1-20 of 50 items from 2014 « Prev | Next »
The most popular poster I’ve posted on my Movie Poster of the Day Tumblr in the past quarter—with over 1,000 likes and reblogs—has been this rarity that popped up at Posteritati this Spring. A British Double Crown (10" shorter than a one sheet) for a 24 minute documentary about the experimental music genius Brian Eno, made in 1973 at the start of his post-Roxy solo career, the poster’s popularity is no doubt due as much to the reverence Eno is held in as to its graphic design. But it is still a terrific poster, making simple yet brilliant use of two color printing and showcasing a multitude of Enos in all his glam rock glory. The text in the corner credits Blue Egg Printing and Design Ltd. and if anyone knows anything more about that company I’d love to hear about it. »
- Adrian Curry
William Friedkin will forever be known for crafting one of the best of the genre in The Exorcist, and was also more recently featured in our 'Best Movie You Never Saw' column with the masterfully directed Sorcerer (check out the article here). Friedkin has been playing it pretty low-key lately, having directed Killer Joe (2011) and Bug (2006), respectively, but he still has a hell of an opinion on the industry. In a recent interview, he spoke out against the 35mm format and directors of this »
- Sean Wist
If you've made very serious films like The French Connection, The Exorcist, Sorcerer, To Live and Die in L.A., Bug and Killer Joe, then you'd be justified in casting a rarified eye on everyone around you, but as I recently sat down for a long chat with director William Friedkin ahead of two revival screenings of his movies at the Alamo Drafthouse, I discovered he's not the intimidating, cold presence you may assume based entirely on his movies. Friedkin is jovial, warm, incredibly intelligent and every answer of his feels like it could spin off into 20 different stories you'd be dying to hear. If anything, he's all the more interesting because he's not what you'd expect from a filmmaker with his background (he's also directed dozens of...
- Peter Hall
There's an increasing trend with TV shows like "Fargo" and "Bates Motel" (and "Hannibal" to some extent) being based on existing cinematic works but using that fictional universe to explore their own original stories.
Now, "The Exorcist" and "The French Connection" director William Friedkin has revealed that two of his cinematic works are getting a similar treatment. It's not either of those two aforementioned works, nor the likes of "Cruising," "Sorcerer" or "Jade".
Rather it's two of his cult crime-noir films - 1985's "To Live and Die in L.A." and the more recent 2011 effort "Killer Joe". Speaking with Movies.com, Friedkin revealed his interest in working in long-form television and then revealed the dual-adaptation news.
Friedkin said: "MGM is trying to develop a television series on To Live and Die in La. It won't be that story at all, but it will be that vibe." He adds that he'll have approvals on where it goes, »
- Garth Franklin
Austin Film Society continues their "Rebel Rebel" film series this weekend with a rare 35mm screening of Getting Straight at the Marchesa. This 1970 film from Richard Rush stars Elliott Gould as a Vietnam vet who attempts to go back to college amid the countercultural revolution. Also starring Candice Bergen and shot by legendary cinemtographer Laszlo Kovacs (Easy Rider, Paper Moon), it's playing tonight and again on Sunday afternoon. Doc Nights is booked for Wednesday evening and will be spotlighting the story of a young ballerina who was diagnosed with polio at 27. Read more about Afternoon of a Faun: Tanaquil Le Clercq in our preview post here. On Thursday evening, you can view Stanley Kubrick's Paths Of Glory as part of this month's Essential Cinema series about World War I.
The Paramount Summer Classic Film Series has a wide variety of flicks to choose from this week. Saturday and Sunday at the Paramount, »
- Matt Shiverdecker
Welcome to The Best Movie You Never Saw, a column dedicated to examining films that have flown under the radar or gained traction throughout the years, earning them a place as a cult classic or underrated gem that was either before it’s time and/or has aged like a fine wine. This week we’ll be looking at William Friedkin’s Sorcerer! The Story: Four men hiding out in South America, each from very different lives and very different parts of the world, »
- Paul Shirey
William Friedkin's Sorcerer is one of those movies that, despite being a bold and truly epic piece of filmmaking, seemed to be swallowed a bit by time. Thankfully Warner Bros. recently got together with the Exorcist and French Connection director to liberate his movie from the legal woes that kept it buried, and let him do a complete restoration of the 1977 film about a group of rugged men from all over the world taking on a deadly mission to transport unstable dynamite through the jungle. The result is a gorgeous new Blu-ray for the film that's absolutely worth picking up, but this is also a movie of such vision and scale that you truly should see it on the big screen. And if you live in Austin, Texas, you can do just that this weekend. The Alamo Drafthouse is...
