The first trailer for Joker: Folie à Deux has arrived.
The follow-up to 2019’s Oscar-winning Joker marks the return of Joaquin Phoenix in the role of the Clown Prince of Crime, and introduces Lady Gaga as his love interest, Harley Quinn. Todd Phillips returned to the director’s chair for the sequel, and Zazie Beetz signed on to continue playing Sophie Dummond. The newly revealed trailer also confirms that Steve Coogan has a role in the film.
While the first installment of Phillips’ take on the iconic character offered a grounded and gritty origin story in Gotham City, the sequel will be making some departures. This film is described as a jukebox musical, promising at least 15 tracks throughout the run time, including a cover of the Judy Garland standard from The Band Wagon, “That’s Entertainment!” The trailer is soundtracked by “What the World Needs Now Is Love.”
To help get into character,...
The follow-up to 2019’s Oscar-winning Joker marks the return of Joaquin Phoenix in the role of the Clown Prince of Crime, and introduces Lady Gaga as his love interest, Harley Quinn. Todd Phillips returned to the director’s chair for the sequel, and Zazie Beetz signed on to continue playing Sophie Dummond. The newly revealed trailer also confirms that Steve Coogan has a role in the film.
While the first installment of Phillips’ take on the iconic character offered a grounded and gritty origin story in Gotham City, the sequel will be making some departures. This film is described as a jukebox musical, promising at least 15 tracks throughout the run time, including a cover of the Judy Garland standard from The Band Wagon, “That’s Entertainment!” The trailer is soundtracked by “What the World Needs Now Is Love.”
To help get into character,...
- 4/10/2024
- by Mary Siroky
- Consequence - Film News
Prepare to be mesmerized once again as the world of psychological thrillers is about to be reignited with the highly anticipated sequel to Todd Phillips’ 2019 masterpiece, Joker 2. The sequel is set to bring back Joaquin Phoenix as Arthur Fleck, the enigmatic and troubled character whose journey into madness captivated audiences worldwide.
Joker (2019)
Following the immense success of the first film, anticipation has been mounting for its sequel. And ahead of its official trailer release fans are treated to a tantalizing glimpse of what’s to come with pre-trailer footage showcasing Phoenix’s mesmerizing portrayal in what promises to be another mind-numbingly visceral masterpiece.
Todd Phillips Shares the First Official Teaser For Joker 2
The first official footage of Todd Phillips‘ Joker: Folie à Deux has been released. The footage is shared by the official Twitter page of Joker Movie along with the announcement of the time for the official trailer release.
Joker (2019)
Following the immense success of the first film, anticipation has been mounting for its sequel. And ahead of its official trailer release fans are treated to a tantalizing glimpse of what’s to come with pre-trailer footage showcasing Phoenix’s mesmerizing portrayal in what promises to be another mind-numbingly visceral masterpiece.
Todd Phillips Shares the First Official Teaser For Joker 2
The first official footage of Todd Phillips‘ Joker: Folie à Deux has been released. The footage is shared by the official Twitter page of Joker Movie along with the announcement of the time for the official trailer release.
- 4/9/2024
- by Laxmi Rajput
- FandomWire
A Joker sequel was never technically in the cards. When director Todd Phillips made his anti-superhero origin film about the classic Batman villain — with Joaquin Phoenix in the title role — it was designed to be a standalone film. While Phillips acknowledged he was open to making a follow-up under the right circumstances, he went so far as to stress a month before the film’s October 2019 release: “We have no plans for a sequel … The movie’s not set up to [have] a sequel. We always pitched it as one movie,...
- 4/3/2024
- by Jon Blistein
- Rollingstone.com
The sequel to the highest-grossing R-rated movie of all time is, surprise surprise, also rated R. More below…
Anyone hoping to watch Joker: Folie à Deux with their nan could be in for an awkward trip to the multiplex. The US Motion Picture Association has given the upcoming musical sequel an R rating, citing “some strong violence, language throughout, some sexuality and brief full nudity”.
This, unsurprisingly, puts Todd Phillips’ follow-up on the top shelf of the DVD rack alongside its predecessor, which the Association also rated R for “strong bloody violence, disturbing behavior, language and brief sexual images”.
Folie à Deux sees Joaquin Phoenix reprise his role as the titular clown-based rapscallion, with Lady Gaga starring opposite as psychiatrist-turned, er, whatever the opposite of a psychiatrist is, Harley Quinn. Whether or not she’ll carry her signature massive cartoon hammer is yet to be seen.
While the sequel’s...
Anyone hoping to watch Joker: Folie à Deux with their nan could be in for an awkward trip to the multiplex. The US Motion Picture Association has given the upcoming musical sequel an R rating, citing “some strong violence, language throughout, some sexuality and brief full nudity”.
This, unsurprisingly, puts Todd Phillips’ follow-up on the top shelf of the DVD rack alongside its predecessor, which the Association also rated R for “strong bloody violence, disturbing behavior, language and brief sexual images”.
Folie à Deux sees Joaquin Phoenix reprise his role as the titular clown-based rapscallion, with Lady Gaga starring opposite as psychiatrist-turned, er, whatever the opposite of a psychiatrist is, Harley Quinn. Whether or not she’ll carry her signature massive cartoon hammer is yet to be seen.
While the sequel’s...
- 4/3/2024
- by James Harvey
- Film Stories
“Joker: Folie à Deux” has been rated R by the Motion Picture Association, it was revealed on Wednesday.
The musical sequel to 2019’s “Joker,” starring Joaquin Phoenix and Lady Gaga, has been rated R for “some strong violence, language throughout, some sexuality and brief full nudity,” according to the MPA’s daily ratings bulletin.
This is in line with the original “Joker,” which was rated R for “strong bloody violence, disturbing behavior, language and brief sexual images.”
Directed by Todd Phillips, “Joker: Folie à Deux” sees Phoenix reprise his role as the title character, with Gaga joining as his twisted lover Harley Quinn. The film also stars Zazie Beetz, Catherine Keener and Brendan Gleeson.
Though plot details are being kept under wraps, Variety exclusively revealed in March that the film will mostly be a jukebox musical, integrating at least 15 reinterpretations of well-known songs. One is said to be “That’s Entertainment...
The musical sequel to 2019’s “Joker,” starring Joaquin Phoenix and Lady Gaga, has been rated R for “some strong violence, language throughout, some sexuality and brief full nudity,” according to the MPA’s daily ratings bulletin.
This is in line with the original “Joker,” which was rated R for “strong bloody violence, disturbing behavior, language and brief sexual images.”
Directed by Todd Phillips, “Joker: Folie à Deux” sees Phoenix reprise his role as the title character, with Gaga joining as his twisted lover Harley Quinn. The film also stars Zazie Beetz, Catherine Keener and Brendan Gleeson.
Though plot details are being kept under wraps, Variety exclusively revealed in March that the film will mostly be a jukebox musical, integrating at least 15 reinterpretations of well-known songs. One is said to be “That’s Entertainment...
- 4/3/2024
- by Ellise Shafer
- Variety Film + TV
The movie ‘Joker’ (2019) was initially intended as a standalone film without sequels. However, Warner Bros. had plans for it to kickstart DC Black, a series of darker, more experimental films separate from the DC Extended Universe. Director Todd Phillips expressed interest in a sequel despite the original plan. By November 2019, the sequel was confirmed to be in development. In 2023, Gunn confirmed that ‘Joker: Folie à Deux’ would not be part of the mainline Dcu; instead, it would be released under the ‘Elseworlds’ label, aligning with Matt Reeves’ ‘The Batman’ franchise.
Early in development, it was revealed that ‘Joker 2’ would be a musical, which garnered mixed reactions from fans. Recently, it’s been reported that the movie will feature around 15 covers of well-known songs, including ‘That’s Entertainment’ from the 1953 musical ‘The Band Wagon’, famously associated with Judy Garland. There’s also talk of including original songs. Details about the composers and singers remain unknown,...
Early in development, it was revealed that ‘Joker 2’ would be a musical, which garnered mixed reactions from fans. Recently, it’s been reported that the movie will feature around 15 covers of well-known songs, including ‘That’s Entertainment’ from the 1953 musical ‘The Band Wagon’, famously associated with Judy Garland. There’s also talk of including original songs. Details about the composers and singers remain unknown,...
- 4/2/2024
- by Valentina Kraljik
- Fiction Horizon
‘Joker’ (2019) was initially meant to be a standalone film without sequels. However, Warner Bros. planned for it to inaugurate DC Black, a series of darker, more experimental films separate from the DC Extended Universe. Director Todd Phillips expressed interest in a sequel despite the original intention. By November of 2019, the sequel was confirmed in development, and in 2023 Gunn confirmed that ‘Joker: Folie à Deux’ will not be a part of the mainline Dcu, it will instead be released under ‘Elseworlds’ label, consistent with Matt Reeves’ ‘The Batman’ franchise.
Early on in the development, we learned that ‘Joker 2’ would be a musical, which is a brave choice in my honest opinion, however, the fandom was extremely polarized by this announcement. Recently, we’ve learned that the movie will feature around 15 covers of well-known song, one said to be ‘That’s Entertainment’ from the 1953 musical ‘The Band Wagon’ famously associated with Judy Garland.
Early on in the development, we learned that ‘Joker 2’ would be a musical, which is a brave choice in my honest opinion, however, the fandom was extremely polarized by this announcement. Recently, we’ve learned that the movie will feature around 15 covers of well-known song, one said to be ‘That’s Entertainment’ from the 1953 musical ‘The Band Wagon’ famously associated with Judy Garland.
- 4/2/2024
- by Valentina Kraljik
- Comic Basics
I hope you’ve saved a few coins for the jukebox because the first Joker: Folie à Deux poster is here to get your toes tapping and your mind spinning in circles on the dancefloor. Warner Bros. Discovery debuted a new poster for Joker: Folie à Deux, featuring Joaquin Phoenix’s Arthur Fleck and Lady Gaga’s Harley cutting a rug while entangled in a firm embrace. The new promo gives Gone With the Wind and Fred Astaire vibes, with a touch of madness for good measure.
April is unofficially Joker month, with the new Joker: Folie à Deux poster boogying into the ballroom and the sequel’s first trailer waltzing online on April 9th. Todd Phillips’ Joker: Folie à Deux is one of 2024’s most talked about films following the reveal of the film’s “Jukebox Musical” format. According to verified reports, Joker 2 includes at least 15 reinterpretations of “very well-known” songs.
April is unofficially Joker month, with the new Joker: Folie à Deux poster boogying into the ballroom and the sequel’s first trailer waltzing online on April 9th. Todd Phillips’ Joker: Folie à Deux is one of 2024’s most talked about films following the reveal of the film’s “Jukebox Musical” format. According to verified reports, Joker 2 includes at least 15 reinterpretations of “very well-known” songs.
