Zack Snyder’s Rebel Moon – Part Two: The Scargiver is a drastically more watchable film than its predecessor, which spent so much time place-setting that it forgot to tell an actual story. The Scargiver is, essentially, the propulsive second and third acts that Rebel Moon – Part One: A Child of Fire was missing. All the heroes that our heroine, Kora (Sofia Boutella), collected in the first film have finally arrived on the farming planet of Veldt, ready to help defend it against the encroaching fascist armies of the Motherworld. From here, it’s basically the fast and loose Seven Samurai redux that A Child of Fire had been hinting at from minute one, with our legendary heroes helping to prepare this village of pacifist farmers to go to war.
Once the first shots get fired, Snyder’s directorial muscle is on full display. The fights are big, bombastic, beautifully shot,...
Once the first shots get fired, Snyder’s directorial muscle is on full display. The fights are big, bombastic, beautifully shot,...
- 4/21/2024
- by Justin Clark
- Slant Magazine
Do you like the Star Wars franchise? How about the new version of Dune? And what about Avatar, The Matrix, Starship Troopers, Lord of the Rings, and Game of Thrones? And also: Westerns, samurai movies, Inglourious Basterds, ancient mythology (Greek, Roman, and a smattering of Eastern), the Dungeons & Dragons monsters’ manual, those old-school Roger Dean album covers, Frank Frazetta’s paintings, Hideo Kojima’s video games, James Fenimore Cooper’s “Leatherstocking Tales,” the collected works of Robert Heinlein and Piers Anthony, and six out of the nine short stories...
- 12/18/2023
- by David Fear
- Rollingstone.com
There are no capes and there is no spandex in Dampyr, the fantasy horror film by Italian director Riccardo Chemello. But the English-language feature, which has been a surprise hit on Netflix, is the first entry in what you could call the Bonelli Cinematic Universe.
The vampire-hunter tale, starring Wade Briggs, Stuart Martin, Frida Gustavsson, Sebastian Croft, David Morrissey and Luke Roberts, is the first of a new wave of comic-book adaptations from Bonelli Entertainment, the Italian publisher billed as Italy’s answer to Marvel.
The film, which cracked the top 3 on Netflix’s US service, is the origin story of Harlan Draka, a Serbian dampyr, or half-breed offspring of a vampire dad and human mother, whose blood has the power to kill the undead. Draka was first introduced to Italian comic fans 20 years ago — the collapse of the former Yugoslavia and the 1990s Balkan war is the comic’s...
The vampire-hunter tale, starring Wade Briggs, Stuart Martin, Frida Gustavsson, Sebastian Croft, David Morrissey and Luke Roberts, is the first of a new wave of comic-book adaptations from Bonelli Entertainment, the Italian publisher billed as Italy’s answer to Marvel.
The film, which cracked the top 3 on Netflix’s US service, is the origin story of Harlan Draka, a Serbian dampyr, or half-breed offspring of a vampire dad and human mother, whose blood has the power to kill the undead. Draka was first introduced to Italian comic fans 20 years ago — the collapse of the former Yugoslavia and the 1990s Balkan war is the comic’s...
- 12/11/2023
- by Boris Sollazzo
- The Hollywood Reporter - Movie News
Masters of the Universe was one of three big-budget 1987 movies that sunk Cannon Pictures (the other two were Over the Top and Superman IV: The Quest for Peace). It was supposed to be their version of Star Wars, boasting a significant budget (for Cannon) and high production values. It was based on the toys and cartoon series He-Man and the Masters of the Universe by Mattel, but the film had a very rocky road to the big screen. While it’s now considered a camp classic, thanks mainly to the involvement of Dolph Lundgren, at the time, many thought that his performance helped tank the movie. He almost ended up being dubbed in the final cut.
Indeed, in the documentary Toy Masters (excerpted by THR), Mattel executives found Lundgren’s accent unintelligible, and director Gary Goddard wanted him dubbed. “We actually did bring in a few actors to loop test,...
