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2017 | 2016 | 2015 | 2014 | 2013 | 2012 | 2011 | 2010 | 2009 | 2008 | 2007 | 2006 | 2005

1-20 of 79 items from 2017   « Prev | Next »


Casey Affleck Doesn't Seem To Keen On Playing A Superhero

16 August 2017 10:25 AM, PDT | LRMonline.com | See recent LRM Online news »

While his older brother, Ben, is currently portraying one of the biggest superheroes on the planet, Batman, younger brother Casey Affleck was asked about his interest in taking on the role of a comic book character on the Dale and Holley with Keefe morning show.

“Eh, they’re all taken. Now, all the superheroes coming out are guys you haven’t heard of, and Swamp Thing. Maybe if they found one for me, it’ll make the kids happy.”

The younger Affleck is correct, most of the top tier of heroes has been claimed by other actors. However, before 2008’s Iron Man, Tony Stark was not a well-known superhero outside of people who actually read the comic books. So it is possible he could take a relatively unknown hero and bring them to the forefront of popularity. the same way Robert Downey Jr. did. I would be completely open to »

- Seth McDonald

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Film Score Reviews – Wind River & Atomic Blonde

11 August 2017 8:20 PM, PDT | Flickeringmyth | See recent Flickeringmyth news »

Tony Black reviews the scores for Wind River and Atomic Blonde

Nick Cave & Warren Ellis have been in the composing game for quite some time now, making their mark in the very specific kind of sub-genre Wind River sits within; the American thriller, be it traditional Western such as The Assassination of Jesse James by the Coward Robert Ford, the neo-Western such as last year’s Hell or High Water, or the post-apocalyptic drama such as The Road. In each of these films they’ve brought the same underplayed, haunting sensibility, and that’s precisely what they deliver for Wind River. Having not seen the movie yet (it’s out in the UK in September), whether it works in tandem with the film is in question, but given it works as a listening experience separately is a damn good sign it will.

Cave & Ellis balance undulating electronics with a sense »

- Tony Black

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The Top 12 Composers of the 21st Century, From Hans Zimmer to Nick Cave

7 August 2017 9:00 AM, PDT | Indiewire | See recent Indiewire news »

In an age where special effects reign supreme, there’s one aspect of the filmmaking process that hasn’t gone through a radical transformation — music. Some of the best movies in any given year would be sorely lacking without their memorable scores, and this has remained true well into the first two decades of the 21st century.

Read More‘Logan’ Composer Marco Beltrami on R-Rated Wolverine Minimalist Score

Film composers play an integral part in the filmmaking process, and there are a handful whose bodies of work stand out in recent years. Of course, this list of 12 major composers only begins to scratch the surface of the talent out there. There are plenty of other worthy contributors to the medium who didn’t make the cut — Danny Elfman and John Williams, we’re looking at you — but rest assured that this top dozen represent the cream of the crop.

Hans Zimmer »

- Gabrielle Kiss

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Actor and Playwright Sam Shepard Dead at 73

31 July 2017 3:20 PM, PDT | WeAreMovieGeeks.com | See recent WeAreMovieGeeks.com news »

Sam Shepard, the Pulitzer Prize-winning playwright and Oscar-nominated actor, died Sunday at the age of 73. The winner of 13 Obie Awards, Shepard won his first six for plays he penned between 1966 and 1968. After his success on the off-Broadway stage, Shepard segued to screenwriting with credits on films like Michelangelo Antonioni’s Zabriske Point before turning to acting. Besides his Oscar-nominated turn as Chuck Yeager in The Right Stuff, Shepard also acted in MudBlack Hawk DownThe NotebookThe Assassination of Jesse James by the Coward Robert FordAugust: Osage County. Shepard suffered from Als and was 73.

