Early in Faye, Laurent Bouzereau’s entertaining portrait for HBO of screen legend Faye Dunaway, Bette Davis in a Johnny Carson clip names her without hesitation as the one star with whom she would never work again. Considering this is clearly a very authorized and deeply respectful bio-doc, it’s surprising how candidly it digs into the star’s reputation for being temperamental and demanding. Dunaway even plays into it herself — the first words we hear are her impatiently nudging the director to roll cameras on the present-day interview that binds the many recollections and self-reflections together.
“We need to shoot; I’m here now, come on,” says an exasperated Dunaway. Seated on a comfortable-looking sofa in an airy New York apartment living room, she huffs, “This is the worst seat in the world. I’m not happy with anything here.” But when she then snaps, “I need a glass of water,...
“We need to shoot; I’m here now, come on,” says an exasperated Dunaway. Seated on a comfortable-looking sofa in an airy New York apartment living room, she huffs, “This is the worst seat in the world. I’m not happy with anything here.” But when she then snaps, “I need a glass of water,...
- 5/28/2024
- by David Rooney
- The Hollywood Reporter - Movie News
Cinephiles romanticize the New Hollywood era of the late 1960s and most of the 1970s as a time of artistic rebellion during which a batch of young directors and experienced helmers saved Hollywood by connecting with Baby Boomer moviegoers bored with formula Westerns, backlot musicals, and all the other fusty stuff their parents dragged them to throughout their childhood. These artists toyed with genre conventions and film technique to reignite a jaded generation's excitement for the medium at a time when television was becoming an increasingly appealing entertainment option.
It was an incredibly exciting time for movies, but audiences of all ages still had an appetite for good ol' cinematic spectacle. They might've tired of sword-and-sandal epics and widescreen adaptations of Rodgers and Hammerstein musicals, but there was nothing wrong with studios spending loads of money to fill the big screen with eye-popping imagery.
And for most of the 1970s,...
It was an incredibly exciting time for movies, but audiences of all ages still had an appetite for good ol' cinematic spectacle. They might've tired of sword-and-sandal epics and widescreen adaptations of Rodgers and Hammerstein musicals, but there was nothing wrong with studios spending loads of money to fill the big screen with eye-popping imagery.
And for most of the 1970s,...
- 5/26/2024
- by Jeremy Smith
- Slash Film
Late in the highly entertaining and enlightening new HBO Documentary Films movie on the life and career of Faye Dunaway we learn how much this iconic star just loves coming to the Cannes Film Festival. “Just about every year,” she says — not only for the world’s best films but also to immerse herself in all aspects of filmmaking. I have seen her many times just soaking it all up cinematically both here in Cannes and Telluride, to name two fests.
So it seems appropriate that the Cannes Classics section would be the place for the World Premiere Wednesday night — in the presence of Dunaway as the French like to call it — of this terrific new docu in which Dunaway pretty much tells it all straight about her life, loves, desires, ambitions, movies, co-stars, depression, controversies, family and hopes for the future in a profession she says she can’t imagine not working in.
So it seems appropriate that the Cannes Classics section would be the place for the World Premiere Wednesday night — in the presence of Dunaway as the French like to call it — of this terrific new docu in which Dunaway pretty much tells it all straight about her life, loves, desires, ambitions, movies, co-stars, depression, controversies, family and hopes for the future in a profession she says she can’t imagine not working in.
- 5/16/2024
- by Pete Hammond
- Deadline Film + TV
Rochelle Oliver, who starred on Broadway in Lillian Hellman’s Toys in the Attic and Edward Albee’s Who’s Afraid of Virginia Woolf? and taught acting at New York’s respected Hb Studio since the 1970s, has died. She was 86.
Oliver died April 13, the Hb Studio announced. “Those who knew Rochelle will know what a luminous artist, sensitive and passionate teacher she was,” it said in an Instagram post. She died two days shy of her birthday.
For the big screen, Oliver starred in the Horton Foote-written 1918 (1985) and Courtship (1987) and appeared in such other films as The Happy Hooker (1975), Paul Mazursky‘s Next Stop, Greenwich Village (1976), John Sayles’ Lianna (1983), An Unremarkable Life (1989), Martin Brest’s Scent of a Woman (1992) and Woody Allen’s Hollywood Ending (2002).
She also recurred as Judge Grace Larkin on Law & Order from 1993-03.
A protégé of Uta Hagen — who also taught for decades at Hb and...
Oliver died April 13, the Hb Studio announced. “Those who knew Rochelle will know what a luminous artist, sensitive and passionate teacher she was,” it said in an Instagram post. She died two days shy of her birthday.
For the big screen, Oliver starred in the Horton Foote-written 1918 (1985) and Courtship (1987) and appeared in such other films as The Happy Hooker (1975), Paul Mazursky‘s Next Stop, Greenwich Village (1976), John Sayles’ Lianna (1983), An Unremarkable Life (1989), Martin Brest’s Scent of a Woman (1992) and Woody Allen’s Hollywood Ending (2002).
She also recurred as Judge Grace Larkin on Law & Order from 1993-03.
A protégé of Uta Hagen — who also taught for decades at Hb and...
- 5/7/2024
- by Mike Barnes
- The Hollywood Reporter - Movie News
If Criterion24/7 hasn’t completely colonized your attention every time you open the Channel––this is to say: if you’re stronger than me––their May lineup may be of interest. First and foremost I’m happy to see a Michael Roemer triple-feature: his superlative Nothing But a Man, arriving in a Criterion Edition, and the recently rediscovered The Plot Against Harry and Vengeance is Mine, three distinct features that suggest a long-lost voice of American movies. Meanwhile, Nobuhiko Obayashi’s Antiwar Trilogy four by Sara Driver, and a wide collection from Ayoka Chenzira fill out the auteurist sets.
Series-wise, a highlight of 1999 goes beyond the well-established canon with films like Trick and Bye Bye Africa, while of course including Sofia Coppola, Michael Mann, Scorsese, and Claire Denis. Films starring Shirley Maclaine, a study of 1960s paranoia, and Columbia’s “golden era” (read: 1950-1961) are curated; meanwhile, The Breaking Ice,...
Series-wise, a highlight of 1999 goes beyond the well-established canon with films like Trick and Bye Bye Africa, while of course including Sofia Coppola, Michael Mann, Scorsese, and Claire Denis. Films starring Shirley Maclaine, a study of 1960s paranoia, and Columbia’s “golden era” (read: 1950-1961) are curated; meanwhile, The Breaking Ice,...
- 4/17/2024
- by Nick Newman
- The Film Stage
David Anspaugh's 1986 sports drama "Hoosiers" has gone down in history as one of the most influential sports dramas ever made. Partly inspired by the real-life story of the 1954 Indiana state champions Milan High School, "Hoosiers" focuses on formerly-disgraced basketball coach Norman Dale (Gene Hackman), who gets a rare second chance to prove his mettle at Indiana's Hickory High School. The rather tight-knit town of Hickory seems a little too unforgiving towards Norman due to his sketchy past, but redemption finds its way to him via a David vs. Goliath situation that soon transforms into a classic underdog tale about dreaming big and achieving the impossible.
Some of the more saccharine themes in "Hoosiers" might feel a tad corny at times, but it is a film that brandishes sincere authenticity when it comes to the magic of unexpected second chances and the highs and lows of small-town sports. Moreover, a...
Some of the more saccharine themes in "Hoosiers" might feel a tad corny at times, but it is a film that brandishes sincere authenticity when it comes to the magic of unexpected second chances and the highs and lows of small-town sports. Moreover, a...
- 4/13/2024
- by Debopriyaa Dutta
- Slash Film
“Mickey 17” is looking more like “Mickey 2025.”
South Korean director Bong Joon-ho’s hotly anticipated follow-up to his Best Picture-winning film “Parasite” was originally set for release in just about a month from now by Warner Bros. Discovery. In January, citing post-production delays and the lingering effect of the SAG-AFTRA and WGA strikes, the studio removed it from the calendar and slipped “Godzilla x Kong: The New Empire” in its place. Tuesday, it was announced that the Robert Pattinson-led picture won’t get released this year at all and, instead, will come next (eek!) January.
January is, uh, not when an auteur-led movie with a sterling cast like this is usually released, so the date does raise some eyebrows. Variety noted that the new date guarantees placement in IMAX houses, and coincides with Lunar New Year, which is a big movie-going day internationally.
“Mickey 17” (which is not the...
South Korean director Bong Joon-ho’s hotly anticipated follow-up to his Best Picture-winning film “Parasite” was originally set for release in just about a month from now by Warner Bros. Discovery. In January, citing post-production delays and the lingering effect of the SAG-AFTRA and WGA strikes, the studio removed it from the calendar and slipped “Godzilla x Kong: The New Empire” in its place. Tuesday, it was announced that the Robert Pattinson-led picture won’t get released this year at all and, instead, will come next (eek!) January.
January is, uh, not when an auteur-led movie with a sterling cast like this is usually released, so the date does raise some eyebrows. Variety noted that the new date guarantees placement in IMAX houses, and coincides with Lunar New Year, which is a big movie-going day internationally.
