15 items from 2017
Conceived by George Lucas, brought to the screen by director Steven Spielberg, and made iconic by Harrison Ford, the Indiana Jones series is synonymous with thrilling adventure. That is why Marcus Theatres is proud to bring it back to the big screen this August!
The Indiana Jones Movie will screen each Sunday in August at Noon, and Mondays & Wednesdays at 7pm All tickets only $5!
Group sales and auditorium buyouts are available, and tickets for these events can be purchased in bulk. Please call 1(800) 232-4625 or email Events@MarcusTheatres.com for more information.
The Marcus Theatres in the St. Louis area participating in this event are:
The Galaxy, The Ronnies, The Des Peres, and The St. Charles. For a list of theaters in other locations, go Here
Raiders of the Lost Ark – August 6, 7 & 9
As the Third Reich continues its reign of terror, Adolf Hitler is on a quest for the legendary »
- Tom Stockman
Rats make wonderful pets and they are allowed in many rentals where larger animals are not, but not everyone is comfortable having one in the house. Some of the most horrific scenes in popular movies feature rats as major players in certain scenes. They have their place as horror figures that inspire fear and trepidation as well as innocuous pets that are timid and unobtrusive. Here are five movie scenes where rats were the main characters. “Indiana Jones and the Last Crusade” The brave explorer Indiana Jones has his own private fears like most people. He hates rats. This scene
Five Movie Scenes Where Rats Were the Main Character »
- Dana Hanson-Firestone
Robb Sheppard Jul 7, 2017
Robb takes us through the impact that alcohol had on his life,
Once again, for this week's Geeks Vs Loneliness, we're eschewing our usual introduction, that you can find on the 100+ other posts in this series (some links can be found further down the page). Instead, we're handing over to Robb, who asked us if he could write a piece entitled 'alchohol, depression and movies: the trilogy of my 20s'). With a fair smattering of film quotes - just in case the context isn't clear - here it is. Huge thanks to you, Robb...
It’s 5pm and to the untrained eye, I’m itching. Jonesing. Crawling up the walls.
My life is fantastic. I hate my job, obvs, but I »
We pick 10 movies that honor the fathers in our lives, but they’re also highly entertaining films that dad himself will enjoy!
Father's Day is a celebration of the fathers that have positively influenced our lives, as well as the impact of fathers on our society as a whole. To show just how important fathers can be, I selected 10 films where fathers play an important role. In selecting these films, I used two criteria. First, they are movies that celebrate all kinds of dads. Some of these movie dads may be selfish or disillusioned, some don’t have the best relationship with their kids, and some of them might seem like they are doing more harm than good. But despite their weaknesses, they all share one thing in common; an unrelenting love for their children. By contrasting different dads, I wanted these films to show us the many different ways »
- email@example.com (G.S. Perno)
In the first installment of Universal’s “Dark Universe” film series, Cruise plays soldier Nick Morton, who scours ancient sites for timeless artifacts to sell them to the highest bidder. After coming under attack in the Middle East by a betrayed Egyptian princess, Cruise has to stop the previously entombed monster as she rampages throughout London. Cruise stars alongside Sofia Boutella, Jake Johnson, Russell Crowe, and Courtney B. Vance in the modern-day “Mummy” installment set to release in the U.S. this Friday.
The busy film received overwhelmingly negative reception, with most calling out the movie’s seemingly unrelated interconnected plot of Dr. Jekyll and Mr. Hyde tied in with an entirely different monster story. Other reviews call out the main story itself, »
- Rebecca Rubin
Here are a bunch of little bites to satisfy your hunger for movie culture: Franchise Parody of the Day: Ranker shows us what to expect in every Pirates of the Caribbean movie in this animated parody fake trailer for a 13th installment: Franchise Recap of the Day: Also prepare yourself for the new Pirates of the Caribbean movie with this supercut of some of the franchise's best moments: Movie Comparison of the Day: Speaking of Pirates of the Caribbean, did the last one seem familiar? Couch Tomato shows 24 reasons why On Stranger Tides is the same movie as Indiana Jones and the Last Crusade. Video List of the Day: CineFix is back with a showcase of more of the greatest shots of all...