From The New York Times:

Sam Shepard, whose hallucinatory plays redefined the landscape of the American West and its inhabitants, died on Thursday at his home in Kentucky of complications from amyotrophic lateral sclerosis, or Lou Gehrig’s disease, a spokesman for the Shepard family announced on Monday. He was 73. Possessed of a stoically »

- Tom Stockman

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Peter Travers on Sam Shepard: The Cowboy-Mouth Poet of Stage and Screen

31 July 2017 2:36 PM, PDT | Rollingstone.com | See recent Rolling Stone news »

Rolling Stone's Peter Travers pays tribute to the late, great playwright/actor Sam Shepard: "It was never about him. It was always about the work." Everett Collection

Sam Shepard famously hated endings. As a playwright, he felt "the temptation towards resolution, towards wrapping up the package, seems to me a terrible trap."

He got that right. So Shepard leaves us to deal with his ending, a death at 73 at his home in Kentucky, surrounded by family. Als, also known as Lou Gehrig's disease, was the culprit. The obits pay »

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Deadpool 2 and mother! top our daily movie news roundup!

31 July 2017 2:24 PM, PDT | Cineplex | See recent Cineplex news »

Deadpool 2 and mother! top our daily movie news roundup!Deadpool 2 and mother! top our daily movie news roundup!Amanda Wood7/31/2017 4:24:00 Pm

In today’s movie news: A creepy teaser trailer, some funny Deadpool news, and a sad loss for the industry.

The Tiff-bound Darren Aronofsky thriller mother! finally released its first teaser trailer, and it sure does tease some craziness and mayhem. Starring Jennifer Lawrence and Javier Bardem as a married couple whose lives take a turn when unexpected visitors arrive, mother! is one of our most anticipated films of Tiff, and also just in general. Check out the creepy teaser below and catch mother! in Cineplex theatres September 15th.

Ryan Reynolds is back to his usual Twitter shenanigans, promoting Deadpool 2 with an amusing character poster for Domino, a new face in the series. She’s lying on a rug made out of Deadpool’s suit, »

- Amanda Wood

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An Appreciation of Sam Shepard: A Countercultural Playwright Who Became, as an Actor, an Ironic Icon

31 July 2017 2:08 PM, PDT | Variety - Film News | See recent Variety - Film News news »

There’s a grand irony to the life and career of Sam Shepard, who died Thursday at 73, that couldn’t have been lost on him. In the late ’60s and early ’70s, when he was first coming up as a playwright, he was part of a shaggy experimental New York theater scene, a kind of loose downtown collective that emerged from the dead flowers of the counterculture and grew into something else: a hazy ’70s druggie/poet garden of indolent creativity. It was an off-Broadway, off-kilter, semi-off-the-grid scene that sprouted up through the cracks of what had been hippie culture and would soon become punk.

Shepard wrote his plays with a wild-dog discursive freedom that would have been unimaginable before the ’60s, and his fabled romantic affair with a singer-poet named Patti Smith seemed baptized in a kind of bohemian purity. At that point, he’d already begun to flirt with Hollywood, though »

- Owen Gleiberman

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Sam Shepard, Rip: 5 Essential Performances That Illustrate His Genius

31 July 2017 12:20 PM, PDT | Indiewire | See recent Indiewire news »

Sam Shepard was a Pulitzer Prize-winning playwright whose contributions to the theater world spanned decades; by the time he started acting in movies, his career had already taken off. As such, even as he landed an Oscar nomination for “The Right Stuff” and continued to be a regular presence in front of the camera, the multi-talented writer-performer remained primarily associated with the stage. Nevertheless, Shepard remained a major figure in American cinema for 40 years in more ways that one: It’s his tender screenplay that makes Wim Wenders’ “Paris, Texas” such an emotional powerhouse, and he even directed two features, but it’s Shepard’s acting credits speak to his astonishing range — and the way he continued to evolve his skills as the decades wore on. Here are five standouts from a career so rich with talent that we can only begin to explore it with this limited sampling (sorry, »

- Eric Kohn, Michael Nordine, Ben Travers and David Ehrlich

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Playwright, actor Sam Shepard dies aged 73

31 July 2017 11:05 AM, PDT | ScreenDaily | See recent ScreenDaily news »

Pulitzer Prize-winning playwright and actor who suffered from Als died at his home.

