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It’s not uncommon for people to work in the “family business” but when the family business involves Hollywood, it’s an entirely different story.
Certain last names have earned such respect and reverence in the entertainment industry that being born into one of these families practically ensures success should they decide to pursue a career in entertainment. Some families, like the Coppolas, span generations and involve a complex web of well-connected cousins and siblings. Others, like the Smiths, represent the new Hollywood family, with their social-media famous kids appealing to the children of their parents’ fans.
- Amanda Wood
The illustrated novel written by Rasmus Berggreen and Michael Vogt, "Fall of Gods," is getting the big screen treatment. The film is set to be directed by The Maze Runner's Wes Ball, and it's just been announced who is going to pen the screenplay. It's a guy with a very varied and very extensive resumé.
For starters, the Tracking-Board report that reveals his hiring refers to him as the writer of I, Frankenstein. That movie was a bomb and a mess, so it'd be easy to write Beattie off. But then you dig a little deeper and you see that Beattie also wrote the extremely tense and gripping Michael Mann film Collateral, had a hand in writing the movie that launched the Pirates Of The Caribbean franchise, »
- Mario-Francisco Robles
Tom Cruise first collaborated with director Edward Zwick more than a dozen years ago on The Last Samurai. Set in the late 19th century, the movie followed a traumatized former soldier (Cruise) who travels to Japan to train an army in Western-style warfare. In the process, he rediscovers his soul. The Last Samurai became a hit around the world and earned four Academy Award nominations. Cruise moved on to Michael Mann's Collateral and Steven Spielberg's War of the Worlds. Zwick, though he's known for historical epics like Glory and Legends of the Fall, has continued to tackle a variety of movies, including most recently the romantic drama Love & Other Drugs and the real-life drama Pawn Sacrifice, the latter based on the legendary 1972 chess matches...
- Peter Martin
Tom Cruise first collaborated with director Edward Zwick more than a dozen years ago on The Last Samurai. Set in the late 19th century, the movie followed a traumatized former soldier (Cruise) who travels to Japan to train an army in Western-style warfare. In the process, he rediscovers his soul. The Last Samurai became a hit around the world and earned four Academy Award nominations. Cruise moved on to Michael Mann's Collateral and Steven Spielberg's War of the Worlds. Zwick,...
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One of the most underrated movies from the last decade was undoubtedly Collateral. The raw thriller from director Michael Mann features two oustanding performances from both Tom Cruise and Jamie Foxx. The former delivers one of the best performances of his career as the hitman Vince, while the latter, usually showy, actor disappears into the […]
- Ethan Anderton
While his high-profile, epic dramas such as Heat, The Insider and Last of the Mohicans are often the most revered in many circles, for my money, Collateral might be my personal favorite feature from Michael Mann. Featuring one of Tom Cruise‘s best performances and pushing the landscape of digital cinematography forward, the one-night thriller is one of the great La movies and today we’re taking a look behind its making.
Aside from the jazz club shoot-out, one of the most memorable aspects of the film is the relationship between Cruise’s slick hitman character Vince and Jamie Foxx‘s Max, who is taken hostage. While Adam Sandler was initially circling the latter role, Foxx got the part and today we have rehearsal footage between the two leads. Featuring a long-haired Cruise, the footage is interspersed with the final product, and even features Mann chiming in a few times. »
- Jordan Raup
Every week we dive into the cream of the crop when it comes to home releases, including Blu-ray and DVDs, as well as recommended deals of the week. Check out our rundown below and return every Tuesday for the best (or most interesting) films one can take home. Note that if you’re looking to support the site, every purchase you make through the links below helps us and is greatly appreciated.
A Married Woman is an often overlooked masterwork from Godard’s most productive period. The plot appears to be simple: Charlotte (Macha Méril) is a young married woman having an affair with an actor. When she discovers that she is pregnant, she must decide which man is the father and which man she will stay with. In Godard’s hands, however, the film, described as a film about a woman’s beauty and the ugliness of her world, »
- The Film Stage
Australians in Film have launched Mentor La, a new mentorship program initiated with Screen Australia support.
Mentor La will match four early-to-mid-level practitioners who currently work in the Australian industry with dedicated mentors who work in the Us, giving them the opportunity to gain international industry knowledge.
