If the eponymous mid-’50s southwestern town in Wes Anderson’s “Asteroid City” resembles the iconic “Bad Day at Black Rock” (1955), it’s no coincidence. Oscar-winning production designer Adam Stockhausen (“The Grand Budapest Hotel”) found John Sturges’ neo-Western, shot in CinemaScope on the edge of Death Valley, a valuable reference for planning the landscape for this Pirandello-like play-within-a-tv-show-within-a-movie conceit.
“Absolutely, that was an influence,” Stockhausen (“Indiana Jones and the Dial of Destiny”) told IndieWire. “We started right with the credits introduction with the moving train and then, of course, crossing with the little white sign. Generally, we were looking at ‘Black Rock’ for overall how the town’s [located] in the landscape. But also we’d go in and look at tiny details, too. How the tar paper was nailed to the roof of the gas station, and we ended up using it for the way we wrapped the tar paper around the motel cabins.
“Absolutely, that was an influence,” Stockhausen (“Indiana Jones and the Dial of Destiny”) told IndieWire. “We started right with the credits introduction with the moving train and then, of course, crossing with the little white sign. Generally, we were looking at ‘Black Rock’ for overall how the town’s [located] in the landscape. But also we’d go in and look at tiny details, too. How the tar paper was nailed to the roof of the gas station, and we ended up using it for the way we wrapped the tar paper around the motel cabins.
- 6/23/2023
- by Bill Desowitz
- Indiewire
Icy rejection in Welles’s Chimes at Midnight, Chalamet stripped to the waist, a swaggering Chris Hemsworth – which will Charles channel on Saturday?
On the morning of Saturday 6 May, King Charles III will waken to the realisation that this is the day which he has anticipated, or perhaps dreaded, all his life. Yet there is no reason to suppose he will be nervous. He is a veteran of royal occasions by the thousand and, specifically, his own two weddings which he experienced at the ages of 32 and then 56; perhaps he once imagined his coronation would happen sometime between these two. Now he is 74 and, if anything will cloud the experience for him, it might be the memories of his parents’ recent (and comparably momentous) funerals.
But how do we imagine he will feel about his role in this sumptuous ritual which is in its way a survival from Britain’s pre-Reformation Catholic past?...
On the morning of Saturday 6 May, King Charles III will waken to the realisation that this is the day which he has anticipated, or perhaps dreaded, all his life. Yet there is no reason to suppose he will be nervous. He is a veteran of royal occasions by the thousand and, specifically, his own two weddings which he experienced at the ages of 32 and then 56; perhaps he once imagined his coronation would happen sometime between these two. Now he is 74 and, if anything will cloud the experience for him, it might be the memories of his parents’ recent (and comparably momentous) funerals.
But how do we imagine he will feel about his role in this sumptuous ritual which is in its way a survival from Britain’s pre-Reformation Catholic past?...
- 5/4/2023
- by Peter Bradshaw
- The Guardian - Film News
The wealth of Spain’s attractions as a big-shoot locale are in the details. To that end, below are the 37 Film Commissions or Film Offices that form part of the nationwide Spain Film Commission network, as well emblematic shoots, locations and initiatives:
Alicante Film Office
It was launched in 2008 to support shoots at Alicante’s Ciudad de la Luz studios, such as J.A. Bayona’s “The Impossible” and Ridley Scott’s “The Counselor.” Connected by high-speed train and an international airport, Alicante’s Santa Bárbara Castle featured in Movistar+’s “Tell Me Who I Am,” and Netflix’s “Money Heist” used its beaches and port. With Ciudad de la Luz reopening, international producers are returning, with Guy Ritchie’s “The Interpreter” shooting in the area.
ANDALUCÍA Film Commission
Boasting flagship destinations such as Tabernas — Europe’s biggest desert, which hosted “Lawrence of Arabia,” “Game of Thrones,” “Exodus: Gods and Kings...
Alicante Film Office
It was launched in 2008 to support shoots at Alicante’s Ciudad de la Luz studios, such as J.A. Bayona’s “The Impossible” and Ridley Scott’s “The Counselor.” Connected by high-speed train and an international airport, Alicante’s Santa Bárbara Castle featured in Movistar+’s “Tell Me Who I Am,” and Netflix’s “Money Heist” used its beaches and port. With Ciudad de la Luz reopening, international producers are returning, with Guy Ritchie’s “The Interpreter” shooting in the area.
ANDALUCÍA Film Commission
Boasting flagship destinations such as Tabernas — Europe’s biggest desert, which hosted “Lawrence of Arabia,” “Game of Thrones,” “Exodus: Gods and Kings...
- 9/10/2022
- by Emiliano De Pablos
- Variety Film + TV
(Welcome to The Daily Stream, an ongoing series in which the /Film team shares what they've been watching, why it's worth checking out, and where you can stream it.)
The Movie: "Chimes at Midnight"
Where You Can Stream It: HBO Max, Criterion Channel
The Pitch: Sir John Falstaff has long been one of William Shakespeare's most beloved characters. The brash, gluttonous soldier who pals around with the young Prince Hal in "Henry IV Parts I & II" is one of the Bard's greatest clowns and, if played correctly, souls. Though he is a supporting character in those works, Orson Welles decided to reconfigure the...
The post The Daily Stream: Orson Welles Finds The Soul Of Falstaff In Chimes At Midnight appeared first on /Film.
The Movie: "Chimes at Midnight"
Where You Can Stream It: HBO Max, Criterion Channel
The Pitch: Sir John Falstaff has long been one of William Shakespeare's most beloved characters. The brash, gluttonous soldier who pals around with the young Prince Hal in "Henry IV Parts I & II" is one of the Bard's greatest clowns and, if played correctly, souls. Though he is a supporting character in those works, Orson Welles decided to reconfigure the...
The post The Daily Stream: Orson Welles Finds The Soul Of Falstaff In Chimes At Midnight appeared first on /Film.
- 5/3/2022
- by Mike Shutt
- Slash Film
After making what many people cite as the greatest film ever made, “Citizen Kane” (1941), multi-talented actor, writer, director and producer Orson Welles struggled to live up to the success he achieved when he was just 26 years old. Yet seen today, many of the films he made afterwards have attained a similar acclaim. Let’s take a look back at all 13 of his completed feature films as a director, ranked worst to best.
Born in 1915, Welles first came to prominence as a stage director, mounting groundbreaking productions of “Macbeth,” “Dr. Faustus,” and “The Cradle Will Rock” before forming his own repertory company, The Mercury Theater. In addition to Welles, the Mercury Theater Players included Joseph Cotten, Ray Collins, Agnes Moorhead, Everett Sloane, George Coulouris, Norman Lloyd, Martin Gabel and Paul Stewart, many of whom would go onto appear in the director’s films.
It was the Mercury Theater’s transition into...
Born in 1915, Welles first came to prominence as a stage director, mounting groundbreaking productions of “Macbeth,” “Dr. Faustus,” and “The Cradle Will Rock” before forming his own repertory company, The Mercury Theater. In addition to Welles, the Mercury Theater Players included Joseph Cotten, Ray Collins, Agnes Moorhead, Everett Sloane, George Coulouris, Norman Lloyd, Martin Gabel and Paul Stewart, many of whom would go onto appear in the director’s films.
It was the Mercury Theater’s transition into...
- 4/28/2022
- by Zach Laws and Chris Beachum
- Gold Derby
If you examine Ridley Scott’s filmography, the 83-year-old director has never made the same film twice: Following his breakout with the peerlessly suspenseful sci-fi thriller “Alien,” he traded aliens for alienation in “Blade Runner,” followed by explorations of myriad genres in films like “Thelma & Louise,” “Hannibal,” “Robin Hood,” and “The Martian.”
The whodunnit makes it into his filmography with “The Last Duel”: Adapting Eric Jager’s 2004 non-fiction book with screenwriters Matt Damon, Ben Affleck and Nicole Holofcener, Scott spins a medieval yarn that is by turns gruesome, grotesque, gorgeous, and inconsistent.
The Hundred Years’ War is ravaging France, and knight Jean de Carrouges (Damon) has been away fighting for nearly a year. When Jean returns from battle, he’s perplexed and completely unaware of what’s happened to his wife Marguerite; she claims to have been raped by his best friend and fellow knight, Jacques LeGris (Adam Driver...
The whodunnit makes it into his filmography with “The Last Duel”: Adapting Eric Jager’s 2004 non-fiction book with screenwriters Matt Damon, Ben Affleck and Nicole Holofcener, Scott spins a medieval yarn that is by turns gruesome, grotesque, gorgeous, and inconsistent.
The Hundred Years’ War is ravaging France, and knight Jean de Carrouges (Damon) has been away fighting for nearly a year. When Jean returns from battle, he’s perplexed and completely unaware of what’s happened to his wife Marguerite; she claims to have been raped by his best friend and fellow knight, Jacques LeGris (Adam Driver...
- 9/10/2021
- by Asher Luberto
- The Wrap
Acclaimed writer/director David Lowery joins Josh and Joe to discuss the films that inspired The Green Knight.
