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Thirty years ago today, James Cameron’s The Teminator dominated the box office on its opening day.
Though the Arnold Schwarzenegger action film is now considered a modern classic, it’s not exactly the best film in its franchise.
In the intervening nine years between The Terminator and Terminator 2: Judgment Day, Sarah Connor (Linda Hamilton) became a hard-willed warrior, determined to protect her son John Connor and the future of humanity. That’s one big step up from her colourless, sometimes hysterical demeanour in The Terminator. Already Terminator 2 is the better movie.
Terminator isn’t the only franchise that has a high-achieving younger sibling. Let’s go through some of our favourites.
James Cameron makes a good sequel. Unfortunately, his follow-up to Ridley Scott’s 1979 sci-fi thriller Alien was postponed for years while Cameron wrote and directed The Terminator and Rambo: First Blood Part II. We’re very »
- Sasha James
The Digital Era: Real-time Films From 2000 To Today
40 years before, in 1960, lighter cameras enabled a cinéma vérité-flavored revolution in street realism. By 2000, new digital cameras suggested a whole new set of promises, including telling stories that would have been unimaginable within minimum budgets for features even ten years before. In 2000, film purists warned that digital still didn’t look as good as celluloid, but that didn’t stop at least three innovative filmmakers from boldly going where no filmmaker had gone before. Mike Figgis’ Timecode (2000) was the first star-supported (Salma Hayek, Stellan Skarsgard, Holly Hunter, among many others) single-shot project since Rope, underlining that earlier film’s timelessness. If Run Lola Run could do one story three times, then Timecode would do three or four stories one time: the movie is four separate ninety-minute shots shown all at the same time, each in one quadrant of the screen. Where do you look? »
- Daniel Smith-Rowsey
What do film directors Alfred Hitchcock, Stanley Kubrick, Agnès Varda, Robert Wise, Fred Zinnemann, Luis Buñuel, Alain Resnais, Roman Polanski, Sidney Lumet, Robert Altman, Louis Malle, Richard Linklater, Tom Tykwer, Alexander Sokurov, Paul Greengrass, Song Il-Gon, Alfonso Cuarón, and Alejandro Iñárritu have in common? More specifically, what type of film have they directed, setting them apart from fewer than 50 of their filmmaking peers? Sorry, “comedy” or “drama” isn’t right. If you’ve looked at this article’s headline, you’ve probably already guessed that the answer is that they’ve all made “real-time” films, or films that seemed to take about as long as their running time.
The real-time film has long been a sub-genre without much critical attention, but the time of the real-time film has come. Cuarón’s Gravity (2013), which was shot and edited so as to seem like a real-time film, floated away with the most 2014 Oscars, »
- Daniel Smith-Rowsey
1. This is a great idea. Everyone knew that Marvel would figure out some way to keep making movies where Robert Downey Jr. wears some kind of cool metal suit. But Iron Man 4 was always a skeptical proposition. "Fun, Shambling Mess" is basically the best you can hope for when it comes to fourquels. (See: The fish-out-of-time-water shenanigans in Star Trek IV; Stallone solving the Cold War with his fists in Rocky IV; Harry and Ron having a really wacky wizard prom in Goblet of Fire.) Marvel could've positioned a fourth Iron Man movie as a complete in-franchise reboot by »
- Darren Franich
John Rhys Davies (“Indiana Jones”), Haaz Sleiman (“The Visitor”) and Emmanuelle Chriqui (“Entourage”), also star, with other cast members including Rufus Sewell (“Hercules”), Eoin Macken (“The Night Shift”), Abhin Galeya (“The Bill”), Stephanie Leonidas (“Defiance”), Aneurin Bernard (“The White Queen”), Vernon Dobtcheff (“Before Sunset”), Tamsin Egerton (“The Look of Love”), John Lynch (“Sliding Doors”) and Alexis Rodney (“Guardians of the Galaxy”).
Based on the book by Bill O’Reilly and Martin Dugard, the film will chronicle the life of Jesus of Nazareth through the retelling of political, social and historical conflicts during the Roman Empire surrounding his death.
“Killing Jesus” is set to begin filming this fall, »
- Shelli Weinstein
By Scott Feinberg
The Hollywood Reporter
“I have to admit something,” Ethan Hawke told New York Film Festival director Kent Jones in the middle of the Film Society of Lincoln Center’s Tuesday night tribute to the actor-writer-director at Lincoln Center’s Stanley H. Kaplan Penthouse. “It [the acceptance of Hawke's new documentary Seymour: An Introduction into the highly selective fest] meant a lot to me. Hamlet was rejected here. Before Sunrise was rejected here. Tadpole was rejected here. Before Sunset was rejected here. I mean, you know, it’s been a lonely 30 f—ing years — I needed Seymour Bernstein to get my ass in this chair!”
