1-20 of 180 items from 2014 « Prev | Next »
Directors’ Trademarx is back! At least once a month, Cinelinx will chose one director for an in-depth examination of the “signatures” that they leave behind in their work. To kick things off again, we examine the trademark style and calling signs of Steven Spielberg as director.
No director is as well known, nor has had as much success in Hollywood as Steven Spielberg. He invented a style of filmmaking that audiences ate up in the 1980’s, single-handedly invented the modern blockbuster, and was influential in helping George Lucas make Star Wars. From a young age, Spielberg was fascinated by theater and film. In his teens, he used an 8mm camera to film movies with his friends. Later, he became an intern at Universal Studios, and the rest is history.
Spielberg’s career started small. First he directed segments of TV shows, and then later entire episodes. His success convinced the »
- firstname.lastname@example.org (G.S. Perno)
Exclusive: Joe Johnston has signed with Paradigm, reuniting the filmmaker with his longtime reps Adam Kanter and Martin Spencer. The writer-director moves from Wme, where he signed in March as Kanter and Spencer were leaving Resolution. He worked with Kanter for years at CAA and then left to join the dealmaker at Resolution, where it didn’t work out. The prolific writer-director is quite a catch for Paradigm; Johnston’s hits include Captain America: The First Avenger, October Sky, Jurassic Park III, Jumanji and Honey, I Shrunk The Kids. He stepped up to direct after winning an Oscar for Visual Effects for his work on Raiders Of The Lost Ark and also did the visual effects on such blockbusters as the original Star Wars trilogy, Indiana Jones And The Temple Of Doom, and The Rocketeer.
- Mike Fleming Jr
Worst Place to be a Pilot | Russia Lost Princesses | Dogs: their Secret Lives | In the Club | Everyday Miracles | The 66th Annual Primetime Emmy Awards | Masters of Sex | Tennis: Us Open
Continuing the hair-raising adventures of the British pilots of Indonesian airline Susi Air, whose daily acts of derring-do resemble the plots of Hollywood action-thrillers. This week, captain Sam Quinn whose name even sounds like a screenwriters creation narrowly evades death by a thousand bow and arrows, Raiders Of The Lost Ark-style, while delivering emergency supplies to some angry Papuan tribespeople. Meanwhile, captain Guy Richardson is pretty much hailed as a god during the opening of a remote islands runway. Ali Catterall
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- Ali Catterall, Bim Adewunmi, Ben Arnold, Hannah Verdier, Phil Harrison, Hannah J Davies, Jonathan Wright and Gwilym Mumford
Directed by Erik Sharkey
A documentary on legendary movie-poster artist Drew Struzan.
Drew Struzan is a man who’s name might not be familiar to everyone, but his work certainly is. As the man behind iconic posters such as Star Wars, Raiders of the Lost Ark, Blade Runner, The Thing, Big Trouble in Little China, Police Academy and E.T: The Extra Terrestrial to name but a few, Drew Struzan has solidified himself as a legend in the field.
Drew: The Man Behind the Poster tells the story of a man who grew up with a family who didn’t love him, found his own true love, struggled as an artist before cementing himself as the “go to man” for some of Hollywood’s biggest filmmakers. The documentary has interviews with a lot of the people who have fallen in love with his »
- Luke Owen
While moviegoers might best remember Alfred Molina's most dastardly roles — Dr. Octopus, the Sister Christian–loving drug dealer in Boogie Nights, the guide who double-crosses Indiana Jones in the opening scene in Raiders of the Lost Ark — his role as a husband to John Lithgow in Ira Sachs' new film Love Is Strange could easily make the most lasting impression. The veteran actors play a gay couple in New York City who, after decades together, finally get married, only for Molina's character George, a Catholic school music teacher, to get fired because of his sexuality. Thanks to soaring real estate prices, taxes, and co-op rules, the men are forced to sell their Manhattan apartment and separate temporarily while they find a new place to live. George moves downstairs with two gay cops who love fantasy epics and parties, while Lithgow's character Ben relocates to Brooklyn to live with his nephew, »
- Dan Reilly
Beneath the streets of Paris lies a vast network of tunnels just waiting to be exploited by an enterprising found-footage film crew. Imagine the excitement of the rolling-boulder opening scene in “Raiders of the Lost Ark” stretched to feature length, then subtract such vital ingredients as John Williams’ pulse-elevating score, Douglas Slocombe’s visceral cinematography and Harrison Ford’s wry charisma, and you get “As Above, So Below,” in which a Lara Croft-like heroine assembles a team of expendable “cataphiles” (as catacomb obsessives call themselves) to locate the Philosopher’s Stone. It all makes for clumsy-fun escapism, not bad as end-of-summer chillers go, but small-time compared with other Legendary releases.