Show Notes: Movies Referenced In This Episode
The Green Knight (2021)
Peter Pan & Wendy (2022)
Lawrence Of Arabia (1962)
The Old Man And The Gun (2018)
A Ghost Story (2017)
Pete’s Dragon (1977)
Pete’s Dragon (2016) – Glenn Erickson’s review
Ain’t Them Bodies Saints (2013)
Ghost Story (1974)
Sword of the Valiant (1984)
Gawain and the Green Knight (1973)
Electric Boogaloo: The Wild, Untold Story of Cannon Films (2014)
Masters of the Universe (1987) – Josh Olson’s trailer commentary
Andrei Rublev (1966) – Glenn Erickson’s Criterion Blu-ray review, Dennis Cozzalio’s Muriel Awards blurb
War And Peace (1966) – Glenn Erickson’s Blu-ray review
Heaven’s Gate (1980)
The Passion Of Joan Of Arc (1928) – Charlie Largent’s Criterion Blu-ray review
The Devils (1971)
Space Jam: A New Legacy (2021)
A Clockwork Orange (1971)
The Conjuring (2013)
Jubilee (1978)
Benedetta (2021)
Dune (1984)
Dune (2021)
Hard To Be A God (2013)
Jodorowsky’s Dune (2013)
Moby Dick (1956) – Ernest Dickerson’s trailer commentary,...
Show Notes: Movies Referenced In This Episode
The Green Knight (2021)
Peter Pan & Wendy (2022)
Lawrence Of Arabia (1962)
The Old Man And The Gun (2018)
A Ghost Story (2017)
Pete’s Dragon (1977)
Pete’s Dragon (2016) – Glenn Erickson’s review
Ain’t Them Bodies Saints (2013)
Ghost Story (1974)
Sword of the Valiant (1984)
Gawain and the Green Knight (1973)
Electric Boogaloo: The Wild, Untold Story of Cannon Films (2014)
Masters of the Universe (1987) – Josh Olson’s trailer commentary
Andrei Rublev (1966) – Glenn Erickson’s Criterion Blu-ray review, Dennis Cozzalio’s Muriel Awards blurb
War And Peace (1966) – Glenn Erickson’s Blu-ray review
Heaven’s Gate (1980)
The Passion Of Joan Of Arc (1928) – Charlie Largent’s Criterion Blu-ray review
The Devils (1971)
Space Jam: A New Legacy (2021)
A Clockwork Orange (1971)
The Conjuring (2013)
Jubilee (1978)
Benedetta (2021)
Dune (1984)
Dune (2021)
Hard To Be A God (2013)
Jodorowsky’s Dune (2013)
Moby Dick (1956) – Ernest Dickerson’s trailer commentary,...
- 8/31/2021
- by Kris Millsap
- Trailers from Hell
Gary Oldman plays “Citizen Kane” screenwriter Herman J. Mankiewicz in the new David Fincher film “Mank.” The Oscar winner has been nominated at the Golden Globes, Critics Choice and SAG Awards for his performance.
Oldman recently spoke with Gold Derby managing editor Chris Beachum about how thoughts on Mankiewicz himself, working with Fincher for the first time and his memories of winning his Oscar for “Darkest Hour.” Watch the exclusive chat above and read the complete transcript below.
SEEGary Oldman on seeing ‘Mank’ on the big screen: ‘There’s a point where you think you’re watching a film from 1940’
Gold Derby: Gary, you’re playing Herman J. Mankiewicz. I think you already knew that. Just making sure the audience knew that. Famous screenwriter, co-writer of “Citizen Kane.” If you could have magically talked to him as you were preparing for this role, what’s something you would have liked...
Oldman recently spoke with Gold Derby managing editor Chris Beachum about how thoughts on Mankiewicz himself, working with Fincher for the first time and his memories of winning his Oscar for “Darkest Hour.” Watch the exclusive chat above and read the complete transcript below.
SEEGary Oldman on seeing ‘Mank’ on the big screen: ‘There’s a point where you think you’re watching a film from 1940’
Gold Derby: Gary, you’re playing Herman J. Mankiewicz. I think you already knew that. Just making sure the audience knew that. Famous screenwriter, co-writer of “Citizen Kane.” If you could have magically talked to him as you were preparing for this role, what’s something you would have liked...
- 3/3/2021
- by Kevin Jacobsen and Chris Beachum
- Gold Derby
Navarre has never had such a prominent presence at the San Sebastian Festival as in this year’s lineup.
Five linked-to-Navarre productions – three films, a TV series and a documentary – will screen at the Festival, highlighting its status as a standout hub for the Spanish audiovisual industry.
Navarre’s higher-profile at San Sebastian, the biggest movie event in the Spanish-speaking world, is no coincidence.
Since 2015, the northern Spain region has attracted Spanish productions and co-production shoots thanks in part to a 35% corporate tax deduction for Navarre-based companies investing in productions that spend at least 40% of their budgets in the territory.
Productions such as HBO’s “Game of Thrones,” Terry Gillian’s “The Man Who Killed Don Quixote,” Asian B.O. hit “Line Walker 2: Invisible Spy,” Netflix hit prison drama “La noche de 12 años,” and local blockbuster “Ocho apellidos vascos” (“Spanish Affair”) filmed there in recent years.
The region is taking advantage of accessible,...
Five linked-to-Navarre productions – three films, a TV series and a documentary – will screen at the Festival, highlighting its status as a standout hub for the Spanish audiovisual industry.
Navarre’s higher-profile at San Sebastian, the biggest movie event in the Spanish-speaking world, is no coincidence.
Since 2015, the northern Spain region has attracted Spanish productions and co-production shoots thanks in part to a 35% corporate tax deduction for Navarre-based companies investing in productions that spend at least 40% of their budgets in the territory.
Productions such as HBO’s “Game of Thrones,” Terry Gillian’s “The Man Who Killed Don Quixote,” Asian B.O. hit “Line Walker 2: Invisible Spy,” Netflix hit prison drama “La noche de 12 años,” and local blockbuster “Ocho apellidos vascos” (“Spanish Affair”) filmed there in recent years.
The region is taking advantage of accessible,...
- 9/18/2020
- by Emiliano De Pablos
- Variety Film + TV
Danish writer Karen Blixen, whose memoir “Out of Africa” and short story “Babette’s Feast” were both turned into Academy Award-winning films, is now the subject of another big-screen makeover with an adaptation of her short story “The Immortal Story” set to be penned by Argentina’s Daniel Rosenfeld and Lucía Puenzo.
Argentine-French actor Nahuel Pérez Biscayart (“Bpm (Beats per Minute)”) and Leonardo Sbaraglia have signed letters of intent to head up the cast, along with an international actor and actress, which have yet to be confirmed, Rosenfeld told Variety.
Director-producer of Idfa player “Piazzola, the Years of the Shark,” which won best documentary at Argentina’s 2018 Academy Awards, Rosenfeld has purchased rights to the story, which was adapted by Orson Welles in 1968.
Rosenfeld is currently writing the screenplay adaptation with Puenzo, one of Latin America’s most courted film directors and showrunner on Amazon’s “La Jauría,” produced by Fabula and Fremantle.
Argentine-French actor Nahuel Pérez Biscayart (“Bpm (Beats per Minute)”) and Leonardo Sbaraglia have signed letters of intent to head up the cast, along with an international actor and actress, which have yet to be confirmed, Rosenfeld told Variety.
Director-producer of Idfa player “Piazzola, the Years of the Shark,” which won best documentary at Argentina’s 2018 Academy Awards, Rosenfeld has purchased rights to the story, which was adapted by Orson Welles in 1968.
Rosenfeld is currently writing the screenplay adaptation with Puenzo, one of Latin America’s most courted film directors and showrunner on Amazon’s “La Jauría,” produced by Fabula and Fremantle.
- 7/6/2020
- by John Hopewell
- Variety Film + TV
“The King” is a film full of surprises: It’s a saga that strays both from history and from Shakespeare in its tale of power and betrayal; it brilliantly casts Timothée Chalamet against type to portray a young man who has weighty responsibilities suddenly thrust upon him; and it’s a smart and taut bit of storytelling from David Michôd, whose previous feature “War Machine” was neither of those things.
How well this moody (and moodily-lit) story will translate to Netflix is anyone’s guess — watch it in a dark room for full effect — but on any-sized screen, it’s a historical piece that defies expectation and offers both the thrills of battle and a thoughtful critique of war and imperialism.
Structurally, this is a story you know from “Henry IV, Part 2” and “Henry V” (or “Chimes at Midnight” or “My Own Private Idaho”). Prince Hal (Chalamet) lives a life of hedonism,...
How well this moody (and moodily-lit) story will translate to Netflix is anyone’s guess — watch it in a dark room for full effect — but on any-sized screen, it’s a historical piece that defies expectation and offers both the thrills of battle and a thoughtful critique of war and imperialism.
