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"Are you kidding me, man?!" composer Angelo Badalamenti howls jokingly when Rolling Stone asks him what he thought of Twin Peaks, the TV series he scored in the early Nineties. "It was really off the wall. I thought it was either going to sink violently down the drain or, hopefully, capture the intrigue of enthusiastic people conversing by the office water cooler on a Monday morning."
12 Things We Learned from David Lynch's Talk at Bam
As it turned out, Twin Peaks was an instant hit when it premiered on April 8th, »
After his recent success with films like Prisoners and Enemy, as well as appearing in a very cool teaser for his upcoming project Nightcrawler, Jake Gyllenhaal is enjoying a huge career high at present. And it looks as it he isn’t resting on his laurels, as he has already lined up the next film.
Teaming with Dallas Buyers Club director Jean-Marc Vallee, Gyllenhaal is to star in Demolition, which follows a young banker who struggles with his emotions after the death of his wife in a tragic accident. Now, The Wrap is reporting that Oscar nominee Naomi Watts (Mulholland Drive) is about to sign on it join him in the drama.
Watts, soon to be seen in Birdman and Divergent sequel Insurgent, is set to play a drug-taking single mum with whom Gyllenhaal’s character begins a relationship with, and who helps to rescue him from his downward spiral. »
- Scott Davis
David Lynch's new project is definitely an unexpected one.
In probably the most random news you'll read today, director David Lynch -- the man behind such classics as Twin Peaks, Mulholland Drive and Blue Velvet -- designed his own line of workout clothes, which is available now through activewear company Live the Process.
A look at the line reveals a grey floral sports bra, a corset bra and a variety of high-waisted leggings all in the "David Lynch Floral" pattern, including these super-hard-to-pull off high-waist bike shorts.
Pics: Star Sightings
His new line is modeled by Sports Illustrated swimsuit model Alyssa Miller, who’s also known for dating Jake Gyllenhaal.
But those wanting to look like a David Lynch girl while getting her sweat on, be warned -- the clothes don't exactly come cheap.
The scoop bra alone retails for $115, while the geometric shorts will come in at a whopping $130. However, a portion »
Remember when Gore Verbinskis remake of Hideo Nakatas Ringu landed on American soil It was one of those profoundly rare occasions in which a single film changes the face of the game. Verbinskis picture succeeded on numerous levels. It was the one single film that truly helped launch the Us infatuation with JHorror films. For Naomi Watts it was the ideal follow up to Mulholland Drive and gave her the final push into the mainstream. It was also a massive financial success debuting in the number one slot at the box office and eventually earning roughly 250 million in worldwide ticket sales. For a horror film thats damn near unheard of. »
Trevor Hogg chats with Sid Kotian about encountering a chicken library, superheroes and a smoking hot redhead known as Allison Carter…
“My uncle was interested in art,” recalls Sid Kotian who is an illustrator from Mumbai, India. “There were always books lying around; they focused on works by the old masters like Goya and Turner so I was exposed to art at an early age. Also I used to steal his watercolours to paint stuff.” Kotian delved into the world of comic books. “Archie comics, Tintin and Asterix were always available plenty so that was what I thought comics were. I became aware of superhero comics in school and completely by accident. Back then we didn’t have the Internet or chain book stores. But there were a few lending libraries around the neighbourhood. This particular one was right behind the school I used to go to. I called it »
- Trevor Hogg
Justin Chang: Andrew, if you’ll allow me a brief (sort of) digression before we get down to business: A few nights ago, as part of our foolhardy mission to rank the films of Richard Linklater, I watched “Waking Life” for the first time since I’d seen it at a college screening in 2001. Back then, we were both sophomores at USC (though we didn’t know each other at the time), and presumably of the ideal age and mindset to groove on the film’s kaleidoscopic visuals and similarly trippy discourse. I recall having been more bored than seduced at the time, though I’m happy to say that my very different reaction following this second viewing — which began around midnight, all the better to cultivate the optimal bleary-eyed dream state — was enough to move “Waking Life” a few notches up my own list.
At a certain point late into the movie, »
- Justin Chang and Andrew Barker
The best movie culture writing from around the internet-o-sphere. There will be a quiz later. Just leave a tab open for us, will ya? “On the Ethics of Vampire Slaying in Buffy the Vampire Slayer” — Greta Christina at io9 takes note of a piece of magic technology in the Buffy-verse that makes everything else she does truly unethical. “The men, monsters, and troubled waters of Jaws” — The gang at The Dissolve does a thorough exploration of the triumphs and limitations of a group that needs a bigger boat (and a shark that works). “Jaws is so effective as a thrill machine that it doesn’t get enough credit for depicting how our business-first attitudes can trump fundamental concerns about public health and safety. Much of the film’s tension comes from Brody being caught between that pressure, which temporarily walls him up in denial, and his not-really-paranoid suspicion that the creature is still lurking, and »
- Scott Beggs
For $11 an hour, Vincent (Murray), a curmudgeonly drunk with nothing in his bank account, agrees to watch over Oliver (newcomer Jaeden Lieberher), the son of his new neighbour, single mother Maggie (McCarthy), after school. Vincent and Oliver quickly establish an unconventional but rewarding friendship slightly reminiscent of that between Murray and Jason Schwartzman in Wes Anderson’s Rushmore.