Returning to the faux-doc format they helped innovate in such pics as “The Poughkeepsie Tapes” and “Quarantine,” the Dowdle brothers, John Erick (who directs) and Drew (his fellow producer), are by now experts at creating suspense within narrow confines. Their previous feature, »
- Peter Debruge
Show of hands… When you first saw the film, who absolutely thought Raiders Of The Lost Ark was the greatest thing on Earth? Me too. Let’s try this again. Show of hands… When you first saw the film, who thought there was nothing more awesome than Jurassic Park? Wow. Me too! Well, I’m not about to tell you this film equals either of those modern masterpieces, but what I will tell you is that Ragnarok is a film that succeeds, in part, because it incorporates the massive influence both of the previously mentioned films have had on modern cinema in a subtle, yet effective way that evokes those memories while maintaining its own vision.
Written by John Kare Raake and directed by Mikkel Braenne Sandemose, Ragnarok is the story of an archaeologist named Sigurd with family problems who stumbles onto something extraordinary while seeking answers to ancient questions through relics. »
- Travis Keune
After the the trailer for James Franco and Seth Rogen's new comedy The Interview was released, North Korea released a statement saying that releasing the movie would be like an act of war. They went on to say that they would retaliate. Well, Sony Picture still plans on releasing the movie but it will be going through some alterations to hopefully prevent a nuclear attack.
THR mention two changes that will be made. One is minor, and the other is a huge change that only makes me want to see the original cut of the movie even more. The first change is that the studio is "digitally altering thousands of buttons worn by characters in the film because they depict the actual hardware worn by the North Korean military to honor the country's leader, Kim Jong Un, 31, and his late father, Kim Jong Il."
The second change is that »
- Joey Paur
No one ever accused North Korean leader Kim Jong-un of being able to take a joke, which is why it wasn’t too surprising that Sony’s upcoming Seth Rogen and James Franco-led comedy The Interview, in which the pair play a talk show host and his producer who are tapped by the CIA to kill the dictator, ruffled a few feathers. The country claimed outrage and went so far as to lodge an official complaint with the Un, calling The Interview “the most undisguised sponsoring of terrorism as well as an act of war.”
For a while, it appeared that Sony was taking the heat in stride, and Rogen certainly didn’t seem too upset, simply tweeting, “Apparently Kim Jong Un plans on watching #TheInterview. I hope he likes it!!” Now, however, it appears that the studio is actually taking steps to appease North Korea.
