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Kill, Baby…Kill! – The Blu Review

Review by Roger Carpenter

During the first half of the 60’s Mario Bava created several genuine horror classics that remain high-water marks in the genre over a half century later. Films such as Black Sunday (1960), Black Sabbath (1963), The Whip and the Body (1963), and Blood and Black Lace (1964) either pushed the boundaries of horror or helped to establish cinematic tropes still used in modern horror. Always saddled with shoestring budgets and bad deals, Bava nevertheless remained optimistic in the face of his cinematic struggles. A case in point is the troubled production of Kill, Baby…Kill! which ran out of money midway through the shoot. The cast and crew were so loyal to Bava they worked for free to finish the film—a film, by the way, which only had a 30-page script with no dialogue when filming commenced. Bava had the actors make up their own lines, preferring to resolve
See full article at WeAreMovieGeeks.com »

Review: "Cheech And Chong's Next Movie" (1980); Shout! Factory Blu-ray Special Edition

  • CinemaRetro
By Todd Garbarini

Cheech and Chong’s Next Movie, which opened on Friday, July 18, 1980, had stiff competition at the box office: Airplane!, The Empire Strikes Back, The Shining, Friday the 13th, The Blue Lagoon, The Big Red One, Dressed to Kill, Fame, and The Blues Brothers were all in major release at the time. While Next Movie and did respectable business, it went on to gross even more moola when Universal released is on a double bill with John Landis’s beloved Blues Brothers later. The film picks up sometime after Cheech and Chong’s maiden cinematic outing, Up in Smoke, left off two years earlier. Written by the slapdash and seemingly always high dynamic duo and directed by the latter of the two, Next Movie plays out like their comedy album routines (“Dave” from their self-titled 1971 debut album is one of their best-known and funniest bits) which is exactly
See full article at CinemaRetro »

Martin Scorsese Remembers Richard Schickel, ‘A Very Perceptive Critic and a Wonderful Writer’

  • Indiewire
Martin Scorsese Remembers Richard Schickel, ‘A Very Perceptive Critic and a Wonderful Writer’
Martin Scorsese has shared his thoughts on Richard Schickel, the influential film critic who passed away at 84 on Saturday. Schickel wrote dozens of books, most recently his 2015 memoir “Keepers: The Greatest Films — and Personal Favorites — of a Moviegoing Lifetime,” and served as film critic for Time from 1965–2010. Read Scorsese’s statement below.

Read More: Martin Scorsese Reveals the Status of His Upcoming Film ‘Devil in the White City’ With Leonardo DiCaprio

Richard Schickel was a very perceptive critic and a wonderful writer and documentary filmmaker,” writes the filmmaker. “As a person he was, to use a once popular term, ‘crusty,’ and he could be brutally funny. But it’s his deep and abiding love of movies that I’ll always remember about him. His early 70s PBS series ‘The Men Who Made the Movies,’ his 2004 restoration of Sam Fuller’s ‘The Big Red One,’ his wonderful little book about ‘Double Indemnity,
See full article at Indiewire »

Richard Schickel, Influential Time Magazine Film Critic, Dies at 84

Richard Schickel, Influential Time Magazine Film Critic, Dies at 84
Richard Schickel, the longtime film critic for Time magazine who also wrote 37 books, mostly on film, and directed a number of documentaries on film subjects, died on Saturday in Los Angeles of complications from a series of strokes, his family told the Los Angeles Times. He was 84.

“He was one of the fathers of American film criticism,” his daughter, writer Erika Schickel, told the Times. “He had a singular voice. When he wrote or spoke, he had an old-fashioned way of turning a phrase. He was blunt and succinct both on the page and in life.”

He wrote and/or directed more than 30 documentaries, mostly for television.

Schickel shared a 1977 Emmy nomination for the documentary “Life Goes to the Movies” and received two nominations in 1987 for the documentary “Minnelli on Minnelli: Liza Remembers Vincente,” which he directed.