Structurally, this is a story you know from “Henry IV, Part 2” and “Henry V” (or “Chimes at Midnight” or “My Own Private Idaho”). Prince Hal (Chalamet) lives a life of hedonism,...
- 10/31/2019
- by Alonso Duralde
- The Wrap
Oh, for a muse of bowl-cut hair that would ascend / The brightest heaven of invention!
A newly groomed Timothée Chalamet stars as Henry V in David Michôd’s latest film The King, a post-modern, mud-and-guts reworking of William Shakespeare’s trilogy of plays on the reluctant ruler. As indebted to the mood and visual language of Game of Thrones as it is to the Bard’s texts, Michôd provides finely worked entertainment with a compelling and significant central performance from Chalamet–who frankly hasn’t had to carry a film in quite this way before.
The director adapted the script with the help of his fellow countryman and frequent collaborator Joel Edgerton. The Australian actor also costars here as the boozy, gregarious Falstaff in a performance that echoes Orson Welles’ take on the same character in Chimes at Midnight but later shifts away from the source material and into something...
A newly groomed Timothée Chalamet stars as Henry V in David Michôd’s latest film The King, a post-modern, mud-and-guts reworking of William Shakespeare’s trilogy of plays on the reluctant ruler. As indebted to the mood and visual language of Game of Thrones as it is to the Bard’s texts, Michôd provides finely worked entertainment with a compelling and significant central performance from Chalamet–who frankly hasn’t had to carry a film in quite this way before.
The director adapted the script with the help of his fellow countryman and frequent collaborator Joel Edgerton. The Australian actor also costars here as the boozy, gregarious Falstaff in a performance that echoes Orson Welles’ take on the same character in Chimes at Midnight but later shifts away from the source material and into something...
- 9/5/2019
- by Rory O'Connor
- The Film Stage
Netflix may get most of the attention, but it’s hardly a one-stop shop for cinephiles who are looking to stream essential classic and contemporary films. Each of the prominent streaming platforms — and there are more of them all the time — caters to its own niche of film obsessives.
From chilling horror fare on Shudder, to the boundless wonders of the Criterion Channel, and esoteric (but unmissable) festival hits on the newly launched Ovid.tv, IndieWire’s monthly guide will highlight the best of what’s coming to every major streaming site, with an eye towards exclusive titles that may help readers decide which of these services is right for them.
Here’s the best of the best for July 2019.
Amazon Prime
Once again dumping the brunt of its film offering at the tail end of the month, Amazon Prime isn’t doing much to distinguish itself with its July...
From chilling horror fare on Shudder, to the boundless wonders of the Criterion Channel, and esoteric (but unmissable) festival hits on the newly launched Ovid.tv, IndieWire’s monthly guide will highlight the best of what’s coming to every major streaming site, with an eye towards exclusive titles that may help readers decide which of these services is right for them.
Here’s the best of the best for July 2019.
Amazon Prime
Once again dumping the brunt of its film offering at the tail end of the month, Amazon Prime isn’t doing much to distinguish itself with its July...
- 7/8/2019
- by David Ehrlich
- Indiewire
Orson Welles would’ve celebrated his 104th birthday on May 6, 2019. After making what many people cite as the greatest film ever made, “Citizen Kane” (1941), the multi-talented actor, writer, director and producer struggled to live up to the success he achieved when he was just 26 years old. Yet seen today, many of the films he made afterwards have attained a similar acclaim. In honor of his birthday, let’s take a look back at all 13 of his completed feature films as a director, ranked worst to best.
Born in 1915, Welles first came to prominence as a stage director, mounting groundbreaking productions of “Macbeth,” “Dr. Faustus,” and “The Cradle Will Rock” before forming his own repertory company, The Mercury Theater. In addition to Welles, the Mercury Theater Players included Joseph Cotten, Ray Collins, Agnes Moorhead, Everett Sloane, George Coulouris, Norman Lloyd, Martin Gabel and Paul Stewart, many of whom would go onto...
Born in 1915, Welles first came to prominence as a stage director, mounting groundbreaking productions of “Macbeth,” “Dr. Faustus,” and “The Cradle Will Rock” before forming his own repertory company, The Mercury Theater. In addition to Welles, the Mercury Theater Players included Joseph Cotten, Ray Collins, Agnes Moorhead, Everett Sloane, George Coulouris, Norman Lloyd, Martin Gabel and Paul Stewart, many of whom would go onto...
- 5/6/2019
- by Zach Laws and Chris Beachum
- Gold Derby
For those of you wondering why “Braveheart” was only three hours, when the wars of Scottish independence lasted decades, there’s now two more hours of it in the form of “Outlaw King.”
Taking place in the space between William Wallace’s insurgency and the “Braveheart” coda, “Hell or High Water” director David Mackenzie’s ruddy, muddy, bloody 14th-century chronicle of the successfully rebellious campaign Robert the Bruce (Chris Pine) waged against English king Edward I (Stephen Dillane) isn’t likely to replace Mel Gibson’s Oscar-winning warrior cry in the pantheon of medieval war epics. Sometimes, getting there first with overlooked, then heightened, battle history has pop culture advantages.
But as Netflix-and-kill offerings go, “Outlaw King” is a respectably engaging slice of freedom-fighting bluster, if ultimately suffering from the same need to bleed that weighs down most warfare sagas these days. Mackenzie shaved 20 minutes or so after its...
Taking place in the space between William Wallace’s insurgency and the “Braveheart” coda, “Hell or High Water” director David Mackenzie’s ruddy, muddy, bloody 14th-century chronicle of the successfully rebellious campaign Robert the Bruce (Chris Pine) waged against English king Edward I (Stephen Dillane) isn’t likely to replace Mel Gibson’s Oscar-winning warrior cry in the pantheon of medieval war epics. Sometimes, getting there first with overlooked, then heightened, battle history has pop culture advantages.
But as Netflix-and-kill offerings go, “Outlaw King” is a respectably engaging slice of freedom-fighting bluster, if ultimately suffering from the same need to bleed that weighs down most warfare sagas these days. Mackenzie shaved 20 minutes or so after its...
- 11/8/2018
- by Robert Abele
- The Wrap
Cyril Connolly famously noted that “whom the gods wish to destroy, they first call promising,” an observation Orson Welles fought his whole post-“Citizen Kane” life. But Welles’ legend as one of cinema’s true geniuses — and most fervid champions of its worth as art — is also such that when he leaves enough footage behind from an unfulfilled project, others are only too eager to see it through, to celebrate him anew. Even 40 years later.
“The Other Side of the Wind,” which Welles filmed between 1970 and 1976, and built around a riotous, revealing 70th birthday party for an exiled filmmaker (John Huston) engineering a comeback, was always the unfinished work most likely to see fruition. Now, thanks to producers Frank Marshall (who worked on the initial shoot) and Filip Van Rymsza, Peter Bogdanovich (one of the movie’s co-stars), and editor Bob Murawski (“The Hurt Locker”), there’s a completed version...
“The Other Side of the Wind,” which Welles filmed between 1970 and 1976, and built around a riotous, revealing 70th birthday party for an exiled filmmaker (John Huston) engineering a comeback, was always the unfinished work most likely to see fruition. Now, thanks to producers Frank Marshall (who worked on the initial shoot) and Filip Van Rymsza, Peter Bogdanovich (one of the movie’s co-stars), and editor Bob Murawski (“The Hurt Locker”), there’s a completed version...
- 10/31/2018
- by Robert Abele
- The Wrap
Errol Morris excels at interrogating morally complicated men, from Robert McNamara to Donald Rumsfeld, but he’s never ventured as far to the dark side as he does with “American Dharma.” Confronting Steve Bannon in a cold, empty room for the duration of this unsettling portrait, Morris presses the alt-right icon to justify the racist ideology behind the machinations that propelled Donald Trump to the White House.
Morris consolidates Bannon’s evolution from conservative media maverick to the architect of the Trump campaign into a slick overview. However, those details are less compelling than Morris’ tendencies to interrupt Bannon’s self-mythologizing in search of the truth. “American Dharma” delivers a suspenseful and upsetting showdown between one man confident of his cause and another mortified by it.
At certain points, “American Dharma” becomes a nightmarish variation on a TCM special, with Bannon narrating highlights from some of his favorite movies, drawing...
Morris consolidates Bannon’s evolution from conservative media maverick to the architect of the Trump campaign into a slick overview. However, those details are less compelling than Morris’ tendencies to interrupt Bannon’s self-mythologizing in search of the truth. “American Dharma” delivers a suspenseful and upsetting showdown between one man confident of his cause and another mortified by it.
At certain points, “American Dharma” becomes a nightmarish variation on a TCM special, with Bannon narrating highlights from some of his favorite movies, drawing...
- 9/5/2018
- by Eric Kohn
- Indiewire
After being dropped as a participant by The New Yorker Festival former top Trump advisor Steve Bannon is expected tomorrow on the Venice Film Festival’s red carpet for the world premiere of “American Dharma,” the documentary about him directed by Errol Morris.
