Jackie Brown (1997) - News Poster

(1997)

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Quentin Tarantino’s Manson Era Film Scores Release Date (Exclusive)

Quentin Tarantino’s Manson Era Film Scores Release Date (Exclusive)
Quentin Tarantino’s still-untitled ninth film has a release date. The “Pulp Fiction” director’s latest will hit theaters on Aug. 9, 2019, Variety has learned. Opening on 50th anniversary of the day the Manson family committed the Labianca murders and the day after actress Sharon Tate was killed, the film will head off against “Artemis Fowl,” Disney’s adaptation of the popular sci-fi and fantasy series.

Sony is distributing Tarantino’s next picture. The studio beat out several bidders, including Warner Bros. and Paramount, for rights to the film. It’s being shrouded in secrecy, but is set in 1969 and is believed to involve Charles Manson and the Manson family murders. The director has told media outlets that it’s not a biopic, but is an ensemble film set during the tumultuous time period. It’s the first film that Tarantino is releasing without the Weinstein Company. The indie studio is on the verge of bankruptcy following sexual
See full article at Variety - Film News »

Wamg Giveaway – Win The Hitman’S Bodyguard on Blu-ray

Leading an all-star cast, Ryan Reynolds (Deadpool, The Proposal) and Samuel L. Jackson (Pulp Fiction, Marvel’s Cinematic Universe) take viewers on an outrageous action-packed, comedic adventure in The Hitman’s Bodyguard, arriving on Digital HD November 7 and 4K Blu-ray Combo Pack (plus Blu-ray and Digital HD), Blu-ray™ Combo Pack (plus DVD and Digital HD), DVD and On Demand November 21 from Lionsgate. When Michael Bryce, an elite bodyguard, and Darius Kincaid, a renowned hit man, are forced to work together, they don’t just have to avoid getting killed…they also have to avoid killing each other. The film, which was #1 at the summer box office three weeks in a row, also stars Oscar nominees Gary Oldman (2011, Best Actor, Tinker Tailor Soldier Spy) and Salma Hayek (2002, Best Actress, Frida).

Now you can own The Hitman’S Bodyguard on Blu-ray. We Are Movie Geeks has 4 copies to give away.
See full article at WeAreMovieGeeks.com »

‘Harry Potter’ & ‘Paddington’ Producer Will Produce Quentin Tarantino’s New Movie

In somewhat surprising news ‘Harry Potter’ and ‘Paddington’ series producer David Heyman has jumped aboard to produce Quentin Tarantino’s next film. Deadline reports that Heyman and Tarantino will produce the as yet untitled movie with Shannon McIntosh. The trade adds that ‘just about every studio in town except Disney is chasing, along with several financiers and mini-majors seeking domestic rights.’ More on Quentin Tarantino’s new movie below.

Quentin Tarantino’s New Movie Also Attracting Tom Cruise?

The film is set in Los Angeles in the late ’60s and early ’70s with a ‘script akin to Inglourious Basterds‘. It is thought that the Charles Manson murders are featured in the script but potentially not the key aspect of the story.

Related: Quentin Tarantino’s Next Film Could Be Based Around The Manson Murders

Today’s article over at Deadline says that a number of key actors have bee spoken
See full article at The Hollywood News »

Sliff 2017 Interview: Srikant Chellappa – Director and Writer of Bad Grandmas

Bad Grandmas will screen at The Tivoli Theater (6350 Delmar, in ‘The Loop’) on Thursday November 2nd at 8pm. Tickets include a Sliff opening night reception. Ticket information can be found Here. Pam Grier, director/writer Srikant Chellappa, producer Dan Byington, and two of the film’s co-stars, Sally Eaton and Jilanne Klaus, will all be in attendance.

