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Quentin Tarantino's 35mm movie haven, now 37 this year, ditched digital last Fall when he took over programming. Despite skepticism of this celluloid model, Tarantino's $8 35mm double features work with La audiences. He kicks off August at the all-celluloid New Beverly with a print of "For a Few Dollars More" and will close the month with "A Fistful of Dollars," another classic Leone western Tarantino presented at Cannes 2014. Read More: Quentin Tarantino Enjoys Running the New Beverly, Even When He's Shooting a Movie In spirit of Summer smash "Mad Max: Fury Road," Tarantino presents a double feature of "Mad Max" and "The Road Warrior" in mid-August, followed by Charlie Chaplin double bills, and back-to-back Hitchcock classics "Notorious" and "Suspicion," both starring Cary Grant. Read More: Alfred Hitchcock's Top 25 Films, Ranked And of course, as you'll see in the calendar, there are plenty of Westerns »
- Ryan Lattanzio
Sneak Peek new cover at from the upcoming "Mad Max: Fury Road" Blu-ray release, plus take another look @ the film, from the movie review site "The Good, The Bad and The Ugly.Ca,:
Michael Stevens For 'The Good':
"'Mad Max: Fury Road', director George Miller's sardonic $150 million budgeted 3D demented demolition derby of a movie, throws everything to the wind and cuts to the chase for an insanely wild 2 hour ride...
"...in a ferociously adrenalized crash 'n burn', petrol-pumped speed-demon of a movie that leaves his previous "Mad Max" trilogy in the dust...
"The new film gets into gear early on, revved-up by grotesque, dystopian death cult-followers, scrambling like vile Rat Patrols through the Namibian desert...
"...accompanied by explosive set pieces, broken CG bodies and scattered car debris.
"Like a cranked-up 'Cirque Du Soleil', led by a pounding dirge and amplified death-metal rock music ...
"...Miller drops »
- Michael Stevens
In the end, only the mad will survive when Mad Max: Fury Road arrives onto Blu-ray 3D Combo Pack, Blu-ray Combo Pack and DVD on September 1 from Warner Bros. Home Entertainment. Directed by Oscar-winning filmmaker George Miller ("Happy Feet") and starring Tom Hardy ("The Dark Knight Rises") in the title role and Oscar winner Charlize Theron ("Monster," "Prometheus") as Imperator Furiosa, Mad Max: Fury Road is the fourth film in the franchise's epic history. The film will available early on Digital HD starting on August 11.
Warner Bros. Pictures' and Village Roadshow Pictures' Mad Max: Fury Road also stars Nicholas Hoult ("X-Men: Days of Future Past") as Nux; Hugh Keays-Byrne ("Mad Max," "Sleeping Beauty") as Immortan Joe; and Nathan Jones ("Conan the Barbarian") as Rictus Erectus. Collectively known as The Wives, Zoë Kravitz ("Divergent") plays Toast; Riley Keough ("Magic Mike") is Capable; Rosie Huntington-Whiteley ("Transformers: Dark of the Moon »
Warner Home Entertainment has officially announced a Sept. 1 DVD and Blu-ray release of Mad Max: Fury Road with an early Digital HD release set for Aug. 11. Those that were hoping the rumored black-and-white version of the film would make the Blu-ray release, however, will be disappointed it isn't among the listed features. Those would be: Maximum Fury: Filming Fury Road Mad Max: Fury on Four Wheels The Road Warriors: Max and Furiosa The Tools of the Wasteland The Five Wives: So Shiny, So Chrome Fury Road: Crash & Smash Deleted Scenes Outlets carrying the digital HD version on August 11 include Amazon, CinemaNow, Flixster, Google Play, iTunes, PlayStation, Vudu, Xbox and others. readmore postid="176520" Also going on sale on September 1 will be the "Mad Max 4-Film Blu-ray Anthology", which will include Mad Max (1979), The Road Warrior (1981), Mad Max Beyond Thunderdome (1985) and Mad Max: Fury Road on Blu-ray as well as the »
- Brad Brevet
Are you ready to die historic on the Fury Road? If you missed out on one of the films of the Summer, or simply can't wait to see it again, you're in luck. Today, Warner Bros. has revealed details on Mad Max: Fury Road's blu-ray that's coming out in September. Come inside to learn more!