“Mickey 17” (which is not the...
- 2/21/2024
- by Jordan Hoffman
- Gold Derby
The real Bonnie and Clyde may have died in 1933, but the legend of the couple's crime spree lives on in the form of songs, stories, and one groundbreaking movie. Arthur Penn's "Bonnie and Clyde" took Hollywood by storm when it hit theaters in 1967, generating controversy for its on-screen violence and sensuality -- and kick-starting nationwide conversations about who deserves to be the subject of a movie. While film fans still talk about these topics today, the movie's brutal final shootout feels mild compared to modern blood-soaked movie scenes.
Still, "Bonnie and Clyde" is a fantastic film, thanks in large part to its great cast. Warren Beatty plays cocky Clyde Barrow to Faye Dunaway's initially innocent Bonnie Parker, while actors Michael J. Pollard, Gene Hackman, and Estelle Parsons round out the Barrow gang. A young Gene Wilder made his big screen debut as one of Clyde's hostages, while Denver...
Still, "Bonnie and Clyde" is a fantastic film, thanks in large part to its great cast. Warren Beatty plays cocky Clyde Barrow to Faye Dunaway's initially innocent Bonnie Parker, while actors Michael J. Pollard, Gene Hackman, and Estelle Parsons round out the Barrow gang. A young Gene Wilder made his big screen debut as one of Clyde's hostages, while Denver...
- 1/8/2024
- by Valerie Ettenhofer
- Slash Film
The Killer.How do you make a good movie in this country and be jumped on?Once, in 1967, in the opener for her Bonnie and Clyde review, Pauline Kael asked the opposite question: “How do you make a good movie in this country without being jumped on?” Now, times have changed. Nothing provokes us to jump and say, “Hold the torches! That’s the key! The way forward.”An automatic film like David Fincher’s new thriller, The Killer, comes and goes with the velocity of a Twitter news cycle: about six fervent days of talk. (The seventh and beyond? Fits and bursts of takes amid miles of silence.) Whether you think it’s good or bad, The Killer has not lingered in the popular consciousness. And I can’t imagine it lingering. It might have passed me by with the similarly fleeting presence of recent moving-image works like Richard Linklater...
- 1/3/2024
- MUBI
J.J. Abrams touts Warren Beatty’s Bonnie and Clyde and Shampoo for must-see viewing as part of the January 2024 Turner Classic Movies lineup in his own TCM Picks video that dropped on Tuesday.
“They could not be more different,” Abrams says of Arthur Penn’s 1967 crime spree drama Bonnie and Clyde, which also starred Faye Dunaway, and Hal Ashby’s Oscar-winning dramedy Shampoo. Bonnie and Clyde “portrayed violence in a way that had not typically been seen in American cinema and really ushered in a new age of bold graphic storytelling in a way that you really hadn’t seen before,” Abrams says in the video.
Having made a name for himself in Hollywood with television and popular series like Felicity, Alias and Lost, you can see the grounds for Abrams’ eventual success making action tentpole movies, given his love for classic Hollywood pics.
Shampoo becomes a time capsule movie for Abrams,...
“They could not be more different,” Abrams says of Arthur Penn’s 1967 crime spree drama Bonnie and Clyde, which also starred Faye Dunaway, and Hal Ashby’s Oscar-winning dramedy Shampoo. Bonnie and Clyde “portrayed violence in a way that had not typically been seen in American cinema and really ushered in a new age of bold graphic storytelling in a way that you really hadn’t seen before,” Abrams says in the video.
Having made a name for himself in Hollywood with television and popular series like Felicity, Alias and Lost, you can see the grounds for Abrams’ eventual success making action tentpole movies, given his love for classic Hollywood pics.
Shampoo becomes a time capsule movie for Abrams,...
- 1/2/2024
- by Etan Vlessing
- The Hollywood Reporter - Movie News
William Friedkin was, simply put, a legend.
His technical prowess, mastery of tone and commitment to storytelling were unparalleled. And so was his willingness to push the boundaries of what was acceptable. It wasn’t that he was merely challenging good taste; it was that he wanted to go beyond what had come before. And sometimes that made people very uncomfortable. Friedkin’s career is largely defined by this kind of artful provocation, and it makes his passing — especially in the current age of pre-packaged, vacuum-sealed mass entertainment — all the more devastating. We didn’t just lose one of the greatest filmmakers of his generation; we lost an outspoken advocate for the kind of movies they just don’t make anymore.
Thankfully, Friedkin left behind a bounty of modern classics – movies that become richer, more rewarding, and, yes, more provocative, the more times you watch them. Here are seven of his most essential,...
His technical prowess, mastery of tone and commitment to storytelling were unparalleled. And so was his willingness to push the boundaries of what was acceptable. It wasn’t that he was merely challenging good taste; it was that he wanted to go beyond what had come before. And sometimes that made people very uncomfortable. Friedkin’s career is largely defined by this kind of artful provocation, and it makes his passing — especially in the current age of pre-packaged, vacuum-sealed mass entertainment — all the more devastating. We didn’t just lose one of the greatest filmmakers of his generation; we lost an outspoken advocate for the kind of movies they just don’t make anymore.
Thankfully, Friedkin left behind a bounty of modern classics – movies that become richer, more rewarding, and, yes, more provocative, the more times you watch them. Here are seven of his most essential,...
- 8/7/2023
- by Drew Taylor
- The Wrap
Arthur Schmidt, the two-time Oscar-winning film editor who collaborated with director Robert Zemeckis on 10 films, including Who Framed Roger Rabbit, Forrest Gump and the Back to the Future trilogy, has died. He was 86.
Schmidt died Saturday of an unknown cause at his home in Santa Barbara, his brother Ron Schmidt told The Hollywood Reporter.
The second-generation film editor also cut three Mike Nichols features — The Fortune (1975), The Birdcage (1996) and Primary Colors (1998) — and two helmed by Michael Apted — Coal Miner’s Daughter (1980), for which he received his first Oscar nom, and Firstborn (1984).
His résumé over four decades included work on Marathon Man (1976), Jaws 2 (1978), Ruthless People (1986), Beaches (1988), The Rocketeer (1991), The Last of the Mohicans (1992) and Congo (1995), and he was brought in for three months to help tidy up the first Pirates of the Caribbean movie in 2003.
Schmidt received his Academy Awards in 1989 for Who Framed Roger Rabbit and in 1995 for Forrest Gump,...
Schmidt died Saturday of an unknown cause at his home in Santa Barbara, his brother Ron Schmidt told The Hollywood Reporter.
The second-generation film editor also cut three Mike Nichols features — The Fortune (1975), The Birdcage (1996) and Primary Colors (1998) — and two helmed by Michael Apted — Coal Miner’s Daughter (1980), for which he received his first Oscar nom, and Firstborn (1984).
His résumé over four decades included work on Marathon Man (1976), Jaws 2 (1978), Ruthless People (1986), Beaches (1988), The Rocketeer (1991), The Last of the Mohicans (1992) and Congo (1995), and he was brought in for three months to help tidy up the first Pirates of the Caribbean movie in 2003.
Schmidt received his Academy Awards in 1989 for Who Framed Roger Rabbit and in 1995 for Forrest Gump,...
- 8/7/2023
- by Rhett Bartlett
- The Hollywood Reporter - Movie News
Inga Swenson, the two-time Tony-nominated singer and actress who as the dictatorial German cook Gretchen Kraus sparred with Robert Guillaume‘s character on the 1980s ABC sitcom Benson, has died. She was 90.
Swenson died Sunday night of natural causes in hospice care in Los Angeles, her son, Mark Harris, told The Hollywood Reporter.
Swenson also sparkled in two critically acclaimed 1962 films released seven weeks apart — as the mother of Helen Keller (Patty Duke) in Arthur Penn’s The Miracle Worker (1962) and as the wife of a U.S. senator with a dark secret (Don Murray) in Otto Preminger’s political thriller Advise & Consent (1962).
On the strength of those performances, the Nebraska native — no, she was not born in Germany — was cast in 1963 as the spinster Lizzy in 110 in the Shade, based on N. Richard Nash’s play The Rainmaker. She received a Tony nomination for best actress in a musical for that performance,...
Swenson died Sunday night of natural causes in hospice care in Los Angeles, her son, Mark Harris, told The Hollywood Reporter.
Swenson also sparkled in two critically acclaimed 1962 films released seven weeks apart — as the mother of Helen Keller (Patty Duke) in Arthur Penn’s The Miracle Worker (1962) and as the wife of a U.S. senator with a dark secret (Don Murray) in Otto Preminger’s political thriller Advise & Consent (1962).
On the strength of those performances, the Nebraska native — no, she was not born in Germany — was cast in 1963 as the spinster Lizzy in 110 in the Shade, based on N. Richard Nash’s play The Rainmaker. She received a Tony nomination for best actress in a musical for that performance,...