Sliff’s opening night features the world premiere of Bad Grandmas, a St. Louis-shot comedy by co-writer/director Srikant Chellappa and co-writer Jack Snyder, the team behind such polished productions as “Ghost Image” and “Fatal Call,” which were based locally but screened both nationally and internationally. Starring the late Florence Henderson (“The Brady Bunch”) in her final role and the legendary Pam Grier (“Jackie Brown”), “Bad Grandmas” recounts the misadventures of senior citizens Mimi (Henderson), Coralee (Grier), Bobbi (Susie Wall), and Virginia (Sally Eaton). The friends’ quiet life is upended when Bobbi’s son-in-law,
See full article at WeAreMovieGeeks.com »

Pam Grier, the Foxy Siren of Blaxploitation, to be Honored at This Year’s St. Louis International Film Festival!

The one and only Pam Grier will be honored by Cinema St. Louis with a ‘Women in Film Award’ when she’s in town for this year’s St. Louis International Film Festival. Pam’s iconic movie career began when she moved to Los Angeles in the late ‘60s from her native North Carolina at age 18. After a tiny role in Russ Meyer’s Beyond The Valley Of The Dolls (1970), she landed a job as a receptionist for American International Pictures where she was discovered by Jack Hill, an Aip director who cast her in a pair of women’s prison films: The Big Doll House (1971) and The Big Bird Cage (1972). Soon she was known as the “Queen of Blaxploitation” at a time when film roles for African-American women were, as Grier puts it, “practically invisible, or painfully stereotypical”.

Sliff, which runs Nov. 2nd-12th will kick off with
See full article at WeAreMovieGeeks.com »

Rushes. Anne Wiazemsky, Harvey Weinstein, Alan Rudolph, "Reservoir Dogs" at 25

  • MUBI
Get in touch to send in cinephile news and discoveries. For daily updates follow us @NotebookMUBI.NEWSThe luminously thoughtful French actress Anne Wiazemsky, indelible for her starring roles in Robert Bresson's Au hasard Balthazar, Jean-Luc Godard's Le chinoise, Pier Paolo Pasolini's Teorema and Porcile, and Philippe Garrel's L'enfant secret, has died at the age of 70. Part of her memoir Un an après has been adapted in the controversial film Redoubtable, which premiered at Cannes this year.Significant writings concerning Miramax and The Weinstein Company co-founder Harvey Weinstein's sexual abuse are appearing far and wide: Ronan Farrow for The New Yorker, Jodi Kantor & Rachel Abrams for The New York Times, Heather Graham for Variety, and Naveen Kumar for Vice. Recommended VIEWINGUploaded five months ago and undiscovered until now: Neil Bahadur has found the first trailer for Alan Rudolph's first film in 15 years, Ray Meets Helen.
See full article at MUBI »

Sid Haig Gets ‘High on the Hog’ in New Grindhouse Thriller [Trailer]

Bloody Disgusting’s own Tony Wash, the brainchild behind our ongoing World of Death short film series and director of It’s My Party and I’ll Die if I Want To, returns with the Grindhouse thriller High on the Hog. A film with a pro-legalization message, Sid Haig (The Devil”s Rejects, House of 1000 Corpses, Jackie Brown, Kill Bill: […]
See full article at Bloody-Disgusting.com »

Cinema St. Louis Announces the Features for this Year’s St. Louis International Film Festival

Cinema St. Louis has unveiled the narrative and documentary features that comprise the 26th Annual Whitaker St. Louis International Film Festival, to be held Nov. 2-12, Among the highlights are such St. Louis-related works as “Atomic Homefront,” opening-night film “Bad Grandmas,” and “For Ahkeem” and such festival buzz films as “Call Me by Your Name,” “Dahmer,” “Darkest Hour,” “Film Stars Don’t Die in Liverpool,” “Last Flag Flying,” “The Leisure Seeker,” “Thoroughbreds,” and “Walking Out.”

