An intense espionage drama with incredible performance and a thrilling storyline is always what we are waiting for and that’s just what we got in FX’s latest series The Veil. Created by Peaky Blinders‘ Steven Knight, The Veil follows the story of two women traveling from Istanbul to Paris and London as one is hiding a dangerous secret while the other is on a mission to expose it before thousands of lives are lost. The Veil stars Elisabeth Moss in the lead role with Yumna Marwan, Josh Charles, Dali Benssalah, Joana Ribeiro, and James Purefoy starring in supporting roles. So, if you loved the heart-pumping thrill ride of lies and deception in The Veil here are some similar shows you could check out next.
Killing Eve Credit – BBC America
Killing Eve is an espionage thriller and black comedy series created by Fleabag’s Phoebe Waller-Bridge. Based on a...
Killing Eve Credit – BBC America
Killing Eve is an espionage thriller and black comedy series created by Fleabag’s Phoebe Waller-Bridge. Based on a...
- 5/1/2024
- by Kulwant Singh
- Cinema Blind
The Family Man is one of the best spy action-adventure series ever made. The Prime Video series follows a middle-class family man, who also works as a world-class spy. The Hindi language series sees our hero trying to balance his familial responsibilities while also dealing with international threats to his country. So, if you liked the series and are waiting for the much anticipated Season 3, here are some more shows you could watch to pass the time.
Slow Horses (Apple TV+) Credit – Apple TV+
If you loved the dark humor and the world of espionage in The Family, you should check out Apple TV+ original series Slow Horses. Based on a book series by Mick Herron, the spy comedy series revolves around a group of MI5 rejects working under a gruff and often disgusting Jackson Lamb, who was once the very best of the agency but now the thing he...
Slow Horses (Apple TV+) Credit – Apple TV+
If you loved the dark humor and the world of espionage in The Family, you should check out Apple TV+ original series Slow Horses. Based on a book series by Mick Herron, the spy comedy series revolves around a group of MI5 rejects working under a gruff and often disgusting Jackson Lamb, who was once the very best of the agency but now the thing he...
- 2/9/2024
- by Kulwant Singh
- Cinema Blind
Barbra Streisand was determined to get Robert Redford to star opposite her in The Way We Were, as detailed in her upcoming memoir, My Name Is Barbra, out on Nov. 7.
“Bob is that rare combination… an intellectual cowboy… a charismatic star who is also one of the finest actors of his generation,” Streisand wrote in an excerpt in Vanity Fair. “But like my husband, he’s almost apologetic about his looks, and I liked that about him.”
She added, “So I wanted Redford for Hubbell. But he turned it down.”
Streisand turned to director Sydney Pollack, a close friend of Redford, for help.
“I have to give Sydney credit,” she confessed. “He was as persistent as I was, because we both felt that only Redford would make the picture work.”
It wasn’t easy.
“Bob was concerned that the script was so focused on Katie that Hubbell’s character was underdeveloped.
“Bob is that rare combination… an intellectual cowboy… a charismatic star who is also one of the finest actors of his generation,” Streisand wrote in an excerpt in Vanity Fair. “But like my husband, he’s almost apologetic about his looks, and I liked that about him.”
She added, “So I wanted Redford for Hubbell. But he turned it down.”
Streisand turned to director Sydney Pollack, a close friend of Redford, for help.
“I have to give Sydney credit,” she confessed. “He was as persistent as I was, because we both felt that only Redford would make the picture work.”
It wasn’t easy.
“Bob was concerned that the script was so focused on Katie that Hubbell’s character was underdeveloped.
- 10/8/2023
- by Bruce Haring
- Deadline Film + TV
Barbra Streisand is looking back at how she convinced Robert Redford to star in the 1973 film The Way We Were after he turned down the role twice.
The romantic drama follows an unlikely couple, Katie Morosky (Streisand) and Hubbell Gardiner (Redford), who fall in love despite political and historical events. The pair must navigate their relationship while trying to overcome fundamental societal beliefs.
In an excerpt from her upcoming memoir, My Name Is Barbra, in Vanity Fair, the actress-singer opens up about what she and director Sydney Pollack went through to get Redford to star opposite Streisand.
“Bob is that rare combination … an intellectual cowboy … a charismatic star who is also one of the finest actors of his generation,” she wrote. “But like my husband, he’s almost apologetic about his looks, and I liked that about him.”
Streisand continued, “So I wanted Redford for Hubbell. But he turned it down.
The romantic drama follows an unlikely couple, Katie Morosky (Streisand) and Hubbell Gardiner (Redford), who fall in love despite political and historical events. The pair must navigate their relationship while trying to overcome fundamental societal beliefs.
In an excerpt from her upcoming memoir, My Name Is Barbra, in Vanity Fair, the actress-singer opens up about what she and director Sydney Pollack went through to get Redford to star opposite Streisand.
“Bob is that rare combination … an intellectual cowboy … a charismatic star who is also one of the finest actors of his generation,” she wrote. “But like my husband, he’s almost apologetic about his looks, and I liked that about him.”
Streisand continued, “So I wanted Redford for Hubbell. But he turned it down.
