1-20 of 119 items from 2014 « Prev | Next »
Throughout the summer, an admin on the r/movies subreddit has been leading Reddit users in a poll of the best movies from every year for the last 100 years called 100 Years of Yearly Cinema. The poll concluded three days ago, and the list of every movie from 1914 to 2013 has been published today.
Users were asked to nominate films from a given year and up-vote their favorite nominees. The full list includes the outright winner along with the first two runners-up from each year. The list is mostly a predictable assortment of IMDb favorites and certified classics, but a few surprise gems have also risen to the top of the crust, including the early experimental documentary Man With a Movie Camera in 1929, Abel Gance’s J’Accuse! in 1919, the Fred Astaire film Top Hat over Alfred Hitchcock’s The 39 Steps in 1935, and Stanley Kubrick’s The Killing over John Ford’s »
- Brian Welk
We cover a lot of ground in today's podcast and yet it still fell just short of the two hour mark and we really tried. That said, today we hold the Fall Box Office Draft, we review Frank and Starred Up and revisit The Trip to Italy as Laremy caught it this week and had a few things to say. We also play our regular assortment of games including the longest "Buy or Sell" edition ever, plus clear out a backlog of "Watch This or Watch That". Also included is a conversation as to whether you can be too apologetic in reviews, a listen to the trailer for Kirk Cameron's Saving Christmas and even a voicemail sneaks in. We hope you enjoy. If you are on Twitter, we have a Twitter account dedicated to the podcast at @bnlpod. Give us a follow won'tchac I want to remind you that »
- Brad Brevet
The Austin Film Society teams up with aGLIFF tonight to bring the new documentary To Be Takei (my review for Paste) to the Marchesa for a one-off screening. It's a touching and genuinely funny profile of George Takei, whose career has taken him from Star Trek to social media icon and gay rights activist. This month's Roger Corman series continues this weekend with X: The Man With The X-Ray Eyes. This 1963 thriller screens tonight and again on Sunday in a 35mm print. On Wednesday night, Afs presents SXSW doc Big Joy: The Adventures of James Broughton (Don's review) and then the Barbara Stanwyck Essential Cinema series will close Thursday with Ball Of Fire. Screening in 35mm, this classic 1941 Howard Hawks comedy, written by Billy Wilder and Charles Brackett, pairs Stanwyck with Gary Cooper.
Over at the Alamo Drafthouse Ritz, The Complete David Lynch series is winding down but has several more gems on the way. »
- Matt Shiverdecker
Quentin Tarantino sure knows how to kill people. From Reservoir Dogs to Django Unchained, each film is filled with people getting shot, hacked up with swords, and other unpleasant ways to die. Not that there really is a good way to kick the bucket, but you get my point. Jaume R. Lloret has created a very fun supercut of every death in Quentin Tarantino's films, and although I'm sure most have you have already seen every movie from the director, there are obviously more than »
- Jesse Giroux
Here's an entertainingly blood-filled supercut of every death from the films of Quentin Tarantino. It was edited together by Jaume R. Lloret, and here are the list of films included in the video:
- Reservoir Dogs (1992)
- Pulp Fiction (1994)
- Jackie Brown (1997)
- Kill Bill Vol. 1 (2003)
- Kill Bill Vol. 2 (2004)
- Death Proof (2007)
- Inglorious Basterds (2009)
- Django Unchained (2012)
- Joey Paur
Quentin Tarantino is basically the Grim Reaper of movies; he's killed off so many characters, it's hard to count. (Vanity Fair once put it at 560 on-screen deaths in eight films.)
Vimeo user James R. Lloret has helpfully compiled all of them into one, very bloody four-minute supercut. It starts with 1992's "Reservoir Dogs" and goes through 2012's "Django Unchained," and is scored to The Delfonics' "Didn't I (Blow Your Mind This Time)" from the "Jackie Brown Soundtrack."
As violent and disturbing as it is, you can help but feel a bit of nostalgia for some of the more memorable offings, like Bruce Willis machine-gunning John Travolta in "Pulp Fiction" or Uma Thurman slashing her way through a Yakuza army or Hitler receiving a shower of bullets in "Inglorious Bastards."
Awww, good times were had by all.
Quentin Tarantino // Every Death from Jaume R. Lloret on Vimeo. »
- Kelly Woo
And one fan has decided to pay tribute to the blood-splattering brilliance of Quentin with the ultimate supercut of his movies, which features every single killing from his back catalogue.
Warning: This video features lots and lots of adult content
Not one bloody killing or sword-slashing murder is missed in this brutal compilation that definitely isn't suitable for children.
