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No one really wins, except the audience.
The article Call It: Analyzing the Coin Toss Scenes in ‘No Country For Old Men’ appeared first on Film School Rejects. »
- H. Perry Horton
Shaun Munro reviews the season finale of Fargo season 3…
The riveting and occasionally frustrating capper to Fargo‘s divisive third season broached its overarching theme of perception vs. reality (or perhaps more currently, “fake news”) in perfectly ambiguous, Coens-esque fashion, even if in many aspects “Somebody to Love” was a relatively predictable, foregone conclusion to the Stussy story.
Things at least surged right out of the gate with Gloria having her faith restored thanks to Nikki’s correspondence to Agent Dollard, while Nikki and Wrench got tooled up for the fight ahead, and Emmit felt lucky and tried pulling a gun on Varga.
The episode’s first big, seismic moment came during the immensely suspenseful confrontation between Varga and Nikki, which was slow-bled for maximum, delicious atmosphere. Varga finally revealed his truest colours, by leaving his men to die as he escaped in the elevator, and in a weirdly sad moment, even Meemo, whose bloody corpse was later seen being wheeled out. Nikki going full badass perhaps wasn’t that plausible, but the moment was cathartic enough to make it work.
Emmit didn’t have a fun time, did he? The long-standing fan theory was finally confirmed that Mrs. Goldfarb was indeed behind it all, forcing Emmit out of his own company and insisting he file for Chapter 11. Things got even worse when he was eventually confronted by Nikki, who dropped the immortal one-liner, “He’s a kitten now, Ray, case you were wonderin'”. However, her overzealous desire to make a theatrical Moment out of the occasion scuppered her plans, leaving both a cop and herself dead.
It was certainly an unexpected turn and, really, the most Fargo thing ever, to see Emmit as the last man standing. It’s easy to see how some might find that unsatisfying, but three seasons into the show, viewers should be trained to expect this sort of intentionally obtuse, willfully confounding storytelling.
Following poor ‘ol Nikki’s demise, an epilogue sequence takes place five years later, revealing that Sy did in fact survive Varga’s poisoning, though is sadly a mere shadow of his former self. Let’s give Michael Stuhlbarg a hand for his terrific work this season. Narwhal, meanwhile, survives with Goldfarb in control, while Wrench decides to kill Emmit.
It’s a bizarre move on Wrench’s part considering that it’s not easy to believe he’d harbour a grudge for so long and take that amount of time to act on it. Some fans have suggested that Wrench had romantic feelings for Nikki, but it just seems a bit much, to be honest.
And finally, the episode concludes with Gloria now sporting a lovely new haircut and working for the Dhs, who have captured Varga. What follows is a fantastically witty back-and-forth between the two, ending on a cliffhanger which leaves the viewer to conclude whether or not Varga did indeed bend the wills of the universe and escape. It’s a very No Country for Old Men-esque non-committal ending, where optimists will believe that Gloria eventually won, while pessimists will assert that with his wide reach and high-up connections, Varga once again slunk out.
For the most part this was a tidy, satisfying finale that nevertheless ended in a fashion likely to infuriate as many as it pleased. Now one question remains; is this it for Fargo? It’d be fine for the show to end its run with two excellent seasons and one great one, though this world is so damn compelling that fans will no doubt be keeping their fingers crossed for a fourth go-around.
Shaun Munro – Follow me on Twitter for more TV rambling. »
- Shaun Munro
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.
The best of Ozu in one series.
Films by members of Magnum Photos will screen, as does Alan Clarke’s Rita, Sue and Bob Too.
Museum of the Moving Image
The Spielberg series screens three underseen, rediscovery-ready titles this weekend.
Film Society of Lincoln Center
Largely unseen, the films of Peter Nestler, a key figure in post-war German cinema, are being given their due in a new series.
The films made and loved by Bertrand Tavernier are screening.
Funeral Parade of Roses continues its run.
Museum of Modern Art
The Philippine series continues running, including two films by Lav Diaz.
