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2016 | 2015 | 2014 | 2013 | 2012 | 2011 | 2010 | 2009 | 2008 | 2002

14 items from 2016

Red-Carpet Exclusive Portraits: Woody Allen for ‘Café Society’

25 July 2016 8:51 PM, PDT | | See recent news »

Chicago – He is one of the most prolific American directors of the modern cinema era, and has also forged a career as stand-up comedian, actor, playwright and screenplay artist. He is Woody Allen, and he walked the Red Carpet at the Chicago History Museum on July 21st, 2016, for his new film ‘Café Society.’

The film is his 47th feature film as writer/director, from “What’s Up, Tiger Lily” (1966) to the present day, and highlights Allen’s strengths as an artist. “Café Society” is filled with romance, heartbreak and the glamour of 1930s Hollywood, and features Steve Carrell, Jesse Eisenberg, Kristen Stewart, Blake Lively, Corey Stoll and Parker Posey. It is schedule for nationwide release on July 29th, 2016

Woody Allen’s Latest Film is ‘Café Society, Releasing Nationwide on July 29th, 2016

Photo credit: Joe Arce of Starstruck Foto for

Woody Allen was born Allen Stewart Konigsberg in Brooklyn, »

- (Adam Fendelman)

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Woody Allen: A Career in 20 Hilarious, Brilliant Lines

13 July 2016 9:17 AM, PDT | | See recent Rolling Stone news »

This Friday, Café Society, the latest release from writer/director/comic godhead Woody Allen, waltzes into theaters — the 47th feature Allen has directed over a career spanning 50 years. (Yes, we're counting New York Stories.) He's had box-office successes and outright bombs, Oscar-winning masterpieces and critically panned duds. But regardless of his movies' receptions (and the reoccurring rumors about his personal life), he's managed to pump out a film a year with impressive regularity. Some key elements have stayed the same — once a jazz clarinet slinks onto the soundtrack, audiences know exactly who they're dealing with. »

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Woody Allen: A Career in 20 Hilarious, Brilliant Lines

13 July 2016 9:17 AM, PDT | | See recent Rolling Stone news »

This Friday, Café Society, the latest release from writer/director/comic godhead Woody Allen, waltzes into theaters — the 47th feature Allen has directed over a career spanning 50 years. (Yes, we're counting New York Stories.) He's had box-office successes and outright bombs, Oscar-winning masterpieces and critically panned duds. But regardless of his movies' receptions (and the reoccurring rumors about his personal life), he's managed to pump out a film a year with impressive regularity. Some key elements have stayed the same — once a jazz clarinet slinks onto the soundtrack, audiences know exactly who they're dealing with. »

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David Oyelowo and Dianne Wiest Grieve Together In Emotional ‘Five Nights In Maine’ Trailer — Watch

7 July 2016 2:14 PM, PDT | Indiewire | See recent Indiewire news »

Five Nights In Maine” follows Sherwin (David Oyelowo), a recent widower after his loving wife Fiona (Hani Furstenberg) was killed in a traffic accident. Amidst his depression, he travels to a remote corner of Maine to see Fiona’s hostile, cancer-stricken mother Lucinda (Dianne Wiest) who’s being taken care of by caring nurse Ann (Rosie Perez). Tensions run high as both Sherwin and Lucinda deal with their shared tragedy and express their grief in various difficult ways. Both struggle to come to terms with their rage and fear as well as their love for Fiona. Watch the trailer below and check out some exclusive photos from the film as well.

Read More: Tiff First Look: David Oyelowo and Dianne Wiest Lead ‘Five Nights in Maine

The film is directed by Maris Curran. She previously directed the film “Edge of the Road,” about a family road trip out of the Midwest, »

- Vikram Murthi

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The top 25 films of Jeff Daniels

5 July 2016 3:16 AM, PDT | Den of Geek | See recent Den of Geek news »

Dan Cooper Jul 8, 2016

From Dumb & Dumber and The Martian, through to Arachnophobia and Steve Jobs - we salute the screen work of Jeff Daniels...

