The Red Balloon (1956) - News Poster


Kids Now Casting: Lead Role for a Young Female Actor + More in ‘The Red Balloon’

While sights of red balloons may be a bit scary as of late, this one is bound to excite! “The Red Balloon,” a student thesis film for New York Film Academy, is currently casting several roles, including the lead child role. The film takes place in a world where everybody is born owning a yellow balloon, except for one girl, born with a red balloon and feels the spite from the world as a result. A young female actor, aged 6–10, is wanted to play the red balloon girl, a quiet, naive, and sensitive girl. There is also a supporting role available for a young male actor, as well as background roles for talent to portray classmates of the girl. Additionally, there is one supporting role available for a female actor, aged 22–40, to play the young girl’s mother. Auditions will take place on several dates from Oct. 7–15, with a rehearsal following in Burbank,
See full article at Backstage »

Watch: Michel Gondry’s Charming, iPhone-Shot Summer Vacation Short, Detour

Michel Gondry has made a charming and inventive — in his typically lo-fi way — short film for Apple that shows off the video capabilities of the iPhone 7. With elements of The Red Balloon, Toy Story and, I’m sure, memories Gondry has revisited from his own childhood family vacations in France, the short follows a family on their annual summer sojourn, a trip that winds up leaving the youngest child’s prized red tricycle along the side of the road. Impressively, the short doesn’t try to fake some kind of crazy bokeh, or indulge in trick macro shots. No, like […]
See full article at Filmmaker Magazine »

Watch This: An almost wordless short film wound up with an Oscar for Best Original Screenplay

One week a month, Watch This offers movie recommendations inspired by new releases or premieres. This week: With the Academy Awards a few days away, we look back at some of the unlikeliest Oscar nominees, picking a different major category every day.

The Red Balloon (1956)

From the mid-1950s through the early 1970s, Hollywood often looked to Europe (especially France and Italy) as the cutting edge of movie style. It was during this period that the award for Best Original Screenplay became an unofficial arthouse category at the Oscars, earning nominations and even wins for all sorts of movies whose modern equivalents one couldn’t imagine getting nominated today, like Blow-Up or any of the three Alain Resnais films that received nods in the 1960s: Hiroshima Mon Amour, Last Year At Marienbad, and the less famous La Guerre Est Finie. (What, no love for Muriel?) Federico Fellini and Ingmar Bergman
See full article at The AV Club »

How Often Do Foreign-Language Films Score Screenwriting Oscar Nominations Or Wins?

Toni Erdmann’ (Courtesy: Tiff)

By: Carson Blackwelder

Managing Editor

It’s not too often that foreign-language films get recognized for anything at the Oscars beyond the best foreign-language film category — but it does happen. And, believe it or not, it happens more for best original screenplay and best adapted screenplay than many other categories. A prime example of that is Toni Erdmann, Germany’s submission this year that is proving to be a cross-category threat, which could score a nomination — or a win — for its writing.

The story of Toni Erdmann — which has a solid Rotten Tomatoes score of 91% — follows a father who is trying to reconnect with his adult daughter after the death of his dog. It sounds simple enough but, of course, the two couldn’t be more unalike. The film premiered at the Cannes Film Festival in 2016 and where it won the Fipresci Prize. Since then, it
See full article at Scott Feinberg »

Episode 179 – Criterion Collection Wish List for 2017

Episode Links Past Wish List Episodes Episode 63.9 – Disc 3 – Top Criterion Blu-ray Upgrades for 2011 Episode 110 – Criterion Collection Blu-ray Upgrade Wish List for 2012 Episode 136 – Criterion Collection Blu-ray Upgrade Wish List for 2013 Episode 146 – Criterion Collection Blu-ray Upgrade Wish List for 2014 Episode 154 – Criterion Collection Blu-ray Upgrade Wish List for 2015 Episode 169 – Criterion Collection Blu-ray Upgrade Wish List for 2016 DVD to BluRay Wish Lists Aaron: The Shop on Main Street Pickup on South Street Arik: Cleo from 5 to 7 Berlin Alexanderplatz Mark: Taste of Cherry Sisters David: Do the Right Thing Mishima: A Life in Four Chapters Ld to Blu-Ray Wish Lists Aaron: Blue Velvet (Announced as Ld Spine #219 but never released) Early Hitchcock Box (Sabotage, The Secret Agent, Young and Innocent, The Lodger, The Man Who Knew Too Much) Arik: A Night at the Opera Singin’ in the Rain Mark: 2001: A Space Odyssey The Producers David: I Am Cuba Letter From an Unknown Woman
See full article at CriterionCast »

