Platoon (1986) - News Poster



Orion Classics Re-Launching With Kate Bosworth-Tyler Hoechlin’s ‘Domestics’

Orion Classics is relaunching with the thriller “The Domestics” on June 28 in theaters, followed by a video on demand release the next day.

MGM made the announcement Monday, saying the MGM label will focus on multiplatform and specialized releases as well as acquisitions utilizing “emerging and innovative” alternative distribution strategies worldwide. The label will release between eight and 10 films per year across genres.

Mike P. Nelson directed “The Domestics,” starring Kate Bosworth and Tyler Hoechlin. The story, written by Nelson, is set in a post-apocalyptic world inhabited by murderous gangs divided into deadly factions as Bosworth and Hoechlin’s characters race desperately across the lawless countryside in search of safety. The film’s world premiere is set for opening night at the Cinepocalypse film festival in Chicago on June 21.

The Domestics” also stars Lance Reddick, Sonoya Mizuno, Dana Gourrier, Thomas Francis Murphy, and David Dastmalchian. The movie was produced by
See full article at Variety - Film News »

Marketing-Distribution Executive Arthur Manson Dies at 90

Marketing-Distribution Executive Arthur Manson Dies at 90
Arthur Manson, a veteran film executive whose career in marketing and distribution encompassed numerous Oscar-winning films, died May 14 at his home in Riverdale, N.Y. He was 90.

Manson worked on the marketing campaigns for “Walking Tall,” “Platoon,” “JFK,” “Hotel Rwanda,” “All the President’s Men,” “A Star Is Born,” “Shakespeare in Love,” “Cinema Paradiso,” “The Great Santini,” “Angela’s Ashes,” “The Cider House Rules,” and “Slumdog Millionaire.”

Manson was an adviser to Oliver Stone, Scott Rudin, Miramax, the Weinstein Company, Joseph E. Levine, and Stanley Kubrick. He worked for MGM, Samuel Goldwyn Productions[/link], Stanley Kramer Productions, Columbia Pictures, Dino De Laurentiis, 20th Century Fox, and Warner Bros.
See full article at Variety - Film News »

Mike Medavoy’s Moon Landing Drama Is Giant Leap for New Player Atrium (Exclusive)

Mike Medavoy’s Moon Landing Drama Is Giant Leap for New Player Atrium (Exclusive)
One Giant Leap” is set for blast-off with veteran producer and industry luminary Mike Medavoy coming on to produce the moon landing series for Atrium, the drama-commissioning club of telcos and pay-tv platforms created by former Sony boss Howard Stringer and veteran producer and distributor Jeremy Fox.

The show, from Stephen Kronish (“24”), will go behind the scenes of the lunar landing. It is to be delivered in 2019, to coincide with the 50th anniversary of the historic event. Benjamin Anderson (“The Long Road Home”) has signed on to exec produce.

The six-part project is the first to be taken to series by Atrium TV,
See full article at Variety - TV News »

‘To the Ends of the World’ Film Review: At Last, Here’s France’s Vietnam War Movie

‘To the Ends of the World’ Film Review: At Last, Here’s France’s Vietnam War Movie
Rehashes of the Vietnam War have become a genre onto themselves in American film — the province of prestige pictures, shoot-em-ups and even the odd romance. But France has been comparatively quieter in terms of depicting its own troubled history in Southeast Asia on the big screen.

With “To the Ends of the World,” which is showing in the Directors’ Fortnight sidebar to the Cannes Film Festival, French director Guillaume Nicloux offers that slight a brutal corrective, dredging up his country’s colonialist past while offering its national cinema the widescreen, 35mm ‘nam pic it so richly deserves.

Gaspard Ulliel (of Xavier Dolan’s “It’s Only the End of the World”) plays Robert, a French soldier in what was then called Indochina and the sole survivor of a massacre that claimed the lives of 700 of his fellow countrymen, including his brother and pregnant sister-in-law. Given an improbable second chance at life, Robert chooses to immediately reenlist in order to track down and take vengeance on the elusive — and perhaps mythic — Viet Minh leader who ordered the attack.

Also Read: Cannes Report, Day 4: Sales Market Heats Up, '355' Sparks Bidding War, Jean-Luc Godard Is Back

On a purely visceral level, the film fits well into its long line of forbears. From the menacing green jungles to the brothels wafting with opium smoke to the tropical mists and beads of sweat that dampen every face, this is a familiar cinematic landscape. But it would be a mistake to hear La Marseillaise instead of the Star Spangled Banner and think you’re just getting “Platoon” à la Française.

