1-20 of 199 items from 2015 « Prev | Next »
At the beginning of (and throughout) every month, Hulu adds new movies and TV shows to its catalogue. Here is a quick list of several that you might be interested in. Feel free to note anything we've left out in the comments below — and for more comprehensive coverage of the best titles available on Hulu and elsewhere, check out Vulture’s What to Stream Now, which is updated throughout the month. The horror, the horror! Apocalypse Now (1979) It’s a little odd to say that Francis Ford Coppola’s Heart-of-Darkness-meets-the-Vietnam-War masterpiece is coming to Hulu, almost as if the news broke that Gordon Ramsay’s making filet mignon to order on Seamless. But such is the world we live in, and such is a sign of Hulu’s increasingly well-stocked library. (There’s a lot of the Criterion collection on here too.) Watch the film on as large a screen as possible, »
- Jackson McHenry
★★★★☆ "You've got to stop the movement from the popcorn to the mouth," Marlon Brando says, speaking of the peak of movie acting. "You've got to get them to stop chewing." At his best, Brando could do that. He was a movie actor for who was serially iconic and yet paradoxically detailed in his performances. From Stanley Kowalski in A Streetcar Named Desired (1951) to Colonel Kurtz in Apocalypse Now (1979), Brando was capable of intense performances that bursts the bounds of the specific film and entered into the culture.
- CineVue UK
Vittorio Storaro, like fellow Apocalypse Now veteran Walter Murch, knows more about his field than nearly anybody. And, as with Murch, the cinematographer’s reasons for being at this year’s Camerimage International Film Festival were almost irrelevant — for me, at least, when the opportunity to interview such a master of the craft is offered. But he was present for a project that means a good deal to him: Muhammad: The Messenger of God, an Iranian religious epic, the first in a prospective trilogy, and, to honor Storaro and director Majid Majidi, recipient of the festival’s Outstanding Cinematic Duo Award.
I don’t know if you could necessarily talk about anything with Storaro, but the man can take any topic that interests him and run with it — for a good, long time, as the following discussion will illustrate. This is not a complaint. Those who are so well-versed in »
- Nick Newman
Streaming services are a crucial addition to modern civilization, but only in December do they become a truly indispensible survival tool. Whether curled around your laptop in order to keep warm or retreating to your favorites queue in a desperate attempt to hide from your loved ones, this is the season when having something good to watch can mean the difference between life and death.
Fortunately for us, Netflix, Hulu, and the other major hubs have busted out the big guns just in time. From indisputable classics to contemporary gems, »
Few personal insights into McQueen’s obsessive attempt to recreate the famous 24-hour challenge on screen are provided by this study of the film’s conception
Like Hearts of Darkness, this documentary follows the making of a movie on which more than a million feet of film was reportedly exposed, but sadly Le Mans is no Apocalypse Now. Revered by motor-sports fans for its race-track footage, Steve McQueen’s unwieldy vanity project lacked a coherent script, a problem that a plethora of writers were unable to solve. Ample on-set and out-take footage allows for plentiful illustration of McQueen’s search for authenticity even as original director John Sturges walks and replacement Lee H Katzin takes over. McQueen is heard in late-life audio-tapes that have little of the personal insight of the Brando archive recently unveiled in Listen to Me Marlon.
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- Mark Kermode, Observer film critic
I’ve spoken to many people in my time, but few (if any) have the same credentials as Walter Murch, whose résumé would be amazing if it was only for the collaborations with Francis Ford Coppola: editing and / or audio work on all three Godfather films and The Conversation, truly groundbreaking sound design on Apocalypse Now, editing the terribly ignored Youth Without Youth and Tetro — even being around for the early days of The Rain People and lesser-seen oddities such as Captain Eo. But that’s not the half of it, really, since he’s also been instrumental in proving how consumer-grade editing software can be as effective as high-end systems. And then there’s the work that helped George Lucas getting his career started. And the cult sensation that is his only directorial effort, Return to Oz. Or his book, In the Blink of an Eye, which is »
- Nick Newman
Top Gun turns thirty next year, but the film is on our minds again as discussion about a possible sequel is back in the news. Val Kilmer’s recent Facebook announcement is the main reason for that, but regardless of how much weight his claim holds it was enough to make Top Gun a contender for this week’s Commentary Commentary. The track is one of those with multiple people recorded in different places and at different times and then edited together, but the variety of talent featured makes for a commentary that covers more than the usual bases. Keep reading to see what I heard on the Top Gun commentary. Top Gun (1986) Commentators: Tony Scott (director), Jerry Bruckheimer (producer), Jack Epps Jr. (co-writer), technical advisors Mike Galpin, Pete Pettigrew, Mike McCabe 1. It took several meetings with the producers before Tony Scott had a clear idea of how he could make the film. “I »
- Rob Hunter
Walter Murch is extraordinary even within his own field, four times Oscar-nominated for film editing, three times nominated for sound mixing, achieving a landmark double when he won both for his work on 1997 movie “The English Patient.” This week, he attends the Camerimage film festival, which is devoted to the art of cinematography, to receive the Special Award to an Editor with Unique Visual Sensitivity.