It's the biggest bloodbath we've seen on screen since the Red Wedding. »
I don't think it's a spoiler to say people die in Quentin Tarantino movies. I think it's pretty safe to assume people will die in his next movie, The Hateful Eight. Hell, people might even die in the upcoming teaser trailer for the film set to play in front of Sin City: A Dame to Kill For this weekend even though filming on the movie has yet to begin. That's how often people die in Tarantino movies and Vimeo user Jaume R. Lloret has taken upon himself to pore over Tarantino's filmography -- Reservoir Dogs (1992), Pulp Fiction (1994), Jackie Brown (1997), Kill Bill: Vol. 1 (2003), Kill: Bill Vol. 2 (2004), Death Proof (2007), Inglourious Basterds (2009), Django Unchained (2012) -- and presents every death from a Tarantino film in the following four-minute supercut. Previously, Vanity Fair charted every death in Tarantino's movies can came up with approximately 560 total on-screen deaths (see the chart below the video »
- Brad Brevet
A surprise trailer for "The Hateful Eight" apparently coming in front of digital prints of "Sin City: Dame To Kill For" this weekend will be the first look at what Quentin Tarantino has up his sleeve for the feature. But if you've seen his other films (and c'mon, you have), you know that his love of genre and grindhouse cinema has resulted in a catalog of stylized movies featuring distinctive dialogue, bold visuals and a bloody body count to go with it. So one Jaume R. Lloret put together a four minute supercut featuring every Tarantino movie death from "Reservoir Dogs" right through to "Django Unchained." Powered by The Delfonics' "Didn't I (Blow Your Mind This Time)" (featured in "Jackie Brown") this video has every bullet wound, stabbing, car crash and more across Qt's oeuvre, and will certainly do the job of perking you up if you haven't had your coffee yet. »
- Kevin Jagernauth
“How do I know if I’m dreaming?” asks actress Robin Wright, played, somewhat surprisingly, by actress Robin Wright, in a moment towards the denouement of this part live action, part animated film examining the meaning of existence and the potentiality of a digital future.
Sadly, by this point, you may not care if the House Of Cards star is dreaming or not as any semblance of reality and cohesive story-telling have been abandoned in this brave, challenging but ultimately problematic piece of work from the man behind the notable Waltz With Bashir (2008), Ari Folman.
The Congress begins with Wright facing the fact that the studios don’t want to work with her; her character here is notoriously difficult and forges her own way in the ‘biz, making her own choices. She is offered, »
The mix of raucous buffoonery and violent mayhem isn’t exactly seamless, and the laugh-out-loud moments come with conspicuously less frequency during a third act that suggests a rough draft for “Bad Boys 3.” Still, “Let’s Be Cops” should generate solid late-summer box office, if only because of trailers and TV spots that smartly exploit the sporadically hilarious funny business in helmer Luke Greenfield’s farce about underachievers who boost their self-esteem by pretending to be Lapd patrolmen. Relatively restrained by the contemporary standards of R-rated raunch, the film could conceivably reach beyond its young-male target demographic during theatrical play and homescreen afterlife.
Employing a premise that was played far more seriously in Canadian filmmaker David Wellington’s 1993 feature, “I Love a Man in Uniform,” Greenfield and co-scripter Nicholas Thomas briskly establish the discontent of their two leads in the opening scenes. Ryan (Jake Johnson of TV’s “New Girl »
- Joe Leydon
The calls have been heard loud and clear, both on stage and off at the Oscars or in the annals of the web and at the box office: the world demands more movies with women, about women, by women and for women.
Every week a movie seems to be failing the Bechdel test, and every week a separate movie ends up walking away with the lion’s share at the box office. From hits like Maleficent, The Fault in Our Stars and Lucy to monster franchises like The Hunger Games, the old notion that teenage boys are the ones driving the demand at the movies is rapidly eroding. The Hollywood Reporter pointed out that Marvel’s Guardians of the Galaxy opened to a 44 percent female audience on the film’s opening weekend, the highest share for any Marvel movie to date.
And although they’ve taken their sweet time, Hollywood »
- Brian Welk
Critic Ken Dancyger, when reviewing hotshot new director Quentin Tarantino’s second feature Pulp Fiction, called it “a new phenomenon, the movie whose style is created from the context of movie life rather than real life. The consequence is twofold—the presumption of deep knowledge on the part of the audience of those forms such as the gangster films or Westerns, horror films or adventure films. And that the parody or alteration of that film creates a new form, a different experience for the audience.”
