Sin City: A Dame to Kill For
"Sin City: A Dame to Kill For" doesn't have the electricity of the original, mainly because we've already seen it. Nothing more is really revealed…
* 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.
An interview with Amy Nicholson, author of the definitive book on Tom Cruise.
An interview with Woody Allen about his new film, "Magic in the Moonlight."
An interview with Rob Reiner, director of "And So It Goes," starring Michael Douglas and Diane Keaton.
Nell Minow responds to our Movie Love Questionnaire.
Cannes Flashback #1: A Study in the Art of Being Rude
Writer Dan Callahan responds to our Movie Love Questionnaire.
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).
Writer Peter Sobczynski responds to our Movie Love Questionnaire.
Writer Simon Abrams responds to our Movie Love Questionnaire.
Writer Susan Wloszczyna responds to our Movie Love Questionnaire.
Writer Sheila O'Malley responds to our Movie Love Questionnaire.
Extraterrestrial life may really exist; House Republicans slash billions in food stamps; "Invisible Man" banned in North Carolina; an object of Internet ridicule speaks; Hollywood luminaries who got their start with Roger Corman.
In the new book "Crab Monsters, Teenage Cavemen, and Candy Stripe Nurses," Chris Nashawaty tells the story of the amazing life and career of Roger Corman through a collection of interviews, which Nashawaty has put together into a blow-by-blow collage account.
Writer Odie Henderson responds to our Movie Love Questionnaire.
Karen Black, who died Aug. 7 at 74, was the “what the hell?” emblem of the American New Wave, its most extreme, improvisational player, its most unusual, unaccountable, unstable presence.
Bruce Dern and Will Forte reminisce about their father-son road trip in Alexander Payne's "Nebraska."
Marie writes: the great Ray Harryhausen, the monster innovator and Visual Effects legend, passed away Tuesday May 7, 2013 in London at the age of 92. As accolades come pouring in from fans young and old, and obituaries honor his achievements, I thought club members would enjoy remembering what Harry did best.
Released in the summer of 1985 to critical scorn and near-total commercial indifference, the sci-fi/horror hybrid "Lifeforce" has spent most of the following 28 years languishing in obscurity. If it was remembered at all, it was either because of its massive financial failure--which helped doom the futures of both its producing company and its director--or because of its status as one of the all-time favorite films of Mr. Skin, that beloved repository of on-screen nudity.
"It's the greatest curse that's ever been inflicted on the human race, memory." -- Jed Leland (Joseph Cotten), "Citizen Kane" (1941)
Nearly every scene in "The Phantom," the Season 5 finale of "Mad Men," conjures a ghost from the show's past. "Mad Men," like many great series from "Hill Street Blues" to "SCTV" to "The Sopranos," has always been exceptionally good at this (see "The Long Walk"), setting images, gestures and emotions reverberating off one another across episodes and seasons. The series has a memory, and the curse of memory is a primary theme of "The Phantom," which is why the episode is composed as it is. As Nancy Sinatra sings in that final song:
You only live twice, or so it seems, One life for yourself and one for your dreams.
(Spoilers from here on out.)
That's a James Bond theme song, from "You Only Live Twice" (1967) -- and it's the second Bond theme we hear in the episode, after Herb Alpert & the Tijuana Brass bite into Burt Bacharach's theme from the James Bond parody "Casino Royale" (1967) at the weekday matinée where Don (the suave, masculine Bond of New York advertising) runs into Peggy. (The Beatles, who have figured prominently in Seasons 4 and 5, released "Help!" in 1965 and it was in part a 007 parody, too -- especially the John Barry-like orchestral music written by George Martin.) Echoes and repetitions are everywhere.
