Jim Henson‘s Labyrinth, starring Jennifer Connelly and David Bowie, is one of those movies many of us loved as kids, but now tends to get lost in the shuffle. Connelly went on to win an Oscar, Bowie was already a musical legend and Henson had one or two other things going on as well. Not to mention, 1986 also saw the release of Aliens, Ferris Bueller’s Day Off, Transformers The Movie, Top Gun and more. Labyrinth has tons of competition for our nostalgic feelings. Still, the film remains an incredibly beautiful fantasy and it’s nice to see it finally getting some love in the pop art world.
After the jump, check out several differerent posters for Labyrinth by Paul Shipper, Criterion Collection regular Sam Smith and distinctive fan favorite Max Dalton. And we’ll throw in a Kill Bill poster too. Read More »
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Quentin Tarantino has been pretty vocal that many of his films are set in the same universe. Vincent Vega from Pulp Fiction is the documented brother of Vic Vega in Reservoir Dogs. Mr. White in Reservoir Dogs possibly worked with Alabama from True Romance. Brands such as Big Kahuna Burger and Red Apple Cigarettes appear in multiple films, the list goes on an on. A more recent development was when Tarantino said that Sgt. Donny Donowitz, the Bear Jew of Inglourious Basterds, was the father of Lee Donowitz, the sleazy movie producer of True Romance.
And that got one person thinking. If all these movies take place in the same universe, that means World War II ended how it ended in Inglourious Basterds and everyone would know about it. Which opens up a huge can of worms. Read the very entertaining theory below. Read More »
The debate over the need for 3D in the home has been decided and 3D has triumphed. Or at least that’s how I feel after being manipulated by this genius ad campaign being run by LG for their new Home Theater 3D Sound System. They took iconic movie posters and flipped them around, showing the posters from alternative angles. After the jump, read more about the campaign and see posters for Kill Bill, Forrest Gump and Pretty Woman. Read More »
Ever since Kill Bill Volume 1 was released in 2003, we’d been hearing that writer/director Quentin Tarantino ultimately planned on releasing both halves in one epic package. Kill Bill Volume 2 came out a year later and it seemed like a logical time for the big reveal. Nope. Then, in 2004, Tarantino showed a combined version of the film at the Cannes Film Festival that became known as Kill Bill: The Whole Bloody Affair. We thought that meant general audiences would finally get to see it in some way but alas, that was not the case. Amazon put up a page about it, images of box art leaked online and Tarantino himself said they were working on a new animation sequence but still, there was nothing. Years passed and finally Tarantino’s theater, the New Beverly Cinema in Los Angeles, was permitted to show the film theatrically for the first time in the United States.
The print, which was the exact one that screened at Cannes – complete with French subtitles – played from March 27 (Tarantino’s birthday) through April 7 to mostly sold out audiences. After being out of town for the majority of the run, I was finally able to see the film on its final evening and it was a near perfect movie going experience. Four plus hours of bliss that make Kill Bill better than you ever thought it could be.
After the jump, we’ll discuss the changes and how those changes improve the original theatrical releases. Read More »
Tyler Stout created this awesome Kill Bill: The Whole Bloody Affair movie poster as a surprise for Quentin Tarantino‘s birthday screening of the uncut film at the New Beverly Cinema. Posters were sold at the screening, and will go online tomorrow on Mondo.
They are also selling a limited edition Japanese variant for $100, which OMG says is “printed on paper that lands somewhere between rice and parchment, plus it has some subtle changes to the art”. Only 225 copies were printed. The regular version is a 24? x 36? screenprint, has an edition of 600, and will cost $50. Both will go on sale tomorrow (Tuesday, April 5th) at a random time. Hit the jump to see both designs.
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Posted on Saturday, March 26th, 2011 by Angie Han
[The following contains major spoilers for Sucker Punch]
Is Zack Snyder‘s Sucker Punch exploitation or empowerment? That’s the question that’s been floating around since even before the film was released, and it’s a pretty obvious one given that the movie was marketed entirely on the appeal of scantily clad young women wielding big ass weapons. Most of the reviews I’ve read of the film at least touch on the issue, and Snyder has preemptively addressed it in interviews by saying he intends the film to be empowering to women.
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What is Page 2? Page 2 is a compilation of stories and news tidbits, which for whatever reason, didn’t make the front page of /Film. After the jump we’ve included 20 different items, fun images, videos, casting tidbits, articles of interest and more. It’s like a mystery grab bag of movie web related goodness. If you have any interesting items that we might’ve missed that you think should go in /Film’s Page 2 – email us!
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Thanks to DVD, compression software and services like YouTube and Vimeo, technology has changed the way we ingest visual content. But it hasn’t done as much as I’d like to the way we understand it.
Take the Everything is a Remix project, by editor Kirby Ferguson. The second installment was released this week, and it is a slick, well-written and edited piece of work that points out how much of the entertainment we consume is related to other entertainment. Specifically, it breaks down parts of Star Wars and Kill Bill into component elements, presenting scenes from those films alongside the original images re-purposed by George Lucas and Quentin Tarantino. But I’m left wanting more.
Watch both this film-centric second installment and a sidebar dissection of Kill Bill after the break, then hit the comments for a discussion of how the mechanism of influence from one film to another really affects storytelling. Read More »
If you’ve seen more than one movie by Quentin Tarantino, then you’ve surely noticed his signature POV trunk shot. The shot even has its own wikipedia page (take that Scorsese Squeeze!). Here is the background from wiki:
The Trunk shot is a camera angle used in cinema when one or more characters need to retrieve something or someone from the trunk of a car. … This camera angle is often noted to be the trademark of film maker Quentin Tarantino who disputes that he puts the shot in his films as a trademark and simply asks “Where would you put the camera?” Although he did not invent it, Tarantino popularized the trunk shot, which is featured in Reservoir Dogs, Pulp Fiction, Jackie Brown, and Kill Bill. In Death Proof, Tarantino’s traditional shot looking up at the actors from the trunk of a car is replaced by one looking up from under the hood. In Inglourious Basterds a “trunk shot” is used two times when Aldo Raine (Brad Pitt) crouches over a captured Nazi with one of his soldiers, cutting a swastika into their victim’s forehead (the shot is supposed to be the victim’s point of view).
After the jump you can see an image that collects all of Tarantino’s Trunk Shots. It first appeared on Reddit but has been making its way around the interwebs yesterday.
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