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By Alex Simon
There are few rituals in life more chaotic, confounding and magical than the wedding. Appropriately, marriages have provided the backdrop for many a story spun through the ages. Whether it’s sending out multitudes of wedding invitations, choosing the right dress, or whether to seat Aunt Mabel next to her second or fifth ex-husband at the reception, weddings both in life and on film are almost always guaranteed to bring forth a surge of emotions. Below are a few of our favorite cinematic nuptials:
1. The Searchers (1956)
John Ford’s western masterpiece is full of many iconic moments, not the least of which is one of the screen’s greatest knock-down, drag-out fights between Jeffrey Hunter and Ken Curtis for the hand of comely Vera Miles. Martin Scorsese loved this scene so much, he paid homage by having his characters watch it in Mean Streets (1973).
- The Hollywood Interview.com
Next week marks the 35th anniversary of Stanley Kubrick's The Shining, and it will be screening during the 16th season of Film on the Rocks on June 9th. Also in this round-up: a Dark Was the Night trailer and listing information for the house from Poltergeist.
The Shining 35th Anniversary Screening: Press Release -- "Denver Film Society and Denver Arts & Venues announced the line-up for the 2015 edition of Film on the Rocks (Fotr). Presented by Pepsi, the 16th season includes nine events throughout the summer. Each film is preceded by a live concert and local comedian, courtesy of Comedy Works.
"Memorial Day weekend is the traditional start to Summer and Film on the Rocks is a Colorado Summer tradition," said Britta Erickson, Festival Director for the Denver Film Society. "We are so excited to kick off the season on the holiday weekend and bring cult-classic and fan-favorite films, great »
- Tamika Jones
While I cannot say the festival has started for me with the searing acuteness found day one in Cannes last year with Timbuktu, with Hirokazu Kore-eda's Our Little Sister the tone of my first full day on the Croisette instead began with the Japanese director's particular sensibility of refined, humane warmth and a complete absence of desire to impress.A wonderful concept centers this picture and called back to me small memories of a Mikio Naruse film I loved long ago, Older Brother, Younger Sister (speaking now of Japanese masters, Our Little Sister also contains a poignant reference to Ozu's The End of Summer). Three single women, not young but also not middle-aged, sisters from their father's first of three marriages, adopt their teenage half-sister after his death strands her between his first and last broken family. So we get a kind of enclave or community of sisterhood, discreet, »
- Daniel Kasman
Read More: Cannes: Matteo Garrone's 'Tale of Tales' Review and Roundup Monty Python by way of Tim Burton and "The Princess Bride," Italian director Matteo Garrone's first English language feature "Tale of Tales" is a nutty compendium of outrageous fairy tales unfolding within the constraints of a single unseemly kingdom. Although wobbly in parts like so many cinematic anthologies, Garrone's alternately silly and entrancing adaptation of Giambattista Basile's Neapolitan stories provides a welcome gothic antidote to more stately treatments of similar material. Garrone's bizarre narrative incorporates four overlapping stories in a kingdom filled with the usual ensemble of mythological beasts, magical powers and royal schemes. While every sequence goes to certain outrageous extremes — plot twists include the consumption of a giant sea monster's heart and the nurturing of a dog-sized flea — Garrone cuts between them with a fluid approach that successfully conveys the »
- Eric Kohn
Cary Elwes (The Princess Bride, Saw) has been cast opposite Dennis Quaid, Christian Cooke and Kate Bosworth in drama series The Art Of More on Sony’s Crackle. Written by Gardner Stern and Chuck Rose, the drama explores the underbelly — and surprisingly cutthroat world — of premium auction houses, filled with hustlers, smugglers, power mongers and collectors of the beautiful and the bizarre. Elwes, repped by Apa, Link and Felker Toczek, will play Arthur Davenport, a shrewd… »
I’m not sure if it’s the intention of Alex Winter to carve out a niche for himself as the chief explainer of the digital age, but it seems like that’s what he’s doing. In 2012, he released Downloaded, a look at how Napster and file sharing has changed the music business and the perception of copyright, but that’s just the tip of the iceberg of how computers and the internet have changed things. Winter’s latest, Deep Web, tackles notions of privacy, intelligence and law enforcement in the internet age through the story of the man who may or may not be the most prolific drug trafficker in history.