For one thing, there’s the question of period. Set in 1945, the action unfurls while the embers of World War II still burn, and Nicloux uses that historical confluence to great effect. He subtly interrogates the Gallic hypocrisy of fighting to maintain colonial holdings while celebrating their own very recent liberation from German rule.

Indeed, the project’s very Frenchness (for lack of a better word) is what makes it so damned interesting. While “To the Ends of the World” may look and feel like your standard war pic, it speaks like a European art film, focusing on the ennui, indecision and violent stillness felt by Robert and his not-so-merry band of cohorts.

Also Read: Jessica Chastain Spy Thriller '355' Lands at Universal After Bidding War

Stuck in that recognizable military morass, Robert turns his focus inward, obsessing over his unrequited love for prostitute Maï (Lang-Khê Tran), butting heads in games of machismo with fellow soldier Cavagna (Guillaume Gouix) and contemplating the provocations of expat author Saintong (Gérard Depardieu, of course), who responds to the brutality around him with the weariness a man many times singed by the fires of nationalism.

Confronted by some latest act of savagery committed on the Western settlers, Saintong simply replies, “Beheading is a French tradition.”

The film is rather like “Platoon,” however, in its morbid fascination with war’s effect on the human body. Robert’s own weariness is woven into his sunken cheeks and his broken spirit amplified by an unchanging wardrobe that grows baggier as the story goes on.

Curiously, Nicloux shies away from depicting any real on-screen violence, instead focusing on the mangled remains that rot on the ground and fester in the mind long after the perpetrators have fled.

In a way, this is a much more devious strategy. We’ve all seen firefights before, but once you stagger out of this one, with its necklace of human tongues and leech infections in the worst place a man could ever fear, you’ll have seen things you can only wish to forget. Talk about taking the war home with you.

Read original story ‘To the Ends of the World’ Film Review: At Last, Here’s France’s Vietnam War Movie At TheWrap
See full article at The Wrap »

The Predator Star Boyd Holbrook Hints At Throwbacks To The First Film

More than 30 years ago, The Predator arrived at a time when the Vietnam war movie was arguably at its peak.

In dealing with heavy themes like the anti-war movement and those soldiers crippled by nightmarish visions and Ptsd, films in the vein of Platoon, Full Metal Jacket and Apocalypse Now earned critical acclaim in what proved to be a heyday for one of cinema’s most brutal subgenres.

But in 1987, John McTiernan’s cult classic flipped the tables and thrust its core cast – a cast headed up by action hero Arnold Schwarzenegger – into Central America’s Northern Triangle, where the hunters soon became the hunted. The end result was one of the most quotable and action-packed movies of the ’80s, and one that served as perhaps the perfect tonic to Vietnam war films and their potent subtext.

Fast forward to now, and with Shane Black cooking up a bold new rendition of The Predator,
See full article at We Got This Covered »

To the Ends of the World review – brutal French take on the war in Vietnam

Guillaume Nicloux’s Platoon-style drama about the French presence in south-east Asia is suitably violent, but also flirts with macho cliche

Guillaume Nicloux is the director of that rather extraordinary comedy The Kidnapping of Michel Houellebecq, in which the famous author created what amounted to a bizarre 94-minute cameo as himself, and also the bittersweet autumnal drama Valley of Love, with Isabelle Huppert and Gérard Depardieu. Now he has brought to the Director’s Fortnight section in Cannes an extremely confident and undeniably well-made Vietnam war movie, with something of Oliver Stone’s Platoon, except with the French in the role of the doomed occupying force, which in the 1940s preceded that of the Americans. The movie uses the term “Indochine” or “Indochina” in the opening titles, a colonial-era phrase, now rather frowned on, and predating the modern south-east Asia.
See full article at The Guardian - Film News »

Cannes: Robert Siegel’s ‘Cruise’ Boarded by Solution, Vmi (Exclusive)

The Solution Entertainment Group and Vmi Worldwide have picked up international sales rights for adrenaline-fueled romance “Cruise,” written and directed by Robert Siegel, who wrote “The Wrestler” and “The Founder.” The film, which stars Spencer Boldman and Emily Ratajkowski, will be screened for buyers at the Cannes Film Market.

Cruise” is “a joyous, music-filled trip down memory lane,” according to a statement. It takes place in the summer of ’87, when working-class Italian-American Gio Fortunato (Boldman) has little on his mind but racing cars and chasing girls. “An auto-parts store clerk by day, Gio comes alive every night on Francis Lewis Boulevard, the Queens cruising strip all the local kids flock to in search of good times.”

