11 items from 2014
After a solid premiere, Believe, NBC’s thriller from Gravity director Alfonso Cuarón and J.J. Abrams, settles into its regular Sundays at 9 p.m. time slot March 16 with a second episode that promises to reveal more about Kyle MacLachlan’s well-dressed Skouras, who’s battling his former partner Winter (Delroy Lindo) for control of 10-year-old Bo (Johnny Sequoyah) and her powers.
“Much more time is spent explaining who he is, where he’s from, and why he’s interested in Bo,” says MacLachlan, who took his cues for creating the character from something Cuarón did when he was directing the pilot. »
- Mandi Bierly
Feature Ryan Lambie 11 Mar 2014 - 05:39
In the late 80s, Carolco was one of the biggest studios in Hollywood, but by 1995, it was gone. Ryan charts its dramatic rise and fall...
Paul Verhoeven is not a happy man. It's 1994, and the Dutch director of (among other things) RoboCop and Total Recall is in a pivotal meeting with executives at Carolco Pictures. They're in the boardroom to discuss Crusade: a lavish, $100m historical drama described as Spartacus meets Conan.
With a script by Walon Green (The Wild Bunch, WarGames), and a cast headed up by Arnold Schwarzenegger, it sounds like the kind of star-filled, opulent film Carolco Pictures is famous for making. The supporting cast includes Jennifer Connelly and Robert Duvall. The script is vibrant and brash. There are massive sets being built in rural Spain. But privately, Carolco's bosses are anxious; they have another hugely expensive project in the works »
The Paul Verhoeven filmography screens at the Tiff Bell Lightbox through April 4th, culminating in a screening of his new “crowdsourced” film, Tricked.
Common wisdom dictates that cynicism and sentimentality are carefully linked, if not outright synonymous. In filmic terms, the most comfortable formulation of that argument is to align, for instance, romantic comedies with socially-acceptable (and, often, utterly noxious) notions of gender politics. Through the deployment of relationships and character profiles that support popular notions of how women and men behave, these movies are able to exploit comfortable mores in order to mainline easy pathos. What’s less common is to consider how that relationship between affect and effect can be subverted, perhaps because it’s relatively rare for truly subversive artists to be handed the proverbial keys to the kingdom.
- Simon Howell
Both the Netherlands’ favorite filmmaker and Hollywood’s greatest purveyor of cynical sleaze, Paul Verhoeven is many things to many people. but we can all hopefully agree that he is anything but boring. In our first look at his remarkably diverse filmography, Simon Howell, then Sos co-hosts Ali McKinnon and Mariko MacDonald take a look at three of Verhoeven’s most divisive films: the space-opera fascism of Starship Troopers, the blackly comic romance of Turkish Delight, and one of the ’90s worst-reviewed films, Showgirls. Note: This is one of the rare times in which Ricky D does not appear on this episode. This podcast was also recorded during a time when we used to broadcast live from Cjlo.
“Amsterdam” – Peter, Bjorn and John
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Paul Verhoeven: From Holland to Hollywood is a 45 minute documentary on the Dutch-born film director, created back in 1996 to coincide with the London release of his film Showgirls and the publication of his authorized biography. The documentary made for the television show Omnibus, features Verhoeven’s always, fascinating commentary, along with interviews from several of his cast and crew including long time collaborator, and cinematographer Jan de Bont. It is an absolutely essential watch for fans of the filmmaker and anybody interested in learning more about his controversial films.