They say that when you play the Game of Thrones, “you win or you die”. The Game of Jeff Daniels, however, is an undeniably different beast and for the most part is a definite “you win or you win”. After viewing dozens of Jeff Daniels movies and spending many, many hours with his on-screen personas, it’s fair to say that the maxim has been sorely tested but guess what? It still holds true. This list has been carefully curated to celebrate the veteran actor’s talent, versatility and wit and no matter which (if any) of these movies you decide to revisit or check out for the first time, Jeff is guaranteed to give you something to love in each and every one.

25. Dumb And Dumber To (2014)

Hmmm. »

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Marquee Movie: Matinee

11 June 2016 8:30 AM, PDT | Trailers from Hell | See recent Trailers from Hell news »

“We used to go to the movies.  Now we want the movies to come to us, on our televisions, tablets and phones, as streams running into an increasingly unnavigable ocean of media.  The dispersal of movie watching across technologies and contexts follows the multiplexing of movie theaters, itself a fragmenting of the single screen theater where movie love was first concentrated and consecrated.  (But even in the “good old days,” movies were often only part of an evening’s entertainment that came complete with vaudeville acts and bank nights).  For all this, moviegoing still means what it always meant, joining a community, forming an audience and participating in a collective dream.” –

From the UCLA Film and Television Archive’s programming notes for its current series, “Marquee Movies: Movies on Moviegoing”

Currently under way at the Billy Wilder Theater inside the Armand Hammer Museum in Westwood, the UCLA Film and Television Archive’s far-reaching and fascinating series “Marquee Movies: Movies on Moviegoing” takes sharp aim at an overview of how the movies themselves have portrayed the act of going out to see movies during these years of seismic change in the way we see them. What’s best about the collection of films curated for the series is its scope, which sweeps along from the anything-goes exhibition of the silent era, on through an examination of the opulent era of grandiose movie palaces and post-war audience predilection for exploitation pictures, and straight into an era—ours—of a certain nostalgia for the ways we used to exclusively gather in dark places to watch visions jump out at us from the big screen. (That nostalgia, as it turns out, is often colored by a rear-view perspective on the times which contextualizes it and sometimes gives it a bitter tinge.) As the program notes for the Marquee Movies series puts it, whether you’re an American moviegoer or one from France, Italy, Argentina or Taiwan, “the current sense of loss at the passing of an exhibition era takes its place in the ongoing history of cultural and industrial transformation reflected in these films.”

The series took its inaugural bow last Friday night with a rare 35mm screening of Matinee (1993), director Joe Dante and screenwriter Charlie Haas’s vividly imagined tribute to movie love during a time in Us history which lazy writers frequently like to describe as “the point when America lost its innocence” or some other such silliness. For Americans, and for a whole lot of other people the world over, those days in 1962 during what would come to be known as the Cuban Missile Crisis felt more like days when something a whole lot more tangible than “innocence” was about to be lost, what with the Us and Russia being on the brink of nuclear confrontation and all. The movie lays down this undercurrent of fear and uncertainty as the foundation which tints its main action, that of the arrival of exploitation movie impresario Laurence Woolsey (John Goodman, channeling producer and gimmick maestro William Castle) to Key West, Florida, to promote his latest shock show, Mant!, on the very weekend that American troops set to sea, ready to fire on Russian missile installments a mere 90 miles away in Cuba.

Woolsey’s hardly worried that his potential audience will be distracted the specter of annihilation; in fact, he’s energized by it, convinced that the free-floating anxiety will translate into box office dollars contributed by nervous kids and adults looking for a safe and scary good time, a disposal cinematic depository for all their worst fears. And it certainly doesn’t matter that Woolsey’s movie is a corny sci-fi absurdity-- all the better for his particular brand of enhancements. Mant!, a lovingly sculpted mash-up of 1950s hits like The Fly and Them!, benefits from “Atomo-vision,” which incorporates variants of Castle innovations like Emergo and Percepto, as well as “Rumble-rama,” a very crude precursor to Universal’s Oscar-winning Sensurround system. The movie’s Saturday afternoon screening is where Dante and Haas really let loose their tickled and twisted imaginations, with the help of Woolsey’s theatrical enhancements.