Not long after the audience’s laughter died down, Bernstein — a professional classical pianist turned piano teacher who has become a life coach to Hawke and the subject of Seymour — rose and offered a tribute of his own to the man who has made him, at 87, a celebrity of sorts. Bernstein, who had performed publicly only once »
- Anjelica Oswald
For Ethan Hawke, the past two years have resulted in a series of culminations. Last year, Before Midnight, which closed out his trilogy with Richard Linklater and Julie Delpy, premiered at the Sundance Film Festival; Boyhood, which he made with Linklater over 12 years, premiered there this year. And now he's celebrating the completion of his documentary, Seymour: An Introduction, as it makes stops at various film festivals. So it makes sense that Hawke was prone to look backwards when feted at the New York Film Festival during its "An Evening With..." event. "It's feeling like a shedding of a skin of some kind, »
- Esther Zuckerman
"I have to admit something," Ethan Hawke told New York Film Festival director Kent Jones in the middle of the Film Society of Lincoln Center's Tuesday night tribute to the actor-writer-director at Lincoln Center's Stanley H. Kaplan Penthouse. "It [the acceptance of Hawke's new documentary Seymour: An Introduction into the highly-selective fest] meant a lot to me. Hamlet was rejected here. Before Sunrise was rejected here. Tadpole was rejected here. Before Sunset was rejected here. I mean, you know, it's been a lonely 30 f---ing years — I needed Seymour Bernstein to get my ass
- Scott Feinberg
Delpy stars as Violette, a 40-year old alluring workaholic with a career in the fashion industry who falls for a provincial computer geek, Jean-Rene (Boon), while on a spa retreat with her best friend (Viard). The promising romance starts to unravel when Jean-René meets Violette’s cherished 20-year old son, Lolo (played by French up-and-comer Vincent Lacoste), and discovers their unusual relationship.
“This film deals with universal themes: We have a relationship between two people who come from opposite worlds but are drawn to each other; and we also touch on – in a humorous way — the issues that single mothers in their 40’s face when looking for love,” said Michael Gentile, who is producing the movie via his Paris-based outfit The Film. “Lolo” is »
Exclusive: Justin Benson and Aaron Moorhead’s Italy-set horror romance Spring has been acquired by Drafthouse Films and FilmBuff in the first sale out of this year’s Fantastic Fest. The sophomore feature from Resolution co-directors Benson and Moorhead stars Lou Taylor Pucci (Thumbsucker, Evil Dead) as a troubled American backpacker in Italy whose romance with a local girl (Nadia Hilker) turns into an unexpected nightmare when her dark, primordial secret threatens to destroy their newfound happiness.
Spring premiered earlier this month at the Toronto Film Festival before making its U.S. debut Saturday night in Austin. Reviews have been strong to the genre-blender described as Before Sunset meets H.P. Lovecraft. Drafthouse Films, the specialty distribution arm of the Alamo Drafthouse, closed the deal for U.S. rights after watching Spring play through the roof on home turf and with FilmBuff will release it in theaters and on VOD in »
- Jen Yamato
In a development that feels more inevitable than surprising, Matt Damon and Paul Greengrass are in talks to get back into the Bourne business. The two had sent mixed messages over the years, ever since Jason Bourne disappeared in the murky East River at the end of The Bourne Ultimatum in 2007, with the major roadblock being Damon’s insistence that a reluctant Greenglass direct, while Universal handed the franchise over to writer-turned-director Tony Gilroy. But with Gilroy’s Bourne Legacy, starring Jeremy Renner, failing to live up to the original three Bourne films at the box office, and Damon’s recent non-Bourne projects, »
- Jeff Labrecque
Hundreds of Gold Derby Users have already joined our panels of Experts and Editors in predicting the next Oscars, but they have a different idea about how Best Director will turn out. -Break- How many Oscars will 'Boyhood' win? They're closely divided between two top contenders. In one corner is Richard Linklater, who received the best reviews of his career for his innovative coming-of-age drama "Boyhood." He has two previous screenwriting nominations (for "Before Sunset" in 2004 and "Before Midnight" in 2013), but none yet for directing. However, while our experts place him solidly out front, he's in second place with users, despite more than 200 who think he'll win. In the opposing corner is the man our users believe is the real frontrunner: Bennett Miller for the tragic sports story "Foxcatcher." He already won the directing prize at Cannes earlier this year, and although this is o...' »
The South Korean city of Gyeongju is known for its hundreds of burial mounds, making this town with its head in the past a fitting backdrop for director Zhang Lu’s exquisitely observed personal drama. Inspired by an obscene painting the Chinese-Korean helmer once spotted on the wall of a local teahouse, “Gyeongju” follows a young(ish) man’s search for the same naughty artwork — a curious quest with bemusing consequences. Running an unhurried 145 minutes, the poetic pic came and went quietly in Korea earlier this summer, but should court more receptive international audiences thanks to a fest slot in Locarno.
