Oh, man. The home entertainment releases for October 10th are bonkers, as we have a ton of brilliant offerings making their way to Blu-ray and DVD this Tuesday. Edgar Wright’s Baby Driver hits multiple formats this week, and we also have the unrated cut of Wish Upon to look forward to as well. Scream Factory is digging up The Poughkeepsie Tapes (finally) for their Blu/DVD Combo release, and Criterion Collection has put together a stunning presentation for The Lure.
Cult cinema fans will want to pick up the new Blu-rays for Kill, Baby… Kill and The Green Slime, and for those looking for some new horror experiences, Temple, Open Water 3, and Demonic come home on October 10th.
Baby Driver (Sony Pictures Home Entertainment, 4K Ultra HD/Blu/Digital, Blu/Digital & DVD)
Baby (Ansel Elgort) – a talented, young getaway driver – relies on the beat of his personal...
Cult cinema fans will want to pick up the new Blu-rays for Kill, Baby… Kill and The Green Slime, and for those looking for some new horror experiences, Temple, Open Water 3, and Demonic come home on October 10th.
Baby Driver (Sony Pictures Home Entertainment, 4K Ultra HD/Blu/Digital, Blu/Digital & DVD)
Baby (Ansel Elgort) – a talented, young getaway driver – relies on the beat of his personal...
- 10/10/2017
- by Heather Wixson
- DailyDead
“You’ll have to go without me, Pelle. I don’t have strength to travel anymore. I’m too old. Too old. I don’t have a future. Do you understand?”
Pelle The Conqueror (1987) screens Friday April 28th through Sunday April 30th at Webster University’s Moore Auditorium (470 East Lockwood). The movie starts at 7:30 all three evenings.
In the Oscar-winning classic Pelle The Conqueror, Lassefar (Max von Sydow), an elderly and widowed farmer, and his young son Pelle (Belle Hvenegaard), join a boat-load of immigrants to escape from impoverished rural Sweden to Denmark’s Baltic island of Bornholm. They are employed at a large farm in Denmark, where they are treated as the lowest of the low. It is ultimately their loving relationship, which sustains them through a difficult year. Pelle The Conqueror offers a deep insight into the life of immigrants from one country of Scandenavia to the other.
Pelle The Conqueror (1987) screens Friday April 28th through Sunday April 30th at Webster University’s Moore Auditorium (470 East Lockwood). The movie starts at 7:30 all three evenings.
In the Oscar-winning classic Pelle The Conqueror, Lassefar (Max von Sydow), an elderly and widowed farmer, and his young son Pelle (Belle Hvenegaard), join a boat-load of immigrants to escape from impoverished rural Sweden to Denmark’s Baltic island of Bornholm. They are employed at a large farm in Denmark, where they are treated as the lowest of the low. It is ultimately their loving relationship, which sustains them through a difficult year. Pelle The Conqueror offers a deep insight into the life of immigrants from one country of Scandenavia to the other.
- 4/26/2017
- by Tom Stockman
- WeAreMovieGeeks.com
“You’ll have to go without me, Pelle. I don’t have strength to travel anymore. I’m too old. Too old. I don’t have a future. Do you understand?”
Pelle The Conqueror (1987) screens Friday April 28th through Sunday April 30th at Webster University’s Moore Auditorium (470 East Lockwood). The movie starts at 7:30 all three evenings.
In the Oscar-winning classic Pelle The Conqueror, Lassefar (Max von Sydow), an elderly and widowed farmer, and his young son Pelle (Belle Hvenegaard), join a boat-load of immigrants to escape from impoverished rural Sweden to Denmark’s Baltic island of Bornholm. They are employed at a large farm in Denmark, where they are treated as the lowest of the low. It is ultimately their loving relationship, which sustains them through a difficult year. Pelle The Conqueror offers a deep insight into the life of immigrants from one country of Scandenavia to the other.
Pelle The Conqueror (1987) screens Friday April 28th through Sunday April 30th at Webster University’s Moore Auditorium (470 East Lockwood). The movie starts at 7:30 all three evenings.
