King Lear (1987)
Timberlake begins the film with narration about his time at Nyu and burgeoning writing career. He does his best Allen impression, over-enunciating every word, but the character isn’t your typical, neurotic Allen surrogate. Allen instead writes the neurosis into Ginny, Kate Winslet’s character, a desperate housewife who is cheating on her husband, Humpty (Jim Belushi), with Mickey. Lacking the neurotic charm that made Jesse Eisenberg’s Cafe Society turn so endearing, Timberlake struggles with delivery here,
National Geographic’s first scripted drama series Genius charts the incredible life of theoretical physicist Albert Einstein. As well as his scientific endeavours, the story tells of the icon’s rise from modest beginnings, his struggle to be taken seriously by his establishment and peers as an intellectual radical during a time of global unrest.
Genius also tells of Einstein’s tumultuous love affairs, his anti-Semitic battles in Europe and problems he faced as a husband and father which made for an exhilarating, challenging life. HeyUGuys met with first episode Director and Executive Producer Ron Howard, Exec Producer Gigi Pritzker, Geoffrey Rush (Einstein) and Emily Watson (Elsa Einstein) to discuss the series, its origins and process of bringing such remarkable characters back to life…
Gigi Pritzker (Exec Producer): “We spent a number of years with numerous writers, trying to work Einstein’s story into a three
Electric Boogaloo: The Wild, Untold Story of Cannon Films
On a double bill with
Machete Maidens Unleashed!
Umbrella Entertainment (Au, all-region
2014 / Color / 1:77 widescreen / 106 min. / Street Date April 4, 2017 / Available from Umbrella Entertainment / 34.99
Starring: Menahem Golan, Yoram Globus, Al Ruban, Alain Jakubowicz, Albert Pyun, Alex Winter, Allen DeBevoise, Avi Lerner, Barbet Schroeder, Bo Derek, Boaz Davidson, Cassandra Peterson, Catherine Mary Stewart, Charles Matthau, Christopher C. Dewey, Christopher Pearce, Cynthia Hargrave, Dan Wolman, Daniel Loewenthal, David Del Valle, David Paulsen, David Sheehan, David Womark, Diane Franklin, Dolph Lundgren, Edward R. Pressman,
Including the previously revealed Lina Wertmüller retrospective, one inventive series that catches our eye is First Encounters, in which an artist will get to experience a film they’ve always wanted to see, but never have, and in which you’re invited to take part. The first match-ups in the series include Kenneth Lonergan‘s first viewing Edward Yang‘s Yi Yi, Noah Baumbach‘s first viewing of Withnail and I, John Turturro‘s first viewing of Pather Panchali,
Directed by Michael Winner.
Starring Faye Dunaway, Denholm Elliott, Alan Bates, John Gielgud, Glynis Barber, Oliver Tobias, Joan Hickson and Prunella Scales.
A woman marries into high society after stealing her sister’s fiancé but becomes bored with country life so she turns to highway robbery to get her kicks.
If you caught the Electric Boogaloo: The Wild, Untold Story of Cannon Films documentary from a couple of years back you may remember a sizeable section devoted to 1983’s The Wicked Lady. It may seem odd that a production company like Cannon – mostly known for action, martial arts and horror B-movies such as American Ninja, Invasion U.S.A. and The Texas Chainsaw Massacre 2 – would delve into a period drama remake of a 1945 film but this was no ordinary period piece as The Wicked Lady was adapted and directed by Michael Winner, fresh from his success with
Following this extraordinary run of films, Godard found himself at a moment of great change. His romantic and artistic partnership with Anna Karina had ended, to be replaced with a new (but short-lived) marriage to Anne Wiazemsky, who would serve as a bridge to the current youth culture. Godard’s politics had also changed considerably since the 1950s. His conservatism, a relic of his parents’s politics, had been replaced with an interest in Maoism and an increasing distaste for anything evoking America. (Classic Hollywood cinema initially got a pass,
The film involves a rift between the Avengers, particularly Captain America and Iron Man, and how Cap leads the new Avengers to deal with some political strife. We already know that it’s set to include a cameo with Spider-man, but now several other cast members were announced this week. First, Emily VanCamp, who appeared in Captain America: The Winter Soldier, will be reprising her role. Second is Paul Rudd, who after being introduced in Ant-Man will make an appearance in Civil War as well.
