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Chad McQueen, who followed his father, Steve McQueen, into acting and auto racing and portrayed the bully Dutch in the first two Karate Kid movies, has died. He was 63.

McQueen died Wednesday of organ failure at his ranch in Palm Desert, his friend of 40 years, Arthur Barens, told The Hollywood Reporter. He had been injured in a fall in 2020 and never fully recovered.

In a statement on Instagram, his children Chase and Madison wrote:

“His remarkable journey as a loving father to us, along with his unwavering commitment to our mother, truly exemplified a life filled with love and dedication. His passion for racing not only highlighted his exceptional talent but also served as a way to honor his father’s legacy, a testament to the values instilled in him.

“He passed his passion, knowledge and dedication down to us, and we will continue not only his legacy but our grandfather’s as well.

When "Deadpool" opened to $132 million in North America over Valentine's Day weekend in 2016, everything changed for Ryan Reynolds. Up until that point of his career, he'd been an immensely appealing B-level star with A-list potential. His best shot at hitting the blockbuster big time came when he slipped on the power ring as Hal Jordan in 2011's "Green Lantern." When that not-as-bad-as-its-reputation-but-not-all-that-good-either $200 million gamble stalled out with a $220 million worldwide gross, Reynolds was back to being the wisecracking comedic engine of mostly ho-hum action movies and, on occasion, a very interesting actor in pretty good indie dramas.

That he hasn't made anything in that latter category of movies post-"Deadpool" is a bummer for those of us who think Reynolds has more to offer as a performer than a shotgun spray of smug quips in forgettable four-quadrant product like "Detective Pikachu" and "Free Guy." The "Deadpool" movies are clearly personal for Reynolds,...

Norman Jewison was the Oscar-nominated filmmaker who has tackled a number of controversial topics and social issues in his work, crafting mainstream entertainments with a political point of view. But how many of his titles remain classics? Let’s take a look back at 15 of his greatest films, ranked worst to best.

Born in 1926 in Toronto, Jewison cut his teeth in television before moving into directing with a number of light farces, including the Doris Day vehicles “The Thrill of It All” (1963) and “Send Me No Flowers” (1964), her last collaboration with Rock Hudson. His career took a turning point with his first drama, “The Cincinnati Kid” (1965), which also kicked off his collaborations with film editor Hal Ashby, himself a future director. His next film, the darkly comedic “The Russians Are Coming! The Russians Are Coming!” (1966), earned him his first Oscar nomination in Best Picture.

He hit the Oscar jackpot the...

Norman Jewison made movies that mattered.

“Timing is everything,” the director told me the one time we met. I’d been enlisted to host a long Q&a with Jewison at the American Cinematheque — and I was more than a little intimidated.

From “The Russians Are Coming, the Russians Are Coming” in 1966 to “Other People’s Money” in 1991, Jewison had an astonishing quarter-century run behind the camera, directing movies that impacted the culture when they came out (none more than “In the Heat of the Night”), a great many of which are still watched today. Turns out, this legendary talent couldn’t have been sweeter.

Jewison liked to tell the story of how he met Bobby Kennedy before making the landmark Sidney Poitier picture. He and Kennedy crossed paths while on vacation skiing, where both of their kids wound up in the hospital.

Still developing “In the Heat of the Night” at the time,...

Norman Jewison, the Canadian multiple Oscar nominee and director of such classics as In The Heat Of The Night and Moonstruck, has died. He was 97.

Jewison’s publicist confirmed the filmmaker died at his home on Saturday (January 20).

Toronto International Film Festival, which staged a retrospective for Jewison in 2011, posted on X (formerly Twitter) that the filmmaker’s impact “on the broader film landscape will endure, inspiring future generations of filmmakers and captivating audiences for years to come”.

Jewison was born in Toronto on July 21 1926 and served in the Canadian Navy. Post-war he attended Toronto’s Victoria College where he...

Norman Jewison, the prolific, award-winning movie director of “Rollerball” and “In The Heat of the Night” has died:

Jewison directed numerous feature films and was Oscar-nominated 3 times as ‘Best Director’, for “In the Heat of the Night” (1967), “Fiddler on the Roof” (1971) and “Moonstruck” (1987).

Other films include “The Cincinnati Kid” (1965), “The Russians Are Coming, the Russians Are Coming” (1966), “The Thomas Crown Affair” (1968), “Jesus Christ Superstar” (1973), “Rollerball” (1975)…

… “F.I.S.T.” (1978), “...And Justice for All” (1979), “Best Friends” (1982), “A Soldier's Story” (1984), “Agnes of God” (1985), “Other People's Money” (1991), “Only You” (1994), “The Hurricane” (1999), and “The Statement” (2003.

Click the images to enlarge…...

Norman Jewison, a seven-time Academy Award nominee who directed the 1968 Best Picture Oscar winner “In the Heat of the Night” as well as Oscar winners “Fiddler on the Roof,” “Moonstruck” and numerous other iconic films, is dead. He died peacefully on Saturday at his home.