- 10/8/2023
- by Carly Thomas
- The Hollywood Reporter - Movie News
Barbra Streisand has revealed in her upcoming memoir “My Name is Barbra” the lengths she went to in order to cast Robert Redford in Sydney Pollack’s 1973 romantic drama “The Way We Were,” even after he initially refused the part.
“The Way We Were” stars Streisand and Redford as Katie and Hubbell, an unlikely couple who fall in love and marry against the backdrop of various political and historical events.
“Bob is that rare combination… an intellectual cowboy… a charismatic star who is also one of the finest actors of his generation,” Streisand wrote in her memoir (via Vanity Fair). “But like my husband, he’s almost apologetic about his looks, and I liked that about him.”
She continued, “So I wanted Redford for Hubbell. But he turned it down.”
Streisand turned to Pollack, who was friends with Redford, to help convince him to take the part. “I have to give Sydney credit,...
“The Way We Were” stars Streisand and Redford as Katie and Hubbell, an unlikely couple who fall in love and marry against the backdrop of various political and historical events.
“Bob is that rare combination… an intellectual cowboy… a charismatic star who is also one of the finest actors of his generation,” Streisand wrote in her memoir (via Vanity Fair). “But like my husband, he’s almost apologetic about his looks, and I liked that about him.”
She continued, “So I wanted Redford for Hubbell. But he turned it down.”
Streisand turned to Pollack, who was friends with Redford, to help convince him to take the part. “I have to give Sydney credit,...
- 10/7/2023
- by Jaden Thompson
- Variety Film + TV
Condor is heading to Epix for its second season. The spy thriller series, from MGM Television and Skydance Television, aired its first season on now-defunct AT&T’s Audience Network. AT&T announced in January that the network would cease operations in the spring and transition to a preview channel for HBO Max. Season one will run on Epix starting in early March, followed by the U.S. debut of season two later in the year.
Based on the novel Six Days of the Condor by James Grady and screenplay Three Days of the Condor by Lorenzo Semple Jr. and David Rayfiel, Condor follows CIA analyst Joe Turner (Max Irons) who stumbles onto a plan that threatens the lives of millions. In season two of Condor, shocking events back home force Joe Turner to face the demons of his past and return to the CIA’s tight-knit Virginia community to find a Russian traitor.
Based on the novel Six Days of the Condor by James Grady and screenplay Three Days of the Condor by Lorenzo Semple Jr. and David Rayfiel, Condor follows CIA analyst Joe Turner (Max Irons) who stumbles onto a plan that threatens the lives of millions. In season two of Condor, shocking events back home force Joe Turner to face the demons of his past and return to the CIA’s tight-knit Virginia community to find a Russian traitor.
- 12/17/2020
- by Denise Petski
- Deadline Film + TV
At&T Audience Network’s thriller series Condor, adapted from the Oscar-nominated film Three Days of the Condor and the screenplay Three Days of the Condor by Lorenzo Semple Jr. and David Rayfiel, stars Max Irons as Joe Turner, a young CIA analyst who unwittingly becomes the center of a major conspiracy. Today’s Deadline’s The Contenders Emmys Condor panel offered an unusual perspective on the show by assembling the actresses who play the very important women surrounding Joe in this complex and compelling story.
The panel, moderated by Peter White, included Mira Sorvino, Christina Moses, Kristen Hager and Katherine Cunningham. The series also stars William Hurt, Leem Lubany, Angel Bonanni and Bob Balaban. Brendan Fraser guest stars in the series created by Jason Smilovic and Todd Katzberg.
As has been the case with many of today’s series panels, the women had a difficult time speaking about their characters without revealing their fate.
The panel, moderated by Peter White, included Mira Sorvino, Christina Moses, Kristen Hager and Katherine Cunningham. The series also stars William Hurt, Leem Lubany, Angel Bonanni and Bob Balaban. Brendan Fraser guest stars in the series created by Jason Smilovic and Todd Katzberg.
As has been the case with many of today’s series panels, the women had a difficult time speaking about their characters without revealing their fate.
- 4/7/2019
- by Diane Haithman
- Deadline Film + TV
At&T Audience Network has renewed both “Condor” and “You Me Her.”
Based on the novel “Six Days of the Condor” by James Grady and screenplay “Three Days of the Condor” by Lorenzo Semple Jr. and David Rayfiel, Season 1 of “Condor” follows a young CIA analyst (Max Irons) who stumbles onto a terrible but brilliant plan that threatens the lives of millions. The show has now been renewed for a second season.
The series stars Irons, William Hurt, Leem Lubany, Angel Bonanni, Kristen Hager, with Mira Sorvino and Bob Balaban. Brendan Fraser guest stars. The teleplay is created by Jason Smilovic and Todd Katzberg. Smilovic serves as showrunner and executive producer for the series. The series is produced by MGM Television and Skydance Television. MGM distributes the series internationally.
“You Me Her” meanwhile has been renewed for a fourth and fifth season.
The series, created by executive producer and showrunner John Scott Shepherd,...
Based on the novel “Six Days of the Condor” by James Grady and screenplay “Three Days of the Condor” by Lorenzo Semple Jr. and David Rayfiel, Season 1 of “Condor” follows a young CIA analyst (Max Irons) who stumbles onto a terrible but brilliant plan that threatens the lives of millions. The show has now been renewed for a second season.