One night he crosses paths with Jessica Weinberg (Ratajkowski), a sophisticated college girl from Long Island looking for thrills on the wrong side of the tracks. They embark on an unlikely summer romance that
See full article at Variety - Film News »

‘Amadeus’ voted top Best Picture Oscar winner of the 1980s, rising above all ‘mediocrities’ [Poll Results]

While Antonio Salieri (F. Murray Abraham) says in “Amadeus” that he speaks for “all mediocrities in the world,” the film clearly rises above such mediocrities, according to you. The 1984 movie is your favorite Best Picture winner of the 1980s, based on the votes of a recent Gold Derby poll. The biopic about the complicated relationship between Salieri and Wolfgang Amadeus Mozart (Tom Hulce) narrowly won the vote over the nine other ’80s winners.

Amadeus” won with 25% of the vote, just barely beating “Rain Man” (1988), which earned 21%. The rest of the top five included “Platoon” (1986) in third at 15%, “Terms of Endearment” (1983) in fourth with 12% and “Ordinary People” (1980) in fifth at 10%. No other films came close to this top five, with a three movies earning 4% of the vote: “Driving Miss Daisy” (1989), “Gandhi” (1982) and “The Last Emperor” (1987). “Out of Africa” (1985) drummed up 3% of the vote while “Chariots of Fire” (1981) was the last to
See full article at Gold Derby »

Milos Forman (‘Amadeus’) voted top Best Director Oscar winner of 1980s, as orchestrated by you [Poll Results]

Milos Forman (‘Amadeus’) voted top Best Director Oscar winner of 1980s, as orchestrated by you [Poll Results]
Milos Forman, who passed away on April 13, has been voted your favorite Best Director Oscar winner of the 1980s for his masterwork “Amadeus.” The biopic chronicled the infamous rivalry between Antonio Salieri (F. Murray Abraham) and Wolfgang Amadeus Mozart (Tom Hulce). Much like the film itself being your preferred Best Picture winner of the ’80s, Forman was your choice for the top Best Director winner of the decade in Gold Derby’s recent poll.

Forman won with 22% of the vote, with Oliver Stone (“Platoon”) coming in second place with a respectable 16%. It was a tie for third between James L. Brooks (“Terms of Endearment”) and Robert Redford (“Ordinary People”) at 11% apiece. Sydney Pollack (“Out of Africa”) rounded out the top five with 9% of the vote. Next up, Barry Levinson (“Rain Man”) came in sixth with 8%, Richard Attenborough (“Gandhi”) came in seventh with 7% and Bernardo Bertolucci (“The Last Emperor”) came in
See full article at Gold Derby »

Another Genre Mainstay Has Joined The Cast Of Rob Zombie’s 3 From Hell

If there’s been one common denominator of Rob Zombie’s 3 From Hell casting spree, it’s that the filmmaker has cherry-picked his cast from a pool of frequent collaborators, given the horror threequel has opened its doors to Sid Haig and Bill Moseley and everyone in between.

But thanks to the director’s lively Instagram feed, today brings word of a genuine newcomer: Richard Edson, the genre veteran best known for his performances across Strange Days, Ferris Bueller’s Day Off and Vietnam war drama, Platoon.

Further character details weren’t disclosed at the time of writing – ditto for all of 3 From Hell‘s other fresh faces – though we understand Edson will bear witness to the resurrection of Captain Spaulding (Sid Haig), Otis (Bill Moseley) and Baby (Sheri Moon Zombie), the Firefly Family of House of 1,000 Corpses and The Devil’s Rejects.

Here’s confirmation of that casting coup,
See full article at We Got This Covered »

Who’s your favorite Best Director Oscar winner of 1980s: Oliver Stone x 2, Warren Beatty, Robert Redford … ? [Poll]

Who’s your favorite Best Director Oscar winner of 1980s: Oliver Stone x 2, Warren Beatty, Robert Redford … ? [Poll]
The 1980s at the Oscars were full of matches between Best Picture and Best Director. Of the 10 Best Director winners, eight of their films won Best Picture, including Robert Redford, Richard Attenborough, James L. Brooks, Milos Forman, Sydney Pollack, Oliver Stone, Bernardo Bertolucci and Barry Levinson. The only instances of a Picture/Director split were in 1981 when Warren Beatty won for “Reds” and 1989 when Stone won his second directing Oscar for “Born on the Fourth of July.”

So who is your favorite Best Director winner of the ’80s? Look back on each of their wins and be sure to vote in our poll below.

