The Last of Robin Hood
A title as good as "The Last of Robin Hood" deserves a better movie. In fact, it deserves a good movie.
* 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.
Remembering James Garner; Jerusalem Film Festival; Ignatiy Vishnevetsky on "At the Movies"; Val Kilmer in "Tombstone"; DC Comics' Diversity Crisis.
An appreciation of Michael Mann's "The Insider" on its 15th anniversary that connects Michael Mann's film with the westerns of Howard Hawks.
An obituary for actor Eli Wallach.
A discussion with two stars of Clint Eastwood's "Jersey Boys."
The making of "Ghostbusters"; Neil deGrasse Tyson doesn't hate movies; Kenneth Turan's favorite films; Aspiring movie critics in Kenya; American voyeur in Montreal.
Recent releases on Blu-ray, including Cat People, Death Wish, Thunderbolt and Lightfoot, and more.
Sheila writes: Alex Nunez at Road & Track put together a totally entertaining slideshow of actors and their cool cars. Clark Gable, Steve McQueen, Elizabeth Taylor, Ida Lupino, Jack Nicholson, Clint Eastwood, the list goes on and on. The cars are almost as cool as the folks driving them (and in some cases cooler).
Jana Monji writes about our late friend and contributor Jeff Shannon, whose memorial service will be March 16, 2014.
Sheila writes: Sports fans and ice dance enthusiasts are all focused on Sochi right now for the Winter Olympics. The Olympics always comes with some strain of controversy, and Sochi has been more intense than most. I came across a post about Sochi's well-known history as the "Florida of Russia", where Stalin himself would summer. His vacation home still stands. Messy Nessy Chic has a post with a lot of great images of that vacation home as well as vintage photographs of the holiday resort in its heyday: Postcards from Sochi: Summering with Stalin.
The Oscars race has hit a holiday lull. It's a good time to pause and take stock of nominations.
A tribute to RogerEbert.com contributor, film critic and activist Jeff Shannon, who died Dec. 20, 2013.
Gerardo Valero sees the potential for a good remake in "Escape from New York."
Paul Walker, who died yesterday in a car crash at 40, was an action film star known for his Everyman charm and his ability to provide a dependable center for the craziness around him.
The class gap caused by lack of Internet access; Andy Kaufman may be alive; Weinstein Co. wins MPAA appeal; "Carlito's Way" appreciation; Dunham and Kaling's brass tacks.
Director David Gordon Green has had a remarkably eclectic career, from delicate indies like "George Washington" to stoner comedy "Your Highness," with stops along the way for the "Halftime in America" Chrysler ad and episodes of HBO's "Eastbound & Down." What keeps him going?
The Ends of Violence: The Conclusions of Clint Eastwood from Matthew Cheney on Vimeo.
Here is the Press Play article by Matthew Cheney.
Fred Zinnemann's "The Day of the Jackal" (1973) is a great example of how a film can do a good job of creating tension and involving the viewer by sticking with the most basic cinematic elements. We have the benefit of comparing it with a remake ("Jackal," 1997) that went on the opposite direction and by wrongly doing everything that its predecessor got right, making he merits of the earlier version all the more evident. Both are distinctive reflections of how studios perceived audience tastes in their respective time periods. They are as different as two movies based on the same source might be and can hardly be classified in the same genre. The later entry is a brainless action flick; the original is a "thriller" in every sense of the word.
Marie writes: Behold a living jewel; a dragonfly covered in dew as seen through the macro-lens of French photographer David Chambon. And who has shot a stunning series of photos featuring insects covered in tiny water droplets. To view others in addition to these, visit here.
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Rarely does a TV show arrive with lower expectations than the annual Emmy Awards telecast. It's a given that the thing will suck. Even so, this year's -- the 64th -- managed to come up short and disappoint. And it wasn't one of those "so bad it's good" campy things you can enjoy making fun of, either. It was more like one of those "so bad it's lousy" things that leave you incredulous and drained of the will to live.
The winner of the Academy Award for Best Picture will be Ben Affleck's tense new thriller "Argo." How do I know this? Because it is the audience favorite coming out of the top-loaded opening weekend of the Toronto Film Festival. Success at Toronto has an uncanny way of predicting Academy winners; I point you to the Best Pictures of the last five years in a row: "No Country for Old Men," "Slumdog Millionaire," "The Hurt Locker," "The King's Speech" and "The Artist."