Pulitzer Prize-winning playwright and Oscar-nominated actor Sam Shepard has died from Als. He was 73.

Shepard died on July 27 at his home in Kentucky surrounded by family. “The family requests privacy at this difficult time,” Chris Boneau, the spokesman for the family, said.

Shephard won the Pulitzer Prize in 1979 for his play Buried Child and received a best supporting actor Oscar nomination for his role as Chuck Yeager in The Right Stuff.

His final on-screen appearance came in 2015 on the Netflix drama Bloodline. As an actor his screen credits include Days Of Heaven, Resurrection, Frances, Country, Fool For Love, Crimes Of The Heart, Baby Boom, Steel Magnolias, Bright Angel, Defenseless, Hamlet, The Notebook, Black Hawk Down, The Assassination Of Jesse James By The Coward Robert Ford, Brothers, Mud, August: Osage County, Cold in July, Midnight Special, In Dubious Battle, and You Were »

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Sam Shepard: Hollywood & Broadway Mourn Actor-Writer’s Death

31 July 2017 10:18 AM, PDT | Deadline | See recent Deadline news »

Broadway and Hollywood are in sorrow today as one of their greats, Pulitzer Prize-winning playwright and Oscar-nominated actor Sam Shepard died today at his home in Kentucky. Garret Dillahunt worked with Shepard on the Andrew Dominik western The Assassination of Jesse James by the Coward Robert Ford:  Shepard and Don Cheadle starred together in the 2001 John Travolta-Halle Berry thriller Swordfish:  Literally bumped into Sam Shepard many years ago, both of us on our… »

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Sam Shepard, Actor and Playwright, Dead at 73

31 July 2017 9:17 AM, PDT | Rollingstone.com | See recent Rolling Stone news »

Sam Shepard, the Pulitzer Prize-winning playwright and Oscar-nominated actor, died Sunday at the age of 73.

Shepard, who suffered from Als in recent years, died at his home in Kentucky from complications from the disease, his rep told The Hollywood Reporter.

The winner of 13 Obie Awards, Shepard won his first six for plays he penned between 1966 and 1968. After his success on the off-Broadway stage, Shepard segued to screenwriting with credits on films like Michelangelo Antonioni's Zabriske Point and Robert Frank's Me and My Brother

During this time, Shepard also »

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Sam Shepard, Pulitzer-Winning Playwright and Celebrated Actor, Dies at 73

31 July 2017 8:31 AM, PDT | Variety - TV News | See recent Variety - TV News news »

Sam Shepard, the acclaimed playwright who was also praised as an actor, screenwriter, and director, has died. He was 73.

He died on Thursday at his home in Kentucky following complications from amyotrophic lateral sclerosis, also known as Lou Gehrig’s disease, a family spokesman confirmed to Variety.

Known for writing that suffused the fringes of American society with a surreal and brutal poetry, Shepard rose to fame when he won the Pulitzer Prize for Drama in 1979 for his play “Buried Child.” He was also nominated for an Academy Award in the supporting actor category for his part in the 1983 film “The Right Stuff.”

He wrote or co-wrote screenplays for Wim Wenders’ “Paris, Texas,” Michelangelo Antonioni’s “Zabriskie Point,” and Robert Altman’s “Fool for Love,” based on his play.

Shepard was one of the leading figures of the Off Off Broadway movement that flourished in downtown New York beginning in the early 1960s. His »

- Gordon Cox

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Sam Shepard, Pulitzer-Winning Playwright and Celebrated Actor, Dies at 73

31 July 2017 8:31 AM, PDT | Variety - Film News | See recent Variety - Film News news »

Sam Shepard, the acclaimed playwright who was also praised as an actor, screenwriter, and director, has died. He was 73.

