1-20 of 72 items from 2015 « Prev | Next »
HitFix's recent spate of "Best Year in Film History" pieces inevitably spurred some furious debate among our readers, with some making compelling arguments for years not included in our pieces (2007 and 1968 were particularly popular choices) and others openly expressing their bewilderment at the inclusion of others (let's just say 2012 took a beating). In the interest of giving voice to your comments, below we've rounded up a few of the most thoughtful, passionate, surprising and occasionally incendiary responses to our pieces, including my own (I advocated for The Year of Our Lynch 2001, which is obviously the best). Here we go... Superstar commenter "A History of Matt," making an argument for 1968: The Graduate. Bullit. The Odd Couple. The Lion in Winter. Planet of the Apes. The Thomas Crown Affair. Funny Girl. Rosemary's Baby. And of course, 2001, A Space Odyssey. And that's only a taste of the greatness of that year. "Lothar the Flatulant, »
- Chris Eggertsen
Spike Lee would rather watch a movie in a big theater than on a mobile-phone screen.
“I know I’m a dinosaur,” Lee said while holding forth at Variety’s Entertainment and Technology conference in New York, but “there’s something still for me actually being in a movie theater” and seeing a film with a group of people.
“I know it’s not a popular view, but as a filmmaker — we kill ourselves with editing. With lighting. With sound,” he said, adding: “It’s heartbreaking.”
Lee appeared with Marc Ecko, the media and fashion entrepreneur. Lee recently agreed to join Ecko’s Complex media and marketing business, becoming a board adviser for video products and branded content. Lee is no stranger to the world of advertising, »
- Brian Steinberg
Continuing our series in which writers choose their favourite Palme d’Or victor,
Alex Hess views Francis Ford Coppola’s triumph at the 1979 festival as vindication of the film-maker’s own journey into the heart of darkness
You might think that Apocalypse Now finishes in Cambodia, but in fact it’s in Cannes that the film’s real story comes to an end. While the Nung river was the site of Colonel Kurtz’s ruin, it was in the French Riviera that Francis Ford Coppola found his redemption.
After his sanity, pride and career were driven to the brink of oblivion during filming, Coppola’s Palme d’Or triumph at the festival in 1979 was, at long last, proof that it had been worth all the hassle. The film, which had begun shooting three years previously, had been dubbed Apocalypse When? by studio suits who were doubtful it would ever see the light of day, »
- Alex Hess
There was a brief stir in January when composer Harry Gregson-Williams publicly expressed, via Facebook, his surprise at hearing music he didn’t recognize at the premiere of Michael Mann’s thriller “Blackhat” — and at not hearing a lot of score he did write.
The composer says his Facebook post has been blown out of proportion, but admits it was disappointing to see music he toiled over dropped (or replaced) in the final cut. But, he stresses, that’s just part of the game.
“You win some, you lose some,” he says, relaying his early mentor Hans Zimmer’s comment that you haven’t made it as a film composer until you’ve had a score rejected.
Gregson-Williams is simply the latest in a long line of composers who’ve watched scores tossed out and replaced whole-cloth, partially substituted by pre-existing tracks, or mangled beyond recognition. Mann is notorious for »
- Tim Greiving
Giant alien creatures spread to the Middle East in the sequel Monsters: Dark Continent. Here's Ryan's review...
Giant bioluminescent space creatures dominated the horizon but not the plot in Gareth Edwards’ breakthrough film, Monsters. Shot run-and-gun style by Edwards and a tiny crew, Monsters was an unusual blend of road-trip drama with light touches of sci-fi; its focus was the growing friendship between a photograph journalist (Scoot McNairy) and his boss's daughter (Whitney Able) travelling across a Central America ravaged not so much by the title’s Lovecraftian kaiju but by a military intent on keeping them well away from American soil.
