1-20 of 182 items from 2013 « Prev | Next »
The Boston Society of Film Critics' (Bsfc) very first Best Picture prize went to Martin Scorsese's Raging Bull (1980) and over the next 32 years they've mixed smart off the path choices with future Oscar darlings. In the past decade they seem to have mellowed and mainstreamed and unless you count a tie in 2008 (Wall•E shared the prize with Slumdog), it's been well over a decade since that grabby run when they thought outside the box consistently (1998-2001) when they were giving Best Film prizes to great movies like Out of Sight (2 below the line Oscar nods) Three Kings (0 Oscar attention) and Mullholland Dr (1 Oscar nod) which were obviously not going to play big with the Academy. (During that period they were also making interesting calls in non Oscar-baiting performances so something about the membership must have changed thereafter.
This year they've wrapped their Bostonian arms around native New Yorker »
- NATHANIEL R
Steven Soderbergh followed The Underneath, a superb neo-noir that expertly uses widescreen framing and color photography to its full potential, with Schizopolis, a film motivated by his feelings of artistic impotence. This concept is somewhat surprising, as The Underneath is one of his best films, one of the best neo-noirs from the nineties, and one of Soderbergh’s more underrated works. Schizopolis is more well-known and seen (thanks to Criterion) but unfortunately, it is a stale work that only exists for the director’s edification. After Schizopolis, Soderbergh reportedly felt rejuvenated and made Out of Sight, which ended his commercial slump so we can all thank this experimental film for Soderbergh’s commercial and artistic turning point. However, this exercise is far more interesting to think and write than it is to watch. Schizopolis is ultimately more interesting in the abstract than it is in reality
The main problems with »
- Cody Lang
Few filmmakers manage to traverse the line between the art house and the multiplex as fluidly as Steven Soderbergh. Over the course of his career, he has ping-ponged between independent films and mainstream fare repeatedly, carrying some stylistic flourishes across his career, and playing with some similar questions in both strains. His experience makes him uniquely qualified to evaluate and analyze Hollywood, and many of his most successful films work both as independent narratives and as sly commentaries on mainstream cinema.
Perhaps nothing captures this commentary better than the director’s work with George Clooney. The two have paired six times (for Out of Sight, the three Ocean’s films, Solaris, and The Good German). Each of these films functions in some way as commentary on Hollywood and, more particularly, on the nature of celebrity.
George Clooney is many things as an actor, but perhaps most importantly, he is a full-on movie star. »
- Jordan Ferguson
Following the release of Sex, Lies, and Videotape in 1989, Steven Soderbergh was poised for stardom as the darling of the indie scene. He sat at the head table in a push to change the face of cinema. Unlike contemporaries like Tarantino, his predicted rise didn’t happen right away. He followed the popular debut with Kafka and King of the Hill, and neither came close to earning a significant return. The talent was there, but Soderbergh needed more than critical praise to keep his career intact. His next step was 1995’s The Underneath, a low-key noir film that didn’t change his perception as a director with limited appeal. Despite a convincing lead performance from Peter Gallagher, it earned just over $500,000 on a more than $6 million budget. Was Soderbergh doomed to slip completely off the map? Despite the lack of financial rewards, this movie contains the elements that served him well several years later. »
- Dan Heaton
A haggard voice breaks the darkness of the screen.
“Tell me about Jenny.”
If possible, the voice is simultaneously threatening and pleading. It’s demanding and mourning. Terence Stamp’s Wilson in Steven Soderbergh’s The Limey is a man out of place, a British ex-con in sunny Los Angeles trying to learn about his daughter and her death. Pete Townsend’s loud, brash guitars and Roger Daltrey’s screaming “I’m a seeker/I’m a really desperate man” sets the tone for the movie. Unlike the slick films like Out of Sight or Ocean’s Eleven, which he was doing with George Clooney, Soderbergh isn’t out to make Stamp’s Wilson look like a shining knight. Maybe it’s just Clooney’s superpower of charisma, but his characters are classic leading men, with their Cary Grant smiles and ladykiller swagger. In comparison, Stamp is an old, »
- Scott Cederlund
Soderbergh’s film came out on November 27, 2002 to middling reviews and a commercial drubbing by seasonal box office heavyweights like Die Another Day. To say that his film has acquired a cult fanbase would be an overstatement. It is still largely dismissed in favor of Tarkovsky’s canonical picture and is seen as a curiosity among Soderbergh die-hards.