He died on Thursday at his home in Kentucky following complications from amyotrophic lateral sclerosis, also known as Lou Gehrig’s disease, a family spokesman confirmed to Variety.

Related

Celebrities Who Died in 2017

Known for writing that suffused the fringes of American society with a surreal and brutal poetry, Shepard rose to fame when he won the Pulitzer Prize for Drama in 1979 for his play “Buried Child.” He was also nominated for an Academy Award in the supporting actor category for his part in the 1983 film “The Right Stuff.”

He wrote or co-wrote screenplays for Wim Wenders’ “Paris, Texas,” Michelangelo Antonioni’s “Zabriskie Point,” and Robert Altman’s “Fool for Love,” based on his play.

Shepard was one of the leading figures of the Off Off Broadway movement that flourished in downtown New York beginning in the early »

- Gordon Cox

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Sam Shepard, Lauded Director, Playwright, and Actor, Dies at 73

31 July 2017 8:06 AM, PDT | Indiewire | See recent Indiewire news »

Director, playwright, and actor Sam Shepard has passed away at the age of 73. BroadwayWorld first reported the news this morning.

He was nominated for an Academy Award for Best Supporting Actor for his portrayal of pilot Chuck Yeager in “The Right Stuff.” He was also the author of forty-four plays, as well as several books, including short stories, essays, and memoirs. He received the Pulitzer Prize for Drama in 1979 for his play “Buried Child.”

As BroadwayWorld notes, “Shepard’s plays are chiefly known for their bleak, poetic, often surrealist elements, black humor and rootless characters living on the outskirts of American society.”

In 2009, he received the Pen/Laura Pels International Foundation for Theater Award as a master American dramatist. Shepard was elected to The American Academy of Arts and Letters in 1986. He was elected a Fellow of the American Academy of Arts and Sciences in 1986. Shepard was also a dedicated teacher of the arts, »

- Kate Erbland

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NYC Weekend Watch: ‘La Chinoise,’ Yvonne Rainer, ‘Koyaanisqatsi’ Scored Live, ‘Saturday Night Fever’ & More

21 July 2017 6:33 AM, PDT | The Film Stage | See recent The Film Stage news »

Since any New York City cinephile has a nearly suffocating wealth of theatrical options, we figured it’d be best to compile some of the more worthwhile repertory showings into one handy list. Displayed below are a few of the city’s most reliable theaters and links to screenings of their weekend offerings — films you’re not likely to see in a theater again anytime soon, and many of which are, also, on 35mm. If you have a chance to attend any of these, we’re of the mind that it’s time extremely well-spent.

Quad Cinema

Godard’s La Chinoise has been restored.

The Bava series continues, as do No Maps on My Taps and Zulawski’s That Most Important Thing: Love.

Metrograph

A to Z” continues with Altman and Suzuki, while the Alain Tanner retro winds down, “‘Scope in the ’60s” plays, and Mary Poppins screens.

Film Society »

- Nick Newman

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New ‘Blade Runner 2049’ Images are Bloody, Gorgeous

13 July 2017 11:09 AM, PDT | Collider.com | See recent Collider.com news »

A batch of new images from Blade Runner 2049 have landed online, and if this thing doesn’t score Oscar nominations for Cinematography, Costumes, and Production Design I’ll be shocked. The sequel may or may not have been a good idea in the first place, but setting Denis Villeneuve (Arrival, Sicario) to direct, Ryan Gosling and Harrison Ford to star, and Roger Deakins (Skyfall, The Assassination of Jesse James by the Coward Robert Ford) to serve as director of photography solidified this movie as a must-see. These new images highlight the incredible attention to detail of the sets … »

- Adam Chitwood

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War For The Planet Of The Apes & The Rise & Rise Of Intelligent Sci-Fi

11 July 2017 4:00 AM, PDT | HeyUGuys.co.uk | See recent HeyUGuys news »

Author: Dave Roper

Science Fiction has been with us for as long as we’ve had cinema. Méliès made his Trip to the Moon, Lang built and displayed his dystopian Metropolis and Jules Verne’s rich science fiction novels fed into cinema’s early efforts to showcase the fantastical.