For a complete list of the films, go Here

http://www.cinemastlouis.org/films-preview

The fest will honor Pam Grier (“Bad Grandmas” and “Jackie Brown”) with a Women in Film Award; Sam Pollard (“Sammy Davis, Jr.: I’ve Gotta Be Me” and “Acorn and the Firestorm”) with a Lifetime Achievement Award; Marco Williams (“Tell Them We Are Rising”) with a Contemporary Cinema Award; and Washington U. grad Dan Mirvish (the Jules Feiffer-written “Bernard
See full article at WeAreMovieGeeks.com »

Lebanese Director Ziad Doueiri Detained in Beirut, but Cleared of Charges by Military Tribunal

Lebanese Director Ziad Doueiri Detained in Beirut, but Cleared of Charges by Military Tribunal
Updated: French-Lebanese director Ziad Doueiri, who was briefly detained by authorities in Beirut the day after his new film “The Insult” won a prize at the Venice Film Festival, has been cleared of all charges by a Lebanese military court.

“Charges against Ziad have been dropped by the military court: he is free,” producer Jean Brehat, who works regularly with Doueiri, informed Variety in a text message on Monday.

French news agency Agence France-Presse had reported that Doueiri was briefly detained upon arriving at the Beirut airport Sunday and that he was ordered to appear Monday before a Lebanese military court. Though the exact charges against him remain unclear, the action on the part of Lebanese authorities is believed to stem from the director’s previous film, “The Attack,” which was partly shot in Israel. Lebanon bans its citizens from visiting Israel, with which it is officially at war.

“They held me at the airport for two
See full article at Variety - Film News »

Cohen Media Group Nabs North American Rights to Ziad Doueiri’s ‘The Insult’ (Exclusive)

Cohen Media Group has acquired North American distribution rights to “The Insult,” Ziad Doueiri’s Lebanon-set drama, which is world-premiering in competition at Venice and will next play at Toronto.

“The Insult” marks the second collaboration between Cohen Media Group and Doueiri following “The Attack.” Cohen Media Group plans on releasing “The Insult” in January. The film will likely represent Lebanon in the foreign-language Oscar race.

Charles S. Cohen, the chairman and CEO of Cohen Media Group who co-produced “The Insult,” described the movie as a “stirring and important film that confronts tough issues with clear-headed purpose.”

John Kochman, executive vice president, added that “Doueiri shows a vivid understanding of the tensions that continue to afflict his homeland in a film that all audiences will embrace.” Kochman negotiated the co-production deal with Jean Bréhat, partner at Tessalit Productions. Nicolas Eschbach’s Paris-based Indie Sales is handling worldwide sales.

Starring Adel Karam (“One Day I’ll Leave”) and
See full article at Variety - Film News »

Reservoir Dogs Turns 25! 10 Colourful Facts

  • Cineplex
Reservoir Dogs Turns 25! 10 Colourful FactsReservoir Dogs Turns 25! 10 Colourful FactsKurt Anthony9/1/2017 10:00:00 Am

They say that every dog has its day, and today is the 25th anniversary of Quentin Tarantino’s American crime thriller, Reservoir Dogs!

After competing in the dog-eat-dog world of film festival screenings, Reservoir Dogs made its theatrical debut in France on September 2, 1992. Pulling triple duty as writer, actor, and director, the independent heist flick was Tarantino’s first feature-length film and instantly cemented his place at the top of Hollywood’s dogpile, paving the way for future films like Pulp Fiction (1994) and Jackie Brown (1997).

With a budget of $1.2M and a domestic box office gross of over $2.8M, the independent underdog has since earned its bloody, cult classic status and is often referred to as “the greatest independent film ever made.”

Button up your suit jacket and join our pack as we unleash ten colourful facts
See full article at Cineplex »

Ziad Doueiri Follows ‘The Insult’ With ‘Ghost Element’ (Exclusive)

Ziad Doueiri Follows ‘The Insult’ With ‘Ghost Element’ (Exclusive)
Ziad Doueiri, whose Lebanon-set “The Insult” is competing at Venice Film Festival, is set to direct “Ghost Element,” a supernatural thriller that will mark his most ambitious film to date.