In a career that spans over 40 years, Murch is perhaps best known for his collaborations with Francis Ford Coppola, beginning in 1969 with “The Rain People.” After working with George Lucas on “Thx 1138” (1971), which he co-wrote, and “American Graffiti” (1973), Murch returned to Coppola for 1974’s “The Conversation,” receiving his first Academy Award nomination as a result. Murch’s pioneering achievements were acknowledged by Coppola on his follow-up, the 1979 Palme d’Or winner “Apocalypse Now,” for which he was granted, in what is seen as a film-history first, »
- Damon Wise
Angelina Jolie-Pitt wants you to look at her breasts.
They're a major character in By the Sea, Jolie-Pitt's third film as director (and the first in which she's done double-duty as a star). They lurk beneath her blouse like thinly veiled subtext and jut above the surface of her bathwater like two theater actors slightly visible in front of the stage curtain. The actress hasn't shied away from nudity in the past, but she's never been as genuinely naked as she is here.
One of the most looked-upon people »
Camerimage, the International Film Festival of the Art of Cinematography, celebrates its 23rd edition with seven special awards for artists and technicians whom they identify as possessing a “unique visual sensitivity.” From Hollywood comes renowned editor and sound designer Walter Murch, whose diverse and award-winning credits include “The Conversation,” “Apocalypse Now” and “The English Patient,” as well as this year’s summer sci-fi fantasy “Tomorrowland.”
The U.K. is represented by costumer designer Sandy Powell and production designer Eve Stewart. Powell is no stranger to awards — her outfits for films such as “Shakespeare in Love,” “Gangs of New York,” “The Aviator” and “The Young Victoria” have brought regular invitations to the Oscar ceremony in the last 20 years. Similarly, Stewart’s period work with Mike Leigh, plus her collaborations with Tom Hooper for Oscar favorites “The King’s Speech” and “Les Misérables,” has brought multiple nominations as well as a BAFTA win for the latter. »
- Damon Wise
Lawrie Brewster (Lord of Tears) describes his next horror film as “Apocalypse Now meets The Evil Dead,” and he’s just taken to Kickstarter in an effort to fund the epic horror fantasy. It’s called The Unkindness of Ravens, and we’ve… Continue Reading →
The post Demonic Birds Strike in The Unkindness of Ravens; Help Fund and Watch Extreme Trailer appeared first on Dread Central. »
- John Squires
Carl Franklin scored with this exciting adapation of Walter Mosley's first 'Easy' Rawlins detective tale, starring a terrific Denzel Washington as the South Central resident who takes up snoop work to pay the mortgage. Don Cheadle steals the show as Easy's loose-cannon pal from Texas, Mouse Alexander; this really should have been the beginning of a franchise. Devil in a Blue Dress Blu-ray Twilight Time Limited Edition 1995 / Color / 1:85 widescreen / 101 min. / Ship Date October 13, 2015 / available through Twilight Time Movies / 29.95 Starring Denzel Washington, Tom Sizemore, Jennifer Beals, Don Cheadle, Maury Chaykin, Terry Kinney, Lisa Nicole Carson, Albert Hall, Mel Winkler. Cinematography Tak Fujimoto Production Designer Gary Frutkoff Costumes Sharen Davis Film Editor Carole Kravetz Original Music Elmer Bernstein From the book by Walter Mosley Produced by Jesse Beaton, Gary Goetzman Written and Directed by Carl Franklin
Reviewed by Glenn Erickson
Carl Franklin was cheated, Easy Rawlins was cheated and We »
- Glenn Erickson
Walter Murch is synonymous with sound design. Before he came along, the audience, and much of the industry, took sound for granted; so long as a movie cohered into a polished whole, nobody thought much about the soundscape. Then, in 1979, "Apocalypse Now" hit theaters. Not only did it shatter our perceptions of the Vietnam War, but it also shattered our eardrums. From the whir of a ceiling fan to the sound of helicopters slicing through the sky, Murch showed the world the possibilities of cinematic sound. In fact, Murch was the first official sound designer ever credited: Floored by Murch's work on "Apocalypse Now," Francis Ford Coppola invented the term to bestow upon his friend. In the years since, 72-year-old Murch has continued to revolutionize the fields of sound design and editing, winning several Academy Awards along the way. His theory, most eloquently imparted in his 1995 book "In the Blink of an Eye »
- Emily Buder
There have been two great depictions of Van Helsing on the big screen. Edward Van Sloan played him as a strong-willed doctor in 1931’s Dracula. Then over 60 years later Sir Anthony Hopkins gave a completely different performance in Francis Ford Coppola’s (Apocalypse Now) adaptation, as a wild, funny, and arguably crazy Van Helsing. When Universal attempted to […]
- Jack Giroux
Angelina Jolie’s By the Sea and Thomas McCarthy’s Spotlight are among the line-up of special screenings out-of-competition at the 23rd Camerimage (Nov 14-21), the International Film Festival of the Art of Cinematography held in the Polish city of Bydgoszcz.