Thankfully, cinema’s relationship with science fiction has also generally proved to be intelligent and thought-provoking. Spectacle, as with the disaster epics of Irwin Allen’s 1970’s heyday, has always had its place, but alongside that films as diverse as Planet of the Apes, The Day the Earth Stood Still, Metropolis, Soylent Green and Invasion of the Body Snatchers gave us much to consider about human nature, society and our relationship with our fragile planet.

More recently, Independence Day, Armageddon, War of the Worlds, Mars Attacks, Men in Black and even more sci-fi inflected comic book entries like Guardians of the Galaxy, »

- Dave Roper

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Casey Affleck liberated by ghosts by Richard Mowe

3 July 2017 6:59 AM, PDT | eyeforfilm.co.uk | See recent eyeforfilm.co.uk news »

"[David Lowery] hires me so that makes me keep coming back!" - Casey Affleck Photo: Jan Handrejch, Film Servis Karlovy Vary International Film Festival

Casey Affleck began acting as a way to get out of going to school. His mother’s best friend was a casting director in Massachussets, and when a film came to town a call would go out for extras. Casey and his pals naturally thought it would be fun.

Affleck, 41, has gone from those youthful extra days to leading man, notably winning an Oscar for Kenneth Lonergan’s Manchester By The Sea earlier this year. He starred in Gone Baby Gone, which was directed by his brother, Ben Affleck, and he was nominated for a best supporting actor Oscar for his performance in The Assassination Of Jesse James By The Coward Robert Ford. Now he reunites with Rooney Mara and director David Lowery after Ain’t Them Bodies »

- Richard Mowe

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The New West: The Greatest Revisionist Westerns of All-Time

22 June 2017 5:48 AM, PDT | The Film Stage | See recent The Film Stage news »

The classical western exists as an ideal sandbox for stories of heroism, in which white hats can immediately separate our protagonists from the black-hatted antagonists. Occasionally, though, we have a revisionist western that questions and defies the well-trodden patriarchal confines of the genre, as if looking at an old image from a tilted perspective and finding something new.

Sometimes, the characters don’t fit into the dusty old boxes occupied by so many western heroes and heroines. The hero robs and kills to stay alive, frightened and overwhelmed by this strange, new frontier. Other times, the stereotypical Western landscape disappears, blanketed in snow. Horses drive their hooves through ice-covered puddles. Wind screams past bone-thin trees — manifest destiny frozen over, encasing the American dream in ice.

In the case of Sofia Coppola’s newest, The Beguiled, gender and power roles reverse: an injured Union soldier (Colin Farrell) turns up at a girl’s school, an arrival which breeds intense sexual tension and rivalry among the women (Nicole Kidman, Kirsten Dunst and Elle Fanning). According to our review, the movie is “primarily based on the 1966 book by Thomas Cullinan,” and “appears, at first glance, to be a remake of Don Siegel’s 1971 film adaptation rather than any sort of new reading of the original text. Coppola, of course, is far too clever for that.”

In celebration of The Beguiled, we’ve decided to take a look at the finest examples of the revisionist western. Enjoy, and please include your own favorites in the comments.

