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Despite two new releases, Marvel's "Guardians of the Galaxy" remained at the top spot this Labor Day weekend. While the official numbers have yet to be revealed, all the movies released during the summer of 2014 will barely crack $4 billion, making it the lowest result in eight years. "Guardians of the Galaxy" earned an additional $16 million, bringing its worldwide total to $547 million. Domestically, it's currently the highest grossing movie of 2014. The first new wide release, the horror film "As Above, So Below," landed in fourth place with $8.3 million. Since it cost only $5 million to make, it's already considered successful. The film has a 33% fresh rating on RottenTomatoes. The other wide release was Pierce Brosnan's action film "The November Man," which opened in sixth place with only $7.6 million. The movie cost over $20 million to make, which means it will need international box office to break even. It has a 36% fresh rating. »
Life of Crime, Daniel Schecter’s adaptation of the Elmore Leonard novel The Switch, is now playing on VOD and in theaters. The film features younger versions of the Robert De Niro and Samuel L. Jackson characters from another Leonard adaptation, Jackie Brown, with John Hawkes and Yasiin Bey (aka Mos Def) filling the roles this time around. The story features Hawkes and Bey kidnapping the trophy wife (Jennifer Aniston) of a wealthy man (Tim Robbins) only to find out he doesn’t actually want her back. The film also stars Mark Boone Junior, Isla Fisher, Will Forte. Life of Crime is loaded with juicy characters and great dialogue, and it's definitely worth checking out. For more on the movie, read Matt's review or watch the trailer. At the recent Los Angeles press day I landed an exclusive video interview with Jennifer Aniston. She talked about making Life of Crime, »
- Steve 'Frosty' Weintraub
With a couple of major (major) exceptions, film adaptations of Elmore Leonard novels rarely succeed. The breezy menace of his stories, the carefree, sneaky suspense of his plotting, the dim-bulb charm of his characters … it’s all booby-trapped for film. Go in one direction and it’s too bubbly, go in another and it’s all too generic, shorn of what made it special in the first place. If Quentin Tarantino’s Jackie Brown and Steven Soderbergh’s Out of Sight work so well, it’s partly because those filmmakers themselves share the perverse, wildly varying tonal impulses at play in Leonard’s work. Their movies are like beautiful toy guns that somehow manage to go off. Writer-director Daniel Schechter is no Tarantino, and Life of Crime (adapted from Leonard’s The Switch) no Jackie Brown. But the film does manage to capture something special from Leonard’s work. A casual, »
- Bilge Ebiri
Written for the screen and directed by Daniel Schechter
Elmore Leonard has one of the most distinctive voices in American film and television and while you may not recognize his name, you will surely recognize his work. His writing is pure cinema, so it should be no surprise that Leonard’s work served as inspiration for Out of Sight, 3:10 to Yuma, Get Shorty, and Justified. Life of Crime is based on Leonard’s novel The Switch, which is a lesser work, but the story still has the capacity for entertainment. In a slow week of new releases at the theatre, that’s more than enough.
Ordell Robbie (Yasiin Bey, formerly known as Mos Def) and Louis Gara (John Hawkes) get much more than they bargained for after kidnapping the wife of a corrupt real-estate developer (Tim Robbins). As it turns out, Frank Dawson has no »
- Colin Biggs
[This is a re-post of my review from the 2013 Toronto International Film Festival. Life of Crime opens today in limited release.] I’ve never read any of Elmore Leonard’s novels, and yes, I’m ashamed. But I know from the film adaptations of his crime novels that there’s a way to do them right and wrong. They have a confidence, a swagger, a sly wink, a braggadocio, and they’re smart. They have the talk for the walk, and some directors, most notably Quentin Tarantino with Jackie Brown (based off Leonard’s Rum Punch) and Steven Soderbergh’s Out of Sight, are smart enough to bring that confidence to the screen. Those films make the uninitiated feel embarrassed that they haven’t joined the club. Even with Daniel Schechter’s cautious adaptation of Life of Crime (based on the novel The Switch) the audience can hear the author's voice. Schechter’s direction is serviceable enough to not get in the way, he wisely trust his strong cast, accents the comedy, »
- Matt Goldberg
A little over a year ago, the entertainment world mourned the passing of prolific author Elmore Leonard, a writer well-known in both literature and motion picture circles. His earliest works were in the Western genre and beginning in the late 1950′s many were filmed (his short story 3:10 To Yuma was made twice!). In the next decade Leonard switched genres and soon became known as one of the great creators of gritty crime thrillers. And Hollywood scooped these up for the screen, perhaps more so than the “oaters”. In the 90′s many celebrated young directors discovered his work and several critical (if not always box office) hits were released. 1998 saw Steven Soderbergh’s take on Out Of Sight following Quentin Tarantino’s spin on “Rum Punch” titled Jackie Brown the previous year. Both films even shared a Leonard character, Michael Keaton as Atf agent Ray Nicholette. This weekend sees a »
- Jim Batts
From Get Shorty to Jackie Brown, Elmore Leonard's books are no strangers to movie-star makeovers. His latest adapted tale for the silver screen, Life of Crime — helmed by writer-director and longtime Leonard fan Daniel Schechter — boasts an unexpected performance from Jennifer Aniston, supported by costars John Hawkes, Will Forte and Mark Boone Junior. The Lionsgate and Roadside Attractions film, which has its premiere at the ArcLight Hollywood on Wednesday, is based on Leonard's 1978 novel The Switch and follows Aniston's character, Mickey, a housewife who is kidnapped and held for ransom from a wealthy husband who
- Justin Krajeski
Criminal Intent: Leonard Done Light
What remains most enticing about Daniel Schechter’s Life of Crime is its connection to Quentin Tarantino’s 1997 masterwork, Jackie Brown. While Tarantino adapted Elmore Leonard’s Rum Punch, Schechter takes on the earlier work of The Switch, which features the younger version of three key characters from the later novel, here existing in 1978 Detroit. A bit too light to register the same malevolence (though apparently Schechter is more in tune with Leonard’s style than Tarantino), and inanely marketed as a ‘caper comedy,’ Schechter takes a rather familiar premise and turns it into a completely enjoyable, utterly innocuous film. Inbal Weinberg’s production design turns the late 70’s into a glossy postcard of kitsch, not unlike her similar rendering of the 80s in the primped The Perks of Being a Wallflower, which only furthers the film’s highly sanitized feel.