A filmmaking giant in the 1960s, ’70s and ’80s, Jewison was undeniably one of the most prominent producer-directors never to have won an Oscar – though he was honored with the prestigious Irving G. Thalberg Award at the Academy Awards in 1999. He was nominated three times for his directing: “In the Heat of the Night” in ’68 (losing to Mike Nichols for “The Graduate”), “Fiddler on the Roof” in 1972 (William Friedkin won for “The French Connection”) and “Moonstruck” in 1988 (won by Bernardo Bertolucci for “The Last Emperor”). He was also nominated for producing a quartet of Best Picture contenders: “The Russians Are Coming, the Russians Are Coming...

Norman Jewison, the celebrated film director, has died. He was 97. According to the Hollywood Reporter, the filmmaker passed away at his home on Saturday, January 20, 2024.

Jewison had a long and varied directing and producing career that was peppered with accolades. His films "Moonstruck," "A Soldier's Story," "Fiddler on the Roof," "In the Heat of the Night," and "The Russians Are Coming, the Russians Are Coming" were nominated for Best Picture at the Academy Awards in 1987, 1984, 1971, 1967, and 1966 respectively, with "Heat of the Night" winning. Jewison also helmed dozens of other notable dramas and musicals besides, including "The Thomas Crown Affair", "Gaily, Gaily" (nominated for three Oscars), "Jesus Christ Superstar" (nominated for one Oscar), "...And Justice for All" (two), "Agnes of God" (three), and "The Hurricane" (one). 

All told, Jewison's films were nominated for 41 Oscars, winning 12. He also directed the sci-fi thriller "Rollerball," the comedy "Bogus," the romance "Only You," the Stallone drama "F.I.S.T.,...

Norman Jewison, the versatile, acclaimed filmmaker behind movies like Fiddler on the Roof and In the Heat of the Night, died Saturday at home, his publicist announced Monday. He was 97.

Jewison was a seven-time Oscar nominee and earned the Thalberg Memorial Award from the Academy of Motion Pictures Arts and Sciences in 1999. He earned both Best Director and Best Picture nods for the 1971 musical Fiddler on the Roof and the 1987 rom-com Moonstruck, starring Cher.

He also was nominated for an Academy Award for Best Picture for 1976’s In the Heat of the Night.

Norman Jewison, one of Canada’s most acclaimed filmmakers, has died at the age of 97. Throughout his long career, Jewison really did it all, ranging from musicals to dramas to romantic comedies. He’s best known for In the Heat of the Night, Moonstruck, Fiddler on the Roof, and more.

Born in Toronto, Canada, Norman Jewison was an assistant director when CBC Television debuted. He went on to write, direct, and produce a variety of programming for the young network over the next seven years before making the move to the U.S. His breakthrough movie was The Cincinnati Kid starring Steve McQueen. He went on to direct The Russians Are Coming, the Russians Are Coming, The Thomas Crown Affair, Fiddler on the Roof, Jesus Christ Superstar, Rollerball, F.I.S.T., …And Justice for All, Moonstruck, In Country, Other People’s Money, Only You, and The Hurricane.

Related Awesome Art We’ve Found Around The Net: Jaws,...

The virtuoso Canadian helped craft much of postwar Hollywood cinema, directing Sidney Poitier in In the Heat of the Night, Topol in Fiddler on the Roof and Cher in Moonstruck

For five extraordinary decades, Norman Jewison’s film-making was the beating heart of Hollywood drama: he could do anything and supercharged it with idealism, confidence and style. Jewison has been behind an extraordinary array of classics and hits: for half the time the cinema has been in existence, Norman Jewison was the gold standard of a night at the movies.

The 60s saw his fizzy Doris Day comedies, the sexy Steve McQueen thriller-capers The Cincinnati Kid and The Thomas Crown Affair, the mould-breaking In the Heat of the Night, with Sidney Poitier as the black cop in the US south. Then in the 70s we had his epic Broadway adaptation Fiddler on the Roof with Topol’s iconic performance as...

Oscar-nominated film director and producer Norman Jewison, who steered the 1967 racial drama “In the Heat of the Night” to a best picture Oscar and also helmed such popular films as “Moonstruck,” “The Russians Are Coming, the Russians Are Coming” and “The Thomas Crown Affair,” as well as film musicals “Fiddler on the Roof” and “Jesus Christ Superstar,” died Saturday at his Los Angeles residence. He was 97.

His film career began with fluffy Doris Day comedies like “The Thrill of It All.” But Jewison’s social conscience began to surface with “In the Heat of the Night” and, later, the labor union drama “F.I.S.T.” and other films focusing on racial tensions such as “A Soldier’s Story” and “The Landlord” (the latter of which he only produced), though he never abandoned comedies and romances.

Jewison had his share of box office hits and was usually attuned to the audience pulse, but did...

Norman Jewison is dead at the age of 97. For over four decades he sustained a career of films that became major box office hits as well as others that presented current social issues in a Hollywood context (with some combining the two). He died peacefully at his home on Saturday January 20.

“In the Heat of the Night,” which beat “Bonnie and Clyde” and “The Graduate” for the Best Picture Oscar for 1967, is the most obvious example of Jewison’s talent for turning tough subjects into hit movies. It grossed (adjusted to current prices) over $200 million, with it already having become a major success before it won five Oscars. Ironically, the racially-charged story about a Northern Black detective (Sidney Poitier) investigating a murder and confronting a racist Southern police chief wons its Oscars in a ceremony delayed by the assassination of Dr. Martin Luther King, Jr.