- Peter Hall
We're very excited that the debut issue of Fireflies, a new print film zine (see above for beautiful Apichatpong-inspired artwork from the mag by Leith Maguire) established in Berlin and Melbourne that we've been eagerly waiting for, is set for release just around the corner—but first, the dedicated cinephiles behind the project could use some assistance with funding. Check out their Indiegogo campaign here. We're also proud to be partnering up with Fireflies in some exciting ways, so keep your eyes pealed! Tickets are now on sale for the Human Rights Watch Film Festival in New York, which will be running from June 12th-22nd. Over at The Talkhouse, filmmaker Sean Baker shares some thoughts on William Friedkin's Sorcerer:
"Cream always rises to the top. A cliché term yes.. but one that I love because eventual victory is assured for those who deserve it. It’s bittersweet »
- Adam Cook
Not to fall into that macho Hemingway bit, but I have to ask: Could it be that the effort it takes to do something that's difficult often results in that thing being done better than if it had been easy? William Friedkin's jungle-location triumph/boondoggle Sorcerer trumps today's event filmmaking with every mud puddle and pit stain, with rain- and sweat-streaked actors who never look like they've just swanned from the trailer to the green screen. In the last hour, plug-uglies played by Roy Scheider, Bruno Cremer, Francisco Rabal, and Amidou drive trucks full of ready-to-blow unstable dynamite over South American mountains for story reasons that don't much matter; it's all terrified eyes boiling in stoic-faced men as mud-caked wheels skirt crumbling cliff sides, each shot like s »
William Friedkin began his directing career on television, where he helmed numerous documentaries and even an episode of The Alfred Hitchcock Hour in which, during filming, young Friedkin was reportedly chastised by the Master of Suspense for not wearing a tie. Friedkin is the blue-collar outsider of New Hollywood, the genuine article in an era during which everyone fashioned himself an outsider. The son of lower-middle class Ukranian immigrants, Friedkin worked his way from the mailroom of a local TV station to eventually directing some of the most beloved films of the 1970s like The French Connection and The Exorcist. In his approach to filmmaking and his biography, Friedkin has more in common with Lumet and Ford than his film-school-rank contemporaries Coppola and Scorsese. Yet there is still no director quite like Friedkin, who during the 1970s helmed the first major film with an all-gay cast, won an Oscar for a film that defined the heart-stopping car »
- Landon Palmer
Blu-ray & DVD Release Date: Aug. 26, 2014
Price: DVD $29.95, Blu-ray/DVD Combo $39.95
Roy Scheider (Jaws, Sorcerer) gives the performance of his career as Joe Gideon, whose exhausting work schedule—mounting a Broadway production by day and editing his latest movie at night—and routine of amphetamines, booze, and sex are putting his health at serious risk. Fosse burrows into Gideon’s (and his own) mind, rendering his interior world as phantasmagoric spectacle.
Assembled with visionary editing that makes dance come alive on-screen as never before, and overflowing with sublime footwork by the likes of Ben Vereen (Mama, I Want to Sing), Leland Palmer, Sandahl Bergman (Conan the Barbarian) and the awesomely leggy Ann Reinking, All That Jazz »
Imagine you are one of the most successful and powerful directors working in Hollywood in the 1970s. Imagine you have just made one of the most extraordinary masterpieces of your career – a movie which you consider to be your crowning glory, in a canon which already boasts two of the most iconic pictures of the decade.
Then two major things go wrong. Firstly, your film’s misleading title critically damages its ability to find the right audience. Then Universal and Paramount – who have financed your movie (but who are making little secret of their disappointment in it) – release the film just two weeks after a certain sci-fi epic by George Lucas begins blowing the rest of cinema far, far into space…
- Keith Tomlinson
The Chicago Critics Film Festival is currently underway at the Music Box Theatre in Chicago (“I Origins,” “Willow Creek,” “Starred Up,” “Obvious Child,” “Animals,” and more have yet to play) but last year’s event still holds a fond place in the memory of Chicago’s film scene.
The highlight was a closing night, 35Mm screening of William Friedkin’s “Sorcerer,” a film which was almost impossible to find even on the home DVD/Blu-ray market until last month when Warner Bros. finally released it on an HD disc. Sadly, the release doesn’t live up to the quality of the film in any way. Again, “Sorcerer,” a film that was barely released in the wake of “Star Wars,” gets screwed. Yes, it’s great that people finally get to see the movie but “Sorcerer” demands a better release.