The Assassination of Jesse James by the Coward Robert Ford (Andrew Dominik)

Robert Ford (Casey Affleck) idolized the legendary outlaw Jesse James (Brad Pitt), growing up hearing campfire stories about the man. Ford loved James so much that he eventually willed himself into the man’s life story. You cannot tell James’s story without also telling Ford’s. These two tragic lives are irrevocably linked by Ford’s betrayal. The film’s dryly antiseptic voiceover narration confides that Ford grew to regret his violent ways. The same goes for James, who at one point beats a child and then weeps into his horse’s neck, unable to live with his own deeds. While James’ propensity for violence is a deeply cut character flaw, Pitt plays the outlaw like an emotionally wounded teenager. His jovial sense of humor cloaks a vindictive and self-loathing interior. Whether Jesse James hurts himself or someone else, there is always a witness looking on with wide eyes. After James’ murder, Ford became a celebrity, touring the country reenacting the shooting. But Ford gained his prominence by killing a beloved folk hero. And so, one day, a man named Edward Kelly walked into Ford’s saloon with a shotgun and took revenge for James’s murder. Unlike the aftermath of Ford’s deed, people leapt to Kelly’s defense, collecting over 7000 signatures for a petition, leading to his pardon. America hated Robert Ford because he killed Jesse James. They loved Edward Kelly because he killed Robert Ford.

Buffalo Bill and the Indians, or Sitting Bull’s History Lesson (Robert Altman)

Robert Altman’s largely forgotten and often funny western about egotistical showman Buffalo Bill Cody (Paul Newman) treats its lead without respect, eagerly mocking him at every opportunity. Known across America as they best tracker of man and animals alive, Cody runs Buffalo Bill’s Wild West Show, a rodeo-like performance of cowboy-feats, ranging from simple rope tricks to the trick-shots of the legendary Annie Oakley. However, Cody is a fraud, a walking accumulation of lies and tall-tales. When Cody gets the chance to hire Chief Sitting Bull, the man who defeated General Custer at Little Big Horn, he’s thrilled, until Sitting Bull refuses to participate in his offensive show. Contrasted with phony Buffalo Bill Cody, Sitting Bull drips with dignified authenticity, totally uninterested in living up to the ignorant public’s racist image of his people. While the manufactured “reality” of Cody’s shows gets applause from white audiences, the stoic realness of Sitting Bull initially receives jeers, until something occurs to the crowd: this isn’t showmanship; this is the real thing. Later, when Cody and his gang form a posse, he hastily removes his show attire and searches through his wardrobe, cursing: “Where’s my real jacket?” So utterly consumed by his own public image, Cody can no longer locate his true self. Altman’s film is a rare western with a lead character who never succeeds, changes, or learns from his mistakes, always remaining a hopelessly pompous horse’s ass.

Butch Cassidy and the Sundance Kid (George Roy Hill)

As we meet the legendary Butch Cassidy (Paul Newman) he’s scoping out a bank, recently renovated to include heavy iron bars over every window and bolted-locks on every door. He asks the guard what happened to the old bank, which displayed such architectural beauty. “People kept robbing it,” the guard says. “Small price to pay for beauty,” Butch replies. It’s a running theme in revisionist westerns to reveal the truth behind the legend. The changing times had rendered bandits on horseback obsolete. But Butch Cassidy and his partner, the Sundance Kid (Robert Redford) didn’t see the end coming until the future was already upon them. After barely evading a super-posse (to use a term coined by screenwriter William Goldman) led by a ruthless bounty hunter, they escape to Bolivia with Etta (Katherine Ross) Sundance’s girl, where their criminal ways are similarly received. What began as a vacation away from their troubles slowly becomes a permanent getaway run, sowing seeds of inevitable tragedy. Etta sees what Butch and Sundance cannot: the end. “We’re not going home anymore, are we?” Etta tearfully asks Sundance, informing him that she has no plans to stick around to watch them die. George Roy Hill’s Butch Cassidy and the Sundance Kid is a tearful celebration of a pair of old dogs too foolish to learn new tricks.