As much as any other filmmaker who found a niche in a given genre, in the 10 Westerns Anthony Mann directed from 1950 to 1958 he carved out a place in film history as one who not only reveled in the conventions of that particular form, but also as one who imbued in it a distinct aesthetic and narrative approach. In doing so, Mann created Westerns that were simultaneously about the making of the West as a historical phenomenon, as well as about the making of its own developing cinematic genus. At the same time, he also established the traits that would define his auteur status, formal devices that lend his work the qualities of a director who enjoyed, understood, and readily exploited and manipulated a type of film's essential features.
Though he made several fine pictures outside the Western, Mann as an American auteur is most notably recognized for his work in this field,
Next July, you can see the 99-year-old Lloyd in the Judd Apatow comedy “Trainwreck,” which shot on location in New York this summer and in which Lloyd plays, by his own admission, “a lecherous old man.” In between those unlikely bookends is a career that has quite literally spanned the 20th century and edged into the 21st, during which Lloyd has shared the stage,
Much like the film itself, you’ll have to bear with me here. If I get lost or end up on tangents then don’t worry – it’s not only to be expected, but probably the intent. This will probably be messy, but this is a film titled Goodbye to Language so I feel it’s a safe zone, yes? You see, there is a lot to talk about. How about the use of 3D that is perhaps the best I have ever seen. And then there’s the bravura directions that director Jean-Luc Godard goes even once you think you may have his shtick down. And that’s before we get into the concept of subjectivity of ideas. For all I know,
“It was an extraordinary experience to have a man who made decisions without thinking for three minutes,” recalls Andrei Konchalovsky, the Soviet emigre director who made four films for Cannon, including “Runaway Train” (1985). “That was the quality that also ruined the company, but it left me with carte blanche doing films.
Despite the fact the Festival de Cannes—for whatever reason—did not want Abel Ferrara's Welcome to New York, Cannes itself got the film, first in three separate cinema screenings staged during the festival, and then simultaneously online in France through video on demand. Wild Bunch, the film's producers, staged this alt-Cannes premiere as if it were a real one, complete with a press conference with director Abel Ferrara, screenwriter Christ Zois, and actors Gérard Depardieu and Jacqueline Bisset, as well as a series of interviews with the talent provided for the press.
I was able to participate in a roundtable conversation with the director, who was generous in time, spirit and patience with his surrounding journalists. For more on the film itself, see my report from Cannes, as well as Marie-Pierre Duhamel's report from Paris.
Question: I read somewhere that this film was
Another version of the Cannon story, “Electric Boogaloo: The Wild, Untold Story of Cannon Films,” from cult documentarian Mark Hartley (“Not Quite Hollywood,” “Machete Maidens Unleashed”), has been in the works for several years but not yet surfaced. But while Medalia’s pic might be the cinematic version of an authorized biography,
Once again, I thank you for inviting me to the festival, but you know I haven't taken part in film distribution for a long time, and I'm not where you think I am. Actually, I'm following another path. I've been inhabiting other worlds, sometimes for years, or for a few seconds, under the protection of film enthusiasts; I've gone and stayed.
[Cut to a scene of Eddie Constantine as Lemmy Caution in "Alphaville"]
Eddie Constantine/Lemmy Caution: "I don't feel comfortable in this environment anymore. It's not longer 1923, and I'm not longer the man who fought through the police barricades, the man who fought behind the scenes with a gun in my hand. Feeling alive was more important than Stalin and the Revolution."
The risk of solitude is the risk of losing oneself, assumes the philosopher because he assumes the truth is to wonder about metaphysical questions, which are actually the only ones the everyone's asking.
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