GeekTyrant news »
The Moving Arts Film Journal has put together a list of the 100 Greatest Movies of All Time. Check it out below. Do you agree with this list of films? Every list is going to be spot on for some and piss others off. I personally am a fan of the list. Take a look and let us know your thoughts!
#1. 2001: A Space Odyssey (1968, Kubrick)
#2. Citizen Kane (1941, Welles)
#3. The Godfather (1972, Coppola)
#4. Andrei Rublev (1966, Tarkovsky)
#5. The Rules of the Game (1939, Renoir)
#6. Casablanca (1942, Curtiz)
#7. Vertigo (1958, Hitchcock)
#8. La Dolce Vita (1960, Fellini)
#9. Seven Samurai (1954, Kurosawa)
#10. The Godfather Pt. II (1974, Coppola)
#11. The Third Man (1949, Reed)
#12. The Wizard of Oz (1939, Fleming)
#13. Dr. Strangelove (1964, Kubrick)
#14. Goodfellas (1990, Scorsese)
#15. Aguirre: The Wrath of God (1972, Herzog)
#16. 8½ (1963, Fellini)
#17. Singin’ In The Rain (1952, Donen, Kelly)
#18. Raging Bull (1980, Scorsese)
#19. Lawrence of Arabia (1962, Lean)
#20. Solaris (1972, Tarkovsky)
#21. The Night of the Hunter (1955, Laughton)
#22. On the Waterfront (1954, Kazan)
#23. Intolerance (1916, Griffith)
#24. L’Atalante (1934, Vigo)
#25. Apocalypse Now (1979, Coppola »
- Tiberius
Tma’s 100 Greatest Movies of All Time
13 November 2010 10:27 AM, PST | The Moving Arts Journal | See recent The Moving Arts Journal news »
You will not like something about this list. In your mind, undeserving inclusions and unthinkable omissions probably abound. That is as it should be. Film, for all the scholarship, expertise and pretense that surrounds it, remains, like all art, firmly subjective. Feel free to tell us what we missed, what we misplaced, or congratulate us on a job well done, if you feel so inclined. Just remember to keep it clean, civil and respectful. With that said, these are The Moving Arts Film Journal’s 100 Greatest Movies of All Time:
#1. 2001: A Space Odyssey (1968, Kubrick)
#2. Citizen Kane (1941, Welles)
#3. The Godfather (1972, Coppola)
#4. Andrei Rublev (1966, Tarkovsky)
#5. The Rules of the Game (1939, Renoir)
#6. Casablanca (1942, Curtiz)
#7. Vertigo (1958, Hitchcock)
#8. La Dolce Vita (1960, Fellini)
#9. Seven Samurai (1954, Kurosawa)
#10. The Godfather Pt. II (1974, Coppola)
#11. The Third Man (1949, Reed)
#12. The Wizard of Oz (1939, Fleming)
#13. Dr. Strangelove (1964, Kubrick)
#14. Goodfellas (1990, Scorsese)
#15. Aguirre: The Wrath of God (1972, Herzog)
#16. 8½ (1963, Fellini)
#17. Singin’ In The Rain (1952, Donen, »
- Eric M. Armstrong
Blu-ray Review: Paths of Glory (Criterion Collection)
2 November 2010 2:17 AM, PDT | Rope of Silicon | See recent Rope Of Silicon news »
Paths of Glory Quick Thoughts:
I have not yet seen the whole of Stanley Kubrick's readily available filmography. The one film that eludes me is 1962's Lolita after finally watching Barry Lyndon last December. It wasn't until August 1, 2008 that I finally saw Paths of Glory for the first time, and with each viewing of a Kubrick film the feeling you are watching something special never escapes your conscience. His films are unlike most anything you've seen before and you can tell when today's filmmakers are trying to accomplish something along similar lines. Even earlier this year, Christopher Nolan's Inception was referred to as Kubrickian by indieWire's Anne Thompson and whether you agree or not, it's evident Kubrick's stamp on cinema is one that will be felt throughout the ages.
Kubrick's often discussed as being one of the only directors to tackle all genres, but as noted by his »
- Brad Brevet
Damien Chazelle's Top Ten Films
31 October 2010 9:00 PM, PDT | ioncinema | See recent ioncinema news »
Have you ever wondered what are the films that inspire the next generation of visionary filmmakers? As part of our monthly Ioncinephile profile, we ask the filmmaker the incredibly arduous task of identifying their top ten list of favorite films. This November, we profile first-time filmmaker Damien Chazelle whose micro-budgeted Guy and Madeline on a Park Bench has charmed critics and found itself on several Best Undistributed Films Lists of 2009. Via Variance Films, his film is finally receiving its theatrical debut this November 5th at the Cinema Village in New York City. Below, you'll find Damien's top ten list as of November 2010 -- a nice mix of films of retro and contemporary films ranging between studio films and obscure short film titles. Here is Damien Chazelle's Top Ten in his own words. Barry Lyndon - Stanley Kubrick (1975) "Ok, here’s a thing that really bothers me: the rap on Kubrick’s cinema as unemotional. »
Kanye West's 'Runaway' Film: A High-Culture Cheat Sheet
25 October 2010 3:22 AM, PDT | MTV Movie News | See recent MTV Movie News news »
We break down the highbrow inspirations behind 'Ye's short film.