- Christopher Campbell
Spider-Man: Homecoming hasn’t even hit the cinemas yet, but Sony seem to have a lot of faith in young star Tom Holland that they are willing to thrust him to the fore of another big franchise, this time as the lead in the big screen adaption of the best selling Playstation vide game series, Uncharted, according to Deadline. This particular project has been doing the rounds in Hollywood for years with David O. Russell (Three Kings, Joy) and Joe Carnahan (Narc, The A-Team), amongst many others, attached at one point. In fact, Carnahan had written the most recent draft of the script for director Shawn Levy (Stranger Things, Real Steel), envisioning it as an R-Rated adventure flick. While Levy is still on board, this most recent draft is being rewritten to de-age the hero, roguish Indiana Jones-alike Nathan Drake, presenting an origin story as he grows into his role as a famed treasure hunter. »
- firstname.lastname@example.org (Tom White)
Pete Dillon-Trenchard May 6, 2017
This article contains lots of spoilers for Doctor Who.
See related Power Rangers, boob armour, and impractical costumes
Knock, Knock is a real treat - a spooky, atmospheric tale with an emotional core and some brilliant guest performances. And in a sense it’s a real treat for this writer too, as it’s one of those Doctor Who episodes that’s so fresh and unlike anything the series has done before in its 54-year history (intentionally or otherwise) that this article is significantly shorter than usual; we hope that’s okay. But as ever, if you think you’ve spotted something we’ve missed, please do leave it in the comments below...
Poirot’s Last Case
We’ll start with a reference that wasn’t - in »
Harrison Ford will be coming back as one of his most iconic characters at least one last time, but a little later than we previously thought. Today it was announced by Disney and Lucasfilm that Indiana Jones 5 will be hitting theaters on July 10, 2020, which puts it right in the heart of the summer movie season. When the project was initially announced, it was pegged for a July 19, 2019, release date, but things have been delayed a bit. Still, we are getting some more Indy action.
The announcement was made by Lucasfilm via StarWars.com, with Lucasfilm also locking down a May 24, 2019, release date for Star Wars: Episode IX. As for the original July 19, 2019, release date, Disney is finding a way to make use of that as well, by putting out their upcoming remake of The Lion King on that day. Waste not, want not. In the announcement, it was confirmed that, »
Henry Bevan with his top five movie explorers…
The film follows the exploits of the real-life explorer Percy Fawcett, played by Charlie Hunnam, leading up to his famous disappearance in 1925. The mysterious circumstances surrounding his disappearance have turned Fawcett into a figure almost as mythological as the city he was looking for.
His “myth” has impacted culture and he has inspired the creation of many fictional explorers. Inspired by the film’s Us release, here are the Top 5 Movie Explorers.
5) Milo Thatch – Atlantis: The Lost Empire
If there is one hallmark of many movie explorers it is that they must be obsessed with finding a lost city. Milo Thatch from Disney’s underrated Atlantis: The Lost Empire has been searching for Atlantis his whole life. »
- Henry Bevan
Harrison Ford's sense of humor is definitely intact.
The 74-year-old actor made a surprise appearance at Thursday's Star Wars Celebration in Orlando, Florida, during the special 40th anniversary panel, replying clasically to some light ribbing from moderator Warwick Davis.
"I can't believe we managed to keep it a secret, considering that you landed your plane on I-4," Davis cracked, referencing a local highway. "Yeah, but it was a good landing!" quipped Ford.
The jokes kept coming later in the conversation, when George Lucas recalled casting Ford as Hans Solo in the iconic franchise. "I said, 'Do you know how to fly?'"