The series stars Irons, William Hurt, Leem Lubany, Angel Bonanni, Kristen Hager, with Mira Sorvino and Bob Balaban. Brendan Fraser guest stars. The teleplay is created by Jason Smilovic and Todd Katzberg. Smilovic serves as showrunner and executive producer for the series. The series is produced by MGM Television and Skydance Television. MGM distributes the series internationally.
“You Me Her” meanwhile has been renewed for a fourth and fifth season.
The series, created by executive producer and showrunner John Scott Shepherd,...
- 7/27/2018
- by Joe Otterson
- Variety Film + TV
At&T Audience Network has renewed thriller “Condor” for a second season and rom-com “You Me Her” for Seasons 4 and 5, the cable and streaming channel said Friday at the Television Critics Association Summer Press Tour.
Additionally, At&T Audience has set premiere dates for Season 2 of comedy “Loudermilk” and new documentary “Give Us This Day.” The Will Sasso and Ron Livingston sitcom are set to return Oct. 16 at 10/9c. The East St. Louis-based doc will debut Nov. 8 at 10/9c.
What’s At&T Audience Network anyway, you ask? For DirecTV customers, check Channel 239. U-verse folks can watch it on Channel 114. Finally, Audience is available to live stream on the DirecTV and U-verse apps and DirecTV Now.
Also Read: At&T Reports Mixed Q2 Results in First Earnings After Time Warner Acquisition
Below are descriptions of each of the projects, all in At&T’s own words:
“Loudermilk”
At&T Audience Network...
Additionally, At&T Audience has set premiere dates for Season 2 of comedy “Loudermilk” and new documentary “Give Us This Day.” The Will Sasso and Ron Livingston sitcom are set to return Oct. 16 at 10/9c. The East St. Louis-based doc will debut Nov. 8 at 10/9c.
What’s At&T Audience Network anyway, you ask? For DirecTV customers, check Channel 239. U-verse folks can watch it on Channel 114. Finally, Audience is available to live stream on the DirecTV and U-verse apps and DirecTV Now.
Also Read: At&T Reports Mixed Q2 Results in First Earnings After Time Warner Acquisition
Below are descriptions of each of the projects, all in At&T’s own words:
“Loudermilk”
At&T Audience Network...
- 7/27/2018
- by Tony Maglio
- The Wrap
At&T Audience Network has renewed two of its hit series, poly-romcom You Me Her for a fourth and fifth seasons and conspiracy thriller Condor for a second season.
You Me Her, from Entertainment One, and created by executive producer and showrunner John Scott Shepherd, stars Greg Poehler, Rachel Blanchard and Priscilla Faia in a romantic comedy with a little something extra: a third person.
At the end of last season, the “throuple” pulled together their happy ending – a surprise poly commitment ceremony in a pizza joint. Now, they’re settling back into the ‘burbs to live a tweaked version of the conventional “married with children” life. Are “the accidental polyamorists” trying to jam a triangular peg into a round-hole world? Will they break the neighborhood, their peculiar romance, or both?
Alta Loma Entertainment’s Peter Jaysen and Alan Gasmer executive produce.
Conspiracy thriller Condor, produced by MGM Television and Skydance Television,...
You Me Her, from Entertainment One, and created by executive producer and showrunner John Scott Shepherd, stars Greg Poehler, Rachel Blanchard and Priscilla Faia in a romantic comedy with a little something extra: a third person.
At the end of last season, the “throuple” pulled together their happy ending – a surprise poly commitment ceremony in a pizza joint. Now, they’re settling back into the ‘burbs to live a tweaked version of the conventional “married with children” life. Are “the accidental polyamorists” trying to jam a triangular peg into a round-hole world? Will they break the neighborhood, their peculiar romance, or both?
Alta Loma Entertainment’s Peter Jaysen and Alan Gasmer executive produce.
Conspiracy thriller Condor, produced by MGM Television and Skydance Television,...
- 7/27/2018
- by Denise Petski
- Deadline Film + TV
Tonight’s no-miss event from At&T’s Audience Network is Condor, a modern spy drama adapted from the 1975 Robert Redford film. Jason Smilovic and Todd Katzberg’s crackling penned teleplay is rooted in the novel Six Days of the Condor by James Grady and Three Days of the Condor screenplay by Lorenzo Semple Jr. and David Rayfiel. This 10-episode thriller on At&T Audience Network centers on CIA analyst Joe Turner (Max Irons) who had authored an algorithm that is predictive of terrorist patterns based on chatter and intel. His boss is Reuel Abbott, played by Bob Balaban. Second City alum Balaban has had […]
The post Exclusive interview: Bob Balaban on playing CIA boss in new spy thriller Condor appeared first on Monsters and Critics.
The post Exclusive interview: Bob Balaban on playing CIA boss in new spy thriller Condor appeared first on Monsters and Critics.
- 6/6/2018
- by April Neale
- Monsters and Critics
Exclusive: Adrian Lyne has signed with ICM Partners. Lyne directed the steamy and provocative hits Flashdance, Fatal Attraction and Indecent Proposal, but hasn’t directed a film since the 2002 Diane Lane-Richard Gere-starrer Unfaithful. Many have waited a long time for Lyne to get back behind the camera, and the agency’s first order of business will be to help Lyne set up that film. The one he is eager to direct is the David Rayfiel-scripted drama Silence. He is starting…...