Indeed, in the documentary Toy Masters (excerpted by THR), Mattel executives found Lundgren’s accent unintelligible, and director Gary Goddard wanted him dubbed. “We actually did bring in a few actors to loop test,...
- 11/19/2023
- by Chris Bumbray
- JoBlo.com
Even more than his long-time colleague and friend, Steven Spielberg, George Lucas is the boy who never grew up. For one, Star Wars is so inspired by sci-fi serials like Flash Gordon and the WWII dogfight movies that his imagined sci-fi universe feels oddly antiquated, and befitting its setting in a moment “a long, long time ago.” No less fitting is that American Graffiti, Lucas’s breakout hit, is a love letter to his youth in the 1950s and ’60s, and that it’s become the ur-text of the nostalgia movie as a subgenre. Everything from Happy Days to The Big Chill lives in its shadow, though given the shininess of the film’s surfaces, from the neon-lit drive-ins to chrome-plated cars that have been buffed to perfection, perhaps it’s more accurate to say that the film’s descendants are illuminated by its gleaming glow.
American Graffiti has the most threadbare of plots.
American Graffiti has the most threadbare of plots.
- 11/8/2023
- by Jake Cole
- Slant Magazine
The making of Apocalypse Now is the story of madness and disaster. As captured in the documentary Hearts of Darkness, the year plus filming saw every manner of bad luck, from conflicts with the Philippine government to massive storms to a constantly changing crew, to star Martin Sheen’s heart attack on set.
But the strangest behind the scenes tale of Apocalypse Now may actually be about the man who initially planned to direct it. The version of Apocalypse Now that hit theaters in 1979 matched the ambitions (and ego) of its director Francis Ford Coppola. But before Coppola took over, Apocalypse Now was actually the baby of the reserved and mild-mannered George Lucas.
Nirvana Now
Screenwriter John Milius wanted to go to war. One of the few conservatives within a group of lefty young filmmakers that included Martin Scorsese, Margot Kidder, and Paul Schrader, Milius had no interest in protesting the Vietnam War.
But the strangest behind the scenes tale of Apocalypse Now may actually be about the man who initially planned to direct it. The version of Apocalypse Now that hit theaters in 1979 matched the ambitions (and ego) of its director Francis Ford Coppola. But before Coppola took over, Apocalypse Now was actually the baby of the reserved and mild-mannered George Lucas.
Nirvana Now
Screenwriter John Milius wanted to go to war. One of the few conservatives within a group of lefty young filmmakers that included Martin Scorsese, Margot Kidder, and Paul Schrader, Milius had no interest in protesting the Vietnam War.
- 9/11/2023
- by Joe George
- Den of Geek
Leo D. Sullivan, the groundbreaking Black animator who contributed to the iconic opening for Soul Train and to cartoons featuring Fat Albert, Transformers and My Little Pony during his 50-year-plus career, has died. He was 82.
Sullivan died Saturday of heart failure at Kaiser Permanente West Los Angeles Medical Center, his wife, Ethelyn, told The Hollywood Reporter.
The Emmy-winning Sullivan also was a writer, producer, director, layout artist and storyboard artist at studios including Hanna-Barbera, Warner Bros., Filmation, DePatie-Freleng Enterprises, Dic Entertainment and Marvel Productions.
He and onetime Disney animator Floyd Norman were among the co-founders of Vignette Films in the 1960s. Their company produced educational films about such Black heroes as George Washington Carver and Booker T. Washington and was behind a 1969 Bill Cosby special, Hey! Hey! Hey! It’s Fat Albert, for NBC.
The duo also teamed on AfroKids.com, whose mission it is to build self-esteem and reconnect...
Sullivan died Saturday of heart failure at Kaiser Permanente West Los Angeles Medical Center, his wife, Ethelyn, told The Hollywood Reporter.
The Emmy-winning Sullivan also was a writer, producer, director, layout artist and storyboard artist at studios including Hanna-Barbera, Warner Bros., Filmation, DePatie-Freleng Enterprises, Dic Entertainment and Marvel Productions.