The Magic Box: The Films of Shirley Clarke V. 4

Milestone wraps up its ‘Project Shirley,’ an in-depth study of the independent director of The Connection and Portrait of Jason. Practically all of Shirley Clarke’s small and experimental films are here from the early 1950s forward, plus a wealth of biographical film.

The Magic Box: The films of Shirley Clarke, 1929-1987


The Milestone Cinematheque

1929-1987 / B&W + Color

1:37 flat full frame / 502 min.

Street Date November 15, 2016 / 99.99

featuring Shirley Clarke

Produced by Dennis Doros & Amy Heller

Reviewed by Glenn Erickson

Some disc boutique companies license ready-made movie classics for home video, and some slap whatever odd-sourced items can be had into the Blu-ray format and call it a restoration. Although the general tide for quality releases is rising, only a few companies will invest time and effort in historically- and artistically- important films lacking an obvious commercial hook. Milestone Films has been consistent in its championing of abandoned ‘marginal’ films,
See full article at Trailers from Hell »

The Code tops the Awgie Awards

The Code. . Shelley Birse has taken out the top prize at this year.s Awgie Awards, winning the Major Award for the second season of ABC cyber-thriller The Code..

The first season of The Code also took out the Australian Writers. Guild Major Award in 2014. This year.s award makes it the only series to have been recognised by two Major Awards for both of its seasons. The Code also received the Awgie Award for the Television: Miniseries — Original category.

Overall, more than 25 Australian writers —.from radio, television, film, theatre and interactive media — were honoured at this year.s Awgie Awards, held in Sydney on Friday evening.

Andrew Knight and Osamah Sami.s Ali.s Wedding took out the award for most outstanding script for an original feature, while Shaun Grant and Craig Silvey received the award for most outstanding feature adaptation for Jasper Jones.

Samantha Strauss was honoured for her original telemovie,
See full article at »

Director David Lowery explains why his 'Pete's Dragon' is so intentionally gentle

  • Hitfix
Director David Lowery explains why his 'Pete's Dragon' is so intentionally gentle
It seems very strange to me that it took until 2016 for me to meet David Lowery face to face. Not because I expect I should meet every single working filmmaker. That’s just silly. I’ve met a staggering number of writers, directors, actors, and people working at every other level in film and television over the years, but there are are plenty of people I’ve never run into, and I’m fine with that. With David, though, I have a history. You see, he used to be a spy for me. More accurately, he was a regular reviewer at Ain’t It Cool under the name “ghostboy,” and his beat was the festival circuit. I edited dozens and dozens of his pieces over the years, and I came to rely on him as a guy with a very strong sense of what he does or doesn’t like,
See full article at Hitfix »

6 Things To Know About Disney's Pete's Dragon Remake

“I look back at childhood as an adventure,” director David Lowery says. In his latest film, what he calls “a Pete’s Dragon for a new generation,” he’s aiming to recapture that sense of wonder for audiences who may not have ever seen the 1977 movie. Last week, Disney invited me to the studio’s El Capitan Theatre in the heart of Hollywood to check out an early presentation of the new remake, including a look at some new footage and a conversation with Lowery and star Bryce Dallas Howard.