Bannon, who will not be doing press at the festival, is currently in Venice and is expected to attend the gala screening of the doc on the Lido tomorrow. The festival has confirmed that Bannon will probably attend the premiere, but not as part of its official delegation.
There was never a plan for Bannon to attend the press conference, according to the doc’s publicist.
“American Dharma,” which is launching from Venice out-of-competition, stems from a sit-down between the alt-right maven and Morris who previously turned his cameras on such controversial figures as Donald Rumsfeld (“The Unknown Known”) and Robert McNamara (“The Fog of War”).
The 95-minute doc,...
Bannon, who will not be doing press at the festival, is currently in Venice and is expected to attend the gala screening of the doc on the Lido tomorrow. The festival has confirmed that Bannon will probably attend the premiere, but not as part of its official delegation.
There was never a plan for Bannon to attend the press conference, according to the doc’s publicist.
“American Dharma,” which is launching from Venice out-of-competition, stems from a sit-down between the alt-right maven and Morris who previously turned his cameras on such controversial figures as Donald Rumsfeld (“The Unknown Known”) and Robert McNamara (“The Fog of War”).
The 95-minute doc,...
- 9/4/2018
- by Nick Vivarelli
- Variety Film + TV
Supporters of the Shakespeare Center of La for 25 years and counting, Tom Hanks and Rita Wilson were looking forward to performing opposite each other in Dan Sullivan’s production of “Henry IV,” Wilson shared with Variety at the opening night celebration of the play on Saturday.
But prior to rehearsals starting, which artistic director Ben Donenberg relayed were six days a week for eight hours a day for five weeks, Wilson had to bow out of the role of Mistress Quickly.
“I had another project, an independent, that I was attached to. Financing was good and fell out, good and fell out, until finally financing happened but only in a very specific timeframe. Because that project predated the play, I felt obligated to keep my word,” Wilson explained.
Tony-winner Rondi Reed replaced her in the role, alongside castmembers Joe Morton as the titular king, Hamish Linklater as Prince Hal, Harry Groener as Northumberland,...
But prior to rehearsals starting, which artistic director Ben Donenberg relayed were six days a week for eight hours a day for five weeks, Wilson had to bow out of the role of Mistress Quickly.
“I had another project, an independent, that I was attached to. Financing was good and fell out, good and fell out, until finally financing happened but only in a very specific timeframe. Because that project predated the play, I felt obligated to keep my word,” Wilson explained.
Tony-winner Rondi Reed replaced her in the role, alongside castmembers Joe Morton as the titular king, Hamish Linklater as Prince Hal, Harry Groener as Northumberland,...
- 6/10/2018
- by Tara Bitran
- Variety Film + TV
Cannes Classics 2018’s opening nighter is Irish filmmaker Mark Cousins’ intimate documentary “The Eyes of Orson Welles,” which was invited to Cannes before Netflix pulled its own two Welles entries, the completed “The Other Side of the Wind” and Morgan Neville’s accompanying Welles documentary “They’ll Love Me When I’m Dead.”
Cousins (“The Story of Film: An Odyssey”) narrates his charming love letter to the late Welles, which is the first original film backed by the Filmstruck and TCM partnership (as well as the BBC and other funders), and is for sale to Cannes buyers.
“I’m interested in a more personal voice,” he said in a phone interview from Scotland, “in what happens when you look someone in the eye, as it were, and address them directly. It’s a more intimate and emotional language.”
He first adopted letter-writing on “Eisenstein and Lawrence,” his 2016 documentary short about...
Cousins (“The Story of Film: An Odyssey”) narrates his charming love letter to the late Welles, which is the first original film backed by the Filmstruck and TCM partnership (as well as the BBC and other funders), and is for sale to Cannes buyers.
“I’m interested in a more personal voice,” he said in a phone interview from Scotland, “in what happens when you look someone in the eye, as it were, and address them directly. It’s a more intimate and emotional language.”
He first adopted letter-writing on “Eisenstein and Lawrence,” his 2016 documentary short about...
- 5/9/2018
- by Anne Thompson
- Thompson on Hollywood
Cannes Classics 2018’s opening nighter is Irish filmmaker Mark Cousins’ intimate documentary “The Eyes of Orson Welles,” which was invited to Cannes before Netflix pulled its own two Welles entries, the completed “The Other Side of the Wind” and Morgan Neville’s accompanying Welles documentary “They’ll Love Me When I’m Dead.”
Cousins (“The Story of Film: An Odyssey”) narrates his charming love letter to the late Welles, which is the first original film backed by the Filmstruck and TCM partnership (as well as the BBC and other funders), and is for sale to Cannes buyers.
“I’m interested in a more personal voice,” he said in a phone interview from Scotland, “in what happens when you look someone in the eye, as it were, and address them directly. It’s a more intimate and emotional language.”
He first adopted letter-writing on “Eisenstein and Lawrence,” his 2016 documentary short about...
Cousins (“The Story of Film: An Odyssey”) narrates his charming love letter to the late Welles, which is the first original film backed by the Filmstruck and TCM partnership (as well as the BBC and other funders), and is for sale to Cannes buyers.
“I’m interested in a more personal voice,” he said in a phone interview from Scotland, “in what happens when you look someone in the eye, as it were, and address them directly. It’s a more intimate and emotional language.”
He first adopted letter-writing on “Eisenstein and Lawrence,” his 2016 documentary short about...
- 5/9/2018
- by Anne Thompson
- Indiewire
Cannes Film Festival director Thierry Fremaux is in an unenviable position. He needs, and loves, to bring name auteur filmmakers to his festival. There aren’t enough of them, and one of his auteur suppliers just pulled out of Cannes 2018. Last year, Netflix delivered Noah Baumbach (“The Meyerowitz Stories”) and 2011 Camera D’or jury head Bong Joon Ho (“Okja”). When the Official Selection is announced tomorrow morning, it won’t include Netflix films from Alfonso Cuaron (“Roma”), Jeremy Saulnier (“Hold the Dark”), and Paul Greengrass (“Norway”).
That’s because the granddaddy of all festivals is in France, whose film industry maintains a complex, legally binding system of funding and releasing movies in which shares of revenues are given back to producers for production. It used to be the envy of the film world; now, it looks hopelessly out of date.
Any movie that plays in French theaters must wait 36 months...
That’s because the granddaddy of all festivals is in France, whose film industry maintains a complex, legally binding system of funding and releasing movies in which shares of revenues are given back to producers for production. It used to be the envy of the film world; now, it looks hopelessly out of date.
Any movie that plays in French theaters must wait 36 months...
- 4/11/2018
- by Anne Thompson
- Thompson on Hollywood
Cannes Film Festival director Thierry Fremaux is in an unenviable position. He needs, and loves, to bring name auteur filmmakers to his festival. There aren’t enough of them, and one of his auteur suppliers just pulled out of Cannes 2018. Last year, Netflix delivered Noah Baumbach (“The Meyerowitz Stories”) and 2011 Camera D’or jury head Bong Joon Ho (“Okja”). When the Official Selection is announced tomorrow morning, it won’t include Netflix films from Alfonso Cuaron (“Roma”), Jeremy Saulnier (“Hold the Dark”), and Paul Greengrass (“Norway”).
That’s because the granddaddy of all festivals is in France, whose film industry maintains a complex, legally binding system of funding and releasing movies in which shares of revenues are given back to producers for production. It used to be the envy of the film world; now, it looks hopelessly out of date.
Any movie that plays in French theaters must wait 36 months...
That’s because the granddaddy of all festivals is in France, whose film industry maintains a complex, legally binding system of funding and releasing movies in which shares of revenues are given back to producers for production. It used to be the envy of the film world; now, it looks hopelessly out of date.
Any movie that plays in French theaters must wait 36 months...
- 4/11/2018
- by Anne Thompson
- Indiewire
When discussing the cinematic adaptations of the works of one William Shakespeare, any and all conversations should really start and stop with one name, that being Orson Welles. Be it his legendary stagings of Julius Caesar or maybe the single greatest film adaptation of a Shakespeare work (or five, to be exact), Chimes at Midnight, Welles’ career is chock full of various top notch takes on The Bard’s canon, all of various different levels of experimentation. However, few look or feel quite like his film adaptation of the legendary playwright’s Othello.
Welles’ Othello is a profoundly moving and aesthetically audacious take on Shakespeare’s early 1600’s play, which tells the story of titular Moor of Venice, played brilliantly by a rarely-better Welles. The main narrative thrust of the film comes in the form of treachery and deceit, as committed by the bitter and ever-scheming Iago. Othello begins to believe that his wife,...
Welles’ Othello is a profoundly moving and aesthetically audacious take on Shakespeare’s early 1600’s play, which tells the story of titular Moor of Venice, played brilliantly by a rarely-better Welles. The main narrative thrust of the film comes in the form of treachery and deceit, as committed by the bitter and ever-scheming Iago. Othello begins to believe that his wife,...