- 7/28/2023
- by Mike Barnes
- The Hollywood Reporter - Movie News
The Film
Based, apparently more closely, on the same book that was adapted into the 1949 film They Live By Night, Thieves Like Us feels to me as if it falls somewhere between being Robert Altman’s faithful take on a studio era gangster film, and a somewhat gentler response to Arthur Penn’s Bonnie and Clyde. Penn’s film arguably struck the final blow against what had been the standards in censorship in the US across the Hays Code years, ushering in the movie brats era, while Altman keeps much of the violence off screen, but otherwise makes a film that is very much of its time.
The plot is fairly loose, but follows three prison escapees—Bowie (Keith Carradine), Chicamaw (John Shuck) and T-Dub (Bert Remsen)—as they try to evade the authorities staying with relations (Louise Fletcher as T-Dub’s cousin) or criminal friends like Dee Mobley (Tom...
Based, apparently more closely, on the same book that was adapted into the 1949 film They Live By Night, Thieves Like Us feels to me as if it falls somewhere between being Robert Altman’s faithful take on a studio era gangster film, and a somewhat gentler response to Arthur Penn’s Bonnie and Clyde. Penn’s film arguably struck the final blow against what had been the standards in censorship in the US across the Hays Code years, ushering in the movie brats era, while Altman keeps much of the violence off screen, but otherwise makes a film that is very much of its time.
The plot is fairly loose, but follows three prison escapees—Bowie (Keith Carradine), Chicamaw (John Shuck) and T-Dub (Bert Remsen)—as they try to evade the authorities staying with relations (Louise Fletcher as T-Dub’s cousin) or criminal friends like Dee Mobley (Tom...
- 7/19/2023
- by Sam Inglis
- HeyUGuys.co.uk
Nine years ago, Cortney Palm and Hutch Dano starred in Zombeavers, a horror comedy that got a good amount of attention because – as the title gives away – it happened to be about zombie beavers. Now Palm and Dano have reunited for the horror film As Certain as Death, which will be receiving a VOD release in the United States on July 11th. The trailer for the film can be seen in the embed above.
The feature directorial debut of Dano, who also wrote the script, As Certain as Death has the following synopsis: Desperate to help her addict boyfriend Richard, Kayla enlists the help of her sister and friends to stage an intervention, but the first step is finding Richard. Kayla documents their search for Richard among the allies and homeless encampments of Los Angeles, finally succeeding in finding him high in an alley. With the additional help of two friends,...
The feature directorial debut of Dano, who also wrote the script, As Certain as Death has the following synopsis: Desperate to help her addict boyfriend Richard, Kayla enlists the help of her sister and friends to stage an intervention, but the first step is finding Richard. Kayla documents their search for Richard among the allies and homeless encampments of Los Angeles, finally succeeding in finding him high in an alley. With the additional help of two friends,...
- 6/28/2023
- by Cody Hamman
- JoBlo.com
Just in time for Succession‘s end, let’s look at method acting. The Criterion Channel are highlighting the controversial practice in a 27-film series centered on Brando, Newman, Nicholson, and many other’s embodiment of “an intensely personal, internalized, and naturalistic approach to performance.” That series makes mention of Marilyn Monroe, who gets her own, 11-title highlight––the iconic commingling with deeper cuts.
Pride Month offers “Masc,” a consideration of “trans men, butch lesbians, and gender-nonconforming heroes” onscreen; the Michael Koresky-curated Queersighted returning with a study of the gay best friend; and the 20-film “LGBTQ+ Favorites.” Louis Garrel’s delightful The Innocent (about which I talked to him here), the director’s cut of Gregg Araki’s The Doom Generation, and Stanley Kwan’s hugely underseen Lan Yu make streaming premieres, while Araki’s Totally F***ed Up and Mysterious Skin also get a run. Criterion Editions include Five Easy Pieces,...
Pride Month offers “Masc,” a consideration of “trans men, butch lesbians, and gender-nonconforming heroes” onscreen; the Michael Koresky-curated Queersighted returning with a study of the gay best friend; and the 20-film “LGBTQ+ Favorites.” Louis Garrel’s delightful The Innocent (about which I talked to him here), the director’s cut of Gregg Araki’s The Doom Generation, and Stanley Kwan’s hugely underseen Lan Yu make streaming premieres, while Araki’s Totally F***ed Up and Mysterious Skin also get a run. Criterion Editions include Five Easy Pieces,...
- 5/22/2023
- by Nick Newman
- The Film Stage
(Welcome to Did They Get It Right?, a series where we take a look at an Oscars category from yesteryear and examine whether the Academy's winner stands the test of time.)
If you're ranking the most important years of American cinema, it's pretty difficult not to slot 1967 at number one. That year brought forth a major cultural and artistic shift in the medium, forever changing what American audiences thought cinema could be. This was the arrival of the New Hollywood and featured films that did more than just push the boundaries of mature subject matter, sex, violence, and politics on screen. They destroyed them. The two pillars of the year were Arthur Penn's bloody, sexy "Bonnie and Clyde" and Mike Nichols' coming-of-age dramedy "The Graduate," each becoming two of the three highest-grossing films of the year.
When the 1968 Oscars ceremony rolled around, both films found themselves in the best picture category.
If you're ranking the most important years of American cinema, it's pretty difficult not to slot 1967 at number one. That year brought forth a major cultural and artistic shift in the medium, forever changing what American audiences thought cinema could be. This was the arrival of the New Hollywood and featured films that did more than just push the boundaries of mature subject matter, sex, violence, and politics on screen. They destroyed them. The two pillars of the year were Arthur Penn's bloody, sexy "Bonnie and Clyde" and Mike Nichols' coming-of-age dramedy "The Graduate," each becoming two of the three highest-grossing films of the year.
When the 1968 Oscars ceremony rolled around, both films found themselves in the best picture category.
- 4/23/2023
- by Mike Shutt
- Slash Film
We took Gene Hackman for granted, and he's making us pay for it.
Between 1964 and 2004, there wasn't a more reliably excellent film actor in the industry. He'd knock out two or three (or more!) movies a year, and even when they were dire propositions — like the Kryptonite-ridden "Superman IV: The Quest for Peace" or Bob Clark's laugh-free buddy-cop comedy "Loose Cannons" — you knew Hackman would be present and compelling. He also never went too long between watchable films, so the charge that he was phoning it in (which was also leveled at his prolific contemporary Michael Caine) never made sense.
Hackman was — and, oh, how I hate to refer to this still-very-alive master's career in the past tense — a true working actor. He was grateful for the gigs and took them eagerly. He knew what it was to not only struggle but to be told there is no future...
Between 1964 and 2004, there wasn't a more reliably excellent film actor in the industry. He'd knock out two or three (or more!) movies a year, and even when they were dire propositions — like the Kryptonite-ridden "Superman IV: The Quest for Peace" or Bob Clark's laugh-free buddy-cop comedy "Loose Cannons" — you knew Hackman would be present and compelling. He also never went too long between watchable films, so the charge that he was phoning it in (which was also leveled at his prolific contemporary Michael Caine) never made sense.
Hackman was — and, oh, how I hate to refer to this still-very-alive master's career in the past tense — a true working actor. He was grateful for the gigs and took them eagerly. He knew what it was to not only struggle but to be told there is no future...
- 4/14/2023
- by Jeremy Smith
- Slash Film
“Fair to middling” is how Angie Dickinson is feeling this morning as she talks about “Rio Bravo,” the 1959 film that made her a star. “Somebody who says they’re great at 90, you can figure out that they lie a lot.” It’s a line that could have come straight from Jules Furthman and Leigh Brackett’s script for the film — and a reminder that Dickinson’s gift for delivery isn’t dependent on working with a brilliant director, though she has many times in her seven-decade career.
Dickinson has more then 350 screen credits — an enormous body of work that includes “Ocean’s Eleven” (the 1960 original), “Point Blank” and “Dressed to Kill.” She’s set to appear April 13 at the TCM Film Festival to introduce a 4K restoration of Howard Hawks’ classic Western, whose boys’ club cast of John Wayne, Dean Martin, Ricky Nelson and Walter Brennan she breaks up with that same brisk humor.
Dickinson has more then 350 screen credits — an enormous body of work that includes “Ocean’s Eleven” (the 1960 original), “Point Blank” and “Dressed to Kill.” She’s set to appear April 13 at the TCM Film Festival to introduce a 4K restoration of Howard Hawks’ classic Western, whose boys’ club cast of John Wayne, Dean Martin, Ricky Nelson and Walter Brennan she breaks up with that same brisk humor.
- 4/12/2023
- by Todd Gilchrist
- Variety Film + TV
Stars: Megan Fox, Vanessa Angel, Avan Jogia, Ajani Russell, Tyson Ritter, Armen Garo, Bai Ling, Robert Lasardo, Charles W Harris III, Nick Principe | Written by Tom DeNucci, Nick Principe | Directed by Tom DeNucci
It’s no coincidence that Johnny & Clyde sounds a lot like Bonnie and Clyde. Helping to usher in a new level of violence in mainstream film Arthur Penn’s film is one of the most influential and imitated films of its time. One can draw a line from Clyde Barrow and Bonnie Parker to Mickey and Mallory Knox, Oliver Stone’s Natural Born Killers. And from there to the latest film from director Tom DeNucci and co-writer Nick Principe who is probably better known for lending his imposing presence to films like Laid to Rest and FP2: Beats of Rage.