The director showed us a few quick scenes from the film that gave us a wide sample of the kinds of things he does in the film, from establishing the character of Howard’s pragmatic forest ranger and her more precocious father (an old storyteller, played by Robert Redford with a twinkle in his eye); to a big truck chase sequence teased in the trailers; to joyous scenes of Pete (Oakes Fegley) and his dragon Elliot playing, soaring through the sky, and hanging out together in the woods. The visuals look outstanding — the dragon riding is miles ahead of what we’ve seen from Dany on Game of Thrones so far — and there’s also a soulful tone here that should be an interesting break from the bombast of typical summer movie fare.

Read on for six things we learned about the new movie that you should know before you see it.

Bryce Dallas Howard Wanted This Job Because It Wasn’t A Straight-Up Remake

Howard, coming off Jurassic World in which she also starred opposite some large CG lizard creatures, said she actively chased this role as soon as she found out Lowery’s take on the material.

“Before I read the script, I had heard it was not a straight-up remake, and that was [why I said yes]. Because I love [the original] Pete’s Dragon — I have the little board book for my kids and I read it to them constantly — and with me loving it, I didn’t want it to just be a copycat. We’ve seen a lot of those, some of them are great, some of them don’t work, but I felt like the story and the themes within the original film was what the charm of that movie was…I think what has centered that film and what has made that film last was the central idea of friendship with an imaginary friend when you have no family. And then, voila, it’s not such an imaginary friend. So when I heard it wasn’t a straight-up remake, I was like, ‘yes, I’d love to be a part of that.’ Also, I can’t help it — I’m a parent and I want there to be beautiful films out there that have innocence, are timeless, and have really beautiful values without being didactic.” The Setting Was Key For The Film’s Success

Lowery, who co-wrote the script with Toby Halbrooks, talked about how the idea of setting the movie in modern day never appealed to him. He’s always aiming for a timeless feel in his films, and it seemed like he found an excellent way to achieve that:

“The movie is set somewhere vaguely in the Pacific Northwest. We never quite say where it is, we never quite say when it is. Sometime vaguely in the past. If any of you have seen my other movies, you know I really love to do the whole ‘timeless’ thing, and this movie definitely plays into that.I feel when you have a movie that has a fantastical concept in it, you can accept it more easily if it has the veil of time being over it. To set something in the past, you’re a little more accepting of the idea that there might be magic there that you might have overlooked in your own past. I also find that the movies I return to and the ones I love the most — there are films about a specific time and place, if you want to see a historical epic, great, I’m glad they’re so specific — but there are other films that endure because they don’t root themselves in a specific time and they don’t say ‘this is a film about here and now.’ I didn’t want this film to feel contemporary, because I felt if it was contemporary, if someone pulls out an iPhone, all of a sudden you’re like, ‘Ok, that’s an iPhone 4. This was made in 2010.’ And then you put that against a dragon and you kind of get this weird disparity that doesn’t quite work. So by setting it in the past and not making a big deal out of it — we never put a title card that says this is what year it is. That was part of the look of the film, the production design that we did. You pull some cars from the early ‘80s, pull some cars from the ’70s, kind of make everything congeal into this cohesive whole that doesn’t have a literal date on it but feels just yesterday.”

The era wasn’t the only important factor — finding the perfect place to shoot their forest sequences was a big deal. Turns out New Zealand had exactly what the production was looking for. Lowery explained:

“I just like things to be real, that’s just me, I’m always going to gravitate toward that. So when we were planning this, I was like, ‘Look, if we’re going to have a CG dragon, let’s make everything else real and use as little green screen as possible.’ So we went to New Zealand because it’s set in a slightly elevated, more magical version of the Pacific Northwest, and New Zealand has plenty of magic, had the forest we needed, had the weather we needed, and Weta Digital was there, which was very convenient.”

They’d go as far as to drive two hours into secluded forest every day to truly capture “the best version of being out in the woods.” It certainly shows; the footage we saw had a quiet, ethereal feel to being outside, and it truly did feel like we were seeing a place that hadn’t ever been inhabited by humanity.