In the Oscar-winning classic Pelle The Conqueror, Lassefar (Max von Sydow), an elderly and widowed farmer, and his young son Pelle (Belle Hvenegaard), join a boat-load of immigrants to escape from impoverished rural Sweden to Denmark’s Baltic island of Bornholm. They are employed at a large farm in Denmark, where they are treated as the lowest of the low. It is ultimately their loving relationship, which sustains them through a difficult year. Pelle The Conqueror offers a deep insight into the life of immigrants from one country of Scandenavia to the other.
- 4/26/2017
- by Tom Stockman
- WeAreMovieGeeks.com
Scream Factory has released Bad Moon to Blu-ray, and they’ve included both the theatrical cut, as well as the rarer director’s cut. I don’t want to oversell it, this isn’t Nightbreed, the director’s cut of Bad Moon actually clocks in at a few seconds less than the theatrical. That I can tell, the only difference throughout the entire film is that transformation scene, which really makes little difference. I know several people who consider this to be one of their favorite horror films, but other than that, it’s rarely one I see mentioned. The werewolf genre is criminally unappreciated in the first place, and a lot of the really good ones are just obscure enough that they never really capture the attention of the mainstream. Bad Moon is a solid werewolf movies. And Scream Factory has released the most complete version to date.
The...
The...
- 7/20/2016
- by Shawn Savage
- The Liberal Dead
Perhaps harder to believe than the fact that Stanley Kubrick's The Shining -- which turns 36 today -- wasn't universally beloved by critics in 1980 is the idea that it was nominated for two Razzies (Worst Director and Worst Actress, Shelley Duvall) following its release. First off: Shelley Duvall's Wendy Torrance may very well have been a misogynistic portrait (Stephen King once colorfully described the character as a "screaming dishrag"), but Duvall was nothing short of great in that role, a perfect reflection of the audience's mounting terror. It seems to me that there is also some misogyny at work in the widespread idea that Nicholson was brilliant and she was terrible, but that's another post. So just what did the critics say in 1980? While a number of reviewers enjoyed the film (People magazine's critic described it as a "near-miss auto accident: You don't know how scared you really were...
- 5/23/2016
- by Chris Eggertsen
- Hitfix
I have a shaky relationship with Village of the Damned. On the one hand, it’s a pretty piss-poor movie in a lot of ways. It has a lot going against it. It’s a remake, the acting is ludicrous, and some of the decisions made by the characters are just mind-numbing. On the other hand, it is a John Carpenter movie, and as we’ve all learned by this point — with the exception of The Ward — even a bad John Carpenter movie is better than a lot of filmmakers’ good movies. So yes, it’s a ridiculous movie, and yes, it’s really easy to get a group of friends together, and throw this on for the purpose of laughing at it, and yes, this movie turns Christopher Reeve — a man famous to most of us because of his portrayal of Superman, humanity’s symbol of hope — into a...
- 4/23/2016
- by Shawn Savage
- The Liberal Dead
What a treat I gave myself. I went to the Billy Wilder Theater to see Director Dorothy Arzner’s films “The Wild Party” (1929, Paramount) and “Anybody’s Woman” (1930, Paramount) as restored by UCLA Film & Television Archive with funding provided by the David and Lucile Packard Foundation, in cooperation with Universal Studios and Paramount Pictures.
And as good as these two films were (fantastic!), the audience was just as good. I saw our old friend Alan Howard with his friends David Ansen and Mary Corey, my best friend during our oh-so-long-ago freshman year at Brandeis. A perfect segue into the film “The Wild Party” Clara Bow’s first sound feature. I had never seen Clara Bow before, nor had I seen a Dorothy Arzner film. And I had only seen Mary Corey once since we both left Brandeis after our freshman year and went our separate ways.