- 4/2/2024
- by Steve Seigh
- JoBlo.com
The movie ‘Joker’ (2019) was initially planned as a standalone film with no sequels. However, Warner Bros. decided to use it to launch DC Black, a series of darker, more experimental films separate from the DC Extended Universe. Director Todd Phillips, despite the original plan, expressed interest in making a sequel. In November 2019, the sequel was confirmed to be in development. In 2023, it was revealed by Gunn that ‘Joker: Folie à Deux’ would not be part of the main Dcu but would be released under the ‘Elseworlds’ label, similar to Matt Reeves’ ‘The Batman’ franchise.
Early in development, it was announced that ‘Joker 2’ would be a musical, which sparked mixed reactions among fans. Recently, it was revealed that the movie will include around 15 covers of well-known songs, including ‘That’s Entertainment’ from the 1953 musical ‘The Band Wagon.’ Hildur Guðnadóttir, the Oscar-winning composer of the first ‘Joker’ film, is rumored to be...
Early in development, it was announced that ‘Joker 2’ would be a musical, which sparked mixed reactions among fans. Recently, it was revealed that the movie will include around 15 covers of well-known songs, including ‘That’s Entertainment’ from the 1953 musical ‘The Band Wagon.’ Hildur Guðnadóttir, the Oscar-winning composer of the first ‘Joker’ film, is rumored to be...
- 4/2/2024
- by Valentina Kraljik
- Fiction Horizon
‘Joker’ (2019) was initially meant to be a standalone film without sequels. However, Warner Bros. planned for it to inaugurate DC Black, a series of darker, more experimental films separate from the DC Extended Universe. Director Todd Phillips expressed interest in a sequel despite the original intention. By November of 2019, the sequel was confirmed in development, and in 2023 Gunn confirmed that ‘Joker: Folie à Deux’ will not be a part of the mainline Dcu, it will instead be released under ‘Elseworlds’ label, consistent with Matt Reeves’ ‘The Batman’ franchise.
Early on in the development, we learned that ‘Joker 2’ would be a musical, which is a brave choice in my honest opinion, however, the fandom was extremely polarized by this announcement. Recently, we’ve learned that the movie will feature around 15 covers of well-known song, one said to be ‘That’s Entertainment’ from the 1953 musical ‘The Band Wagon’ famously associated with Judy Garland.
Early on in the development, we learned that ‘Joker 2’ would be a musical, which is a brave choice in my honest opinion, however, the fandom was extremely polarized by this announcement. Recently, we’ve learned that the movie will feature around 15 covers of well-known song, one said to be ‘That’s Entertainment’ from the 1953 musical ‘The Band Wagon’ famously associated with Judy Garland.
- 4/2/2024
- by Valentina Kraljik
- Comic Basics
‘Joker’ (2019) was initially supposed to be a standalone film with no sequels. But Warner Bros. had bigger plans; they wanted it to kick off DC Black, a series of darker, more experimental movies separate from the DC Extended Universe. Director Todd Phillips showed interest in making a sequel despite the original plan. By November 2019, the sequel was officially in development. In 2023, Gunn confirmed that ‘Joker: Folie à Deux’ wouldn’t be part of the mainline Dcu; instead, it would be released under the ‘Elseworlds’ label, aligning with Matt Reeves’ ‘The Batman’ franchise.
In the early stages of development, it was revealed that ‘Joker 2’ would be a musical—a bold decision, in my opinion. However, the fanbase had mixed reactions to this news. Now, industry insiders speaking to Variety provide details on the number of songs viewers can anticipate in the movie.
The movie is mainly a jukebox musical, incorporating approximately 15 covers of popular songs,...
In the early stages of development, it was revealed that ‘Joker 2’ would be a musical—a bold decision, in my opinion. However, the fanbase had mixed reactions to this news. Now, industry insiders speaking to Variety provide details on the number of songs viewers can anticipate in the movie.
The movie is mainly a jukebox musical, incorporating approximately 15 covers of popular songs,...
- 3/23/2024
- by Valentina Kraljik
- Fiction Horizon
‘Joker’ (2019) was initially meant to be a standalone film without sequels. However, Warner Bros. planned for it to inaugurate DC Black, a series of darker, more experimental films separate from the DC Extended Universe. Director Todd Phillips expressed interest in a sequel despite the original intention. By November of 2019, the sequel was confirmed in development, and in 2023 Gunn confirmed that ‘Joker: Folie à Deux’ will not be a part of the mainline Dcu, it will instead be released under ‘Elseworlds’ label, consistent with Matt Reeves’ ‘The Batman’ franchise.
Early on in the development, we learned that ‘Joker 2’ would be a musical, which is a brave choice in my honest opinion, however, the fandom was extremely polarized by this announcement. Now industry insiders in contact with Variety report just how many songs the fans can expect in the movie.
The movie is primarily a jukebox musical, featuring around 15 covers of...
Early on in the development, we learned that ‘Joker 2’ would be a musical, which is a brave choice in my honest opinion, however, the fandom was extremely polarized by this announcement. Now industry insiders in contact with Variety report just how many songs the fans can expect in the movie.
The movie is primarily a jukebox musical, featuring around 15 covers of...
- 3/23/2024
- by Valentina Kraljik
- Comic Basics
The upcoming film ‘Joker: Folie a Deux’ will mostly be “a jukebox musical”.
The film is set to have at least 15 reinterpretations of “very well-known” songs.
One of the songs is said to be ‘That’s Entertainment’ from the 1953 musical ‘The Band Wagon’, reports ‘Variety’.
However, there is a door open for an original song (or two) to be added to the final version. Details regarding who would pen the tracks, or sing the numbers are unknown.
According to sources, Hildur Guonadottir, the Oscar-winning composer of the first ‘Joker’ film, is said to “infuse her distinctive, haunting (music) cues” into each number. Warner Bros declined to comment.
As per ‘Variety’, Jukebox musicals, known for featuring popular songs, often achieve box office success. Examples include ‘Mamma Mia’ and ‘Moulin Rouge’, the latter receiving eight Oscar nominations.
‘Joker 2’ is expected to break the mould of traditional musicals. Specific details about the plot...
The film is set to have at least 15 reinterpretations of “very well-known” songs.
One of the songs is said to be ‘That’s Entertainment’ from the 1953 musical ‘The Band Wagon’, reports ‘Variety’.
However, there is a door open for an original song (or two) to be added to the final version. Details regarding who would pen the tracks, or sing the numbers are unknown.
According to sources, Hildur Guonadottir, the Oscar-winning composer of the first ‘Joker’ film, is said to “infuse her distinctive, haunting (music) cues” into each number. Warner Bros declined to comment.
As per ‘Variety’, Jukebox musicals, known for featuring popular songs, often achieve box office success. Examples include ‘Mamma Mia’ and ‘Moulin Rouge’, the latter receiving eight Oscar nominations.
‘Joker 2’ is expected to break the mould of traditional musicals. Specific details about the plot...
- 3/23/2024
- by Agency News Desk
- GlamSham
Everyone is eagerly waiting for Joker: Folie à Deux starring none other than Joaquin Phoenix and Lady Gaga. The Todd Phillips-directed movie will see Joaquin Phoenix reprising his Academy Award-winning role of Arthur Fleck/Joker for the sequel. Lady Gaga will play Joker’s love interest, Dr. Harleen Quinzel, better known as Harley Quinn.
Lady Gaga as Harley Quinn and Joaquin Phoenix as Joker in a still from Joker 2
The original Joker movie hit the theater in 2019, and it became an instant hit, both critically and commercially. The film grossed over $1 billion at the worldwide box office and got 11 Oscar nominations, having won two for Best Actor and Best Original Score.
SUGGESTEDThere May Be a Lot More of Elseworld’s Joker to Come in Suicide Squad: Kill the Justice League, Including More Recording for Unknown Content
Amidst all the anticipation around the upcoming film, one report arises, which is upsetting for fans.
Lady Gaga as Harley Quinn and Joaquin Phoenix as Joker in a still from Joker 2
The original Joker movie hit the theater in 2019, and it became an instant hit, both critically and commercially. The film grossed over $1 billion at the worldwide box office and got 11 Oscar nominations, having won two for Best Actor and Best Original Score.
SUGGESTEDThere May Be a Lot More of Elseworld’s Joker to Come in Suicide Squad: Kill the Justice League, Including More Recording for Unknown Content
Amidst all the anticipation around the upcoming film, one report arises, which is upsetting for fans.
- 3/23/2024
- by Prantik Prabal Roy
- FandomWire
When it was revealed that Joker: Folie à Deux would have elements of a musical, fans weren’t quite sure how far the sequel would lean into that aspect. Well, according to Variety, the film will be “mostly a jukebox musical” as it will include “at least 15 reinterpretations of very well-known songs.“
Insiders tell Variety that one of those songs is said to be “That’s Entertainment” from the 1953 musical The Band Wagon. While it seems that most of the songs will be covers of existing tunes, the door is apparently open for the addition of an original song or two. Who would have thought that Joker: Folie à Deux might be joining the likes of musicals such as Mamma Mia and Moulin Rouge?
Related Joker 2: Everything We Know About Folie a Deux
The report also states that early discussions are underway for Joker: Folie à Deux to premiere...
Insiders tell Variety that one of those songs is said to be “That’s Entertainment” from the 1953 musical The Band Wagon. While it seems that most of the songs will be covers of existing tunes, the door is apparently open for the addition of an original song or two. Who would have thought that Joker: Folie à Deux might be joining the likes of musicals such as Mamma Mia and Moulin Rouge?
Related Joker 2: Everything We Know About Folie a Deux
The report also states that early discussions are underway for Joker: Folie à Deux to premiere...
- 3/22/2024
- by Kevin Fraser
- JoBlo.com
Some new information about Joker: Folie à Deux has been uncovered!
The sequel to 2019′s Joker will see Joaquin Phoenix reprise his role as the iconic DC supervillain. Lady Gaga will portray Harley Quinn, and Todd Phillips will return as director.
The cast also includes Zazie Beetz, Catherine Keener, Ken Leung, Brendan Gleeson, Steve Coogan, and Jacob Lofland.
Joker: Folie à Deux differs from its predecessor in that the film is a musical, which is almost unheard of the superhero genre.
A new report from Variety has revealed some fascinating details about what to expect from Joker 2‘s musical elements!
Keep reading to find out more…
Insiders told the outlet that Joker: Folie à Deux will include a minimum of 15 renditions of “very well-known” songs – one of which is reportedly “That’s Entertainment” from the 1953 musical The Band Wagon.
The film was described as “mostly a jukebox musical,” meaning that...
The sequel to 2019′s Joker will see Joaquin Phoenix reprise his role as the iconic DC supervillain. Lady Gaga will portray Harley Quinn, and Todd Phillips will return as director.
The cast also includes Zazie Beetz, Catherine Keener, Ken Leung, Brendan Gleeson, Steve Coogan, and Jacob Lofland.
Joker: Folie à Deux differs from its predecessor in that the film is a musical, which is almost unheard of the superhero genre.
A new report from Variety has revealed some fascinating details about what to expect from Joker 2‘s musical elements!