- Nick Newman
For months now, Fargo has entertained us with bus crashes, air conditioner murders, Hollywood sleazeballs, bridge tournaments, fake sex tapes and interdepartmental police squabbles. All the while, creator Noah Hawley has dropped us into a place where bad dudes manipulate the culture via hacking, trolling and outright lies – nothing like the world you see outside your front door, in other words. But after all its spectacular violence, unapologetic wackiness and barbed satire, this season ultimately ends quietly and elliptically, just the way it began – with a scene where a government »
Picking the best movies of any century is hard, but it’s especially challenging when dealing with a century of cinema as boundary-pushing as the 21st. IndieWire critics Eric Kohn and David Ehrlich made their own top 10 picks last summer, with Leos Carax’s “Holy Motors” and Sofia Coppola’s “Lost in Translation” taking the top spots, and now some of the best filmmakers in the business have weighed in with their own choices in a new survey from The New York Times.
Read More: Sofia Coppola Has No Interest in Making a Blockbuster or a Sequel
The newspaper reached out to the likes of Coppola, Denis Villeneuve, Antoine Fuqua, Alex Gibney and more to pick their brains on what is the best cinema has been over the last 17 years, and their answers are as expected (of course “No Country for Old Men” and “There Will Be Blood” have a »
- Zack Sharf
Though ample narrative ground was made in "Who Rules the Land of Denial?," the eighth episode of Fargo's third season proved to be a galvanizing blend of major plot turns and inspired moments of visual braggadocio. It's also inarguably the most violent episode of this season, boasting a gushing wound from a severed ear, a loud and armed assault on a prison bus, and one bonafide decapitation in the mode of No Country for Old Men's gruesome opening kill. This is not to say that there's a director correlation between the substance of any given episode … »
- Chris Cabin
With the 2017 Cannes Film Festival now firmly in our rearview mirror, some analysis of what the fest gave us can now be done. Specifically, did any Oscar players emerge from the south of France? Cannes tends to not be the festival to look at if you’re hoping to establish any trends in the still to come precursor season, but it’s also not completely worth dismissing. That sort of puts it in no man’s land, so to speak. Still, it’s worthwhile to take a look at if anything Academy Award centric opened up there. Cannes gives an air of prestige to everything it touches, so there’s that to factor in as well. Historically, it is somewhat rare for any Best Picture winners to emerge out of Cannes. It can happen on occasion, like with No Country for Old Men, but realistically, that’s not its strength. »
- Joey Magidson
Whenever a suspense story's working like gangbusters, every wrong choice and tick of the clock feels like its moving characters closer to their doom – all the better to watch through your knitted fingers, my dear. The closing 10 minutes of last week's Fargo had that feeling, as Emmit Stussy's fatal confrontation with his brother happened almost at the same time that Nikki Swango was being stalked by V. M. Varga's men, and Gloria and Winnie were doggedly pursuing their theory of the Ennis Stussy murder. This week's episode – "The Law of »
For me, tweeting praise for a film at Cannes tends to elicit a two-tiered response from excited movie fans far away from the Croisette. First, quite understandably, come the general exclamations of euphoria and relief that a beloved director or star hasn’t dropped the ball. For days, my mentions will be full of vicarious celebration and can’t-wait-to-see-this buzz from devotees of Sofia Coppola (on wicked form with “The Beguiled”) and Robert Pattinson (hitting a career peak in “Good Time”), which is as it should be. At the same time, however, the good news is met with a more complicated query, usually worded along these lines: “Glad to hear it’s great! Oscar chances?”
As I wrote in my festival preview, Cannes is a festival of mixed fortunes for awards-season geeks: Though it occasionally mints a future titan like “The Artist” or “No Country for Old Men,” its programming »
- Guy Lodge
German filmmaker Fatih Akin returns to the Cannes competition lineup with “In the Fade,” above, a contemporary drama about a woman who takes revenge after her husband and son are murdered by the neo-Nazi group National Socialist Underground (Nsu).
Q: Is the Nsu still active in Germany?
