Sherlock Jr..I don’t know what I expected. For some reason, when booking my plane ticket from Chicago to Muskegon, Michigan, I just assumed it would be a “normal,” albeit probably smaller, plane that would chariot us intrepid travelers to the neighboring state. So when I turned up at O’Hare, I thought nothing of being asked to provide my weight and having my carry-on bags weighed as well, nothing of the smaller-than-usual waiting area, nothing of taking an elevator directly to the tarmac rather than descending via the usual jet bridge. The sight of the nine-seat Cessna shouldn’t have surprised me, but it did. More disconcerting was the passenger who reveled in telling the lot of us why the plane flew around Lake Michigan, not across it: in case it crashed, it could more easily be found. This seemed an appropriate way to get to the International Buster Keaton Society's 2023 Convention,...
- 2/5/2024
- MUBI
Box office is big news this week, not so much for its totals as for its totemic significance. Throngs will greet Top Gun: Maverick, but will kids join the grownups to see a nearly 60 year-old actor starring in a sequel to a 36 year-old hit? At the other end of the audience spectrum, will seniors conquer their torpor to catch the new Downton and even lure their kids – the movie is dubiously titled Downton Abbey: A New Era to motivate the youth quadrant.
These are edgy days for an industry seeking clues to two big puzzles: Does a broad demographic truly crave a return to the cool comfort of their movie theaters? And, if so, what sorts of movies would best combat their streamer fatigue?
In Los Angeles there’s one dark portent: The multiscreen Landmark Theater on Pico, long the cathedral of indie films, will shut its doors forever shortly...
These are edgy days for an industry seeking clues to two big puzzles: Does a broad demographic truly crave a return to the cool comfort of their movie theaters? And, if so, what sorts of movies would best combat their streamer fatigue?
In Los Angeles there’s one dark portent: The multiscreen Landmark Theater on Pico, long the cathedral of indie films, will shut its doors forever shortly...
- 5/19/2022
- by Tom Tapp
- Deadline Film + TV
More than 200 Cohen titles will be available through Kino Lorber and on its transactional VoD platform Kino Now.
Ash Is Purest White distributor Cohen Media Group and Kino Lorber have struck a deal for Kino to distribute all Cohen Media Group and Cohen Film Collection Blu-ray and DVD titles including the Merchant Ivory Collection.
More than 200 Cohen Media Group and Cohen Film Collection titles will be available through Kino Lorber and on its transactional VoD platform Kino Now.
The pact kicks off in December with Cohen Film Collection’s Buster Keaton Collection Vol 4: Go West and College.
Recent Cohen...
Ash Is Purest White distributor Cohen Media Group and Kino Lorber have struck a deal for Kino to distribute all Cohen Media Group and Cohen Film Collection Blu-ray and DVD titles including the Merchant Ivory Collection.
More than 200 Cohen Media Group and Cohen Film Collection titles will be available through Kino Lorber and on its transactional VoD platform Kino Now.
The pact kicks off in December with Cohen Film Collection’s Buster Keaton Collection Vol 4: Go West and College.
Recent Cohen...
- 10/27/2020
- by Jeremy Kay
- ScreenDaily
The Hollywood director has made a documentary about the silent-era legend, who he rates even above Charlie Chaplin. He explains why it was a project that came from the heart
I must have been six or seven when I first saw Buster Keaton. We were living in New York, and my father took me to the Museum of Modern Art in New York, where I saw some Keaton and some Chaplin pictures. I was just a kid, but I loved him right away, and that was the start of the great affection I have for silent comedy.
Somebody once said to Chaplin: “Your camerawork is not very interesting,” and he replied: “It doesn’t have to be. I’m interesting.” But Keaton was great with the camera, and great with the acting as well. While directing the documentary The Great Buster: A Celebration, I came to care for him even...
I must have been six or seven when I first saw Buster Keaton. We were living in New York, and my father took me to the Museum of Modern Art in New York, where I saw some Keaton and some Chaplin pictures. I was just a kid, but I loved him right away, and that was the start of the great affection I have for silent comedy.