The Dragon Had To Be Furry

Lowery spoke about how important it was to treat Elliot as a legitimate character, one who can emote and isn’t just a CG beast lumbering through the woods. The dragon is one half of the film’s most important relationship, so he had to be handled carefully in the design stage, and avoiding scaly dragons like the ones on Game of Thrones was a big priority for the filmmakers:

“One of the things we wanted to do with this movie was really sell the idea of friendship between a child and a creature, which really comes down to your favorite pet as a child or the relationship you have with a dog or something like that. The really close bond you have with an animal. We really wanted to try to hit home the heart of that, but with a creature that’s twenty times the size of a normal household pet…Even though he is a dragon — a magical creature that can turn invisible — we really wanted to treat him like a character, and really let that character come through.The very first hook I had when I met the producers of this film, we didn’t even have a pitch yet, but I was like, ‘I want the dragon to be furry.’ And that’s because I love my cats and I was probably petting my cat and saying, ‘I wish this guy was twenty feet tall’ or something. (laughs) They really are based on my cats. They have their own Instagram account if anyone wants to follow them. They’re 2orangeguys on Instagram. I was like, ‘Look, if you put a Game of Thrones dragon in this, he’s going to be scaly, kind of cold, he’ll be cool, but I want this to be the kind of dragon you really want to give a hug to and that I want to give a hug to and snuggle up with.’ There’s no reason dragons can’t be furry. I went through the design process of figuring out what design choices would break the idea of being a dragon. There are certain things we found we can’t do. When we tried to do different things with the wings, it started to feel like a chimera, or other various mythical beasts. A sphinx, sometimes. But if you kept the wings, kept the tail, kept the ridges on the back, you can kind of have fun with the rest of the design and it still feels like a dragon. The fur was an integral part to the design for me. That made the character.” Lowery Used an Unorthodox Method to Confirm He Had The Perfect Pete

When it came to finding the right Pete, Lowery knew he wanted a child actor that didn’t have the polish of an actor you might find on stage or on a Disney Channel show. “I wanted someone who was a little unvarnished and not perfect, who didn’t have that sort of trained quality,” he said. “I often find that if a ten-year-old can cry on cue, that is an amazing skill that I am envious of, but usually that’s not what I’m looking for.” His casting director did a worldwide casting search, and when Oakes Fegley walked in the room, Lowery knew he’d found his star. But he cemented that decision in an unusual way: he asked Oakes to build something with the chairs in the room, and he just sat back and watched. If Lowery and Howard’s stories about the young actor are accurate, Oakes sounds like a totally relaxed, normal kid, not at all pretentious or corrupted by weird stage parents, so when he started stacking a trash can on top of some chairs and Lowery could see him working things out and adjusting little details, he knew for sure he’d found his Pete. “He had a sensitivity, but also a resilience where you believe he could survive in the conditions his character has survived in,” Lowery said. “He’s really tough and scrappy, but also so quiet and sensitive, the perfect balance.”

Lowery Was Heavily Influenced By Foreign Films

Movies that are about children can often talk down to them or even have disdain for them, but Lowery took a lot of inspiration from foreign films about how to make sure the movie treated kids with respect and talked to them as equals:

“There is a great legacy of films about children, whether they are films like E.T., The NeverEnding Story, The Black Stallion, or other films like Ponette, the French film about the girl who lost her parents is really important to me. The Red Balloon is a wonderful story capturing the imagination of childhood in a very specific way. I could list off all the foreign films that I love that do a good job of that, but I think it’s important to think of those movies because I know a lot of teachers who show The Red Balloon in their classes to kindergartners because it’s the kind of thing kids respond to. Same with Miyazaki stuff, which I think is important to show kids. Obviously there’s a ton of great entertainment for children, but I love things that let kids see the emotional side of themselves.” You Won’t See (or Hear) References To The Original Film

When asked whether we’d hear an homage to the music of the ’77 film, Lowery gave perhaps the most refreshing answer of the day:

“No. We do have a song in the movie and you’ll find out how it plays into the plot when you see it, but we don’t [have any homages to the first movie]. I really wanted to sort of avoid the winks and the nods, not because the original is not great, but because I wanted this to really exist in its own realm. The best thing is for audiences who love the original to see this and say, ‘This is a great new film about a boy named Pete, and Elliot.’ And if kids haven’t seen the original, this will be the first time they’ve seen it. And there won’t be that moment where all of the adults go, ‘Oh, yeah,’ and the kids look over and go, ‘What? I don’t get it. What is it?’ So we avoided that. We talked about it, we talked about having references, but ultimately felt it was the purer tactic. I’ve seen a lot of remakes that do that and it always takes me out of a movie because it’s a little wink.”

As someone who thinks references like that can be distracting and often obnoxious, I find it incredibly promising that Lowery has the confidence in his movie to try to have it stand on its own as much as possible. Even with seeing the extra footage we saw, it’s still tough to tell whether this movie is going to be a new classic, a whiffed remake attempt, or somewhere in between, but at least it won’t be a deep dive into nostalgia for another film. (Nostalgia for childhood? Yes. For another movie? No.)

In any case, Lowery’s enthusiasm is certainly evident, and regardless of how the film turns out, his heart is clearly in the right place here. His vision for the film sounds great, so I’m hoping he’s able to translate that vision to audiences in an enjoyable way. “I want you to get a sense of the scope and action and fun and adventure this movie has,” he beamed before showing off a new clip, “because ultimately it really is an adventure.” The adventure begins when Pete’s Dragon flies into theaters on August 12, 2016.
See full article at GeekTyrant »

Oddball to open 2016 Tiff Kids Festival



Australian family film Oddball, starring Shane Jacobson, is set to open the 2016 Tiff Kids Festival.

Australian feature film Blinky Bill: The Movie and short films Riceballs, Junction, Cinema Dhors, The Trophy Thief and The Supermarket will also be premiering at the festival, which is now in its 19th year. .

Oddball is a comedic feature based on a true story about a chicken farmer, his granddaughter and their mischievous dog saving fairy penguins from extinction in an Australian seaside town..

The festival wraps with its closing night film, the Canadian premiere of Little Door Gods, an animated 3D film from first-time feature director Gary Wang that was inspired by Chinese folklore..

The festival features a total of 139 films, comprising 28 features and 111 shorts hailing from 35 countries, including Australia, Canada, Germany, the Netherlands, Philippines, France, India, South Korea, and many more.

All screenings and events take place at Tiff Bell Lightbox
See full article at »

The Assassin review: “A simple but fully engaging tale.”

The Assassin review: Sight & Sound critics’ choice of best film of 2015 makes its way to the UK. The Assassin review

There are some directors out there who don’t give a damn what you think. Their style and cinematic expertise working as merely a way for them to convey the stories they want. Such directors can usually never be pigeonholed and fly in the face of the auteur theory. They can also be very difficult to love, but hard not to respect. Anybody wanting a conflicting time at the movies may very well wish to check out the films of Hsiao Hsien Hou. From his Yasujiro Ozu inspired Cafe Lumiere, to the bizarre and magical Flight Of The Red Balloon, while never forgetting the brilliance of Flowers Of Shanghai, Hou is constantly rebranding himself, and he does it once again with The Assassin, which arrives in the UK having already
See full article at The Hollywood News »

Watch a Video on the Cinematic Influences of Pixar and an Outside-Only Edit of ‘Inside Out’

The extent to which Pixar touts a focus on originality and creativity — or “originality” and “creativity” through whatever means they measure those two qualities — makes it easy to forget their extensive history of reference points. Because you (probably, hopefully) don’t have enough time to go through every title and parse the finer points, allow a video essay from Jorge Luengo Ruiz to break down a significant number of them. In ranging from the obvious — he left this note: “I don’t have include A Bugs’s Life because it is a special case. Whole the plot is a tribute to Kurosawa’s Seven Samurai” — to the rather clever to those I might not cite as specific callbacks (Fargo? Scarface? The Apartment? The Red Balloon?), this melange creates one of the more interesting bits of Pixar-related work I’ve seen in some time.

