However, his dual role as master conductor of this celebrated murder mystery and as Hercule Poirot, Agatha Christie’s famed Belgian detective, is more than a mere nostalgia trip. It’s a reminder that the theme of revenge is as relevant today as it was in the 1930s, and that 65mm film can be upgraded to today’s immersive experience. (There were about two dozen 70mm prints struck for exclusive engagements globally, including the ArcLight Hollywood.)
Featuring an all-star cast of suspects (Tom Bateman, Penélope Cruz, Willem Dafoe, Judi Dench, Johnny Depp, Josh Gad, Derek Jacobi, Leslie Odom Jr., Michelle Pfeiffer, and Daisy Ridley) and a vainly mustachioed Poirot,
Coleridge said that seeing the fiery Edmund Kean act was “like reading Shakespeare by flashes of lightning”. Watching Sergei Eisenstein’s classic silent film October is like watching the Russian revolution the same way. It’s surreally lit up by stark images that sear your retina; gone the next second, to be replaced by others just as mysterious and disorientating. October is not a historical document, more a remembered dream. I sometimes wish we could see it without music, with just a deafening thunderbolt on each of its 3,200 cuts. A violent electrical storm of strangeness.
The film was commissioned in Stalin’s Soviet Russia for the 10th anniversary of the 1917 October revolution, as a suitably fervent propagandist celebration.
With that thing coming up that takes place on the last day in October. You know the one? Yeah, candy sales go through the roof, your house gets egged and toilet papered. Meanwhile you sacrifice a chicken over a Ouji board in the hope of getting Kevin James to stop making films. It never works and you just unleash hell on Earth (or to put it another way, a new Kevin James film comes out). With that in mind, I thought it’d be a good time to look over the best Vampire films around.Why Vampires? Well I was watching a film (that will appear on this list) and had a brainwave.
So without further ado, and not in any particular order, here are the essential Vampire films!
This iconic piece of cinema remains
The sequence begins in a small town diner. Three people are wedged into a booth along the wall: A waitress, her police officer ex-husband, and their bleary-eyed adult daughter. They slouch in their seats like they’re unsure of the roles they’re supposed to play, their alien posture suggesting that it might have been years since the last time they all sat down together for a meaningful heart-to-heart — since the last time they felt like a family.
Director and producer Barnet Kellman was in Chicago shooting the 1992 romantic comedy “Straight Talk,” starring Dolly Parton, James Woods and Griffin Dunne, when Robin Williams stopped by to say greet to the cast and crew.
“Everybody turned and listened,” recalls Kellman, “as Robin uncorked his comedy for 15 straight minutes. He was a magical presence.”
So Kellman “never ever imagined” that decades later he would be named the inaugural holder of the Robin Williams Endowed Chair in Comedy at USC’s School of Cinematic Arts, where Kellman, professor
Both Dawn and Rise drew praise for the ways in which they balanced spectacle with a sophisticated, fiercely compelling narrative – the franchise’s box office total is a testimony to that feat, too, which currently stands at $1.1 billion – but with War For the Planet, Matt Reeves and Fox’s threequel looks set to tip the scales ever so slightly in favor of a full-blown conflict.
That’s not to say that both parties have engineered a big, loud, and dumb blockbuster, far from it; merely that War For the Planet of the Apes has raised the stakes so high that it’s small wonder why it’s been called the darkest entry in Fox’s saga yet.
No movie made in the 1940s is quite like The Iron Crown, Alessandro Blasetti’s sumptuous fantasy epic of one-eyed barbarians, glittering suits of spiky armor, and pseudo-medieval exotica. It’s sort of a blockbuster avant la lettre, very violent and lovably cheesy, closer in aesthetics and spirit to the likes of Krull and Conan The Barbarian than to the costume and fairy-tale movies of its era. In the context of film history, one might call it the midpoint between the spectacular epics of the golden age of Italian silent film and the wondrously corny Italian sword-and-sandal cheapies of the early 1960s—or perhaps an attempt by Blasetti, a student of Soviet film, to outdo Sergei Eisenstein’s classic Alexander Nevsky. But it’s much stranger than that. The
“This year at Doc/Fest we have our most urgent and loudest call to action to join the groundswell movements of resistance and change, where we celebrate those who disobey and resist to shape the future global narrative,” said Liz McIntyre, the festival’s CEO and director. “We’re stepping into the early scenes of a tragicomic new world story.”
Britain’s leading documentary festival, Sheffield Doc/Fest runs from June 9-14. Its official program launch will be on May 3,
Marking the 50th anniversary of Britain’s landmark Sexual Offenses Act, which decriminalized private homosexual acts in England and Wales, “Queerama” will be followed by a live performance by U.S. singer-songwriter John Grant, whose music features in the film. The documentary,
Back then, the young crowd now packed into the “Social Cinema,” a performance hall in festival’s new center Kunsthal Charlottenborg, had likely never heard of this alt-right auteur. Lounging on stylish sofas, they were willing to sit through nine tedious Bannon trailers and a two-hour analysis of populism and propaganda with a Princeton professor, political scientist Jan-Werner Müller, and artist Christian von Borries. Given Bannon’s disdain for factual integrity, it would be hard to claim that his 90-minute political screeds could even be called documentaries.
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Monday, April 3 The Chaos of Cool: A Tribute to Seijun Suzuki
In February, cinema lost an icon of excess, Seijun Suzuki, the Japanese master who took the art of the B movie to sublime new heights with his deliriously inventive approach to narrative and visual style. This series showcases seven of the New Wave renegade’s works from his career breakthrough in the sixties: Take Aim at the Police Van (1960), an off-kilter whodunit; Youth of the Beast (1963), an explosive yakuza thriller; Gate of Flesh (1964), a pulpy social critique; Story of a Prostitute (1965), a tragic romance; Tokyo Drifter
Joe Ramirez, who was born in San Francisco in 1958, has lived and worked in Berlin since 2007. He studied painting and film at the School of the Art Institute of Chicago, as well as sculpture at the Royal College of Art, London, before working as a fresco painter. During the restoration of the Sistine Chapel in the Vatican, Ramirez had the unique opportunity of viewing Michelangelo’s ceiling paintings up close. The journey in the hoist became an initialising experience: the scenes from The Last Judgement rolled past
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