Somebody once said to Chaplin: “Your camerawork is not very interesting,” and he replied: “It doesn’t have to be. I’m interesting.” But Keaton was great with the camera, and great with the acting as well. While directing the documentary The Great Buster: A Celebration, I came to care for him even...
- 2/28/2020
- by Peter Bogdanovich, as told to Pamela Hutchinson
- The Guardian - Film News
New Indie
Filmmakers have made the case that, instead of going to film school, young would-be directors might be better off just listening to director commentaries. And if that’s the educational route you’ve chosen, two of today’s most interesting directors are telling all on new Blu-ray releases. Want to know more about how Barry Jenkins brought James Baldwin’s powerful novel “If Beale Street Could Talk” (20th Century Fox Home Entertainment) to the big screen, or how Karyn Kusama crafted the bleak neo-noir “Destroyer” (20th Century Fox Home Entertainment)? They tell all on these essential new releases.
Also available: S. Craig Zahler is at it again with “Dragged Across Concrete” (Lionsgate), a cops-gone-rogue heist saga starring Vince Vaughn and Mel Gibson.
See Photo: See Nicole Kidman's Extreme Transformation for Karyn Kusama's Cop Thriller 'Destroyer'
New Foreign
Few directors in the history of cinema have...
Filmmakers have made the case that, instead of going to film school, young would-be directors might be better off just listening to director commentaries. And if that’s the educational route you’ve chosen, two of today’s most interesting directors are telling all on new Blu-ray releases. Want to know more about how Barry Jenkins brought James Baldwin’s powerful novel “If Beale Street Could Talk” (20th Century Fox Home Entertainment) to the big screen, or how Karyn Kusama crafted the bleak neo-noir “Destroyer” (20th Century Fox Home Entertainment)? They tell all on these essential new releases.
Also available: S. Craig Zahler is at it again with “Dragged Across Concrete” (Lionsgate), a cops-gone-rogue heist saga starring Vince Vaughn and Mel Gibson.
See Photo: See Nicole Kidman's Extreme Transformation for Karyn Kusama's Cop Thriller 'Destroyer'
New Foreign
Few directors in the history of cinema have...
- 4/26/2019
- by Alonso Duralde
- The Wrap
Get in touch to send in cinephile news and discoveries. For daily updates follow us @NotebookMUBI.NEWSNaomi Kawase has been appointed as the director of the official documentary film for the Tokyo 2020 Olympics. Kawase, now the fifth woman to direct an Olympics official film, hopes "to capture ‘time’ and take full advantage of the appeal of documentary films and their ability to freeze those moments into ‘eternity.'" A mysterious Vr project by Terrence Malick entitled Evolver—his second virtual reality endeavor since this summer's Together—will be one of ten projects presented at Vr Days Europe in Amsterdam on October 26. Featuring original music from artists including Wu-Tang Clan and Radiohead’s Jonny Greenwood, "Evolver lets participants experience the human condition from birth until death."Recommended VIEWINGNew York's Museum of the Moving Image has thoughtfully shared a video of a post-screening discussion of Kubrick's 2001: A Space Odyssey, with stars Keir Dullea and Dan Richter,...
- 10/24/2018
- MUBI
“Dark Money,” “Free Solo,” “Minding the Gap,” “The Silence of Others” and “Won’t You Be My Neighbor?” have been nominated for the top film award at the International Documentary Association’s 2018 Ida Documentary Awards, the Ida announced on Wednesday.
Those five films will be joined in the feature category by another five: “Crime + Punishment,” “Hale County This Morning, This Evening,” “Of Fathers and Sons,” “Sky and Ground” and “United Skates.”
The 10 Ida Documentary Awards feature nominees is the largest number ever nominated in the category, which has typically consisted of five films. Half of the films were directed by women.