- 10/12/2017
- Deadline
The British actor has departed biopic Enzo Ferrari over health concerns, according to reports.
Bale, nominated last week for a best supporting actor Oscar for The Big Short, felt he would be unable to put on enough weight to play the Italian auto pioneer in time for a summer start in Italy.
Paramount holds North America and most of the world on Michael Mann’s upcoming biopic and is now searching for a replacement.
Christopher Woodrow’s Vendian Entertainment and YooZoo Bliss Film Fund are financing the project. Wild Bunch’s La-based Insiders handled select territories at Afm last November.
Enzo Ferrari takes place in 1957 as the motor racing pioneer endures a tumultuous year and fights for survival.
Troy Kennedy-Martin wrote the screenplay with revisions by David Rayfiel and Mann. The script is based on Brock Yates’ book Enzo Ferrari, The Man, The Cars, The Races.
CAA arranged financing for the film and brokered the distribution deals. Production...
Bale, nominated last week for a best supporting actor Oscar for The Big Short, felt he would be unable to put on enough weight to play the Italian auto pioneer in time for a summer start in Italy.
Paramount holds North America and most of the world on Michael Mann’s upcoming biopic and is now searching for a replacement.
Christopher Woodrow’s Vendian Entertainment and YooZoo Bliss Film Fund are financing the project. Wild Bunch’s La-based Insiders handled select territories at Afm last November.
Enzo Ferrari takes place in 1957 as the motor racing pioneer endures a tumultuous year and fights for survival.
Troy Kennedy-Martin wrote the screenplay with revisions by David Rayfiel and Mann. The script is based on Brock Yates’ book Enzo Ferrari, The Man, The Cars, The Races.
CAA arranged financing for the film and brokered the distribution deals. Production...
- 1/17/2016
- by jeremykay67@gmail.com (Jeremy Kay)
- ScreenDaily
Throughout his career, Christian Bale has turned yo-yo dieting into an art form. Literally. While many actors may shy away from piling on the pounds, bulking up or starving themselves within an inch of death, for Bale that type of method acting only proved his dedication to the craft. It’s been a bit barmy watching him balloon and then suddenly – Pop! – back to his regular size, and it looks as if he hasn’t got the energy to chow down on anymore deep fried pizzas. The actor has left Michael Mann’s Enzo Ferrari biopic due to this very issue.
Deadline reported the news, citing “health concerns” as the main contributing factor toward his departure. Coming straight off The Big Short, where he’s pretty much normal size, Bale would have had to hit the carbs with a shovel to reach his target weight to play the iconic Italian racing car driver.
Deadline reported the news, citing “health concerns” as the main contributing factor toward his departure. Coming straight off The Big Short, where he’s pretty much normal size, Bale would have had to hit the carbs with a shovel to reach his target weight to play the iconic Italian racing car driver.
- 1/15/2016
- by Gem Seddon
- We Got This Covered
Paramount will release Academy Award-nominated director Michael Mann’s (Heat, The Insider, Collateral) Enzo Ferrari, starring Academy Award-winner Christian Bale (Dark Knight Trilogy, The Fighter, American Hustle) as Ferrari.
It takes place in one pivotal year, 1957. It is the personal story of a passionate man and his sprawling world, at times hilarious and at the next moment devastating, as he faces a brutal challenge to his survival.
Vendian Entertainment and YooZoo Bliss Film Fund have come on to finance the heavily-anticipated project, which will shoot next summer in Italy. Mann will produce along with Vendian and YooZoo Bliss. YooZoo Pictures also will distribute Enzo Ferrari in China. Vincent Maraval’s Insiders will commence international sales on selected territories at next month’s American Film Market.
Enzo Ferrari was written by Troy Kennedy-Martin (The Italian Job, Kelly’S Heroes, Edge Of Darkness), revised by David Rayfiel (The Firm, Sabrina) and Michael Mann...
It takes place in one pivotal year, 1957. It is the personal story of a passionate man and his sprawling world, at times hilarious and at the next moment devastating, as he faces a brutal challenge to his survival.
Vendian Entertainment and YooZoo Bliss Film Fund have come on to finance the heavily-anticipated project, which will shoot next summer in Italy. Mann will produce along with Vendian and YooZoo Bliss. YooZoo Pictures also will distribute Enzo Ferrari in China. Vincent Maraval’s Insiders will commence international sales on selected territories at next month’s American Film Market.
Enzo Ferrari was written by Troy Kennedy-Martin (The Italian Job, Kelly’S Heroes, Edge Of Darkness), revised by David Rayfiel (The Firm, Sabrina) and Michael Mann...
- 10/27/2015
- by Michelle McCue
- WeAreMovieGeeks.com
The studio has licensed North America and most of the world on Michael Mann’s upcoming Christian Bale starrer excluding select territories that Los Angeles-based Insiders will introduce at the Afm next week.
Christopher Woodrow’s Vendian Entertainment and YooZoo Bliss Film Fund have come on to finance the project, set to shoot next summer in Italy.
Wild Bunch off-shoot Insiders will commence pre-sales at the Afm. Mann will produce with Vendian and YooZoo Bliss, which will distribute in China.