Sony, which recently »
- Isaac Feldberg
Star Wars Episode VII, directed by J.J. Abrams (Super 8, Mission: Impossible III, Star Trek) and scripted by Abrams along with Lawrence Kasdan (Raiders of the Lost Ark, The Empire Strikes Back, Return of the Jedi), is scheduled for theatrical release next year through Walt Disney Pictures and Lucasfilm. Star Wars Episode VII stars original trilogy cast members Harrison Ford, Carrie Fisher, Mark Hamill, Anthony Daniels, Peter Mayhew, and Kenny Baker and are joined by newcomers John Boyega, Daisy Ridley, Adam Driver, Oscar Isaac, Andy Serkis, Domhnall Gleeson, and Max von Sydow. Award winning composer John Williams is set to return to create the film's score as well. Production on the highly anticipated film was halted after Harrison Ford sustained a leg injury on set this past June. A »
- Pietro Filipponi
Be careful what you say about the music when you come out of a movie theater, composer Brian Tyler may be listening. Tyler has a ritual: The day one of his movies opens, he and the director theater hop, checking out how several audiences are reacting to the film and to the music. “I just pop my head in to see how the crowd is doing, kind of see how everyone is reacting,” Tyler says. “I really like to stand outside the theater and see if anyone is humming the music.” Tyler is spending a lot of time at local cineplexes this month: two movies he scored opened last Friday, Aug. 8: box office champ, “Teenage Mutant Ninja Turtles,” and “Into the Storm.” A third film, “The Expendables 3,” opens this Friday, Aug. 15. For “Teenage Mutant Ninja Turtles,” Tyler composed an old-school, often lush, symphonic score. He and director Jonathan Liebesman »
- Melinda Newman
There’s just no point in even bothering. In the vast conspiracy of stupidity that has overtaken pop culture, the disparagement of this movie by a film critic becomes an endorsement of a sad, twisted sort. I’m “biast” (pro): nothing
I’m “biast” (con): the franchise had worn out whatever welcome it might have had before the end of the first movie
(what is this about? see my critic’s minifesto)
There’s just no point in even bothering. I could huff and puff and moan and groan and explain why The Expendables 3 is a terrible excuse for a movie… even for a dumb cheesy 80s-throwback action movie. I could go into great detail about the laziness of the writing, about how perfunctory the directing is, about the blatant obvious cheapness of the FX.
It doesn’t matter. There is nothing I can say that will »
- MaryAnn Johanson
The blend of CGI and live action is a common thing in today’s films, but that wasn’t always the case. The bullet train chase sequence in Mission: Impossible is one of the earliest sequences to use computer enhancement, and interestingly, is still one of the best. Join us as we explain why.
The Mission: Impossible bullet train sequence may not be the most outrageous action sequence in the series, it may not be the most important, and it may not be the most realistic. However, it does leave a lasting impression. Not only does it end the first film with a bang, but it raised the bar as far as what action sequences could be, and it therefore pushed our expectations to the next level. Great action sequences shouldn’t just be rehashes of things that we have seen before. They should amaze us. They should open up our mind to new possibilities. »
- email@example.com (G.S. Perno)
The 1980s were a time in which the science fiction and adventure film genres reigned supreme. Films like Raiders of the Lost Ark (1981), Ghostbusters (1984), and Back to the Future (1985) are three of strong examples of classic 80s films that expanded their respective universes to further installments. The sequel, while a sometimes surefire way of making money off of an already established and original idea, can at times continue the adventure and prolong the cinematic magic in wonderful ways.
Filmmaker George Lucas popularized the sequel concept in 1980 with a follow-up to 1977’s Star Wars: A New Hope. He had a vision when starting his space opera at episode #4 and The Empire Strikes Back furthered the adventures of Luke, Leia, Han, Chewbacca, R2-D2, and C3P0. It is thought by many to be far superior to its predecessor. A third installment soon followed and so did a prequel trilogy in 1999. These »
- Randall Unger
Operation Wild brought in 3.70m (18.9%) at 9pm. Earlier, The Sheriffs Are Coming appealed to 3.37m (19.4%) at 7pm.
ITV's All Star Mr & Mrs entertained 2.84m (13.7%) at 8pm (277k/1.4% on +1), while Secrets from the Clink was seen by 2.27m (11.6%) at 9pm (192k/1.3%).
On Channel 4, Double Your House for Half the Money interested 1.05m (5.1%) at 8pm (291k/1.5%), while One Born Every Minute attracted 1.48m (7.5%) at 9pm (182k/1.2%). The Mimic amused 392k (2.3%) at 10pm.
Channel 5's Emergency Bikers appealed to 693k (3.3%) at 8pm, followed by World's Worst Storms with 1.04m (5.3%) at 9pm and Big Brother with 1.19m (7.7%) at 10pm. »
Dear Television Programmers of the World,
You’re doing okay. If you were in elementary school, you’d all be getting Bs—solid effort, little imagination.