Reteaming Doueiri with his producer Jean Brehat at Paris-based banner Tessalit Prods., “Ghost Element” is based on “Le Tambour d’angoisse,” a novel written by B.R. Bruss and published by Marabout in 1973. The film will partly shoot in English.

Samuel and Victor Hadida at Metropolitan Filmexport, which worked with Brehat on Rachid Bouchareb’s “Belleville Cop,” are co-producing the film and will be distributing in France. They’re also taking international sales rights.

The story, adapted to present times, centers on a group of 12 scientists from different nationalities, ethnic backgrounds and religions, who are sent on a doomed mission to the Australian desert in order to find Thorium, a precious fuel. As the mission goes wrong, the group gets stuck in the desert and finds refuge
See full article at Variety - Film News »

20 Years Back: Celebrating the Cinematic Delights of 1997

Tom Jolliffe celebrates the cinematic delights of 1997…

1997. It doesn’t feel that distant but we’re now talking 20 years. This was the year I left school. That officially makes me old as fuck I believe. Lady Di passed, Tony Blair became Pm, Hong Kong returned to Chinese rule, Mike Tyson had a Holyfield Ear pie and more. The Spice Girls reigned supreme. Hanson were Mmmbopping all over the place and confusing horny teenagers who thought the girl singing lead was hot.

In film, the year is significant. This was the year the Titanic did the opposite of sink (erm… float). James Cameron’s historical (which icebergs aside wasn’t that historical) epic was seen by pretty much everyone on Earth. It probably grossed a further Trillion Wibblewangs outside the Milky Way (I just invented an alien currency). It thundered away as the highest grossing film ever (if you don’t
See full article at Flickeringmyth »

Disney Is Desperate And Netflix Is Going To Eat Their Lunch -- The Lrm Weekend

By David Kozlowski | 11 August 2017

Welcome to Issue #8 of The Lrm Weekend, a weekly column offering strong opinions about film, TV, comics, Star Wars, Marvel, DC, animation, and anime. We also want to hear from you, our awesome Lrm community! Share your feedback or ideas for future columns: @LRM_Weekend and we'll post your Tweets below!

Previous Issues: 8.4.17 | 7.28.17 | 7.21.17 | 7.14.17 | 7.7.17 | 6.30.17

Hey Lrm Weekenders, we've got a bunch of cool stuff for you this week. In our editorial we'll examine the big Disney streaming service announcement and what it means for Netflix. We'll also dive into the career of master crime writer Elmore Leonard, assess Chuck Norris' fighting skills, and have some fun with 80s Action movies. Looking forward to your comments and feedback!

Netflix Is Poised To Dominate And It's All Disney's Fault

Disney's big announcement, to pull their films from Netflix and launch their own streaming service by 2019, might look like
See full article at LRM Online »

Great Films Unfairly Forgotten in Time

Tom Jolliffe on forgotten films…

Time is a cruel mistress. It’s the one constant and something no one can alter (except Marty McFly and Doc Brown). Looks go, memories fade and in cinematic terms a film can be forgotten over time. Now sometimes it’s probably a good thing. Take for example the turn of the century and the release of Battlefield Earth. One of the undisputed turkeys of modern cinema. An unmitigated disaster on every level. However it’s not one that always springs directly to mind nowadays when people thing of cinematic disasters. In part there’s been even worse since, and on even more bloated budgets. In that respect, time has been a little kind.

However there are a lot of films which were good, great, maybe on occasion cinematically important which have become hazy memories over time. Perhaps they never quite got the recognition or
See full article at Flickeringmyth »

The 7 Best Movies Coming to Netflix in August 2017

The 7 Best Movies Coming to Netflix in August 2017
Dozens of movies are hitting Netflix during the dog days of summer (click here for a complete list), but the sheer variety of new titles can be daunting. Movies are long, time is short, and indecision is brutal, so — in the hopes of helping you out — here are the seven best films that are coming to Netflix in August.