Norman Frederick Jewison was born on July 21, 1926 in Toronto,...

Norman Jewison, who directed Best Picture Oscar winner In the Heat of the Night and nominees Fiddler on the Roof, A Soldier’s Story, Moonstruck and The Russians Are Coming, The Russians Are Coming, also producing the latter four, died peacefully Saturday, January 20. He was 97.

Jewison’s film career spanned more than four decades and seven Oscar nominations — three for Best Director and the four for Best Picture. His films received a total of 46 nominations and 12 Academy Awards. In 1999, Jewison was honored with the prestigious Irving G. Thalberg Award at the Academy Awards. He also collected three Emmy Awards for his work in television.

A smattering of his other wide-ranging work includes The Hurricane, Agnes of God, Rollerball (1975) and Jesus Christ Superstar, all of which he also produced. As a producer, Jewison had an eye for talent, as well.

Norman Jewison, the multifaceted filmmaker who could direct a racial drama (In the Heat of the Night), stylish thriller (The Thomas Crown Affair), musical (Fiddler on the Roof) or romantic comedy (Moonstruck) with the best of them, has died. He was 97.

Jewison died Saturday at home — his family does not want to specify exactly where — publicist Jeff Sanderson announced.

A seven-time Oscar nominee, Jewison received the prestigious Irving G. Thalberg Memorial Award from the Academy of Motion Pictures Arts & Sciences in 1999.

Known for his ability to coax great performances out of his actors — 12 of his players were nominated for Oscars, while five of his features made the cut for best picture — the most distinguished film director in Canadian history often used conventional genre plots to take on social injustice.

Improbably, he got his start directing musical specials on television.

Jewison earned best director and best picture nominations for Fiddler on the Roof...

In his fascinating book about Hollywood, Quentin Tarantino said Elvis Presley almost appeared in Butch Cassidy and the Sundance Kid, one of the most beloved Westerns of the 1960s. Another source says the director’s claim is dubious. Regardless, Butch Cassidy and the Sundance Kid inspired one of the best movie themes of its era.

Warren Beatty and Elvis Presley could have been ‘Butch Cassidy and the Sundance Kid’

In his 2022 book Cinema Speculation, Tarantino discussed the making of Butch Cassidy and the Sundance Kid. “After [Steve] McQueen dropped out of the role of the Sundance Kid, before [Robert] Redford, it was offered to Warren Beatty,” he said. “Naturally, if Beatty did it he wanted to play Butch Cassidy (a nonstarter because that role had always been Newman’s). But if they had gone for it, Beatty wanted to do it with Elvis Presley as Sundance.”

The book Elvis Films Faq: All...

Alan Arkin etched many indelible performances over his long career in movies. From heroin-snorting grandfathers (“Little Miss Sunshine”) to ornery movie producers (“Argo”) to harried dentists (“The In-Laws”), Arkin, who died on June 29 at the age of 89, played an extraordinary range of roles with great gusto.

But it’s fair to say that none of it would have been possible were it not for 1966’s “The Russians Are Coming, The Russians Are Coming,” a Cold War comedy that marked Arkin’s first major screen role. It’s the film that earned him the first of four Oscar nominations (he’d win for 2006’s “Little Miss Sunshine”) and a part that launched his career as a shape-shifting character actor.

And it was Norman Jewison, riding high on the success of “The Cincinnati Kid,” who took a bet that Arkin, a gifted Broadway actor but movie novice, could make the transition from stage to screen.

Gambling and casinos have always been popular themes in movies, and there have been many great films made on this subject over the years. From tense poker games to high-stakes heists, the world of gambling has provided plenty of material for filmmakers to work with. Here are some of the greatest films with gambling and casino themes ever made.

Casino (1995)

Martin Scorsese’s epic tale of the rise and fall of a casino boss, Casino, is a classic film that is often cited as one of the greatest gambling movies ever made. The film follows the story of Sam “Ace” Rothstein, played by Robert De Niro, who is hired by the Mob to run the Tangiers casino in Las Vegas. With his best friend, Nicky Santoro, played by Joe Pesci, at his side, Ace builds an empire but finds himself struggling to maintain control as his personal and professional life spiral out of control.

Wow, a ‘new’ Sam Peckinpah western! While we await the rumored Blu-ray of Pat Garrett and Billy the Kid to surface (or was Alex Cox misinformed?), correspondent Darren Gross has come across a watchable web encoding of a Peckinpah TV drama that seems to be more or less ‘lost.’ Good star performances and intense characterizations prove once again that Peckinpah could deliver superior dramatics. The home video companies should do some investigating — there’s a market out there for this one.

The Lady Is My Wife

TV episode of Bob Hope Presents the Chrysler Theater

CineSavant Revival Screening Review

1967 / Color / 1:33 TV / 47 min. / first Aired February 1, 1967 / Not on Home Video

Starring: Jean Simmons, Bradford Dillman, Alex Cord, Begoña Palacios, L.Q. Jones, Roberto Contreras, Alan Baxter, Jim Boles, Billy M. Greene, E.J. André, Billy M. Greene.

