Chicago – One of the great movie character actors is hale and hearty at age 85. Tom Skerritt has over 50 years of roles, and has appeared in such film classics as “M*A*S*H,” “Harold and Maude,” “Up in Smoke,” “Top Gun” and “Steel Magnolias.” Skerritt was at the 7th Chicago Critics Film Festival for the 40th Anniversary of “Alien.”
Thomas Roy Skerritt was born in Detroit, and after the Air Force and college developed a fascination for acting. He made his film debut in “War Hunt” (1962), which was also the debut for Robert Redford, who would later direct Skerritt in “A River Runs Through It” (1992). He spent most of the 1960s doing episodic TV, and began to get film notice around the time of “M*A*S*H” (1970), where he portrayed a southern doctor named Duke, as well as a small-but-crucial appearance in “Harold and Maude” (1971).
Tom Skerritt at the 7th Chicago Critics...
Thomas Roy Skerritt was born in Detroit, and after the Air Force and college developed a fascination for acting. He made his film debut in “War Hunt” (1962), which was also the debut for Robert Redford, who would later direct Skerritt in “A River Runs Through It” (1992). He spent most of the 1960s doing episodic TV, and began to get film notice around the time of “M*A*S*H” (1970), where he portrayed a southern doctor named Duke, as well as a small-but-crucial appearance in “Harold and Maude” (1971).
Tom Skerritt at the 7th Chicago Critics...
- 5/21/2019
- by adam@hollywoodchicago.com (Adam Fendelman)
- HollywoodChicago.com
The exploitation films of the ‘70s always offered up the goods to everyone. And by goods I mean a whole lot of sex and violence, and if you were so inclined to notice behind fogged up eyewear, pulpy takes on the relevant social issues of the day. Not all were created equal, of course; they can’t all be clever variants of the form such as Faster, Pussycat! Kill! Kill!, or Foxy Brown. However, they almost all deal with female empowerment and Invasion of the Bee Girls (1973) more than checks off all the boxes, squeezing every last drop of pulp from its sci-fi fruit.
Released by Centaur Dimension Pictures in June, Invasion of the Bee Girls Aka Graveyard Tramps (it doesn’t really fit, but is one of the best alternate titles I’ve ever heard) managed to fairly impress critics on its tour of local theatres and drive-ins, including Roger Ebert,...
Released by Centaur Dimension Pictures in June, Invasion of the Bee Girls Aka Graveyard Tramps (it doesn’t really fit, but is one of the best alternate titles I’ve ever heard) managed to fairly impress critics on its tour of local theatres and drive-ins, including Roger Ebert,...
- 7/22/2017
- by Scott Drebit
- DailyDead
Robert Redford movies: TCM shows 'Butch Cassidy and the Sundance Kid,' 'The Sting' They don't make movie stars like they used to, back in the days of Louis B. Mayer, Jack Warner, and Harry Cohn. That's what nostalgists have been bitching about for the last four or five decades; never mind the fact that movie stars have remained as big as ever despite the demise of the old studio system and the spectacular rise of television more than sixty years ago. This month of January 2015, Turner Classic Movies will be honoring one such post-studio era superstar: Robert Redford. Beginning this Monday evening, January 6, TCM will be presenting 15 Robert Redford movies. Tonight's entries include Redford's two biggest blockbusters, both directed by George Roy Hill and co-starring Paul Newman: Butch Cassidy and the Sundance Kid, which turned Redford, already in his early 30s, into a major film star to rival Rudolph Valentino,...
- 1/7/2015
- by Andre Soares
- Alt Film Guide
During my years at McGill, I decided to stray from studying the sciences and take my love of cinema more seriously: I turned my mind towards Cultural Studies and spent my early twenties relishing in Canadian cinema, slasher films, the French New Wave, Godard’s wonderfully bizarre oeuvre, and the philosophy of film.
It’s been three years since I decided to take my career down a different path, turning towards my other major in anthropology. Right after obtaining my fancy arts degree and wanting nothing to do with, well, anything anymore, I began looking for alternatives to my film studies courses and Bazin quoting peer community. I was looking to re-ignite my passion for the screen; from the cerebral to the heart and back.
Thus, I began volunteering for film festivals, but found myself wanting and in need of more starch in my film diet. Since I’d turned...