- 10/20/2017
- by Joshua Brunsting
- CriterionCast
Othello
Blu-ray
Criterion
1952 / Black and White / 1:33 / Street Date October 10, 2017
Starring Orson Welles, Suzanne Cloutier, Micheál MacLiammóir
Cinematography by G.R. Aldo, Anchise Brizzi, George Fanto, Alberto Fusi, Oberdan Troiani
Written by William Shakespeare (Adapted by Orson Welles)
Edited by Jenö Csepreghy, Renzo Lucidi, William Morton, Jean Sacha
Produced by Orson Welles, Julien Derode
Directed by Orson Welles
Shakespeare didn’t invent Orson Welles but he did define him; it can be said that if any one director took arms against the slings and arrows of outrageous fortune, it was the man behind Citizen Kane, Touch of Evil and Chimes at Midnight. The 1952 production of Othello is exhibit A.
Filmed over a turbulent three year period in and around Morocco, Venice and Rome, Welles was bedeviled by an ever-changing cast and crew resulting in reshoots by five different cinematographers and assembled by four different editors. The sound recording was a joke.
Blu-ray
Criterion
1952 / Black and White / 1:33 / Street Date October 10, 2017
Starring Orson Welles, Suzanne Cloutier, Micheál MacLiammóir
Cinematography by G.R. Aldo, Anchise Brizzi, George Fanto, Alberto Fusi, Oberdan Troiani
Written by William Shakespeare (Adapted by Orson Welles)
Edited by Jenö Csepreghy, Renzo Lucidi, William Morton, Jean Sacha
Produced by Orson Welles, Julien Derode
Directed by Orson Welles
Shakespeare didn’t invent Orson Welles but he did define him; it can be said that if any one director took arms against the slings and arrows of outrageous fortune, it was the man behind Citizen Kane, Touch of Evil and Chimes at Midnight. The 1952 production of Othello is exhibit A.
Filmed over a turbulent three year period in and around Morocco, Venice and Rome, Welles was bedeviled by an ever-changing cast and crew resulting in reshoots by five different cinematographers and assembled by four different editors. The sound recording was a joke.
- 10/17/2017
- by Charlie Largent
- Trailers from Hell
By Jeremy Carr
It’s easy to see why Orson Welles’ Chimes at Midnight is generally regarded as his finest post-Touch of Evil achievement. This Shakespearean mélange is a dazzling showcase for Welles’ ingenuity, his evident appreciation for the film’s literary foundation, and his relentless aptitude for stylistic inventiveness. However, its haphazard production and its rocky release comprise a backstory as complicated as the movie’s multi-source construction (the script, based on the lengthy play “Five Kings,” written and first performed by Welles in the 1930s, samples scenes and dialogue from at least five of Shakespeare’s works, primarily “Henry IV,” parts one and two, “Richard II,” “Henry V,” and “The Merry Wives of Windsor”). Plagued by what were at this point familiar budgetary constraints, Welles shot Chimes at Midnight over the course of about seven months in Spain, with a break when the financial well went dry.
It’s easy to see why Orson Welles’ Chimes at Midnight is generally regarded as his finest post-Touch of Evil achievement. This Shakespearean mélange is a dazzling showcase for Welles’ ingenuity, his evident appreciation for the film’s literary foundation, and his relentless aptitude for stylistic inventiveness. However, its haphazard production and its rocky release comprise a backstory as complicated as the movie’s multi-source construction (the script, based on the lengthy play “Five Kings,” written and first performed by Welles in the 1930s, samples scenes and dialogue from at least five of Shakespeare’s works, primarily “Henry IV,” parts one and two, “Richard II,” “Henry V,” and “The Merry Wives of Windsor”). Plagued by what were at this point familiar budgetary constraints, Welles shot Chimes at Midnight over the course of about seven months in Spain, with a break when the financial well went dry.
- 4/8/2017
- by nospam@example.com (Cinema Retro)
- Cinemaretro.com
No, but Netflix can. Our streaming overlords buy themselves some Orson Welles.
Movies need money. They can win hearts, minds and lay the ground for thousands of little websites like this one to talk about them, but ultimately they need someone with bags of cash behind the scenes. Netflix, proud owner of one thousand hours of original content among other things, just dumped some of their cash bags on a movie called The Other Side of the Wind. It was filmed by Orson Welles in the early ’70s, stared Susan Strasberg, John Huston and Peter Bogdanovich, and was never fully edited or released to a general audience.
Welles’ movie had been initially funded by a mysterious Spanish producer (rumored to be Andrés Vicente Gómez) who, in turn, embezzled the money. It was then funded by Mehdi Bushehri, brother of the Iranian Shah, whose assets were seized after the Shah was overthrown in the Iranian Revolution. Then...
Movies need money. They can win hearts, minds and lay the ground for thousands of little websites like this one to talk about them, but ultimately they need someone with bags of cash behind the scenes. Netflix, proud owner of one thousand hours of original content among other things, just dumped some of their cash bags on a movie called The Other Side of the Wind. It was filmed by Orson Welles in the early ’70s, stared Susan Strasberg, John Huston and Peter Bogdanovich, and was never fully edited or released to a general audience.
Welles’ movie had been initially funded by a mysterious Spanish producer (rumored to be Andrés Vicente Gómez) who, in turn, embezzled the money. It was then funded by Mehdi Bushehri, brother of the Iranian Shah, whose assets were seized after the Shah was overthrown in the Iranian Revolution. Then...
- 3/15/2017
- by Andrew Karpan
- FilmSchoolRejects.com
Dimitri Kirsanoff's 1926 classic Ménilmontant, which is either a short feature or a very long short, is one of the great things. If you haven't already seen it, you have just been handed an urgent mission.Related to the impressionist school of Epstein, Dulac, amd Delluc, but not actually part of that gang or, seemingly, associated with any school, movement or company, Kirsanoff, an Estonian emigré, fashioned a silent film without intertitles that plays like an unholy mash-up of Chaplin and David Lynch.But little of Kirsanoff's other work is seen or discussed. A few lovely shorts are available on YouTube, but what became of him when he was absorbed into the film industry and had to become a professional?Le crâneur (The Hotshot) is the answer. It's a fifties crime movie inhabiting a world familiar to cinephiles from the movies of Jean-Pierre Melville, only the gangsters don't wear white...
- 2/16/2017
- MUBI
The Criterion Collection has announced its May offerings, including “Dheepan,” “Ghost World” and a Blu-ray update of “Jeanne Dielman, 23 quai du Commerce, 1080 Bruxelles.” Also joining the Collection are Orson Welles’ “Othello,” a new World Cinema Project collector’s set and Yasujirō Ozu’s “Good Morning.” More information below.
Read More: The Criterion Collection Announces April Titles: ‘Tampopo,’ ‘Rumble Fish,’ ‘Woman of the Year’ and More
“Ghost World”
“Terry Zwigoff’s first fiction film, adapted from a cult-classic comic by Daniel Clowes, is an idiosyncratic portrait of adolescent alienation that’s at once bleakly comic and wholly endearing. Set during the malaise-filled months following high-school graduation, ‘Ghost World’ follows the proud misfit Enid (Thora Birch), who confronts an uncertain future amid the cultural wasteland of consumerist suburbia. As her cynicism becomes too much to bear even for her best friend, Rebecca (Scarlett Johansson), Enid finds herself drawn to an unlikely kindred...
Read More: The Criterion Collection Announces April Titles: ‘Tampopo,’ ‘Rumble Fish,’ ‘Woman of the Year’ and More
“Ghost World”
“Terry Zwigoff’s first fiction film, adapted from a cult-classic comic by Daniel Clowes, is an idiosyncratic portrait of adolescent alienation that’s at once bleakly comic and wholly endearing. Set during the malaise-filled months following high-school graduation, ‘Ghost World’ follows the proud misfit Enid (Thora Birch), who confronts an uncertain future amid the cultural wasteland of consumerist suburbia. As her cynicism becomes too much to bear even for her best friend, Rebecca (Scarlett Johansson), Enid finds herself drawn to an unlikely kindred...
- 2/15/2017
- by Michael Nordine
- Indiewire
To celebrate The Criterion Collection’s 2016 releases — and there’s a lot to celebrate — Arik Devens, David Blakeslee, Keith Enright, Scott Nye, and Trevor Berrett gather to talk about the past year in Criterion, including their favorite three Criterion releases of 2016.
Subscribe to the podcast via RSS or in iTunes
Episode Notes Arik’s List
– Favorite Cover: A Brighter Summer Day
– Favorite Packaging: Trilogia de Guillermo del Toro
– Favorite Releases:
3) Fantastic Planet
2) Wim Wenders: The Road Trilogy
1) Night and Fog
David’s List
– Favorite Cover: Lady Snowblood
– Favorite Packaging: Dr. Strangelove, or: How I Learned to Stop Worrying and Love the Bomb
– Favorite Releases:
3) The Executioner/Death by Hanging
2) Chimes at Midnight
1) The Emigrants/The New Land
Keith’s List
– Favorite Cover: Akira Kurosawa’s Dreams
– Favorite Packaging: Valley and Beyond the Valley
– Favorite Releases:
3) Valley of the Dolls and Beyond the Valley
2) One-Eyed Jacks
1) The Kennedy Films of...