I've not been so enamored with a film, like I have Mad Max: Fury Road, in a very long time. It's just an amazing piece of cinema, andgorgeously crafted. Since the credits rolled I've been dying to take it home on blu-ray. Now, I know exactly when I'll be able to do that. Warner Bros. announced that Fury Road will hit store shelves on September 1st, which just so happens to coincide with the release of the upcoming Mad Max video game...Interesting. It's gonna be one Hell of a lovely day.
In the end, »
- firstname.lastname@example.org (Jordan Maison)
By Alex Simon
Cars have been a staple of motion pictures since the earliest Keystone Kops two-reel comedies a century ago, usually providing fodder for chase scenes and general mayhem. Whether they’re breaking land-speed records, flying through the air defying laws of aerodynamics, or driven by intrepid heroes pursuing bad guys, cars and movies go together like…well, like movies and popcorn.Like movies and tickets. Like cars and tickets. Wait…let’s just get on with the list, shall we?
Here are the ten coolest cars in movie history, in no particular order:
1. Rendezvous: 1976 Mercedes-Benz 450Sel 6.9
Director Claude Lelouch mounted a camera on his 1976 Mercedes and tore through the early morning streets of Paris at breakneck speeds, cheating only slightly in post-production by overdubbing the sound of a Ferrari 275 Gtb engine with that of his Benz’s. Three people were in the car, with Lelouch at the wheel, »
- The Hollywood Interview.com
Director George Miller takes his adrenalized action epic "The Road Warrior" and injects it with an unholy supercharged mix of psychotropics and nitroglycerin. The result is "Mad Max: Fury Road"; no less combustible than "Road Warrior" but filmed with a hallucinatory fever dream zeal. In contrast to the near non-stop action sequences are sensitive, muted performances from Charlize Theron as the one-armed warrior Imperator Furiosa, broken in body but not in spirit, and Nicholas Hoult as Nux, an enslaved soldier who turns insurgent. Tom Hardy takes over from Mel Gibson as Max. »
- Trailers From Hell
Mel Gibson, whom I interviewed for Venice Magazine in late 2000, was my first real childhood hero I sat down with. If you were a Gen-x male, Mel Gibson was the closest thing we had to Paul Newman, Steve McQueen and Sean Connery: a guy's guy whom guys wanted to emulate and women wanted to copulate. If you were a guy who liked girls, the math in the previous equation was pretty simple: be like Mel. Sadly, Gibson's life has taken a very public turn for the worse in the last decade, since his personal legal and troubles stemming from a 2006 DUI arrest in Malibu were made public, one from which his image has yet to fully recover. It was an unfortunate fall from grace for a guy who literally had Hollywood, and the world, in the palm of his hand after sweeping the 1995 Oscars with his box office smash "Braveheart. »
- The Hollywood Interview.com
The new dramatic comedy The Road Within stars Dev Patel, Robert Sheehan, Robert Patrick, Zoe Kravitz, and Kyra Sedgwick. It will be released on DVD and Blu-ray from Well Go USA on July 7th, but you have a chance to win the Blu-ray in advance!
