16 items from 2014
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, »
- Matt Patches
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 »
- Nancy Tartaglione
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 »
- Blake Lucas
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 »
- firstname.lastname@example.org (Cinema Retro)
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 »
- Justine Smith
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 »
- Kevin Jagernauth
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. »
- Ronnie Scheib
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...]
"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. »
- Brad Brevet
As we continue with the list, we still see a lot of World War II, but throw in some World War I and Persian Gulf War, too. While some of the films in this portion of the list spin the war film into something a little more ingenious, it doesn’t completely rule out the idea of a patriotic call to arms film. We also see a few more foreign language films on the list, as well as some Oscar winners for their work. Without further ado, let’s light this candle.
courtesy of toutlecine.com
30. Black Book (2006)
Directed by: Paul Verhoeven
Conflict: World War II
In 2008, the Dutch public named it the greatest Dutch film ever made. Who am I to argue? A surprisingly complete film from a director who has Showgirls and Hollow Man under his belt (and Starship Troopers and Robocop…I can’t be too hard »
- Joshua Gaul
So, I guess there's a bit of a problem with making these things harder, which is not many of you want to even try. At the same time, if I make it too easy, then you guess it right away. I'm not sure what the best option is with this because I really like this game, but it's no fun if someone gets them right away, nor is it fun if not many of you guess. Oh well, my problem I guess... That said, here are the answers to this latest graphic. If you want to browse the graphic before seeing the answers don't scroll below the image below or just click here or on the picture for a larger look in another window. Otherwise, I have posted the answers just below the picture. Thanks for participating! ... and here's the color version... Mr. & Mrs. Smith The Sword of Doom Tropic Thunder »
- Brad Brevet
Written and directed by Samuel Fuller
When a director like Samuel Fuller finally gets the chance to make his passion project, rest assured, there’s going to be more than a little of the man himself in the movie. With Fuller, this would have undoubtedly been the case no matter what type of film it was, but when the film is an autobiographical World War II yarn about the first infantry division — the “fighting first” — the filmmaker’s stamp is evident from start to finish. The Big Red One is an episodic chronicle of this military assembly, here focused on The Sergeant (Lee Marvin, adding classic film respectability), and the “four horsemen,” Pvt. Griff (Mark Hamill, adding contemporary film marketability), Pvt. Zab (Robert Carradine), Pvt. Vinci (Bobby Di Cicco), and Pvt. Johnson (Kelly Ward). The men who make up the four horsemen, a label that »
- Jeremy Carr
(Samuel Fuller, 1982; Eureka!, 15)
One of American cinema's true mavericks, Samuel Fuller (1912-97), had two major careers first as a crime reporter for New York tabloids, then as a much-decorated Us infantry sergeant in the second world war before becoming a writer-director. His heyday was the 1950s, making bold thrillers, westerns and war movies, mostly on small budgets. Later he fell on hard times with films aborted, abandoned, butchered and shelved. But he also became a cult figure, revered by European critics and younger filmmakers, the latter giving him cameo roles.
In the early 80s, however, he got to make two highly personal movies, though neither was well handled by their distributors. The Big Red One, his second world war memoir starring Lee Marvin, was well received at Cannes but not widely shown in Fuller's version until after his death. The other, White Dog, is an allegorical melodrama based on an »
- Philip French
One of Hollywood's true maverick filmmakers, Sam Fuller was never a man to shy away from tackling important social and political issues in his films. Famously, he was the first American filmmaker to tackle the Korean War, in The Steel Helmet, mental illness (among other issues) in Shock Corridor, and child abuse in The Naked Kiss. So when Paramount executives Jon Davison and Don Simpson were scrambling to get a bunch of projects through production ahead of an upcoming writers' strike in 1981, who better to take on the long-gestating White Dog than Fuller, hot again after the recent success of The Big Red One.White Dog is adapted from an autobiographical novel written by Romain Gray, which told the story of how he and his...
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In 1982, the late Massachusetts film-maker, Samuel Fuller (The Big Red One, Shock Corridor) took his place behind the camera to tell a story of racism, hope, neglect and terror in the wonderful, chilling, poignant and ruthless film, White Dog.
Based on a true life story that was published at one time in Life Magazine in the 1970′s, White Dog follows the character of Julie Sawyer (Kristy McNichol) who accidentally hits a dog with her car while on a night drive in a secluded forest-heavy area of the Hollywood hills. She takes in the dog after being informed that the pound would put him to sleep, and soon finds that the dog, a white German Shepard, though loyal to her, has a dark and violent tendency »
- Chris Cummings
While Sam Fuller is best known for being the filmmaker behind such classics as "Naked Kiss," "Pickup On South Street," "Shock Corridor," "The Big Red One" and more, he was also an author. Not only did he pen novelizations for some of his films, he also wrote a small handful of original works too, and one that has never seen the light of day in the English language is now coming. Titan and Hard Case Crime are bringing "Brainquake" to shelves this September. It was penned by Fuller while he was in self-imposed exile in France, fighting with Paramount over the cut of "White Dog." And it sounds like another perfectly pulpy tale from the writer/director. Check out the synopsis and artwork for the book below. And be sure to check out our feature on Fuller's essential films. The bagmen who transport money for organized crime live by a »
- Kevin Jagernauth
16 items from 2014
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