Why? Friedkin’s remake of the amazing “The Wages of Fear »
- email@example.com (Adam Fendelman)
Palais des Festivals at the 2013 Cannes Film FestivalPhoto: RopeofSilicon.com The 2014 Cannes Film Festival begins in just two days and since I won't be able to attend this year I still wanted to do something Cannes-related. I started looking back over the years of the festival, which is celebrating its 67th edition this year. I considered going back and reviewing 15-16 films from a specific year in the past, but I thought of it too late. I then started looking over the history of past winners, and while I realize I haven't seen even half of the Cannes Film Festival winners I thought it would be fun to take a look at a list of the top ten I had seen, assuming readers could add their thoughts in the comments, suggesting some titles I have not yet seen or those you believe belong in the top ten. As we all know, »
- Brad Brevet
Welcome back to The Stack. This time I wax rhapsodic on the long awaited and excellent Blu-ray digibook release of William Friedkin's almost lost Sorcerer. Direct from Israel, Big Bad Wolves, the film Quentin Tarantino called "the best film of 2013" (I think he's wrong) is no doubt an excellent horror thriller and makes it's Blu debut. Olive Films also contributes four titles. Most important is The Pawnbroker, starring Rod Steiger. Long unavailable, this excellent video transfer brings a lost gem back into view. Betty Boop Volume 3 continues their excellent collection of vintage animated shorts starring everyone's favorite flapper. The unintentionally silly 1968 science fiction actioner The Bamboo Saucer combines cold war tension, gunplay and the worst special effects in recent memory. Lastly from Olive, Bang! Bang!...
[Read the whole post on twitchfilm.com...]
Professional wrestling legend “Rowdy” Roddy Piper has grappled with Ric Flair in the ring and engaged Keith David in an alleyway brawl in They Live, but in Troma’s Pro Wrestlers vs Zombies, he faces his most relentless enemy yet: the living dead.
Trapped in an abandoned prison by a growing zombie horde, Piper and a group of fellow pro wrestlers, including “The Franchise” Shane Douglas and “Hacksaw” Jim Duggan, must utilize their body-slamming skills to survive the night. For the latest part of our Q&A series, we caught up with Pro Wrestlers vs. Zombies writer/director Cody Knotts, who told us all about his experience making the movie.
The cast of Pro Wrestlers vs. Zombies is comprised of just that: pro wrestlers and zombies. From “Rowdy” Roddy Piper to “Hacksaw” Jim Duggan to “The Franchise” Shane Douglas, there are some huge pro wrestlers attached to this project. Could »
- Derek Anderson
William Friedkin‘s 1977 classic Sorcerer finally hit Blu-ray last week, and it marked my first viewing of the film. Before you give me grief, know that I had seen and loved The Wages of Fear, and I was just holding out on watching the remake until it came in a Friedkin-approved version. It should surprise no one that I found Sorcerer to be as fantastic as the original, but my favorite Friedkin film remains unchanged. Not only did To Live and Die in L.A. introduce the world in 1985 to the bow-legged joy that is William Petersen, but it’s also a remarkably successful mix of dark sensibilities, characters with depth and honest excitement. It’s an intelligent thriller that makes no guarantees as to the morality or life expectancy of its characters, and its pacing and energy help make it eminently re-watchable. The DVD includes a handful of extra features (never ported over to the Blu-ray for »
- Rob Hunter
Friedkin will receive the Crystal Globe for Outstanding Artistic Contribution to World Cinema, and present a restored version of one of the central films of his career, “Sorcerer,” at the festival. “Sorcerer” sparked controversy at the time, but is now hailed as a masterpiece.
Friedkin was a key figure in the New Hollywood era, helming such pics as “The French Connection” and “The Exorcist.” His controversial excursion into New York’s S&M subculture, “Cruising,” is considered one of the most original thrillers of the 1980s, while action drama “To Live and Die in L.A.” enjoyed critical acclaim.
Since its founding in 1999, Anonymous Content has focused on cultivating artistic freedom while maintaining commercial viability, said the fest. Its credits include not only hot pics »
- Leo Barraclough
Star Wars was a movie once. This is a basic fact that we all know. It was a single film released in theaters: A story with a beginning (kind of), a middle, and an end (kind of). There was a relatively small cast, composed of up-and-comers, unknowns, and one well-regarded British actor overdelivering on what looked to him like thin material. The film, released in theaters in 1977, had a simple story. There was a MacGuffin (The Death Star Plans!) and there was a Rescue Mission (Help Me, Obi-Wan Kenobi, You’re My Only Hope!) and there was a Final Battle. »
- Darren Franich
Festival will also host Lech Walesa for a director’s cut of Walesa: Man of Hope.
The festival in the Czech Republic will also host Nobel Prize winner and former Polish president Lech Walesa, who will attend the festival to introduce the director’s cut of Walesa: Man of Hope, Andrzej Wajda’s 2013 biopic of the iconic leader.
Friedkin, director of The Exorcist, The French Connection and more recently Killer Joe, will receive the festival’s the Crystal Globe for Outstanding Artistic Contribution to World Cinema and present a restored version of his 1977 action-adventure Sorcerer.
Also attending the festival as part of a tribute to their work will be Us production and management company Anonymous Content, whose founder Steve Golin and producer and manager Michael Sugar will present films they and »
- firstname.lastname@example.org (Andreas Wiseman)
1-20 of 50 items from 2014 « Prev | Next »
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