Cinematography: Dale Deverman

Art Director: Lloyd S. Papez

Costumes: Kay Hayden

Film Editor: Edward Biery...

Jim Mahoney was one of Hollywood’s go-to guys. He spent 60+ years in public relations, guiding the images of Clark Gable, Frank Sinatra, Steve McQueen, Bob Hope, Johnny Carson, Lee Marvin, Burt Lancaster, Christie Brinkley, Peggy Lee, and hundreds more.

He was on the front lines when Frank Sinatra Jr. was kidnapped, and was at the party at Peter Lawford’s house the night Marilyn Monroe died. He was also there with the Rat Pack in Las Vegas.

Now age 95, Mahoney has captured all of that in a memoir, Get Mahoney!: A Hollywood Insider’s Memoir. “Get Mahoney!” was the phrase often used when stars and their handlers knew trouble was brewing and needed to keep their names out of the press. Mahoney was good at his job, and frequently referred to himself as a better “suppress” agent than press agent.

“It was about ‘taming the lion’ – both the press and the clients themselves,...

There's a pearl of colloquial wisdom in filmmaking that basically claims that a movie will end up the opposite of the way it gets made. For instance, a really delightful comedy will be a tense chore to make, a dark and disturbing horror picture will have a light set full of laughs, a great movie will emerge from a fraught and dangerous working environment, and a film that everyone has a fun time working on will end up being unwatchable and bland.

Of course, there are exceptions to every general rule. Some films that seem doomed from the start turn out to be failures, and the only reason the filmmakers didn't acknowledge the omens and warning signs is because of their mad determination and foolish belief that a pot of gold is waiting at the end of a dark rainbow.

1977's "Sorcerer" is one of these films, a movie that...

Showbiz dynamo Ann-Margret tries on ‘teenage hellion’ for size. She terrorizes the straight, impossibly patient John Forsythe, sending him on a weekend ordeal with razor-wielding hooligans. He can kiss both his marriage and his political ambitions goodbye: who will believe David when Jody claims he took advantage of her? Douglas Heyes’ sordid suspense thriller has a loser reputation but is big fun in the star-watching game: Ann-Margret has no choice but to go way over the top and chew scenery, and the direction doesn’t offer enough support. The technical remaster is excellent, and the disc extras generous.

Kitten with a Whip

Blu-ray

Viavision [Imprint]

1964 / B&w / 1:85 widescreen / 84 min. / Street Date December 29, 2022 / Available from [Imprint] / 34.95au

Starring: Ann-Margret, John Forsythe, Peter Brown, Richard Anderson, Skip Ward, Patricia Barry, Diane Sayer, Ann Doran, Patrick Whyte, Audrey Dalton, Leo Gordon, Patricia Tiara, Nora Marlowe, Frances Robinson, Maxine Stuart, Jerry Dunphy, Doodles Weaver.

I’m a sucker for card-sharp movies, and I’m not alone. The allure of films like “The Cincinnati Kid” or “California Split” or “Rounders” is that the poker games have the quality of athletic showdowns: the kind of hand-to-hand, eyeball-to-eyeball aggression we associate with a contest taking place in a gladiatorial arena. But in a card movie, it’s all done sitting in chairs, with mental acuity (and fate!) as the only weapon. Great poker scenes, in their slyly civilized cards-close-to-the-vest way, formalize the desire to destroy your opponent, but they’re also layered with a drive to psych him out that most combat scenes don’t have. To me, the single greatest movie card sequence is the Texas hold ’em tournament at the center of “Casino Royale.” It’s a little movie unto itself, and the currents of strategy and malevolence and sheer nimble play that pass between...

Some filmmakers write a hit movie and spend the ensuing years trying to escape its shadow. Paul Schrader never flinched. Forty-five years after his “Taxi Driver” script put him on the map, the writer-director has developed a body of work loaded with alienated anti-heroes compelled to violent and reckless extremes for the sake of a higher calling.

That includes “The Card Counter,” in which Oscar Isaac plays guilt-stricken Abu Ghraib vet William Tell, a man with a gambling addiction compelled to help the revenge-seeking son (Tye Sheridan) of a former colleague. Taking justice into his own hands, Isaac’s William Tell slithers through the Vegas strip in search of questionable salvation, not unlike a certain Vietnam vet named Travis Bickle did from the driver’s seat. As if to cement the comparisons, “The Card Counter” features Martin Scorsese as an executive producer, marking the first time the two men share...

This article contains mild The Queen’s Gambit spoilers.

It’s not the image that first springs to mind when you think of chess. In a swanky Parisian parlor, with a bank of breathless photographers following her every gesture, Anya Taylor-Joy’s Beth Harmon rushes in while still in a daze. She’s clearly missing a step after a late night of bad decisions, yet even at her most disheveled she emanates ‘60s style.

Like Ann-Margret in The Cincinnati Kid, Beth’s fiery mane of red hair is turned up at the sides in a flip. The idol of her age. But with that 1965 movie, Ann-Margret was peripheral, an underdeveloped distraction to a story about grizzled men playing grisly high-stakes poker. Beth is the Cincinnati Kid here, or at least the Lexington Prodigy: a young woman breaking into the boys’ club and who is about to challenge Russia’s greatest...