Alana Hart owns a casino in Ocean City, she also owns the gun used to kill...
It’s no coincidence that Johnny & Clyde sounds a lot like Bonnie and Clyde. Helping to usher in a new level of violence in mainstream film Arthur Penn’s film is one of the most influential and imitated films of its time. One can draw a line from Clyde Barrow and Bonnie Parker to Mickey and Mallory Knox, Oliver Stone’s Natural Born Killers. And from there to the latest film from director Tom DeNucci and co-writer Nick Principe who is probably better known for lending his imposing presence to films like Laid to Rest and FP2: Beats of Rage.
Alana Hart owns a casino in Ocean City, she also owns the gun used to kill...
- 3/24/2023
- by Jim Morazzini
- Nerdly
Tom Sizemore, who died Friday at age 61, had hundreds of film and TV credits in a three-decade-plus career, famously in Saving Private Ryan, Black Hawk Down and many others.
A Detroit native, Sizemore on the big screen worked with the likes of Steven Spielberg, Michael Mann, Arthur Penn and multiple times with Martin Scorsese, Oliver Stone, Kathryn Bigelow, Tony Scott and Lawrence Kasdan. Those credits included Heat, Natural Born Killers, Pearl Harbor, Wyatt Earp, Passenger 57, Bringing Out the Dead, The Relic, Strange Days, Red Planet, Dreamcatcher, Flight of the Intruder, Guilty by Suspicion, Bad Love and many more.
Related: Tom Sizemore Mourned By His Friends And Fans, Praised For His Transcendent Talents
On the small screen, he toplined the short-lived 2002 CBS cop drama Robbery Homicide Division and also recurred on such series as Law & Order: Svu, China Beach, Shooter, The Red Road, Crash, Dr. Vegas, the Hawaii Five-o revival and 2017’s Twin Peaks.
A Detroit native, Sizemore on the big screen worked with the likes of Steven Spielberg, Michael Mann, Arthur Penn and multiple times with Martin Scorsese, Oliver Stone, Kathryn Bigelow, Tony Scott and Lawrence Kasdan. Those credits included Heat, Natural Born Killers, Pearl Harbor, Wyatt Earp, Passenger 57, Bringing Out the Dead, The Relic, Strange Days, Red Planet, Dreamcatcher, Flight of the Intruder, Guilty by Suspicion, Bad Love and many more.
Related: Tom Sizemore Mourned By His Friends And Fans, Praised For His Transcendent Talents
On the small screen, he toplined the short-lived 2002 CBS cop drama Robbery Homicide Division and also recurred on such series as Law & Order: Svu, China Beach, Shooter, The Red Road, Crash, Dr. Vegas, the Hawaii Five-o revival and 2017’s Twin Peaks.
- 3/4/2023
- by Patrick Hipes
- Deadline Film + TV
Tom Sizemore, who starred in Saving Private Ryan, Black Hawk Down and in hundreds of other film and TV roles over three-plus decades, died Friday at a hospital in Burbank. He was 61 and had been in a coma since suffering a stroke February 18 that resulted in brain aneurysm.
His manager Charles Lago confirmed the news this evening, saying Sizemore passed away peacefully in his sleep at St Joseph’s Hospital, with his brother Paul and twin boys Jayden and Jagger at his side.
Related Story Tom Sizemore Mourned By His Friends And Fans, Praised For His Transcendent Talents Related Story Tom Sizemore End Of Life Decision Looms After Doctors Say "No Further Hope" Following Stroke Related Story 'Saving Private Ryan' Star Tom Sizemore Hospitalized In Critical Condition
“The Sizemore family has been comforted by the hundreds of messages of support and love shown to their son, brother and father,...
His manager Charles Lago confirmed the news this evening, saying Sizemore passed away peacefully in his sleep at St Joseph’s Hospital, with his brother Paul and twin boys Jayden and Jagger at his side.
Related Story Tom Sizemore Mourned By His Friends And Fans, Praised For His Transcendent Talents Related Story Tom Sizemore End Of Life Decision Looms After Doctors Say "No Further Hope" Following Stroke Related Story 'Saving Private Ryan' Star Tom Sizemore Hospitalized In Critical Condition
“The Sizemore family has been comforted by the hundreds of messages of support and love shown to their son, brother and father,...
- 3/4/2023
- by Erik Pedersen
- Deadline Film + TV
There’s a film in the Oscar best picture race that has younger Academy voters and a new generation of film critics excited, while their older peers in both camps appear more what one might call agitated.
It’s a fairly neat generational split. The film’s anarchic spirit and unorthodox mix of genre filmmaking and biting social commentary is seen as daring and refreshing by its young fans, while its older detractors are scratching their heads over weird tonal shifts, from comic and rollicking one minute, serious and reflective in the next, shifting from spoofing genre tropes to questioning of societal norms.
The year is 1968 and the film is Arthur Penn’s “Bonnie and Clyde.”
But you’d be forgiven if you found the paragraphs above an apt description of this year’s Producers Guild Awards best feature winner, “Everything Everywhere All at Once.”
Just as “Bonnie” was a landmark film in Academy history,...
It’s a fairly neat generational split. The film’s anarchic spirit and unorthodox mix of genre filmmaking and biting social commentary is seen as daring and refreshing by its young fans, while its older detractors are scratching their heads over weird tonal shifts, from comic and rollicking one minute, serious and reflective in the next, shifting from spoofing genre tropes to questioning of societal norms.
The year is 1968 and the film is Arthur Penn’s “Bonnie and Clyde.”
But you’d be forgiven if you found the paragraphs above an apt description of this year’s Producers Guild Awards best feature winner, “Everything Everywhere All at Once.”
Just as “Bonnie” was a landmark film in Academy history,...
- 2/26/2023
- by Steven Gaydos
- Variety Film + TV
Italian actor-turned-director Andrea Di Stefano, whose gritty police drama “The Last Night of Amore” is launching from the Berlin Film Festival’s Berlinale Special Gala section, reps an Italian anomaly.
“Amore,” which refers to a police lieutenant named Franco Amore, oddly marks Di Stefano debut directing an Italian-language film after helming well-received U.S. indie thrillers “Escobar: Paradise Lost,” with Benicio del Toro, and “The Informer.”
Sumptuosly shot in 35mm film and set in present-day Milan, “Last Night of Amore” harks back to Italian genre films of the 70s and 80s but has a fresh contemporary feel. The plot sees the good lieutenant, played by Italian A-lister Pierfrancesco Favino being called on the night before retirement to investigate a crime scene where his best friend and long-time partner Dino has been killed during a diamond heist. Complications ensue, things get very frantic, and we learn how his love for his wife Viviana,...
“Amore,” which refers to a police lieutenant named Franco Amore, oddly marks Di Stefano debut directing an Italian-language film after helming well-received U.S. indie thrillers “Escobar: Paradise Lost,” with Benicio del Toro, and “The Informer.”
Sumptuosly shot in 35mm film and set in present-day Milan, “Last Night of Amore” harks back to Italian genre films of the 70s and 80s but has a fresh contemporary feel. The plot sees the good lieutenant, played by Italian A-lister Pierfrancesco Favino being called on the night before retirement to investigate a crime scene where his best friend and long-time partner Dino has been killed during a diamond heist. Complications ensue, things get very frantic, and we learn how his love for his wife Viviana,...
- 2/24/2023
- by Nick Vivarelli
- Variety Film + TV
It was an epic night for the Academy, with now-classic films and performances in competition, an anomaly between Best Picture and Best Director nominations, a young actress redefining the acting categories and the culmination of a decades-long feud. Let’s flashback to when first-time host Frank Sinatra guided the 35th Academy Awards ceremony on April 8, 1963.
In the years of the Best Picture category being limited to five films, the Best Director category typically fell in line with those productions, with maybe one variation. In 1963, only two directors from Best Picture nominees received bids; unsurprisingly, those two films also had the most nominations and the most wins. David Lean‘s sprawling epic biopic “Lawrence of Arabia” led the pack, coming into the night with ten bids and leaving with seven statues, including Best Picture and Lean’s second career win for Best Director. It has the unusual distinction of being the...
In the years of the Best Picture category being limited to five films, the Best Director category typically fell in line with those productions, with maybe one variation. In 1963, only two directors from Best Picture nominees received bids; unsurprisingly, those two films also had the most nominations and the most wins. David Lean‘s sprawling epic biopic “Lawrence of Arabia” led the pack, coming into the night with ten bids and leaving with seven statues, including Best Picture and Lean’s second career win for Best Director. It has the unusual distinction of being the...