Ford's response, cleverly referencing his role in Indiana Jones and the Last Crusade, prompted big cheers from the audience.
"I said, 'Fly? Yeah. Land? No.'"
News: Harrison Ford 'Very Happy' He Won't Be Fined or Lose Pilot's License After Botched Airplane Landing
In February, Ford found himself under investigation after flying over a »
This five-part Truthdig series by Carrie Rickey is published in partnership with Women and Hollywood. The series considers the historic accomplishments of women behind the camera, how they got marginalized, and how they are fighting for equal employment. Specifically, this series asks, why do females make up between 33 and 50 percent of film-school graduates but account for only seven percent of working directors? What happened to the women directors in Hollywood?
While female filmmakers waited for Judge Pamela Rymer to hand down a decision in the 1983 Directors Guild class-action suit against Warner Brothers and Columbia Pictures, alleging discrimination for not hiring women and ethnic minorities represented by the guild, there were positive signs of change in Hollywood.
In 1984, for the first time that almost anyone could remember, one needed two hands to count the number of feature films by women released in the U.S. market. One was Diane Kurys’ “Entre Nous” (1983), nominated for best foreign film at the Academy Awards in April 1984, making Kurys the second female director whose film was so honored.
Between 1950 and 1980, the number of movies directed by women in the Directors Guild of America (DGA) totaled 14. From 1984 to 1985 there were 12.
In 1984 many women were making their second features. Among them were Gillian Armstrong’s period drama “Mrs. Soffel,” Amy Heckerling’s gangster comedy “Johnny Dangerously,” Penelope Spheeris’ teenage-runaway saga “Suburbia,” and Amy Holden Jones’ romantic drama “Love Letters.” Martha Coolidge, beloved for “Valley Girl,” her 1983 debut, was on her third feature, “National Lampoon’s Joy of Sex.” With more women behind the movie camera in the United States than any time since the ’teens, it seemed that Hollywood was reopening the studio gates to women. Their movies featured women in lead roles.
The wave of optimism crested in 1985. Argentine director Maria Luisa Bemberg’s historical romance “Camila” (1984) was in contention for best foreign film. Susan Seidelman, an Nyu film-school grad who made a splash in 1983 with the indie “Smithereens,” released “Desperately Seeking Susan,” starring “It Girl” Rosanna Arquette and Madonna, cast when the latter was a relative unknown. It was a runaway hit. Heckerling and Spheeris each released third features, respectively “National Lampoon’s European Vacation” and “The Boys Next Door.” Coolidge released her fourth: “Real Genius,” a genuinely funny nerd comedy with a fully developed female character — and special effects.
Then came the crash.
In August 1985 Judge Rymer handed down her decision. While the class-action case was important and viable, Rymer ruled, she had to disqualify the DGA from leading the class due to a conflict of interest. White male members also competing for directing jobs dominated the guild, she said. Thus the DGA was in no position to represent the interests of its women and ethnic minority members. Out of exhaustion and lack of money, the Original Six, the group of female filmmakers that had first spurred the DGA to initiate the suit, did not pursue it any further.
As the DGA suit played out during the early 1980s, Hollywood’s business model was in flux. Studios abandoned the one-size-fits-all strategy of advertising a movie in general-interest publications and embraced segmented marketing — that is, making and marketing movies to a specific demographic. Fewer dollars were spent advertising movies in mainstream newspapers and more were spent on ads that ran during TV shows young males were said to watch. More and more, movies starred predominantly men and boys. Because actors had higher-profile roles, they could command higher salaries than actresses.
By dividing the market into sectors, studios divided the audience and the culture. Boys see movies about boys. Older people see movies about older people. Women see movies about women. Those in different demographics no longer watch the same stories.
In 1980, four of the 10 top box office stars were women: Sally Field, Jane Fonda, Sissy Spacek, and Barbra Streisand. In 1990 there was only one: Julia Roberts. According to 1990 statistics from the Screen Actors Guild, not only were actresses underpaid, but they were also “undercast”: 14 percent of the leading roles, and only 29 percent of all roles, went to women.