Much like Steven Spielberg’s science fiction fable, AI: Artificial Intelligence (released only a year before), the dismissal of Soderbergh’s film primarily stems from critics who either have never seen it or do not understand it. In fact, Solaris and AI are kindred science fiction souls of the early 2000s. Both films were produced by auteurs at the height of their prominence (Soderbergh was still coming off »
- Shane Ramirez
Movie stars, as we know them, are not so much dead in 2013 as much as they’re no longer making movies. Celebrity has stretched far beyond film or television; people become famous now without having accomplished much of anything, just for being at the right place at the right time, or tweeting out the right scandalous photo to set afire the comments sections at TMZ or Perez Hilton. Though movies cost more than they used to—both to make and to partake—they are less frequently headlined by a man or woman whose very presence ensures bankability. A handful of movie stars remain, yet even someone like Robert Downey, Jr. can only guarantee a movie will make back its profit and then some when he’s donned his Iron Man suit.
The closest Western society has to movie stars these days don’t make movies that gross hundreds of millions »
- Josh Spiegel
Exclusive: Longtime Double Feature Films partners Michael Shamberg and Stacey Sher are amicably splitting up. They formed their shingle in 2003 after splitting with Danny DeVito and Jersey Films, and they have spent the last 22 years together. Between those two companies, they are the kind of understated producers where you look at their resume and go, wow, they made a lot of good movies. That encompasses everything from Get Shorty to Pulp Fiction, Reality Bites, Garden State, Gattaca, Out Of Sight, Man On The Moon, World Trade Center, Contagion, Erin Brockovich and Django Unchained. Shamberg and Sher continue as partners in their television company which has a first-look deal at AMC. They decided they want to pursue film projects individually, but they will remain partners on they Double Feature projects they have percolating – a list that includes Zach Braff’s crowd-funded indie Wish I Was Here and the Scott Frank-directed »
- MIKE FLEMING JR
Hollywood needs to remain focused on cultivating promising creative talent even as the international demand for genre films grows, according to veteran producer Michael Shamberg, speaking at Virginia's Middleburg Film Festival over the weekend. In conversation with Vanity Fair's Maureen Orth, Shamberg reaffirmed his belief that Hollywood "has to be forward-looking"with its talent, not just with its tentpole films. "It has to take the new filmmakers and promote them,"he said. Shamberg knows a thing or two about how to promote filmmakers, having produced dozens of auteur-driven independent films. His credits include Quentin Tarantino's "Pulp Fiction" and "Django Unchained"; Steven Soderbergh's "Out of Sight," "Erin Brockovich" and "Contagion"; and Zach Braff's "Garden State" and upcoming Kickstarter-funded project "Wish I Was Here." Pointing to the success former indie filmmaker Christopher Nolan found directing tentpoles, Shamberg noted, "The system renews itself from the outside »
- Andrew Lapin
This just in: Gravity is still slaying at the box office. You’d be hard pressed to find someone who dislikes the movie (even Neil DeGrasse-Tyson, who trolled the film’s Twitter account with observations about its scientific errors, liked it), and that means it’s going to be a major player in the upcoming Oscar circus. Sandra Bullock will surely get a Best Actress nomination, and George Clooney will get… this list of his 10 hottest moments ever. You’re the real winner, George.
Ranked for your approval, here’s George Clooney’s 10 hottest career moments. For a guy who doesn’t get naked too often, he remains damn salable as a sex icon. Consider this something extra to celebrate on Columbus Day.
10. Charlotte Rae welcomes you to The Fox of Life
Strangely, it feels right to place Clooney’s Tiger Beat days at the 10th spot. He’s a »
- Louis Virtel
"The Phoenix Rises" is Now Available on DVD! "The Phoenix Rises" stars: James Black ("Out Of Sight", "Anger Management", "Necessary Roughness"), Adam Cardon ("Ark"), Catalina Soto-Aguilar ("Skyhook"), Casey Myers ("My Stepdad's A Frickin Vampire"), Robert Penny ("Sweet Home Alabama"), and Philip Fornah ("Django Unchained"). The film is now available for purchase on DVD and will soon be available for pickup at your local RedBox location!Worlds collide when a team of brilliant scientists are recruited to work on a secret, government run project called the Phoenix Program. Their job is to take down a deadly terrorist group that is using climate based weapons to hold the Us and its allies hostage. The terrorists have the ability to trigger earthquakes, alter rain patterns, cause »
Sandra Bullock and George Clooney have been friends for decades, but they've never shared the screen together—until now, of course. Fifteen years before they teamed up for Gravity, the actors came close to costarring in Steven Soderbergh's crime comedy Out of Sight. "When you know each other, you don't think, 'Oh we have gotta work together,'" Bullock, 49, told Yahoo! Movies on Wednesday, Oct. 2. "Years ago I had a meeting with them for Out of Sight. They didn't want me for the film and I was like, 'Oh, our friendship is so over.' It obviously wasn't over. But that's the only time [we came close to being colleagues]." Bullock added, "I wasn't cast »
There have been many adaptations of the superb crime novels of the late Elmore Leonard, but what makes his novels so compulsively readable often doesn’t make for a great film: his characters talk a lot, which can make for very static movies, with characters standing around talking rather than doing anything. The best adaptations of his work (Jackie Brown, Get Shorty, Out of Sight) have been made by those who understood the need to retain the rhythm and tone of his dialogue while crafting something cinematic.