Schickel wrote film reviews for Life magazine from 1965 until the magazine folded in
See full article at Variety - Film News »

Episode 179 – Criterion Collection Wish List for 2017

  • CriterionCast
Episode Links Past Wish List Episodes Episode 63.9 – Disc 3 – Top Criterion Blu-ray Upgrades for 2011 Episode 110 – Criterion Collection Blu-ray Upgrade Wish List for 2012 Episode 136 – Criterion Collection Blu-ray Upgrade Wish List for 2013 Episode 146 – Criterion Collection Blu-ray Upgrade Wish List for 2014 Episode 154 – Criterion Collection Blu-ray Upgrade Wish List for 2015 Episode 169 – Criterion Collection Blu-ray Upgrade Wish List for 2016 DVD to BluRay Wish Lists Aaron: The Shop on Main Street Pickup on South Street Arik: Cleo from 5 to 7 Berlin Alexanderplatz Mark: Taste of Cherry Sisters David: Do the Right Thing Mishima: A Life in Four Chapters Ld to Blu-Ray Wish Lists Aaron: Blue Velvet (Announced as Ld Spine #219 but never released) Early Hitchcock Box (Sabotage, The Secret Agent, Young and Innocent, The Lodger, The Man Who Knew Too Much) Arik: A Night at the Opera Singin’ in the Rain Mark: 2001: A Space Odyssey The Producers David: I Am Cuba Letter From an Unknown Woman
See full article at CriterionCast »

Matt Zoller Seitz on ‘The Oliver Stone Experience’ and the Decline of American Cinema

It’s safe to say Oliver Stone isn’t exactly fashionable these days, a matter apparent in how the trailer for Snowden instantly became a punching bag on this writer’s Twitter feed. Yet film critic Matt Zoller Seitz’s behemoth of a book, The Oliver Stone Experience, should, with any luck, shift the conversation. Framed as a series of interviews with Stone conducted over the past half-decade or so and interspersed with everything from personal photos to studio-executive notes to archival reviews, this feels like the definitive text on someone once at the center of American cinema. It might not change anyone’s mind on Stone’s films, but with the man being such a raconteur, you’ll still find yourself tearing through it.

We were lucky enough to chat with Seitz over the phone about his undertaking, as well as some thoughts on American politics and cinema in general.
See full article at The Film Stage »

Criterion Close-Up – Episode 49 – Twilight Time Appreciation Show

We change things up by focusing on a boutique label, Twilight Time, that has found success through a unique business model. Mark and Aaron happen to be big fans, and feel that we have directly contributed towards some of their profits. We talk about the company, their business model, why they have succeeded, and we address some common critiques. We also review a few discs each, and finally count down our favorite Twilight Time titles.

About Nick Redman:

London-born Nick Redman, one of Hollywood’s leading producers of movie music, is also an award-winning documentary filmmaker. An Academy Award nominee as producer of the 1996 Warner Brothers documentary, The Wild Bunch: An Album in Montage, he went on to write, produce, and direct A Turning of the Earth: John Ford, John Wayne and The Searchers (1998), which became a prize-winner at multiple film festivals.

As a consultant to the Fox Music
See full article at CriterionCast »

Lee Marvin Died 29 Years Ago Today – Here Are His Ten Best Films

Article by Jim Batts, Dana Jung, and Tom Stockman

Lee Marvin rose through the ranks of movie stardom as a character actor, delivering mostly villainous supporting turns in many films before finally graduating to leading roles. Regardless of which side of the law he was on however, he projected a tough-as-nails intensity and a two-fisted integrity which elevated even the slightest material. Born February 19, 1924, in New York City, Marvin quit high school to enter the Marine Corps and while serving in the South Pacific was badly wounded in battle when a machine gun nest shot off part of his buttocks and severed his sciatic nerve. He spent a year in recovery before returning to the U.S. where he began working as a plumber. The acting bug bit after filling in for an ailing summer-stock actor and he studied the art at the New York-based American Theater Wing. Upon making his debut in summer stock,
See full article at WeAreMovieGeeks.com »

Star Wars: Mark Hamill on Being Luke Skywalker, ‘Episode VIII’

Star Wars: Mark Hamill on Being Luke Skywalker, ‘Episode VIII’
London — Luke Skywalker himself, Mark Hamill, kicked off proceedings at Star Wars Celebration Europe at London’s ExCel Centre on Friday with an admission.