Kanye West in his film "Runaway"
Photo: Def Jam
Now that you've finally seen Kanye West's ultra-arty "Runaway" film, you're probably wondering what it really means. We might not be able to tell you exactly what was going on in Kanye's brain when he made the film, but we can help you pick out some of the highbrow references within. And there are an awful lot of them.
We've done things like this in the past for big-ticket videos like Lady Gaga's "Telephone" and My Chemical Romance's "Na Na Na," but those were pop-culture cheat sheets." For "Runaway" — an ambitious film with equally ambitious influences — we've gone even deeper. What follows is our high-culture cheat sheet, an alphabetized, exhaustively researched list of all the painters, dance troupes and conceptual performance artists 'Ye references in the video. »
DVD Review: ‘I Am Love’ Captures Revolutionary Power of Romance
20 October 2010 9:30 PM, PDT | HollywoodChicago.com | See recent HollywoodChicago.com news »
Chicago – Critics don’t have any business reviewing films if they aren’t able to admit when they are wrong. I am here to freely admit that I was wrong about “I Am Love.” While it blindsided me at the European Union Film Festival, I detected certain glaring flaws in its plot during the film’s limited theatrical run, which seem to have evaporated upon its magnificent DVD release.
Yes, the film is an unabashed melodramatic romance at heart, requiring the viewer to buy into its less-than-credible flights of fancy. But as an experiment in pure cinema, the film is an extraordinary hybrid of the classical and contemporary. Love is depicted as nothing less than a force of nature, inspiring its central character to evolve into the person she was always meant to be. The film is about revolution rather than repression, and that is its stroke of genius, reflecting »
- adam@hollywoodchicago.com (Adam Fendelman)
A Clockwork Orange: No 6
20 October 2010 3:49 AM, PDT | The Guardian - Film News | See recent The Guardian - Film News news »
Stanley Kubrick, 1971
Even though it was made in long-ago 1971, there is still something almost fetishistically futuristic about A Clockwork Orange. Perhaps that is owed to the exuberant and indelible production design, its characters' peculiar teenage argot ("Nadsat") or its electrified, classical score by transsexual composer Walter (later Wendy) Carlos – or perhaps simply because the early 70s were crazier – in hyper-stylised design and fashion – than any period since. Either way, A Clockwork Orange endures, not so much for its philosophical musings on the nature of free will in the face of good and evil, but because it is simply a triumph of style from its opening sequence in the Korova Milk Bar through its cartoony violence and horrible retribution, all the way to its bizarre final shot of Alex (Malcolm McDowell in a role that has dogged him for 40 years) having wild sex before an audience of voyeurs clad in Louis Xiv »
- John Patterson
Stanley Kubrick Lost Film Finally Found
24 September 2010 7:21 AM, PDT | Dark Horizons | See recent Dark Horizons news »
Acclaimed filmmaker Stanley Kubrick was responsible for three shorts and thirteen features throughout his lifetime.
Of those thirteen features, five have emerged as true cornerstones of cinema - "2001," "Dr. Strangelove," "A Clockwork Orange," "Full Metal Jacket" and "The Shining". Another five aren't as unanimously praised but are generally considered classics in their own right - "Barry Lyndon," "Paths of Glory," "Spartacus," "Eyes Wide Shut" and "Lolita".
The remaining three however, his low-budget first three films which were released in the mid-50's, are generally not widely known outside of Kubrick fans and cinemaphile circles. While "The Killing" and "Killer's Kiss" are easy to obtain on Amazon and the like, his first feature-length effort "Fear and Desire" has proven a collector's item which most have only been able to see through dodgy online copies or very low quality VHS copies of copies. Until now that is.
George Eastman House ran a »
- Garth Franklin
Blu-Ray Review: ‘One Flew Over the Cuckoo’s Nest: Ultimate Collector’s Edition’
19 September 2010 8:55 AM, PDT | HollywoodChicago.com | See recent HollywoodChicago.com news »
Chicago – One of the most-beloved films of arguably the most important period in film history hits Blu-ray this week in a lavish “Ultimate Collector’s Edition” courtesy of the studio that does this kind of thing better than anyone else. With unique physical collectibles to go with great special features and a new HD transfer of the 35-year-old film, “One Flew Over the Cuckoo’s Nest” has lost none of its power.