It somehow never occurred to me that Dorothy Arzner would have a particular point of view as a woman; but she certainly did. Lesbian herself, she made women’s films about women and men who were always slightly slighted by her, but with a loving touch. These were the opening films to the Dorothy Arzner Retrospective held in the Billy Wilder Theater of the Armand Hammer Museum. Alison Anders will present August 30th’s film “The Red Kimon” and “Old Ironsides” . The series runs until September 18. Do yourself a favor and catch at least one of these historic films by a historic director…an anomaly perhaps still yet to be surpassed.
"The Wild Party" (1929)
In “The Wild Party” Clara Bow plays Stella is an inveterate partier at an all-girl college. She is tough – when drunken men molest her and her friends and even kidnap her to rape her – she fights. When a favorite classmate is implicated in a scandal, Stella heroically defends her friend's reputation at the expense of her own. Rich with pre-Code delights (including furtive, "innocent" bed-hopping with college professors), one may easily detect the film's insistence on the supremacy of female friendships.
Clara Bow, the “It” Girl, in my mind was a live Betty Boop; what the “it” meant in her nickname was not clear though I knew it had something to do with sexy. Actually, her breakthrough film was entitled “It”. She is a wonderful comedian and her expressive eyes and face rule the screen; she was America’s first sex symbol. She won a photo beauty contest which launched her movie career that would eventually number 58 films, from 1922 to 1933.
Paramount Famous Lasky Corp. Producer: E. Lloyd Sheldon. Director: Dorothy Arzner. Screenwriter: E. Lloyd Sheldon. Based on a story by Warner Fabian. Cinematographer: Victor Milner. Editor: Otto Lovering. With: Clara Bow, Fredric March, Marceline Day, Shirley O’Hara, Adrienne Doré. 35mm, b/w, 77 min.
Restored by UCLA Film & Television Archive with funding provided by the Myra Reinhard Family Foundation, the National Endowment for the Arts, and Jodie Foster, in cooperation with Universal Studios.
"Anybody's Woman" (1930)
“Anybody’s Woman” holds lots of surprises including the title itself. The cheesy out-of-work chorine Pansy Gray (Ruth Chatterton) accepts an irresponsible marriage proposal from Neil Dunlap (Clive Brook), an intoxicated but elegant upper crust attorney, and winds up in high society, to the horror of her newfound "family." Reforming her dissolute husband and striving to be an honest social success, Pansy is compromised by the flirtations of several men, including Neil's most important client, for which she is denounced as a seductress.
As David described Clive Brook as stiff and Mary defended his acting because the role called for such a stiff actor, Kevin Thomas was introduced to David and joined our little group; the talk veered into other directions and so did I. But I want to say that Paul Lukas, the Hungarian born actor held a very special place in this film; elegant but vulgar, open and mysterious, he was able to play the thin line of a slightly compromised but sincere character. He went on to win the Oscar for Best Actor for “Watch on the Rhine” in 1948.
Ruth Chatterton herself began as a chorus girl at age 14 so her role must have felt very natural to her. She became a Broadway star with "Daddy Long Legs" in 1914 and appeared in various shows before moving to Hollywood in 1925. As her film career faded in the late 1930s, she returned to the stage in revivals, and radio and TV performances, including "Hamlet." In the 1950s, she began a successful writing career. She was nominted twice for an Academy Award for Best Actress. She had no children.
Paramount Publix Corp. Director: Dorothy Arzner. Screenwriter: Zoë Akins, Doris Anderson. Cinematographer: Charles Lang. Editor: Jane Loring. With: Ruth Chatterton, Clive Brook, Paul Lukas. 35mm, b/w, 80 min.
Read about this film series in the Los Angeles Times and Wall Street Journal.
The UCLA Film Archive is pleased to commemorate the indispensable career of director Dorothy Arzner (1897-1979) as part of a year-long commemoration of our own 50th Anniversary. This retrospective features six Archive restorations of Arzner's work, which have helped to spur scholarship into and retrospectives of the director's remarkable achievements. The UCLA School of Theater, Film and Television is also proud to claim Arzner as a former professor. A remarkable and nearly unique figure in American film history, Arzner forged a career characterized by an individual worldview, and a strong, recognizable voice. She was also, not incidentally, the sole female director in the studio era to sustain a directing career, working in that capacity for nearly two decades and helming 20 features—conspicuously, still a record in Hollywood. Distinguished as a storyteller with penetrating insight into women's perspectives and experiences, Arzner herself emphatically made the point that only a woman could offer such authority and authenticity. At a time when the marginalization of women directors in the American film establishment is still actively debated, we celebrate Dorothy Arzner, and the Archive's long association with her legacy.