“People say, “Give us a detail about ‘Episode VIII,’ ” he told the packed crowd. “I know you’ll love the irony that I am contractually forbidden to do so.”

When we last saw Luke Skywalker at the end of “The Force Awakens,” he was hiding out in a Jedi Temple on the aquatic planet Ahch-To. Rey (Daisy Ridley) tracks him down and hands him his lightsaber. Then, the movie ends — Hamill doesn’t utter a single word of dialogue in the film. Director J.J. Abrams called the moment “this great long drum roll up to seeing this guy,” but Hamill revealed he was initially skeptical.

“I was nervous,” he continued. “Say I turned and people groaned? But I want to do all movies like that — 30 seconds work and second billing.
See full article at Variety - Film News »

Dead Pigeon on Beethoven Street

The irrepressible Sam Fuller fashions a crime thriller for German TV with his expected eccentricity: old-fashioned hardboiled scripting, freeform direction and bits of graffiti from the French New Wave. Christa Lang is the femme fatale and Glenn Corbett is the twofisted American hero, whose name is Not Griff. And yes, a pigeon does bite the pavement on Beethoven Street, and I tell you, that's one dead pigeon. Dead Pigeon on Beethoven Street Blu-ray Olive Films 1974 / Color / 1:33 flat full frame (for German TV / 127 min. / Tote Taube in der Beethovenstraße / Street Date April 19, 2016 / / available through the Olive Films website / 29.95 Starring Glenn Corbett, Christa Lang, Sieghardt Rupp, Anton Diffring, Stéphane Audran, Alexander D'Arcy, Anthony Chinn. Cinematography Jerzy Lipman Film Editor Liesgret Schmitt-Klink Original Music The Can German dialogue by Manfred R. Köhler Produced by Joachim von Mengershausen Written and Directed by Samuel Fuller

Reviewed by Glenn Erickson

Not that it helped Sam Fuller's career much,
See full article at Trailers from Hell »

Veteran Voice Director Kelly Ward Helps Bring Out the Roar in Disney Channel’s ‘Lion Guard’

Veteran Voice Director Kelly Ward Helps Bring Out the Roar in Disney Channel’s ‘Lion Guard’
When Disney Television Animation execs decided to create a series spinoff from the classic film “The Lion King,” they turned to veteran voice director Kelly Ward to ensure the vocal performances in “The Lion Guard” would roar to life.

The series premieres Friday, Jan. 15, with back-to-back episodes beginning at 9:30 a.m. on the Disney Channel.

The Lion Guard,” which has a decidedly ecological spin, follows the exploits of Kion, the Prince of the Pride Lands and the second cub of the original film’s Simba and Nala. He and his friends — a cheetah, a hippotamus, a cattle egret and a honey badger — make up the Lion Guard to protect their homeland.

The series initially kicked off with a TV movie, “The Lion Guard: Return of the Roar,” last November. It drew impressive ratings for the Disney Channel, averaging 5.358 million viewers, according to Nielsen’s “live plus-3” estimates.