The inaugural mentors are producer Bruna Papandrea (Gone Girl, Wild); writer/director Stuart Beattie (Pirates of the Caribbean: Curse of the Black Pearl, Collateral); Emmy award-winning production designer Deborah Riley (Game of Thrones) and the president of unscripted television at Endemol Shine USA, Eden Gaha.
The pairs will be matched for a twelve-month structured program specific to their area of work, allowing the participants to continue to develop their careers in Australia and build on their existing knowledge with their mentor..
Over the year, the mentors and mentees will meet on four occasions: three times online and once in person during »
- Staff Writer
The Guard and Calvary were two of my favorite films to release in their respective years. Both reel with a jet black sense of humor and western style morality play where various shades of grey face off in cessation. They also happen to be gorgeous, shot by Larry Smith (Gaffer/Chief electrician on Barry Lyndon/The Shining turned Only God Forgives/Bronson D.P) and composed in sickening symmetry. In short, I was ecstastic to meet the man behind it all, and his down to earth, silly, demeanor, ended up putting me at ease. John Michael McDonagh, talks about his third and bleakest feature film: War On Everyone.
Did anything, such as something in the media, provoke the start of War On Everyone?
There was no sort of big initializing point really. I guess having done The Guard with one kind of obnoxious cop, [that] I wanted to double down on that a little bit. »
- firstname.lastname@example.org (Aaron Hunt)
Director Michael Mann is working on a prequel to his classic 1995 crime thriller, Heat. The director of Collateral and The Last of the Mohicans has just closed a deal to launch Michael Mann Books, and he’s digging into his past work to find potential stories to tell. The Heat prequel, which will first be published as a novel, is apparently Mann’s […]
- Jack Giroux
The champagne is chilling, our major Oscar bets have been placed - and everyone is trying to guess what Chris Rock is going to say when he takes the stage to host the 2016 Academy Awards on Sunday. In fact, while we're all dying to see if Leonardo DiCaprio finally wins his first Oscar, or if Mad Max: Fury Road will manage to beat The Revenant or Spotlight for Best Picture, it's probably safe to say that Rock's monologue is the most highly anticipated element of the 2016 telecast. So, while we could spend hours dissecting every clue that Rock has given »
- Julia Emmanuele
Filmmaker Michael Mann is on a minor break at this moment. His hacker thriller "Blackhat" opened to scathing reviews and dismal box-office early last year, since then he's been prepping his Ferarri biopic and has taken some time out to recut "Blackhat" for a special screening which took place last week as part of a retrospective on his career at the Brooklyn Academy Of Music.
The retrospective also includes the first ever Dcp print of 2004's "Collateral" - something he claims is "far superior" to the theatrical prints struck at the time of the film's release which did not properly convey the digital photography look.
Speaking with Happy Sad Confused podcast (via Indiewire, the filmmaker spoke about the "Blackhat" changes saying the new version is Not a director's cut, but he "wasn't 100% happy" with the theatrical. The result was a re-ordering and trimming of some scenes to be more in »
- Garth Franklin
On the surface, Michael Mann doesn’t have much to promote these days, but the Brooklyn Academy Of Music’s retrospective “Heat & Vice: The Films of Michael Mann” has facilitated lots of change for the legendary filmmaker. First off, he’s recut his hacker thriller, “Blackhat” on his own — it’s unclear if it’ll get a proper release — and he’s supervised the prints of every film playing at Bam. In fact, for “Collateral,” his 2004 thriller starring Tom Cruise and Jamie Foxx that was mostly shot digitally, Mann supervised the first Dcp “print” of the movie, which he described as far superior to the theatrical prints struck at the time that did not reflect the nuance of how the digital photography captured light and texture at night. And that version will be shown for the first time (and only time?) tomorrow night (February 16th). Read More: Michael Mann At Bam: The Recut 'Blackhat, »
- Rodrigo Perez
Meet the new “Blackhat”… same as the old Blackhat —well, mostly. Last night, as part of an ongoing retrospective of his work at Brooklyn Academy of Music in New York, Michael Mann unveiled the world premiere of the new director’s cut of his techno-thriller: a film that, outside of a few passionate partisans in critical circles, was generally met with indifference when it was released last January (here’s our positive review). As someone who was neither a vociferous defender nor an ardent detractor of the film —finding myself feeling detached from its plot and characters while admiring Mann’s formalism, which is often expressive enough to compensate for its script and acting deficiencies— I was curious to see whether Mann’s new version would push me towards one direction or the other. Read More: Michael Mann At Bam: The Recut 'Blackhat,' The Authenticity Behind 'Thief, »
- Kenji Fujishima
I admire Michael Bay as a director, I really do. He is a filmmaker without guile, his images transparent in their vapid grandiloquence. The qualities and values of maximalism, crassness and jingoism that have consistently garnered mockery and acrimonious distain by many are not ones audiences are cleverly exposing, but most often are simply accurate characterizations of the attitudes such films as the two Bad Boys, Pearl Harbor, and his solely-helmed Transformers franchise directly espouse. It may be hard to imagine a film more gaudily self-evident in its values and the force of its aesthetics as the sprawling effects goliath and techno-anti-humanist Transformers: Age of Extinction, but in fact Bay’s most tidily budgeted and CGI free films of recent years, 2013’s true crime Pain & Gain and this year’s true war 13 Hours: The Secret Soldiers of Benghazi are his most honest and perceptive, and, because of this, his best. »
- Daniel Kasman
Films have long been able to give us a glimpse into another life. One that only movie stars can access but, deep down, we all secretly wish that one day we too will be able to live out.