Special thanks to: Peggy Alexander, Curator—Performing Arts Special Collections, UCLA Library; Gayle Nachlis, Kirsten Schaffer—Women in Film, Los Angeles.
And as good as these two films were (fantastic!), the audience was just as good. I saw our old friend Alan Howard with his friends David Ansen and Mary Corey, my best friend during our oh-so-long-ago freshman year at Brandeis. A perfect segue into the film “The Wild Party” Clara Bow’s first sound feature. I had never seen Clara Bow before, nor had I seen a Dorothy Arzner film. And I had only seen Mary Corey once since we both left Brandeis after our freshman year and went our separate ways.
It somehow never occurred to me that Dorothy Arzner would have a particular point of view as a woman; but she certainly did. Lesbian herself, she made women’s films about women and men who were always slightly slighted by her, but with a loving touch. These were the opening films to the Dorothy Arzner Retrospective held in the Billy Wilder Theater of the Armand Hammer Museum. Alison Anders will present August 30th’s film “The Red Kimon” and “Old Ironsides” . The series runs until September 18. Do yourself a favor and catch at least one of these historic films by a historic director…an anomaly perhaps still yet to be surpassed.
"The Wild Party" (1929)
In “The Wild Party” Clara Bow plays Stella is an inveterate partier at an all-girl college. She is tough – when drunken men molest her and her friends and even kidnap her to rape her – she fights. When a favorite classmate is implicated in a scandal, Stella heroically defends her friend's reputation at the expense of her own. Rich with pre-Code delights (including furtive, "innocent" bed-hopping with college professors), one may easily detect the film's insistence on the supremacy of female friendships.
Clara Bow, the “It” Girl, in my mind was a live Betty Boop; what the “it” meant in her nickname was not clear though I knew it had something to do with sexy. Actually, her breakthrough film was entitled “It”. She is a wonderful comedian and her expressive eyes and face rule the screen; she was America’s first sex symbol. She won a photo beauty contest which launched her movie career that would eventually number 58 films, from 1922 to 1933.
Paramount Famous Lasky Corp. Producer: E. Lloyd Sheldon. Director: Dorothy Arzner. Screenwriter: E. Lloyd Sheldon. Based on a story by Warner Fabian. Cinematographer: Victor Milner. Editor: Otto Lovering. With: Clara Bow, Fredric March, Marceline Day, Shirley O’Hara, Adrienne Doré. 35mm, b/w, 77 min.
Restored by UCLA Film & Television Archive with funding provided by the Myra Reinhard Family Foundation, the National Endowment for the Arts, and Jodie Foster, in cooperation with Universal Studios.
"Anybody's Woman" (1930)
“Anybody’s Woman” holds lots of surprises including the title itself. The cheesy out-of-work chorine Pansy Gray (Ruth Chatterton) accepts an irresponsible marriage proposal from Neil Dunlap (Clive Brook), an intoxicated but elegant upper crust attorney, and winds up in high society, to the horror of her newfound "family." Reforming her dissolute husband and striving to be an honest social success, Pansy is compromised by the flirtations of several men, including Neil's most important client, for which she is denounced as a seductress.
As David described Clive Brook as stiff and Mary defended his acting because the role called for such a stiff actor, Kevin Thomas was introduced to David and joined our little group; the talk veered into other directions and so did I. But I want to say that Paul Lukas, the Hungarian born actor held a very special place in this film; elegant but vulgar, open and mysterious, he was able to play the thin line of a slightly compromised but sincere character. He went on to win the Oscar for Best Actor for “Watch on the Rhine” in 1948.