Leading up to the fearful and farcical unleashing of Mant!, Dante stages a beautifully understated sequence that moved me to tears when I saw it with my daughters last Friday night at the Billy Wilder Theater. Matinee is seen primarily through the eyes of young Gene Loomis (Simon Fenton), a military kid whose dad is among those waiting it out on nuclear-armed boats pointed in the direction of Cuba. Gene is a monster-movie nerd (and a clear stand-in for Dante, Haas and just about anybody—like me—whose primary biblical text was provided not by that fella in the burning bush but instead by Forrest J. Ackerman within the pages of Famous Monsters of Filmland), and he manages to worm his way into Woolsey’s good graces as the producer prepares the local theater to show his picture. At one point he walks down the street in the company of the larger-than-life producer, who starts talking about his inspirations and why he makes the sort of movies he does:

“A zillion years ago, a guy’s living in a cave,” Woolsey expounds. “He goes out one day—Bam! He gets chased by a mammoth. Now, he’s scared to death, but he gets away. And when it’s all over with, he feels great.”

Gene, eager to believe but also to understand, responds quizzically-- “Well, yeah, ‘cause he’s still living.”

“Yeah, but he knows he is, and he feels it,” Woolsey counters. “So he goes home, back to the cave. First thing he does, he does a drawing of a mammoth.” (At this point the brick wall which the two of them are passing becomes a blank screen onto which Woolsey conjures an animated behemoth that entrances Gene and us.) Woolsey continues:

“He thinks, ‘People are coming to see this. Let’s make it good. Let’s make the teeth real long and the eyes real mean.’ Boom! The first monster movie. That’s probably why I still do it. You make the teeth as big as you want, then you kill it off, everything’s okay, the lights come up,” Woolsey concludes, ending his illustrative fantasy with a sigh.

But that’s not all, folks. At this point, Dante cuts to a Steadicam shot as it moves into the lobby hall of that Key West theater, past posters of Hatari!, Lonely are the Brave, Six Black Horses and Whatever Happened to Baby Jane?. The tracking shot continues up the stairs, letting us get a really close look at the worn, perhaps pungent carpet, most likely the same rug that was laid down when the theater opened 30 or so years earlier, into the snack bar area, then glides over to the closed swinging doors leading into the auditorium, while Woolsey continues:

“You see, the people come into your cave with the 200-year-old carpet, the guy tears your ticket in half—it’s too late to turn back now. The water fountain’s all booby-trapped and ready, the stuff laid out on the candy counter. Then you come over here to where it’s dark-- there could be anything in there—and you say, ‘Here I am. What have you got for me?’”

Forget nostalgia for a style of moviegoing. I don’t think I’ve ever seen a more compact, evocative and heartfelt tribute to the space in which we used to see movies than those couple of minutes in Matinee. The shot and the narration work so vividly together that I swear I could whiff the must underlying that carpet, papered over lovingly with the smell of popcorn wafting through the confined space of that tiny snack bar, just as if I was a kid again myself, wandering into the friendly confines of the Alger Theater in Lakeview, Oregon (More on that place next week.)

Dante’s movie is a romp, no doubt, but its nostalgia is a heartier variety than what we usually get, and it leaves us with an undercurrent of uneasiness that is unusual for a genre most enough content to look back through amber. Woolsey’s words resonate for every youngster who has searched for reasons to explain their attraction to the scary side of cinema and memories of the places where those images were first encountered, but in Matinee there’s another terror with which to contend, one not so easily held at bay.