Subscribe to the podcast via RSS or in iTunes
Episode Notes Arik’s List
– Favorite Cover: A Brighter Summer Day
– Favorite Packaging: Trilogia de Guillermo del Toro
– Favorite Releases:
3) Fantastic Planet
2) Wim Wenders: The Road Trilogy
1) Night and Fog
David’s List
– Favorite Cover: Lady Snowblood
– Favorite Packaging: Dr. Strangelove, or: How I Learned to Stop Worrying and Love the Bomb
– Favorite Releases:
3) The Executioner/Death by Hanging
2) Chimes at Midnight
1) The Emigrants/The New Land
Keith’s List
– Favorite Cover: Akira Kurosawa’s Dreams
– Favorite Packaging: Valley and Beyond the Valley
– Favorite Releases:
3) Valley of the Dolls and Beyond the Valley
2) One-Eyed Jacks
1) The Kennedy Films of...
- 1/18/2017
- by David Blakeslee
- CriterionCast
While everyone else is busy asking if the movies are dying or not, the Criterion Collection — year after year — is quietly devoting themselves to making sure that the medium will live forever.
Widely accepted as the gold standard of DVD, Blu-Ray, and beyond (2016 saw the company expand their grasp on the world of home video with the launch of FilmStruck, a streaming platform that’s largely dedicated to their roster of films and the cinephiles who can’t live without them), Criterion operates in a gilded bubble of their own design — it doesn’t matter if physical media is on the decline, people who swore off buying DVDs years ago still find themselves stockpiling those beautifully packaged Criterion editions like they’re building a library of precious volumes, like their homes would be glaringly incomplete without them.
The Best of 2016: IndieWire’s Year in Review Bible
2016 was business...
Widely accepted as the gold standard of DVD, Blu-Ray, and beyond (2016 saw the company expand their grasp on the world of home video with the launch of FilmStruck, a streaming platform that’s largely dedicated to their roster of films and the cinephiles who can’t live without them), Criterion operates in a gilded bubble of their own design — it doesn’t matter if physical media is on the decline, people who swore off buying DVDs years ago still find themselves stockpiling those beautifully packaged Criterion editions like they’re building a library of precious volumes, like their homes would be glaringly incomplete without them.
The Best of 2016: IndieWire’s Year in Review Bible
2016 was business...
- 12/29/2016
- by David Ehrlich
- Indiewire
The great film historian Kevin Brownlow, who has devoted large sections of his life to restoring Abel Gance's 1927 epic Napoleon, takes a dim view of this one. And indeed Austerlitz, a.k.a. The Battle of Austerlitz, has several strikes against it, belongs to several categories of film maudit all at once. It's a late film by a seventy-one-year-old director whose best work, by universal consensus, was in the silent era; it's a kind of belated sequel, the further adventures of Napoleon Bonaparte; it's a Salkind production.Incidentally, viewing the lavish sets for this movie, we can see how the Salkinds, those roving multinational mountebanks, ran up the unpaid studio bills in Yugoslavia which kept Orson Welles from building the elaborate vanishing sets he had planned for The Trial (starting realistic, it would have ended up playing in a featureless void), necessitating the repurposing of a disused Parisian railway station.
- 12/1/2016
- MUBI
This episode centered on a major crisis that befalls Empire. One day, the entire company is taken completely by surprise as it becomes hacked by an anonymous entity. The bug– which at first manifests itself in the form of an email with an mp3 attachment of Tiana’s hit single ‘Me’– begins to affect to executives, […]
The post ‘Empire’ Season 3 Episode 6 Recap: ‘Chimes At Midnight’ appeared first on uInterview.
The post ‘Empire’ Season 3 Episode 6 Recap: ‘Chimes At Midnight’ appeared first on uInterview.
- 11/17/2016
- by Pablo Mena
- Uinterview
Her name is The Ghost of Rhonda Lyon, and she approves this mess…
Hold up. Are we entirely sure Empire‘s late white hope would applaud hubby Andre’s fedora-sporting, abandoned-warehouse lurking, mama’s tatas-exposing power-grab? Actually, of course she would.
RelatedLifetime’s Beaches Remake Gets Premiere Date — See New Photos
And while it’s most likely that Andre’s secret hack of Empire Entertainment’s emails/masters/customer info will end up with a beatdown from Lucious and a trip to the unemployment line, for now let’s just be happy that one of the Lyon kids made it...
Hold up. Are we entirely sure Empire‘s late white hope would applaud hubby Andre’s fedora-sporting, abandoned-warehouse lurking, mama’s tatas-exposing power-grab? Actually, of course she would.
RelatedLifetime’s Beaches Remake Gets Premiere Date — See New Photos
And while it’s most likely that Andre’s secret hack of Empire Entertainment’s emails/masters/customer info will end up with a beatdown from Lucious and a trip to the unemployment line, for now let’s just be happy that one of the Lyon kids made it...
- 11/17/2016
- TVLine.com
In this episode of CriterionCast Chronicles, Ryan is joined by David Blakeslee, and Scott Nye to discuss the Criterion Collection releases for August 2016.
Subscribe in iTunes or RSS.
Episode Links Ingrid Bergman: In Her Own Words Ingrid Bergman: In Her Own Words (2015) Ingrid Bergman: In Her Own Words on iTunes Ingrid Bergman: In Her Own Words: A Full Picture of a Life – From the Current Ingrid Bergman, Filmmaker – From the Current A Taste of Honey A Taste of Honey (1961) A Taste of Honey on iTunes A Taste of Honey: Northern Accents – From the Current Morrissey’s Taste for Shelagh Delaney – From the Current 10 Things I Learned: A Taste of Honey – From the Current Woman in the Dunes Woman in the Dunes (1964) Woman in the Dunes on iTunes Watch Woman in the Dunes | Hulu Three Films by Hiroshi Teshigahara The Spectral Landscape of Teshigahara, Abe, and...
Subscribe in iTunes or RSS.
Episode Links Ingrid Bergman: In Her Own Words Ingrid Bergman: In Her Own Words (2015) Ingrid Bergman: In Her Own Words on iTunes Ingrid Bergman: In Her Own Words: A Full Picture of a Life – From the Current Ingrid Bergman, Filmmaker – From the Current A Taste of Honey A Taste of Honey (1961) A Taste of Honey on iTunes A Taste of Honey: Northern Accents – From the Current Morrissey’s Taste for Shelagh Delaney – From the Current 10 Things I Learned: A Taste of Honey – From the Current Woman in the Dunes Woman in the Dunes (1964) Woman in the Dunes on iTunes Watch Woman in the Dunes | Hulu Three Films by Hiroshi Teshigahara The Spectral Landscape of Teshigahara, Abe, and...
- 9/18/2016
- by Ryan Gallagher
- CriterionCast
In this episode of Off The Shelf, Ryan and Brian take a look at the new DVD and Blu-ray releases for the weeks of August 30th, 2016 and September 6th.
Subscribe in iTunes or RSS.
Episode Notes & Links News Assault on Precinct 13 (1976) Star Trek: The original Series – The Roddenberry Vault Blu-ray The Skull Blu-ray Olive Films Announce November Titles The Bruce Lee Premiere Collection Blu-ray: The Big Boss, Fist of Fury, The Way of the Dragon, Game of Death 50% Off Arrow DVDs & Blu-rays | Barnes & Noble Amazon.com: Middle-earth Limited Collector’s Edition (Blu-ray + DVD): Various: Movies & TV American Buffalo (1996) Going Out Of Print September 12th!! – Screen Archives Entertainment Links to Amazon
8/30
Arrow: Season 4 Barbarosa Chimes at Midnight Destiny The Immortal Story The Jungle Book The Night Manager Star Wars Rebels: The Complete Season 2 Disco Godfather Evils of the Night Eyewitness Hangmen Also Die! People of the Mountains Sid And Nancy...
Subscribe in iTunes or RSS.
Episode Notes & Links News Assault on Precinct 13 (1976) Star Trek: The original Series – The Roddenberry Vault Blu-ray The Skull Blu-ray Olive Films Announce November Titles The Bruce Lee Premiere Collection Blu-ray: The Big Boss, Fist of Fury, The Way of the Dragon, Game of Death 50% Off Arrow DVDs & Blu-rays | Barnes & Noble Amazon.com: Middle-earth Limited Collector’s Edition (Blu-ray + DVD): Various: Movies & TV American Buffalo (1996) Going Out Of Print September 12th!! – Screen Archives Entertainment Links to Amazon
8/30
Arrow: Season 4 Barbarosa Chimes at Midnight Destiny The Immortal Story The Jungle Book The Night Manager Star Wars Rebels: The Complete Season 2 Disco Godfather Evils of the Night Eyewitness Hangmen Also Die! People of the Mountains Sid And Nancy...