Ruth Chatterton herself began as a chorus girl at age 14 so her role must have felt very natural to her. She became a Broadway star with "Daddy Long Legs" in 1914 and appeared in various shows before moving to Hollywood in 1925. As her film career faded in the late 1930s, she returned to the stage in revivals, and radio and TV performances, including "Hamlet." In the 1950s, she began a successful writing career. She was nominted twice for an Academy Award for Best Actress. She had no children.
Paramount Publix Corp. Director: Dorothy Arzner. Screenwriter: Zoë Akins, Doris Anderson. Cinematographer: Charles Lang. Editor: Jane Loring. With: Ruth Chatterton, Clive Brook, Paul Lukas. 35mm, b/w, 80 min.
Read about this film series in the Los Angeles Times and Wall Street Journal.
The UCLA Film Archive is pleased to commemorate the indispensable career of director Dorothy Arzner (1897-1979) as part of a year-long commemoration of our own 50th Anniversary. This retrospective features six Archive restorations of Arzner's work, which have helped to spur scholarship into and retrospectives of the director's remarkable achievements. The UCLA School of Theater, Film and Television is also proud to claim Arzner as a former professor. A remarkable and nearly unique figure in American film history, Arzner forged a career characterized by an individual worldview, and a strong, recognizable voice. She was also, not incidentally, the sole female director in the studio era to sustain a directing career, working in that capacity for nearly two decades and helming 20 features—conspicuously, still a record in Hollywood. Distinguished as a storyteller with penetrating insight into women's perspectives and experiences, Arzner herself emphatically made the point that only a woman could offer such authority and authenticity. At a time when the marginalization of women directors in the American film establishment is still actively debated, we celebrate Dorothy Arzner, and the Archive's long association with her legacy.
Special thanks to: Peggy Alexander, Curator—Performing Arts Special Collections, UCLA Library; Gayle Nachlis, Kirsten Schaffer—Women in Film, Los Angeles.
- 8/3/2015
- by Sydney Levine
- Sydney's Buzz
The Cohen Film Collection announced recently that two major films by acclaimed director Costa-Gavras – Capital, the Oscar winner’s most recent feature, and Amen, his César-winning historical drama from 2002 – have been digitally remastered and will be released in deluxe Blu-ray and DVD editions on June 10, 2014. The Blu-rays will have SRPs of $34.98 each and the DVDs will have SRPs of $24.98 each.
Wamg invites you to enter to win one of 3 Prize Packs containing the two films on Blu-ray.
Enter Your Name And E-mail In Our Comments Section Below. We Will Contact You If You Are A Winner.
Official Rules:
1. You Must Be A Us Resident. Prize Will Only Be Shipped To Us Addresses. No P.O. Boxes. No Duplicate Addresses.
2. Winners Will Be Chosen From All Qualifying Entries. No Purchase Necessary. Prizes Will Not Be Substituted Or Exchanged.
Contest Ends – Tuesday, June 24th, 11:59p est.
Since his debut in 1965, the Greek-born,...
Wamg invites you to enter to win one of 3 Prize Packs containing the two films on Blu-ray.
Enter Your Name And E-mail In Our Comments Section Below. We Will Contact You If You Are A Winner.
Official Rules:
1. You Must Be A Us Resident. Prize Will Only Be Shipped To Us Addresses. No P.O. Boxes. No Duplicate Addresses.
2. Winners Will Be Chosen From All Qualifying Entries. No Purchase Necessary. Prizes Will Not Be Substituted Or Exchanged.
Contest Ends – Tuesday, June 24th, 11:59p est.
Since his debut in 1965, the Greek-born,...
- 6/10/2014
- by Movie Geeks
- WeAreMovieGeeks.com
The New Beverly Cinema will be featuring a rare 35mm screening of There's Nothing Out There for their next Midnight Movie. Produced in 1989, the film has been called a precursor to Scream with teens being terrorized and one of them knowing all the "rules" to horror.
The screening will be held on May 26.
