Filmmakers like Wes Anderson, Quentin Tarantino, Wes Craven, Edgar Wright and Steven Spielberg have made films that are so beloved, the fact we see fan art from them is expected. Then there’s a whole other class of filmmaker who make amazing, but maybe not geek-centric, movies who regularly get the shaft. Thanks to one Denver, Colorado gallery, we can cross a name off the list.
This Friday September 9 Laundry on Lawrence is hosting a show called The Machines Are Winning: A Tribute To Sidney Lumet which features 17 artists interpreting the work of the amazing director of films like Network, 12 Angry Men, Dog Day Afternoon, Serpico, Fail Safe, Before the Devil Knows You’re Dead and more. Check out some of the images after the jump. Read More »
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This week, Dave, Devindra, and Adam compare the two Arthurs, praise the works of Tom McCarthy, unravel the mysteries of Hanna, lament the passing of one of the greatest directors of all time, and give a shout out to a pioneering movie blog. Special guest Dave Gonzales joins us from Latino Review.
You can always e-mail us at slashfilmcast(AT)gmail(DOT)com, or call and leave a voicemail at 781-583-1993. Join us for our next live broadcast on Sunday, April 17th at Slashfilm’s live page where we’ll be discussing Scre4m.
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Legendary film director Sidney Lumet died of lymphoma this morning at the age of 86. Lumet directed over 50 films, including American classics like Dog Day Afternoon, Serpico, and Network. His films were nominated for over 40 Academy Awards, and Lumet himself was nominated for Best Director four times, although he never won (he was given an honorary Academy Award in 2005).
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Because John Hillcoat has a strange machinima mini-film coming out to promote the game Red Dead Redemption later this week, I’ve been wondering about his other upcoming projects. And now we’ve got a report that Vacancy and The Hold 3D writer Mark L. Smith is writing The Revenant, which Hillcoat will direct, with Christian Bale currently in talks to star. If that isn’t enough for Smith, he’s got a couple of other big scripts going, including a remake of the firebrand French film Martyrs. Read More »
City Secrets guides have been called “the best literary gift to travelers since the Baedeker and Henry James” by the Financial Times, providing charming travelers’ companions to the world’s most fascinating cities. What made them different than the usual travel guides is that City Secrets offers reflections and discoveries from the authors, artists, and historians who know each city best.
Earlier this year City Secrets released a book titled City Secrets Movies: The Ultimate Insider’s Guide to Cinema’s Hidden Gems, which promises to take an “intimate, insider’s approach to the arts, featuring brief essays and recommendations by esteemed figures in the film industry—including actors, directors, producers, and critics—and other writers and figures in the arts.” Contributors of the book include Wes Anderson, Ken Auletta, Alec Baldwin, Adam Duritz, Milos Forman, John Guare, Arthur Hiller, Anjelica Huston, Barbara Kopple, Sidney Lumet, Simon Schama, Martin Scorsese, and Kenneth Turan, among many other film experts.
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Warner Bros. is re-releasing the well reviewed George Clooney legal thriller Michael Clayton on January 25th, one month before the Academy Awards. What’s somewhat surprising about the announcement is that the film will return to 1,000 theaters around North America rather than a limited run in the usual cities. Is there really such demand?
When it was released wide last October, the film opened to $11 million, which was considered a mild disappointment and sparked a fair share of knee-jerk “George Clooney isn’t a big draw outside of the Ocean films” editorials. It chugged along, and as of January 6th, it’s grossed $39 million. Made for a tidy $25 million, it wasn’t a flop, but it performed like a mini sleeper instead of like a ’90s John Grisham adaptation, which is probably what Warner Bros. imagined for it success-wise.
Did you see it? I thought it was a cool choice for a matinee, but definitely not a Best Picture hopeful as many are suggesting. Tony Gilroy‘s direction was stylish and deft, and one would never guess it was his debut as a director, but the script, also by Gilroy, rang too many of the same bells as Sidney Lumet’s classic The Verdict to be included beside a great film like There Will Be Blood. I also found the ending to be a little full of itself in a year full of similarly quiet, melancholic ones. Will any of you who didn’t catch it be first on line this go around? And more curiously, why did so many choose not to see it last year in spite of stellar reviews?