Each month before the Supporting Actress Smackdown Nick Taylor selects performances for an alternate ballot...

Of the Golden Globes’ Supporting Actress nominees in 1965, three of their five were transplanted to Oscar’s lineup. Globe winner Ruth Gordon in Inside Daisy Clover, Joyce Redman in Othello, and Peggy Wood in The Sound of Music (who we all basically agree was not the best option from her movie) all made the cut, while Redman’s co-star Maggie Smith was imported from the Globes' Lead Actress-Drama category. Only Shelley Winters, who wound up winning the damn Oscar for A Patch of Blue, failed to show up anywhere at the Globes. The two Globe nominees left out to pasture come Oscar nomination morning were Nbr winner Joan Blondell in The Cincinnati Kid and never-winning Academy regular Thelma Ritter in Boeing Boeing. Both of the unlucky actresses co-starred in films that were blanked by the Academy completely.

By Raymond Benson Normal 0 false false false En-us X-none X-none

Director Norman Jewison was on a roll in the late 1960s. After a handful of well-received small romantic comedies, he directed The Cincinnati Kid (1965) featuring Steve McQueen as a Depression-era poker player, followed by the Oscar Best Picture-nominated The Russians are Coming, the Russians are Coming (1966), and then the brilliant In the Heat of the Night (1967), which did win the Best Picture Oscar and landed Jewison a Director nomination.

His next project became a heist picture/romance, the story of which was pitched to him by Alan R. Trustman, a lawyer with no screenwriting experience. Jewison was intrigued, so, according to the excellent interview with the director that appears as a supplement on Kino Lorber’s new Blu-ray edition of The Thomas Crown Affair, he gave Trustman a crash course in how to write a movie script. When it was completed,...

Movies such as Casino Royale, 21, Rain man, and Maverick have done a lot to popularize gambling and show the layman how casino games play out. Unfortunately, they have also created gambling setups that simply wouldn’t work in real life.

What the movie industry doesn’t seem to understand is that casino games are already fun as they are. Stubborn Hollywood producers always try to squeeze more thrill and excitement out of any casino scene and this sometimes backfires. The results are gambling mistakes which are hard to ignore. Here are the 5 most shocking casino blunders.

Casino Royale (2006) – the $40 Million Pot

There are many things which can be forgiven to James Bond. However, being part of an unrealistic poker scene is something which will never be vindicated.

In Casino Royale, Daniel Craig found himself in a high-stakes poker game. There is nothing unusual about this. Bond loves the thrill...

The Netflix service is increasing in popularity all the time but that success means that it has to work hard in order to meet demand. One of the big plus points of the platform came when productions were produced and released exclusively. This means that they can’t be watched anywhere else and that’s a big factor in terms of take up.

Netflix also has to keep adding popular films, documentaries, comedies and more to its roster and one of the more welcome additions in recent weeks is the movie Molly’s Game.

All In

Molly’s Game was released in 2017 and it tells the true story of former Olympic Athlete Molly Bloom who, having been made to retire from competitive sport due to injury, was forced to turn her talents elsewhere. Bloom duly opened poker rooms in the Us but her subsequent decision to take a rake from those games...

There’s a long history of poker playing a major part in cinema from all round the world. Of course, the first examples that you think of tend to be from Hollywood movies like The Cincinnati Kid and Cool Hand Luke.

But Asian cinema also has a long tradition of using this most cinematic of card games in its movies. After all, it offers writers and directors all the same benefits as it does in the West. These include the huge scope for showing conflict between two characters – never better used on screen than in the classic encounter between Daniel Craig’s James Bond and Le Chiffre played by Mads Mikkelson in the 2006 version of Casino Royale. It’s also a game in which the palpable tension can add hugely to the atmosphere of a film as we, the audience, hold our breath as each player’s hand is revealed.

Acclaimed stuntman and action director extraordinaire Jesse V. Johnson joins us to discuss the U.S. based action films and filmmakers that have influenced him the most.

Show Notes: Movies Referenced In This Episode

On The Waterfront (1954)

Fultah Fisher’s Boarding House (1922)

Undisputed (2002)

Undisputed II: Last Man Standing (2006)

Undisputed III: Redemption (2010)

Boyka: Undisputed (2016)

The Killer Elite (1975)

Convoy (1978)

The Osterman Weekend (1983)

Bring Me The Head Of Alfredo Garcia (1974)

Le Cercle Rouge (1970)

Straw Dogs (1971)

The Wild Bunch (1969)

Mr. Holland’s Opus (1995)

The Shawshank Redemption (1994)

The Birdcage (1996)

Cross of Iron (1977)

Electra Glide in Blue (1973)

Dirty Mary, Crazy Larry (1974)

Easy Rider (1969)

Fail Safe (1964)

The Cincinnati Kid (1965)

Ride The High Country (1962)

Major Dundee (1965)

Jinxed! (1982)

Beowulf (2007)

Kiss Me Deadly (1955)

Once Upon A Time In Hollywood (2019)

The Girl Hunters (1963)

Los Angeles Plays Itself (2003)

Point Blank (1967)

Falling Down (1993)

M (1951)

M (1931)

The Black Vampire (1953)

The Roaring Twenties (1939)

Scum (1979)

Elephant (1989)

The Man Who Shot Liberty Valance (1962), possibly Joe’s favorite John Ford...