It’s been three years since I decided to take my career down a different path, turning towards my other major in anthropology. Right after obtaining my fancy arts degree and wanting nothing to do with, well, anything anymore, I began looking for alternatives to my film studies courses and Bazin quoting peer community. I was looking to re-ignite my passion for the screen; from the cerebral to the heart and back.
Thus, I began volunteering for film festivals, but found myself wanting and in need of more starch in my film diet. Since I’d turned...
- 9/20/2013
- by Pamela Fillion
- SoundOnSight
Jeremiah Johnson
Directed by Sydney Pollack
Written by Edward Anhalt and John Milius
1972,
The Western, at its creative and commercial peak – the late 1960s-early 1970s – proved itself an astoundingly pliable genre. It could be molded to deal with topical subject matter like racism (Skin Game, 1971), feminism (The Ballad of Josie, 1967), the excesses of capitalism (Oklahoma Crude, 1973). It could be bent into religious allegories (High Plains Drifter, 1973), or an equally allegorical address of the country’s most controversial war (Ulzana’s Raid, 1972). Westerns could be used to deconstruct America’s most self-congratulatory myths (Doc, 1971), and address historical slights and omissions (Little Big Man, 1970). They could provide heady social commentary (Hombre, 1967), or simple adventure and excitement (The Professionals, 1966). They could be funny (The Hallelujah Trail, 1965), unremittingly grim (Hour of the Gun, 1967), surreal (Greaser’s Palace, 1972), even be stretched into the shape of rock musical (Zachariah, 1971) or monster movie (Valley of Gwangi, 1969).
But...
Directed by Sydney Pollack
Written by Edward Anhalt and John Milius
1972,
The Western, at its creative and commercial peak – the late 1960s-early 1970s – proved itself an astoundingly pliable genre. It could be molded to deal with topical subject matter like racism (Skin Game, 1971), feminism (The Ballad of Josie, 1967), the excesses of capitalism (Oklahoma Crude, 1973). It could be bent into religious allegories (High Plains Drifter, 1973), or an equally allegorical address of the country’s most controversial war (Ulzana’s Raid, 1972). Westerns could be used to deconstruct America’s most self-congratulatory myths (Doc, 1971), and address historical slights and omissions (Little Big Man, 1970). They could provide heady social commentary (Hombre, 1967), or simple adventure and excitement (The Professionals, 1966). They could be funny (The Hallelujah Trail, 1965), unremittingly grim (Hour of the Gun, 1967), surreal (Greaser’s Palace, 1972), even be stretched into the shape of rock musical (Zachariah, 1971) or monster movie (Valley of Gwangi, 1969).
But...
- 1/6/2013
- by Bill Mesce
- SoundOnSight
Gary Oldman as Jackie Flannery in State Of Grace (Phil Joanou, 1990, USA):
Long considered one of the most talented actors in cinema, it’s very strange that his outstanding acting as the younger brother of Ed Harris’ local crime boss in this underrated film doesn’t get talked about nearly enough when discussing Oldman’s body of work. This is a must-see performance for all Oldman fans. For the record, State Of Grace is a far better Irish mob film than The Departed (Martin Scorsese, 2006, USA), primarily because it contains much better acting across the board. Oldman was nominated for a Best Actor Oscar for Tinker Tailor Soldier Spy (Tomas Alfredson, 2011, UK/France).
Other notable Gary Oldman performances: Prick Up Your Ears (Stephen Frears, 1987, USA), Dracula (Francis Ford Coppola, 1992, USA), True Romance (Tony Scott, 1993, USA), Leon: The Professional (Luc Besson, 1994, France), Air Force One (Wolfgang Petersen, 1997, USA), The Contender (Rod Lurie,...
Long considered one of the most talented actors in cinema, it’s very strange that his outstanding acting as the younger brother of Ed Harris’ local crime boss in this underrated film doesn’t get talked about nearly enough when discussing Oldman’s body of work. This is a must-see performance for all Oldman fans. For the record, State Of Grace is a far better Irish mob film than The Departed (Martin Scorsese, 2006, USA), primarily because it contains much better acting across the board. Oldman was nominated for a Best Actor Oscar for Tinker Tailor Soldier Spy (Tomas Alfredson, 2011, UK/France).