Monsters’ success saw Edwards move to Hollywood, where he’s so far headlined the daddy of all kaiju movies, Godzilla, and now set to head up another pop culture giant - the Star Wars spin-off, Rogue One. This left production company Vertigo with a potential franchise on its hands, »
In 2010, British director Gareth Edwards made a huge splash with his feature debut Monsters, a road trip drama with giant monsters stalking around in the background. It was an atmospheric movie that made ingenious use of its low budget; Monsters' success led to Edwards departing for Hollywood, where coveted franchises like Godzilla and Star Wars awaited.
Five years later, and director Tom Green brings us Monsters: Dark Continent, an entirely new story set in the same world as the first movie. A decade after a Nasa probe crashed in Mexico, bringing the giant monsters to Earth, their lumbering threat has spread to the Middle East. The Us Airforce is dispatched to bomb the creatures to prevent their spread, while on the ground, American troops try »
All week long our writers will debate: Which was the greatest film year of the past half century. Click here for a complete list of our essays. How to decide in the grand scheme of things which film year stands above all others? History gives us no clear methodology to unravel this thorny but extremely important question. Is it the year with the highest average score of movies? So a year that averages out to a B + might be the winner over a field strewn with B’s, despite a few A +’s. Or do a few masterpieces lift up a year so far that whatever else happened beyond those three or four films is of no consequence? Both measures are worthy, and the winner by either of those would certainly be a year not to be sneezed at. But I contend the only true measure of a year’s »
- Richard Rushfield
(Raymond Bernard, 1932; Eureka!, PG)
It took film-makers years to bring the Vietnam war into focus and produce movies like The Deer Hunter and Apocalypse Now. Similarly, half a century earlier, nearly a decade elapsed after the first world war before Us and European directors felt capable of tackling the subject. The cycle began with a great film of the silent era, King Vidor’s The Big Parade (1925), and continued into the sound era with Lewis Milestone’s celebrated anti-war All Quiet on the Western Front (1930).
Less sentimental than All Quiet, and surprisingly little known outside France, Les Croix de bois (Wooden Crosses), now revived in a restored centennial version, is one of the most important war movies. Made in 1932 by Raymond Bernard between his two most famous pictures (the silent costume drama The Chess Player and his classic five-hour version of Les Misérables), Wooden Crosses was based on an autobiographical »
- Philip French
Eli Wallach and Anne Jackson on the Oscars' Red Carpet Eli Wallach and Anne Jackson at the Academy Awards Eli Wallach and wife Anne Jackson are seen above arriving at the 2011 Academy Awards ceremony, held on Sunday, Feb. 27, at the Kodak Theatre in Hollywood. The 95-year-old Wallach had received an Honorary Oscar at the Governors Awards in November 2010. See also: "Doris Day Inexplicably Snubbed by Academy," "Maureen O'Hara Honorary Oscar," "Honorary Oscars: Mary Pickford, Greta Garbo Among Rare Women Recipients," and "Hayao Miyazaki Getting Honorary Oscar." Delayed film debut The Actors Studio-trained Eli Wallach was to have made his film debut in Fred Zinnemann's Academy Award-winning 1953 blockbuster From Here to Eternity. Ultimately, however, Frank Sinatra – then a has-been following a string of box office duds – was cast for a pittance, getting beaten to a pulp by a pre-stardom Ernest Borgnine. For his bloodied efforts, Sinatra went on »
- D. Zhea
The Star Wars franchise is going strong 38 years later. But what about the artists and filmmakers who helped make the 1977 original a hit?
In theatres all over the world in 1977, audiences thrilled at the sights and sounds of Star Wars. Harking back to a bygone age of Flash Gordon and Buck Rogers, it also pointed forward to the coming age of ubiquitous computers and special effects-led blockbusters.
But while the triumphant fanfare of John Williams' score gave Star Wars a confident swagger, its success was far from preordained. George Lucas reworked his script time and again; studios turned his concept down; even the production was rushed and torturous.
By now, the contribution George Lucas, John Williams and Star Wars' cast made to cinema is well documented. But what about some of the other artists, technicians and fellow filmmakers who helped to make the movie such a success? Here's »
Occasionally, a movie villain will pause for a moment to deliver a brief story or anecdote. And often, these apparently incidental tales tell us a lot about an antagonist's state of mind, experiences or warped worldview.
