1-20 of 41 items from 2015 « Prev | Next »
Updated: Out of sight, out of mind. Three months after freshman comedy Marry Me and sophomore About a Boy were pulled off the schedule, they have been officially cancelled by NBC. There are still unaired episodes of both relationship comedies, their fate is unclear. Both About a Boy and Marry Me got off to a solid start in the post-Voice Tuesday slot but, like most comedy series on NBC these days, they eventually flamed out. Also getting the axe at NBC is midseason… »
Sound on Sight undertook a massive project, compiling ranked lists of the most influential, unforgettable, and exciting action scenes in all of cinema. There were hundreds of nominees spread across ten different categories and a multi-week voting process from 11 of our writers. The results: 100 essential set pieces, sequences, and scenes from blockbusters to cult classics to arthouse obscurities.
Part 2 of 10: A good car chase works for completely different reasons than its bipedal counterpart. Where a foot chase is more intimate, desperate, and rough, car chases are cool, exciting, almost romantic. Here the journey overwhelms destination: tough guys (and girls) driving sleek machines at impossible speeds. And unlike foot chases, there are no real limitations on where they can go or what they can do—sometimes cars can even fly.
10. Death Proof (2007) – Girl power vs. horse power
The obvious reference points of Death Proof are such movies as Vanishing Point, »
- Shane Ramirez
For your chance to win one of the discs, just look for the “giveaway” box further down on this page.
There you’ll be directed to a variety of methods by which you can enter the contest. You’ll be asked to provide a valid email address, like us on Facebook, and follow us on Twitter, and Tweet the contest. That’s it! That’s all you have to do to enter. We’ll contact you to let you know if you’ve won one of the prizes. But hurry, because the contest ends at 12:00Am on Saturday, May 16th!
About The Film
All week our writers will debate: Which was the greatest film year of the past half century. Click here for a complete list of our essays. It’s perhaps a little quaint to choose a year that I wasn’t even alive during to represent the best year of cinema. I was not there to observe how any of these films conversed with the culture around them when they were first screened. So, although I am choosing the glorious year of 1973, I am choosing not just due to a perusal of top ten lists that year—but because the films that were released that year greatly influenced how I engage with movies now, in 2015. Films speak to more than just the audiences that watch them—they speak to each other. Filmmakers inspire each other. Allusions are made. A patchwork begins. These are the movies of our lives. Having grown up with cinema in the 90s, »
- Brian Formo
If you’re a member of American Idol‘s Season 14 Top 4 (or is it 5?), you stake everything you are on… Rascal Flatts’ “What Hurts the Most” (say what now?!). A Justin Bieber track (oh hell naw!). Or the “baby lock them doors” jam that defined Scotty McCreery’s Season 10 run (#IDontUnderstandTheQuestionAndIWontRespondToIt).
VideosAmerican Idol‘s Quentin Alexander on His Most Inventive Performances, Wildest Outfits and Favorite »
All week long our writers will debate: Which was the greatest film year of the past half century. Check here for a complete list of our essays. Just one glance at the Oscar nominees for 1998 might make it seem less a questionable choice for “best year in film” — and more an insane one. Instead of a 1974 – The Godfather II, The Conversation, Chinatown, Blazing Saddles, Young Frankenstein, etc – or even a 1994, where Shawshank, Quiz Show, and Pulp Fiction lost to Gump – you choose a year where the Oscars would allow Roberto Benigni to climb atop both the figurative and literal chairs of the Shrine? Fine, step away from the Oscars. Would you still celebrate a year that saw not one, but two movies about asteroids threatening the Earth? A year that saw such scars carved across cinematic history as Patch Adams, My Giant, Stepmom, and Krippendorf’s Tribe? It bears repeating: Krippendorf’S Tribe? »
- Michael Oates Palmer
FX has closed a first-look production deal with film and TV producer Stacey Sher and her production company Shiny Penny, the network announced Thursday.
“Stacey is a fearless storyteller whose remarkable run of feature films show a willingness to approach challenging topics with unflinching honesty and considerable artistry,” said Grad. “We look forward to working with Stacey and her team to build on this success and develop exceptional television for the FX Networks.”