A: We have this very strange case, a scandal right now, involving neo-Nazis and right-wing extreme right groups in the German army. German soldiers, whose political background is extreme right, created fictional personalities. Pretending to be Syrian refugees, they were planning bomb attacks, in order to blame the refugees as terrorists, so the state wouldn’t let refugees in anymore. That was their aim. These things are happening right now, this week.
Q: In what ways is this a personal film for you?
A: I am somehow “the other” in this country with my background. I have black hair, my parents are from Turkey. »
- Alissa Simon
Javier Bardem is one of my favorite actors to see on the big screen. From his Academy Award for Best Performance by an Actor in a Supporting Role in No Country For Old Men, to his role as a James Bond villain in Skyfall, Bardem always puts on quite a show. He will hit the big screen again this Friday in Disney's Pirates of the Caribbean Dead Men Tell No Tales as the vengeful Captain Armando Salazar. Now thanks to CinemaBlend, we have word on what might be his next role.
We know that next month Universal is going to be launching its classic monsters cinematic universe with The Mummy starring Tom Cruise, Sofia Boutella, Annabelle Wallis and Russell Crowe. The studio has spent a lot of time planning this timeless universe out. Already having two other films scheduled one for April 13, 2018 and the other for February 15, 2019. Although the features »
- Emmanuel Gomez
Universal, like most studios in Hollywood right now, is currently working on building out a cinematic universe. Theirs is quite different, though, as they are building one around their classic monsters, which will kick off this summer with Tom Cruise's new take on The Mummy. There is also a reboot of Universal Monsters' Frankenstein in the works and there have been reports that Javier Bardem is in talks to play the famous monster. Now, we have word directly from Bardem that those talks are happening and he is very interested in the part.
The actor is currently promoting Pirates of the Caribbean: Dead Men Tell No Tales, in which, he plays the villain. CinemaBlend caught up with Javier Bardem at the press junket for the movie and asked him about the Frankenstein rumors. Here's what he had to say about it.
Yeah, well, there are talks. And I would »
Tony Sokol May 22, 2017
Suicide Squad director David Ayer is in early talks to direct and write Universal’s new take on the gangster classic Scarface. Ayer steps in for Antoine Fuqua, who couldn’t fit the film into his schedule, given his current commitment to making The Equalizer 2.
Scarface will follow the rise and fall of a Mexican gangster. It will star Diego Luna, who played Cassian Andor in Rogue One: A Star Wars Story, as the bad immigrant made worse. It will be set in the El Sereno area of South Los Angeles
Ayer has form in the genre. Before Suicide Squad he directed the gritty crime films End Of Watch, Hard Times and Street Kings. He also wrote the screenplay for Training Day. Right now, he's currently directing and producing Bright, which will also star Will Smith, »
David Ayer is in early talks to direct and write Universal’s “Scarface” remake, an individual with knowledge of the project told TheWrap. Antoine Fuqua had previously been attached to direct but had to drop out due to scheduling conflicts. Diego Luna (“Rogue One: A Star Wars Story”) is set to star in the reimagining of the core immigrants story told in both the 1932 and 1983 films. The new film will be set in Los Angeles. Also Read: Coen Brothers to Bring Back 'Scarface' in 2018 Joel Coen and Ethan Coen (“No Country for Old Men”) had polished the most recent screenplay. »
- Beatrice Verhoeven
On May 21 in Cannes, Sierra/Affinity president and CEO Nick Meyer will receive Variety’s Achievement in International Film award.
“Nick’s earned a place in our business that very few achieve — as an expert in the international marketplace,” says Entertainment One president and CEO Darren Throop. “He’s our main source of advice and information when it comes to selecting and curating content for our platform.”
But the long-term success of his or any production/finance/sales outfit seemed far from certain when Meyer launched Sierra Pictures in 2009, right on the heels of specialty division closings — including one he ran — at the height of a global recession.
“It was the worst economy since the Depression, when the Dow was at its lowest,” Meyer says today. “But if you’re prepared to do the work, there are going to be opportunities.”