Also Read: 'Free Solo' Leads Critics' Choice Documentary Awards Nominations
Missing from the list are a few of the most successful docs of the year, including “Rbg,” “Three Identical Strangers” and “Fahrenheit 11/9.”
In the television categories, nominees include “American Masters,” “Pov” and “Independent Lens” in Curated Series,...
Those five films will be joined in the feature category by another five: “Crime + Punishment,” “Hale County This Morning, This Evening,” “Of Fathers and Sons,” “Sky and Ground” and “United Skates.”
The 10 Ida Documentary Awards feature nominees is the largest number ever nominated in the category, which has typically consisted of five films. Half of the films were directed by women.
Also Read: 'Free Solo' Leads Critics' Choice Documentary Awards Nominations
Missing from the list are a few of the most successful docs of the year, including “Rbg,” “Three Identical Strangers” and “Fahrenheit 11/9.”
In the television categories, nominees include “American Masters,” “Pov” and “Independent Lens” in Curated Series,...
- 10/24/2018
- by Steve Pond
- The Wrap
Lyon, France – Attending the Lumière Film Festival in Lyon for the first time this week, Charles S. Cohen, chairman and CEO of Cohen Media Group, praised the event and its International Classic Film Market (Mifc).
A producer and distributor of independent and arthouse films and the biggest distributor of French films in the U.S., Cohen Media Group also releases restored and re-mastered editions of classic films through its Cohen Film Collection, which includes the Merchant Ivory library and the Buster Keaton catalog.
In town for the Festival premiere of his documentary, “The Great Buster,” directed by Peter Bogdanovich, Cohen described the market as “specialized and highly focused, which is really appealing to me because it allows me to focus on what we take great pride in, acquiring and licensing these wonderful film assets that are really the DNA of Cohen Media.”
The company partnered with the Festival this year...
A producer and distributor of independent and arthouse films and the biggest distributor of French films in the U.S., Cohen Media Group also releases restored and re-mastered editions of classic films through its Cohen Film Collection, which includes the Merchant Ivory library and the Buster Keaton catalog.
In town for the Festival premiere of his documentary, “The Great Buster,” directed by Peter Bogdanovich, Cohen described the market as “specialized and highly focused, which is really appealing to me because it allows me to focus on what we take great pride in, acquiring and licensing these wonderful film assets that are really the DNA of Cohen Media.”
The company partnered with the Festival this year...
- 10/20/2018
- by Ed Meza
- Variety Film + TV
Peter Bogdanovich Says It Only Took ‘One Good Idea’ to Make His Buster Keaton Doc ‘The Great Buster’
Almost half a century after he made a documentary about director John Ford, Peter Bodganovich is back with his second look at a classic filmmaker. “The Great Buster: A Celebration,” in which the director of “The Last Picture Show” and “What’s Up, Doc?” follows the life and career of pioneering silent comic and peerless stuntman Buster Keaton, opens on Friday at the Nuart in Los Angeles.
Featuring abundant Keaton footage, from the classic boulder chase in “Seven Chances” to television commercials he made near the end of his life, “The Great Buster” also finds Bogdanovich talking about Keaton with a potpourri of fans that includes Quentin Tarantino, Mel Brooks, Werner Herzog and Johnny Knoxville.
The film is structured chronologically, with one big exception: When it gets to 1923, when Keaton began a string of 10 landmark features that included “The General” and “Steamboat Bill, Jr.,” it jumps forward six years and...
Featuring abundant Keaton footage, from the classic boulder chase in “Seven Chances” to television commercials he made near the end of his life, “The Great Buster” also finds Bogdanovich talking about Keaton with a potpourri of fans that includes Quentin Tarantino, Mel Brooks, Werner Herzog and Johnny Knoxville.
The film is structured chronologically, with one big exception: When it gets to 1923, when Keaton began a string of 10 landmark features that included “The General” and “Steamboat Bill, Jr.,” it jumps forward six years and...