The Road Within tells the story of Vincent, a young man suffering from Tourette Syndrome. His mother dies so his estranged father, Robert, is forced to step in. However, Robert’s running for political office and doesn’t want his son on the campaign trail – so Robert puts Vincent in a clinic that’s run by the unconventional Dr. Mia Rose. Once there, Vincent falls in love with an anorexic woman named Marie. Together, they steal Dr. Rose’s car, and end up having to kidnap his Ocd roommate, Alex, when he threatens to tell on them. With Robert and Dr. Rose in hot pursuit, »
- Tom Stockman
There is a certain kind of film, rare in the best of times, that exudes a distinct creative concentration, a precisely measured marinade of character and story that suggests an extended gestation period of forethought and planning. Bill Pohlad’s “Love & Mercy” is such a film, and so is George Miller’s “Mad Max: Fury Road.” Harnessing the intimate scale of the former and the root cultural vibe of the latter (minus the extreme speed and transplanted location), co-writer and director Jeremy Sims’ “Last Cab to Darwin” tells the moving tale of a dying taxi driver and his cross-country quest to receive the voluntary euthanasia process enacted for a brief period of time in a single Australian state in the mid-1990s (it is now illegal across the land). Fests will line up at the rank to hail this “Cab,” with older-skewing theatrical success a fare bet.
An aging hometown »
- Eddie Cockrell
"Out of the ruins, out from the wreckage
Can't make the same mistakes this time.
We are the children, the last generation
We are the ones they left behind…"
From the moment you hear Tina Turner's powerful wailing over the opening credits, you know Mad Max Beyond Thunderdome is going to be a very different proposition to its glorious predecessors. Could that offbeat, anarchic energy be successfully retained for a film clearly designed for mass market appeal? Not quite.
The plot is an uninvolving mishmash of ideas and characters that never feel fully formed or realised. Max is thrust into the dangerous realms of Bartertown, a skewed remnant of society that's superbly well designed. After agreeing a deal with Turner's crooked ruler Aunty Entity, he faces a fight to the death in a steel cage called the Thunderdome.
A similar narrative structure to franchise revival Fury Road then ensues, »
Why does the chaotic action of Mad Max: Fury Road work better than it does in so many other filmsc The film is said to contain upward of 2,700 cuts over the course of two hours. Compare this to the 1,200 cuts in The Road Warrior and director George Miller has clearly taken note of the new style of film editing common in today's cinema. Speaking with the Miami Herald, Miller discussed his approach to the action and how each scene needed to be edited together for narrative cohesion. "We also spent a huge amount of time on spatial awareness -- making sure the viewer could follow the action and understand what was happening," he said. "Too often, if you just cram a lot of stuff into the frame, you get the illusion of a fast pace. But there's no coherence. It doesn't flow. It comes off as headbanging music, and it can be exhausting. »
- Brad Brevet
Let’s get the obvious question out of the way: why in the world is Criterion Cast posting a review of Star Trek: The Motion Picture? The film was released in the late Seventies, no new version has been recently issued on either Blu-ray or in a new theatrical run, and while it’s not completely out of the realm of possibility for this site to take a look at mainstream big budget productions aimed at the mass audience, it’s also pretty obvious that St:tmp isn’t the sort of movie that fits all that comfortably alongside the foreign, independent and alternative cinematic expressions that typically draw our critical attention.
The reason I’m posting this review here is that I agreed to participate in the 2015 White Elephant Blogathon, a project organized by Philip Tatler in which he solicits nominations from a couple dozen movie bloggers for offbeat films »
- David Blakeslee
- Jordan Ruimy
"You want to get out of here? You talk to me."
Following our look at the first Mad Max movie in the wake of Fury Road's frenzied rampage, our attention turns to its sequel. Just how could George Miller top such a scintillating and thrilling action movie that left so many noses bloodied and hearts broken? By making it a much bigger visual voyage for the audience and reversing the emotional journey for Mel Gibson's wounded hero.