The “Indiana Jones” trilogy made in the 1980s reflected the progressively diminishing role of females in film during a decade when male action/adventures dominated the multiplex. In “Raiders of the Lost Ark” (1981), the character Marion Ravenwood (Karen Allen) plays Indy’s helpmate. In “Indiana Jones and the Temple of Doom” (1984), the Willie Scott character (Kate Capshaw) is helpless. And in “Indiana Jones and the Last Crusade,” archeologist Elsa Schneider (Alison Doody) is the enemy.
Despite such trends, the late 1980s and 1990s proved to be boom years for female directors in Hollywood and Indiewood, as independent film is known. In 1987, Kathryn Bigelow, a onetime sculptor and graduate of Columbia University’s film program, made her second feature, the “vampire Western” “Near Dark.” And though Elaine May’s studio film “Ishtar” was almost universally panned upon release, it earned belated respect. Richard Brody of The New Yorker correctly described it as “an unjustly derided masterwork.” In 1987, six percent of films were directed by women, higher than at any time since 1916.
The percentage dropped in 1988, but that was a watershed year for female filmmakers. “Big,” a comedy from Penny Marshall (co-written by Anne Spielberg), was universally acclaimed. It was the first movie directed by a woman that surpassed $100 million at the box office. With the romantic comedy “Crossing Delancey,” Joan Micklin Silver returned to making big-screen fare, and her modest hit was well received. Also in 1988, Silver’s daughter, Marisa, made her second feature, “Permanent Record,” about teen suicide. “Salaam, Bombay!”, the first feature from Mira Nair, the India-born, Harvard-educated documentarian, was a best foreign film Oscar nominee.
The following year, “Look Who’s Talking” from Amy Heckerling likewise surpassed the $100 million mark for box office sales in the U.S. and made nearly $300 million worldwide. For the most part, though, heads of studios regarded Marshall’s and Heckerling’s box-office smashes as flukes. Two heads of production told me in 1991 that “movies by women don’t make money.” Nevertheless, it turned out to be a exceptional year for the quality and range of releases from women. And it shaped up to be a year when movies by female filmmakers did make serious money.
Some of the highlights of 1991: Julie Dash’s “Daughters of the Dust,” an evocative portrait of generations of Gullah women off the South Carolina coast circa 1901; Jodie Foster’s “Little Man Tate,” about a child prodigy emotionally torn between his mother and a psychologist for gifted children; and Mira Nair’s “Mississippi Masala,” a sexy romance about a South Asian woman born in Uganda (played by then-newcomer Sarita Choudhry) in love with an African-American man (Denzel Washington). Both Kathryn Bigelow’s action film “Point Break” and Barbra Streisand’s psychological study “Prince of Tides” examined the emotional costs to men who struggle to prove their masculinity. Bigelow’s movie grossed $83 million and Streisand’s $110 million. (Adjusted for inflation, that’s $148 million and $196 million in today’s dollars.)
Not only can female filmmakers make movies that show a different side of men, but they also make movies that show different aspects of women. Penny Marshall’s “A League of Their Own” (1992), about the All-American Girls Baseball Leagues during World War II, celebrates the athleticism (rather than the sexuality) of the female body. Nora Ephron’s “This is My Life,” her 1992 directorial debut about a single mom whose choice of comedy career affects her daughters, shows that career and motherhood need not be in conflict. Like Ephron’s film, Allison Anders’ “Gas Food Lodging” (also 1992) explores what happens when the children of single moms reconnect with biological fathers. Male directors were, and are not, making movies like these.