Ward has
See full article at Variety - TV News »

'Willy Wonka,' 'Saving Private Ryan,' 'Big Lebowski' added to National Film Registry

  • Hitfix
'Willy Wonka,' 'Saving Private Ryan,' 'Big Lebowski' added to National Film Registry
Each year, the Library of Congress selects 25 films to be named to the National Film Registry, a proclamation of commitment to preserving the chosen pictures for all time. They can be big studio pictures or experimental short films, goofball comedies or poetic meditations on life. The National Film Registery "showcases the extraordinary diversity of America’s film heritage and the disparate strands making it so vibrant" and by preserving the films, the Library of Congress hopes to "a crucial element of American creativity, culture and history.” This year’s selections span the period 1913 to 2004 and include a number of films you’re familiar with. Unless you’ve never heard of "Saving Private Ryan," "The Big Lebowski," “Rosemary’s Baby” or "Ferris Bueller's Day Off." Highlights from the list include the aforementioned film, Arthur Penn’s Western "Little Big Man," John Lasseter’s 1986 animated film, “Luxo Jr.," 1953’s “House of Wax,
See full article at Hitfix »

‘Saving Private Ryan’, ‘Ferris Bueller’ & More Added To National Film Registry

  • Deadline
‘Saving Private Ryan’, ‘Ferris Bueller’ & More Added To National Film Registry
Spanning the years 1913-2004, the 25 films to be added to the Library of Congress’ National Film Registry for 2014 include Steven Spielberg’s Saving Private Ryan, Roman Polanski’s Rosemary’s Baby, Arthur Penn’s Little Big Man, John Hughes’ Ferris Bueller’s Day Off and the Coen brothers’ The Big Lebowski. The annual selection helps to ensure that the movies will be preserved for all time. This year’s list brings the number of films in the registry to 650.

Also on the list are John Lasseter’s 1986 animated film, Luxo Jr; the original Willy Wonka And The Chocolate Factory with Gene Wilder; and Howard Hawks’ classic 1959 Western Rio Bravo. Documentaries and silent films also make up part of the selection which represents titles that are “culturally, historically or aesthetically” significant; they must also each be at least 10 years old. Check out the rundown of all 25 movies below:

2014 National Film Registry
See full article at Deadline »

Samantha Fuller's "A Fuller Life"

  • MUBI
A photograph of Samuel Fuller in "the shack."

It is always well to remember that documentaries are first of all films like other films, meaning that no less than fictional narrative movies, they too have a narrative shaped by the vision of their maker and are not only about their subjects but also are that vision and the individual elements that make it up. So, in A Fuller Life there are a number of choices that Samantha Fuller as director has made, for example to film in “the shack”—the bungalow her father kept as office and filled with his memorabilia from his days as a crime reporter, an infantryman in WWII, a writer and filmmaker; or to use her “readers” (including both actors—mostly from Fuller’s movies—and some well-chosen directors) dramatically, effectively acting their readings from Fuller’s posthumous autobiography A Third Face; or, very simply, to
See full article at MUBI »

No "Hollywood Heroes" In Brad Pitt's "Fury"

  • CinemaRetro
Dave Worrall reports from London, where the film is scheduled to open this week.

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There was no laughter in the audience following this morning's press show for David Ayer's WWII drama Fury - just stunned silence, as we all walked out feeling battered and bruised after watching two hours of the most brutal and realistic scenes of war ever captured on film. Set in the last month of the European theatre of war in April 1945, as the Allies make their final push into Nazi Germany, we are introduced to the world of four tough GI's and their new rookie, who go into battle in their tank named 'Fury'. It's dark and grim, and portrays the horrors of war similar to that of the D-Day sequence in Saving Private Ryan - but far worse. As the film unfolds you
See full article at CinemaRetro »

Montreal’s Festival du Nouveau Cinema unveils world-class line-up

  • SoundOnSight
From October 8 to 19, the 43rd edition of the Festival du nouveau cinéma will run. This year’s lineup of 380 films (152 features and 228 shorts from 55 countries) includes 40 world premieres, 51 North American premieres and 41 Canadian premieres. The festival opens with the English language debut of Philippe Falardeau, The Good Lie and closes with the feature documentary The Salt of the Earth co-directed by Wim Wenders and Juliano Ribeiro Salgado.