Enzo Ferrari takes place in 1957 as the motor racing pioneer endures a tumultuous year and fights for survival.
Troy Kennedy-Martin wrote the screenplay with revisions by David Rayfiel and Mann. The script is based on Brock Yates’ book Enzo Ferrari, The Man, The Cars, The Races.
CAA represents Mann and arranged financing for the film and brokered the distribution deals. Production partners include Vittorio Cecchi Gori and Gabrielle Israeliovici.
Christopher Woodrow’s Vendian Entertainment and YooZoo Bliss Film Fund have come on to finance the project, set to shoot next summer in Italy.
Wild Bunch off-shoot Insiders will commence pre-sales at the Afm. Mann will produce with Vendian and YooZoo Bliss, which will distribute in China.
Enzo Ferrari takes place in 1957 as the motor racing pioneer endures a tumultuous year and fights for survival.
Troy Kennedy-Martin wrote the screenplay with revisions by David Rayfiel and Mann. The script is based on Brock Yates’ book Enzo Ferrari, The Man, The Cars, The Races.
CAA represents Mann and arranged financing for the film and brokered the distribution deals. Production partners include Vittorio Cecchi Gori and Gabrielle Israeliovici.
- 10/27/2015
- by jeremykay67@gmail.com (Jeremy Kay)
- ScreenDaily
Michael Mann is about to go head to head with his Heat star Robert De Niro. The director and the actor are working on separate biopics about Enzo Ferrari, the champion Italian racer who founded the luxury sports car company named after him. According to Variety, Mann’s version has been in the works for a while with the Rome-based Cecchi Gori Media (De Niro’s A Bronx Tale) and now he’s in final talks to direct the movie. It’s unclear if this will be his follow-up to Blackhat, but shooting wouldn’t begin until next year. Not that I expect he’d slip something else in before that. Currently titled Ferrari, according to IMDb, the script for this one is a Mann-ordered mash-up of efforts penned separately by Troy Kennedy-Martin (The Italian Job) and the late David Rayfiel (The Firm), both individually adapted from the 1991 biography “Enzo Ferrari: The Man, the...
- 4/15/2015
- by Christopher Campbell
- FilmSchoolRejects.com
Michael Mann, likely hoping to bounce back from Blackhat- the critical and financial flop he released earlier this year-, is preparing his next project. The revered director, responsible for films like Heat, The Insider, and Ali is now preparing to bring Enzo Ferrari's life story to the big screen. The Italian automotive mogul is responsible for the iconic brand of cars that bare his name: Ferrari.
Mann, as he's been known to do, has been doing exhaustive research on the man, and has combined two separate scripts that were based off of the book "Enzo Ferrari: The Man, The Cars, and The Races" by Brock Yates into one. Those two, now merged scripts were written by Troy Kennedy Martin (The Italian Job) and David Rayfiel (The Firm).
The Rayfiel script was going to be used by Sydney Pollack when this film was first conceived back in 2004, with...
Mann, as he's been known to do, has been doing exhaustive research on the man, and has combined two separate scripts that were based off of the book "Enzo Ferrari: The Man, The Cars, and The Races" by Brock Yates into one. Those two, now merged scripts were written by Troy Kennedy Martin (The Italian Job) and David Rayfiel (The Firm).
The Rayfiel script was going to be used by Sydney Pollack when this film was first conceived back in 2004, with...
- 4/15/2015
- by Mario-Francisco Robles
- LRMonline.com
By Alex Simon
Lawyers in motion pictures have been portrayed as one of two extremes, devils or angels, almost since celluloid was invented. The first film dealing specifically with a law firm and attorneys, 1933’s Counsellor at Law, starring John Barrymore, portrayed its J.D.s as upstanding citizens, as did the early Perry Mason films of the same period. This quickly changed, however, with many attorneys portrayed as being capable of the same brand of skullduggery as their shifty clients. With that in mind, we bring you a list of the good, the bad and the ugly of lawyers in movies.
1. To Kill a Mockingbird (1962)
Gregory Peck’s Atticus Finch became the boilerplate for the Noble Movie Lawyer in this iconic, 1962 adaptation of Harper Lee’s award-winning novel. Atticus Finch, a small town attorney in the Depression-era South, must defend a black man (Brock Peters) falsely accused of raping a white woman,...
Lawyers in motion pictures have been portrayed as one of two extremes, devils or angels, almost since celluloid was invented. The first film dealing specifically with a law firm and attorneys, 1933’s Counsellor at Law, starring John Barrymore, portrayed its J.D.s as upstanding citizens, as did the early Perry Mason films of the same period. This quickly changed, however, with many attorneys portrayed as being capable of the same brand of skullduggery as their shifty clients. With that in mind, we bring you a list of the good, the bad and the ugly of lawyers in movies.
1. To Kill a Mockingbird (1962)
Gregory Peck’s Atticus Finch became the boilerplate for the Noble Movie Lawyer in this iconic, 1962 adaptation of Harper Lee’s award-winning novel. Atticus Finch, a small town attorney in the Depression-era South, must defend a black man (Brock Peters) falsely accused of raping a white woman,...