This prickly film haunts me. I am now older than James Dean, Marilyn Monroe, Jimi Hendrix, and Malcolm X. I am at that age where the infinite world of my childhood bedroom is now replaced by a complicated mass of interwoven needs, wants, and concerns. The soundtrack of my youth is a summer of wind blowing through fragile leaves, with katydids buzzing along. The rattling taps of rain on our roof has now given way to the plastic clicking of this keyboard and various other mechanical monsters. Under it all is an ongoing hiss of noise. I also sometimes fall into that trap of looking at today through the telescope of an idealized yesterday; that outlook is a slick valley that is difficult to climb out of and easy to slide back into. Jack Nicholson in Sean Penn's"The Pledge" (2001) is likewise watching the world change. More than that, he is watching his world slip away from him.
Published with Press Play on Indiewire
With the unparalleled box office success of The Avengers, superheroes are back in the spotlight. Most comic book aficionados are delighted with the recognition. But believe it or not, there are those such as myself who are dismayed at how superhero films, though more popular than ever, seem to be losing their luster.
David Cronenberg's "The Dead Zone" (1983) is my favorite adaptation of a Stephen King horror novel. Some parts from "The Shawshank Redemption" are terrifying in a different way, and are better classified in other genres. I'm also fond of some of the other films his works have inspired. "Carrie" and "The Shining" were mostly outstanding, but the casting of adults as teens in the first and the absence of an everyman feel to the lead protagonist in the second are the main reasons why I place "The Dead Zone" above them. The latter films were made by exceptional directors (DePalma and Kubrick), but Cronenberg's taste for the unusual, turned out to be a more adequate fit for King's material.
"Corman's World: Exploits of a Hollywood Rebel" is available March 27 on online outlets via iTunes, Vudu, CinemaNow and Amazon. Also on DVD and Blu-ray.
For B-movie buffs, exploitation film aficionados, and midnight movie cultists, the grand finale of "Corman's World: Exploits of a Hollywood Rebel," will be every bit as exhilarating as that montage of forbidden kisses at the end of "Cinema Paradiso." Taking its cue from the liberating, rebellious high point of the Roger Corman-produced "Rock and Roll High School," in which P. J. Soles and the Ramones rock the hallways of Vince Lombardi High, it offers up dizzying bursts of quintessential Corman: cheesy monsters, fiery car explosions, Vincent Price, blaxploitation kickass, marauding piranhas and Mary Woronov with a gun.
Alex Stapleton's "Corman's World" celebrates the singular cinematic legacy of the "King of the Bs," who has improbably and regretfully fallen into obscurity. Observes director Penelope Spheeris ("The Boys Next Door," "The Decline of Western Civilization Part II: The Metal Years," "Wayne's World"): "If you ask a 20-25-year-old film buff, they won't know who he is."
This despite a career that spans almost 60 years and more than 400 films that Corman either directed or produced. But while his own name may be unfamiliar, many of the once-fledgling actors and filmmakers whom he nurtured/exploited are not: Martin Scorsese ("Boxcar Bertha"), Ron Howard ("Grand Theft Auto"), Peter Bogdanovich ("Targets"), Jonathan Demme ("Caged Heat"), Joe Dante ("Piranha"), Robert DeNiro ("Bloody Mama"), Pam Grier ("The Big Doll House"), screenwriter John Sayles ("The Lady in Red") -- all these and many more appear in "Corman's World" in new and archival interviews.
It was like an episode from "The Twilight Zone." The Academy Award for best picture went to a silent film in black and white. The unstoppable "The Artist," which had nothing going for it but boundless joy, defeated big-budgeted competitors loaded with expensive stars because … well, because it was so darned much fun. Its victory will send Hollywood back to its think-tanks.
The Academy Award winners for the past thirty years have followed consistent molds, primarily in the categories of Best Actress, Best Actor, and Best Picture. It is a very simple set of templates that I will explain with excessive evidence. This is not to say that the Academy Awards are a conspiracy run by some secret society, although that idea would be quite fun. Rather, at the very least, there is a subtext to American culture that plays out in the ideas and ideals in American cinema, and it plays out consistently. At the very least, I'm illustrating some unwritten ideals in American culture. Whether or not they are healthy or corrupt, they are there in us. So, "Best Picture" is not a great movie; rather, it is a great movie that fulfills the mold.