7. “Practical Magic” (1998)

Okay, so “Practical Magic” isn’t a “good movie” in the traditional sense…or in any other sense, for that matter. But it’s a perfect Netflix movie, which is another beast entirely. An incredible time capsule — and bottomless gif resource — from an ancient epoch that historians refer to as “1998,” this essential relic tells the story of sisters Sally (Sandra Bullock) and Gillian (Nicole Kidman) Owens, twin witches who are effectively cursed to remain single forever.

Did I mention that it was directed by Griffin Dunne? Did I mention that it was nominated for a Blockbuster Entertainment Award for including a Faith Hill song on the soundtrack? Did I mention that it features a scene in which Dianne Wiest and Stockard Channing use their secret powers to blend alcoholic drinks in order to lubricate a singalong set to Harry Nilsson’s “Put the Lime in the Coconut”? “Practical Magic” was kind of a blip when it first opened, but it would shake our culture to its skeleton if it came out today. A remake feels inevitable, but in the meantime, the original makes for perfect streaming on a lazy August afternoon. Better yet, add it to your queue and swing back once Halloween rolls around.

Begins streaming August 1st.

6. “The Bomb” (2016)

“the bomb” was one of the most exciting, unclassifiable experiences on the festival circuit last year, but the sheer magnitude of the project made it unclear where it might live once it had finished traveling the world, or if it would be possible for the public to see it. Fortunately, the answers to those questions turned out to be “everywhere” and “very.” Here’s IndieWire’s Steve Greene on the 59-minute film into which this enormous piece of experimental art has been newly reshaped:

Read More‘the bomb’ Review: New Doc on Netflix Is a Surreal Music Video About the End of the World

Directed by Kevin Ford, Smriti Keshari, and Eric Schlosser, this experimental, sensory history of the nuclear bomb is a staggering look at the world’s most destructive weapon and the lessons of almost eight decades that some still choose to ignore. Threading together modern-day news footage, Cold War era safety videos and grainy archival peeks into the construction process, “the bomb” looks at nuclear weapons in their myriad historic forms. Foregoing the usual talking head interviews or explanatory narration, the one piece of connective tissue throughout the film, besides the subject itself, is the film’s score, from Los Angeles electronic minimalist outfit The Acid. Throughout a harrowing parade of images and fleeting moments of whimsy, the droning, pulsating music underneath brings an alternating sense of dread and power.

Begins streaming August 1st.

5. “Cloud Atlas” (2012)

It’s easy to make fun of “Cloud Atlas,” and not just because one of the six characters that Tom Hanks plays is pretty much a live-action Jar Jar Binks. Tom Tykwer and the Wachowskis’ cosmically ambitious sci-fi epic is — in its own delirious way — one of the most earnest movies ever made. Adapted from David Mitchell’s novel of the same name, and now something of an obvious precursor to the Wachowskis’ Netflix series “Sense 8,” this symphonic story of spiritual connection spans from 1849 to 2321 in a go-for-broke attempt to crystallize the effects that one life can have on countless others.

Controversially casting individual actors in multiple roles (with many of the film’s most famous stars disguising themselves as different races and genders), “Cloud Atlas” fearlessly envisions our world as a place where bodies are temporary, but love is eternal. It’s a lot to swallow, but our collective cynicism only makes the movie more valuable, and more important to have on hand.

Begins streaming August 1st.

4. “Donald Cried” (2016)

Kris Avedisian flew under the radar when “Donald Cried” made the rounds last year — his self-directed turn as the most deeply committed man-child since “Clifford” may have been just a bit too raw and cringe-inducing for any major traction — but it’s only a matter of time before people discover one of the most fearless performances in recent memory. Here’s IndieWire’s Eric Kohn on a future dark comedy classic:

The obnoxious man-child is a common trope in American comedies, but few recent examples can match the hilariously unsettling presence of Donald Treebeck, the obnoxious central figure played by writer-director Kris Avedisian in his effective black comedy “Donald Cried.” While the story technically unfolds from the perspective of his old teen pal Peter (Jesse Wakeman), who returns to their Rhode Island suburbs from his Wall Street career after his grandmother dies, Donald welcomes his reluctant friend back to their world and won’t leave him alone. Avedisian gives Danny McBride a run for his money in this pitch-perfect embodiment of a wannabe charmer all too eager to remain the center of attention. Hardly reinventing the wheel, “Donald Cried” nevertheless spins it faster than usual, taking cues from its memorably irritating protagonist. Beneath its entertainment value, the movie also hints at the tragedy of aimless adulthood.