- 4/13/2015
- by The Hollywood Interview.com
- The Hollywood Interview
The 2013 TCM Classic Film Festival continues to expand, with newly added appearances by legendary stars at screenings of some of their most memorable films, including Mel Brooks, Carl Reiner, Mickey Rooney, Jonathan Winters, Marvin Kaplan, Barrie Chase, Polly Bergen,Coleen Gray, Theodore Bikel and Norman Lloyd, as well as producer Stanley Rubin, Clara Bow biographer David Stenn, Museum of Modern Art (MoMA) film collections manager Katie Trainor and director Nicholas Ray’s widow, Susan Ray. In addition, TCM’s Essentials Jr. host and Saturday Night Live star Bill Hader will present screenings of Shane (1953) and The Ladykillers(1955).
And The Film Forum’s Bruce Goldstein will present a special screening of Frank Capra’s The Donovan Affair (1929), complete with live voice actors and sound effects to replace the film’s long-lost soundtrack.Mel Brooks is slated to talk about his comedy The Twelve Chairs (1970). Carl Reiner, Mickey Rooney, Jonathan Winters, Marvin Kaplan...
And The Film Forum’s Bruce Goldstein will present a special screening of Frank Capra’s The Donovan Affair (1929), complete with live voice actors and sound effects to replace the film’s long-lost soundtrack.Mel Brooks is slated to talk about his comedy The Twelve Chairs (1970). Carl Reiner, Mickey Rooney, Jonathan Winters, Marvin Kaplan...
- 3/13/2013
- by Melissa Thompson
- WeAreMovieGeeks.com
Jeremiah Johnson
Directed by Sydney Pollack
Written by Edward Anhalt and John Milius
1972,
The Western, at its creative and commercial peak – the late 1960s-early 1970s – proved itself an astoundingly pliable genre. It could be molded to deal with topical subject matter like racism (Skin Game, 1971), feminism (The Ballad of Josie, 1967), the excesses of capitalism (Oklahoma Crude, 1973). It could be bent into religious allegories (High Plains Drifter, 1973), or an equally allegorical address of the country’s most controversial war (Ulzana’s Raid, 1972). Westerns could be used to deconstruct America’s most self-congratulatory myths (Doc, 1971), and address historical slights and omissions (Little Big Man, 1970). They could provide heady social commentary (Hombre, 1967), or simple adventure and excitement (The Professionals, 1966). They could be funny (The Hallelujah Trail, 1965), unremittingly grim (Hour of the Gun, 1967), surreal (Greaser’s Palace, 1972), even be stretched into the shape of rock musical (Zachariah, 1971) or monster movie (Valley of Gwangi, 1969).
But...
Directed by Sydney Pollack
Written by Edward Anhalt and John Milius
1972,
The Western, at its creative and commercial peak – the late 1960s-early 1970s – proved itself an astoundingly pliable genre. It could be molded to deal with topical subject matter like racism (Skin Game, 1971), feminism (The Ballad of Josie, 1967), the excesses of capitalism (Oklahoma Crude, 1973). It could be bent into religious allegories (High Plains Drifter, 1973), or an equally allegorical address of the country’s most controversial war (Ulzana’s Raid, 1972). Westerns could be used to deconstruct America’s most self-congratulatory myths (Doc, 1971), and address historical slights and omissions (Little Big Man, 1970). They could provide heady social commentary (Hombre, 1967), or simple adventure and excitement (The Professionals, 1966). They could be funny (The Hallelujah Trail, 1965), unremittingly grim (Hour of the Gun, 1967), surreal (Greaser’s Palace, 1972), even be stretched into the shape of rock musical (Zachariah, 1971) or monster movie (Valley of Gwangi, 1969).
But...
- 1/6/2013
- by Bill Mesce
- SoundOnSight
Bertrand Tavernier, one of the finest, most versatile film-makers at work today as well as a generous critic and astute film historian, has never received the recognition he deserves in this country. Premiered in France in 1979, his thoughtful, humanistic Sf fable Death Watch (aka La mort en direct), a Franco-German production made in English, took two years to cross the Channel, received a patronising reception here and rapidly disappeared. It is an exceptional film that makes imaginative use of Scottish locations (both the austerely beautiful Highlands and the run-down grandeur of Glasgow) to tell the still urgent story of a group of people involved in a voyeuristic TV programme set in what was then a few years in the future.
Harvey Keitel gives a characteristically intense performance as a journalist whose Faustian compact with his technocrat bosses becomes complete when a device is built into his brain to serve Harry Dean Stanton's TV station.
Harvey Keitel gives a characteristically intense performance as a journalist whose Faustian compact with his technocrat bosses becomes complete when a device is built into his brain to serve Harry Dean Stanton's TV station.
- 6/2/2012
- by Philip French
- The Guardian - Film News
Rating: 4 out of 5 stars
When we think of the great cinematic media satires, most voices will defer quite rightly towards Sidney Lumet’s frighteningly ahead-of-its-time 1976 masterpiece Network. While recent favour tends to Peter Weir’s stunning The Truman Show, examining the intermediate years of these two films unearths some greatly under-appreciated efforts, such as Bertrand Tavernier’s chilly sci-fi satire Death Watch.