A frequent collaborator of Quentin Tarantino’s, Sher was a producer on his films “Pulp Fiction,” “Django Unchained” and the upcoming “The Hateful Eight.” For TV, she is producing AMC’s martial arts drama “Badlands” and exec produced Comedy Central’s “Reno 911.” Her credits also include the Steven Soderbergh films “Contagion, »
- Whitney Friedlander
The clock is ticking yet again, folks. As we get towards the end of the month, that means that Netflix.s rights to certain films are about to expire, and that means it.s time for a serious crunch session. But which are the titles that you should be watching before they head off the streaming service? That.s what we.re here to tell you! The first of April will see a surprising number of awesome films unfortunately leaving Netflix, but we.ve selected the top 10 of the group that you should make a point of seeing in the next 14 days. Read on to see our choices! Get Shorty When it comes to a legacy of adaptations, few authors exist on the level of Elmore Leonard. From Out of Sight to Jackie Brown, to the long running series Justified, the guy.s work has inspired a ton of great »
Sony’s planned narrative adaptation of the 2014 documentary The Seven Five just took a big step closer to realisation, with the news that the studio is approaching screenwriter Scott Frank to undertake scripting duties. Frank is the scribe behind such titles as Malice, Get Shorty, Out Of Sight, Minority Report and The Wolverine, and his potential involvement brings huge momentum to the project.
The documentary The Seven Five had its premiere at Doc NYC last year, and Sony snapped up the rights to remake it soon after. It details the devastating police corruption case that shook the New York Police Department to its core in the early 1990s, when 75th precinct officer Michael Dowd was tried and convicted of a raft of terrible crimes. Dowd established a network of illegal activities, recruiting his fellow officers to extort money from drug dealers for protection, and also sell drugs of their own. »
- Sarah Myles
Read More: Hot Docs 2014 Winners Announced: 'Out of Mind, Out of Sight' Wins Best Canadian Feature Documentary Get ready: It's almost time for this year's Hot Docs Canadian International Documentary Film Festival. This year's Special Presentations will feature a collection of high-profile documentaries, made up of films enjoying their world and international premieres, recent award winners and works from renowned filmmakers. The 2015 Hot Docs Festival runs from April 23-May 3. Special Presentation titles appear below, ordered alphabetically: "Around the World in 50 Concerts" Take the title quite literally on this one: Award-winning director Heddy Honigmann's "Around the World in 50 Concerts" follows the Royal Concertgebouw Orchestra (based in the Netherlands) as they perform 50 concerts on six continents in honor of their 125th birthday. "Attacking the Devil: Harold Evans and the Last Nazi War Crime" Co-directed by Jacqui Morris and David »
- Rosie Narasaki
Intentional or not, it's hard to imagine that there was another film released in UK cinemas last Friday in which sex was less sexy than in It Follows, a terrific lo-fi horror film that comes highly recommended by all accounts.
And yet, last Friday also saw the release of Rob Cohen's The Boy Next Door, an erotic thriller that isn't as sexually charged as it is accidentally hilarious. For all intents and purposes, the film plays like an episode of the How Did This Get Made podcast waiting to happen.
At the start, high school teacher Claire Peterson (Jennifer Lopez) is a single mum who's mulling over whether or not she should get back together with her cheating ex-husband Garrett (John Corbett). Enter Noah, (Ryan Guzman) a »
She sings, she dances, she's on the American Idol judging panel and, on the odd occasion, she acts. Considering the super-busy Jennifer Lopez only makes a film once every couple of years (her last screen outing was 2013's second-tier Statham vehicle Parker), you'd think she'd be a little more discerning in her choice of roles. After watching the abysmal Boy Next Door, that red-hot breakthrough in Out of Sight feels firmly out of mind.
Her latest has aspirations to be the kind of slick and stylish adult thriller popularised in the '80s and '90s, but ends up imploding thanks to a clunky script, off-key performances and a tone that swings wildly between ultra-serious and camp comedy. If Gone Girl was the perfect example of how to make »
To pull a successful and entertaining con in a movie is to walk a fine line between feeling sensational and realistic. You want to give the audience a sense of magic and illusion while still making them say, “Well, that could happen.” It’s perfectly acceptable not to let us in on the con, but the con shouldn’t be on the audience. When all is finally revealed, I should think that was clever, not cheap.
There was hardly a moment where I cracked a smile or even a smirk during the entirety of Focus – a film that seems to think it can get by on style as opposed to smarts. Fashionable clothes, luxurious cars, and exotic locales can’t help this sorry attempt for a con film. Focus doesn’t have an ounce of charm or charisma beneath all the flash and glamour, which is a great shame considering the talent involved. »
- Michael Haffner
The best con artists let the rube have fun while they’re being hustled. The wonderful new scam-fest, Focus, has learned this lesson well. Of course, none of the scams hold up to later scrutiny, but they’re fun as hell when you’re in the thick of it. Like a simplified Mamet thriller hopped up on Out of Sight juice, Focus breezes by on the confident charm of Will Smith and a clever script that pays off each slight-of-hand with a masterful reveal. So far, this is easily the most entertaining Hollywood film of 2015.