- 9/7/2016
- by Ryan Gallagher
- CriterionCast
David’s Quick Take for the tl;dr Media Consumer:
This subdued hour long late-career enigma from Orson Welles initially feels a bit sad and anti-climactic when it’s presented as his “final completed fictional feature” (as stated on the back of the new Criterion Collection release.) A quiet, languidly paced adaptation of an Isak Dinesen short story, there’s very little action to stimulate the senses much of the time, with most lines delivered by actors sitting down, standing still and speaking rather quietly. When the tension ramps up a bit toward the end, the self-conscious art house touches run a great risk of falling flat and coming across as unintentionally comical. But the excellent 4K restoration, a well-curated selection of supplemental features, and above all else, the compelling presentation of a great man and cultural innovator entering his artistic decline makes the new Blu-ray package of The Immortal Story...
This subdued hour long late-career enigma from Orson Welles initially feels a bit sad and anti-climactic when it’s presented as his “final completed fictional feature” (as stated on the back of the new Criterion Collection release.) A quiet, languidly paced adaptation of an Isak Dinesen short story, there’s very little action to stimulate the senses much of the time, with most lines delivered by actors sitting down, standing still and speaking rather quietly. When the tension ramps up a bit toward the end, the self-conscious art house touches run a great risk of falling flat and coming across as unintentionally comical. But the excellent 4K restoration, a well-curated selection of supplemental features, and above all else, the compelling presentation of a great man and cultural innovator entering his artistic decline makes the new Blu-ray package of The Immortal Story...
- 9/3/2016
- by David Blakeslee
- CriterionCast
With a seemingly endless amount of streaming options — not only the titles at our disposal, but services themselves — we’ve taken it upon ourselves to highlight the titles that have recently hit the interwebs. Every week, one will be able to see the cream of the crop (or perhaps some simply interesting picks) of streaming titles (new and old) across platforms such as Netflix, iTunes, Amazon Instant Video, and more (note: U.S. only). Check out our rundown for this week’s selections below.
Captain America: Civil War (Russos)
In seeking to create an expansive multi-film universe, Marvel has managed to both bless and curse each of its subsequent films. The blessing comes in the form of a character development that takes place over the course of films and phases instead of scenes and acts. Characters who we met eight years ago have grown and changed before our eyes, and...
Captain America: Civil War (Russos)
In seeking to create an expansive multi-film universe, Marvel has managed to both bless and curse each of its subsequent films. The blessing comes in the form of a character development that takes place over the course of films and phases instead of scenes and acts. Characters who we met eight years ago have grown and changed before our eyes, and...
- 9/2/2016
- by The Film Stage
- The Film Stage
NEWSGene Wilder, we'll miss you. We have always had—and will always have—tremendous affection for the presence of this wonderfully funny, sweetly sorrowful actor.The San Francisco Cinematheque is holding a fundraising auction, "an annual convergence of visual and media arts to support their 56th year of exhibiting innovative experimental moving-image art." You can bid online.Recommended VIEWINGWhat is Japan 1984 – 7 Betacam Tapes? Celluloid Liberation Front writes at Sight & Sound about "never-before-seen video material shot by Michelangelo Antonioni in Japan." Watch it online at Belligerent Eyes through September 2.With Bertrand Bonello's highly anticipated Nocturama set to premiere at the Toronto International Film Festival, Le CiNéMa Club is now streaming Madeleine Among the Dead, a 2014 "sketch" from the director: "Bonello wanted to tell Hitchcock’s Vertigo from the perspective of Madeleine."The excellent documentary A Fuller Life, about legendary director Samuel Fuller, is purchasable through this website.Frankly not our...
- 8/31/2016
- MUBI
Every week we dive into the cream of the crop when it comes to home releases, including Blu-ray and DVDs, as well as recommended deals of the week. Check out our rundown below and return every Tuesday for the best (or most interesting) films one can take home. Note that if you’re looking to support the site, every purchase you make through the links below helps us and is greatly appreciated.
Chimes at Midnight and The Immortal Story (Orson Welles)
The crowning achievement of Orson Welles’s extraordinary cinematic career, Chimes at Midnight was the culmination of the filmmaker’s lifelong obsession with Shakespeare’s ultimate rapscallion, Sir John Falstaff. Usually a comic supporting figure, Falstaff—the loyal, often soused friend of King Henry IV’s wayward son Prince Hal—here becomes the focus: a robustly funny and ultimately tragic screen antihero played by Welles with looming, lumbering grace.
Chimes at Midnight and The Immortal Story (Orson Welles)
The crowning achievement of Orson Welles’s extraordinary cinematic career, Chimes at Midnight was the culmination of the filmmaker’s lifelong obsession with Shakespeare’s ultimate rapscallion, Sir John Falstaff. Usually a comic supporting figure, Falstaff—the loyal, often soused friend of King Henry IV’s wayward son Prince Hal—here becomes the focus: a robustly funny and ultimately tragic screen antihero played by Welles with looming, lumbering grace.
- 8/30/2016
- by The Film Stage
- The Film Stage
Orson Welles knew Falstaff. That is to say, as well as any twentieth century man could know a six-centuries-earlier construct character of William Shakespeare. Both men, by this time in their lives, had heard the deathly sounds of the chimes at midnight. Yet both persisted valiantly. For Welles, the struggle netted him the film, Chimes at Midnight. Until now, despite its towering reputation, Chimes at Midnight has remained nearly inaccessible. Those fortunate enough to have seen it prior to this extensive restoration (which ran theatrically in New York City and elsewhere in January of 2016) likely had to endure a horrid print with even worse sound. Falstaff, the sometimes buffoonish, sometimes noble rotund knight of Henry IV Parts I and II, as well as The...
[Read the whole post on screenanarchy.com...]...
[Read the whole post on screenanarchy.com...]...
- 8/29/2016
- Screen Anarchy
Fans that lament Orson Welles' many career frustrations will flip over this Spanish-filmed masterpiece. Not well distributed when new and Mia for decades, its serious audio problems have now mostly been cleared up. It's great -- right up there with Kane and Touch of Evil, and it features what is probably Welles' best acting. Chimes at Midnight Blu-ray The Criterion Collection 830 1966 / B&W / 1:66 widescreen / 116 min. / available through The Criterion Collection / Falstaff, Campanadas a medianoche / Street Date August 30, 2016 / 39.95 Starring Orson Welles, Keith Baxter, Jeanne Moreau, Margaret Rutherford, John Gielgud, Norman Rodway, Marina Vlady, Walter Chiari, Michael Aldridge, Tony Beckley, Alan Webb, José Nieto, Fernando Rey, Beatrice Welles, Ralph Richardson. Cinematography Edmond Richard Film Editor Fritz Mueller Original Music Angelo Francesco Lavagnino Produced by Alessandro Tasca Directed by Orson Welles
Reviewed by Glenn Erickson
It's even better than I remembered. Sometime during film school I went with UCLA friends Clark...
Reviewed by Glenn Erickson
It's even better than I remembered. Sometime during film school I went with UCLA friends Clark...
- 8/26/2016
- by Glenn Erickson
- Trailers from Hell
Orson Welles' French TV show with Jeanne Moreau is a near-masterpiece, directed with assurance and style. It's the filmmaker's first color feature, and his last completed fictional feature. The Immortal Story Blu-ray The Criterion Collection 831 1968 / Color / 1:66 widescreen / 58 min. / Histoire immortelle / available through The Criterion Collection / Street Date August 30, 2016 / 39.95 Starring Jeanne Moreau, Orson Welles, Roger Coggio, Norman Eshley, Fernando Rey. Cinematography Willy Kurant Film Editors Yolande Maurette, Marcelle Pluet, Françoise Garnault, Claude Farny Music selections Eric Satie Based on a novel by Isak Dinesen Produced by Micheline Rozan Written and Directed by Orson Welles
Reviewed by Glenn Erickson
The Criterion Collection's Blu-ray of The Immortal Story took me completely by surprise. I bailed out of a viewing long ago on Los Angeles' 'Z' Channel cable station, mainly because it looked terrible -- grainy and washed out. I thought I was watching a faded print that had been blown up from 16mm.
Reviewed by Glenn Erickson
The Criterion Collection's Blu-ray of The Immortal Story took me completely by surprise. I bailed out of a viewing long ago on Los Angeles' 'Z' Channel cable station, mainly because it looked terrible -- grainy and washed out. I thought I was watching a faded print that had been blown up from 16mm.
- 8/22/2016
- by Glenn Erickson
- Trailers from Hell
Since any New York cinephile has a nearly suffocating wealth of theatrical options, we figured it’d be best to compile some of the more worthwhile repertory showings into one handy list. Displayed below are a few of the city’s most reliable theaters and links to screenings of their weekend offerings — films you’re not likely to see in a theater again anytime soon, and many of which are, also, on 35mm. If you have a chance to attend any of these, we’re of the mind that it’s time extremely well-spent.