What exactly happened when Clint Eastwood was onstage at the Republican National Convention? The one thing we can agree on was that it was unexpected--by the Republicans, by the audience, perhaps even by Eastwood, who we now know was ad-libbing. It takes brass balls to ad-lib for 12 minutes in front of 30 million people on live TV, just working with yourself and an empty chair.
"Something's Gonna Live" (78 minutes) is available via iTunes, Amazon Instant, and DVD.
Architecture's loss was the movies' immeasurable gain. Robert Boyle, Albert Nozaki and Henry Bumstead, classmates at the University of Southern California in the 1930s could not find jobs in their studied profession. They wound up at Paramount Studios, where, as production designers and art directors, they set the stage for some of the movies' most indelible images.
Boyle designed Alfred Hitchcock's "Saboteur," "Shadow of a Doubt," "North by Northwest," "The Birds," and "Marnie." And those are the just the Hitchcock credits. Bumstead earned Academy Awards for his contributions to "To Kill a Mockingbird" and "The Sting." He received nominations for his work on "Vertigo" and "Unforgiven." Tokyo-born Nozaki was the art director on "The War of the Worlds" and "The Ten Commandments," for which he was nominated for an Academy Award.
"Johnny Carson: The King of Late Night" (120 minutes) premieres on PBS' "American Masters" at 9:00pm Monday, May 14th (check local listings). The film will also be released on DVD and Blu-ray on July 17th.
As I reflect on my life, I grow increasingly grateful for having witnessed the greatest half-century in the history of the United States. Consider just a few of the crucial events that have shaped us during the past 50 years: The civil rights movements for African-Americans, women and the disabled; the assassinations of JFK, MLK and RFK; the war in Vietnam and its domestic fallout; landing on the moon and exploring the outer reaches of the universe; the global trauma of AIDS and seemingly perpetual threats of war and terrorism; and, perhaps most important, the emergence and meteoric rise of the digital age, exemplified by the Internet and social media with the power to literally change history through an exponential expansion of human connectedness.
If you've witnessed these decades through the multicolored lenses of popular culture, the rewards have been astonishing. Consider the careers we've seen in that time: Dylan, The Beatles, The Rolling Stones, Neil Young, Springsteen, Madonna, The Clash, U2, Nirvana... Don Rickles, Richard Pryor, George Carlin, Eddie Murphy, Tina Fey... Clint Eastwood, Martin Scorsese, Dustin Hoffman, Meryl Streep, Steven Spielberg, Werner Herzog... We could all make our own long lists and we'd all arrive at the same conclusion: The past half-century has been nothing short of phenomenal.
And one way or another, it all comes down to "The Tonight Show with Johnny Carson."
"Get the Gringo" is available on DirecTV. A wider VOD release, along with DVD and Blu-ray releases, will follow later this year.
"Inmates with guns, that's kinda new," Mel Gibson's Yanqui with No Name (or fingerprints) growls in "Get the Gringo." "I've got a lot to learn about this place." And there is a lot to learn about El Pueblito, a Mexican prison that makes Shawshank look like Otis Campbell's quaint little cell on "The Andy Griffith Show."
Never mind how he got there, it's how he's going to get out that gives "Get the Gringo," formerly titled "How I Spent My Summer Vacation," its Peckinpah-flavored juice. It's potent stuff: gritty and grungy, but not without hard-boiled humor. With a nod to the late Dick Clark: It's got good beatings and you can dance to it, depending on your taste for mariachi music. I rate it a 7.
A video essay published in tandem with Indiewire
"The human face is the great subject of the cinema. Everything is there." - Ingmar Bergman
The craggy complexion. The stately ovate chin. Those thin lips deceptively wrapped around that charming smile. That perfect nose. Those clear greenish-brown eyes. That squint.
One cannot discuss Clint Eastwood's iconic stature in film, without mentioning his face. There are others that have been as handsome (Newman), masculine (Gable), striking (Hitchcock), fearsome (Bronson), and symbolic (Wayne). But from a visual standpoint, none of them have been as instrumental as a filmmaking tool or signature. Most actors are cast to fill in a character from the inside out, building an individual based on the personal. But Eastwood himself is a form. An absent presence whose persona is filled primarily by the film's themes and ideas.