Keep reading to find out more…
Insiders told the outlet that Joker: Folie à Deux will include a minimum of 15 renditions of “very well-known” songs – one of which is reportedly “That’s Entertainment” from the 1953 musical The Band Wagon.
The film was described as “mostly a jukebox musical,” meaning that...
- 3/22/2024
- by Just Jared
- Just Jared
The Joker and Harley Quinn are set to serenade audiences in “Joker: Folie à Deux,” but if, and how many original songs will be included in the film, is a mystery.
Insiders privy to filming and early versions of Todd Phillips’ eagerly awaited sequel to “Joker” tell Variety the movie leans heavily towards being “mostly a jukebox musical,” as it integrates at least 15 reinterpretations of “very well-known” songs. One is said to be “That’s Entertainment” from the 1953 musical “The Band Wagon,” famously associated with Judy Garland. However, there is a door open for an original song (or two) to be added to the final version. Details regarding who would pen the tracks, or sing the numbers are unknown. We do know, according to sources, Hildur Guðnadóttir, the Oscar-winning composer of the first “Joker” film, is said to “infuse her distinctive, haunting [music] cues” into each number. Warner Bros declined to comment.
Insiders privy to filming and early versions of Todd Phillips’ eagerly awaited sequel to “Joker” tell Variety the movie leans heavily towards being “mostly a jukebox musical,” as it integrates at least 15 reinterpretations of “very well-known” songs. One is said to be “That’s Entertainment” from the 1953 musical “The Band Wagon,” famously associated with Judy Garland. However, there is a door open for an original song (or two) to be added to the final version. Details regarding who would pen the tracks, or sing the numbers are unknown. We do know, according to sources, Hildur Guðnadóttir, the Oscar-winning composer of the first “Joker” film, is said to “infuse her distinctive, haunting [music] cues” into each number. Warner Bros declined to comment.
- 3/22/2024
- by Clayton Davis
- Variety Film + TV
The Criterion Channel is closing the year out with a bang––they’ve announced their December lineup. Among the highlights are retrospectives on Yasujiro Ozu (featuring nearly 40 films!), Ousmane Sembène, Alfred Hitchcock (along with Kent Jones’ Hitchcock/Truffaut), and Parker Posey. Well-timed for the season is a holiday noir series that includes They Live By Night, Blast of Silence, Lady in the Lake, and more.
Other highlights are the recent restoration of Abel Gance’s La roue, an MGM Musicals series with introduction by Michael Koresky, Helena Wittmann’s riveting second feature Human Flowers of Flesh, the recent Sundance highlight The Mountains Are a Dream That Call To Me, the new restoration of The Cassandra Cat, Lynne Ramsay’s Morvern Callar, Wong Kar Wai’s The Grandmaster, and more.
See the lineup below and learn more here.
The Adventures of Baron Munchausen, Terry Gilliam, 1988
An American in Paris, Vincente Minnelli,...
Other highlights are the recent restoration of Abel Gance’s La roue, an MGM Musicals series with introduction by Michael Koresky, Helena Wittmann’s riveting second feature Human Flowers of Flesh, the recent Sundance highlight The Mountains Are a Dream That Call To Me, the new restoration of The Cassandra Cat, Lynne Ramsay’s Morvern Callar, Wong Kar Wai’s The Grandmaster, and more.
See the lineup below and learn more here.
The Adventures of Baron Munchausen, Terry Gilliam, 1988
An American in Paris, Vincente Minnelli,...
- 11/13/2023
- by Jordan Raup
- The Film Stage
Fred Astaire was an Oscar-nominated song and dance man best remembered for a series of musicals he made alongside many female dancer, but especially Ginger Rogers. Yet his filmography extends well past those titles. Let’s take a look back at 20 of his greatest films, ranked worst to best.
As a dancer, Astaire was known for his perfectionism, doing multiple takes to get the most precise movements correct. His immaculate steps were matched only by his outfits, which often consisted of top hats and coats.
After making a name for himself on the stage in London and on Broadway, Astaire came to Hollywood. He first appeared with fellow dancer Rogers in “Flying Down to Rio” (1933), where they played second fiddle to Dolores del Rio and Gene Raymond. Their first starring vehicle came just one year later: “The Gay Divorcee” (1934).
Their subsequent films, including “Top Hat” (1935), “Follow the Fleet” (1936), “Swing Time...
As a dancer, Astaire was known for his perfectionism, doing multiple takes to get the most precise movements correct. His immaculate steps were matched only by his outfits, which often consisted of top hats and coats.
After making a name for himself on the stage in London and on Broadway, Astaire came to Hollywood. He first appeared with fellow dancer Rogers in “Flying Down to Rio” (1933), where they played second fiddle to Dolores del Rio and Gene Raymond. Their first starring vehicle came just one year later: “The Gay Divorcee” (1934).
Their subsequent films, including “Top Hat” (1935), “Follow the Fleet” (1936), “Swing Time...
- 5/5/2023
- by Zach Laws and Chris Beachum
- Gold Derby
If ever a play had good reason to front-load itself with exposition, Good Night, Oscar is it. Once among America’s premiere wits and raconteurs, Oscar Levant has gone the way of many another once-famous wits and raconteurs. Which is to say, he needs lots of exposition.
Good Night, Oscar, the new bio-play by Doug Wright (I Am My Own Wife) starring Sean Hayes (Will & Grace) as Levant, goes a long way in introducing this long-ago talk-show staple to modern audiences. Whether it justifies the effort is considerably less certain.
A talented pianist and occasional second-banana movie actor, Levant is better known today for his frequent talk- and game-show appearances of the 1950s and ’60s, his aptitude for the improvised zinger and no-holds-barred confessional humor making him a sought-after, if controversial, Golden Age presence. Others would follow in his wake – the Gore Vidals and Truman Capotes and Phyllis Newmans, but Levant was first.
Good Night, Oscar, the new bio-play by Doug Wright (I Am My Own Wife) starring Sean Hayes (Will & Grace) as Levant, goes a long way in introducing this long-ago talk-show staple to modern audiences. Whether it justifies the effort is considerably less certain.
A talented pianist and occasional second-banana movie actor, Levant is better known today for his frequent talk- and game-show appearances of the 1950s and ’60s, his aptitude for the improvised zinger and no-holds-barred confessional humor making him a sought-after, if controversial, Golden Age presence. Others would follow in his wake – the Gore Vidals and Truman Capotes and Phyllis Newmans, but Levant was first.
- 4/25/2023
- by Greg Evans
- Deadline Film + TV
Andy Cohen has been facing criticism for asking guests on “Watch What Happens Live”, and during a recent edition of his SiriusXM “Radio Andy” show, he addressed a Dm he’d received that slammed him for gushing over reality TV stars for “looking so thin and asking if they’re taking Ozempic.”
According to Cohen, reported TooFab, the message read: “Tonight was the third ‘Watch What Happens Live’ guest who I’ve heard you praise for losing weight and inquiring about Ozempic.”
Cohen didn’t deny he’d been doing it, but explained that when a guest shows up with a noticeable weight loss, it becomes the elephant in the room that he feels needs to be confronted.
Read More: Andy Cohen Promises ‘Nothing Was Left Unsaid’ At ‘Emotional’ And ‘Confrontational’ ‘Vanderpump Rules’ Reunion
“Well, you know what? This woman — she’s right,” he said, referring to a recent appearance...
According to Cohen, reported TooFab, the message read: “Tonight was the third ‘Watch What Happens Live’ guest who I’ve heard you praise for losing weight and inquiring about Ozempic.”
Cohen didn’t deny he’d been doing it, but explained that when a guest shows up with a noticeable weight loss, it becomes the elephant in the room that he feels needs to be confronted.
Read More: Andy Cohen Promises ‘Nothing Was Left Unsaid’ At ‘Emotional’ And ‘Confrontational’ ‘Vanderpump Rules’ Reunion
“Well, you know what? This woman — she’s right,” he said, referring to a recent appearance...
- 4/9/2023
- by Brent Furdyk
- ET Canada
The opening of “West Side Story,” both the 1961 and 2021 films, is not a song or a dialogue scene or even a traditional overture; it’s a dance. And it’s not just a dance — it’s a plunge into a world in which street gangs in 1950s New York launch into the air in bursts of aggressive leaps and exhilarating turns. In Steven Spielberg’s reimagining, the Jets rove through their neighborhood as it is being demolished, their tours and pirouettes not only expressing their rage but also a sense of helplessness against larger forces at hand.
The dance in Spielberg’s “West Side Story” is different from what we’ve seen in movie musicals in the last half century. The film marks a stunning retrieval of a relationship between Hollywood, Broadway, and the ballet world not really seen since, well, the original Jerome Robbins-Robert Wise “West Side Story.
The dance in Spielberg’s “West Side Story” is different from what we’ve seen in movie musicals in the last half century. The film marks a stunning retrieval of a relationship between Hollywood, Broadway, and the ballet world not really seen since, well, the original Jerome Robbins-Robert Wise “West Side Story.
- 3/2/2022
- by Luci Marzola
- Indiewire
Rarely one finds a friend on the Criterion Channel—discounting the parasitic relationship we form with filmmakers, I mean—but it’s great seeing their March lineup give light to Sophy Romvari, the <bias>exceptionally talented</bias> filmmaker and curator whose work has perhaps earned comparisons to Agnès Varda and Chantal Akerman but charts its own path of history and reflection. It’s a good way to lead into an exceptionally strong month, featuring as it does numerous films by Pier Paolo Pasolini, the great Japanese documentarian Kazuo Hara, newfound cult classic Arrebato, and a number of Criterion editions.
On the last front we have The Age of Innocence, Bull Durham, A Raisin in the Sun, The Celebration, Merrily We Go to Hell, and Design for Living. There’s always something lingering on the watchlist, but it might have to wait a second longer—March is an opened floodgate.
See the full...
On the last front we have The Age of Innocence, Bull Durham, A Raisin in the Sun, The Celebration, Merrily We Go to Hell, and Design for Living. There’s always something lingering on the watchlist, but it might have to wait a second longer—March is an opened floodgate.
See the full...
- 2/21/2022
- by Nick Newman
- The Film Stage
The journalist and podcaster talks about some of her favorite cinematic grifters and losers with Josh and Joe.
Show Notes: Movies Referenced In This Episode
Nightmare Alley (1947) – Stuart Gordon’s trailer commentary, Glenn Erickson’s Criterion Blu-ray review
The Third Man (1949) – George Hickenlooper’s trailer commentary, Randy Fuller’s wine pairings
All About Eve (1950)
The Hot Rock (1972) – Josh Olson’s trailer commentary
Die Hard (1988)
Sunset Boulevard (1950) – John Landis’s trailer commentary
The Producers (1967) – Charlie Largent’s Blu-ray review
Panic In The Streets (1950) – John Landis’s trailer commentary, Randy Fuller’s wine pairing
The Music Man (1962)
My Fair Lady (1964)
Seven Brides For Seven Brothers (1954) – John Landis’s trailer commentary, Glenn Erickson’s review
The Band Wagon (1953) – John Landis’s trailer commentary
The Wizard Of Oz (1939) – John Badham’s trailer commentary
A Night At The Opera (1935) – Allan Arkush’s trailer commentary, Charlie Largent’s Blu-ray review
The Cocoanuts (1929)
Animal Crackers (1930) – Robert Weide...