So while many were predicting doom and gloom, Meyer »
- Gregg Goldstein
An outpouring of love and support from Hollywood followed the announcement that former Paramount chief Brad Grey died on Sunday of cancer at age 59.
In addition to running Paramount for a dozen years, Grey notably co-founded the Brillstein-Grey Entertainment agency and co-founded Plan B. Some of the blockbuster hits produced at Paramount under Grey’s leadership included “Transformers,” the Paranormal Activity, and Iron Man franchises, and “Star Trek.” Many awards season favorites also fall under his name, like “There Will Be Blood,” and “No Country for Old Men.” Prior to his work at Paramount, Grey produced “The Sopranos” and “The Wayne Brady Show,” among many others.
Celebrities Who Died in 2017
“All of us at Paramount are deeply saddened by the news of Brad Grey’s passing. He was at the helm of the studio for »
- Seth Kelley
Former Paramount Pictures CEO Brad Grey has died from cancer at age 59. Grey served as the head of Paramount for the past 12 years, stepping down just this past February. He died with his family by his side at his home in Holmby Hills, California.
Read More: Paramount First Looks: Garland’s ‘Annihilation,’ Payne’s ‘Downsizing,’ and Bay’s ‘Transformers’
Prior to joining Paramount, Grey co-founded management and production company Brillstein-Grey Entertainment with Bernie Brillstein. At Bge, he executive produced shows including “The Sopranos” and “The Larry Sanders Show.”
Grey also co-founded Plan B with Brad Pitt and Jennifer Aniston before the couple split and Pitt took control of the company, Deadline reported. Grey left Plan B for Paramount shortly before production began on Martin Scorsese’s “The Departed,” which won for Best Picture at the Academy Awards. Plan B had a first look deal with Paramount for several years before »
- Graham Winfrey
Paramount Pictures has released the first poster for Mother!, the new film from director Darren Aronofsky that stars Jennifer Lawrence. No official plot details have been released yet, but with the arrival of this new poster, we could be getting the trailer and official synopsis in the near future. The movie is said to center on a couple whose relationship is tested when uninvited guests arrive at their home, disrupting their tranquil existence, although hopefully we'll learn more about this movie soon.
Paramount Pictures' Darren Aronofsky, has been given a wide release date of October 13. That date had previously been in place for the studio's Friday the 13th and the zombie sequel World War Z 2, but neither of those projects are arriving on that date now. Mother! will go up against The Foreigner, Half to Death and Marshall. It will also arrive between a few highly-anticipated movies as well. »
Author: Dave Roper
So, we come to the end of this particular series. We’ve covered a number of aspects of the creative input into film-making, including actors, actresses, writers composers, and directors (in two parts). We’ve stopped short of costume, make-up, special effects, art design and others, however our final stop is Cinematography. The Dop exerts plenty of influence over the look of the film. Yes, lighting, production design and the director’s vision are key too, but the consistency and persistence with which certain directors stick with and return to a trusted Dop shows just how much they contribute.
Seven has a unique visual aesthetic. Plenty of films have gone for the “always raining, always dark” approach, but contrast Seven with something like AvP: Requiem for a shining example of how hard it is to pull off effectively. And contrast is the word. Seven »
- Dave Roper
On top of financing the film, Backup Media is currently negotiating distribution deals for France, Germany, Switzerland, Benelux and Austria. Manuel Chiche’s banner The Jokers is co-producing the pic and will release it in France.
Sutton’s fourth feature after “Pavilion,” “Memphis” and “Dark Night,” “Donnybrook” turns on a cash-strapped family man who competes in the Donnybrook, “a legendary, bare-knuckle brawl where a $100,000 prize goes to the last man standing.” The producers describe the film as a mix of “No Country for Old Men” and “Fight Club.”
“Between Frank Bill’s primal scream of a book and the controlled menace of Tim Sutton’s ‘Dark Night,’ well…[it] feels like we might be raising some hell,” said Lancaster, whose credits include “Whiplash” and “Nightcrawler. »
- Elsa Keslassy
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