Begins streaming August 15th.

3. “The Matrix” (1999)

At this point, “The Matrix” has effectively become immune to any sort of qualitative criticism; there’s no use arguing that it’s “good” or “bad” or somewhere in between, it simply is. Less a movie than a cornerstone of contemporary pop culture (for better or worse), the Wachowskis’ absurdly influential orgy of mind-blowing action and high school philosophy arrived at the tail end of the 20th century in order to help define the 21st. Its aesthetic impact on the current breed of blockbusters is self-evident, but its more profound contributions have been largely off-screen, as the film brought futurism to the masses in a way that’s only possible to trace through its most unfortunate side effects (e.g. the diseased misogyny of “red pill” thinking).

Of course, “No can be told what the Matrix is. You have to see it for yourself.” Now that it’s on Netflix, it couldn’t be easier to do just that.

Begins streaming August 1st.

2. “Jackie Brown” (1997)

Every hardcore Tarantino fan’s favorite Tarantino film, “Jackie Brown” is more than just an homage to blaxploitation or the best Elmore Leonard adaptation ever made (sorry, “Out of Sight”), it’s also something of a tribute to all of the crime writer’s work and the scuzzy but soulful ethos that bound it together. To this day, “Jackie Brown” remains a major outlier for Qt. For one thing, it’s based on pre-existing material. For another, it’s got a bonafide sex scene. Last but not least, it’s about recognizably human characters who have genuine depth, who have real lives that feel as though they continue beyond the confines of a movie screen (no disrespect to the cartoonish avatars who populate Tarantino’s later, more solipsistic work — they serve their purpose to perfection).

Pam Grier is spectacular in the title role of a flight attendant with a drug smuggling side hustle. Robert Forster is heartbreaking as lovelorn bondsman Max Cherry. Hell, even Robert De Niro is phenomenal, the iconic actor beautifully playing against his legend by inhabiting the film’s most pathetic and disposable character. For anyone put off by the blockbuster scale of Tarantino’s recent work, “Jackie Brown” is a rock-solid reminder of his genius for elevating fevered pastiche into singular pathos. And the soundtrack owns.

Begins streaming August 1st.

1. “All These Sleepless Nights” (2016)

It would be reductive and unfair to say that Michal Marczak’s “All These Sleepless Nights” is the film that Terrence Malick has been trying to make for the last 10 years, but it certainly feels that way while you’re watching it. A mesmeric, free-floating odyssey that wends its way through a hazy year in the molten lives of two Polish twentysomethings, this unclassifiable wonder obscures the divide between fiction and documentary until the distinction is ultimately irrelevant.

Read MoreReview: ‘All These Sleepless Nights’ Is the Movie That Terrence Malick Has Been Trying to Make

Unfolding like a plotless reality show that was shot by Emmanuel Lubezki, this lucid dream of a movie paints an unmoored portrait of a city in the throes of an orgastic reawakening. From the opening images of fireworks exploding over downtown Warsaw, to the stunning final glimpse of Marczak’s main subject — Krzysztof Baginski (playing himself, as everyone does), who looks and moves like a young Baryshnikov — twirling between an endless row of stopped cars during the middle of a massive traffic jam, the film is high on the spirit of liberation. More than just a hypnotically hyper-real distillation of what it means to be young, “All These Sleepless Nights” is a haunted vision of what it means to have been young.

Begins streaming August 15th.

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See full article at Indiewire »

DVD Review – House of 1000 Corpses (2003)

House of 1000 Corpses, 2003.