It’s Murray being Murray, and what else could you want in a movie?
Check out the the first trailer for St. Vincent »
- Sasha James
Glenn here with this week's Tuesday Top Ten. Wikipedia tells this Australian that the Fourth of July, Independence Day, is a day usually celebrated with “fireworks, parades, barbecues, carnivals, fairs, picnics, concerts, baseball games, family reunions and political speeches and ceremonies.” Curious that they don’t include movies since, at least since 1991 when James Cameron’s Terminator 2: Judgement Day premiered to one of the then biggest opening weekends of all time, the big July 4th blockbuster is an annual trend with the likes of Independence Day, the Transformers franchise, Superman Returns and seemingly anything starring Will Smith.
With the holiday this Friday, most lists of movies to watch over the long holiday weekend will feature masculine, almost brutish titles that celebrate America’s achievements in war and rah-rah bravura (The Patriot, Saving Private Ryan, Top Gun) or the coming of age of a nation and its people in almost gooey fashion (Field of Dreams, »
- Glenn Dunks
Yesterday, Lgbt news outlet The Advocate put together a list of “The Top 175 Essential Films of All Time for Lgbt Viewers.” The exhaustive list is full of game-changing films with Lgbt characters, many of which have important places in pop culture. But it’s also rounded out with campy cult classics and gender-bending movies that don’t necessarily have Lgbt characters. Some Like it Hot, for instance, was a groundbreaking movie with no gay characters but plenty of cross-dressing.
The list is topped with more recent movies—Brokeback Mountain (2005) caps it at No. 1, with Milk (2008) coming in second—but contains movies from all time periods. »
- Jacob Shamsian
I’ve been keeping an eye on John Slattery’s directorial debut God’S Pocket since I first heard that the Mad Men actor was moving behind the camera. This first trailer doesn’t disappoint if you like a little dark comedy drama, with a tremendous cast attached.
When Mickey’s (Phillip Seymour Hoffman) crazy step-son Leon (Caleb Landry Jones) is killed in a construction ‘accident’, nobody in the working class neighbourhood of God’s Pocket is sorry he’s gone. Mickey tries to bury the bad news with the body, but when the boy’s mother Jeanie (Christina Hendricks) demands the truth, Mickey finds himself stuck in a life-and-death struggle between a body he can’t bury, a wife he can’t please and a debt he can’t pay.
God’S Pocket looks like a solid debut for Slattery, who appears to have his eye on a good story. »
- Dan Bullock
What's more dangerous: zooming around the winding Mulholland Drive in a Porsche, or pissing off one of the greatest martial artists of all time? Turns out it's the latter, if Steve McQueen is behind the wheel of the sports car. In the bonus extras for “I Am Steve McQueen,” a documentary celebrating the life of the legendary actor, stunt performer Pat E. Johnson recounts one of his favorite stories about the “Bullet” and “Great Escape” star, which involved another popular actor of the time: Bruce Lee. See video: ‘Tvd’ Star Steven McQueen on His Grandfather's Famous Fans: ‘I Was Overwhelmed’ Lee wanted to buy. »
- Tony Maglio
You may recall us telling you about Haunting Melissa, a popular and chilling digital narrative from Hooked Digital Media that began last year. Now a sequel in on its way, and we have all the info you need!
From the Press Release
Hooked Digital Media, a next-generation production company, is pleased to announce that principal photography for the sequel to Haunting Melissa, which has scared more than 5.5 million viewers, is already under way in Calgary, Alberta.
Haunting Melissa 2 will be available exclusively from the App Store on iPhone, iPad, and iPod touch later this year.
The sequel, designed specifically for a new generation of connected viewers, will continue the story of the first film, which took fans into the world of Melissa, a teenage girl who believes her recently deceased mother is haunting her. This next installment picks up one month after Melissa’s disappearance with her return home.
“When we first imagined Haunting Melissa, »
- Debi Moore
Here's another installment featuring Joe Dante's reviews from his stint as a critic for Film Bulletin circa 1969-1974. Our thanks to Video Watchdog and Tim Lucas for his editorial embellishments! Currently tearing up ballyhoo market boxoffice records, this generally ordinary horror film has a potent selling gimmick in its rat heavies. A big grosser for the broad range of markets thanks to unusually powerful promotion campaign. Rating: Gp.