Norman Jewison celebrates his 93rd birthday on July 21, 2019. The Oscar-nominated filmmaker has tackled a number of controversial topics and social issues in his work, crafting mainstream entertainments with a political point of view. But how many of his titles remain classics? In honor of his birthday, let’s take a look back at 15 of his greatest films, ranked worst to best.

SEEDoris Day movies: 20 greatest films ranked worst to best

Born in 1926 in Toronto, Jewison cut his teeth in television before moving into directing with a number of light farces, including the Doris Day vehicles “The Thrill of It All” (1963) and “Send Me No Flowers” (1964), her last collaboration with Rock Hudson. His career took a turning point with his first drama, “The Cincinnati Kid” (1965), which also kicked off his collaborations with film editor Hal Ashby, himself a future director. His next film, the darkly comedic “The Russians Are Coming! The Russians Are Coming!...

Jim Knipfel Jul 10, 2019

We look back on Rip Torn's career and how the occasional troublemaker turned bit parts into leading roles.

In the summer of 1969, Rip Torn was drunkenly screaming through New York’s West Village on his motorcycle when he slammed it into a police cruiser. Torn broke his leg in the accident but didn’t notice. The next morning, he got up, got on a plane, and flew to Paris where he was set to star in Joseph Strick’s film version of Henry Miller’s Tropic of Cancer. He shot the entire film all hopped up on painkillers for an untreated leg. And you know what? He still gives a remarkable performance. It wasn’t the only time he worked with broken bones either.

For over 60 years, Rip Torn carried on in the proud tradition of John Barrymore, Errol Flynn, Robert Mitchum, Frank Sinatra, and Lawrence Tierney...

By Lee Pfeiffer

Actor Rip Torn has died at age 88. He was a volatile figure in the entertainment industry, known for his sometimes bizarre behavior as well as his brilliant performances. A native Texan, he gravitated to  New York City in the 1950s where he studied under Lee Strasberg at the legendary Actors Studio. He was championed by director Elia Kazan, who gave Torn high profile roles in his stage and film productions. Torn gained major acclaim with a Tony-nominated performance on Broadway in "Sweet Bird of Youth", a role he would reprise in the 1963 film version. Torn's film career occasionally saw him attain leading man status but he remained a highly acclaimed supporting actor throughout his career. His feature films include "A Face in the Crowd", "Baby Doll", "The Cincinnati Kid", "Pork Chop Hill", "King of Kings", "Beach Red", "Coming Apart", "Tropic of Cancer", "Crazy Joe", "The Man Who Fell to Earth...

Rip Torn ­– whose seven-decade acting career spanned stage, film, TV and voice roles – has died, a rep for the actor confirmed in a statement to Rolling Stone. Torn died at his home in Lakeville, Connecticut on Tuesday afternoon. He was 88.

Born Elmore Rual Torn Jr. in Temple, Texas on February 6th, 1931, he graduated from University of Texas, where he studied acting before serving in the United States Army.

Torn moved to Hollywood, California, where he scored his first major acting role in 1956 film, Baby Doll. He later moved to New...

Rip Torn, who played Garry Shandling’s profane, fiercely loyal producer on HBO’s The Larry Sanders Show, co-starred in the original Men in Black films and was a major star of Broadway and Off Broadway during a seven-decade career, died today surrounded by family at his home in Lakeville, Ct. He was 88.

The prolific Torn played the unstoppable and unflappable Artie on Larry Sanders, which aired from 1992-98 and followed the behind-the-scenes and onstage antics of a successful late-night network talk show. Along with scoring a Supporting Actor in a Comedy Emmy in 1996, he was nominated for each of the show’s six seasons.

The year Torn won his Emmy, he also had been up for Guest Actor in a Drama Series for his turn on CBS’ Chicago Hope. In 2008, he earned his ninth and final Emmy nom, for his recurring role as Don Geiss on NBC’s 30 Rock.

Veteran actor Rip Torn, arguably best known for his role as irascible, foul-mouthed Artie on HBO’s The Larry Sanders Show, died Tuesday at his home in Connecticut. He was 88.

Torn earned an Emmy in 1996 for Outstanding Supporting Actor in a Comedy Series for his role as Larry Sanders‘ uproariously devious Artie. He later appeared in seven episodes of NBC’s 30 Rock as General Electric’s faux CEO Don Geiss (a gig that netted him an Emmy nod for Outstanding Guest Actor in a Comedy Series.) Additional TV credits included Columbo, Law & Order: Criminal Intent and Will & Grace.