Show Notes: Movies Referenced In This Episode
Nightmare Alley (1947) – Stuart Gordon’s trailer commentary, Glenn Erickson’s Criterion Blu-ray review
The Third Man (1949) – George Hickenlooper’s trailer commentary, Randy Fuller’s wine pairings
All About Eve (1950)
The Hot Rock (1972) – Josh Olson’s trailer commentary
Die Hard (1988)
Sunset Boulevard (1950) – John Landis’s trailer commentary
The Producers (1967) – Charlie Largent’s Blu-ray review
Panic In The Streets (1950) – John Landis’s trailer commentary, Randy Fuller’s wine pairing
The Music Man (1962)
My Fair Lady (1964)
Seven Brides For Seven Brothers (1954) – John Landis’s trailer commentary, Glenn Erickson’s review
The Band Wagon (1953) – John Landis’s trailer commentary
The Wizard Of Oz (1939) – John Badham’s trailer commentary
A Night At The Opera (1935) – Allan Arkush’s trailer commentary, Charlie Largent’s Blu-ray review
The Cocoanuts (1929)
Animal Crackers (1930) – Robert Weide...
- 12/14/2021
- by Kris Millsap
- Trailers from Hell
Museum of the Moving Image
The first seven seasons of On Cinema are screening this weekend; to promote his upcoming David Fincher book, Adam Nayman will introduce Seven on 35mm, preceded by Fincher’s music videos; “See It Big: Extravaganzas!” gets underway.
Film Forum
A stacked series of road movies is underway, while the miraculously rediscovered and restored Iranian film Chess of the Wind continues; Raiders of the Lost Ark screens on Sunday.
Roxy Cinema
Our friends at Screen Slate are presenting Tales from the Crypt: Demon Knight and Def By Temptation on Friday, while House of Wax and I Know Who Killed Me play Sunday; Phantom of the Paradise and Gigli (not a typo) are on Saturday.
Metrograph
Mia Hansen-Løve’s sublime debut All is Forgiven continues, as does Possession, while The Band Wagon screens this Sunday.
IFC Center
While the 4K restoration of Kiyoshi Kurosawa’s masterpiece Cure...
The first seven seasons of On Cinema are screening this weekend; to promote his upcoming David Fincher book, Adam Nayman will introduce Seven on 35mm, preceded by Fincher’s music videos; “See It Big: Extravaganzas!” gets underway.
Film Forum
A stacked series of road movies is underway, while the miraculously rediscovered and restored Iranian film Chess of the Wind continues; Raiders of the Lost Ark screens on Sunday.
Roxy Cinema
Our friends at Screen Slate are presenting Tales from the Crypt: Demon Knight and Def By Temptation on Friday, while House of Wax and I Know Who Killed Me play Sunday; Phantom of the Paradise and Gigli (not a typo) are on Saturday.
Metrograph
Mia Hansen-Løve’s sublime debut All is Forgiven continues, as does Possession, while The Band Wagon screens this Sunday.
IFC Center
While the 4K restoration of Kiyoshi Kurosawa’s masterpiece Cure...
- 11/12/2021
- by Nick Newman
- The Film Stage
5 random things that happened on this day, January 22nd, in showbiz history
1954 The 11th Golden Globes are held. The Robe wins Best Drama but there wasn't a Best Comedy or Musical category for 1953 films. How strange... I mean Kiss Me Kate And Roman Holiday And Calamity Jane And How to Marry a Millionaire And The Band Wagon were all right there! But really it's true of almost every awards institution that the first decade plus is rife with inconsistencies. The Globe only really settled into the traditional field of nominees and categories we have now later in the 1950s.
1959 Room at the Top premieres in the UK...
1954 The 11th Golden Globes are held. The Robe wins Best Drama but there wasn't a Best Comedy or Musical category for 1953 films. How strange... I mean Kiss Me Kate And Roman Holiday And Calamity Jane And How to Marry a Millionaire And The Band Wagon were all right there! But really it's true of almost every awards institution that the first decade plus is rife with inconsistencies. The Globe only really settled into the traditional field of nominees and categories we have now later in the 1950s.
1959 Room at the Top premieres in the UK...
- 1/22/2021
- by NATHANIEL R
- FilmExperience
We told you. Remember the rules. You didn’t listen. Now we’re Back with an all new batch of guest recommendations featuring Blake Masters, Julien Nitzberg, Floyd Norman, Tuppence Middleton and Blaire Bercy.
Please support the Hollywood Food Coalition. Text “Give” to 323.402.5704 or visit https://hofoco.org/donate!
Show Notes: Movies Referenced In This Episode
The Wild Angels (1966)
Spirits of the Dead (1966)
The Trip (1967)
Mooch Goes To Hollywood (1971)
Stalker (1979)
The Candidate (1972)
The Parallax View (1974)
Network (1976)
Sweet Smell of Success (1957)
Ace In The Hole (1951)
Margin Call (2011)
Death Wish (1974)
Death Wish (2018)
Seconds (1966)
Soylent Green (1973)
Rage (1972)
Assault on Wall Street (2013)
Repo Man (1984)
Elmer Gantry (1960)
The Train (1965)
Clouds of Sils Maria (2014)
Strange Brew (1983)
To Have And Have Not (1944)
Singin’ In The Rain (1952)
Easter Parade (1948)
The Band Wagon (1953)
Guys And Dolls (1955)
On The Town (1949)
Casablanca (1942)
The Dirt Gang (1972)
Back To The Future (1985)
The Maltese Falcon (1941)
The Big Sleep (1946)
Bomba, the Jungle Boy (1949)
My Man Godfrey...
Please support the Hollywood Food Coalition. Text “Give” to 323.402.5704 or visit https://hofoco.org/donate!
Show Notes: Movies Referenced In This Episode
The Wild Angels (1966)
Spirits of the Dead (1966)
The Trip (1967)
Mooch Goes To Hollywood (1971)
Stalker (1979)
The Candidate (1972)
The Parallax View (1974)
Network (1976)
Sweet Smell of Success (1957)
Ace In The Hole (1951)
Margin Call (2011)
Death Wish (1974)
Death Wish (2018)
Seconds (1966)
Soylent Green (1973)
Rage (1972)
Assault on Wall Street (2013)
Repo Man (1984)
Elmer Gantry (1960)
The Train (1965)
Clouds of Sils Maria (2014)
Strange Brew (1983)
To Have And Have Not (1944)
Singin’ In The Rain (1952)
Easter Parade (1948)
The Band Wagon (1953)
Guys And Dolls (1955)
On The Town (1949)
Casablanca (1942)
The Dirt Gang (1972)
Back To The Future (1985)
The Maltese Falcon (1941)
The Big Sleep (1946)
Bomba, the Jungle Boy (1949)
My Man Godfrey...
- 8/14/2020
- by Kris Millsap
- Trailers from Hell
You’ve asked questions. Prepare for the answers.
Show Notes: Movies Referenced In This Episode
Sweet Smell Of Success (1957)
The Beguiled (1971)
Tenet (2021? Maybe?)
Smokey Is The Bandit (1983)
Robin Hood (2010)
Hollywood Boulevard (1976)
The Devils (1971)
Song of the South (1946)
Gremlins (1984)
Dillinger (1973)
Marcello I’m So Bored (1966)
Jeremiah Johnson (1972)
Big Wednesday (1978)
Swamp Thing (1982)
Forrest Gump (1994)
Payback (1999)
Bell, Book And Candle (1958)
Blowup (1966)
The Big Lebowski (1998)
Medium Cool (1969)
25th Hour (2002)
Apocalypse Now (1979)
Palm Springs (2020)
Groundhog Day (1993)
Mandy (2018)
The Sadist (1963)
Spider Baby (1968)
Night Tide (1960)
Stark Fear
Carnival of Souls (1962)
The Devil’s Messenger (1961)
Ms. 45 (1981)
Léolo (1992)
The Howling (1981)
Showgirls (1995)
Green Book (2018)
The Last Hurrah (1958)
The Best Man (1964)
Advise and Consent (1962)
The Candidate (1972)
The Manchurian Candidate (1962)
Seven Days In May (1964)
The Seduction of Joe Tynan (1979)
The Man (1972)
Investigation of a Citizen Above Suspicion (1970)
Four Lions (2010)
Pump Up The Volume (1990)
Nightmare In The Sun (1965)
The Wild Angels (1966)
The Omega Man (1971)
The Nanny (1965)
Hush… Hush, Sweet Charlotte (1964)
Live Like A Cop, Die Like A Man...
Show Notes: Movies Referenced In This Episode
Sweet Smell Of Success (1957)
The Beguiled (1971)
Tenet (2021? Maybe?)
Smokey Is The Bandit (1983)
Robin Hood (2010)
Hollywood Boulevard (1976)
The Devils (1971)
Song of the South (1946)
Gremlins (1984)
Dillinger (1973)
Marcello I’m So Bored (1966)
Jeremiah Johnson (1972)
Big Wednesday (1978)
Swamp Thing (1982)
Forrest Gump (1994)
Payback (1999)
Bell, Book And Candle (1958)
Blowup (1966)
The Big Lebowski (1998)
Medium Cool (1969)
25th Hour (2002)
Apocalypse Now (1979)
Palm Springs (2020)
Groundhog Day (1993)
Mandy (2018)
The Sadist (1963)
Spider Baby (1968)
Night Tide (1960)
Stark Fear
Carnival of Souls (1962)
The Devil’s Messenger (1961)
Ms. 45 (1981)
Léolo (1992)
The Howling (1981)
Showgirls (1995)
Green Book (2018)
The Last Hurrah (1958)
The Best Man (1964)
Advise and Consent (1962)
The Candidate (1972)
The Manchurian Candidate (1962)
Seven Days In May (1964)
The Seduction of Joe Tynan (1979)
The Man (1972)
Investigation of a Citizen Above Suspicion (1970)
Four Lions (2010)
Pump Up The Volume (1990)
Nightmare In The Sun (1965)
The Wild Angels (1966)
The Omega Man (1971)
The Nanny (1965)
Hush… Hush, Sweet Charlotte (1964)
Live Like A Cop, Die Like A Man...
- 7/24/2020
- by Kris Millsap
- Trailers from Hell
India Adams, the Hollywood "secret singer" who performed in MGM musicals for Cyd Charisse in The Band Wagon and for Joan Crawford in Torch Song, has died. She was 93.
Adams died Saturday at Providence Cedars-Sinai Tarzana Medical Center in Los Angeles after a short illness, a family spokesman announced. She was still performing as recently as last year.