- 10/19/2018
- by Steve Pond
- The Wrap
Legend has it that Buster Keaton got his nickname from Harry Houdini after the magician saw him tumble down a flight of stairs as an infant and not shed a tear. "Boy, that was sure a buster!" Harry allegedly declared, using the parlance of the day for a fall. That was far from the only hard-knock Buster endured in his life. Incorporated into his parents' vaudeville act as a baby, he was tossed around the stage like a slapstick prop. "It wasn't really child abuse," Peter Bogdanovich, director of the new documentary The Great Buster, exclusively told Closer Weekly in the magazine's latest issue, on newsstands now. "It was comedy." (Photo Credit: Getty Images) Buster went out on his own as a silent-film comic and became a superstar, earning the moniker "The Great Stone Face" for his deadpan gags. His love life didn't make him smile, either. His first marriage,...
- 10/14/2018
- by Closer Staff
- Closer Weekly
Having now completed the long journey from upstart/wunderkind to venerated elder statesman, Peter Bogdanovich has amassed a lengthy CV that includes a celebrated career directing pictures, an early post programming films at the Museum of Modern Art, teaching, writing and, not unlike his mentor, Orson Welles, taking up the odd acting job. His contribution to the cinema in 2018 was twofold. First, he made the documentary The Great Buster, an interview-heavy appreciation of the pantheon silent filmmaker, Buster Keaton. His other project this year was, by design, one that required vigilant self-effacement—that’s the long-awaited post-production and release of Orson Welles’s The […]...
- 10/5/2018
- by Jaime Christley
- Filmmaker Magazine - Blog
Having now completed the long journey from upstart/wunderkind to venerated elder statesman, Peter Bogdanovich has amassed a lengthy CV that includes a celebrated career directing pictures, an early post programming films at the Museum of Modern Art, teaching, writing and, not unlike his mentor, Orson Welles, taking up the odd acting job. His contribution to the cinema in 2018 was twofold. First, he made the documentary The Great Buster, an interview-heavy appreciation of the pantheon silent filmmaker, Buster Keaton. His other project this year was, by design, one that required vigilant self-effacement—that’s the long-awaited post-production and release of Orson Welles’s The […]...
- 10/5/2018
- by Jaime Christley
- Filmmaker Magazine-Director Interviews
Peter Bogdanovich loves Hollywood. For well over half of his life, the 79-year-old actor/director/film historian has been an insatiable participant in the American film industry on all sides of the camera. An icon of the 1970s New Hollywood movement, Bogdanovich’s unbridled enthusiasm for the achievements of Tinseltown’s 1920s to 1960s “Golden Era” informs a truly chameleonic and deeply influential filmmaking aesthetic. As an artist, his projects have consistently defied pigeonholing. His directorial work spans a host of genres – from screwball comedy in 1973’s Paper Moon to tragic drama in 1971’s The Last Picture Show to unnerving postmodern thriller in 1968’s Targets, among many others – all informed by a layered reverence for the past. As an actor, his sardonic, witty screen persona and sonorous New York drawl are forces to be reckoned with, appearing in films by Orson Welles and Quentin Tarantino and landing a memorable recurring...
- 9/25/2018
- by The Film Stage
- The Film Stage
Last year’s annual Los Angeles Film Festival started June 14 with Colin Trevorrow’s ill-fated “The Book of Henry” as its opening-night film, and continued with a program full of emerging independent filmmakers. The result was rock-bottom attendance with minimal press coverage, save from media sponsor The Los Angeles Times.
This year marks its first in a fall slot (September 20-28), a berth between the Toronto and New York film festivals. The opening-night premiere by record exec-turned filmmaker Andrew Slater was La-centric music documentary “Echo in the Canyon;” held at the outdoor John Ford Amphitheater, a balmy Jakob Dylan and Michelle Phillips concert followed.
Is this the vibe that will let Laff finally find its identity? Produced by Film Independent and now in its 24th year, the festival was once a summer home for quality international titles, then a place for world-premiere indie titles and films from under-represented demographics, it...