Of course the real world monster of the movie— the bomb— was also, during that weekend in 1962 and in Matinee’s representation of the missile crisis, “killed off,” making “everything okay.” But Dante makes us understand that while calm has been momentarily restored, something deeper has been forever disturbed. The movie acknowledges the societal disarray which was already under way in Vietnam, and the American South, and only months away from spilling out from Dallas and onto the greater American landscape in a way so much less containable than even the radiative effects of a single cataclysmic event. That awareness leaves Matinee with a sorrowful aftertaste that is hard to shake. The movie’s last image, of our two main characters gathered on the beach, greeting helicopters that are flying home from having hovered at the precipice of nuclear destruction, is one of relief for familial unity restored—Gene is, after all, getting his dad back. But it’s also one of foreboding. Dante leaves us with an extreme close-up of a copter looming into frame, absent even the context of the sky, bearing down on us like a real-life mutant creature, an eerie bellwether of political and societal chaos yet to come as a stout companion to the movie’s general air of celebratory remembrance.


The “Marquee Movies” series has already seen Matinee (last Friday night), Woody Allen’s The Purple Rose of Cairo (1985) paired with Polish director Wojciech Marczewski’s 1990 Escape from Liberty Island (last Saturday night), and Ettore Scola’s masterful Splendor (1989), which screened last Sunday night.

But there’s plenty more to come. Sunday, June 12, the archive series unveils a double bill of Lloyd Bacon’s Footlight Parade (1933) with the less well-known This Way, Please (1937), a terrific tale of a star-struck movie theater usherette with dreams of singing and dancing just like the stars she idolizes, starring Charles ‘Buddy’ Rogers, Betty Grable, Jim Jordan, Marian Jordan and the brilliantly grizzled Ned Sparks.

Wednesday, June 15, you can see Uruguay’s  A Useful Life (2010), in which a movie theater manager in Montevideo faces up the fact that the days of his beloved movie theater are numbered, paired up with Luc Moullet’s droll account of the feud between the French film journals Cahiers du Cinema and Positif, entitled The Seats of the Alcazar (1989).

One of my favorites, Tsai Ming-liang’s haunting Goodbye, Dragon Inn (2003) gets a rare projection at the Wilder on Sunday, June 19, along with Lisandsro Alonzo’s Fantasma (2006), described by the archive as “a hypnotic commentary on cinematic rituals and presence.”

Friday, June 24, you can see, if you dare, Lamberto Bava’s gory meta-horror film Demons (1985) and then stay for Bigas Luna’s similarly twisted treatise on the movies and voyeurism, 1987’s Anguish.

Saturday afternoon, June 25, “Marquee Movies” presents a rare screening of Gregory La Cava’s hilarious slapstick spoof of rural moviegoing, His Nibs (1921), paired up with what I consider, alongside Matinee and Goodbye, Dragon Inn, one of the real jewels of the series, Basil Dearden’s marvelously funny The Smallest Show on Earth (1957), all about what happens when a newlywed couple inherits a rundown cinema populated by a staff of eccentrics that include Margaret Rutherford and Peter Sellers. (More on that one next week.)

And the series concludes on Sunday, June 26, with a screening of the original 174-minute director’s cut of Giuseppe Tornatore’s Cinema Paradiso (1988).

(Each program also features a variety of moviegoing-oriented shorts, trailers and other surprises. Click the individual links for details and show times.)


(Next week: My review of The Smallest Show on Earth and a remembrance of my own hometown movie theater, which closed in 2015.)


Later this year Matinee will be released by Universal in the U.S. (details to come)  and by Arrow Films in the UK (with a nifty assortment of extras).


- Dennis Cozzalio

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Woody Allen’s ‘Café Society,’ Starring Kristen Stewart and Jesse Eisenberg, Will Open Cannes 2016

29 March 2016 3:59 AM, PDT | The Film Stage | See recent The Film Stage news »

As the rumors swirl when it comes to the line-up for the 69th Cannes Film Festival, today brings confirmation of one specific title. The festival announced today that Woody Allen‘s latest feature Café Society — which Amazon Studios is expected to release this summer — will open the event as an out-of-competition title, marking the third time one of his films has done so.