You see, Shark Week is coming to the Discovery Channel this week, and while some of you have stepped up to provide some quality programming riffing on the 27-year-old shark-based franchise—we’re looking at you, Hub network’s dog-themed Bark Week—not nearly enough have stepped up to the plate.
For instance, Logo TV has planned its inaugural Snark Week to coincide with Discovery’s own bite-filled festival. The network plans to air »
- Jackson McHenry
Marvel’s Guardians of the Galaxy is a movie where we could go on and on with relevant recommended titles. Its main hero, Star-Lord (Chris Pratt), is a guy who spent his first 10 years on Earth enjoying a lot of movies and music. He’s a good representation of many people his age who are still Earthbound, because he’s focally nostalgic for ’80s pop culture and is always ready to make a reference to Teenage Mutant Ninja Turtles or some other property that existed prior to his abduction in 1988 by the space pirates known as the Ravages. In addition to the direct allusions spoken or spotted on screen (it’s cool that Star-Lord is familiar with a classic like The Maltese Falcon and apparently had an Alf sticker in his backpack when taken), the movie is highly influenced by past movies, with some big antecedents such as Star Wars and Raiders of the Lost Ark being »
- Christopher Campbell
Universal Pictures is looking at a pretty profitable year in 2016. In addition to Ride Along 2, Warcraft, The Best Man Wedding, Bourne 5 and Skull Island, the studio has just added a high-profile prequel to its lineup, simultaneously bumping another big-budget reboot back two months. Let’s take the prequel first, then the reboot.
Tody, the studio unveiled Snow White and the Huntsman follow-up The Huntsman, which will count out Kristen Stewart to instead tell the story of how the Huntsman (Chris Hemsworth) first encountered villainous Queen Ravenna (Charlize Theron). Frank Darabont is set to direct the prequel, which was formerly known as Snow White and the Huntsman 2. It has been dated for April 22nd, 2016.
The film previously slotted for that date, Alex Kurtzman’s remake of The Mummy, has been shifted by two months to June 24th, 2016. Jon Spaihts (Doctor Strange) will be penning the script, about which details are currently scarce. »
- Isaac Feldberg
Rocket Fuelled; Gunn Pleasures Summer PG-Spot
It’s the end of the world as we know it. Or so the popcorn films of the summer thus far would have us believe. From the knock ‘em, sock ‘em eyesore that was Transformers: Age of Extinction to the poetic Snowpiercer, this summer’s movies have recurrently reinforced that we are living in a dog-eat-dog, every-man-for-himself society and thankfully this is not the case in Guardians of the Galaxy, the multiplexes’ savior from the otherwise humorless and joyless fare on offer. Writer/director James Gunn (Slither, Super) has not only infused some much needed fun back into the subgenre, but he reminds auds to embrace each other with open arms. Though at times tonally inconsistent, this is the perfect lighthearted antidote to its summer release superhero predecessors.
Initially established in 1969, Marvel’s ‘Guardians of the Galaxy’ comic books have seen numerous changes over the years, »
- Leora Heilbronn
"Guardians of the Galaxy" is the most irreverent Marvel departure so far, and, thanks to comedy writer-director James Gunn ("Slither," "Super"), we're reminded that sci-fi can be fun. What's old is new again. But even though it wasn't his intention to give us a nostalgia trip while creating his own colorful galaxy of rogues and villains, it's an occupational hazard of turning archetypes on their heads. (Toh! review and roundup here.) "When they first told me about 'Guardians of the Galaxy,' I wasn't sure about it," Gunn insists. "I'm a big Marvel comics fan but I didn't see this as a movie. But for some reason, driving home from a meeting with the Marvel guys, it suddenly occurred to me that this was the space epic I've always wanted to make... The movies that influenced this movie the most were the movies that I saw as a kid: »
- Bill Desowitz
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