Jennifer Aniston is Mickey, the trophy wife of boorish Detroit property developer Frank Dawson (Tim Robbins). Mickey lives a country club lifestyle amongst Detroit’s elite, although she and Frank have an unhappy relationship. Enter ex-cons Ordell Robbie (yasiin bey, aka Mos Def) and Louis Gara (John Hawkes), who discover that Frank is a crafty embezzler on a rather grand scale. They hatch »
- Ian Gilchrist
Directed by Burt Reynolds
Part of the reason that Elmore Leonard’s novels got turned into movies so often is that it was so easy to write the screenplays. Entire scenes full of Leonard’s trademark crackling dialogue would go, verbatim, into films like Get Shorty and Out of Sight. But that wasn’t true for the 1990s only. Leonard’s stellar 1983 novel Stick was turned into a movie as well, a film which served as popular entertainment as much as the films came a decade later. Where Get Shorty was 1995’s Travolta movie, Stick was 1985’s Burt Reynolds movie, and every bit as fun.
Reynolds plays Ernest “Stick” Stickley, a just-out-of-prison car thief who wanders into Miami and finds himself caught between a local drug kingpin (Castulo Guerra) and a bumbling financial planner (George Segal). Also of note: a pre- »
- Mark Young
Out of sight, out of mind. Stacy Keibler split with one of Hollywood's most eligible bachelors just two short months ago, but the Supermarket Superstar host isn't shedding too many tears over her July breakup with George Clooney. Keibler, 33, shared a snapshot of herself with new boyfriend Jared Pobre via Instagram on Monday, Sept. 30, and the couple -- who wore matching shades -- looked pretty content in each other's company. "Love being in the city of love!" she captioned the photo, in which she dons a [...] »
The year was 1997, the movie was "Batman & Robin," and it nearly destroyed a franchise and George Clooney's career. The reviled Joel Schumacher entry was easily the worst of the post-Tim Burton Batman films, with the nipple suit only being the first of the many problems with the flick. It ground the Warner Bros. property to a halt for almost a decade until Christopher Nolan's "Batman Begins" came along in 2005, and along with the flop of "The Peacemaker," ended Clooney's dalliance (at the time) with being a blockbuster leading man. (He rebounded by teaming up with auteurs Steven Soderbergh and David O. Russell for "Out Of Sight" and "Three Kings" in 1998 and 1999). But the actor is fully aware he wasn't the right man for the cape and cowl. Doing the rounds for Alfonso Cuarón's "Gravity," Clooney caught up with Empire magazine and when asked to weigh on »
- Kevin Jagernauth
New additions to the cast include Teresa Palmer, who starred opposite Nicholas Hoult in zombie romcom Warm Bodies, and Australian TV actor Luke Hemsworth, following his younger brothers Chris and Liam onto the big screen.
With an original screenplay by James McFarland, the film is produced by Laurence Malkin and Share Stallings, the team behind Death At A Funeral and A Few Best Men; and Tania Chambers, the former CEO of Screen New South Wales.
Kill Me Three Times takes place in an Australian surfing town, where a young »
- email@example.com (Michael Rosser)
That quartet adds a fair bit of star-power to the already-announced Simon Pegg, Alice Braga (the Brazilian actress who stars in Elysium) and Sullivan Stapleton. Scripted by first-timer James McFarland, an Irishman, the tale of murder, blackmail and revenge is set in an Australian surfing town.
The subject sounds far removed from Stenders. breakthrough hit Red Dog but he says there are similarities. .This is a fun, commercial movie,. he told If today on his way to the set. .It plays with the genre and doesn.t take itself too seriously. Like Red Dog it.s made for a broad international audience..
- Don Groves
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 Leonard speaking. Schechter’s direction is serviceable enough to not get in the way, he wisely trust his strong cast, accents the comedy, »
- Matt Goldberg
Life of Crime
Written and directed by Daniel Schechter
With the timing of a well-orchestrated heist, the latest screen adaptation of an Elmore Leonard novel closes this year’s Toronto Film Festival. Given his recent passing and the well-deserved plaudits from various luminaries of pen and screen, his rap sheet has been celebrated over the past few weeks. Based on Leonard’s novel The Switch, writer and director Daniel Schechter has managed to embezzle a fine addition to the long list of lean Leonard works. Although it doesn’t quite hit the jackpot, it does manage to purloin some fine criminal characters and a gutsy group of belly laughs to boot.
Ordell Robbie (Yasiin Bey/Mos Def) and Louis Gara (John Hawkes) are looking to take down one big score, so when their inside guy alerts them to a wealthy mark, they hatch a devious kidnapping plan. Mickey Dawson »
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