We've compiled a selection of 20 here. Some of them are blackly funny. Many are disturbing. One or two are even moving. The first one's very strange. All of them bring something unique to each particular film in which they appear, and all of them are laced with a delicious hint of menace.
20. Xander - Enemies Closer (2013)
"When I was a little boy at my grandmama's place, she had a lovely goose. I named her Edith, after the French singer Edith Piaf..."
We begin with a delightfully weird story from Peter Hyams' 2013 thriller, »
Read More: Why 'Ex Machina' Writer-Director Alex Garland Doesn't Consider Himself a First-Time Filmmaker To promote his directorial debut, "Ex Machina," Alex Garland did a Reddit Ama yesterday offering advice to writers and revealing some of his inspirations. He also offered a few insights into the screenwriting process, including the fact that the most common, detrimental mistake he sees screenwriters make is overwriting. He noted that for him, adaptations are easier because someone has already done much of the heavy lifting, and that he was not the right guy to adapt "Halo" for Peter Jackson, a project he worked on in 2005. Garland also mentioned that the classic novel he'd most like to adapt would be "Heart of Darkness." Hm, perhaps because, as he says in the Ama, he has a few issues with "Apocalypse Now?" Check out that and the other highlights below. Don't be afraid to not like the end of his movies, »
- Casey Cipriani
Günter Grass, honored in 1999 with the Nobel Prize for Literature, died at the age of 87 today, April 13. Volker Schlöndorff directed The Tin Drum (Die Blechtrommel), based on Grass’s first novel and worked on the screenplay with Jean-Claude Carrière and Franz Seitz. Grass contributed additional dialogue. The film premiered at Cannes in 1979, winning the Palme d'Or in a tie with Francis Ford Coppola's Apocalypse Now and the Academy Award for Best Foreign Language Film in 1980. Last year in New York at Lincoln Center, Volker and I discussed his adaptations, from The Tin Drum to Arthur Miller's Death of a Salesman and Cyril Gély's play Diplomatie (Diplomacy).
Peeling the onion signed by Günter Grass - June 2007 Photo: Anne-Katrin Titze
When Günter Grass came to New York in June 2007, I had the chance to discuss »
- Anne-Katrin Titze
Above: the 2015 Crossroads Film Festival kicks off on Friday, April 10th, and features Paul Clipson's Hypnosis Display with a live soundtrack by Grouper. Check out the rest of the amazing lineup here. Like everyone, we're devastated that David Lynch will not be directing the Twin Peaks revival season after all. Above: the latest issue of La Furia Umana is online now and includes an intriguing survey of "What's (Not) Cinema Becoming?"From the new issue of The Brooklyn Rail: pieces on Tsai Ming-liang's Rebels of the Neon God, J.P. Sniadecki's The Iron Ministry, and an interview with Xin Zhou.For Cinema Scope, Jordan Cronk writes on this year's True/False Film Festival. There are two incredible websites for you to browse from La Cinématheque Francaise: one on Pier Paolo Pasolini, and one on Michelangelo Antonioni. For his blog Following Film, Christoph Huber writes on "The Siodmak Variations": »
Above: 1936 alternative one sheet for Modern Times (Charlie Chaplin, USA, 1936), designer unknown, and Us one sheet for The Shining (Stanley Kubrick, USA, 1980), designer: Saul Bass (1920-1996).As serendipity would have it, the two most popular posters of the past three months of Movie Poster of the Day were these two black and yellow faces, one a little-known 1930s poster by a journeyman designer at a budget print house, the other a very well known 1980s poster by the most recognizable name in movie poster design. Modern Times and Modern Horror. I’m hoping the love they received (over 500 likes and reblogs for each) were just as much about the items they were promoting: one my article on Leader Press, the other the Poster Boys podcast on Saul Bass by fellow movie poster aficionados (and ace designers) Sam Smith and Brandon Schaefer. Another Poster Boys related poster—Drew Struzan’s The Thing—also made the list. »
- Adrian Curry
What do Francis Ford Coppola's The Godfather and Apocalypse Now, Bernardo Bertolucci's Last Tango In Paris, Elia Kazan's A Streetcar Named Desire, On the Waterfront, and Viva Zapata!, Daniel Mann's The Teahouse Of The August Moon, Edward Dmytryk's The Young Lions, Gillo Pontecorvo's Burn!, Lewis Milestone's Mutiny On The Bounty, Guys And Dolls directed by Joseph L. Mankiewicz and One-Eyed Jacks have in common? Brando the movie star in Stevan Riley's documentary, Listen To Me Marlon, becomes Marlon, the man.