Other notable Gary Oldman performances: Prick Up Your Ears (Stephen Frears, 1987, USA), Dracula (Francis Ford Coppola, 1992, USA), True Romance (Tony Scott, 1993, USA), Leon: The Professional (Luc Besson, 1994, France), Air Force One (Wolfgang Petersen, 1997, USA), The Contender (Rod Lurie,...
- 5/31/2012
- by Terek Puckett
- SoundOnSight
As June is the month of the Sundance Directors Lab, the writers of The Film Stage saw this as being an appropriate moment to reflect back upon the early days of all things Sundance.The Sundance Film Festival occupies an interesting space in history, as it was the first film festival to focus specifically on American film, and it helped to escalate the American independent film movement. In 2009, the Sundance Festival celebrated its 25th anniversary, showcasing reflective trailers with images dating back to 1985. What is interesting about this is that the festival had actually started in 1978, and 1985 simply reflects the year in which the Sundance Institute took over its management. One might assume that in this take over was also a name change, and that 1985 reflects when it became known as Sundance. However, it was not actually renamed the Sundance Film Festival until after the 1990 festival, so the fact that...
- 6/12/2010
- by Kristen Coates
- The Film Stage
Director Sydney Pollack 1934-2008.
Director Sydney Pollack passed two years ago today. I had the good fortune to meet and interview Sydney Pollack twice, both of which are included here: first in 1999 for his well-made but ill-fated romantic drama "Random Hearts," and again in 2006 for what would be his final film, "Sketches of Frank Gehry," a masterful documentary look at the eponymous architect's life, work and process. It was also in many respects a personal investigation for Pollack himself, which he spoke quite candidly about during our conversation.
This has been a tough year for those of us who were weaned on the films of the so-called "Easy Riders and Raging Bulls" who made the iconic films of the late 1960s and 1970s, with the loss of such figures as Pollack, Roy Scheider, and others of the era. Pollack was certainly among the lions of that pack, but was perhaps...
Director Sydney Pollack passed two years ago today. I had the good fortune to meet and interview Sydney Pollack twice, both of which are included here: first in 1999 for his well-made but ill-fated romantic drama "Random Hearts," and again in 2006 for what would be his final film, "Sketches of Frank Gehry," a masterful documentary look at the eponymous architect's life, work and process. It was also in many respects a personal investigation for Pollack himself, which he spoke quite candidly about during our conversation.
This has been a tough year for those of us who were weaned on the films of the so-called "Easy Riders and Raging Bulls" who made the iconic films of the late 1960s and 1970s, with the loss of such figures as Pollack, Roy Scheider, and others of the era. Pollack was certainly among the lions of that pack, but was perhaps...
- 5/26/2010
- by The Hollywood Interview.com
- The Hollywood Interview
Sydney Pollack, who won an Academy Award as best director for "Out of Africa," died Monday of cancer at his home in Pacific Palisades. He was 73.
Pollack also was nominated for a best director Oscar for "Tootsie" and "They Shoot Horses, Don't They?" Pollack won an Emmy for his direction of "The Game" in 1965, starring Cliff Robertson. In addition to his Oscar for "Out of Africa," which also won best picture, that film also earned Pollack the best director honor from the New York Critics Film Circle.
Among the 100 best American love stories ranked by American Film Institute in June 2002, Pollack is the only director credited with two films near the top of list: "The Way We Were," at No. 6, and "Out of Africa," which is ranked No. 13.
In 2000, Pollack was honored with the John Huston Award from the DGA as a "defender of artists' rights."
His filmography included...
Pollack also was nominated for a best director Oscar for "Tootsie" and "They Shoot Horses, Don't They?" Pollack won an Emmy for his direction of "The Game" in 1965, starring Cliff Robertson. In addition to his Oscar for "Out of Africa," which also won best picture, that film also earned Pollack the best director honor from the New York Critics Film Circle.
Among the 100 best American love stories ranked by American Film Institute in June 2002, Pollack is the only director credited with two films near the top of list: "The Way We Were," at No. 6, and "Out of Africa," which is ranked No. 13.
In 2000, Pollack was honored with the John Huston Award from the DGA as a "defender of artists' rights."
His filmography included...
- 5/26/2008
- by By Duane Byrge
- The Hollywood Reporter - Movie News
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