Robert Redford, “Ordinary People” (1980) — Redford’s directorial debut proved he had the chops, winning for the harrowing domestic drama “Ordinary People.” Redford’s other Oscar nominations were for “The Sting” (1973) in Best Actor and both Best Picture and Best Director for “Quiz Show” (1994).

SEEDirector Ava DuVernay
See full article at Gold Derby »

What’s your favorite Best Picture Oscar winner of 1980s: ‘Rain Man,’ ‘Terms of Endearment,’ ‘Platoon’ … ? [Poll]

What’s your favorite Best Picture Oscar winner of 1980s: ‘Rain Man,’ ‘Terms of Endearment,’ ‘Platoon’ … ? [Poll]
The 1980s were a big era for the “epic” movie winning Best Picture at the Oscars. “Chariots of Fire,” “Gandhi,” “Out of Africa,” “Platoon” and “The Last Emperor” all share that grand-scale style of film that tends to be rewarded decade after decade at the Oscars. The ’80s also included just as many intense character studies winning Best Picture, including “Ordinary People,” “Terms of Endearment” and “Amadeus,” while others were on the lighter side, like “Rain Man” and “Driving Miss Daisy.”

In this divisive decade, which Best Picture-winning film remains your favorite? Let us take a look back on each winner and be sure to vote in our poll below.

Ordinary People” (1980) — “Ordinary People,” Robert Redford‘s directing debut, has gotten a bad rap over the years for beating Martin Scorsese‘s “Raging Bull,” but it remains one of the most moving films to win Best Picture. The film tells
See full article at Gold Derby »

Where do the most recent group of Academy Award winners rank all time?

As we begin to fully focus on 2018 releases and eventually what the 2019 awards season will be like, a little more about the most recent Oscars is still required. Mainly, a look at how the winners stack up with previous ones. This time around, I’m tying in all of the major categories together. Yes, all eight of the top prizes will get a rundown today, with the possibility of another piece next week on the technical categories. For now, it’s Picture, Director, the four Acting slots, and both Screenplay categories, which is more than enough to start with. This is going to be fun. Like I mentioned above, before we get to Best Picture, which is clearly the big one, quickly I’d like to run down some of the other categories and how they stack up. That way, it’s more of a broader collection. Obviously, we know
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It (2017) Actor Jackson Robert Scott to Play Key Role in New Horror Film from Orion Pictures

You may know him as Georgie, the boy who talked to Pennywise through the sewer drain one fateful rainy day in Derry in the new It movie, but Jackson Robert Scott is wasting no time taking on other roles in the genre, as the young actor will play one of the lead roles in an untitled horror movie from director Nicholas McCarthy (The Pact) and screenwriter Jeff Buhler (The Midnight Meat Train), which is in development at Orion Pictures:

Press Release:Los Angeles – March 2, 2018 — Orion Pictures announced today that breakout star Jackson Robert Scott will play the young lead in Nicholas McCarthy’s upcoming untitled horror film, formerly known as Descendant, the announcement was made today by John Hegeman, President, Orion Pictures. Scott, most recently seen as Georgie Denbrough in the blockbuster Stephen King adaptation of It, joins previously announced Golden Globe and Emmy nominee Taylor Schilling (Orange Is the New Black
See full article at DailyDead »

Funny Or Die’s New Web Series Quizzes Actors About Their IMDb Pages

With the Oscars less than a week away, companies in the movie industry have a chance to get attention for their projects, and with that idea in mind, IMDb has launched a new web series. The internet movie database has teamed up with Funny Or Die to premiere IMDb Me, a series that combs through the filmographies of famous actors in search of talk show-style tidbits and quiz material.

The first actor to sit down with IMDb Me host Jake Szymanski is Willem Dafoe of Platoon, Spider-Man, and The Florida Project fame. After perusing Dafoe's IMDb page, Szymanski asks him about his cut role in the legendary flop Heaven's Gate, makes him guess how IMDb users describe his movies, and asks him to respond to what those users see as his defining characteristics.

Visit Tubefilter for more great stories.
See full article at Tubefilter News »

When co-stars collide at Oscars: Does one win or do they split the vote? Sam Rockwell, pay attention!

When co-stars collide at Oscars: Does one win or do they split the vote? Sam Rockwell, pay attention!
It’s the dream of most actors and actresses to receive an Oscar nomination and, if they’re lucky, to win. But what happens when you’re up against a co-star from the same movie? Does one triumph or do they split the vote? Click through our photo gallery above of all the times this has happened throughout Academy Awards history.