He and onetime Disney animator Floyd Norman were among the co-founders of Vignette Films in the 1960s. Their company produced educational films about such Black heroes as George Washington Carver and Booker T. Washington and was behind a 1969 Bill Cosby special, Hey! Hey! Hey! It’s Fat Albert, for NBC.
The duo also teamed on AfroKids.com, whose mission it is to build self-esteem and reconnect...
- 3/30/2023
- by Mike Barnes
- The Hollywood Reporter - Movie News
Ethan (Strange World) Ethan in Strange World
French and Belgian comics inspired the characters in Disney Animation’s Strange World, which follows three generations of explorers, including teen Ethan. “He’s designed to have more realistic proportions, in contrast to other, wiry Disney teens like Hiro Hamada or Mowgli,” explains director Don Hall. “He’s biracial, and we wanted his skin tone to reflect both his mother, Meridian, and father, Searcher, and our team worked with Black hair experts to get his locks just right.” Textiles, he adds, took a cue from woven fabrics from environments like the Himalayas, with buttons and ties instead of zippers. “Given Ethan’s journey from unsettled teen to conservationist, we opted for a kind of laid-back, ‘granola’ vibe, with his green cutoff farm pants being the only subtle clue as to his internal conflict with his father’s expectations for him.” His vest is deep blue with red trim.
French and Belgian comics inspired the characters in Disney Animation’s Strange World, which follows three generations of explorers, including teen Ethan. “He’s designed to have more realistic proportions, in contrast to other, wiry Disney teens like Hiro Hamada or Mowgli,” explains director Don Hall. “He’s biracial, and we wanted his skin tone to reflect both his mother, Meridian, and father, Searcher, and our team worked with Black hair experts to get his locks just right.” Textiles, he adds, took a cue from woven fabrics from environments like the Himalayas, with buttons and ties instead of zippers. “Given Ethan’s journey from unsettled teen to conservationist, we opted for a kind of laid-back, ‘granola’ vibe, with his green cutoff farm pants being the only subtle clue as to his internal conflict with his father’s expectations for him.” His vest is deep blue with red trim.
- 1/5/2023
- by Carolyn Giardina
- The Hollywood Reporter - Movie News
There seem to be two distinct trains of thought when it comes to 1980's "Flash Gordon." Either viewers think it's a flawed yet lovable pulp romp, or they hate its absurd cheesiness. No matter what side you're on, you have to admit that the late Mike Hodge's adaptation of the popular comic strip series was visually distinct and impressive at times. The film's ending, in particular, was arguably on par with the "Star Wars" films at the time, just with a distinct campy tone.
As it turns out, the ending we got wasn't exactly the ending we got. According to author and filmmaker John Walsh, the original and much more, ahem, flashy ending was trimmed down due to its over-ambition. When speaking to Den of Geek about his book "Flash Gordon: The Official Story of the Film" in 2021, Walsh revealed some major details about this scrapped ending, which included...
As it turns out, the ending we got wasn't exactly the ending we got. According to author and filmmaker John Walsh, the original and much more, ahem, flashy ending was trimmed down due to its over-ambition. When speaking to Den of Geek about his book "Flash Gordon: The Official Story of the Film" in 2021, Walsh revealed some major details about this scrapped ending, which included...
- 12/31/2022
- by Erin Brady
- Slash Film
The character of Flash Gordon has had a long and rich history in pop culture lasting almost 100 years. The first appearance of the space bound all-American hero was found in a science-fiction comic strip created in 1934 by illustrator Alex Raymond and writer Don Moore. Former Olympian and actor Buster Crabbe appeared as the character in the classic Universal serials that depicted Flash Gordon's clashes with Ming the Merciless on the planet Mongo. Fondly remembered for their air of wispy nostalgia, the "Flash Gordon" serials always ended on a cliffhanger. I remember one in particular where Flash is thrown down a dark hole with no chance of escape, only to be saved by the sudden deployment of a net in the first scene of the next episode.
That is to say, "Flash Gordon" was always a little ridiculous.