Blu-Ray Rating: 4.0/5.0
“One Flew Over the Cuckoo’s Nest” has long been one of those films that I admire and respect more than thoroughly love as much as I do some of its ’70s colleagues. It’s not my favorite film of its era, not my favorite Jack Nicholson performance, and not even my favorite Milos Forman film. And it won Best Picture in a year when that category was Stacked. I simply adore fellow nominees “Barry Lyndon, »
- adam@hollywoodchicago.com (Adam Fendelman)
Retro Pick: A Clockwork Orange
7 September 2010 7:15 AM, PDT | TribecaFilm.com | See recent Tribeca Film news »
Stanley Kubrick never went darker than in A Clockwork Orange, the dystopian vision of his follow-up to 2001: A Space Odyssey. Stanley Kubrick was always a formalist, but for the most part he kept his formalism out of the viewer's direct line of sight. You'd have to have read about Barry Lyndon to know that it was shot purely with natural light, on lenses specially built by Nasa to open to a 0.8 F-stop. The minimalist silences and negative space of 2001: A Space Odyssey are stylistically charged, but don't effectively clobber the viewer over the head. And the mind-blowing Steadicam shots in The Shining always felt like they were of a piece with the story's descent into madness. A Clockwork Orange, however, was the exception, the formalist standout in Kubrick's oeuvre. Fight sequences that take place in slow-motion, a sped-up three-way sex scene with an uber-fast William Tell Overture soundtrack, »
Disc News: August 29th 2010
29 August 2010 9:33 AM, PDT | Dark Horizons | See recent Dark Horizons news »
In a video interview conducted during the promotion of this weekend's "Avatar" re-release, James Cameron confirmed he's done a "complete remaster" of "Aliens" for the upcoming "Alien Anthology" Blu-ray boxset and worked with the same colorist he used on "Avatar".
In comments that might cause controversy though, Cameron says he went in and "completely de-noised it, de-grained it, up-rezzed, color-corrected every frame". The film itself is famously heavy with grain because "it was shot on a high-speed negative that was a new negative that didn't pan out too well and got replaced the following year" says Cameron who adds that "We got rid of all the grain. It's sharper and clearer and more beautiful than it's ever looked. And we did that to the long version, to the 'director's cut'"
The worry is if the changes have a negative impact, much like the odd color timing on "French Connection »
- Garth Franklin
Ranking Stanley Kubrick: Top Ten Directors, Top Twenty Flickchart Movies
12 August 2010 9:02 AM, PDT | Thompson on Hollywood | See recent Thompson on Hollywood news »
My most recent online time-waster (along with Flickchart) is Formspring, which asks you questions and posts your answers on various social media. For example, when asked to name my top ten directors of all time, I came up with this list: John Ford, Akira Kurosawa, Buster Keaton, Howard Hawks, Orson Welles, Alfred Hitchcock, Billy Wilder, Jean Renoir, David Lean, Stanley Kubrick. Here's a Clockwork Orange set story about how photographer Dmitri Kasterine snapped this iconic still of Kubrick. When asked on Formspring to rank 12 Kubrick films between Killer's Kiss and Eyes Wide Shut, I did: 1. A Clockwork Orange 2. Dr. Strangelove 3. 2001: A Space Odyssey 4. Paths of Glory 5. The Shining 6. Barry Lyndon 7. Spartacus 8. Lolita 9. The Killing »
Retro Pick: The Shining
10 August 2010 10:30 AM, PDT | TribecaFilm.com | See recent Tribeca Film news »
Like everything else Stanley Kubrick made post-Barry Lyndon, The Shining (1980) is so much more than it appears to be. Don't miss one of the most artfully made horror films ever. An utter triumph of style if ever there was one in the horror genre, Kubrick's The Shining (the serial genre director's - film noir, war movie, costume drama, farce, sci-fi - only foray into horror) continually makes it to the top of most 'greatest of all time' horror flicks lists. For good reason - Kubrick's stylistic prowess as a master filmmaker makes The Shining far scarier than 99% of horror films (those flash-cuts!) at the same time that it raises it above and beyond the genre confines. For those of our readers who have been asleep the last 30 years, The Shining is adapted from the novel by Stephen King, which concerns a 3-person family living in an enormous resort hotel during its winter off-season. »
Is Christopher Nolan the new Stanley Kubrick?
15 July 2010 9:15 AM, PDT | The Guardian - Film News | See recent The Guardian - Film News news »
The Inception director, Christopher Nolan, has been touted as Kubrick's natural heir. Here are the arguments – you decide
The release of Inception has triggered a lot of talk – most of it no doubt emanating from the Warner Bros marketing department – that Christopher Nolan has some claim to be considered in the same league as Stanley Kubrick, a cinema legend of unarguable status.
Inception is Nolan's seventh film of a career that includes two Batman movies as well as the widely admired Memento, while Kubrick managed to complete 12 feature films (plus the 72-minute Fear and Loathing, which he suppressed shortly after its release in 1953). Are the two in any way comparable?
Four reasons why Nolan might be the new Kubrick
1. He was enterprising when starting out
Both film-makers had to self-finance to get themselves on their way. Nolan put together his debut, Following, on black and white film with no help »
- Andrew Pulver
2013 | 2012 | 2011 | 2010 | 2009 | 2008 | 2007 | 2004
1-20 of 29 items from 2010 « Prev | Next »
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