"Brando was himself fascinated by these same topics of truth and lies, of myth and fantasy and reality."
Hundreds of hours of Brando's audio recordings had gone unheard until Riley took his pick and put together this fascinating portrait. »
- Anne-Katrin Titze
Filmmaker and Nyu professor Spike Lee loves discovering new talent behind the camera. One of his protégés is Josef Kubota Wladyka, a first-time Japanese/Polish director who studied under Lee and debuted this Us/Colombian co-production in Cartagena and then Tribeca in Spring 2014. This gritty, well-reviewed drug smuggling drama opened this month from The Film Collaborative and is getting attention for what Wladyka calls its "Apocalypse Now"-stye shoot in the treacherous environs of Buenaventura with nonprofessional actors. The Colombian port city is among several key cities in the country that has begun to attract movie-making talent. Read More: Why Hollywood Is Discovering Colombia, from Medellín and Bogotá to Cartagena Wladyka talks to The Dissolve about shooting in Colombia: "It wouldn’t have worked anywhere else, because they speak such a specific way in Buenaventura. It looks such a specific way, with its gray skies and »
- Ryan Lattanzio
It was inevitable that the 2010 Chilean mining incident would hit the big screen. The tragedy of 33 miners trapped half a mile underground after a 121-year-old copper-gold mine caved in is reenacted by Antonio Banderas, Lou Diamond Phillips, Rodrigo Santoro and Juliette Binoche as one of the entombed miner's sisters. A first international trailer has arrived via 20th Century Fox Chile. The film is entirely in English, with Chilean accents, which should secure its international appeal (while annoying others). Written by Mikko Alanne and José Rivera, "The 33" is produced by "Apocalypse Now" producer Mike Medavoy, who worked closely with the families to tell this story. After 69 days, and several attempts, all 33 miners were rescued. "The 33" opens in Chile on April 6 and in the Us sometime in 2015 »
- Ryan Lattanzio
The Vietnam War is one of the most-controversial military conflicts in American history and has inspired countless books, televisions series and, most-famously, cinema as a result.
Films such as Forrest Gump, Apocalypse Now, Full Metal Jacket, The Deer Hunter and We Were Soldiers – as well as the Rambo movies – have portrayed the warfare experienced during the Vietnam War, the fierce resistance and anti-war protests back on Us soil, as well as the traumatic effects many soldiers suffered from the sickening conflict.
Yet, just like all popular culture, these films have been inspired by the general myths and perceptions that exist about the Vietnam War – created by the media and via other ways in which the war has been portrayed.
But it is dangerous to just take the stereotypes that have been linked to the Vietnam War as gospel – because in many cases they simply do not bear up to close scrutiny. »
- Chris Waugh
Annoyed by the poor quality of existing video game movies, we decided to take the matter into our own hands and come up with our own ideas. This is a list of what we came up with.
Earlier this month, we showed you that there are a lot of video game-based movies on their way to theaters. This surely will become a trend that will continue for the next few years. There are countless properties available to use as inspiration, and therefore, it's only a matter of time before someone figures out how to make a great video game movie. Until that time comes, we have to wait patiently. In order to occupy our minds, we asked our contributors to pick a video game that they think would make a great movie and then to create a pitch for that movie. The below list is what we came up with. »
- firstname.lastname@example.org (G.S. Perno)
1-20 of 72 items from 2015 « 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