There are literally hundreds of driving films – some that will stay in your mind forever and some that should be consigned to the bargain bucket, never to be seen again. To make a great driving film – the sort to inspire you to want to learn to drive yourself – you need to have serious gear-heads on board, classic motors, fast cars, car chases and a spectacular storyline.
Here, we sort through the movies to remember and those better off forgotten.
- The Hollywood News
Actor uses #Oscarssowhite hashtag on Twitter to ask if ‘people of colour’ should avoid this year’s ceremony to protest against white-only list of Academy Award nominees
Jada Pinkett Smith has questioned whether Hollywood figures from ethnic minority backgrounds should boycott this year’s Oscars over diversity.
Writing on Twitter, the star of The Matrix Reloaded, Collateral and Magic Mike Xxl expressed her disappointment at the Academy’s failure to nominate non-whites for any of the major prizes at next month’s event for the second year running. The hashtag #Oscarssowhite, created last year, has once again trended on Twitter.
Continue reading »
- Ben Child
Jada Pinkett Smith has added her voice to the growing list of Hollywood stars criticizing the Oscars for a lack of diversity. The actress, whose film credits include “Magic Mike Xxl,” “Collateral” and “The Matrix Reloaded,” pondered on social media Saturday if people of color should participate in the Oscars at all. “At the Oscars, people of color are always welcomed to give out awards, even entertain, but we are rarely recognized for our artistic accomplishments,” she wrote on Facebook and in a series of tweets. “Should people of color refrain from participating all together?” Also Read: Spike Lee Will Not Attend. »
- Anita Bennett
Growing up it was all about watching a film on mute and pairing it with the perfect album, trying to synchronize a scene or entire movie with a song or full-length record. Nowadays, mashups are ubiquitous, and the similarities between film, art, and music prominently fill up the pages of the web and social media nearly everyday. Read More: Ranked: Every James Bond Film From Best To Worst In this new 6-minute video from Michael McIennan, he concentrates on the visual similarities between the climax to Michael Mann’s thrilling 2004 “Collateral” and the Shanghai sequence of Sam Mendes’ “Skyfall” from 2012. The video is edited so the films transpire at once, with scenes re-ordered, but it serves to highlight the haunting parallel scores and brilliant silhouetted work from inimitable cinematographers Roger Deakins (“Skyfall”) and Dion Beebee (“Collateral”). The mashup is best watched with headphones on as its creator recommends in his introduction; you certainly. »
- Samantha Vacca
“I feel like I’m in a f—ing horror movie,” a soldier murmurs as gunfire erupts around him, and his words turn out to be a pretty accurate assessment of Michael Bay’s noisy, nerve-frying account of the widely contested 2012 terrorist attacks that claimed four American lives in Benghazi, Libya. Taking a break from the cultural atrocities of the “Transformers” franchise with this half-successful bid for seriousness, Bay approaches his tinderbox of a subject pretty much the way you’d expect from Hollywood’s most aggressively pro-military director: Largely avoiding the political firestorm in favor of a harrowing minute-by-minute procedural, “13 Hours: The Secret Soldiers of Benghazi” is an experiential tour de force but a contextual blur, a shrewdly dumb movie that captures, and perhaps too readily embraces, the extreme confusion of the events as they unfolded on the ground. Most of all, it’s a tribute to the brave U. »
- Justin Chang
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