“Finding Steve McQueen” is a ramshackle indie heist drama that has a little bit (but not much) to do with Steve McQueen. The film’s central figure, a green-behind-the-ears thief named Harry Barber (Travis Fimmel), idolizes the squinty star of “Bullitt,” for all the reasons one might have back in 1972, when most of the movie is set. McQueen was then at the height of his popularity, but his star cachet, going back to films like “The Great Escape” and “The Cincinnati Kid,” predated the counterculture, and that was the mark of his mystique. In a New Hollywood overrun with shaggy idols like Warren Beatty and Elliott Gould, McQueen, with his baby-faced scowl, was the last neo-’50s maverick romantic stud, a guy too square to be hip and, for that reason, too hip to be square.

“Bullitt,” the movie that launched a thousand car chases, was the rubber-meets-the-road apex of the McQueen swagger,...

Lalo Schifrin has been writing movie and TV music for 60 years, including such iconic themes as “Mission: Impossible,” “Dirty Harry” and “Cool Hand Luke.” And while he has been nominated for six Oscars, he’s never won.

The Academy of Motion Picture Arts and Sciences will rectify that oversight when it awards him an Honorary Oscar for his entire career at the 10th annual Governors Awards on Nov. 18 at the Ray Dolby Ballroom.

Schifrin is the third composer in Academy history to receive such an award. Alex North was voted one in 1985, Ennio Morricone another in 2006.

“It’s a great honor, and an incredible surprise,” says the Argentine-born composer, now 86. His numbers alone are staggering: more than 100 film scores, nearly 90 television projects and more than 50 classical works since the late 1950s. He’s also won four Grammys and received four Emmy nominations.

“Lalo is a model film composer,” says Academy music governor Laura Karpman.

Awards to be handed out at Academy’s 10th Annual Governors Awards on November 18.

The Academy board of governors have voted to present honourary Oscars to publicist Marvin Levy, composer Lalo Schifrin and actress Cicely Tyson, and the Irving G. Thalberg Memorial Award to producers Kathleen Kennedy and Frank Marshall.

The three Oscar statuettes and Thalberg Award will be presented at the Academy’s 10th Annual Governors Awards on November 18 at the Ray Dolby Ballroom at Hollywood & Highland Center in Hollywood.

“Choosing the honorees for its awards each year is the happiest of all the Board of Governors’ work,” said Academy president John Bailey.

On Tuesday night, the Board of Governors of the Academy of Motion Picture Arts and Sciences voted for this year’s Governors Awards. Honorary Oscar winners are publicist Marvin Levy, composer Lalo Schifrin, and actress Cicely Tyson. The Irving G. Thalberg Memorial Award will go to producers Kathleen Kennedy and Frank Marshal, all presented at the Academy’s 10th Annual Governors Awards on Sunday, November 18, at the Ray Dolby Ballroom at Hollywood & Highland Center.

This was a relatively happy and carefree decision. Still on the table is the fate of the Best Popular Film award, which was the subject of much discussion at the Telluride Film Festival, where the Academy throws an annual party. Lucasfilm president Kennedy, who is no longer on the Board, wondered if it was an idea worth saving.

The Irving G. Thalberg Memorial Award, a bust of the motion picture executive, is presented to creative producers...

On Tuesday night, the Board of Governors of the Academy of Motion Picture Arts and Sciences voted for this year’s Governors Awards. Honorary Oscar winners are publicist Marvin Levy, composer Lalo Schifrin, and actress Cicely Tyson. The Irving G. Thalberg Memorial Award will go to producers Kathleen Kennedy and Frank Marshal, all presented at the Academy’s 10th Annual Governors Awards on Sunday, November 18, at the Ray Dolby Ballroom at Hollywood & Highland Center.

This was a relatively happy and carefree decision. Still on the table is the fate of the Best Popular Film award, which was the subject of much discussion at the Telluride Film Festival, where the Academy throws an annual party. Lucasfilm president Kennedy, who is no longer on the Board, wondered if it was an idea worth saving.

The Irving G. Thalberg Memorial Award, a bust of the motion picture executive, is presented to creative producers...

The Board of Governors of the Academy of Motion Picture Arts and Sciences has voted to present Honorary Awards to publicist Marvin Levy, composer Lalo Schifrin, and actress Cicely Tyson, and the Irving G. Thalberg Memorial Award to producers Kathleen Kennedy and Frank Marshall.

The honors will be presented at the Academy’s 10th annual Governors Awards on Nov. 18 at the Ray Dolby Ballroom at Hollywood & Highland Center.

“Choosing the honorees for its awards each year is the happiest of all the Board of Governors’ work. And this year, its selection of five iconic artists was made with universal acclaim by the Academy’s 54 spirited governors,” said Academy president John Bailey in a statement released Wednesday.

The Honorary Award, an Oscar statuette, is given “to honor extraordinary distinction in lifetime achievement, exceptional contributions to the state of motion picture arts and sciences, or for outstanding service to the Academy.”

The Irving G.

Filmways Television co-founder and film/TV producer Martin Ransohoff has died. He was 90 years old and passed away at his home in Bel-Air, according to his family. Ransohoff had a long list of film and TV credits, including The Cincinnati Kid – a film on which he fired director Sam Peckinpah – as well as Save the Tiger, The Sandpiper (with Elizabeth Taylor and Richard Burton), Catch 22, Jagged Edge, The Americanization of Emily, Silver Streak, Ice Station Zebra, and TV…...