- 2/21/2023
- by Susan Pennington
- Gold Derby
In the post-New Hollywood era, there are movie stars and there is Warren Beatty. The sturdily built, 6'2" dreamboat could've been a fine football player, but his movie-mad sister, Shirley MacLaine, got him fired up about acting. Beatty studied under Stella Adler, and arrived fully formed as a matinee idol opposite Natalie Wood in Elia Kazan's 1961 hit, "Splendor in the Grass." Beatty took not just to the craft, but the game. He produced and starred in Arthur Penn's "Bonnie and Clyde," which, by dint of his star power, drop-kicked studios into an era of blind risk-taking.
But there was nothing blind about investing in Beatty. "Easy Rider," "Five Easy Pieces," and even "The French Connection" were long shots. Place Beatty at the top of the marquee, and you had an event. The problem for studios was that Beatty had peculiar appetites. Ideally, you'd plug him into "Love Story" or "The Way We Were.
But there was nothing blind about investing in Beatty. "Easy Rider," "Five Easy Pieces," and even "The French Connection" were long shots. Place Beatty at the top of the marquee, and you had an event. The problem for studios was that Beatty had peculiar appetites. Ideally, you'd plug him into "Love Story" or "The Way We Were.
- 2/11/2023
- by Jeremy Smith
- Slash Film
Arnold Schulman, Screenwriter on ‘Goodbye, Columbus’ and ‘Love With the Proper Stranger,’ Dies at 97
Arnold Schulman, who landed Oscar nominations for his screenplays for Love With the Proper Stranger and Goodbye, Columbus and found success with several incarnations of his Broadway hit A Hole in the Head, has died. He was 97.
Schulman died Saturday of natural causes at his home in Santa Monica, his son, Peter Schulman, told The Hollywood Reporter.
In two late-career triumphs, Schulman was recruited by Francis Ford Coppola to write the biopic Tucker: The Man and His Dream (1988), and he scored an Emmy nomination and a Humanitas Prize in 1994 for his teleplay for HBO’s And the Band Played On, an adaptation of Randy Shilts’ nonfiction book about the onset of AIDS.
An original member of the Actors Studio, Schulman in the 1950s worked alongside the likes of James Dean and Paul Newman on live television. In 1962, he quit as the original screenwriter on the never-completed Marilyn Monroe movie Something’s Got to Give,...
Schulman died Saturday of natural causes at his home in Santa Monica, his son, Peter Schulman, told The Hollywood Reporter.
In two late-career triumphs, Schulman was recruited by Francis Ford Coppola to write the biopic Tucker: The Man and His Dream (1988), and he scored an Emmy nomination and a Humanitas Prize in 1994 for his teleplay for HBO’s And the Band Played On, an adaptation of Randy Shilts’ nonfiction book about the onset of AIDS.
An original member of the Actors Studio, Schulman in the 1950s worked alongside the likes of James Dean and Paul Newman on live television. In 1962, he quit as the original screenwriter on the never-completed Marilyn Monroe movie Something’s Got to Give,...
- 2/6/2023
- by Mike Barnes
- The Hollywood Reporter - Movie News
1967’s Bonnie and Clyde is considered one of the seminal American films. Known for its provocative use of graphic violence, it helped bring U.S. films closer in line with what was being done in Europe and is one of the films responsible for the MPAA starting a new rating system. It was so controversial that for a while, its home studio, Warner Bros, deemed it unreleasable and initially dumped it in a regional release, only for the film to become a favorite of the sixties counterculture, leading to its eventual wide release. While eventually an iconic hit that launched Warren Beatty and Faye Dunaway as superstars, not much attention has been paid over the years to how truthful it was about the two gangsters it idolizes, Bonnie Parker and Clyde Barrow. Were they romantic anti-heroes, as the film portrays them, or were they murderous bandits?
In this episode of...
In this episode of...
- 1/30/2023
- by Chris Bumbray
- JoBlo.com
More than four decades after the New Hollywood films of the ’60s and ’70s hit screens and became enshrined as a near-mythological period of artistic excellence in American cinema, the era’s attributes also become increasingly contrasted with current American cinema.
Nonconformity, provocation and experimentation were mainstream. Today, those qualities aren’t selling movie tickets but instead driving streamer subscriptions. And the big hits are all characterized by the packaged goods franchise hits that dominate box office to the almost total exclusion of personal cinema.
Which is a long explanation of why awards season is more essential than ever.
As someone who lived through and loved the New Hollywood films and filmmakers, this is the time of year when the hunger for the ambitious telling of difficult stories is sated.
In addition to Todd Field’s wonderful and already much-celebrated “Tár,” which has evoked positive comparisons to the best of New Hollywood giant Stanley Kubrick,...
Nonconformity, provocation and experimentation were mainstream. Today, those qualities aren’t selling movie tickets but instead driving streamer subscriptions. And the big hits are all characterized by the packaged goods franchise hits that dominate box office to the almost total exclusion of personal cinema.
Which is a long explanation of why awards season is more essential than ever.
As someone who lived through and loved the New Hollywood films and filmmakers, this is the time of year when the hunger for the ambitious telling of difficult stories is sated.
In addition to Todd Field’s wonderful and already much-celebrated “Tár,” which has evoked positive comparisons to the best of New Hollywood giant Stanley Kubrick,...
- 1/10/2023
- by Steven Gaydos
- Variety Film + TV
Holidays loom, but don’t fear TBS marathons of A Christmas Story. If, like me, you once enacted some good and let studio classics stream on Criterion during family Christmas, you know the trip home will be easier with December’s additions. (People at Criterion: please don’t report me for logging into multiple devices.) As family arrives, drinks are downed, and questions about what you’ve been up to are stumbled through it’ll be nice to stream their “Screwball Comedy Classics” series—25 titles meeting some deep cuts (10 via Venmo if you’ve recently watched It Happens Every Spring).
Personally I’m most excited about the 11 movies in “Snow Westerns,” going as far back as The Secret of Convict Lake, as recently as Ravenous, with the likes of Wellman, Peckinpah, and Corbucci in-between. I personally cannot stand soccer but I appreciate the World Cup giving occasion for a series...
Personally I’m most excited about the 11 movies in “Snow Westerns,” going as far back as The Secret of Convict Lake, as recently as Ravenous, with the likes of Wellman, Peckinpah, and Corbucci in-between. I personally cannot stand soccer but I appreciate the World Cup giving occasion for a series...
- 11/22/2022
- by Nick Newman
- The Film Stage
A beautiful, if flawed, counterculture epic, Arthur Penn’s 1970 film has the sweep of a Dickens novel and the sardonic humor of an Altman movie (Mash was released that same year). Dustin Hoffman is Jack Crabb—a white man raised by the Cheyenne and nearly killed by Custer. Hoffman’s Everyman performance is superb but the movie’s heart and soul belongs to Chief Dan George, a down-to-earth mystic and natural born comedian.
The post Little Big Man appeared first on Trailers From Hell.
The post Little Big Man appeared first on Trailers From Hell.
- 11/14/2022
- by Charlie Largent
- Trailers from Hell
Paul Newman had a storied career -- spanning the '50s-era studio films through New Hollywood and into the modern era. The man even appeared in a Pixar film! Toward the end of his life, Barbara Walters asked Newman what he imagined his epitaph would be. "That I was part of my times," the actor replied. He was that, but he was also a man who could adapt to whatever a film required with Hollywood charm and sparkling eyes. Ethan Hawke, who directed the docuseries "The Last Movie Stars" about Newman and his decades-long relationship with Joanne Woodward, had some thoughts on his marriage of charisma and talent. Hawke told A.Frame, "They weren't movie stars; they were actors!... I realized they're the last people where being an actor was what it took to be a movie star."
His decades-long career debuted some stone-cold classics -- like "Cat on a Hot Tin Roof,...
His decades-long career debuted some stone-cold classics -- like "Cat on a Hot Tin Roof,...
- 10/18/2022
- by Eric Langberg
- Slash Film
The Depression era crime spree of Clyde Barrow and Bonnie Parker has become the stuff of legend. The notorious couple made headlines by stealing money when the rest of America was struggling to survive with sporadic jobs and meager earnings. Bonnie and Clyde became Robin Hood figures in the press, heroes that stood up to "the man" by stealing back what had been taken from the public. Decades before the introduction of the 24-hour news cycle, the controversial Bonnie and Clyde became one of the most infamous and celebrated criminal couples in history.
The image of two outlaws, barely out of their teenage years, robbing banks and riding off into the sunset is an intoxicating one. The myth around the notorious couple has been immortalized in countless works of art, including a 1967 film directed by Arthur Penn. Instead of depicting the couple as heroic figures out to avenge the poor,...
The image of two outlaws, barely out of their teenage years, robbing banks and riding off into the sunset is an intoxicating one. The myth around the notorious couple has been immortalized in countless works of art, including a 1967 film directed by Arthur Penn. Instead of depicting the couple as heroic figures out to avenge the poor,...
- 10/9/2022
- by Christian Gainey
- Slash Film
Actor/writer/director Ethan Hawke discusses a few of his favorite films with Josh Olson and Joe Dante.