In the classic The Band Wagon (1953), it was really Adams, not Charisse as ballerina Gabrielle Gerard, who is heard singing "New Sun in the Sky" and "That's Entertainment," the latter performed with Fred Astaire, Oscar Levant, Jack Buchanan ...
Adams died Saturday at Providence Cedars-Sinai Tarzana Medical Center in Los Angeles after a short illness, a family spokesman announced. She was still performing as recently as last year.
In the classic The Band Wagon (1953), it was really Adams, not Charisse as ballerina Gabrielle Gerard, who is heard singing "New Sun in the Sky" and "That's Entertainment," the latter performed with Fred Astaire, Oscar Levant, Jack Buchanan ...
- 4/28/2020
- The Hollywood Reporter - Film + TV
India Adams, the Hollywood "secret singer" who performed in MGM musicals for Cyd Charisse in The Band Wagon and for Joan Crawford in Torch Song, has died. She was 93.
Adams died Saturday at Providence Cedars-Sinai Tarzana Medical Center in Los Angeles after a short illness, a family spokesman announced. She was still performing as recently as last year.
In the classic The Band Wagon (1953), it was really Adams, not Charisse as ballerina Gabrielle Gerard, who is heard singing "New Sun in the Sky" and "That's Entertainment," the latter performed with Fred Astaire, Oscar Levant, Jack Buchanan ...
Adams died Saturday at Providence Cedars-Sinai Tarzana Medical Center in Los Angeles after a short illness, a family spokesman announced. She was still performing as recently as last year.
In the classic The Band Wagon (1953), it was really Adams, not Charisse as ballerina Gabrielle Gerard, who is heard singing "New Sun in the Sky" and "That's Entertainment," the latter performed with Fred Astaire, Oscar Levant, Jack Buchanan ...
- 4/28/2020
- The Hollywood Reporter - Movie News
Mike Hammer is in action again! Well, not exactly. Producer Victor Saville’s third go-round with Mickey Spillane’s famed character doesn’t do the franchise justice. Hammer-philes will be astounded by this thriller’s decidedly un-thrilling thrills: there’s little to connect the inexpressive nice guy Robert Bray with the super-popular, super-violent avenger of the books. Spillane’s original is abandoned in favor of a tame ‘who’s got the diamonds?’ storyline, with some compensation in a string of exciting ‘Hammer dames.’ I checked twice — Mike doesn’t shoot Any of them in the stomach.
My Gun Is Quick
Blu-ray
Kl Studio Classics
1957 / B&w / 1:85 widescreen / 91 min. / available through Kino Lorber / Street Date March 24, 2020 / 24.95
Starring: Robert Bray, Whitney Blake, Patricia Donahue, Donald Randolph, Pamela Duncan, Booth Coleman, Jan Chaney, Genie Coree, Richard Garland, Charles Boaz, Peter Mamakos, Claire Carleton, Phil Arnold, John Dennis, Terence de Marney, Ray Kellogg.
My Gun Is Quick
Blu-ray
Kl Studio Classics
1957 / B&w / 1:85 widescreen / 91 min. / available through Kino Lorber / Street Date March 24, 2020 / 24.95
Starring: Robert Bray, Whitney Blake, Patricia Donahue, Donald Randolph, Pamela Duncan, Booth Coleman, Jan Chaney, Genie Coree, Richard Garland, Charles Boaz, Peter Mamakos, Claire Carleton, Phil Arnold, John Dennis, Terence de Marney, Ray Kellogg.
- 3/3/2020
- by Glenn Erickson
- Trailers from Hell
Fred Astaire would’ve celebrated his 120th birthday on May 10, 2019. The Oscar-nominated song and dance man is best remembered for a series of musicals he made alongside Ginger Rogers. Yet his filmography extends well past those titles. In honor of his birthday, let’s take a look back at 20 of his greatest films, ranked worst to best.
As a dancer, Astaire was known for his perfectionism, doing multiple takes to get the most precise movements correct. His immaculate steps were matched only by his outfits, which often consisted of top hats and coats.
SEEOscars flashback: Gold Derby celebrates 84 years of Best Original Song at the Academy Awards
After making a name for himself on the stage in London and on Broadway, Astaire came to Hollywood. He first appeared with fellow dancer Rogers in “Flying Down to Rio” (1933), where they played second fiddle to Dolores del Rio and Gene Raymond. Their...
As a dancer, Astaire was known for his perfectionism, doing multiple takes to get the most precise movements correct. His immaculate steps were matched only by his outfits, which often consisted of top hats and coats.
SEEOscars flashback: Gold Derby celebrates 84 years of Best Original Song at the Academy Awards
After making a name for himself on the stage in London and on Broadway, Astaire came to Hollywood. He first appeared with fellow dancer Rogers in “Flying Down to Rio” (1933), where they played second fiddle to Dolores del Rio and Gene Raymond. Their...
- 5/10/2019
- by Zach Laws and Chris Beachum
- Gold Derby
Red Skelton Whistling Collection
DVD
Warner Archive
1941, 42, 43 / 1:33:1 / 78, 74, 87 Min.
Starring Red Skelton, Ann Rutherford
Written by Robert MacGunigle, Nat Perrin
Cinematography by Sidney Wagner, Clyde De Vinnam, Lester White
Directed by S. Sylvan Simon
One night in 1950 during an especially frenetic episode of The Colgate Comedy Hour, Jerry Lewis stepped away from Dean Martin to address the camera point blank – “You get the idea – I’m supposed to be a 9-year-old kid.” Hardly a revelation – especially to Red Skelton, the reigning king of prepubescent horseplay.
That reign was begun in 1923 and fueled by broadly played gags that were both leering and infantile – like a burlesque version of The Bad Seed. One of Skelton’s most grating characters was a wisecracking brat called the “mean widdle kid” – wearing short pants and lace collar while delivering grown-up one-liners in baby talk he was a less feral version of Joe Besser’s...
DVD
Warner Archive
1941, 42, 43 / 1:33:1 / 78, 74, 87 Min.
Starring Red Skelton, Ann Rutherford
Written by Robert MacGunigle, Nat Perrin
Cinematography by Sidney Wagner, Clyde De Vinnam, Lester White
Directed by S. Sylvan Simon
One night in 1950 during an especially frenetic episode of The Colgate Comedy Hour, Jerry Lewis stepped away from Dean Martin to address the camera point blank – “You get the idea – I’m supposed to be a 9-year-old kid.” Hardly a revelation – especially to Red Skelton, the reigning king of prepubescent horseplay.
That reign was begun in 1923 and fueled by broadly played gags that were both leering and infantile – like a burlesque version of The Bad Seed. One of Skelton’s most grating characters was a wisecracking brat called the “mean widdle kid” – wearing short pants and lace collar while delivering grown-up one-liners in baby talk he was a less feral version of Joe Besser’s...
- 4/27/2019
- by Charlie Largent
- Trailers from Hell
Chicago – Day Five of the 54th Chicago International Film Festival (Ciff) on Sunday, October 14th, 2018, is a day to introduce yourself to a new side of Melissa McCarthy in “Can You Forgive Me?, to make a date with “Watergate,” the remarkable four hour documentary about that American history, to hop on “The Band Wagon” and to remember a magazine-era icon, Chicago’s own Art Paul.
’Can You Ever Forgive Me’ on Day Fiveof the 54th Chicago International Film Festival
Photo credit: Chicago International Film Festival/Fox Searchlight Pictures
Events A Chicago-centric vibe will be in the house on Sunday, as Ciff celebrates Windy City’s own Art Paul, one of the most influential graphic designers of the late 20th Century. The new documentary of his life, “Art Paul of Playboy: The Man Behind the Bunny” explains it all, as Art Paul was the man – in collaboration with Hugh Hefner – who...
’Can You Ever Forgive Me’ on Day Fiveof the 54th Chicago International Film Festival
Photo credit: Chicago International Film Festival/Fox Searchlight Pictures
Events A Chicago-centric vibe will be in the house on Sunday, as Ciff celebrates Windy City’s own Art Paul, one of the most influential graphic designers of the late 20th Century. The new documentary of his life, “Art Paul of Playboy: The Man Behind the Bunny” explains it all, as Art Paul was the man – in collaboration with Hugh Hefner – who...
- 10/13/2018
- by adam@hollywoodchicago.com (Adam Fendelman)
- HollywoodChicago.com
Cinema Retro has received the following press release from the Warner Archive:
Normal 0 false false false En-us X-none X-none
Burbank, Calif., Get ready for one of the liveliest, leaping-est, sassiest and happiest musicals ever, as Warner Archive Collection proudly unveils its Two-Disc Special Edition Blu-ray™ release of the Oscar-winning 1954 MGM classic Seven Brides for Seven Brothers.
Directed by Stanley Donen (Singin' in the Rain), and starring Jane Powell and Howard Keel, Seven Brides for Seven Brothers was nominated for four Academy Awards® and won for Best Scoring of a Musical Picture. This Western musical is distinguished by a wonderful score of original songs by composer Gene de Paul and lyricist by Johnny Mercer (Li’l Abner) along with brilliant, acrobatic dancing scenes choreographed by Michael Kidd.
Presented for the first time on Blu-ray, featuring a new 1080p HD master from a 2018 2K scan in its original 2.55 CinemaScope aspect ratio,...
Normal 0 false false false En-us X-none X-none
Burbank, Calif., Get ready for one of the liveliest, leaping-est, sassiest and happiest musicals ever, as Warner Archive Collection proudly unveils its Two-Disc Special Edition Blu-ray™ release of the Oscar-winning 1954 MGM classic Seven Brides for Seven Brothers.
Directed by Stanley Donen (Singin' in the Rain), and starring Jane Powell and Howard Keel, Seven Brides for Seven Brothers was nominated for four Academy Awards® and won for Best Scoring of a Musical Picture. This Western musical is distinguished by a wonderful score of original songs by composer Gene de Paul and lyricist by Johnny Mercer (Li’l Abner) along with brilliant, acrobatic dancing scenes choreographed by Michael Kidd.
Presented for the first time on Blu-ray, featuring a new 1080p HD master from a 2018 2K scan in its original 2.55 CinemaScope aspect ratio,...
- 6/8/2018
- by nospam@example.com (Cinema Retro)
- Cinemaretro.com
To honor Memorial Day with a tribute on Monday, Gold Derby takes a look back at celebrity and entertainment deaths so far in 2018. We are continuing to update our memoriam photo gallery above with major celebrity deaths from film, television, theater and music.
For this year, losses have included Oscar winners Milos Forman and Dorothy Malone, Emmy winners Steven Bochco, Reg E. Cathey and Olivia Cole, Emmy nominees Harry Anderson, John Mahoney and Jerry Van Dyke, Oscar-nominated composer Johann Johannsson, and legendary sports announcer Keith Jackson. Here is a brief summary of the careers of 14 people who have died in 2018:
See Over 100 video interviews with 2018 Emmy contenders
Actress Margot Kidder died at age 69 on May 13. She was best known for playing reporter Lois Lane opposite Christopher Reeve in “Superman: The Movie” (1978). She won a Daytime Emmy in 2015 for the children’s TV show “R.L. Stine’s The Haunting Hour.