Directed by Rob Zombie.

Starring Sid Haig, Bill Moseley, Sheri Moon, Karen Black, Tom Towles, Walton Goggins, Matthew McGrory, Rainn Wilson, Erin Daniels, and Dennis Fimple.

Synopsis:

Four young thrill-seekers exploring the backwoods of Texas become the victims of a family of sadistic killers.

With his latest movie 31 recently dividing audiences with its back-to-basics approach, crowdfunded production and the director’s seeming refusal to put out an uncensored cut, Fabulous Films have gone back to the beginning of controversial director/metal icon Rob Zombie’s filmmaking career and reissued his debut feature House of 1000 Corpses on DVD (why is there still no Blu-ray release for the UK?) and what an interesting exercise it is revisiting this offbeat little gem.

Interesting because there are many parallels between this movie and 31 – troubled production and director’s cuts notwithstanding, there are also plenty of narrative similarities – but whereas 31 felt rushed,
See full article at Flickeringmyth »

Samuel L Jackson & Salma Hayek interview: The Hitman’s Bodyguard, and breaking into Hollywood

Rob Leane Aug 14, 2017

Samuel L Jackson and Salma Hayek chat to us about their new flick, The Hitman’s Bodyguard, and how they got into Hollywood...

Samuel L. Jackson stars alongside Ryan Reynolds in The Hitman’s Bodyguard. Jackson is the hitman, and a key witness in a case to bring down a despot. Reynolds is the bodyguard, tasked with getting the hitman from A to B in order to testify in court.

Salma Hayek plays the wife of Jackson’s character. She’s locked up in prison for much of the film, with the carrot of her release being dangled to make Jackson’s killing machine comply in the upcoming legal proceedings.

We were invited to chat to the pair at a swanky hotel in London. And let me tell you: walking into a room with that much star-power in it is very nerve-wracking. Jackson was sat at a
See full article at Den of Geek »

Quentin Tarantino Does Manson? That’s News That Should Thrill Cinema Lovers

Quentin Tarantino Does Manson? That’s News That Should Thrill Cinema Lovers
It happens often enough. A great filmmaker announces his next project and you feel a frisson of electricity, a little charge of “Oh, man, that sounds amazing.” I felt it when I heard that Damien Chazelle would follow “La La Land” with an epic drama about Neil Armstrong and the Apollo missions (call it “The Right Stuff Shoots the Moon”). Or when it was revealed, earlier this week, that Barry Jenkins, coming off “Moonlight,” would realize his long-gestating dream of adapting James Baldwin’s 1974 Harlem-set novel “If Beale Street Could Talk.” But it isn’t often — it’s almost never — that the mere announcement of a director’s upcoming film carries a jolt of meaning.

On Wednesday, it was revealed that Quentin Tarantino’s next movie would be a dramatization of the events surrounding the Manson family murders, in the summer of 1969. To me, that sounds like the first Tarantino film in a long while that has
See full article at Variety - Film News »

Why Quentin Tarantino’s Manson Murders Project Would Be a Radical Change of Pace

Why Quentin Tarantino’s Manson Murders Project Would Be a Radical Change of Pace
It’s safe to say that Quentin Tarantino is not happy about Tuesday’s breaking news that his next almost-finished untitled script is based on the true history of the Charles Manson murders. That’s because the writer-director, who is one of Hollywood’s great true auteurs with a unique voice that is inimitable, likes to write his screenplays in private.

Tarantino is an artist, backed by patrons Bob and Harvey Weinstein, who has routinely turned down big-studio directing gigs in order to pursue his own muse. And he can be sensitive to the slings and arrows of public opinion. That’s because he wants to leave a meaningful cinematic legacy of just 10 films. So while he could always change his mind (as Steven Soderbergh did) about his career path, Tarantino does not take lightly his choice of what those last two films will be. (The last one might be “Kill Bill: Vol. 3,
See full article at Indiewire »
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