Led by Kristen Stewart (who we expect to also show up with Olivier AssayasPersonal Shopper) and Jesse Eisenberg, the announcement also comes with an official logline (following last week’s details from cinematographer Vittorio Storaro) and the first still, seen above. Check out the press release below in full and return for our review.

The 69th Festival International du Film de Cannes will launch with a screening of Woody Allen’s new film, Café Society, on Wednesday 11 May in the Palais des Festivals’s Grand Théâtre »

- Jordan Raup

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Woody Allen's 'Café Society' to open Cannes Film Festival

29 March 2016 3:05 AM, PDT | ScreenDaily | See recent ScreenDaily news »

Period romance stars Kristen Stewart and Jesse Eisenberg.

Woody Allen’s new film, Café Society starring Kristen Stewart and Jesse Eisenberg, is to open the 69th Cannes Film Festival on May 11.

Screening Out of Competition title, it marks a record-breaking coup for the New York director who has already opened Cannes twice, in 2002 with Hollywood Ending and in 2011 with Midnight in Paris.

Scroll down for full list of Woody Allen titles at Cannes over the years

The film tells the story of a young man (Eisenberg) who arrives in Hollywood during the 1930s hoping to work in the film industry, falls in love, and finds himself swept up in the vibrant café society that defined the spirit of the age. The cast also includes Blake Lively, Parker Posey and Steve Carell.

It marks the third time Eisenberg and Stewart have starred opposite each other after Adventureland (2009) and American Ultra (2015).

Twilight star Stewart previously walked the red carpet »

- (Michael Rosser)

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NYC Weekend Watch: Metrograph, Jerry Lewis, Stan Brakhage, ‘Late Spring’ & More

3 March 2016 5:48 PM, PST | The Film Stage | See recent The Film Stage news »

Since any New York cinephile has a nearly suffocating wealth of theatrical options, we figured it’d be best to compile some of the more worthwhile repertory showings into one handy list. Displayed below are a few of the city’s most reliable theaters and links to screenings of their weekend offerings — films you’re not likely to see in a theater again anytime soon, and many of which are, also, on 35mm. If you have a chance to attend any of these, we’re of the mind that it’s time extremely well-spent.


The most exciting theater to hit New York in years opens today. They’ll begin with The Purple Rose of Cairo and Taxi Driver on Friday. Saturday and Sunday unbelievably packed, the schedule including The Spirit of the Beehive, Vivre Sa Vie, The Long Day Closes, Femme Fatale, Goodbye, Dragon Inn, and Noah Baumbach‘s »

- Nick Newman

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John Waters, Greta Gerwig, Jim Jarmusch Turn Out for Metrograph Theater Opening

3 March 2016 2:19 PM, PST | Variety - Film News | See recent Variety - Film News news »

Last month the beloved single-screen institution the Ziegfeld Theater closed, yet another marker of how difficult it is to keep a small theater open in New York amidst competition from corporate chains such as AMC. But filmmaker Alexander Olch isn’t easily discouraged. He spent several years completing his first film, 2008’s “The Windmill Movie,” and while working with distributor Jake Perlin, he came up with the idea to open an independent theater in New York.

It took several years for it to come to fruition, but at Wednesday’s grand opening of Metrograph, a stylishly designed two-screen theater located in New York’s Lower East Side, Olch told Variety that while it was “a roller coaster, full of stops and starts” to get the theater open, he believes it will ultimately be a sound investment.

“When you really sit down to look at the numbers, at this particular scale, »

- Michael Tedder

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Comparing Remakes, the Way of Ozu, the Films of Jean-Pierre Melville, Coens Plan Criterion Talk, and More

2 March 2016 3:15 PM, PST | The Film Stage | See recent The Film Stage news »

Dailies is a round-up of essential film writing, news bits, videos, and other highlights from across the Internet. If you’d like to submit a piece for consideration, get in touch with us in the comments below or on Twitter at @TheFilmStage.