Of interest, too, is a nifty bit
See full article at The Film Stage »

Can Hungarian Film ‘Son of Saul’ Be an Original Screenplay Threat?

By Patrick Shanley

Managing Editor

Earlier this year, Hungarian film Son of Saul won the Grand Prix award at the Cannes Film Festival. The film, which centers on a Hungarian-Jewish prisoner in Auschwitz who longs to give the body of his son a proper burial, was the country’s official entry for best foreign film award to the Academy and is quickly distancing itself from the pack as the frontrunner.

Saul does not appear to only be relegated to the foreign film category, however, and its chances at an original screenplay nomination seem likely, despite the short length of its script (roughly 50 pages). While the film is short on dialogue, its subject matter may resonate with Academy voters and its tone and setting are ground well-tread by former Oscar winners.

If the film manages to earn a nom for best original screenplay it will be far from the first foreign language entry to do so,
See full article at Scott Feinberg »

Watch: 10-Minute Video Essay Explores The Importance Of Props In Filmmaking

Perhaps the most important part of filmmaking isn’t an unforgettable script, an original, raucous character or shooting the entire thing during magic hour (looking at you, Terrence Malick). There are elements often forgotten which bring entire tales together, can symbolize them as a whole, and change the course of cinematic history. This is an ode to the constantly-looked-over-yet-mysteriously-obligatory part of filmmaking — the prop. In his astute, aptly-edited 10-minute video essay, Rishi Kaneria focuses on the myriad importances of film props: how they are used, what they represent, and how something so simple as the use of a color or fruit (oranges, for instance, in “The Godfather”) can change the way we look at, or what we remember from a film. Kaneria floats through the history of cinema — everything from “The Bicycle Thief” (and the titular bicycle) to “Citizen Kane” (oh, Rosebud) to “The Red Balloon” (need I say more) — carefully exemplifying the significance of.
See full article at The Playlist »

The Black Stallion

It was a winner right out of the starting gate, an instant classic that's still a pleasure for the eyes and ears. Carroll Ballard and Caleb Deschanel's marvel of a storybook movie has yet to be surpassed, with a boy-horse story that seems to be taking place in The Garden of Eden. The Black Stallion Blu-ray The Criterion Collection 765 1979 / Color / 1:85 widescreen / 117 min. / Street Date July 14, 2015 / 39.95 Starring Kelly Reno, Mickey Rooney, Teri Garr, Clarence Muse, Hoyt Axton, Michael Higgins, Ed McNamara, Doghmi Larbi, John Karlsen, Leopoldo Trieste, Marne Maitland, Cass-Olé. Cinematography Caleb Deschanel Film Editor Robert Dalva Supervising Sound Editor Alan Splet Original Music Carmine Coppola Written by Melissa Mathison, Jeanne Rosenberg, William D. Wittliff from the novel by Walter Farley Produced by Fred Roos, Tom Sternberg Directed by Carroll Ballard

Reviewed by Glenn Erickson

Francis Coppola divided audiences with his war epic Apocalypse Now, but in the same
See full article at Trailers from Hell »

Cannes: Jacques Audiard's 'Dheepan' wins Palme d'Or

Cannes: Jacques Audiard's 'Dheepan' wins Palme d'Or
Other winners include Son Of Saul, The Assassin, Chronic, The Lobster, The Measure Of A Man, Carol and Mon Roi.Scroll down for full list of winners

Jacques Audiard’s Dheepan has won the Palme d’Or at the 68th Cannes Film Festival (May 13-24).

Review: Dheepan

Critics had predicted that Todd HaynesCarol or Hou Hsiao-hsien’s The Assassin would take the top prize, while momentum appeared to shift to Laszlo Nemes’ Son Of Saul when it picked up the Fipresci prize. Even the bookies favoured a different title, pegging Yorgos LanthimosThe Lobster for the prestigious honour.