The post ‘From Holland to Hollywood” – Watch A 45-Minute Documentary on Paul Verhoeven appeared first on Sound On Sight. »
After more than a decade of discussion, the remake of 1987’s RoboCop finally arrived in theatres this week, heralded by wildly mixed reviews and Twitter-borne chatter along the lines of “Seriously? Why don’t they remake terrible movies instead of great ones? You know, like Endless Love?” But the original remains untarnished by the sniping. Made on a small-even-then budget of $13 million, the classic RoboCop was a huge hit, spawning no end of tie-in products as well as one of moviedom’s most satisfying catchphrases (“I’d buy that for a dollar!”). It also marked the Hollywood breakthrough for Dutch director Paul Verhoeven, who gave us the 1990s gems Total Recall, Basic Instinct, and Starship Troopers (with a wrong turn at Showgirls in between). Even two thoroughly dispiriting sequels couldn’t tarnish the franchise’s legacy the way certain other sci-fi follow-ups (*cough* Matrix trilogy *cough* Star Wars prequels *cough*) have. »
- Ivan Cohen
“Check out this unearthed 1977 letter from Clint Eastwood to film critic Andrew Sarris, wherein Eastwood thanks Sarris for his Village Voice article on the “Dirty Harry” franchise, titled “Is Harry Too Dirty?” Eastwood gets to expound on the perceived messages in his films, complaining that ones with anti-capital punishment agendas like “Hang ‘Em High” got little media attention, while vigilante crime classic “Dirty Harry” and its sequels — which are about, in his words, “concern for the victim” — results in Pauline Kael calling fascism.”
‘Best director Oscar nominee Alfonso Cuaron did a Reddit Ama Thursday, promoting his film Gravity, which is still in theaters and hits Blu-ray February 25. As tends to be the case with these, topics were all over the map, »
The new RoboCop isn’t terrible, which shouldn’t be an accomplishment. But we live in a world that produced 2012′s Total Recall, not simply a bad movie, but one of the most misbegotten works of popular entertainment in history, “popular” and “entertainment” both used loosely. The Recall remake replaced everything that made the 1990 Recall entertaining with tropes purchased third-hand from a garage sale at Christopher Nolan’s house.
By comparison, there are things to enjoy about neo-RoboCop. The supporting cast is stacked with ringers. Michael Keaton, Jackie Earle Haley, Jennifer Ehle, and Jay Baruchel all have a blast with ripe parts, »
- Darren Franich
This news is tearing me apart! Apparently James Franco is set to produce a movie based on Greg Sestero‘s book The Disaster Artist: My Life Inside the Room, a memoir about Sestero’s acting gig in the 2003 cult classic — and touted “worst movie of all time” — The Room. Franco will star in the project too, presumably as The Room‘s director and star Tommy Wiseau, and he’ll be camping it up alongside Seth Rogen and his brother Dave Franco, who will probably play Sestero. Sigh, Dave Franco. Nudity is always a good option for him!
For the hell of it, let’s recast other notoriously bad movies for potential biopics.
- Louis Virtel
With her tongue hanging out awkwardly and completely without sex-appeal, squeaky clean TV star Elizabeth Berkley's transformation to Nomi Malone in Showgirls anticipated Miley Cyrus's most talked about moment in 2013 - a awards show performance which heralded her descent from clean-cut Hanna Montana to trashy pop diva - and it did so by nearly two decades. And so goes the career of Paul Verhoeven, who makes films that confound critics and audiences alike upon initial release with unabashed earnestness acting as a veneer for the director's satirical approach to humanity and a perceived audiences unslakeable thirst for sleaze. Yet, his films seem well ahead of their time and not without purpose; whether it is putting blockbuster bombast towards satire or copious amounts of on-screen...
[Read the whole post on twitchfilm.com...]
Looking back over the year at what films moved and impressed us, it is clear that watching old films is a crucial part of making new films meaningful. Thus, the annual tradition of our end of year poll, which calls upon our writers to pick both a new and an old film: they were challenged to choose a new film they saw in 2013—in theaters or at a festival—and creatively pair it with an old film they also saw in 2013 to create a unique double feature.
All the contributors were given the option to write some text explaining their 2013 fantasy double feature. What's more, each writer was given the option to list more pairings, with or without explanation, as further imaginative film programming we'd be lucky to catch in that perfect world we know doesn't exist but can keep dreaming of every time we go to the movies.
11 items from 2014
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