For this year, losses have included Oscar winners Milos Forman and Dorothy Malone, Emmy winners Steven Bochco, Reg E. Cathey and Olivia Cole, Emmy nominees Harry Anderson, John Mahoney and Jerry Van Dyke, Oscar-nominated composer Johann Johannsson, and legendary sports announcer Keith Jackson. Here is a brief summary of the careers of 14 people who have died in 2018:
See Over 100 video interviews with 2018 Emmy contenders
Actress Margot Kidder died at age 69 on May 13. She was best known for playing reporter Lois Lane opposite Christopher Reeve in “Superman: The Movie” (1978). She won a Daytime Emmy in 2015 for the children’s TV show “R.L. Stine’s The Haunting Hour.
- 5/28/2018
- by Chris Beachum
- Gold Derby
Balletic, stylized and rather aloof, MGM’s biggest musical for 1954 still has what musical lovers crave — good dancing, beautiful melodies and unabashed romantic sentiments. Savant has a bad tendency to fixate on the inconsistencies of its fantasy concept — in which God places an ideal Scottish village outside the limits of Time itself.
Brigadoon
Blu-ray
Warner Archive Collection
1954 / Color / 2:35 widescreen / 108 min. / Street Date September 26, 2017 / available through the WBshop / 21.99
Starring: Gene Kelly, Van Johnson, Cyd Charisse, Elaine Stewart, Barry Jones, Albert Sharpe, Virginia Bosler, Jimmy Thompson.
Cinematography: Joseph Ruttenberg
Art Direction: Preston Ames, Cedric Gibbons
Film Editor: Albert Akst
Original Music: Frederick Loewe
Screenplay, book and lyrics by Alan Jay Lerner
Produced by Arthur Freed
Directed by Vincente Minnelli
MGM underwent some severe cutbacks in 1953; most of its contract players were dropped including the majority of its proud roster of stars. The studio would have to survive in a new kind of Hollywood,...
Brigadoon
Blu-ray
Warner Archive Collection
1954 / Color / 2:35 widescreen / 108 min. / Street Date September 26, 2017 / available through the WBshop / 21.99
Starring: Gene Kelly, Van Johnson, Cyd Charisse, Elaine Stewart, Barry Jones, Albert Sharpe, Virginia Bosler, Jimmy Thompson.
Cinematography: Joseph Ruttenberg
Art Direction: Preston Ames, Cedric Gibbons
Film Editor: Albert Akst
Original Music: Frederick Loewe
Screenplay, book and lyrics by Alan Jay Lerner
Produced by Arthur Freed
Directed by Vincente Minnelli
MGM underwent some severe cutbacks in 1953; most of its contract players were dropped including the majority of its proud roster of stars. The studio would have to survive in a new kind of Hollywood,...
- 9/23/2017
- by Glenn Erickson
- Trailers from Hell
Any list of the greatest foreign directors currently working today has to include Jean-Pierre and Luc Dardenne. The directors first rose to prominence in the mid 1990s with efforts like “The Promise” and “Rosetta,” and they’ve continued to excel in the 21st century with titles such as “The Kid With A Bike” and “Two Days One Night,” which earned Marion Cotillard a Best Actress Oscar nomination.
Read MoreThe Dardenne Brothers’ Next Film Will Be a Terrorism Drama
The directors will be back in U.S. theaters with the release of “The Unknown Girl” on September 8, which is a long time coming considering the film first premiered at the Cannes Film Festival in 2016. While you continue to wait for their new movie, the brothers have provided their definitive list of 79 movies from the 20th century that you must see. La Cinetek published the list in full and is hosting many...
Read MoreThe Dardenne Brothers’ Next Film Will Be a Terrorism Drama
The directors will be back in U.S. theaters with the release of “The Unknown Girl” on September 8, which is a long time coming considering the film first premiered at the Cannes Film Festival in 2016. While you continue to wait for their new movie, the brothers have provided their definitive list of 79 movies from the 20th century that you must see. La Cinetek published the list in full and is hosting many...
- 8/7/2017
- by Zack Sharf
- Indiewire
Last month, coverage of the 40th anniversary of Star Wars was understandably extensive, with pop-culture publications, daily newspapers, and TV media commemorating a film that by all rights changed the landscape of Hollywood, for better or worse. Conversely, there will likely be relatively little retrospective celebration for William Friedkin’s Sorcerer or Martin Scorsese’s New York, New York, two terrific films released roughly one month later in the week of June 19-25. Though they weren’t the first examples of New Hollywood directors following huge successes with more difficult works that flopped (Peter Bogdanovich’s secretly lovely At Long Last Love comes to mind), they stood in 1977 as back-to-back examples of talented filmmakers – one Oscar-winning, the other well on his way to becoming the most-acclaimed director of his generation – overreaching and failing after becoming a bit too full of themselves.
That is, of course, an oversimplification, just as the other charge popularized by the likes of Peter Biskind – i.e. George Lucas’ grand space opera and Steven Spielberg’s personal blockbusters killed Hollywood’s interest in movies for adults – is an oversimplification. In all truth, it isn’t surprising that audiences didn’t go for Sorcerer or New York, New York, two especially challenging-for-the-mainstream features that pushed their creators’ aesthetics to greater extremes than before while tracking in subject matter that was pessimistic even for the time. But while both films and their troubled productions saw directors burned by their ambition, they are also exceptional works showcasing how exhilarating it can be when all commercial sense goes out the window.
Friedkin’s Sorcerer can lay more claim to having been actively harmed by the arrival of Lucas’ megahit, arriving exactly one month later, on June 25, and competing for a thrill-seeking crowd. (One theater reportedly pulled Star Wars for Sorcerer for a week, only to replace it when Friedkin’s film failed to lure an audience.) The film, a remake of Henri-Georges Clouzot’s 1953 masterpiece The Wages of Fear, was also hurt by its confusing title — named after one of the trucks transporting dynamite through a dangerous jungle to put out an oil fire — and a budget that ballooned from an initially planned $15 million to $22 million following a difficult production.
Friedkin, hot off the Oscar-winning The French Connection and hugely successful The Exorcist, already had a reputation for his temperament and arrogance. They were in full force on Sorcerer: he clashed with cinematographer Dick Bush, who left halfway through filming, as well as producer David Salven, whom Friedkin fired after fights over the expensive location shoots. Friedkin extensively clashed with Paramount brass, sometimes reasonably (kicking executives off set after perceived interference), sometimes amusingly but questionably (the evil oil execs pictured in the film are actually Gulf & Western’s executive board, and they repaid him by not promoting the film). The jungle shoot itself was hell, with about 50 people quitting following injury or illness while Friedkin himself contracted malaria and lost 50 pounds.
But it’s only appropriate that the making of Sorcerer was so desperate, given the story it tells. Friedkin’s worldview has always been bleak and cynical, and Sorcerer may be the purest expression of that. Its heroes are a hard-bitten New Jersey hood (a spectacularly testy Roy Scheider) hiding out after shooting a mobster’s brother, a crooked French banker (Bruno Cremer) on the run following fraud accusations, a Palestinian terrorist (Amidou) behind a Jerusalem bombing, and a Mexican hitman (Francisco Rabal) who gets in on the job after murdering the fourth driver (Karl John), apparently a fugitive Nazi. The film presents their crimes as facts and without real judgment, their rottenness just another bad part of a burned-out, brutal world.
Where The French Connection and The Exorcist gave viewers visceral thrills early on and some sense of right and wrong (even if it’s fatally compromised), the early action in Sorcerer is more painful, with suicide, terrorism, and the loss of friends and partners forming the four prologues introducing the men at this film’s center. Friedkin then drops us into squalor and despair in a small South American town where the heat and rain are nearly as oppressive as the police state, the work is dangerous and pays little, and the mud seems to soak up any sense of hope. It’s little wonder that they might take up the dangerous assignment of driving through an arduous jungle landscape with unstable explosives that could set off at any moment. When you’ve been driven into no man’s land by your sins, any way out is worth it — no matter how unlikely it is that you’ll survive.
The actual drive up to the oil well doesn’t begin until about halfway through and takes on the tone of an unusually fraught funeral march for the protagonists. Friedkin’s immediate, docurealistic style helps ground the proceedings as set-pieces grow more heightened, most memorably when the drivers guide their trucks over a deteriorating bridge as the river beneath it overflows — the most expensive sequence in the film, as well as the most difficult-to-shoot of Friedkin’s career. As Popeye Doyle’s car chase in The French Connection and Regan & Chris MacNeil getting jerked around in The Exorcist evince, Friedkin always had a gift for making scenes that were already dangerous in conception even more tactile and nerve-wracking. Here, his emphasis on the mechanics of the crossing – the snapping rope and wood – as well as the fragility of the bodies attempting to cross (particularly as one rider steps outside to guide the truck and risks getting thrown off or crushed in the process) make the danger of their situation all the more palpable.
Yet there’s a more existential doom permeating the film compared with the nihilism of his earlier efforts, a more complete melding of his hard-bitten style with expressionistic touches that peppered The Exorcist. Part of that comes from Tangerine Dream’s ethereal score, which accentuates a sense that the elements are set against the drivers. But Friedkin also lends the film’s grungy look a sort of otherworldly menace, whether the camera soars through gorgeous greenery while a fire burns in the background or Scheider envisions a stream of blood soaking the dirt. Even the small moments of beauty (e.g. a butterfly hiding from the rain or a woman briefly dancing with Scheider) seem to tease the protagonists and underline their utter hopelessness. By the time we reach a grim conclusion, Friedkin has taken us through a world without mercy or decency, in which fate mocks even the most resilient of us.
Martin Scorsese’s New York, New York, released just a few days earlier on June 21, was less plausibly affected by the release of Star Wars, and more likely the victim of critics and audiences being put off by its mix of glossy, Vincente Minnelli-esque musicality and aggressive, John Cassavetes-influenced verisimilitude. Scorsese, with the story of a creative and personal relationship collapsing under the weight of jealousy in a postwar environment, sought to bring to the forefront the unhappiness lurking under the surface of films such as Meet Me in St. Louis and My Dream is Yours.
It, like Sorcerer, had a difficult production, with the director battling a severe cocaine addiction while breaking up with then-wife Julia Cameron and carrying out an affair with lead actress Liza Minnelli. The film’s herky-jerky rhythms and circular intensity seem to take cues from that tension, the big-band musical numbers clashing with deliberately repetitive improvisations and screaming matches. Scorsese had mixed realism with melodrama (Alice Doesn’t Live Here Anymore) and grit with florid formalism (Taxi Driver) previously, and would go on to marry his classic and New Hollywood interests more palatably in Raging Bull. But New York, New York isn’t a marriage so much as it’s a push-pull war, one that’s sometimes exhausting.