The New Beverly Cinema hosts a recurring Midnight Movie that's become a favorite of genre fans. The theater is located at 7165 West Beverly Blvd., Los Angeles, CA one block west of La Brea. The screening of There's Nothing Out There will be hosted by Brian Collins. Check out the trailer below. For more info, visit The New Beverly Cinema website or the There's Nothing Out There website.
From the Press Release
It's been called “the little film that could”. It's been called “The film that inspired Scream. It's also been called “the film that invented meta-horror”.
There's Nothing Out There,...
The screening will be held on May 26.
The New Beverly Cinema hosts a recurring Midnight Movie that's become a favorite of genre fans. The theater is located at 7165 West Beverly Blvd., Los Angeles, CA one block west of La Brea. The screening of There's Nothing Out There will be hosted by Brian Collins. Check out the trailer below. For more info, visit The New Beverly Cinema website or the There's Nothing Out There website.
From the Press Release
It's been called “the little film that could”. It's been called “The film that inspired Scream. It's also been called “the film that invented meta-horror”.
There's Nothing Out There,...
- 5/22/2012
- by Doctor Gash
- DreadCentral.com
Though the reviews for Ra.One in India have been fairly divided in terms of appreciation of the film, overseas it’s another story. Seems as if counterparts in the West are enjoying Ra.One quite a bit.
From New York Times to the Hollywood Reporter, reviews have been coming in and the film has received a resounding thumbs up. “Anubhav Sinha’s exhilarating fantasy “Ra.One” is Bollywood at its best. It has energy, spectacle and humor, song and dance, but razzle-dazzle special effects and action stunts never overwhelm its story of enduring love that unfolds amid an intricate and inspired sci-fi odyssey.” says Kevin Thomas, a top critic from the Los Angeles Times.
Even the ever-so-popular standard for quality movies, Rotten Tomatoes, seems to have earned a higher rating for Ra.One than in India. The film has a total critics’ rating of 78%, which is most definitely Fresh.
From New York Times to the Hollywood Reporter, reviews have been coming in and the film has received a resounding thumbs up. “Anubhav Sinha’s exhilarating fantasy “Ra.One” is Bollywood at its best. It has energy, spectacle and humor, song and dance, but razzle-dazzle special effects and action stunts never overwhelm its story of enduring love that unfolds amid an intricate and inspired sci-fi odyssey.” says Kevin Thomas, a top critic from the Los Angeles Times.
Even the ever-so-popular standard for quality movies, Rotten Tomatoes, seems to have earned a higher rating for Ra.One than in India. The film has a total critics’ rating of 78%, which is most definitely Fresh.
- 10/30/2011
- by Anita Ramakrishna
- Bollyspice
Updated through 6/10.
To Hellman and Back: An Evening with Monte Hellman is set for this evening at the Walter Reade Theater, and here's how the New York Times' Dave Kehr recommends you be there if you can: "The undisputed master of the existential road movie (Two-Lane Blacktop, 1971) will be present for a 6 pm sneak preview of his new feature, Road to Nowhere, to be followed by a rare screening of Mr Hellman's magnificently bleak adaptation of Charles Willeford's novel Cockfighter, starring Warren Oates as an itinerant gambler. A discussion with Mr Hellman follows the screening, as does a book party celebrating the reissue of the Willeford novel from PictureBox Books."
"Combining an almost quaint self-reflexiveness with state-of-the-art digital filmmaking, Road concerns the production of a film based on a controversial lovers' double-suicide in North Carolina," explains Nick Pinkerton in the Voice. "Director Mitchell Haven (Tygh Runyan) is determined to...
To Hellman and Back: An Evening with Monte Hellman is set for this evening at the Walter Reade Theater, and here's how the New York Times' Dave Kehr recommends you be there if you can: "The undisputed master of the existential road movie (Two-Lane Blacktop, 1971) will be present for a 6 pm sneak preview of his new feature, Road to Nowhere, to be followed by a rare screening of Mr Hellman's magnificently bleak adaptation of Charles Willeford's novel Cockfighter, starring Warren Oates as an itinerant gambler. A discussion with Mr Hellman follows the screening, as does a book party celebrating the reissue of the Willeford novel from PictureBox Books."