During the 1990s, almost every year brought a new evergreen made by a female filmmaker. In 1993 there were two. One was Jane Campion’s “The Piano,” a haunting allegory about a mute woman that struck a chord internationally. It earned $62 million at the box office and multiple Oscar nominations, including one for best director, making Campion the third woman to be cited in this category. The other was Nora Ephron’s “Sleepless in Seattle,” the comedic romance between two people who don’t meet in person until the last scene, which scored a $227 million box office.
“Sleepless” additionally introduced the questionable concept of the “chick flick” to a broader audience. This is a non-genre that has come to be defined as any movie that, according to the term’s proponents, women want to see and that men think they don’t want to watch — or any movie directed by a woman. The division between “chick flick” and its corollary, the “dick flick,” is a perhaps unintended consequence of target marketing, implying that movies represent a gender-linked proposition.
Almost overnight, the perception was created that movies predominantly featuring women, or “women’s interests,” or directed by women would shrivel the manhood of the male moviegoer. In 1994 the head of a major studio told me, without irony or shame, that “Women on the screen means no men in the audience.” When I asked him for data to back up his claim, he said he had it, but it was proprietary.
Despite such signs of cultural and corporate sexism, the 1990s were a good time to be a female filmmaker. In 1994, Gillian Armstrong’s “Little Women” was immediately embraced as a classic. Newcomer Darnell Martin’s “I Like it Like That,” an urban comedy about a working mother juggling job, marriage, and parenthood, earned positive reviews. And Rose Troche’s “Go Fish,” the first indie comedy about girl-on-girl courtship, marked a milestone for the burgeoning genre.
The following year, 16 films by women were in U.S. release, setting another record for that era. Many of them were comedies. There was Amy Heckerling’s “Clueless,” a droll version of Jane Austen’s “Emma” set at a Beverly Hills high school. There is Betty Thomas’ “The Brady Bunch Movie,” in which the former actress sets the characters of the 1970s TV hit in the 1990s to great comic effect. Distinctly not a comedy was Kathryn Bigelow’s “Strange Days,” a science-fiction thriller about sex crimes, which lost money but became a cult favorite. At the 1996 Oscar ceremony, with “Antonia’s Line,” Dutch filmmaker Marleen Gorris became the first female filmmaker to direct the award-winning foreign film.
But apart from Bigelow and Mimi Leder, a director of episodic television who in 1997 directed “The Peacemaker” and in 1998 “Deep Impact,” female filmmakers were not making action films. For the most part women made comedies and human stories, movies with no explosions in the opening scene. Veteran filmmaker Martha Coolidge spoke for many women when she noted that the scripts the studios sent her were for comedies or family dramas. “About 90 percent of what comes my way are ten different kinds of breast cancer stories, ten kinds of divorce stories, and ten kinds of women-taking-care-of-their-fathers stories,” she said. “I do those. I care about those deeply. But one does want to do more.”
Female filmmakers were typecast in the way many actors and actresses have been, for the most part pigeonholed in family drama and comedy genres. For example, in 1997 actress Kasi Lemmons made her directorial debut with “Eve’s Bayou,” a haunting family drama, and Betty Thomas returned with the Howard Stern biopic “Private Parts.” In 1998, Ephron returned with the romantic comedy “You’ve Got Mail.” Nancy Meyers, a long-time screenwriter, made her directorial debut with the family-friendly comedy “The Parent Trap,” and Brenda Chapman, a Disney animator, was one of three directors on “Prince of Egypt,” the animated story of Moses.
In 1999, three female filmmakers made rookie features unlike anything in American movies. Two were romantic dramas about teenage sexuality, the other an imaginative Shakespeare adaptation. Sofia Coppola’s “The Virgin Suicides,” based on the novel by Jeffrey Eugenides, looked at how boys look at girls, subversively turning the female gaze on the male gaze. Kimberly Peirce’s “Boys Don’t Cry” dramatized the life story of Teena Brandon, who changed her name and gender to become Brandon Teena and fell victim to a hate crime.