Show Notes: Movies Referenced In This Episode
Explorers (1985) – Glenn Erickson’s Blu-ray review
The Verdict (1982)
The Color Of Money (1986) – Rod Lurie’s trailer commentary
Nobody’s Fool (1994)
Three Faces Of Eve (1957)
Mr. And Mrs. Bridge (1990)
North By Northwest (1959)
Torn Curtain (1966)
Psycho (1960) – John Landis’s trailer commentary
Frenzy (1972) – Joe Dante’s trailer commentary
Topaz (1969)
Boyhood (2014)
An Officer and a Gentleman (1982)
Blue Collar (1978) – Josh Olson’s trailer commentary
First Reformed (2017) – Glenn Erickson’s trailer commentary
Taxi Driver (1976) – Rod Lurie’s trailer commentary
The Left Handed Gun (1958)
Hombre (1967)
Hud (1963)
Butch Cassidy And The Sundance Kid (1969)
The Life And Times Of Judge Roy Bean (1972) – Josh Olson’s trailer commentary, Glenn Erickson’s Blu-ray review
Buffalo Bill And The Indians, Or Sitting Bull’s History Lesson (1976) – Glenn Erickson’s Blu-ray review
The Outrage (1964)
Rashomon (1950) – Brian Trenchard-Smith’s trailer commentary,...
Show Notes: Movies Referenced In This Episode
Explorers (1985) – Glenn Erickson’s Blu-ray review
The Verdict (1982)
The Color Of Money (1986) – Rod Lurie’s trailer commentary
Nobody’s Fool (1994)
Three Faces Of Eve (1957)
Mr. And Mrs. Bridge (1990)
North By Northwest (1959)
Torn Curtain (1966)
Psycho (1960) – John Landis’s trailer commentary
Frenzy (1972) – Joe Dante’s trailer commentary
Topaz (1969)
Boyhood (2014)
An Officer and a Gentleman (1982)
Blue Collar (1978) – Josh Olson’s trailer commentary
First Reformed (2017) – Glenn Erickson’s trailer commentary
Taxi Driver (1976) – Rod Lurie’s trailer commentary
The Left Handed Gun (1958)
Hombre (1967)
Hud (1963)
Butch Cassidy And The Sundance Kid (1969)
The Life And Times Of Judge Roy Bean (1972) – Josh Olson’s trailer commentary, Glenn Erickson’s Blu-ray review
Buffalo Bill And The Indians, Or Sitting Bull’s History Lesson (1976) – Glenn Erickson’s Blu-ray review
The Outrage (1964)
Rashomon (1950) – Brian Trenchard-Smith’s trailer commentary,...
- 10/4/2022
- by Kris Millsap
- Trailers from Hell
Director/Tfh Guru Allan Arkush discusses his favorite year in film, 1975, with Josh Olson and Joe Dante.
Show Notes: Movies Referenced In This Episode
Rules of the Game (1939)
Le Boucher (1970)
Last Year At Marienbad (1961)
Dead Men Don’t Wear Plaid (1982)
Topaz (1969)
Bodies Bodies Bodies (2022)
Hollywood Boulevard (1976) – Jon Davison’s trailer commentary
The Innocents (1961) – Joe Dante’s trailer commentary
The Earrings of Madame De… (1953)
Rope (1948) – Darren Bousman’s trailer commentary
Make Way For Tomorrow (1937)
The Awful Truth (1937) – Charlie Largent’s Criterion Blu-ray review
Duck Soup (1933) – John Landis’s trailer commentary
Going My Way (1944)
Nashville (1975) – Larry Karaszewski’s trailer commentary, Dan Perri’s trailer commentary
M*A*S*H (1970)
Shampoo (1975) – Allan Arkush’s trailer commentary, Glenn Erickson’s Criterion Blu-ray review
Bonnie And Clyde (1967) – John Landis’s trailer commentary
The Nada Gang (1975)
Get Crazy (1983) – Allan Arkush’s trailer commentary
Night Moves (1975) – Glenn Erickson’s Blu-ray review
Dog Day Afternoon (1975) – Katt Shea’s trailer...
Show Notes: Movies Referenced In This Episode
Rules of the Game (1939)
Le Boucher (1970)
Last Year At Marienbad (1961)
Dead Men Don’t Wear Plaid (1982)
Topaz (1969)
Bodies Bodies Bodies (2022)
Hollywood Boulevard (1976) – Jon Davison’s trailer commentary
The Innocents (1961) – Joe Dante’s trailer commentary
The Earrings of Madame De… (1953)
Rope (1948) – Darren Bousman’s trailer commentary
Make Way For Tomorrow (1937)
The Awful Truth (1937) – Charlie Largent’s Criterion Blu-ray review
Duck Soup (1933) – John Landis’s trailer commentary
Going My Way (1944)
Nashville (1975) – Larry Karaszewski’s trailer commentary, Dan Perri’s trailer commentary
M*A*S*H (1970)
Shampoo (1975) – Allan Arkush’s trailer commentary, Glenn Erickson’s Criterion Blu-ray review
Bonnie And Clyde (1967) – John Landis’s trailer commentary
The Nada Gang (1975)
Get Crazy (1983) – Allan Arkush’s trailer commentary
Night Moves (1975) – Glenn Erickson’s Blu-ray review
Dog Day Afternoon (1975) – Katt Shea’s trailer...
- 9/20/2022
- by Kris Millsap
- Trailers from Hell
Animation legend Genndy Tartakovsky joins Josh Olson and Joe Dante to discuss his favorite silent sequences from great movies.
Show Notes: Movies Referenced In This Episode
Infested (2002)
Mad Max: Fury Road (2015) – Brian Trenchard-Smith’s trailer commentary, Glenn Erickson’s Blu-ray review
The Godfather (1972) – Ernest Dickerson’s trailer commentary, Glenn Erickson’s Blu-ray review, Randy Fuller’s wine pairings
Apocalypse Now (1979) – Josh Olson’s trailer commentary, Glenn Erickson’s Blu-ray review
Hotel Transylvania (2012)
A Fistful of Dollars (1964) – John Badham’s trailer commentary, Glenn Erickson’s Blu-ray reviews
Once Upon A Time In The West (1968) – John Landis’s trailer commentary
The Birds (1963) – Eli Roth’s trailer commentary, Randy Fuller’s wine pairings, Glenn Erickson’s Blu-ray review
The Good, The Bad And The Ugly (1966) – Ernest Dickerson’s trailer commentary, Glenn Erickson’s Blu-ray reviews
Conan The Barbarian (1982)
Conan The Destroyer (1984)
The Hudsucker Proxy (1994)
The Party (1968) – Michael Lehmann’s trailer commentary
The Pink Panther...
Show Notes: Movies Referenced In This Episode
Infested (2002)
Mad Max: Fury Road (2015) – Brian Trenchard-Smith’s trailer commentary, Glenn Erickson’s Blu-ray review
The Godfather (1972) – Ernest Dickerson’s trailer commentary, Glenn Erickson’s Blu-ray review, Randy Fuller’s wine pairings
Apocalypse Now (1979) – Josh Olson’s trailer commentary, Glenn Erickson’s Blu-ray review
Hotel Transylvania (2012)
A Fistful of Dollars (1964) – John Badham’s trailer commentary, Glenn Erickson’s Blu-ray reviews
Once Upon A Time In The West (1968) – John Landis’s trailer commentary
The Birds (1963) – Eli Roth’s trailer commentary, Randy Fuller’s wine pairings, Glenn Erickson’s Blu-ray review
The Good, The Bad And The Ugly (1966) – Ernest Dickerson’s trailer commentary, Glenn Erickson’s Blu-ray reviews
Conan The Barbarian (1982)
Conan The Destroyer (1984)
The Hudsucker Proxy (1994)
The Party (1968) – Michael Lehmann’s trailer commentary
The Pink Panther...
- 9/13/2022
- by Kris Millsap
- Trailers from Hell
Jean-Luc Godard, whose dynamic style and innovative techniques changed cinema forever, has died at the age of 91.
Jean-Luc Godard was consistently ranked among the greatest and most influential directors to ever live. Beginning as a film critic before making a literal wave in French cinema, Godard and the likes of François Truffaut and Jacques Rivette launched the French New Wave. The movement pushed nearly all boundaries of expected filmmaking techniques.
Godard’s nearly 60-year career was prolific and ever-evolving, churning out over 40 films in that time period, including Breathless, Band of Outsiders, Week-end, Tout va bien, and The Image Book, his final film. Jean-Luc Godard constantly showcased his rebellious style and command, from his 1960 debut through his final years, where he even made a 3D movie. He, too, molded the careers of so many French icons, including the great Jean Seberg, who was later played by Kristen Stewart.
Some of...
Jean-Luc Godard was consistently ranked among the greatest and most influential directors to ever live. Beginning as a film critic before making a literal wave in French cinema, Godard and the likes of François Truffaut and Jacques Rivette launched the French New Wave. The movement pushed nearly all boundaries of expected filmmaking techniques.