Camerimage has also announced a special award for this year, to be presented to cinematographer Vittorio Storaro and director Majid Majidi for their film Muhammad: The Messenger of God, which will have its European premiere at the festival.
The film is the first part of a planned trilogy that tells the story of the life of the Prophet Muhammad, presenting »
- firstname.lastname@example.org (Michael Rosser)
If Hollywood scuttlebutt is to believed, The Revenant’s wintry shoot was an anguished time littered with the souls of the damned, where the crew members looked like Jack Torrance at the end of The Shining and even the on-set snowmen were chain-smoking. “Hellish” is a word that’s often associated with those snowbound months. But as Apocalypse Now and Fitzcarraldo prove, from even the most arduous and remote shoots can come majestic movies. Judging by all we’ve seen so far – including this beautiful, widescreen new still from the film - Alejandro González Iñárritu’s survival epic has every chance of joining them in the canon of greats.Making great art can require big sacrifices, and as Empire discovers in the new issue, Iñárritu demanded plenty of his cast and crew along the way. “It was an extremely challenging shoot,” he tells us in the warmer climes of his Santa Monica offices. »
Veteran film-maker describes human tragedy in countries such as Greece as an ‘obscenity’ and says global community must unite to help resolve it
The Oscar-winning director of The Godfather and Apocalypse Now, Francis Ford Coppola, has called for America and other nations to contribute financially towards Europe’s struggles in the face of waves of migration from war zones in Syria and elsewhere.
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- Ben Child
What us North Americans got was the Nes version of Metal Gear (not developed and actually disliked by Hideo Kojima), which is a whole other beast with a very different story and scenario, despite some similarities. I suppose the best way to describe the difference between the two is that the Msx is Godzilla and the Nes is Godzilla: King Of The Monsters. Point being, if you see a Nes copy of Metal Gear, don’t buy it unless you want nothing but disappointments.
Having played Metal Gear Solid V: The Phantom Pain right before gives the »
- Andrew Hudson
Using an archive of the star’s recollections, Brando’s gradual decline from giant of the screen to bloated bit-part player is carefully teased out
Built upon Brando’s archive of self-analysing audio tapes, Stevan Riley’s intimate documentary gets under the actor’s skin to reveal a troubled, fragile, self-obsessed soul. From the triumphs of A Streetcar Named Desire to the cheque-collecting of The Formula (an earpiece meant he didn’t have to learn his lines), Brando is seen slipping gradually into the slough of disillusioned despond, accentuated by near-Shakespearean family tragedy. Significantly, Riley opens with Brando describing having his face electronically mapped to produce an avatar that speaks to us from beyond the grave (a la 2006’s Superman Returns), enabling Marlon to dispense with the drudgery of acting altogether. We hear of our subject’s sense of shock at Bernardo Bertolucci’s invasive insight in Last Tango in Paris »
- Mark Kermode Observer film critic
Welles not only wanted to to direct, but wanted to star as both Marlow and Kurtz. The screenplay was that bit too much for Rko Studios who shelved the project.
The story of course was used as the basis of Francis Ford Coppola's Apocalypse Now, which shifted the action to the Vietnam War and starred Martin Sheen as Marlow (renamed Willard) and Marlon Brando as Kurtz.
Welles's screenplay has been adapted into a radio play, with the action returning to the original 1890s setting.
The screenplay has been written by Lloyd with producer Laurence Bowen, with music by Ben and Max Ringham. »
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