Metrograph
It’s a very De Palma weekend, with Dressed to Kill showing this Friday, Scarface and Blow Out on Saturday, and The Fury this Sunday.
Looney Tunes: Back In Action screens on Saturday.
Underground New York filmmaker Beth B. is celebrated in a weekend-long retrospective.
A new 16mm print of Kapauku plays on Sunday.
BAMcinématek...
Metrograph
It’s a very De Palma weekend, with Dressed to Kill showing this Friday, Scarface and Blow Out on Saturday, and The Fury this Sunday.
Looney Tunes: Back In Action screens on Saturday.
Underground New York filmmaker Beth B. is celebrated in a weekend-long retrospective.
A new 16mm print of Kapauku plays on Sunday.
BAMcinématek...
- 6/10/2016
- by Nick Newman
- The Film Stage
This time on the Newsstand, Ryan is joined by Scott Nye and Arik Devens to discuss a few pieces of Criterion Collection news.
Subscribe to The Newsstand in iTunes or via RSS
Contact us with any feedback.
Topics & Links The August 2016 Criterion Collection Line-up Cat People cover art Ugetsu restoration shows at Cannes, very favorable response Seattle listeners – Scarecrow Video is holding a 50% off sale on select titles through the 31st Cannes Film Fest – Sundance Selects picked up new Ken Loach movie, “I, Daniel Blake”; Amazon making a big mark McCabe & Mrs. Miller McCabe & Mrs. Miller (1971) – The Criterion Collection McCabe & Mrs. Miller on iTunes McCabe & Mrs. Miller (1971) – IMDb McCabe & Mrs. Miller – Wikipedia The making and unmaking of McCabe & Mrs. Miller The art of the deal in McCabe & Mrs. Miller AFI: 10 Top 10 McCabe & Mrs. Miller (1971) – Rotten Tomatoes Cover by Jon Contino (his first) Ingrid Bergman: In Her Own Words Ingrid Bergman...
Subscribe to The Newsstand in iTunes or via RSS
Contact us with any feedback.
Topics & Links The August 2016 Criterion Collection Line-up Cat People cover art Ugetsu restoration shows at Cannes, very favorable response Seattle listeners – Scarecrow Video is holding a 50% off sale on select titles through the 31st Cannes Film Fest – Sundance Selects picked up new Ken Loach movie, “I, Daniel Blake”; Amazon making a big mark McCabe & Mrs. Miller McCabe & Mrs. Miller (1971) – The Criterion Collection McCabe & Mrs. Miller on iTunes McCabe & Mrs. Miller (1971) – IMDb McCabe & Mrs. Miller – Wikipedia The making and unmaking of McCabe & Mrs. Miller The art of the deal in McCabe & Mrs. Miller AFI: 10 Top 10 McCabe & Mrs. Miller (1971) – Rotten Tomatoes Cover by Jon Contino (his first) Ingrid Bergman: In Her Own Words Ingrid Bergman...
- 5/20/2016
- by Ryan Gallagher
- CriterionCast
Robert Altman's McCabe & Mrs. Miller marked a turning point in cinema. Arriving after the commercial success of Mash and the bizarre noodling of Brewster McCloud, Altman's 1971 classic elevated muffled dialogue and the dirty authenticity of Vilmos Zsigmond's photography to fine art, resurrecting the American Western from the realm of exhausted genres. But it's never looked, er, exceptional, either on the big screen or on home video. Can the Criterion Collection save the day? Featuring a new 4K digital restoration, McCabe & Mrs. Miller leads a strong slate of releases from the Criterion Collection in August. Two films by Orson Welles will make their U.S. debut on home video. I missed the restoration of Chimes at Midnight during its recent theatrical run, but reviews...
[Read the whole post on twitchfilm.com...]...
[Read the whole post on twitchfilm.com...]...
- 5/18/2016
- Screen Anarchy
Mark and Aaron fly back to 1939 to discuss Howard Hawks’ classic Only Angels Have Wings. We evaluate the special effects, how the film built suspense, the context of aviation in the late 1930s, and later films that embody a similar masculinity. We also reveal the winner of our Don Hertzfeldt contest and talk about region free players.
About the film:
Electrified by crackling dialogue and visual craftsmanship of the great Howard Hawks, Only Angels Have Wings stars Jean Arthur as a traveling entertainer who gets more than she bargained for during a stopover in a South American port town. There she meets a handsome and aloof daredevil pilot, played by Cary Grant, who runs an airmail company, staring down death while servicing towns in treacherous mountain terrain. Both attracted to and repelled by his romantic sense of danger, she decides to stay on, despite his protestations. This masterful and mysterious adventure,...
About the film:
Electrified by crackling dialogue and visual craftsmanship of the great Howard Hawks, Only Angels Have Wings stars Jean Arthur as a traveling entertainer who gets more than she bargained for during a stopover in a South American port town. There she meets a handsome and aloof daredevil pilot, played by Cary Grant, who runs an airmail company, staring down death while servicing towns in treacherous mountain terrain. Both attracted to and repelled by his romantic sense of danger, she decides to stay on, despite his protestations. This masterful and mysterious adventure,...
- 5/16/2016
- by Aaron West
- CriterionCast
Part of the fun in rounding up recent books about (or connected to) cinema is the sheer diversity of releases. This latest collection features a dive into this history of Hollywood legends, lots more Force Awakens, compelling reads from two fascinating critics, texts highlighting the art of Batman v. Superman and The Little Prince, and more. Plus, if you’ve been coveting Constable Zuvio mentions, you’re finally in luck.
Movie Freak: My Life Watching Movies by Owen Gleiberman (Hachette Books)
My favorite book of 2016 thus far has arrived, and it’s Movie Freak by former Entertainment Weekly critic Owen Gleiberman. For many a nineties teen, EW was something of a pop culture bible, and Gleiberman’s incisive writing was a key reason. In Movie Freak, his unguardedly personal memoir, he talks of films loved (Blue Velvet, Manhunter), friendships dashed (with the likes of Oliver Stone and Pauline Kael), and...
Movie Freak: My Life Watching Movies by Owen Gleiberman (Hachette Books)
My favorite book of 2016 thus far has arrived, and it’s Movie Freak by former Entertainment Weekly critic Owen Gleiberman. For many a nineties teen, EW was something of a pop culture bible, and Gleiberman’s incisive writing was a key reason. In Movie Freak, his unguardedly personal memoir, he talks of films loved (Blue Velvet, Manhunter), friendships dashed (with the likes of Oliver Stone and Pauline Kael), and...
- 5/5/2016
- by Christopher Schobert
- The Film Stage
Chicago – Another wondrous pleasure about director Orson Welles – as if he needed something else on his resume – is the discovery of his film career after the “Citizen Kane”/studio system/boy wonder period of the 1940s. Facing difficulties cobbling together financing for his evolving vision, he resorted to overseas money, international casts and more-for-less. One of the prime examples is “Chimes at Midnight” (1965), a Shakespeare amalgamation that is just another example of Wellesian audacity and yes, genius.
Rating: 5.0/5.0
The script takes the text from five Shakespeare plays and is narrated by British actor Ralph Richardson. Orson Welles plays the scalawag John Falstaff, an entourage member of the Prince of Wales, and the focus of the story. The film has a kinetic energy that is exciting, it always seems in motion. Welles is at the top of his game portraying one of his favorite characters (he had previously mounted a similar...
Rating: 5.0/5.0
The script takes the text from five Shakespeare plays and is narrated by British actor Ralph Richardson. Orson Welles plays the scalawag John Falstaff, an entourage member of the Prince of Wales, and the focus of the story. The film has a kinetic energy that is exciting, it always seems in motion. Welles is at the top of his game portraying one of his favorite characters (he had previously mounted a similar...
- 3/19/2016
- by adam@hollywoodchicago.com (Adam Fendelman)
- HollywoodChicago.com
Spotlight more or less ran the table at the Independent Spirit Awards last Saturday night in Santa Monica, picking up honors for Best Feature Film, Best Director, Best Screenplay and Best Editing, as well as the Robert Altman Award for best ensemble cast. Brie Larson picked up yet another trophy for her great performance in Room, and Son of Saul, as expected, won for Best International Film. But this year the Independent Spirit Awards weren’t just a liquored-up predictor of what would happen the following night at the Dolby Theater in Hollywood. Whether or not Spirit voters took it as their charge to pointedly honor the diversity that was so lacking in the roster of Oscar nominees this year, few could find fault when both Abraham Attah (Best Male Lead) and Idris Alba (Best Supporting Male) for Beasts of No Nation, and especially Mya Taylor from Tangerine, took to...
- 3/5/2016
- by Dennis Cozzalio
- Trailers from Hell
IMDb.com, Inc. takes no responsibility for the content or accuracy of the above news articles, Tweets, or blog posts. This content is published for the entertainment of our users only. The news articles, Tweets, and blog posts do not represent IMDb's opinions nor can we guarantee that the reporting therein is completely factual. Please visit the source responsible for the item in question to report any concerns you may have regarding content or accuracy.