It is a curiosity that Harvey Keitel’s performance as Roddy – an MTV employee fitted with a camera recording everything he sees – remains one of his least-remembered while also being one of his best. Suffused with a memorably unassuming, creepily banal atmosphere – for Glasgow is hardly the first place one would imagine to situate a sci-fi film – Death Watch is, like Network, a morbid and cynical dissection of burgeoning new media. Embodied through Harry Dean Stanton’s unscrupulous TV producer Vincent Ferriman, we observe a media empire’s insatiable hunger for ratings,...
When we think of the great cinematic media satires, most voices will defer quite rightly towards Sidney Lumet’s frighteningly ahead-of-its-time 1976 masterpiece Network. While recent favour tends to Peter Weir’s stunning The Truman Show, examining the intermediate years of these two films unearths some greatly under-appreciated efforts, such as Bertrand Tavernier’s chilly sci-fi satire Death Watch.
It is a curiosity that Harvey Keitel’s performance as Roddy – an MTV employee fitted with a camera recording everything he sees – remains one of his least-remembered while also being one of his best. Suffused with a memorably unassuming, creepily banal atmosphere – for Glasgow is hardly the first place one would imagine to situate a sci-fi film – Death Watch is, like Network, a morbid and cynical dissection of burgeoning new media. Embodied through Harry Dean Stanton’s unscrupulous TV producer Vincent Ferriman, we observe a media empire’s insatiable hunger for ratings,...
- 6/1/2012
- by Shaun Munro
- Obsessed with Film
Directed by: John Badham, Jeannot Szwarc, Timothy Galfas, Jack Laird
Written by: Rod Serling, Jack Laird, Halsted Welles, David Rayfiel
Starring: Rod Serling, Joanna Pettet, Burgess Meredith, Vincent Price, Bill Bixby, Geraldine Page
Rod Serling’s Night Gallery is a beloved cult series with a complicated history. It was Serling’s follow-up to his critically acclaimed Twilight Zone, which ran on CBS from 1959–64. Its eerie opening introduction featuring Serling in a dark gallery surrounded by dynamic, often disturbing paintings was the hallmark of the show. Serling would introduce new paintings (by gifted artist Tom Wright) each week, which would segue into a story that usually revolved around a supernatural or occult theme.
Night Gallery began its run with a well-received two-hour pilot on NBC in November 1969. The following year it was included as part of NBC’s Four-in-One programming wheel. It rotated every fourth Wednesday with The Psychiatrist, McCloud and San Francisco International Airport.
Written by: Rod Serling, Jack Laird, Halsted Welles, David Rayfiel
Starring: Rod Serling, Joanna Pettet, Burgess Meredith, Vincent Price, Bill Bixby, Geraldine Page
Rod Serling’s Night Gallery is a beloved cult series with a complicated history. It was Serling’s follow-up to his critically acclaimed Twilight Zone, which ran on CBS from 1959–64. Its eerie opening introduction featuring Serling in a dark gallery surrounded by dynamic, often disturbing paintings was the hallmark of the show. Serling would introduce new paintings (by gifted artist Tom Wright) each week, which would segue into a story that usually revolved around a supernatural or occult theme.
Night Gallery began its run with a well-received two-hour pilot on NBC in November 1969. The following year it was included as part of NBC’s Four-in-One programming wheel. It rotated every fourth Wednesday with The Psychiatrist, McCloud and San Francisco International Airport.
- 4/24/2012
- by Bradley Harding
- Planet Fury
I’ve always been a war film buff, maybe because I grew up with them at a time when they were a regular part of the cinema landscape. That’s why I read, with particular interest, my Sound on Sight colleague Edgar Chaput’s recent pieces on The Flowers of War (“The Flowers of War Is an Uneven but Interesting Chinese Ww II Film” – posted 2/20/12) and The Front Line (The Front Line Rises to the Occasion to Overcome Its Familiarity” – 2/16/12) with such interest. An even more fun read was the back-and-forth between Edgar and Sos’s Michael Ryan over the latter (“The Sound on Sight Debate on Korea’s The Front Line” – 2/12/12), with Michael unimpressed because the movie had “…nothing new to add to the war genre,” and Edgar coming back with “…‘new’ is not always what a film must strive for. So long as it does well what it set out to do…...
- 2/28/2012
- by Bill Mesce
- SoundOnSight
Hollywood script doctor favoured by Sydney Pollack
Like certain potentates who travel with a personal physician, the director Sydney Pollack almost always had his own script doctor close at hand to revitalise a sick screenplay. David Rayfiel, who has died of congestive heart failure aged 87, was called in on the majority of Pollack's features, usually for a few weeks, in order to fix specific problems, rewrite here and there, and add and subtract lines. Though well remunerated for his work, Rayfiel was usually given no screen credit.
However, the spotlight was sometimes turned on him, such as when Robert Redford called Rayfiel "the unsung hero of almost every picture Sydney Pollack and I have made together". When Out of Africa (1985) won the Oscar for best picture, Pollack thanked Rayfiel for "keeping us honest" and Kurt Luedtke, upon accepting the Academy award for his screenplay of the same film, also acknowledged Rayfiel.