Filmways Television co-founder and film/TV producer Martin Ransohoff has died. He was 90 years old and passed away at his home in Bel-Air, according to his family. Ransohoff had a long list of film and TV credits, including The Cincinnati Kid – a film on which he fired director Sam Peckinpah – as well as Save the Tiger, The Sandpiper (with Elizabeth Taylor and Richard Burton), Catch 22, Jagged Edge, The Americanization of Emily, Silver Streak, Ice Station Zebra, and TV…...

Hal Ashby’s The Landlord, made in 1970, is probably the best movie of the 1970s not to be widely known by younger audiences, and even by some older audiences whose appreciation of the last great era of American moviemaking needs to be expanded beyond go-to classics like The Godfather and Chinatown and Taxi Driver. It’s Ashby’s first directorial effort, after work as assistant editor and chief film editor on The Diary of Anne Frank, The Cincinnati Kid and In the Heat of the Night, and it finds Ashby delighting in the freedom of fashioning experimental rules of editorial and visual expression in the process of translating a script from Bill Gunn (Ganja and Hess), based on Kristin Hunter’s novel, into what stands today as one of the funniest, most honest, cogent and probing explorations of race and American race relations in movie history. We had it on...

By John M. Whalen

Back in the 1950s, before he became a legend, filmmaker Sam Peckinpah (“The Wild Bunch,” “Bring Me the Head of Alfredo Garcia,” and “The Killer Elite”) wrote scripts for TV westerns, including “Gunsmoke,” “The Rifleman,” and “Tombstone Territory.” His reputation grew and in 1957 he wrote his first screenplay entitled “The Glory Guys” which was based on Hoffman Birney’s novel, “The Dice of God.” The book was a fictional account of Custer and the Battle of the Little Big Horn, with all names changed. The script went unproduced for almost eight years, and in the meantime Sam had moved on, directing features including “The Deadly Companions” (1960), “Ride the High Country” (1962) and “Major Dundee” (1965).

You would think that with that growing resume, Peckinpah would have been able to direct anything he wanted to, but such was far from the case. “Bloody Sam,” as he was called, affectionately by his fans,...

Longtime Ryan Murphy Repertory Company member Kathy Bates has signed up for the auteur’s newest FX anthology series Feud, TVLine has learned exclusively.

Season 1 of Feud will chronicle Joan Crawford (Jessica Lange) and Bette Davis’ (Susan Sarandon) combative collaboration on the big-screen classic What Ever Happened to Baby Jane?.

RelatedAmerican Horror Story: Ryan Murphy Hints at Next Season’s Freak Show Tie-In

Bates, who has appeared in four seasons of Murphy’s American Horror Story (including current edition Roanoke), will recur as Oscar-nominated actress and Davis confidante Joan Blondell in the eight-episode drama. During her five-decade career,...

Ann-Margret movies: From sex kitten to two-time Oscar nominee. Ann-Margret: 'Carnal Knowledge' and 'Tommy' proved that 'sex symbol' was a remarkable actress Ann-Margret, the '60s star who went from sex kitten to respected actress and two-time Oscar nominee, is Turner Classic Movies' star today, Aug. 13, '15. As part of its “Summer Under the Stars” series, TCM is showing this evening the movies that earned Ann-Margret her Academy Award nods: Mike Nichols' Carnal Knowledge (1971) and Ken Russell's Tommy (1975). Written by Jules Feiffer, and starring Jack Nicholson and Art Garfunkel, the downbeat – some have found it misogynistic; others have praised it for presenting American men as chauvinistic pigs – Carnal Knowledge is one of the precursors of “adult Hollywood moviemaking,” a rare species that, propelled by the success of disparate arthouse fare such as Vilgot Sjöman's I Am Curious (Yellow) and Costa-Gavras' Z, briefly flourished from...

Hong Sang-soo's Right Now, Wrong Then.The lineup for the 2015 festival has been revealed, including new films by Hong Sang-soo, Andrzej Zulawski, Chantal Akerman, Athina Rachel Tsangari, and others, alongside retrospectives and tributes dedicated to Sam Peckinpah, Michael Cimino, Bulle Ogier, and much more.Piazza GRANDERicki and the Flash (Jonathan Demme, USA)La belle saison (Catherine Corsini, France)Le dernier passage (Pascal Magontier, France)Der staat gegen Fritz Bauer (Lars Kraume, Germany)Southpaw (Antoine Fuqua, USA)Trainwreck (Judd Apatow, USA)Jack (Elisabeth Scharang, Austria)Floride (Philippe Le Guay, France)The Deer Hunter (Michael Cimino, UK/USA)Erlkönig (Georges Schwizgebel, Switzerland)Guibord s'en va-t-en guerre (Philippe Falardeau, Canada)Bombay Velvet (Anurag Kashyap, India)Pastorale cilentana (Mario Martone, Italy)La vanite (Lionel Baier, Switzerland/France)The Laundryman (Lee Chung, Taiwan)Me and Earl and the Dying Girl (Alfonso Gomez-Rejon, USA) I pugni ni tasca (Marco Bellocchio, Italy)Heliopolis (Sérgio Machado, Brazil)Amnesia (Barbet Schroeder,...