The Buster Crabbe serials have certainly left their mark on film history, but...
That is to say, "Flash Gordon" was always a little ridiculous.
The Buster Crabbe serials have certainly left their mark on film history, but...
- 12/25/2022
- by Drew Tinnin
- Slash Film
Brian Blessed has paid tribute to Mike Hodges, who directed him in the film Flash Gordon.
Hodges, who also directed Get Carter and The Long Good Friday, died, aged 90 on Saturday (17 December),
The news was announced by Mike Kaplan, Hodges’ longtime friend who produced his film I’ll Sleep When I’m Dead in 2003.
Blessed appeared on BBC Radio 4’s World At One programme, where he said Hodges had “a very powerful personality and a joyful, cheerful, brilliant imagination”.
He said that 1980’s Flash Gordon is “the only film, apart from Henry V with Kenneth Branagh, that I raced to the studio to start filming”.
Blessed, 86, described the filmmaker as having “a brilliant imagination”, adding: “His direction – mind-blowing. Great manner, great perception. The film was a breath of fresh air.”
A quintessential product of the era, Flash Gordon was a box-office success in the UK and subsequently developed a...
Hodges, who also directed Get Carter and The Long Good Friday, died, aged 90 on Saturday (17 December),
The news was announced by Mike Kaplan, Hodges’ longtime friend who produced his film I’ll Sleep When I’m Dead in 2003.
Blessed appeared on BBC Radio 4’s World At One programme, where he said Hodges had “a very powerful personality and a joyful, cheerful, brilliant imagination”.
He said that 1980’s Flash Gordon is “the only film, apart from Henry V with Kenneth Branagh, that I raced to the studio to start filming”.
Blessed, 86, described the filmmaker as having “a brilliant imagination”, adding: “His direction – mind-blowing. Great manner, great perception. The film was a breath of fresh air.”
A quintessential product of the era, Flash Gordon was a box-office success in the UK and subsequently developed a...
- 12/22/2022
- by Jacob Stolworthy
- The Independent - Film
O’Shea Jackson Jr has joined the “nepo baby” discourse, saying that his career “was up to him”.
A debate about the children of celebrities and their privilege erupted after Vulture released an exhaustive guide to the Hollywood “nepo-verse”.
Now, the son of actor and rapper Ice Cube has entered the chat, saddling both sides of the argument.
“My dad told me in a perfect world, I would play him in Straight Outta Compton. I was already in college for screenwriting at USC,” Jackson Jr wrote on Twitter. “I accepted the challenge. And auditioned for two years before getting the role.”
Jackson Jr made his film debut portraying his father in the 2015 crime drama.
“After that it was up to me, he couldn’t hold my hand through my career,” he continued. “I had to get my a** up and make it work.”
Family first. May everyone who reads this, blaze...
A debate about the children of celebrities and their privilege erupted after Vulture released an exhaustive guide to the Hollywood “nepo-verse”.
Now, the son of actor and rapper Ice Cube has entered the chat, saddling both sides of the argument.
“My dad told me in a perfect world, I would play him in Straight Outta Compton. I was already in college for screenwriting at USC,” Jackson Jr wrote on Twitter. “I accepted the challenge. And auditioned for two years before getting the role.”
Jackson Jr made his film debut portraying his father in the 2015 crime drama.
“After that it was up to me, he couldn’t hold my hand through my career,” he continued. “I had to get my a** up and make it work.”
Family first. May everyone who reads this, blaze...
- 12/21/2022
- by Inga Parkel
- The Independent - Film
With films as varied as Get Carter, Flash Gordon and Croupier to his name, Hodges, who has died aged 90, was a great social commentator as well as a wonderful storyteller
Earlier this year, the film-maker Mike Hodges wrote a wonderful letter to this newspaper, in answer to the question I had posed in an article about his British mobster movie from 1971: “Even after 50 years, do we properly get Carter?” Hodges laid it bare: we will get Carter if we get that it’s a Hogarthian polemic about the British class system with all its shame and self-hate.