Always balancing the best of local and world cinema, this year’s line-up features favourites of the festival circuit including a number of key world premieres. Some key releases include, Félix and Meira (winner of best Canadian feature at Tiff), Adieu au langage (Jean- Luc Godard), Horse Money (Pedro Costa), Hard to Be a God (Aleksey German), Jauja (Lisandro Alonso), Maps to the Stars (David Cronenberg), P’tit Quinquin (Bruno Dumont), Wild (Jean-Marc Vallee), A Girl Walks Home Alone at Night (Ana Lily Amirpour
See full article at SoundOnSight »

Book Review: Samuel Fuller's Long Lost Pulp Novel 'Brainquake'

  • The Playlist
Samuel Fuller didn't do anything halfway, either in his life, or with his movies. His filmography reads like punch after punch of hard-hitting films — "Park Row," "Underworld U.S.A.," "Shock Corridor," "The Naked Kiss," "The Big Red One" — and it was 1982's "White Dog" that got him in particular trouble. The controversial film about dog trained to attack black people unsurprisingly found him at odds with Paramount, so Fuller went into self-imposed exile in France, where among his many activities, he turned to novel writing. It's something he had always done throughout his career, and even you might know his "The Dark Page" though the film version, "Scandal Street" (that was not directed by Fuller). However, "Brainquake," written during his foray abroad, fell through the cracks. The book was released overseas, published only in French and Japanese, and rather remarkably, never saw an English...
See full article at The Playlist »

Film Review: ‘A Fuller Life’

Film Review: ‘A Fuller Life’
Sam Fuller’s daughter Samantha made a wise decision to utilize passages from her father’s autobiography as the soundtrack for her documentary “A Fuller Life.” Read aloud and with great feeling by actors and directors who admired and worked with him, these visceral, punchy sentences vividly conjure up an extraordinarily vital, fiercely engaged gestalt. But if the pic effectively evokes Fuller the man, it fails to do equal justice to Fuller the filmmaker, and its clip selections sometimes feel truncated and over-literal in their application. A loving tribute for those well versed in the Fuller canon, the doc may prove less revelatory than entertaining for neophytes.

There is something endearing about the sight of Samantha with her father’s rifle awkwardly slung over her shoulder as she pays affectionate homage to him in the film’s prologue; this hokiness feels infinitely preferable to the smudged resentments present in so many “daddy dearest” docus.
See full article at Variety - Film News »

Read An Exclusive Excerpt From Sam Fuller's Lost Novel Brainquake

In 1993, disillusioned with the film industry and living in France, Sam Fuller - director of I Shot Jesse James, The Big Red One and White Dog - set pen to paper with the tale of a brain damaged mafia bagman trying to help a dead colleague's widow. The result, titled Brainquake, would prove to be the final effort in Fuller's long literary career and yet would never actually make it into print, not until now. Titan Books are releasing Fuller's lost final effort on August 12th and we've got an exclusive excerpt for you below. Find your own copy here.------------------------ Word was spreading there was not just a gun but a bomb under the baby's ass. Barricades had been rushed in, hastily erected, barely...

[Read the whole post on twitchfilm.com...]
See full article at Screen Anarchy »

2015 Oscars: Is David Ayer's 'Fury' the WWII Movie to Watch Out for This Yearc

"In the end, they would hose out the blood, slap on some paint, and grab some cooks and clerks to crew up the vehicle again," David Ayer tells Michael Cieply at the New York Times, referring to his new film Fury, which several Oscar pundits were much higher on than I was initially, but this new editorial has me singing a different tune. As much as I loved Ayer's End of Watch (it made my top ten in 2012), his films have never been Oscar fodder. Even Training Day, which AYer wrote and Antoine Fuqua directed, saw Denzel Washington win an Oscar and Ethan Hawke also nominated. It didn't, however, earn a Best Picture or screenplay nomination. Add to that the dismal reaction to Ayer's Sabotage earlier this year from critics and audiences alike (I've still yet to see it) and it just appears he's a filmmaker with a touch outside the Oscar realm.
See full article at Rope Of Silicon »
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