The title, Deep Web, refers to a wide swath of the internet that’s hidden underneath all the cat videos, remixes and other bric-a-brac that makes up the internet as we know it, or what the computer literate call “the surface web. »
- Adam A. Donaldson
HitFix's recent spate of "Best Year in Film History" pieces inevitably spurred some furious debate among our readers, with some making compelling arguments for years not included in our pieces (2007 and 1968 were particularly popular choices) and others openly expressing their bewilderment at the inclusion of others (let's just say 2012 took a beating). In the interest of giving voice to your comments, below we've rounded up a few of the most thoughtful, passionate, surprising and occasionally incendiary responses to our pieces, including my own (I advocated for The Year of Our Lynch 2001, which is obviously the best). Here we go... Superstar commenter "A History of Matt," making an argument for 1968: The Graduate. Bullit. The Odd Couple. The Lion in Winter. Planet of the Apes. The Thomas Crown Affair. Funny Girl. Rosemary's Baby. And of course, 2001, A Space Odyssey. And that's only a taste of the greatness of that year. "Lothar the Flatulant, »
- Chris Eggertsen
Kevin Pollak‘s latest movie is a documentary that questions whether pain is necessary to create the kind of comedy that resonates. Misery Loves Comedy sees an enormous amount of professional funny people explaining their experiences, and Pollak joins us this week to discuss the myth of the tortured artist and what he learned crafting 700 hours of footage into a 90-minute movie. Plus, Geoff and I will dissect a serious scene from a comedy — specifically the To The Pain speech from The Princess Bride — in order to see how one cup of dirt and three cups of sugar can create meaningful dramatic moments in a movie that makes you laugh. Double plus, we’ll have a spoiler-free interrogation reviewification of Avengers: Age of Ultron that sends us to the corner store for ear plugs. You should follow the show (@brokenprojector), Geoff (@drgmlatulippe) and Scott (@scottmbeggs) on Twitter for more on a daily basis. Download »
- Scott Beggs
The 21st century is a foreign country. If you had asked someone in the 1989 what the charming fantasy adventure The Princess Bride, and slacker time travel history lesson, Bill & Ted's Excellent Adventure had in common, you would likely have gotten a decidedly different answer than the following: A documentary on the David vs. Goliath legal battle over the nature of the Fourth Amendment of the U.S. Constitution by radical crypto-libertarians running a black-market whose goal to free commerce from big government resulted in one of the largest illegal drug bazaars the world has ever seen. This is the stuff of a Neil Stephenson science fiction novel (title suggestion: "Cypherpunk.") Here is where we are.Director Alex Winter, once the actor who played Bill S. Preston (Esquire),...
[Read the whole post on twitchfilm.com...]
Matt Kindt seamlessly goes from solo street level corporate espionage adventures of Ninjak to Valiant comics cosmic with the third issue of Divinity, where one becomes three, twice, and where Kindt and Trevor Hairsine takes us where no man has gone before.
That there were two more members on the mission with Abram makes sense, I pointed out visual evidence of that possibility in my review of Divinity #2, and the number 3 tends to be symbolic in a lot of ways, including in religious discourse. It strikes me that they are all conveniently color coded, Abram is red, a female is orange, another man is either black or gray. Now Valiant fans will scurry to find characters in other titles wearing those as accents.
At the moment of truth, we get a glimpse of a woman, who everyone in Valiant fandom … okay just me wants to associate with Mothergod, which coincidentally »
- Jay Tomio
Over the course of film history, we've seen plenty of long-time actors step behind the camera to take up their directorial ambitions. Clint Eastwood did it. Mel Gibson did it. George Clooney did it. What do these three have in commonc Well, for starters, they are all men, so there's that. Further, they are all white, but more on that later. More to the point of the article, these men all eased into their directorial careers by starring in their respective debuts, using their presence on screen to help market their talents off it. And with his feature directorial effort The Water Diviner, which hits limited theaters this week, Russell Crowe is just the most recent addition to a growing list of actors who have decided to try their hand behind the camera. Like Eastwood, Gibson, and Clooney before him, the Best Actor winner stars in his first feature as director, »
- Jordan Benesh
What 300 does to project Sparta’s glorious lust for battle upon more civilized audiences, The Dead Lands intends to do for the native Maori culture of New Zealand. All the casting is locally sourced (something 300 might have flubbed a bit), lush and exotic locales call back to “simpler” times, and character motivations boil down to animalistic assertions of alpha dominance, which are the only matters that director Toa Fraser deals with. His film might as well be re-titled History Of The Bro Pt. 1, since Glenn Standring’s screenplay never reaches past a simple-as-pie revenge arc, but historical differences do their best to assert some sort of aboriginal individuality versus just any loin-cloth strapped imitator. Key words – “do their best.”
- Matt Donato
We find the remnants of our band stalking the pits of the Sinspire, patiently and calculatingly ascending lady luck’s ladder in Lynch’s Monte Carlo, the city-state Tal Verrar, marked on any map as the destination for the apex of high society and high stakes. The absurdity of the back in-saddle starting point exhibits the author’s greatest strength, his decisions on how to pace a novel. The cuts to the recent past, giving us the anatomy of the scheme and farther back to moments transpiring in the direct aftermath of The Lies of Locke Lamora are perfectly placed, once again functioning as a new door to open just before the occupied space stagnates. You seem to never be anywhere but where you want to be, Lynch just doesn’t let you in on the fact until a chapter later, and the reader isn’t sprinting or running a »
- Jay Tomio
Adam Bakri (“Omar”) and Maria Valverde (Ridley Scott’s “Exodus: Gods and Kings”) star as the titular star-crossed lovers, and are joined by Mandy Patinkin (“Homeland,” “Criminal Minds,” “The Princess Bride”) and Connie Nielsen (“Nymphomaniac,” “Gladiator”), playing Nino’s parents Gregor and Tamar Kipiani.