Like certain potentates who travel with a personal physician, the director Sydney Pollack almost always had his own script doctor close at hand to revitalise a sick screenplay. David Rayfiel, who has died of congestive heart failure aged 87, was called in on the majority of Pollack's features, usually for a few weeks, in order to fix specific problems, rewrite here and there, and add and subtract lines. Though well remunerated for his work, Rayfiel was usually given no screen credit.
However, the spotlight was sometimes turned on him, such as when Robert Redford called Rayfiel "the unsung hero of almost every picture Sydney Pollack and I have made together". When Out of Africa (1985) won the Oscar for best picture, Pollack thanked Rayfiel for "keeping us honest" and Kurt Luedtke, upon accepting the Academy award for his screenplay of the same film, also acknowledged Rayfiel.
- 7/1/2011
- by Ronald Bergan
- The Guardian - Film News
With Insignificance (1985) out from Criterion last week (see the roundup), The Man Who Fell to Earth (1976) opening at Film Forum in New York tomorrow and, in the UK, Don't Look Now (1973) out on Blu-ray on July 4, following the BFI retrospective in March, there's a Nicolas Roeg mini-revival going on.
Writing about Insignificance and The Man Who Fell to Earth for Artforum, Darrell Hartman argues, "Past is present in the cinema of Nicolas Roeg. To simply call those extratemporal sequences that punctuate his work 'flashbacks' is to downplay the role that images of what came before play in his films. Such 'digressive' framing devices are, in many ways, the emotional and visual keystones of Roeg's work. In his heyday, from the 1970s until the mid-80s, Roeg was known as an envelope pusher. He employed nonlinear editing as part of an ambitious attempt to bridge space and time, cutting frames together...
Writing about Insignificance and The Man Who Fell to Earth for Artforum, Darrell Hartman argues, "Past is present in the cinema of Nicolas Roeg. To simply call those extratemporal sequences that punctuate his work 'flashbacks' is to downplay the role that images of what came before play in his films. Such 'digressive' framing devices are, in many ways, the emotional and visual keystones of Roeg's work. In his heyday, from the 1970s until the mid-80s, Roeg was known as an envelope pusher. He employed nonlinear editing as part of an ambitious attempt to bridge space and time, cutting frames together...
- 6/26/2011
- MUBI
Chicago – Sydney Pollack was a filmmaker who could do anything: sweeping romantic melodramas, side-splitting satires and epic yet intimate tragedies. It’s easy to forget that Pollack could also craft a superb commercial thriller every once in a while, and 1993’s “The Firm” falls under that category. Despite a few dated elements, the picture holds up surprisingly well.
Author John Grisham and star Tom Cruise were both at the peak of their powers when audiences first flocked to this legal thriller, based on Grisham’s hit 1991 novel of the same name. After playing a series of young hotshots tutored by veteran mentors, Cruise was clearly ready to delve into meatier roles. He delivered the best performance of his career in 1989’s “Born on the Fourth of July,” and “The Firm” offers ample proof of Cruise’s maturity as an actor.
Blu-Ray Rating: 3.5/5.0
At first glance, the film appears to be...
Author John Grisham and star Tom Cruise were both at the peak of their powers when audiences first flocked to this legal thriller, based on Grisham’s hit 1991 novel of the same name. After playing a series of young hotshots tutored by veteran mentors, Cruise was clearly ready to delve into meatier roles. He delivered the best performance of his career in 1989’s “Born on the Fourth of July,” and “The Firm” offers ample proof of Cruise’s maturity as an actor.
Blu-Ray Rating: 3.5/5.0
At first glance, the film appears to be...
- 5/31/2011
- by adam@hollywoodchicago.com (Adam Fendelman)
- HollywoodChicago.com
Chicago – Paramount Home Video is unleashing waves of catalog titles this month. It started with the comedy wave last Tuesday and continues with a diverse slate of action films this week.
Like the comedy set, the films have very little in common other than their genre (and even that is a bit sketchy with “The Machinist” bearing little resemblance to “Paycheck”). The highlights of the wave are clearly “3 Days of the Condor,” “The Machinist,” and “Changing Lanes” with “Enemy at the Gates” certainly having enough visual power to warrant a look in HD. “Paycheck”? Good luck with that one.
All five titles were released on Tuesday, May 19th, 2009.
“3 Days of the Condor”
Photo credit: Paramount Synopsis: “In Sydney Pollack’s critically acclaimed suspense-thriller, Robert Redford stars as CIA Agent Joe Turner. Code name: Condor. When his entire office is massacred, Turner goes on the run from his enemies…and his so-called allies.
Like the comedy set, the films have very little in common other than their genre (and even that is a bit sketchy with “The Machinist” bearing little resemblance to “Paycheck”). The highlights of the wave are clearly “3 Days of the Condor,” “The Machinist,” and “Changing Lanes” with “Enemy at the Gates” certainly having enough visual power to warrant a look in HD. “Paycheck”? Good luck with that one.
All five titles were released on Tuesday, May 19th, 2009.
“3 Days of the Condor”
Photo credit: Paramount Synopsis: “In Sydney Pollack’s critically acclaimed suspense-thriller, Robert Redford stars as CIA Agent Joe Turner. Code name: Condor. When his entire office is massacred, Turner goes on the run from his enemies…and his so-called allies.
- 5/19/2009
- by adam@hollywoodchicago.com (Adam Fendelman)
- HollywoodChicago.com
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