But while they each left the Lumiere Theatre with one prize apiece, it was Dheepan that claimed the top honour.

The drama centres on a Tamil freedom fighter (Antonythasan Jesuthasan, one of three non-professional Tamil leads) who, near the end of the Sri Lankan Civil War, flees to Europe with a makeshift family hoping to claim asylum
See full article at ScreenDaily »

The Noteworthy: New Film Comment, Migrating Forms 2014, "Too Many Cooks"

  • MUBI
Above: the November/December issue of Film Comment is upon us, featuring pieces on Interstellar, Inherent Vice, and Adieu au langage. The full program for BAMcinématek's 6th annual Migrating Forms festival has been announced. Soon-Mi Yoo's Songs From the North will be the opening film (check out our interview with Soon-Mi here), and Notebook contributor and friend Gina Telaroli's Here's to the Future! has its world premiere on December 13th. The full details can be seen here. The first reviews are in for Clint Eastwood's American Sniper. Here's Justin Chang's take for Variety:

"Although Steven Spielberg was set to direct before exiting the project last summer (just a few months after Kyle’s death in Texas at the age of 38), “American Sniper” turns out to be very much in Eastwood’s wheelhouse, emerging as arguably the director’s strongest, most sustained effort in the eight years since his
See full article at MUBI »

11 Reasons Why Taylor Swift Might Be Holding a Bunch of Red Balloons in the Middle of New York City

  • Vulture
11 Reasons Why Taylor Swift Might Be Holding a Bunch of Red Balloons in the Middle of New York City
Alongside a photo of Taylor Swift standing on a New York City sidewalk holding a bunch of red balloons, Us Weekly included the caption, "Taylor Swift carried 12 red balloons for some reason while walking through NYC." For some reason? Well, we're sure she had a good one. Maybe it was one of these?11. Some not-so-subtle shade to Katy Perry's failed Song of Summer entry, "Birthday." (Thank you, Dan D'Addario.) 10. Her next music video is an almost-shot-for-shot remake of The Red Balloon. 9. She's on her way to a birthday party, and she will not be overshadowed. 8. Because inflaters gonna flate-flate-flate-flate-flate. 7. Peer pressure. 6. Up. 5. Because she just saw this viral video and was super into it. 4. It's an homage to the red balloon emoji. 3. She's emulating this Sex and the City promo video? Taylor just moved to NYC, and while she's more of a Shoshanna, that
See full article at Vulture »

The 55 Essential Movies Kids Must Experience (Before They Turn 13)

The 55 Essential Movies Kids Must Experience (Before They Turn 13)
There are people out there who have never seen The Princess Bride. They walk among us, holding down jobs, contributing to society, and generally living happy, semi-fulfilled lives. But whisper a perfectly-timed “mawage” in their direction during a wedding, and the resulting blank stare or awkward chuckle will expose an inconceivable pop-cultural blind spot. Someone failed them when they were growing up.

In many ways it’s too late for them, but we can still save the next generation. The 55 Essential Movies Kids Must Experience (Before They Turn 13) is a starting point. This isn’t a list of the 55 “best” kids movies,
See full article at - PopWatch »

The Definitive Original Screenplays: 40-31

As we continue to move forward through the list, let us consider: how do you define an original screenplay? In theory, everything is based on something. Woody Allen’s Blue Jasmine is basically a modern A Streetcar Named Desire. But, somehow, Jasmine is classified as an original screenplay. When a film is wholly original, nothing like it had been done before, and others have tried to copy it since. Plenty of original screenplays (some in this list) take on tired genres, but flip the script. But the ones that really catch the audience by surprise are the ones that feel imaginative, creative, and different.

40. Spirited Away (2001)

Written by Hayao Miyazaki

That’s a good start! Once you’ve met someone, you never really forget them. It just takes a while for your memories to return.

No writer/director on this list may be more fantastical than the great Hayao Miyazaki,
See full article at SoundOnSight »
An error has occured. Please try again.

See also

Showtimes | External Sites

Recently Viewed