Nicky (Will Smith) is one cool customer. He’s a lifelong grifter who knows that emotion is the enemy of precision. “Love will get you killed in this game,” he tells his insanely gorgeous new protégé Jess (Margot Robbie). That sounds good in theory, but matters of the heart are unpredictable, »
- J.R. Kinnard
Samuel Goldwyn Films weren’t especially active during Sundance this year, but are smoking barrels today with the pick-up of Charles Stone III‘s Lila & Eve, the closing film at the fest is a female-centric vigilante film starring Viola Davis and Jennifer Lopez. Plans are for a 2015 release.
Gist: This tells the story of Lila (Davis), a grief-stricken mother who in the aftermath of her son’s murder in a drive-by shooting attends a support group where she meets Eve (Lopez), who has lost her daughter. When Lila hits numerous roadblocks from the police in bringing justice for her son’s slaying, Eve urges Lila to take matters into her own hands to track down her son’s killers. The two women soon embark on a killing spree of their own, as they work to the top of the chain of drug dealers to avenge the murder of Lila’s son. »
- Eric Lavallee
The film premiered last month at the Sundance Film Festival. Davis and Lopez both first appeared onscreen together in 1998’s “Out of Sight.”
Goldwyn plans a 2015 release.
Davis portrays Lila, a grief-stricken mother whose son is murdered in a drive-by shooting and meets Eve (Lopez), who has lost her daughter, while attending a support group. Frustrated by the inability of law enforcement to bring the killer to justice, the two women embark on a killing spree against a chain of drug dealers to avenge the murder.
“Lila and Eve” is a Lifetime Films presentation. Production companies are A+E Studios, Chickflicks and JuVee Productions. Producers are Sara Risher and Darrin Reed; executive producers include Viola Davis, »
- Dave McNary
There are two ways of seeing "Focus": as a slick, derivative con man movie starring a typically debonair Will Smith that channels the labyrinthine schemes and accompanying jubilance found in everything from "Ocean's Eleven" to "Out of Sight" — or as the worst movie yet from Glenn Ficarra and John Requa, the writer-director pair behind "I Love You Philip Morris" and "Crazy, Stupid, Love." It's the latter perspective that makes "Focus" such a letdown for anyone intrigued by the pair's other work. Despite its stylish execution, the movie sags into formula and shows little of the vulgar, edgy sensibilities that made this filmmaking pair worth following in the first place. Ficarra and Requa first gained attention as the screenwriters behind "Bad Santa," which, like "Focus," revolves around the plight of a criminal defined by his routine. In their directorial debut "I Love You Philip Morris," Jim »
- Eric Kohn
Every movie star is a con artist of sorts, seducing audiences into forking over millions by adopting a character bigger than him- or herself. But what to do when the streak falters? Will Smith made his film debut as a high-society scammer in “Six Degrees of Separation,” and now, a bit more than 21 years later, he’s back at the hustle in “Focus,” a sexy sleight-of-hand caper that feels small-time by the tentpole king’s standards, though a solid opening ought to prove Smith’s ongoing drawing power — and that there is life after the commercial debacle of 2013’s “After Earth.” Lithely directed by the duo responsible for “Crazy, Stupid, Love,” this suave if quick-to-dissipate divertissement shrewdly recasts the star in the George Clooney mold — a good look for the next stage of Smith’s career.
With the rare exception of 2005’s hit “Hitch,” romance hasn’t really been Smith’s bag. »
- Peter Debruge
A review of tonight's "Justified" coming up just as soon as I come across a chupacabra... "Maybe this time, things end different." -Boyd Last week, I wrote that I looked forward to "seeing the very stupid way" in which Choo-Choo would died, thinking about the accidental demises of White Boy Bob in "Out of Sight," or Danny Crowe when he tried to test his 21-foot rule theory on Raylan last season. "Alive Day" appears to kill off our latest impulsive man of violence, who fails to get crushed by his namesake, but instead expires from wounds acquired in a shootout with Raylan, Tim, Ty Walker and some of Avery Markham's other mercs. And it's not just the method of Choo-Choo's death that's a surprise, but the tone of it. Introduced as perhaps the dumbest and strongest of the series' many dumb strong guys, he instead turns out to be someone »
- Alan Sepinwall
Sometimes, the Oscars have a tendency of giving out awards to actors who are seen to have paid their dues, perhaps not for the best performance of that year or even for the particular actor's own best performance, but to recognise past work. Michael Keaton is not the most likely of these, but this could be why some speculated that he was an early favourite for this year's Best Actor award, for his performance in Birdman.
The later frontrunner Eddie Redmayne rightfully and very graciously wound up taking it home for his work as Stephen Hawking in The Theory Of Everything, though Birdman went on to take home the main prize for Best Picture and a number of other major awards.
It would hardly have been a major upset if »
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