In the late 50s, Hodges did his national service in the Royal Navy, in the course of which he witnessed the poverty and wretchedness in fishing ports such as North Shields, where much of Get Carter is set. This injustice radicalised Hodges, turning him – in his own words – from a complacent young...
Earlier this year, the film-maker Mike Hodges wrote a wonderful letter to this newspaper, in answer to the question I had posed in an article about his British mobster movie from 1971: “Even after 50 years, do we properly get Carter?” Hodges laid it bare: we will get Carter if we get that it’s a Hogarthian polemic about the British class system with all its shame and self-hate.
In the late 50s, Hodges did his national service in the Royal Navy, in the course of which he witnessed the poverty and wretchedness in fishing ports such as North Shields, where much of Get Carter is set. This injustice radicalised Hodges, turning him – in his own words – from a complacent young...
- 12/21/2022
- by Peter Bradshaw
- The Guardian - Film News
Director Mike Hodges has died aged 90.
The filmmaker behind Get Carter and Flash Gordon died on Saturday (17 December) of heart failure at his home in Dorset.
His death was confirmed by producer Mike Kaplan, a friend and collaborator of Hodges’, who said he died of heart failure.
Born in Bristol in 1932, Hodges worked as a chartered accountant and in the Navy under national service before beginning a career in the screen industries.
His first media job was as a teleprompter operator and he quickly rose up the ranks in UK television.
He made his feature debut in 1971 with Get Carter, which he wrote and directed. Starring Michael Caine, it follows a London gangster who returns home to Newcastle after learning about the death of his brother.
Hodges initially wrote the role of Jack Carter for Ian Hendry and was surprised to learn that an actor as prominent as Caine would...
The filmmaker behind Get Carter and Flash Gordon died on Saturday (17 December) of heart failure at his home in Dorset.
His death was confirmed by producer Mike Kaplan, a friend and collaborator of Hodges’, who said he died of heart failure.
Born in Bristol in 1932, Hodges worked as a chartered accountant and in the Navy under national service before beginning a career in the screen industries.
His first media job was as a teleprompter operator and he quickly rose up the ranks in UK television.
He made his feature debut in 1971 with Get Carter, which he wrote and directed. Starring Michael Caine, it follows a London gangster who returns home to Newcastle after learning about the death of his brother.
Hodges initially wrote the role of Jack Carter for Ian Hendry and was surprised to learn that an actor as prominent as Caine would...
- 12/21/2022
- by Isobel Lewis
- The Independent - Film
Crime thriller stalwart also shot Croupier, Flash Gordon.
Mike Hodges, the British director known for gritty crime films such as Get Carter and Croupier, has died. He was 90.
According to reports Hodges passed away at his home in Dorset in the south of England on Saturday (December 17). The cause of death was unknown at time of writing.
Hodges was born in Bristol in 1932 and qualified as an accountant before joining the Navy. Some years later he found work as a teleprompter in television, worked on Granada Television’s World In Action investigative news series, and directed two shows for ITV Playhouse.
Mike Hodges, the British director known for gritty crime films such as Get Carter and Croupier, has died. He was 90.
According to reports Hodges passed away at his home in Dorset in the south of England on Saturday (December 17). The cause of death was unknown at time of writing.
Hodges was born in Bristol in 1932 and qualified as an accountant before joining the Navy. Some years later he found work as a teleprompter in television, worked on Granada Television’s World In Action investigative news series, and directed two shows for ITV Playhouse.
- 12/21/2022
- by Jeremy Kay
- ScreenDaily
Sad news to report today as it was announced that British writer and director Mike Hodges died on December 17th at the age of 90. Hodges was best known for directing Get Carter, which has been described as “one of the great British gangster films of all time,” as well as Flash Gordon, the colourful, pulpy sci-fi fantasy based on the comic strip of the same name.