Julie Taymor, the theater director who created “The Lion King” on stage, made her movie debut with “Titus,” an anachronistic version of the Shakespeare history play “Titus Andronicus,” underscoring its parallels to Italy under Mussolini.
At the end of the decade — and century — of the 11,000 filmmakers working both in television and film included in the Directors Guild of America, about 2,300 were women. While women made up 21 percent of the membership, they comprised only 9 percent of the filmmakers working in movies.
Most, including Martha Lauzen, a professor at San Diego State University and the head of the Center for the Study of Women in Film and Television, naturally assumed that in the new century the needle would move toward 50/50.
In addition to writing film reviews and essays for Truthdig, Carrie Rickey has been a film critic at The Philadelphia Inquirer and Village Voice, and an art critic at Artforum and Art in America. Rickey has taught at various institutions, including School of the Art Institute of Chicago and the University of Pennsylvania, and has appeared frequently on NPR’s “Talk of the Nation,” MSNBC, and CNN.
What Happened to the Women Directors in Hollywood? Part 4: 1984–1999 was originally published in Women and Hollywood on Medium, where people are continuing the conversation by highlighting and responding to this story. »
- Women and Hollywood
Exploring the director’s fascination with spying.
The cinema of Steven Spielberg is one that’s built around fascination and a need to understand. As a director he is an explorer, but not one interested in unearthing grand artifacts, rather one in search of intimate treasures, an explorer of explorers, so to speak, someone to whom the process of discovery is much more interesting than the discoveries themselves.
As such, his films are rife with surveillance, characters spying on or otherwise surreptitiously watching other characters, tracking their behavior, their actions, their being, for the purposes of gathering information, good and bad. Think of the Nazis on the trail of Indiana Jones in Raiders of the Lost Ark peering over newspapers, or the future crime detectives in Minority Report scanning time for illegalities, or the government scientists after E.T. creeping about suburbia.
Spielberg is constantly exploring surveillance and the various mindsets behind it, and »
- H. Perry Horton
By: Carson Blackwelder
The best sound editing category is going to be tough to call at this year’s Oscars, but the race is boiling down to Hacksaw Ridge versus La La Land. While we won’t know who won the Academy’s favor until Sunday, we already know the Motion Picture Sound Editors have honored these two films — among others — at their annual Golden Reel Awards. How often does this society of sound editors predict the corresponding category at the Academy Awards? Let’s take a look and find out.
Nominated alongside Hacksaw Ridge and La La Land in the best sound editing category at this year’s Oscars are Arrival, Sully, and Deepwater Horizon. The Hollywood Reporter’s Scott Feinberg predicts that Damien Chazelle’s modern musical will take home the trophy by overtaking Mel Gibson’s big Hollywood return. »
- Carson Blackwelder
He’s outrun boulders; he’s ingeniously escaped danger a multitude of times from practically anything that moves; he’s drank from the Holy Grail; he’s defeated the Nazi’s, twice; he hates snakes and he always gets the girl. His name is Indiana Jones, and he’s everyone’s favorite audacious archeologist.
After three marvelous and valiant international adventures – Raiders of the Lost Ark, Indiana Jones and the Temple of Doom, and Indiana Jones and the Last Crusade (and another one with a nuclear-proof refrigerator for some reason) – Disney announced early last year that there will be a fifth installment to the Indy franchise, set to be released in July 2019. The plot is unknown at this time, but rumors of a younger actor like Chris Pratt or Bradley Cooper taking up the whip and fedora were laid to rest when Harrison Ford announced that Indiana Jones veteran, Steven Spielberg, »
- Luke Parker
15 items from 2017
IMDb.com, Inc. takes no responsibility for the content or accuracy of the above news articles, Tweets, or blog posts. This content is published for the entertainment of our users only. The news articles, Tweets, and blog posts do not represent IMDb's opinions nor can we guarantee that the reporting therein is completely factual. Please visit the source responsible for the item in question to report any concerns you may have regarding content or accuracy.See our NewsDesk partners