5 items from 2013
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As the 50th anniversary of John F Kennedy's assassination approaches you'll notice that, for such an important event, Hollywood movies on the subject are pretty thin on the ground. Up until the Zac Efron-led Parkland (which deals more with the effects on peripheral characters and is out on Friday), the only other notable example was this sprawling Oliver Stone epic. Plenty of critics have used adjectives such as belligerent, tenacious and (above all) paranoid when describing the film, but it's more than one man's delusional opus. Stone launches into things head on, with a great cast including a relentlessly blank Kevin Costner and far more flamboyant turns from Kevin Bacon, Tommy Lee Jones and Joe Pesci, plus Gary Oldman as Lee Harvey Oswald.
Don't go into this expecting answers; the movie is more »
Riffing on Terek Puckett’s terrific list of director/actor collaborations, I wanted to look at some of those equally impressive leading ladies who served as muses for their directors. I strived to look for collaborations that may not have been as obviously canonical, but whose effects on cinema were no less compelling. Categorizing a film’s lead is potentially tricky, but one of the criteria I always use is Anthony Hopkins’s performance in Silence of the Lambs, a film in which he is considered a lead but appears only briefly; his character is an integral part of the story.
The criteria for this article is as follows: The director & actor team must have worked together at least 3 times with the actor in a major role in each feature film, resulting in a minimum of 2 must-see films.
One of the primary trends for the frequency of collaboration is the »
- John Oursler
We start the Top 7. You finish the Top 10.
Pacific Rim is without a doubt my favorite film of the summer. Indeed, I can’t think of a recent big summer movie I’ve loved anywhere near this much. The action, the visuals, and the sheer spectacle on display are second to none. Beyond that, though, I genuinely like the story and characters. While Travis Beacham and Guillermo del Toro’s screenplay isn’t going to be accused of being the most original thing in the world, the way everything is put together feels so fresh. I’m a big fan of how streamlined and straightforward the story is. Everything about the world is so vivid that it doesn’t need a convoluted, labyrinthine plot to hold up. It works because it delivers heroes doing everything in their power to save the world from monsters (Kaiju) hellbent on destroying it.
About the characters, »
- Shane T. Nier
Named one of Filmmaker Magazine’s “25 New Faces of Independent Film” in the summer of 2007, no filmmaker has stuck to his guns like Calvin Lee Reeder. Embodying everything that makes Independent filmmaking dangerous and boundary pushing, Reeders’ short films and features dare audiences to think in a way mainstream cinema will never achieve, and his latest film The Rambler is absolutely no different. Delving into something full of mummies, gore, dark humor, and an endless journey, Reeder will no doubt challenge viewers to interpret the actions on screen in their own way, leaving a highly ambitious story completely up for full dissection.
I recently had the chance to chat with writer/actor/director Calvin Lee Reeder, and the result was an extremely honest dialogue about the inner workings of Independent cinema and how less and less filmmakers are willing to take that gamble on a surreal cinematic experience that explores the unknown. »
- Matt Donato
The week's second unwelcome remake, this French-produced horror flick transposes a cult slasher movie of 1980 from New York to La. The original antihero, a mother-fixated serial killer who scalped his female victims to provide wigs for the mannequins he created, was played by the plug ugly Joe Spinell, a familiar face from crime films, Coppola's The Godfather and Roeg's Eureka among them. In this upmarket but no more distinguished version, he's played by Elijah Wood, better known as Frodo Baggins. Wood's baby face is partly concealed by a wispy beard, and the film's chief gimmick is the use of a subjective camera so that we only see what the killer sees (which is chiefly his victims) and only see his face reflected in mirrors. I doubt if cult status is in the offing, but who predicted a future for Michael Powell's Peeping Tom?
guardian.co.uk © 2013 Guardian »
- Philip French
5 items from 2013
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