Mike Hodges got his start working as a teleprompter operator for British television before writing and directing films for TV. His first feature film was Get Carter, a crime drama which starred Michael Caine as a London gangster who returns to his hometown to learn about his brother’s supposedly accidental death. He reunited with Caine for his next film, Pulp, and went on to direct The Terminal Man, Flash Gordon, Morons from Outer Space, A Prayer for the Dying, Black Rainbow, Croupier, and...
Mike Hodges got his start working as a teleprompter operator for British television before writing and directing films for TV. His first feature film was Get Carter, a crime drama which starred Michael Caine as a London gangster who returns to his hometown to learn about his brother’s supposedly accidental death. He reunited with Caine for his next film, Pulp, and went on to direct The Terminal Man, Flash Gordon, Morons from Outer Space, A Prayer for the Dying, Black Rainbow, Croupier, and...
- 12/21/2022
- by Kevin Fraser
- JoBlo.com
Mike Hodges, British director known for “Croupier,” “Flash Gordon,” and “Get Carter,” has died. He was 90.
Hodges’ good friend Mike Kaplan and producer of “I’ll Sleep When I’m Dead” confirmed the director’s death to multiple media outlets.
At the beginning of his career, Hodges carved out a space for himself in crime dramas with “Get Carter” (1971) and “Pulp” (1972), concluding with “Croupier” (1999) and “I’ll Sleep When I’m Dead” (2003). Outside of this bookend category of his catalog, he was also known for his rendition of “Flash Gordon.”
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Stephanie Bissonnette, Cast Member of ‘Mean Girls the Musical,’ Dies at 32
Hodges adapted “Get Carter” from a novel by Ted Lewis. The story follows Caine, a London gangster who seeks vengeance fr his brother’s murder. The British gangster movie experienced a resurgence after its 2000 remake starring Sylvester Stallone in the role of Caine.
Hodges’ second film “Pulp” consisted of another crime drama,...
Hodges’ good friend Mike Kaplan and producer of “I’ll Sleep When I’m Dead” confirmed the director’s death to multiple media outlets.
At the beginning of his career, Hodges carved out a space for himself in crime dramas with “Get Carter” (1971) and “Pulp” (1972), concluding with “Croupier” (1999) and “I’ll Sleep When I’m Dead” (2003). Outside of this bookend category of his catalog, he was also known for his rendition of “Flash Gordon.”
Also Read:
Stephanie Bissonnette, Cast Member of ‘Mean Girls the Musical,’ Dies at 32
Hodges adapted “Get Carter” from a novel by Ted Lewis. The story follows Caine, a London gangster who seeks vengeance fr his brother’s murder. The British gangster movie experienced a resurgence after its 2000 remake starring Sylvester Stallone in the role of Caine.
Hodges’ second film “Pulp” consisted of another crime drama,...
- 12/20/2022
- by Dessi Gomez
- The Wrap
Click here to read the full article.
Mike Hodges, who made his feature debut by writing and directing the seminal British gangster film Get Carter, starring Michael Caine, then replaced Nicolas Roeg to helm the cult sci-fi hit Flash Gordon, has died. He was 90.
Hodges died Saturday of heart failure at his home in Dorset, England, confirmed his friend Mike Kaplan, who produced Hodges’ 2003 film I’ll Sleep When I’m Dead.
The British filmmaker also wrote and directed Pulp (1972) in a quick follow-up with Caine; the bleak The Terminal Man (1974), an adaptation of a Michael Crichton novel that starred George Segal; Damien: Omen II (1978), though he was fired three weeks into the shoot and replaced by Don Taylor; and Black Rainbow (1989), starring Rosanna Arquette as a medium.
In addition, Hodges helmed the Mickey Rourke-starring Ira thriller A Prayer for the Dying (1987), which he said was re-edited without his...
Mike Hodges, who made his feature debut by writing and directing the seminal British gangster film Get Carter, starring Michael Caine, then replaced Nicolas Roeg to helm the cult sci-fi hit Flash Gordon, has died. He was 90.
Hodges died Saturday of heart failure at his home in Dorset, England, confirmed his friend Mike Kaplan, who produced Hodges’ 2003 film I’ll Sleep When I’m Dead.