Acknowledging the unattainability of Hollywood fantasies makes it no less vital a love letter. Scorsese opens with an astonishing crane shot on V-j Day as Robert De Niro’s Jimmy gets lost in the excitement of a crowd, only to appear under an arrow that both pinpoints and isolates him. De Niro’s first interactions with Minnelli’s Francine, meanwhile, are less a meet-cute, more an ongoing, insistent harassment that eventually wears down her defenses. The entire opening sequence communicates a sense of spiritual and personal emptiness amid celebration, an early warning that not all is well in the postwar era.
De Niro continues playing Jimmy as a halfway point between his insecure, jealous bruiser in Raging Bull and his relentless, obnoxious pest in The King of Comedy, but Scorsese finds some truth in his and Francine’s romance (even as it’s rotting from the inside out) in their musical performances, with the two finding a better balance and greater chemistry as they perform “You Brought a New Kind of Love to Me.” Their partnership flourishes out of a mutual recognition of talent — or, in his case, recognition of greater possible success together. Still, that balance begins to tip whenever Francine asserts herself, as in a scene where she tries to pep up the band following one of Jimmy’s criticisms, only for him to tear her down. And the film’s most gorgeous images undermine any possibility of happiness between the two, with De Niro proposing (badly: “I love you… I mean, I don’t love you. I dig you; I like you a lot”) in front of a fake forest.
Purposefully, the film’s first two hours give more emphasis to Scorsese’s more discursive side, major arguments between Jimmy and Francine getting interrupted by Jimmy’s ability to get into a minor argument with anyone he encounters. It’s in the final third that focus shifts to the director’s inner formalist and New York, New York turns into a proper musical with the remarkably bittersweet “Happy Endings” sequence. Francine’s finally given a chance to flourish as a performer, unhindered by Jimmy’s jealousy, and Scorsese jumps into an unabashedly stagey finale not unlike that of The Band Wagon or An American in Paris.
Yet the climax still reflects the inherent unhappiness in Francine’s life, telling a story of a relationship ended by success, only to double back and conclude with a wish-fulfillment coda that only makes it more painful. We’ve already seen the truth in the lives of Francine and Jimmy, and no rousing performance of “Theme from ‘New York, New York’” is going to change that. Their final encounter twists the knife further, giving one last tease of possible reconciliation before recognizing that it’s impossible, leaving Jimmy with a final, lonely shot echoing that V-j Day opening.
Audiences and critics largely rejected New York, New York and Sorcerer, with neither film making its budget back or earning the raves their makers had come to expect, but time has been kind to both. They haven’t exactly seen widespread reevaluation as their makers’ best works — Sorcerer wouldn’t be too far off for this writer, and Scorsese’s film has its passionate advocates — but they’ve developed cult followings and at least partly shaken off their previous distinctions as merely ambitious follies. Perhaps it’s appropriate that they’re not as widely cited as Taxi Driver and The Exorcist – they’re pricklier than their more popular predecessors, better suited as advanced viewing than introductory works. They may not generate thousands upon thousands of appreciations 40 years later, but they’re there, waiting for curious viewers to make a discovery.
That is, of course, an oversimplification, just as the other charge popularized by the likes of Peter Biskind – i.e. George Lucas’ grand space opera and Steven Spielberg’s personal blockbusters killed Hollywood’s interest in movies for adults – is an oversimplification. In all truth, it isn’t surprising that audiences didn’t go for Sorcerer or New York, New York, two especially challenging-for-the-mainstream features that pushed their creators’ aesthetics to greater extremes than before while tracking in subject matter that was pessimistic even for the time. But while both films and their troubled productions saw directors burned by their ambition, they are also exceptional works showcasing how exhilarating it can be when all commercial sense goes out the window.
Friedkin’s Sorcerer can lay more claim to having been actively harmed by the arrival of Lucas’ megahit, arriving exactly one month later, on June 25, and competing for a thrill-seeking crowd. (One theater reportedly pulled Star Wars for Sorcerer for a week, only to replace it when Friedkin’s film failed to lure an audience.) The film, a remake of Henri-Georges Clouzot’s 1953 masterpiece The Wages of Fear, was also hurt by its confusing title — named after one of the trucks transporting dynamite through a dangerous jungle to put out an oil fire — and a budget that ballooned from an initially planned $15 million to $22 million following a difficult production.
Friedkin, hot off the Oscar-winning The French Connection and hugely successful The Exorcist, already had a reputation for his temperament and arrogance. They were in full force on Sorcerer: he clashed with cinematographer Dick Bush, who left halfway through filming, as well as producer David Salven, whom Friedkin fired after fights over the expensive location shoots. Friedkin extensively clashed with Paramount brass, sometimes reasonably (kicking executives off set after perceived interference), sometimes amusingly but questionably (the evil oil execs pictured in the film are actually Gulf & Western’s executive board, and they repaid him by not promoting the film). The jungle shoot itself was hell, with about 50 people quitting following injury or illness while Friedkin himself contracted malaria and lost 50 pounds.
But it’s only appropriate that the making of Sorcerer was so desperate, given the story it tells. Friedkin’s worldview has always been bleak and cynical, and Sorcerer may be the purest expression of that. Its heroes are a hard-bitten New Jersey hood (a spectacularly testy Roy Scheider) hiding out after shooting a mobster’s brother, a crooked French banker (Bruno Cremer) on the run following fraud accusations, a Palestinian terrorist (Amidou) behind a Jerusalem bombing, and a Mexican hitman (Francisco Rabal) who gets in on the job after murdering the fourth driver (Karl John), apparently a fugitive Nazi. The film presents their crimes as facts and without real judgment, their rottenness just another bad part of a burned-out, brutal world.
Where The French Connection and The Exorcist gave viewers visceral thrills early on and some sense of right and wrong (even if it’s fatally compromised), the early action in Sorcerer is more painful, with suicide, terrorism, and the loss of friends and partners forming the four prologues introducing the men at this film’s center. Friedkin then drops us into squalor and despair in a small South American town where the heat and rain are nearly as oppressive as the police state, the work is dangerous and pays little, and the mud seems to soak up any sense of hope. It’s little wonder that they might take up the dangerous assignment of driving through an arduous jungle landscape with unstable explosives that could set off at any moment. When you’ve been driven into no man’s land by your sins, any way out is worth it — no matter how unlikely it is that you’ll survive.
The actual drive up to the oil well doesn’t begin until about halfway through and takes on the tone of an unusually fraught funeral march for the protagonists. Friedkin’s immediate, docurealistic style helps ground the proceedings as set-pieces grow more heightened, most memorably when the drivers guide their trucks over a deteriorating bridge as the river beneath it overflows — the most expensive sequence in the film, as well as the most difficult-to-shoot of Friedkin’s career. As Popeye Doyle’s car chase in The French Connection and Regan & Chris MacNeil getting jerked around in The Exorcist evince, Friedkin always had a gift for making scenes that were already dangerous in conception even more tactile and nerve-wracking. Here, his emphasis on the mechanics of the crossing – the snapping rope and wood – as well as the fragility of the bodies attempting to cross (particularly as one rider steps outside to guide the truck and risks getting thrown off or crushed in the process) make the danger of their situation all the more palpable.
Yet there’s a more existential doom permeating the film compared with the nihilism of his earlier efforts, a more complete melding of his hard-bitten style with expressionistic touches that peppered The Exorcist. Part of that comes from Tangerine Dream’s ethereal score, which accentuates a sense that the elements are set against the drivers. But Friedkin also lends the film’s grungy look a sort of otherworldly menace, whether the camera soars through gorgeous greenery while a fire burns in the background or Scheider envisions a stream of blood soaking the dirt. Even the small moments of beauty (e.g. a butterfly hiding from the rain or a woman briefly dancing with Scheider) seem to tease the protagonists and underline their utter hopelessness. By the time we reach a grim conclusion, Friedkin has taken us through a world without mercy or decency, in which fate mocks even the most resilient of us.
Martin Scorsese’s New York, New York, released just a few days earlier on June 21, was less plausibly affected by the release of Star Wars, and more likely the victim of critics and audiences being put off by its mix of glossy, Vincente Minnelli-esque musicality and aggressive, John Cassavetes-influenced verisimilitude. Scorsese, with the story of a creative and personal relationship collapsing under the weight of jealousy in a postwar environment, sought to bring to the forefront the unhappiness lurking under the surface of films such as Meet Me in St. Louis and My Dream is Yours.
It, like Sorcerer, had a difficult production, with the director battling a severe cocaine addiction while breaking up with then-wife Julia Cameron and carrying out an affair with lead actress Liza Minnelli. The film’s herky-jerky rhythms and circular intensity seem to take cues from that tension, the big-band musical numbers clashing with deliberately repetitive improvisations and screaming matches. Scorsese had mixed realism with melodrama (Alice Doesn’t Live Here Anymore) and grit with florid formalism (Taxi Driver) previously, and would go on to marry his classic and New Hollywood interests more palatably in Raging Bull. But New York, New York isn’t a marriage so much as it’s a push-pull war, one that’s sometimes exhausting.
Acknowledging the unattainability of Hollywood fantasies makes it no less vital a love letter. Scorsese opens with an astonishing crane shot on V-j Day as Robert De Niro’s Jimmy gets lost in the excitement of a crowd, only to appear under an arrow that both pinpoints and isolates him. De Niro’s first interactions with Minnelli’s Francine, meanwhile, are less a meet-cute, more an ongoing, insistent harassment that eventually wears down her defenses. The entire opening sequence communicates a sense of spiritual and personal emptiness amid celebration, an early warning that not all is well in the postwar era.
De Niro continues playing Jimmy as a halfway point between his insecure, jealous bruiser in Raging Bull and his relentless, obnoxious pest in The King of Comedy, but Scorsese finds some truth in his and Francine’s romance (even as it’s rotting from the inside out) in their musical performances, with the two finding a better balance and greater chemistry as they perform “You Brought a New Kind of Love to Me.” Their partnership flourishes out of a mutual recognition of talent — or, in his case, recognition of greater possible success together. Still, that balance begins to tip whenever Francine asserts herself, as in a scene where she tries to pep up the band following one of Jimmy’s criticisms, only for him to tear her down. And the film’s most gorgeous images undermine any possibility of happiness between the two, with De Niro proposing (badly: “I love you… I mean, I don’t love you. I dig you; I like you a lot”) in front of a fake forest.
Purposefully, the film’s first two hours give more emphasis to Scorsese’s more discursive side, major arguments between Jimmy and Francine getting interrupted by Jimmy’s ability to get into a minor argument with anyone he encounters. It’s in the final third that focus shifts to the director’s inner formalist and New York, New York turns into a proper musical with the remarkably bittersweet “Happy Endings” sequence. Francine’s finally given a chance to flourish as a performer, unhindered by Jimmy’s jealousy, and Scorsese jumps into an unabashedly stagey finale not unlike that of The Band Wagon or An American in Paris.