- Nicholas Bell
A quarter-century after “Batman” ushered in the era of Hollywood mega-tentpoles — hollow comicbook pictures manufactured to enthrall teens and hustle merch — a penitent Michael Keaton returns with the comeback of the century, “Birdman or (The Unexpected Virtue of Ignorance),” a blisteringly hot-blooded, defiantly anti-formulaic look at a has-been movie star’s attempts to resuscitate his career by mounting a vanity project on Broadway. , that will electrify the industry, captivate arthouse and megaplex crowds alike, send awards pundits into orbit and give fresh wings to Keaton’s career.
See Also: Michael Keaton Bursts Into Oscar Race
Keaton was a controversial choice to play the Caped Crusader back in 1989, though the role was the best and worst thing that could have happened to the “Mr. Mom” star, who became world-renowned but never found another role of that stature — and who didn’t get nearly the same boost from working with Tarantino (on »
- Peter Debruge
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
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
Everything I do tends to revolve around music. It’s mandatory that I reserve about 45 minutes of my day to unwind with some good tunes and headphones. I can’t even begin my day right if I don’t enjoy music with my morning coffee, so it only makes sense that I Have to listen to music while I write. Personally, I feel the music that I listen to while I create helps set a foundation for my writing, and also sets the mood for the particular piece I am working on. So here it is…this is the music behind my silly lists, and Exploitation Alleys.
1). Harley Poe – “Ouija”
To those of you who are familiar with the amazing Harley Poe, then you totally get this. If you aren’t familiar with their music, I suggest you give them a listen. With their upbeat, folk punk sounds mixed with horror inspired lyrics… »
Nominated for the Best Supporting Actor Award at the 70th Academy Awards in 1998, Robin Williams was in good company. He was up for the Oscar alongside Robert Forster (Jackie Brown), Anthony Hopkins (Amistad), Greg Kinnear (As Good as It Gets) and Burt Reynolds (Boogie Nights). But it was Williams's year. Nominated previously for Good Morning, Vietnam (in 1987, a role for which he did win a Golden Globe), Dead Poets Society (in 1989, arguably his other greatest role) and The Fisher King (1991), the actor gave a nuanced portrayal of psychotherapist Sean Maguire in Good Will Hunting that now seems like the obvious choice for the award. »
- Alex Heigl, @alex_heigl
"This might be the one time I'm speechless," said the late, great Robin Williams during his Best Supporting Actor Oscar acceptance speech for "Good Will Hunting." Williams passed away Monday at the age of 63. -Break- Join the Robin Williams discussion right now in the Gold Derby message boards Williams' Oscar triumph in 1997 propelled this one-time jokester from a popular comedian to a bonafide acting heavyweight. After three previous losses in the Best Actor race -- "Good Morning, Vietnam" in 1987, "Dead Poets Society" in 1989 and "The Fisher King" in 1991 -- Williams finally claimed Oscar gold in the supporting race for playing therapist Dr. Sean Maguire in the uplifting Boston-set drama. In his acceptance sppech, he cited his four fellow nominees: Robert Forster ("Jackie Brown"), Anthony Hopkins ("Amistad"), Greg Kinnear ("As Good as it Gets") an »
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
In 1995 and 1997, Robert Anthony De Niro Jr. had Heat and Jackie Brown released into cinemas. Not his best films or his best performances, perhaps, but mesmerising work in excellent pictures directed by master filmmakers: the former saw him convince for Michael Mann as the cool, meticulous leader of a gang of career criminals; the latter had Quentin Tarantino give viewers a dim crim whose uncontrollable anger contributes to the unravelling of a heist.
For a whole generation of moviegoers who have grown up since, however, the adulation that's universally showered upon De Niro must be perplexing. Occasionally he summons up a portion of his old intensity – his turns in What Just Happened, Silver Linings Playbook and American Hustle are the (slim) picks of the last 15 years – but for anyone who got into movies from the late '90s on, he's the funny guy in Analyze This and Meet The Parents, »
English, motherf–er, do you speak it? Because Samuel L. Jackson does, or at least all the one word he needs to know.
In the grand tradition of reducing celebrities and characters to their favorite lines, the Huffington Post put together this supercut of every time Jackson has said “motherf–ker” on film. You can see the full analysis on their website, which breaks down the mothef–kers by film, including the detail that 1997’s Jackie Brown takes the lead with 37.
If written text is more your style, then rest assured that Jackson has produced just as many variations of »
- Jackson McHenry
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