Godard’s nearly 60-year career was prolific and ever-evolving, churning out over 40 films in that time period, including Breathless, Band of Outsiders, Week-end, Tout va bien, and The Image Book, his final film. Jean-Luc Godard constantly showcased his rebellious style and command, from his 1960 debut through his final years, where he even made a 3D movie. He, too, molded the careers of so many French icons, including the great Jean Seberg, who was later played by Kristen Stewart.
Some of...
- 9/13/2022
- by Mathew Plale
- JoBlo.com
Click here to read the full article.
To celebrate the 75th anniversary of the Actors Studio — the legendary New York (and later Los Angeles) workshop co-founded by Elia Kazan in 1947 where Marlon Brando, James Dean, Paul Newman and scores of other acting heavyweights perfected their craft — the Academy Museum is hosting a series of Sunday screenings. It kicks off Aug. 28 with a showing of 1974’s Alice Doesn’t Live Here Anymore, an early Martin Scorsese drama starring Ellen Burstyn, current co-president of the Actors Studio with Al Pacino. Burstyn will be in attendance for a Q&a following the screening (tickets available here).
The Oscar-winning stage and screen legend, 89, spoke to The Hollywood Reporter about the creative alchemy that goes on behind the doors of that storied institution — “a gymnasium where [actors] work out” is how she describes it. Along the way, Burstyn let it spill why, after 50 years, she agreed to return to The Exorcist.
To celebrate the 75th anniversary of the Actors Studio — the legendary New York (and later Los Angeles) workshop co-founded by Elia Kazan in 1947 where Marlon Brando, James Dean, Paul Newman and scores of other acting heavyweights perfected their craft — the Academy Museum is hosting a series of Sunday screenings. It kicks off Aug. 28 with a showing of 1974’s Alice Doesn’t Live Here Anymore, an early Martin Scorsese drama starring Ellen Burstyn, current co-president of the Actors Studio with Al Pacino. Burstyn will be in attendance for a Q&a following the screening (tickets available here).
The Oscar-winning stage and screen legend, 89, spoke to The Hollywood Reporter about the creative alchemy that goes on behind the doors of that storied institution — “a gymnasium where [actors] work out” is how she describes it. Along the way, Burstyn let it spill why, after 50 years, she agreed to return to The Exorcist.
- 8/26/2022
- by Seth Abramovitch
- The Hollywood Reporter - Movie News
The “made for television movie” began in the 1960s. In fact, one of the most famous TV movies Don Siegel’s 1964 version of “The Killers” featuring Ronald Reagan in his last film role as a ruthless villain, ended up being released theatrically because it was considered too violent for television.
But the genre came of age in the 1970s.
Some of these movies that aired on the three broadcast networks were sheer shlock and others were pilots for prospective TV series. But it was also an embarrassment of riches. Who could forget the beloved 1971 ABC biopic “Brian’s Song,” starring James Caan and Billy Dee Williams, which was nominated for 11 Emmys and won five including outstanding single program (drama or comedy). The four-hankie weepie was so popular it was released theatrically.
Also briefly released theatrically was Steven Spielberg’s pulsating 1971 classic “Duel” starring Dennis Weaver which aired on ABC. Considered one...
But the genre came of age in the 1970s.
Some of these movies that aired on the three broadcast networks were sheer shlock and others were pilots for prospective TV series. But it was also an embarrassment of riches. Who could forget the beloved 1971 ABC biopic “Brian’s Song,” starring James Caan and Billy Dee Williams, which was nominated for 11 Emmys and won five including outstanding single program (drama or comedy). The four-hankie weepie was so popular it was released theatrically.
Also briefly released theatrically was Steven Spielberg’s pulsating 1971 classic “Duel” starring Dennis Weaver which aired on ABC. Considered one...
- 8/15/2022
- by Susan King
- Gold Derby
A growing number of consumers are defying the media maze by paying a visit to their neighborhood movie theaters. It’s simpler to buy a ticket than re-subscribing to Netflix or Disney+.
Well, not necessarily. Half way into a new movie this week I realized that I’d mistakenly bought a ticket to a podcast, not a film. At least, the podcast seemed to be the principal protagonist. Had I misread the promotion for Vengeance, or had the filmmakers switched mediums mid-production?
In an earlier era, prospective filmgoers could study reviews and festival coverage or scan magazines before buying tickets. Filmmakers themselves were schooled in aiming their films (and budgets) at specific demos. There was strategy amid the chaos.
Filmmakers today often have no idea whether their work may be headed for theaters or streamerville, or what windows may await them.
In some cases, therefore, they apparently change their minds...
Well, not necessarily. Half way into a new movie this week I realized that I’d mistakenly bought a ticket to a podcast, not a film. At least, the podcast seemed to be the principal protagonist. Had I misread the promotion for Vengeance, or had the filmmakers switched mediums mid-production?
In an earlier era, prospective filmgoers could study reviews and festival coverage or scan magazines before buying tickets. Filmmakers themselves were schooled in aiming their films (and budgets) at specific demos. There was strategy amid the chaos.
Filmmakers today often have no idea whether their work may be headed for theaters or streamerville, or what windows may await them.
In some cases, therefore, they apparently change their minds...
- 8/4/2022
- by Peter Bart
- Deadline Film + TV
Fifty years on, this crime drama of a headstrong singer shooting for his chance of success is as raw and energetic as its reggae soundtrack
Perry Henzell’s visceral 1972 Jamaican crime drama exists between the two moods of its two most famous tracks: the aspirational lesson of You Can Get It If You Really Want and the disillusioned downfall-premonition of the title song. The desperado here really wants it, really gets it, comes hard and falls hard. It’s a movie with Arthur Penn’s Bonnie and Clyde in its DNA, as well as Sergio Corbucci’s spaghetti western Django, which in one scene is shown getting a rowdy screening at a Kingston cinema.
Singer Jimmy Cliff plays Ivan, a gawky country boy who comes to the Jamaican capital Kingston yearning to be a famous reggae star, having lived with his grandmother who has just died; he is virtually penniless...
Perry Henzell’s visceral 1972 Jamaican crime drama exists between the two moods of its two most famous tracks: the aspirational lesson of You Can Get It If You Really Want and the disillusioned downfall-premonition of the title song. The desperado here really wants it, really gets it, comes hard and falls hard. It’s a movie with Arthur Penn’s Bonnie and Clyde in its DNA, as well as Sergio Corbucci’s spaghetti western Django, which in one scene is shown getting a rowdy screening at a Kingston cinema.
Singer Jimmy Cliff plays Ivan, a gawky country boy who comes to the Jamaican capital Kingston yearning to be a famous reggae star, having lived with his grandmother who has just died; he is virtually penniless...
- 8/3/2022
- by Peter Bradshaw
- The Guardian - Film News
"The Godfather" is known for its violent scenes, though its gore is never without purpose or imagination. The suspenseful pacing of music and pooling blood slowly exposed in Jack Woltz's bed makes the big reveal of the decapitated horse head all the more horrifying. And as Michael Corleone stands by as godfather at his nephew's baptism, he is baptized as the Corleone Godfather while the blood of the Five Families is spilled. One of the film's most iconic murders, the death of the eldest Corleone son, Sonny, wouldn't have existed without Arthur Penn's 1967 film, "Bonnie and Clyde."
In the first chapter of...
The post How Bonnie and Clyde Inspired The Godfather's Most Famous Death Scene appeared first on /Film.
In the first chapter of...
The post How Bonnie and Clyde Inspired The Godfather's Most Famous Death Scene appeared first on /Film.
- 7/8/2022
- by Leigh Giangreco
- Slash Film
“This here’s Miss Bonnie Parker. I’m Clyde Barrow. We rob banks.”
Nothing’s more fun than The Wildey’s Tuesday Night Film Series. Faye Dunaway and Warren Beatty in Bonnie And Clyde (1967) will be on the big screen when it plays at The Wildey Theater in Edwardsville, Il at 7:00pm Tuesday May 17th. Tickets are only 3 Tickets available starting at 3pm day of movie at Wildey Theatre ticket office. Cash or check only. Lobby opens at 6pm.
Faye Dunaway is Bonnie Parker and Warren Beatty is Clyde Barrow in Arthur Penn’s violent, sexually charged and deeply influential crime drama, a nostalgic look back at notorious outlaws filmed with the passion and zeal of filmmakers who were beginning to explore the boundaries of their craft. With a legendary screenplay by writers Robert Bentonand David Newman, Bonnie and Clyde features supporting performances by an exemplary cast that includes Gene Wilder,...
Nothing’s more fun than The Wildey’s Tuesday Night Film Series. Faye Dunaway and Warren Beatty in Bonnie And Clyde (1967) will be on the big screen when it plays at The Wildey Theater in Edwardsville, Il at 7:00pm Tuesday May 17th. Tickets are only 3 Tickets available starting at 3pm day of movie at Wildey Theatre ticket office. Cash or check only. Lobby opens at 6pm.