"Combining an almost quaint self-reflexiveness with state-of-the-art digital filmmaking, Road concerns the production of a film based on a controversial lovers' double-suicide in North Carolina," explains Nick Pinkerton in the Voice. "Director Mitchell Haven (Tygh Runyan) is determined to...
- 6/10/2011
- MUBI
Moving Pictures asked Yaniv Rokah to sit down with writer-director Nina Menkes ahead of this weekend’s Downtown Independent screenings of “Dissolution” and “Phantom Love.” Rokah, an L.A.-based actor, has interviewed Paul Haggis and written reviews for Moving Pictures and is in talks to co-produce Menkes’ next film, “Heatstroke.” He caught up with the auteur for coffee as she prepares to move to Cairo.
By Yaniv Rokah
(June 2011)
Experimental filmmaker Nina Menkes’ work has been compared with some of the all-time greats, including Antonioni, Cassavetes and Lynch. The Los Angeles Times called her “one of the most provocative artists in film today.”
Predominately exploring the feminine psyche through films such as “Massaker” (Fipresci Prize recipient at the Berlin International Film Festival), “Queen of Diamonds” (nominated for the Grand Jury Prize at the Sundance Film Festival), “The Bloody Child” (a Sundance Film Festival and Locarno International Film Festival selection...
By Yaniv Rokah
(June 2011)
Experimental filmmaker Nina Menkes’ work has been compared with some of the all-time greats, including Antonioni, Cassavetes and Lynch. The Los Angeles Times called her “one of the most provocative artists in film today.”
Predominately exploring the feminine psyche through films such as “Massaker” (Fipresci Prize recipient at the Berlin International Film Festival), “Queen of Diamonds” (nominated for the Grand Jury Prize at the Sundance Film Festival), “The Bloody Child” (a Sundance Film Festival and Locarno International Film Festival selection...
- 6/3/2011
- by admin
- Moving Pictures Magazine
Moving Pictures asked Yaniv Rokah to sit down with writer-director Nina Menkes ahead of this weekend’s Downtown Independent screenings of “Dissolution” and “Phantom Love.” Rokah, an L.A.-based actor, has interviewed Paul Haggis and written reviews for Moving Pictures and is in talks to co-produce Menkes’ next film, “Heatstroke.” He caught up with the auteur for coffee as she prepares to move to Cairo.
By Yaniv Rokah
(June 2011)
Experimental filmmaker Nina Menkes’ work has been compared with some of the all-time greats, including Antonioni, Cassavetes and Lynch. The Los Angeles Times called her “one of the most provocative artists in film today.”
Predominately exploring the feminine psyche through films such as “Massaker” (Fipresci Prize recipient at the Berlin International Film Festival), “Queen of Diamonds” (nominated for the Grand Jury Prize at the Sundance Film Festival), “The Bloody Child” (a Sundance Film Festival and Locarno International Film Festival selection...
By Yaniv Rokah
(June 2011)
Experimental filmmaker Nina Menkes’ work has been compared with some of the all-time greats, including Antonioni, Cassavetes and Lynch. The Los Angeles Times called her “one of the most provocative artists in film today.”
Predominately exploring the feminine psyche through films such as “Massaker” (Fipresci Prize recipient at the Berlin International Film Festival), “Queen of Diamonds” (nominated for the Grand Jury Prize at the Sundance Film Festival), “The Bloody Child” (a Sundance Film Festival and Locarno International Film Festival selection...