Yet the climax still reflects the inherent unhappiness in Francine’s life, telling a story of a relationship ended by success, only to double back and conclude with a wish-fulfillment coda that only makes it more painful. We’ve already seen the truth in the lives of Francine and Jimmy, and no rousing performance of “Theme from ‘New York, New York’” is going to change that. Their final encounter twists the knife further, giving one last tease of possible reconciliation before recognizing that it’s impossible, leaving Jimmy with a final, lonely shot echoing that V-j Day opening.
Audiences and critics largely rejected New York, New York and Sorcerer, with neither film making its budget back or earning the raves their makers had come to expect, but time has been kind to both. They haven’t exactly seen widespread reevaluation as their makers’ best works — Sorcerer wouldn’t be too far off for this writer, and Scorsese’s film has its passionate advocates — but they’ve developed cult followings and at least partly shaken off their previous distinctions as merely ambitious follies. Perhaps it’s appropriate that they’re not as widely cited as Taxi Driver and The Exorcist – they’re pricklier than their more popular predecessors, better suited as advanced viewing than introductory works. They may not generate thousands upon thousands of appreciations 40 years later, but they’re there, waiting for curious viewers to make a discovery.
- 6/21/2017
- by The Film Stage
- The Film Stage
Lawrence Montaigne, a guest star and character actor on numerous TV shows throughout the 1960s and into the ’80s but likely to be remembered for appearances as a Romulan and a Vulcan on the original Star Trek, died Friday at 86. His death was reported by the official Star Trek twitter account. Though his roles stretch back to an uncredited appearance in the 1953 Vincente Minnelli musical The Band Wagon, Montaigne’s career kicked into full gear in the 1960s. He played…...
- 3/19/2017
- Deadline TV
Pastiche is a tricky affair. Go too far in emulating the films being referenced and one risks bland slavishness; go too far in the other direction and one chances missing what makes those films great. Rare is the film that successfully synthesizes its influences into something truly daring and new, while still capturing the spirit of the classics that came before. In that respect, La La Land—writer-director Damien Chazelle’s ode to the musicals of the 1950s and 60s (particularly those of Jacques Demy)—has much to recommend itself, but ultimately comes up short, though it’s certainly not for lack of trying. After its energetic opening number—a Los Angeles traffic jam that gives way to “Another Day of Sun,” the irritations of the freeway supplanted by liberating motion and bursts of song—La La Land introduces us to our would-be lovers: Mia (Emma Stone), an aspiring actress and sometime playwright,...
- 12/16/2016
- MUBI
For the youth market, whose patience with song and dance is usually limited to short-form videos about getting into formation with Beyoncé, an old-school, feature-length musical is predicted to be a tough sell. I wouldn't be so sure. Brilliantly written and directed by 31-year-old Damien Chazelle (the dude who did Whiplash), La La Land does nothing less than jolt the movie musical to life for the 21st century. There's not an ounce of Broadway fat on this love story that raises its voice and moves its feet because it has...
- 12/6/2016
- Rollingstone.com
It's in glorious Technicolor Metrocolor, CinemaScope and StereoPhonic Sound! Fred Astaire's final MGM musical gives him Cyd Charisse and a Cole Porter score, plus some nice Hermes Pan choreography. The script and Rouben Mamoulian's direction aren't the best, but the combined magic of the musical and dancing talent saves the day. Silk Stockings Blu-ray Warner Archive Collection 1957 / Color / 2:40 widescreen / 117 min. / Street Date July 12, 2016 / available through the WBshop / 21.99 Starring Fred Astaire, Cyd Charisse, Janis Paige, Peter Lorre, George Tobias, Jules Munshin, Joseph Buloff, Wim Sonneveld Cinematography Robert Bronner Art Direction Randall Duell, William A. Horning Film Editor Harold F. Kress Original Music Cole Porter Written by Abe Burrows, Leonard Gershe, George S. Kaufman, Leueen MacGrath, and Leonard Spigelgass Produced by Arthur Freed Directed by Rouben Mamoulian
Reviewed by Glenn Erickson
On the Town? The Pajama Game? Damn Yankees? The Warner Archive Collection's next musical up for the...
Reviewed by Glenn Erickson
On the Town? The Pajama Game? Damn Yankees? The Warner Archive Collection's next musical up for the...
- 7/23/2016
- by Glenn Erickson
- Trailers from Hell
Close-Up is a column that spotlights films now playing on Mubi. Terry Gilliam's The Fisher King (1991) is playing from June 1 - June 30, 2016 in the UK.In an overview of the accomplished, fraught, tumultuous career of Terry Gilliam, The Fisher King (1991) can look like not just an artistic turning point, but an economic one. Gilliam had just finished a loose trilogy of comic fantasies—Time Bandits (1981), Brazil (1985), and The Adventures of Baron Munchausen (1988)—each visually baroque and laced with a kind of surreal, dark, absurdist humor that marked them as a natural extension of his time as the lone American in Monty Python. Time Bandits was a head-turning left-field hit, and Brazil, the subject of a legendary battle with Universal over final cut, is often cited as Gilliam's masterpiece. But Munchausen, though held dear by a cult following, was a blow to Gilliam's career. It went quickly over-budget (wildly so,...
- 6/29/2016
- MUBI
Well, another year spent in the company of classic cinema curated by the TCM Classic Film Festival has come and gone, leaving me with several great experiences watching favorite films and ones I’d never before seen, some already cherished memories, and the usual weary bag of bones for a body in the aftermath. (I usually come down with something when I decompress post-festival and get back to the working week, and this year has been no exception.) There have now been seven TCMFFs since its inaugural run in 2010. I’ve been lucky enough to attend them all, and this time around I saw more movies than I ever have before—18 features zipping from auditorium to queue and back to auditorium like a gerbil in a tube maze. In order to make sure I got in to see everything I wanted to see, I had to make sure I was...
- 5/7/2016
- by Dennis Cozzalio
- Trailers from Hell
I live in Los Angeles, and my residency here means that a lot of great film programming-- revival screenings, advance looks at upcoming releases and vital, fascinating glimpses at unheralded, unexpected cinema from around the world—is available to me on a week-by-week basis. But I’ve never been to Cannes. Toronto, Tribeca, New York, Venice, Berlin, Sundance, SXSW, these festivals are all events that I have yet to be lucky enough to attend, and I can reasonably expect that it’s probably going to stay that way for the foreseeable future. I never attended a film festival of any kind until I made my way to the outskirts of the Mojave Desert for the Lone Pine Film Festival in 2006, which was its own kind of grand adventure, even if it wasn’t exactly one for bumping shoulders with critics, stars and fanatics on the French Riviera.
But since 2010 there...
But since 2010 there...
- 4/24/2016
- by Dennis Cozzalio
- Trailers from Hell
Happy Birthday, Cyd Charisse Charisse began starring in films in the 1940s. Her roles usually focused on her abilities as a dancer, and she was paired with Fred Astaire and Gene Kelly her films include Singin' in the Rain 1952, The Band Wagon 1953, Brigadoon 1954 and Silk Stockings 1957. She stopped dancing in films in the late 1950s, but continued acting in film and television, and in 1992 made her Broadway debut.
- 3/8/2016
- by Stage Tube
- BroadwayWorld.com
Jean Simmons is the original frustrated Mad Housewife who runs away from a 'dream marriage' in search of something more fulfilling. Uncompromising, adult, and making use of an interesting cast. Plus, the soundtrack uses Michel Legrand's incomparable song "What Are You Doing the Rest of Your Life?" The Happy Ending Blu-ray Twilight Time Limited Edition 1969 / Color / 2:35 widescreen / 112 min. / Ship Date January 19, 2016 / available through Twilight Time Movies / 29.95 Starring Jean Simmons, John Forsythe, Shirley Jones, Teresa Wright, Nanette Fabray, Bobby Darin, Kathy Fields, Tina Louise, Dick Shawn, Lloyd Bridges, Karen Steele, Erin Moran. Cinematography Conrad Hall Original Music Michel Legrand, lyrics Alan & Marilyn Bergman Produced, Written and Directed by Richard Brooks
Reviewed by Glenn Erickson
I looked at some of the poster artwork for The Happy Ending, and yes indeed, one of the main styles is indeed like the cover of this disc -- a photo of a rusty garbage...
Reviewed by Glenn Erickson
I looked at some of the poster artwork for The Happy Ending, and yes indeed, one of the main styles is indeed like the cover of this disc -- a photo of a rusty garbage...
- 2/13/2016
- by Glenn Erickson
- Trailers from Hell
The latest restoration of a German silent classic is F.W. Murnau's lavishly mounted version of the Goethe tale, starring Emil Jannings as Mephisto. It's an impressive drama but also has a sense of (Teutonic) humor here and there. Most every shot is a fantastic visuals, and the bigger scenes use visual designs worthy of fine art. Faust Blu-ray + DVD Kino Classics 1926 / B&W / 1:33 flat full frame / 106, 116 min / Street Date November 17, 2015 / available through Kino Lorber / 34.96 Starring Gösta Ekman, Emil Jannings, Camilla Horn, Frida Richard, William Dieterle, Yvette Guilbert, Eric Barclay, Hanna Ralph, Werner Fuetterer. Cinematography Carl Hoffman Production Design Robert Herlth, Walter Röhrig Film Editor Elfi Böttrich Written by Gerhart Hauptmann, Hans Kyser from plays by Johann Wolfgang Goethe, Christopher Marlowe Produced by Erich Pommer Directed by F.W. Murnau
Reviewed by Glenn Erickson
Back in film school, lecturers on cinema art of the 1920s claimed that Germany had an edge over Hollywood.
Reviewed by Glenn Erickson
Back in film school, lecturers on cinema art of the 1920s claimed that Germany had an edge over Hollywood.
- 1/1/2016
- by Glenn Erickson
- Trailers from Hell
The gaudy MGM musical bio gets one last go-round, gathering an all-star cast to illustrate the songbook of composer Sigmund Romberg. Gene Kelly dances with his brother Fred, and Cyd Charisse does a hot number with James Mitchell, while star José Ferrer goes on stage to perform with his wife Rosemary Clooney. Deep in My Heart Blu-ray Warner Archive Collection 1954 / Color / 1:37 flat Academy / 132 min. / Street Date November 10, 2015 / available through the WBshop / 17.95 Starring José Ferrer, Merle Oberon, Helen Traubel, Doe Avedon, Walter Pidgeon, Jim Backus, Rosemary Clooney, Gene Kelly, Fred Kelly, Jane Powell, Ann Miller, Cyd Charisse, Howard Keel, Vic Damone, Tony Martin, Joan Weldon, Fred Kelly, Russ Tamblyn. Susan Luckey, Robert Easton, Barrie Chase, Douglas Fowley. Cinematography George J. Folsey Film Editor Adrienne Fazan Original Music Alexander Courage, Adolph Deutsch Written by Leonard Spigelgass from a book by Elliott Arnold Produced by Roger Edens Directed by Stanley Donen
Reviewed...
Reviewed...
- 11/3/2015
- by Glenn Erickson
- Trailers from Hell
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