The British filmmaker also wrote and directed Pulp (1972) in a quick follow-up with Caine; the bleak The Terminal Man (1974), an adaptation of a Michael Crichton novel that starred George Segal; Damien: Omen II (1978), though he was fired three weeks into the shoot and replaced by Don Taylor; and Black Rainbow (1989), starring Rosanna Arquette as a medium.
In addition, Hodges helmed the Mickey Rourke-starring Ira thriller A Prayer for the Dying (1987), which he said was re-edited without his...
- 12/20/2022
- by Mike Barnes
- The Hollywood Reporter - Movie News
British director Mike Hodges, known for directing “Get Carter,” “Croupier” and “Flash Gordon,” died in Dorset, England on Dec. 17. He was 90.
His death was announced by Mike Kaplan, longtime friend and producer of “I’ll Sleep When I’m Dead.”
Hodges’ crime dramas came at the beginning of his career — “Get Carter” (1971) and “Pulp” (1972) — and the end — “Croupier” (1999) and “I’ll Sleep When I’m Dead” (2003). In addition to his crime dramas he was known for his campy, stylized take on “Flash Gordon.”
Andrew Sarris wrote in the Observer in 2000, “Director Mike Hodges has become one of the most under-appreciated and virtually unknown masters of the medium over the last 30 years” and “Mr. Hodges has been hailed by everyone from Martin Scorsese to Pauline Kael as a stylist of the first order.”
Hodges adapted “Get Carter” — one of the greatest British gangster movies of all time — himself from a novel by Ted Lewis.
His death was announced by Mike Kaplan, longtime friend and producer of “I’ll Sleep When I’m Dead.”
Hodges’ crime dramas came at the beginning of his career — “Get Carter” (1971) and “Pulp” (1972) — and the end — “Croupier” (1999) and “I’ll Sleep When I’m Dead” (2003). In addition to his crime dramas he was known for his campy, stylized take on “Flash Gordon.”
Andrew Sarris wrote in the Observer in 2000, “Director Mike Hodges has become one of the most under-appreciated and virtually unknown masters of the medium over the last 30 years” and “Mr. Hodges has been hailed by everyone from Martin Scorsese to Pauline Kael as a stylist of the first order.”
Hodges adapted “Get Carter” — one of the greatest British gangster movies of all time — himself from a novel by Ted Lewis.
- 12/20/2022
- by Carmel Dagan
- Variety Film + TV
Warning: Contains spoilers for Andor: Season 1
“Faster, more intense!” That was always George Lucas’ direction to his actors while shooting Star Wars. When devising the narrative tone of his galaxy far, far away, he wanted pulp. He wanted adventure. He wanted energy. In his head, he saw a combination of propulsive TV serials, Flash Gordon space operatics, and epic samurai mythology, all told with the technical mastery of 2001: A Space Odyssey. Since no-one else quite got exactly what Lucas was going for with Star Wars until it arrived, it all came down to those three words to get the feeling across: Faster. More intense. That ethos has informed Star Wars stories ever since – whether chronicling the fall of the Republic, the raging of the Clone Wars, the battle for the Death Star plans, the reawakening of the Force, or the bond between a bounty hunter and his tiny green surrogate-son,...
“Faster, more intense!” That was always George Lucas’ direction to his actors while shooting Star Wars. When devising the narrative tone of his galaxy far, far away, he wanted pulp. He wanted adventure. He wanted energy. In his head, he saw a combination of propulsive TV serials, Flash Gordon space operatics, and epic samurai mythology, all told with the technical mastery of 2001: A Space Odyssey. Since no-one else quite got exactly what Lucas was going for with Star Wars until it arrived, it all came down to those three words to get the feeling across: Faster. More intense. That ethos has informed Star Wars stories ever since – whether chronicling the fall of the Republic, the raging of the Clone Wars, the battle for the Death Star plans, the reawakening of the Force, or the bond between a bounty hunter and his tiny green surrogate-son,...
- 11/23/2022
- by Ben Travis
- Empire - TV
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