- 6/3/2011
- by admin
- Moving Pictures Network
"With his Bud Cort haircut and morbid sensibility, Oliver Tate (Craig Roberts) is too smart for Swansea, Wales, an industrial city mired in some seriously mid-80s Thatcherite doldrums," begins Vadim Rizov at GreenCine Daily. "The trouble with Oliver is that he knows he's clever, which could justify anything: surreptitiously monitoring his parents' sex life, taunting an overweight girl to make local cutie Jordana (Yasmin Paige) notice him as a real livewire, or trying to trash the house of downhill neighbor Graham Purvis (Paddy Considine) who may be having an affair with mom (Sally Hawkins). Fortunately, Submarine, Richard Ayoade's feature debut, is aware of Oliver's self-justifying nature and the ways it could warp him…. Acutely aware of the long tradition of films about disaffected young men coming to terms with themselves, Ayoade doesn't duck the precedent: instead, like Oliver…, he nods to seemingly every single precursor. There's a 400 Blows-quoting dash across the beach,...
- 6/3/2011
- MUBI
I'll leave the commentary on poster design to the far more knowledgeable Adrian Curry, but in rounding up notes on events happening around the Us (outside of New York, which'll have its own roundup in a bit), a handful of posters caught my eye, starting with this one for Other Cinema's Fujiyama in Red, a live program aimed at raising funds for Japanese Tsunami Relief and named "after the 1990 Kurosawa movie that foresaw the catastrophe." Tomorrow night in San Francisco; scroll down for details.
Brian Darr: "It's hard to imagine a better time for a San Francisco movie lover to partake in the by-now almost subversive act of watching a great classic film in a cinema, than when our city's architectural pride and joy, the Castro Theatre, devotes its screen to a 70mm film series, as it will for eight days starting this Saturday night, when it plays West Side Story,...
Brian Darr: "It's hard to imagine a better time for a San Francisco movie lover to partake in the by-now almost subversive act of watching a great classic film in a cinema, than when our city's architectural pride and joy, the Castro Theatre, devotes its screen to a 70mm film series, as it will for eight days starting this Saturday night, when it plays West Side Story,...
- 6/3/2011
- MUBI
This week’s Absolute Must Read: Ian Olds has a long and touching remembrance of helping the late Garrett Scott make the documentary Cul de Sac, one of the greatest, little-seen documentaries ever made. Read and learn how genius comes together. It’s not an easy or pretty process.The second Absolute Must Read: Filmmaker Jennifer Reeves is thankful to be alive and ambulatory after being struck by a car. Send good wishes her way.Simple, but really cool: Phil Solomon posts up a film loop of about 4 frames that Stan Brakhage once gave him. Click Phil’s tiny image to get the embiggened version, which is quite astounding looking.The S.F. Weekly has a brief preview of this week’s Ata Film & Video Festival retrospective at the Roxie. The Weekly calls it “a killer selection of experimental works,” with which I have to agree!While the 2011 San Francisco...
- 4/17/2011
- by Mike Everleth
- Underground Film Journal
Interviewed by Jessie Lilley
And just what is a “Renaissance Man” anyway? No, I’m not referring to the Voyager episode and I’m also not talking about the Penny Marshall film. In this context, the term Renaissance Man is defined as a person who excels at many different endeavors: the guy can do a lot of stuff and he does it all quite well. Such a one is the subject of this interview.
Larry Blamire first came across my radar when he and I were both living in Hollywood. I was at a private screening in the home of a friend of mine and he rolled a film called The Lost Skeleton of Cadavra. I was transfixed. What a delightful way to spend some time; laughing yourself silly. I immediately found a way to contact this man as I wanted to know what makes him tick.
It’s now years later and,...
And just what is a “Renaissance Man” anyway? No, I’m not referring to the Voyager episode and I’m also not talking about the Penny Marshall film. In this context, the term Renaissance Man is defined as a person who excels at many different endeavors: the guy can do a lot of stuff and he does it all quite well. Such a one is the subject of this interview.
Larry Blamire first came across my radar when he and I were both living in Hollywood. I was at a private screening in the home of a friend of mine and he rolled a film called The Lost Skeleton of Cadavra. I was transfixed. What a delightful way to spend some time; laughing yourself silly. I immediately found a way to contact this man as I wanted to know what makes him tick.
It’s now years later and,...
- 3/23/2011
- by Jessie
- FamousMonsters of Filmland
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