Faye Dunaway is Bonnie Parker and Warren Beatty is Clyde Barrow in Arthur Penn’s violent, sexually charged and deeply influential crime drama, a nostalgic look back at notorious outlaws filmed with the passion and zeal of filmmakers who were beginning to explore the boundaries of their craft. With a legendary screenplay by writers Robert Bentonand David Newman, Bonnie and Clyde features supporting performances by an exemplary cast that includes Gene Wilder,...
- 5/12/2022
- by Tom Stockman
- WeAreMovieGeeks.com
By Lee Pfeiffer
When it was announced that producer Elliott Kastner had succeeded in signing both Marlon Brando and Jack Nicholson for the 1976 Western, "The Missouri Breaks", the project was viewed as a "can't miss" at the international box-office. This would be Brando's first film since his back-to-back triumphs in "The Godfather" and "Last Tango in Paris" and Nicholson had just won the Best Actor Oscar for "One Flew Over the Cuckoo's Nest". The two Hollywood icons were actually neighbors who lived next door to each other, but they had never previously teamed for a film project. Kastner, whose prowess as a street-wise guy who used unorthodox methods to get films off the ground, had used a clever tactic to sign up both superstars: he told each man that the other had already committed to the project, when, in fact, neither had. With Brando and Nicholson aboard, Kastner hired a respected director,...
When it was announced that producer Elliott Kastner had succeeded in signing both Marlon Brando and Jack Nicholson for the 1976 Western, "The Missouri Breaks", the project was viewed as a "can't miss" at the international box-office. This would be Brando's first film since his back-to-back triumphs in "The Godfather" and "Last Tango in Paris" and Nicholson had just won the Best Actor Oscar for "One Flew Over the Cuckoo's Nest". The two Hollywood icons were actually neighbors who lived next door to each other, but they had never previously teamed for a film project. Kastner, whose prowess as a street-wise guy who used unorthodox methods to get films off the ground, had used a clever tactic to sign up both superstars: he told each man that the other had already committed to the project, when, in fact, neither had. With Brando and Nicholson aboard, Kastner hired a respected director,...
- 5/9/2022
- by nospam@example.com (Cinema Retro)
- Cinemaretro.com
The Cannes Film Festival has set its lineup for this year’s Cannes Classics program, which shines a spotlight on restorations of classic movies and features contemporary documentaries about film. Kicking off the sidebar is Jean Eustache’s controversial film The Mother and the Whore, the 1973 Cannes Grand Prize winner which incited riots at the time. Also included in the program are films by Vittorio de Sica (Sciuscià), Satyajit Ray (The Adversary), Orson Welles (The Trial) and Martin Scorsese (The Last Waltz), as well as a new 4K master of Singin’ in the Rain to mark the movie’s 70th anniversary.
Among the documentaries is Ethan Hawke’s study of Paul Newman and Joanne Woodward, The Last Movie Stars. Executive produced by Scorsese, it features Karen Allen, George Clooney, Oscar Isaac, Latanya Richardson Jackson, Zoe Kazan, Laura Linney and Sam Rockwell among others in an exploration of the iconic couple and American cinema.
Among the documentaries is Ethan Hawke’s study of Paul Newman and Joanne Woodward, The Last Movie Stars. Executive produced by Scorsese, it features Karen Allen, George Clooney, Oscar Isaac, Latanya Richardson Jackson, Zoe Kazan, Laura Linney and Sam Rockwell among others in an exploration of the iconic couple and American cinema.
- 5/2/2022
- by Nancy Tartaglione
- Deadline Film + TV
This year’s line-up will also celebrate classics such as Singin’ In The Rain and Indian director Satyajit Ray’s 1970 work The Adversary.
Late French filmmaker Jean Eustache’s recently restored cult 1973 drama The Mother And The Whore will open Cannes Classics this year, the line-up for which was announced on Monday (May 2).
Other highlights include two episodes of the series The Last Movie Stars directed by Ethan Hawke about Joanne Woodward and Paul Newman; a screening of Singin’ In The Rain to coincide with the 70th anniversary of its release and a restored 4K version of Vittorio de Sica’s 1946 work Sciuscià.
Late French filmmaker Jean Eustache’s recently restored cult 1973 drama The Mother And The Whore will open Cannes Classics this year, the line-up for which was announced on Monday (May 2).
Other highlights include two episodes of the series The Last Movie Stars directed by Ethan Hawke about Joanne Woodward and Paul Newman; a screening of Singin’ In The Rain to coincide with the 70th anniversary of its release and a restored 4K version of Vittorio de Sica’s 1946 work Sciuscià.
- 5/2/2022
- by Melanie Goodfellow
- ScreenDaily
April showers may indeed bring May flowers, but Netflix is showering us with some dazzling entertainments this April all from the comfort of our own homes. As indicated below, the most popular streaming service in the world is preparing to share a relatively wide variety of quality (Hollywood) films beginning on April 1.
Be it superhero movies with an edge or a genuine classic of American cinema from Arthur Penn, or one of the all-time great war movies and the impetus for the J-horror phenomenon in the States, there appears to be a movie for everyone in the list below. Enjoy.
Argo (2012)
April 1
With the Oscars just behind us, but discourse still raging on after ‘that’ moment it could be a great time to revisit this stranger-than-fiction former Best Picture winner. It tells the wild true story of the CIA agent who worked with Hollywood in an attempt to rescue American...
Be it superhero movies with an edge or a genuine classic of American cinema from Arthur Penn, or one of the all-time great war movies and the impetus for the J-horror phenomenon in the States, there appears to be a movie for everyone in the list below. Enjoy.
Argo (2012)
April 1
With the Oscars just behind us, but discourse still raging on after ‘that’ moment it could be a great time to revisit this stranger-than-fiction former Best Picture winner. It tells the wild true story of the CIA agent who worked with Hollywood in an attempt to rescue American...
- 3/31/2022
- by David Crow
- Den of Geek
“The Godfather,” wrote the late Roger Ebert in 2010, “comes closest to being a film everyone agrees about.” Who can disagree? By all known markers of Hollywood and, more impressively, world cinema success, Francis Ford Coppola’s beloved gangster chronicle is an enduring cultural object. Audiences loved it, then and now; same to critics the world over, who’ve canonized this movie, its 1974 sequel, and Coppola’s Apocalypse Now — all of them made in the Seventies, a 10-year span that has publicly defined Coppola’s career ever since — as among the greatest films of all time.
- 3/27/2022
- by K. Austin Collins
- Rollingstone.com
On March 24, we celebrate the 50th anniversary of the premiere of The Godfather. It was nominated for 11 Oscars, won three, and changed cinema forever. The film, which never uses the word “mafia” or the phrase “cosa nostra,” is renowned as the premiere gangster film of all time, and is more than occasionally called the greatest movie of all time. Yet its follow-up, The Godfather, Part II, is often ranked higher. This has more to do with filmmaking than with crime.
Paramount Pictures released a 4K Ultra HD edition of The Godfather Trilogy on March 22. The scope of the Corleone family saga is the story of 20th Century America. Over the course of the three films, Francis Ford Coppola delivers a multigenerational tale of corruption, vengeance, and family duty. The Godfather elevated mob movies to high art, paving the way for the street-level gangsters of Martin Scorsese’s Mean Streets and Goodfellas,...
Paramount Pictures released a 4K Ultra HD edition of The Godfather Trilogy on March 22. The scope of the Corleone family saga is the story of 20th Century America. Over the course of the three films, Francis Ford Coppola delivers a multigenerational tale of corruption, vengeance, and family duty. The Godfather elevated mob movies to high art, paving the way for the street-level gangsters of Martin Scorsese’s Mean Streets and Goodfellas,...
- 3/24/2022
- by David Crow
- Den of Geek
Exclusive: Academy Award winner Estelle Parsons (Bonnie and Clyde) has signed on to star alongside Samantha Soule and Wendy vanden Heuvel in I Look To You, an upcoming indie feature written and directed by Daniel Talbott (Midday Black Midnight Blue).
The drama centers on New York transplant Chloe (Soule), who after the sudden death of her wife, ends up in an inpatient treatment program for extreme grief and depression. Once released, the only place she has left to go is the home of her estranged mother (Vanden Heuvel) in coastal Washington. Structured on the five stages of grief, the film chronicles the tenuous journey of a deeply broken mother-and-daughter relationship and faces down the question, “Can you ever really go home?” Parsons will play Elizabeth, the grandmother of Soule’s Chloe.
Lovell Holder and Addie Johnson Talbott are producing alongside Daniel Talbott.
Parsons won...
The drama centers on New York transplant Chloe (Soule), who after the sudden death of her wife, ends up in an inpatient treatment program for extreme grief and depression. Once released, the only place she has left to go is the home of her estranged mother (Vanden Heuvel) in coastal Washington. Structured on the five stages of grief, the film chronicles the tenuous journey of a deeply broken mother-and-daughter relationship and faces down the question, “Can you ever really go home?” Parsons will play Elizabeth, the grandmother of Soule’s Chloe.
Lovell Holder and Addie Johnson Talbott are producing alongside Daniel Talbott.
Parsons won...
- 3/22/2022
- by Matt Grobar
- Deadline Film + TV
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