This year marks its first in a fall slot (September 20-28), a berth between the Toronto and New York film festivals. The opening-night premiere by record exec-turned filmmaker Andrew Slater was La-centric music documentary “Echo in the Canyon;” held at the outdoor John Ford Amphitheater, a balmy Jakob Dylan and Michelle Phillips concert followed.
Is this the vibe that will let Laff finally find its identity? Produced by Film Independent and now in its 24th year, the festival was once a summer home for quality international titles, then a place for world-premiere indie titles and films from under-represented demographics, it...
- 9/21/2018
- by Anne Thompson
- Thompson on Hollywood
Last year’s annual Los Angeles Film Festival started June 14 with Colin Trevorrow’s ill-fated “The Book of Henry” as its opening-night film, and continued with a program full of emerging independent filmmakers. The result was rock-bottom attendance with minimal press coverage, save from media sponsor The Los Angeles Times.
This year marks its first in a fall slot (September 20-28), a berth between the Toronto and New York film festivals. The opening-night premiere by record exec-turned filmmaker Andrew Slater was La-centric music documentary “Echo in the Canyon;” held at the outdoor John Ford Amphitheater, a balmy Jakob Dylan and Michelle Phillips concert followed.
Is this the vibe that will let Laff finally find its identity? Produced by Film Independent and now in its 24th year, the festival was once a summer home for quality international titles, then a place for world-premiere indie titles and films from under-represented demographics, it...
This year marks its first in a fall slot (September 20-28), a berth between the Toronto and New York film festivals. The opening-night premiere by record exec-turned filmmaker Andrew Slater was La-centric music documentary “Echo in the Canyon;” held at the outdoor John Ford Amphitheater, a balmy Jakob Dylan and Michelle Phillips concert followed.
Is this the vibe that will let Laff finally find its identity? Produced by Film Independent and now in its 24th year, the festival was once a summer home for quality international titles, then a place for world-premiere indie titles and films from under-represented demographics, it...
- 9/21/2018
- by Anne Thompson
- Indiewire
High in the Rocky Mountains every Labor Day weekend, the Telluride Film Festival welcomes a new round of filmmakers and cinephiles seeking mutual satisfaction.
At this year’s Patron’s brunch Alfonso Cuaron, not-so-fresh from a warm reception for “Roma” in Venice, hung out with Netflix executives Ted Sarandos and Scott Stuber as well as fellow auteurs Pawel Pawlikowski (Amazon’s “Cold War”) and regular attendee Brad Bird. Joel Edgerton and Ed Zwick commiserated about showing their respective babies for the first time to audiences: Focus Features’ “Boy Erased,” whose star Nicole Kidman was enjoying her first trip to Telluride, and “Trial By Fire,” which is looking for a distributor. “Boy Erased” was the last film admitted to the festival, and was unfinished as Edgerton tried to find the right cut.
Also on hand were The Orchard (“Birds of Passage”), Sony Pictures Classics (Ralph Fiennes’ Rudolph Nureyev movie “The White Crow...
At this year’s Patron’s brunch Alfonso Cuaron, not-so-fresh from a warm reception for “Roma” in Venice, hung out with Netflix executives Ted Sarandos and Scott Stuber as well as fellow auteurs Pawel Pawlikowski (Amazon’s “Cold War”) and regular attendee Brad Bird. Joel Edgerton and Ed Zwick commiserated about showing their respective babies for the first time to audiences: Focus Features’ “Boy Erased,” whose star Nicole Kidman was enjoying her first trip to Telluride, and “Trial By Fire,” which is looking for a distributor. “Boy Erased” was the last film admitted to the festival, and was unfinished as Edgerton tried to find the right cut.
Also on hand were The Orchard (“Birds of Passage”), Sony Pictures Classics (Ralph Fiennes’ Rudolph Nureyev movie “The White Crow...
- 9/1/2018
- by Anne Thompson
- Thompson on Hollywood
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