Ali Khan and Nino Kipiani live in Baku, the cosmopolitan, oil-rich capital of Azerbaijan, which, at the beginning of the 20th century, is a melting pot of different cultures. Ali is a Muslim, with his warrior ancestors’ passion for the desert; and Nino is a Christian Georgian girl with sophisticated European ways.
The two have loved each other since childhood, »
- Leo Barraclough
Read More: 7 Clips That Define 'Mad Men,' And What the Cast Has to Say About Them If there's one thing we know about millennials, it's that they love their '80s and '90s nostalgia. Movies like "The Goonies," "The Princess Bride," "Jurassic Park" and "Independence Day" regularly show up in the canon of beloved "must-watch" films. So it's not surprising that so many of the most successful films lately have been reboots of famous franchises meant to capitalize on millennial nostalgia. ("Teenage Mutant Ninja Turtles," anyone?) "Millennial Mad Men," the new video written and directed by Steven Parkhurst, seeks to make a point about the fragility of depending on nostalgia for box office boost, with a pitch by none other than Don Draper. The video parodies the iconic "Carousel" pitch scene from the hit AMC show's first season by having Don pitch Hollywood clients the concept of rebooting original film. »
- Becca Nadler
Piles of noirish exposition get the better of Jason Statham in this unpleasantly retrograde crime drama. What happened in Vegas should have stayed there. I’m “biast” (pro): nothing
I’m “biast” (con): Simon West must be stopped
I have not read the source material
(what is this about? see my critic’s minifesto)
I understand why Jason Statham might want to expand his onscreen horizons. I don’t think he has it in him, but I get it. What I don’t get is: Why choose, for such a creative endeavor, this regressive throwback, which would have been unpleasantly backward-looking in the mid 1980s, when William Goldman published the novel it’s based on? (It was first adapted by Goldman himself for film in 1986, starring Burt Reynolds and titled Heat, and it wasn’t met with applause then, either.) Honestly, when I saw that Goldman was credited with the script here, »
- MaryAnn Johanson
To mark the occasion, Digital Spy has unearthed 25 fascinating facts about the beloved 1990 film. Read on to find out why Vivian is a Disney princess, how Superman himself Christopher Reeve almost played Edward and the film's straight-to-the-point title in China.
1. The original script for Pretty Woman was titled $3,000 and was a dark drama about prostitution in La. Vivian was a drug addict trying to go clean to save up money for a trip to Disneyland. Disney-owned Touchstone Pictures developed the idea into a more conventional romantic comedy, meaning Vivian is something of an edgier Disney princess.
The very welcome return of an old character is the one highlight in the abyss of storytelling that Helix has fallen into.
This review contains spoilers.
For those who are curious, the term Ectogenesis refers to the growing of something in an artificial environment, like when plants are grown without soil. Except used in Helix, it had more to do with Sarah’s immortal baby, who is chilling in the plastic tube that it was placed in after it was induced. There are so many things wrong with this idea, it is hard to know where to start, but as it is frozen in its development cycle, that wouldn’t technically be Ectogenesis, would it? Actually, if that were true then it wouldn’t fill the tube either, as when Sarah became immortal it wasn’t anywhere near term, as the foetus represented here most certainly is.
Details, details, »
Here are a bunch of little bites to satisfy your hunger for movie culture: Just in time for the Cinderella remake, here's Sarah Michelle Gellar as its title character in a rap battle against Belle from Beauty and the Beast (played by Whitney Avalon). See another battle, between Princess Leia and Lotr's Galadriel, at Geek Tyrant. Peter Falk reads Game of Thrones to Fred Savage in this mash-up of the HBO series and The Princess Bride (via Devour): This whole Jurassic Park-themed set-up, which can used to decorate your home theater or bedroom or baby nursery, is for sale on eBay (via Geekologie): The latest Avengers: Age of Ultron trailer dubbed by kids is as adorable as it sounds (via Geek Alert): Kill Bill...
- Christopher Campbell
Much like young Fred Savage I was exposed to The Princess Bride at an early age. It was like nothing I’d ever seen at the time and I quickly wore out my family’s VHS copy. The rodents of unusual size (Rous’s) terrified me, Fezzik became my favourite character, and I would frequently end conversations with a screechy “inconceivable!”. I can only imagine how differently things might have turned out had I been read A Game of Thrones instead... »
- Kevin Fraser
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