Willard, the tender story of a boy and his killer rats, is already the surprise hit of the season, thanks largely to a shrewd ballyhoo campaign devised by the showmen at Cinerama releasing which makes the Bcp Production a virtually irresistible attraction for a broad range of thrill fans. Far better horror films have come and gone in recent years, but without Willard's main distinction‑its rat gimmick, which is bringing out the monster fans, the kids and anyone else »
- Joe Dante
In my first year at the Festival de Cannes, I think I walked the length of the Boulevard de la Croisette approximately 36 times. At first swarming through this crowded main street is like being trapped in a street fair full of confused rubber-neckers, all wandering in different directions, straining to see something that hasn't quite materialized. Gosling? Glitz? Justin Bieber? Jean-Luc Godard?
On my first stroll down this main drag, I saw Hummer-inspired yachts, an older European couple with his-and-her beige linen pant suits and matching grey-blond severe bobs, and a group of loud American students slugging rosé from the bottle on a bench. The police and bouncers (more so than the festival staff) control the crowds with alarmingly random assertions of authority. "Ne fais pas le rois juste!" shouted one pissed off teen when an officer decides on a whim, seemingly, that only some people are allowed to cross the street. »
- Miriam Bale
The film that has generated the most Oscar buzz out of this year's Cannes Film Festival is Bennett Miller's "Foxcatcher," which took home the award for Best Director. No winner of this prize at Cannes has ever snagged the corresponding one from the Oscars, but five have been nominated: Robert Altman for "The Player" (1992), Joel Coen for "Fargo" (1996), David Lynch for "Mulholland Drive" (2001), Alejandro González Iñárritu for "Babel" (2006) and Julian Schnabel for "The Diving Bell and the Butterfly" (2007). Both "Fargo" and "Babel" gained Best Picture nominations along with several Oscar wins. Join the live chat about Cannes Film Festival winners going on right now in our notorious message boards But the big prize is the Palme D'Or and with the coveted honor going to the Turkish film "Winter Sleep," it's unlikely that this film will be ele »
David Lynch has a singular style and vision, as seen in his 1990 ABC series, “Twin Peaks,” and films like “Mulholland Drive” and “Blue Velvet.” Things are often bizarre and uncomfortable in his worlds, with a tinge of horror around the edges. It would have been a strange approach to bring to the third “Star Wars” film, but George Lucas apparently did ask Lynch to direct “Return of the Jedi.” According to Lynch, he quickly turned Lucas down, understanding that it wasn't a good fit for his sensibilities as a filmmaker. Also read: Gareth Edwards to Direct ‘Star Wars’ Spinoff Film This didn't stop. »
- Jason Hughes
To say that Ryan Gosling's directorial debut feels more like a practice run than a true first feature sounds like condemnation, but the result of his experimentation is a striking and often mesmerising muddle. While it undeniably plays more like a scrapbook collection of flourishes and beats borrowed from other filmmakers (Lynch, Refn, Noé, Kaufman) than a coherent whole, there's ample evidence in Lost River's bold, lurid visuals and compellingly nightmarish tone that Gosling is a director with promise.
Recalling the blend of hardscrabble reality and hypnagogic fantasy in Beasts of the Southern Wild, Lost River takes place in the ruins of a city that has been literally and metaphorically drowned. The construction of a reservoir has forced residents from their homes, leaving behind a barely-populated wasteland. »
Jaded Hollywood satire and portentous family melodrama make for a wearisome combination in David Cronenberg's misjudged latest. With its heightened, hermetic dialogue and anxious synth soundtrack, Maps to the Stars recalls the director's last Cannes competitor Cosmopolis, but without any of the latter's formal elegance.
Mia Wasikowska is Agatha, a mysterious young woman whose celebrity obsession leads her to Los Angeles and into a job as personal assistant to Havana (Julianne Moore), a neurotic actress whose star is fading. The two women's stories intertwine in increasingly farcical ways with that of a Bieber-esque tween star named Benjie (Evan Bird), his overbearing momager (Olivia Williams) and his pop psychology-spouting dad (John Cusack).
These characters are all variously tormented by the ghosts of family past - Havana is vying for the »
There can’t be a more self-aware director working today than David Cronenberg, who’s been hearing the same questions about his work for the last 30 years. Rather than dwell on past glories, however, Cronenberg is always looking for ways to modernise and expand his style, which explains all his work since the last truly Cronerbergian film, 1999’s Matrix-style sci-fi eXistenz. Maps To The Stars is among the best of those films, adapting a script by Bruce Wagner that at once offers a very funny critique of modern-day La life while being a very creepy story about family secrets, egos, insanity, and, most chilling of all, destiny. The nominal lead is Mia Waskowska as Agatha, a bird-like blond with mysterious scars who arrives La is a state of excitement, much like Naomi Watts in David Lynch’s broadly similar Mulholland Drive. She finds a limo driver (Robert Pattison), and offers »
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