The Hitman's Bodyguard
While no one is going to mistake The Hitman’s Bodyguard for high art, it will please those in the mood for late-summer fun.
* This filmography is not intended to be a comprehensive list of this artist’s work. Instead it reflects the films this person has been involved with that have been reviewed on this site.
A preview of the 2016 New York Asian Film Festival, including Sammo Hung's "My Beloved Bodyguard" and Yee-sum Luk's "Lazy Hazy Crazy."
Marie writes: Ever since he was a boy, photographer John Hallmén has been fascinated by insects. And he's become well-known for photographing the creatures he finds in the Nackareservatet nature reserve not far from his home in Stockholm, Sweden. Hallmén uses various methods to capture his subjects and the results are remarkable. Bugs can be creepy, to be sure, but they can also be astonishingly beautiful...
Blue Damsel Fly [click to enlarge photos]
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Tina Mabry's "Mississippi Damned," an independent American production, won the Gold Hugo as the best film in the 2009 Chicago International Film Festival, and added Gold Plaques for best supporting actress (Jossie Thacker) and best screenplay (Mabry). It tells the harrowing story of three black children growing up in rural Mississippi in circumstances of violence and addiction. The film's trailer and an interview with Mabry are linked at the bottom.
Kylee Russell in "Mississippi Damned"
The winner of the Audience Award, announced Friday, was "Precious" (see below). The wins came over a crowed field of competitors from all over the world, many of them with much larger budgets. The other big winner at the Pump Room of the Ambassador East awards ceremony Saturday evening was by veteran master Marco Bellocchio of Italy, who won the Silver Hugo as best director for "Vincere," the story of Mussolini's younger brother. Giovanna Mezzogiorno and Filippo Timi won Silver Hugos as best actress and actor, and Daniele Cipri won a Gold Plaque for best cinematography.
May 20, 2009-The premiere of Quentin Tarantino's "Inglourious Basterds" will likely dominate the international press for days. The screening itself was a bit less than a crazy event than I had been expecting. After experiencing the wild, all-out adoration of Tarantino fans at a special Cannes screening of "Kill Bill I and II" some years ago, in which the audience consisted largely of French locals, I was prepared for anything.
The guards opened the Grand Theatre Lumiere a half-hour early, and even though I arrive at 7:55 am for the 8:30 am screening, it was already half full. Mild excitement was in the air, some cheers and applause were heard as the lights went down, and another smattering of applause when Tarantino's name appeared on the screen.
I was waiting for some kind of massive reaction at the end, but there really was nothing out of the ordinary. I've never been overwhelmed by Tarantino's films, although the crazed eclecticism of his work is a lot of fun. "Inglourious Basterds" worked for me as a satisfying whole better than most of his other films. He pulls together everything in his arsenal: action, extreme violence, misogyny, film history, pop music and pop culture, and a plot based on a wild premise that rewrites history.