More concerned with immaterial memories than anything that can be directly captured onscreen, this ruminative offering plays almost like an existential ghost story. Returning to his old haunts after seven years, soft-spoken Choi Hyeon (“The Host’s” Park Hae-il) is troubled not by evil spirits, but by lingering questions from his past — subtle, »
- Peter Debruge
Any feature filmed over 12 years that chronicles the journey from boy to man requires a big leap of faith from all involved, in particular the filmmaker. Lucky for Richard Linklater, who has had some experience with filming over time with films Before Sunrise, Before Sunset and Before Midnight, it.s a gamble that has paid off spectacularly, with the coming-of-age drama Boyhood receiving almost unanimous international critical acclaim since premiering at the 2014 Sundance Film Festival. With a 99% certified "fresh" rating on review site Rotten Tomatoes (based on 187 reviews) and a perfect score on similar site Metacritic, Boyhood seems to have captured the imaginations of even the toughest critics, a feat which can be attributed not only to Linklater.s direction but also to the boy at the centre of the film . Ellar Coltrane. The audience meets Coltrane.s Mason Jr. at six years old . a cute »
- Emily Blatchford
God Help the Girl is a tale of love and despair through the medium of song and dance, starring Emily Brown and Olly Alexander. Written and directed by Belle & Sebastian’s Stuart Murdoch, the film in part follows Alexander’s bewitched James and his adoration of Eve (Browning,) a troubled, medicated songwriter.
To celebrate the film’s release we take a look at some of the best proclamations of love via the magical form of song in cinema.
Admittedly this sequence is mimed, but mimed to Otis Redding and with such panache that Jon Cryer’s Duckie is easily forgiven. Besotted with his best friend and sadly not as bold with his feelings as he is with his sense of fashion, Duckie’s extravagant routine is as a means of impressing his audience; a bewildered Andie (Molly Ringwald)and the quietly impressed Iona. »
- Beth Webb
While often viewed as the very definition of the derivative, repetitive and unimaginative, the much-maligned sequel has a long and illustrious history in Hollywood and beyond, with some prime specimens widely regarded as matching, or even bettering, their forebears.
On the occasion of the new 4K digital restoration of Francis Ford Coppola's lauded "The Godfather Part II," Tiff Bell Lightbox is looking back at some of the finest follow-ups in film history, paired with their predecessors in order to make the comparison complete -- from "Before Sunrise" and "Before Sunset" to "Batman" and "Batman Returns."
Specific showtimes can be found in the slideshow below. Second Comings: Cinema's Greatest Sequels runs from August 8 to August 31 at Tiff Bell Lightbox. »
- Chris Jancelewicz
Another day, another new category as I continue to open the doors to my 2015 Oscar predictions, today exploring the other half of this year's screenplays with 19 contenders for Best Original Screenplay and in this category there may be a little more to discuss as more of the films on my list have actually been seen. To begin my #1 is Richard Linklater's screenplay for Boyhood. Twelve years in the making and to see the finished product makes me wish I was privy to his notes from the very beginning to see how it all ended up. Linklater has seen his screenplays for Before Sunset and Before Midnight (both co-written with Ethan Hawke and Julie Delpy) nominated in the past and given the overwhelming love for this film I think it's safe to assume a third nomination is in the offing and right now I see it as the definite front-runner »
- Brad Brevet
Richard Linklater might be an auteur, but he’s not a snob: One year after releasing Before Sunset in 2004, for example, he directed a remake of the Bad News Bears. Still, there is a certain degree of artistic whiplash in going from Boyhood, his current critical hit that he spent 12 years making, to a remake of The Incredible Mr. Limpet, a Warner Bros. project he’s been attached to for more than three years. The original Limpet was an animation/live-action hybrid that starred Don Knotts as a man who turns into a fish and helps the Navy destroy Nazi submarines. »
- Jeff Labrecque
In Guardians of the Galaxy, Chris Pratt’s Peter Quill slowly unwinds his middle finger like a jack-in-the-box as men gaze at him from the other side of smart glass warning of his imminent “obscene gesture.” Flipping the bird has now become interstellar, the latest in a long history of imaginative fingering. The gesture has evolved beyond a simple way to say “fuck you.” It’s the obvious and subtle threat between the fingers, no longer happy to simply pop up, now it dances in many forms. Some fling it in anger, some let it tease, and some see theirs blown off. It can be bloody, robotic, disembodied, Tank Girled and adamantiumed. If Hollywood put half as much effort into storytelling as they put into creative uses of the middle finger, many of the industry’s problems would be solved. For now, we have the following 10 birds, some of which are part of the “Movie Middle Finger »
- Monika Bartyzel
Richard Linklater's "Boyhood" is a remarkable film in many ways. First, it once again solidifies the iconoclastic filmmaker's reputation as a compelling filmmaker, one who often uses time to frame his narratives. Whether it's the narratives that take place over a single day like "Dazed and Confused," or films that age over decades like the "Before Sunrise"/"Before Sunset"/"Before Moonrise" triptych, Linklater shows a remarkable capacity to use cinema to encourage audiences to look at the passing of time.
No other project more overtly demonstrates this than "Boyhood." Shot over a half-dozen years, we literally see the character grow up before our eyes. Much like Michael Apted's "Up" series of docs that trace a group of kids over many years, Linklater's documentary-like tenacity is reason enough to applaud the film.
Yet "Boyhood" is more than mere than just its filming style -- with wonderful, rich performances and an engaging narrative, »
- Jason Gorber
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