Sam Rockwell and Woody Harrelson both scored Best Supporting Actor nominations for their work in “Three Billboards Outside Ebbing, Missouri.” It has been 26 years since Harvey Keitel and Ben Kingsley were both nominated for “Bugsy” (1991). Unfortunately for the duo they split their support and Jack Palance won for “City Slickers,” ironically a former victim of vote-splitting against his “Shane” co-star Brandon De Wilde (they lost to Frank Sinatra, “From Here to Eternity”).

See 2018 Oscar Best Picture predictions by experts: ‘Three Billboards’ pulls into tie with ‘The Shape of Water’ as voting ends Feb.
See full article at Gold Derby »

‘In the Envelope’ Podcast: Willem Dafoe Unpacks His Oscar-Nominated ‘The Florida Project’ Role

“In the Envelope: An Awards Podcast” features interviews with award-winning actors and other creatives. Join host and Awards Editor Jack Smart for a front row seat to the industry’s biggest awards races! Few actors’ résumés offer as much variety as Willem Dafoe, an on-screen presence who seems unclassifiable. It’s not enough to dub him “chameleonic” or “versatile”; watching performances of such depth and credibility hint at something deeper, targeting the heart more than the brain. Nailing down what makes Dafoe great may prove futile, as his “In the Envelope” podcast interview suggests. Does his secret lie in choosing both mainstream blockbusters (“Spider-Man,” “Finding Nemo”) and off-the-beaten-path indie classics (“The Boondock Saints,” “Antichrist”)? Is it the practical theater training from his days of co-founding the Wooster Group? All we know is his three supporting actor Academy Award nominations are a triptych of superbly dynamic acting: 1986’s “Platoon,” 2000’s “Shadow of a Vampire,
See full article at Backstage »

Oscars: Breaking Down the Top Five Categories

Oscars: Breaking Down the Top Five Categories
When it comes to which categories engender the most excitement and buzz, acting, directing, writing, cinematography and song and are the stuff of which Oscar dreams — and anxieties — are made of. Following are analyses on each category:


Actress: In the lead and supporting actress categories, the lack of ethnic and cultural diversity in the Oscars race has been a heated topic of conversation in recent years. The #OscarsSoWhite movement delivered a justified punch to the collective film biz gut, demanding Hollywood do a better job of representing minority women in its big-screen roles. Hattie McDaniel was the first African-American performer to win an Oscar, triumphing for her supporting turn in 1939’s “Gone With the Wind,” but it wasn’t until 2002 that Halle Berry took home the lead actress award for her lead role in “Monster’s Ball.” Since then such actresses as Mo’Nique, Octavia Spencer, Lupita Nyong’o and Viola Davis have made their awards
See full article at Variety - Film News »

Willem Dafoe Recaps His Onscreen Deaths and Most Awkward Nude Scenes for Funny or Die — Watch

  • Indiewire
Willem Dafoe Recaps His Onscreen Deaths and Most Awkward Nude Scenes for Funny or Die — Watch
When Willem Dafoe recently received his third Oscar nomination (“The Florida Project”), it came once again in the Best Supporting Actor category, where he had been nominated twice before (“Platoon,” “Shadow of a Vampire”). However, his three-decade-plus career has been anything but expected, as evidenced by a new Funny or Die video in which Dafoe is quizzed on the contents of his IMDb page.

In the colorful, five-minute clip, Dafoe confesses that he was fired from his first job (“Heaven’s Gate”) for laughing; his four-film partnership with Lars von Trier began with an icy, naked swim; and playing Jesus (“The Last Temptation of Christ”) meant hearing Martin Scorsese yell cut because Dafoe’s penis required adjusting. The recent “Murder on the Orient Express” star approves of some of his fan-penned performance trademarks, such as “characters that often meet a grim fate,” and “prominent cheekbones.” He is also reminded that
See full article at Indiewire »

Willem Dafoe on How Awards Season Has Changed Since His First Oscar Nom 30 Years Ago

As Bobby Hicks, the caring but beleaguered manager of the Magic Castle Motel in Sean Baker’s The Florida Project, Dafoe, 62, earned his third best supporting Oscar nomination — his first since 2000’s Shadow of the Vampire. The actor talked with THR about why he took the role, building the character and how awards season has changed since his first nomination, 30 years ago for Platoon.

How fast do you know you want to do a film?

A huge part was Sean Baker. When I saw Tangerine I put him on my radar. And when I saw he...
See full article at The Hollywood Reporter - Movie News »
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