The Coen brothers will attend the 59th San Francisco International Film Festival to screen Blood Simple and have a conversation with Peter Becker and Jonathan Turell of Janus Films and the Criterion Collection, Anne Thompson reports.

Watch a video of side-by-comparisons for remakes, from Solaris to The Departed:

After reading our feature on The Metrograph, dive into their first batch of articles:

Which is surely why movies about movies are almost as old as movies themselves, as if we felt an urgency right from the start to get a handle on how this incredible medium was reshaping our minds and imaginations. Larger-than-life characters and the stars who play »

- TFS Staff

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DVD Review: Escape from Liberty Cinema

19 January 2016 11:22 AM, PST | CineVue | See recent CineVue news »

★★★★★ Polish director Wojciech Marczewski was no stranger to his country's censors - giving up film direction altogether after 1981's Shivers due to the return of martial law and film censorship. He exploited his experiences to the full in his fabulous absurdist comedy, Escape from the 'Liberty' Cinema. Those familiar with Woody Allen's 1985 comedy The Purple Rose of Cairo will notice similarities. Marczeweski based his narrative on Allen's and then politicised it, crafting an exceptional satire set just prior to the fall of the communist regime that combines surreal humour and cinematic allusions to champion freedom, artistic or otherwise.


- CineVue UK

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Bringing Mars down to Earth by Anne-Katrin Titze

16 January 2016 10:54 AM, PST | | See recent news »

Ridley Scott, Matt Damon and Drew Goddard at The Martian tea Photo: Anne-Katrin Titze

Adam McKay and Charles Randolph (working from a book by Michael Lewis) for McKay's The Big Short, Nick Hornby (novel by Colm Tóibín) for John Crowley's Brooklyn, Phyllis Nagy (book by Patricia Highsmith) for Todd Haynes' Carol and Emma Donoghue's adaptation of her own novel for Lenny Abrahamson's Room, join Drew Goddard (book by Andy Weir) for Ridley Scott's The Martian as the five Best Adapted Screenplay Oscar nominees. Aaron Sorkin's adaptation of Walter Isaacson's biography for Danny Boyle's Steve Jobs is a glaring omission by the Academy voters.

Jeff Daniels, the star of Woody Allen's The Purple Rose Of Cairo and James L. Brooks' Terms Of Endearment, is the thread between Oscar nominated actors Kate Winslet, Michael Fassbender as Steve Jobs and Matt Damon in The Martian »

- Anne-Katrin Titze

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A uniter, not a divider by Anne-Katrin Titze

12 January 2016 2:29 PM, PST | | See recent news »

The Martian screenwriter Drew Goddard: "The challenge was to make the science human." Photo: Anne-Katrin Titze

I was taken on a Seventies musical journey to Donna Summer land, Abba’s Waterloo and the great Starman creator, David Bowie, by Drew Goddard, the screenwriter who adapted Andy Weir's book for Ridley Scott's The Martian, starring Matt Damon with Jessica Chastain, Jeff Daniels, Kate Mara, Michael Peña, Sean Bean, Chiwetel Ejiofor, Kristen Wiig, Benedict Wong, Mackenzie Davis, Donald Glover, Sebastian Stan, and Aksel Hennie. Daniels (Nasa director Teddy Sanders) who plays Apple CEO John Sculley in Danny Boyle's Steve Jobs - starring Michael Fassbender with Kate Winslet, and written by Aaron Sorkin - is a favorite of Goddard’s since Woody Allen's The Purple Rose Of Cairo and James L. Brooks' Terms Of Endearment.

Mark Watney (Matt Damon): "You understand that he needs food and he needs water. »

- Anne-Katrin Titze

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2016 | 2015 | 2014 | 2013 | 2012 | 2011 | 2010 | 2009 | 2008 | 2002

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