Tarantino himself has agreed with this assessment, splitting his films up further into the “realer than real” and “movie movies”. The “realer than real” – Pulp Fiction, Reservoir Dogs, Jackie Brown – are still pretty divorced from reality, but they’re still more grounded than the “movie movies” like Kill Bill and Death Proof. As over the top as his characters can be, though, and »
- Tom Baker
Guardians of the Galaxy excels in its offbeat-ness: the clever quips; the machine-gun-wielding raccoon; the fighting, talking tree; the eclectic mix of '70s hits. The soundtrack itself seemed destined to be a favorite months before the film even hit theaters. The first Guardians of the Galaxy trailer, which debuted in February, treated us to a snippet of “Hooked on a Feeling” by Blue Swede. The song has been used on the big screen before, most notably in Quentin Tarantino’s Reservoir Dogs, as part of K-Billy’s Super Sounds of the '70s, but Guardians proved it had staying power: 24 hours after the clip debuted, the 1974 track’s digital sales had skyrocketed by 700 percent. Overall, the trailer was just a taste of what lay ahead: an odd two-hour sci-fi movie filled with fun pop-music references.To find out more about the movie’s musical selections, Vulture exchanged emails with »
- Alex Suskind
Ioncinema.com’s Ioncinephile of the Month feature focuses on an emerging filmmaker from the world of cinema. For those keeping tabs on emerging indie talents, you’d find our month’s featured personality listed as the cinematographer on Adam Wingard’s You’re Next, Hannah Fidell’s A Teacher, and Kat Candler’s short, Black Metal, but it’s his “radiant observational piece” smack-dab in a don’t blink or you’ll miss it community in middle America that Andrew Droz Palermo decided would be the subject of his first full length docu feature. Co-signed with cousin Tracy Droz Tragos, the U. S. Grand Jury Prize: Documentary winning Rich Hill will be released by The Orchard distrib folks on August 1st in New York City (check the listings). Here’s our profile on Andrew, and make sure to click on over to his Top Ten Films of All Time »
- Eric Lavallee
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
Quentin Tarantino is easily one of the most talented, interesting and diverse film makers in the history of cinema. The unique vision and style that he brings to each of his productions, has attracted frequent critical attention ever since his ground-breaking debut in 1992 with Reservoir Dogs.
Since then, Tarantino has gone on to direct a range of modern classics such as Pulp Fiction, Kill Bill and most recently Django Unchained. In fact, there are very few films directed by the man that have not received great critical and commercial acclaim (with more than a few nods from the Academy). After proving himself as a master of the Crime, Martial Arts, War and Western genres (with a healthy dose of Comedy sprinkled throughout), many have hoped that the auteur will one day flex his directorial muscles in a different direction.
Now it’s looking like those hopeful film enthusiasts may get »
- Ben Read
They're now officially counting Kill Bill as One feature so that The Hateful Eight can be Quentin Tarantino's official "8th" film. Convenient, eh? But that's okay because they should've been one film all along. And oh what gross film-splittings have occurred in their wake.
Question: Shouldn't you start filming before releasing a poster?
The movie is not scheduled to start filming until 2015... and the poster assumes everything will happen on schedule and it will be out by the end of that year. Good luck, movie! This reminds me of Amir's rants about all those opening day announcements for secret movies. Hollywood has a preemie problem.
And may Quentin get this out of his system since this'll be his second consecutive nearly all male western. May he some day return to writing great female roles again because he's slipping into terrain that other writer/directors have covered sufficiently throughout time. »
- NATHANIEL R
(Cbr) To celebrate Dynamite's tenth anniversary, publisher Nick Barrucci and Senior Editor Joseph Rybrandt brought Quentin Tarantino to Comic-Con International in San Diego to discuss the upcoming "Django/Zorro" crossover, along with co-writers Reginald Hudlin and Matt Wagner. Alan Kistler was on hand to moderate, though with these panelists the dialogue sailed on its own. With the panelists taking the stage one by one, Tarantino took to the stage with tremendous applause. "We're very fortunate that we're able to do the first sequel of a Tarantino film as a comic first," Barrucci said. "We've put out a lot of great comics from a lot of great creators," Barrucci said of Dynamite's ten years, "and we couldn't do it without you readers." Kistler began by asking who approached who about the project. "The person to thank is Nick Barrrucci," Hudlin said. "As Django was about to come out, Nick called me and said, »
- Shaun Manning, Comic Book Resources
Tarantino and Western film fans are in for a real treat, as Django Unchained will be getting a sequel in the form of a comic book series. To top it off, it will be a crossover with the masked outlaw, Zorro!
Dynamite Entertainment, who publish comics such as The Bionic Woman and Buck Rogers, will be celebrating its 10th anniversary this year by releasing the first non-film sequel to Django Unchained. Django will be teamed up with Dynamite’s long running character Zorro who is the secret identity of Don Diego de la Vega. Tarantino fans will notice that Zorro’s last name is shared with the Vega brothers, Vincent (Pulp Fiction) and Mr. Blonde (Reservoir Dogs), which could mean in the director’s ‘Realer Than Real World’ universe, Zorro is a distant relative of the brothers!
Important figures from Dynamite Entertainment and Tarantino himself gathered at Comic-Con in San »
- Louise Tooth
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