The wastelands we encounter at the beginning show how the post-apocalyptic world has crumbled further since the end of Mad Max. The trees are now dead stumps sprouting from the barren earth, a lifeless look that Max Rockatansky tries to project from behind his embittered eyes. The trauma of losing his wife and child has caused him to shut off his own humanity and empathy, or at least try to, in a »
It was suggested to me by a number of people, and I read all across the internet, that I didn't need to see any of the first three Mad Max films before I saw Mad Max: Fury Road. So, considering I was just one week out from taking my fourth and final Cpa exam, I decided to test that hypothesis and went to see George Miller's latest Mad Max adventure without embarking upon his previous three. I intend to visit those films at some point here in the near future, as they have come highly recommended from movie fanatics, family friends, and most especially the Aussie guys on the same floor of my hostel here in Vancouver. They "friggin' love" all the Mad Max films, Fury Road included. "They're wicked nuts, mate!" they tell me. Noted, fellas. readmore postid="176520" Until then, however, the video below will have to suffice. »
- Jordan Benesh
You can bet that as soon as "Mad Max: Fury Road" hits home video (or a high quality pirate version circulates on the web), video editors and essayist everywhere will be deconstructing every frame of George Miller's blockbuster spectacle. But let's not forget that he showed no shortage of skills as such in the first three entries of the franchise, and this new supercut makes the point very very well. Read More: Review: George Miller's 'Mad Max: Fury Road' Starring Charlize Theron & Tom Hardy Powered somewhat distractingly by Girl Talk, Rishi Kaneria has put together an impressive look at Miller's Pov shots from "Mad Max," "The Road Warrior" and "Mad Max Beyond Thunderdome." And it says something about the director's technique that these shots are often seamlessly integrated and don't act as a flashy cinematic maneuver, but succeed precisely because they embed the viewer seemingly organically »
- Kevin Jagernauth
Vernon Wells has given dozens of memorable performances in everything from his feature acting debut in the second Mad Max film, The Road Warrior, to battling Arnold himself in Commando, as well as countless other entertaining and interesting roles. While being quite the intense characters in front of the camera, the truth is, that Wells is nothing but completely welcoming and friendly to talk to you about his work, past and present. The present is what leads us to this new interview with Wells. We had a chat with the prolific actor regarding those classics roles, as well as his turn in the new SyFy-like film, Cowboys Vs. Dinosaurs, in which he must battle some gnarly CG dinos, tearing stuff up.
Check out what Wells had to say regarding that film, as well the films fans Still consider legendary performances. Read on!
Wells: Hi Jerry.
How’s it going, Vernon? »
- Jerry Smith
Following a fifteen-year creative hiatus and another fifteen years stranded in development hell, director George Miller’s iconic outback creation, Max Rockatansky, returned to theatres this month to a rapturous reception. “Absence makes the heart grow fonder” and “good things come to those who wait” aren’t reliable rules of thumb for filmmaking, let alone in a studio system, but Mad Max: Fury Road demonstrated the value of such back-to-basics thinking: focused storytelling, practical effects and a freedom from franchise baggage combined to make Fury Road the critical high-water mark for 2015 blockbusters. That it also performed well at the box office made Miller’s $150 million return to both the wasteland and action filmmaking a double-barreled coup d’état.
If anything, the extensive gap between Fury Road and 1985’s Mad Max Beyond Thunderdome, Rockatansky’s last adventure, afforded Miller’s fourth go-round with the character a certain clemency from the “franchise »
- Sam Woolf
Variety critics Scott Foundas, Justin Chang, Peter Debruge, Guy Lodge, Jay Weissberg and Maggie Lee weighed in with their choices for the 21 best films at this year’s Cannes Film Festival (listed in alphabetical order):
1. “Amy.” British director Asif Kapadia followed up his 2010 “Senna” with this even more daring and revealing portrait of the brilliant but tragic jazz diva Amy Winehouse. Drawing on a wealth of professional and user-generated video, Kapadia again eschews the usual talking-heads interview format to keep WInehouse front and center for two harrowing hours, during which we come to understand how thoroughly the troubled singer lived her life under the camera’s relentless and unforgiving gaze. The result is an unforgettable portrait of the cult of celebrity in the iPhone era. (Scott Foundas)
- Variety Staff
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