Dead Man (Jim Jarmusch)

The gorgeous and haunting Dead Man opens with a soot-faced Crispin Glover trilling as he points out the window of a train: “They’re shooting buffalo,” he cries. “Government said, it killed a million of them last year alone.” The American machine greedily consumes the landscape, leaving smoldering devastation in its path, while a stone-faced accountant named William Blake (Johnny Depp) travels to the hellish town of Machine, where he’s promised a job. Unfortunately, there’s no job at the end of the line for this seemingly educated man, blissfully unaware of his namesake, the poet William Blake. After taking a bullet to the chest, Blake wanders this dying western landscape as if in a dream, guided by Nobody (Gary Farmer) a Native American raised in England after getting kidnapped and paraded around as a sideshow attraction for whites. At one point, Blake stumbles upon three hunters by a camp fire, one of which, played by Iggy Pop, wears a muddy dress and bonnet like a twisted schoolmarm. Writer-director Jim Jarmusch’s twist on the western (accompanied by Robby Müller’s flawless cinematography) hums with textured period detail and vivid costume design, the accumulation of which achieves an eerily stylized tone.

Django Unchained (Quentin Tarantino)

The spirit of Quentin Tarantino’s Django Unchained is in the sequence scored by Jim Croce’s “I’ve Got a Name.” Django (Jamie Foxx), now a free man, removes the old saddle from his horse’s back, a saddle originally procured by a white slaver, the animal’s previous owner. He then mounts in its place, his own saddle personalized with an embroidered D. His freedom is still new and unfamiliar but, Django is more than willing to grasp those reigns. What works best about the film is how Tarantino’s screenplay embraces the politics of the Antebellum South in a fashion carefully ignored by every other western of its time. The dialogue, Tarantino’s most applauded talent, wheels a careful turn between a sly comedy-of-manners and a bluntly provocative historical indictment, always landing on a shameless exploitation cinema influenced need for violent catharsis. Tarantino’s channeling of Spaghetti Western violence, with the gore cranked up to a level far beyond that of even Sergio Corbucci’s bloodiest work, delivers tenfold on that catharsis, splattering the pristine white walls of Candyland plantation bright red.

El Topo (Alejandro Jodorowsky)

Dripping with transgressive and bizarre imagery, El Topo embraces every taboo imaginable with a breathless zeal. Existing somewhere between Midnight Movie oddity and art-house epic, Alejandro Jodorowsky’s second feature envisions the west as an unknowable landscape, dotted with peculiar and grotesque characters, such as a legless gunfighter who rides around on the back of an armless man. Describing the film in narrative terms, beat by beat, would be pointless, although we follow a rider in black, the titular El Topo (which means The Mole) who crosses the desert with a naked boy on the saddle. Though we spend more time with El Topo, his son is the heart of the film, this warped and subversive pseudo-fable exploring the cyclical nature of life. Jodorowsky’s painterly eye for composition lends individual shots with arresting and breathtaking resonance. With less than subtle biblical imagery scattered throughout, including a marvelous sequence involving a religion based around the game of Russian Roulette, Jodorowsky’s film feels at times like a twisted celebration of mysticism, sampling notes from Catholicism, Christianity, Hinduism and Buddhism. It’s ending, a chaotic, dream-like burst of violence, adds a scathing gut-punch to an already overwhelming experience. There is no other western quite like El Topo, to say the least.

Continue >> »

- Tony Hinds

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Tender & The Fury

15 June 2017 3:46 PM, PDT | www.culturecatch.com | See recent CultureCatch news »

Nick Cave & The Bad Seeds Beacon Theatre, NYC June 15, 2017

Much is being written that Nick Cave's current tour of Skeleton Tree may be his best yet. Seeing Mr. Cave and The Bad Seeds' performance last night at the Beacon Theatre in New York City, I would agree. Playing every song from that album except "Rings of Saturn" plus another eleven classic songs (set list here) from his catalog, it was a show that will be difficult to rival by any touring act this year or quite possibly until Mr. Cave decides to tour again. Quite remarkable given that he's a few months shy of his 60th year on Earth.

Channeling both rage and ragged beauty, he is singer of staggering charisma. Plunging himself into the open arms of adoring fans almost from the start, his rich, booming baritone never missed a note in any of songs, even those »

- Dusty Wright

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