Can't get enough of Marion Cotillard's death scene in The Dark Knight Rises? Enjoy People Dying Like Marion Cotillard.
It has been ten years since Tommy Wiseau's "The Room" (previously) hit theaters. And though the notoriety and fanbase of the film has grown in that time, information on the man behind it has not. Greg Sestero, who was perhaps the closest to Wiseau and the project, has just published "The Disaster Artist" on his work with the film. The Dissolve has a lengthy review/analysis for your enjoyment.
"I'm here because my family went through slavery" - Steve McQueen on 12 Years A Slave, the story of Solomon Northup. ‘12 Years a Slave,’ ‘Mother of George,’ and the aesthetic politics of filming black skin. Before Solomon Northup: Fighting Slave Catchers in New York. The final fate of Solpmon Northup remains unknown. (Previously)
Character actor Ed Lauter has died. In a career that spanned over forty years, he was a familiar face on both television and film (and active until the end with appearances in "Trouble With The Curve" and "The Artist"). And with the greatest respect and affection, he also costarred in one the greatest bad films of the eighties.
The Physics of Light and Rendering is a talk given at QuakeCon 2013 by John Carmack, co-creator of Doom, Quake, and many other games at id Software and beyond. It provides a detailed but surprisingly understandable history of 3D rendering techniques, their advantages and tradeoffs, and how they have been used in games and movies. (SLYT, 1:32:01, via)
For your October delight: Top 10 horror movies, as picked by Guardian critics, Ten Exceptionally Well-Written Horror Films, Top Ten Horror-Sci-Fi Films: A Primer And Pseudo-History, The 12 Weirdest Vampire Movies Ever Made, The Top Grossing Scary Movies Of All-Time, and, perhaps most importantly of all: The 25 best horror films on netflix instant.
Twitter: @HardSciFiMovies imagines the plots of SF/F movies moving more in line with reality.... [via mefi projects]
The character posters for Lars Von Trier's "Nymphomaniac" are , ahem, here (NSFW).
Bringing Up Nick is a show where Revision3's Adam Sessler tries to teach his younger and movie ignorant colleague Nick a thing or two about classic movies and their cultural impact. First up, James Cameron's Aliens.
“Movie theaters wanted nothing to do with popcorn,” Smith says, “because they were trying to duplicate what was done in real theaters. They had beautiful carpets and rugs and didn’t want popcorn being ground into it.” Movie theaters were trying to appeal to a highbrow clientele, and didn’t want to deal with the distracting trash of concessions–or the distracting noise that snacking during a film would create. - So Why Do We Eat Popcorn At The Movies Anyway? (Smithsonian Mag)
MediAvengers: Earth's Mightiest Gossip is a blog of media parodies set in the Marvel Cinematic Universe.
Warning! The following article is from The Great Soviet Encyclopedia (1979). It might be outdated or ideologically biased, entry for the United States of America
PTSD and Gene Kelly's lost wartime star turn: For the last six decades or so, a copy [of "Combat Fatigue Irritability"] has been filed away, along with thousands of other films, at the National Library of Medicine. The only people it has been lost to are the public and Gene Kelly’s devoted and still numerous fans. But now the National Library of Medicine is featuring Combat Fatigue Irritability in Medical Movies on the Web, and the film will be given a well-deserved, though very belated, New York premiere, on October 5, 2013, at the New York Academy of Medicine. [more inside]
Dirty Dancing is A SUBVERSIVE MASTERPIECE and here are four reasons why. "While I loved it as a mushy romance starring a relatable heroine and a dreamy guy, a huge portion of the plot flew right over my tiny unworldly preteen head. But it was only as an adult that I realized how RADICALLY subversive and politically bananas this movie really is." [more inside]
Lois Weber was an important early American film-maker who pushed the boundaries of film-making so she could better tell the stories she wanted to tell. Several of her early silent films are on youtube: Suspense (1913; ~10 minutes) (she directs herself, experiments with the split-screen view and unusual and effective camera angles including shots from above and using the car's side mirror); Hypocrites (1915; ~4 minutes) (featuring dual roles, nudity, and a strong use of techniques like multiple exposures and complex editing - as well as a strong moral message); and Where Are My Children (1916, ~1 hour, 10 minutes) (a complex and controversial film even then about birth control (pro) and abortion (anti)). [more inside]
How, against all odds, Time Bandits got made. Somehow in the face of a universe that seems dead set against it Terry Gilliam continues making movies today, the latest being Zero Theorem.
Loved by some but often ignored, passed on by Spielberg, peppered with famous poker player cameos, the boldly painted, logorrheic portrait of real gambling life, California Split might be the quintessential Altman film. [more inside]
For the duration of the Toronto International Film Festival, TIFF has posted the short films they're screening this year on Youtube. You can watch them all, but if you only watch one, check out Noah, which is not safe for work and which I thought was pretty great.
The Movie Math Quiz: Can you figure out which movies are being described by these mathematical equations?
The trailer to the "Robocop" remake was released yesterday, and as expected there was a lot of grumbling from fans. There is one significant change that the film shares with another recent remake of a brutal action film ("Total Recall"): The switch from an "R" rating to a "PG-13". Next year will be the 30th anniversary of the "PG-13" rating, so it's worth considering (especially for those of us whose memories go back that far) what the rating has wrought in cinema (previously).
The Story of Film: An Odyssey is a documentary in 15 parts which documents the evolution of the medium from first steps of silent film to the present day multi-national blockbuster (trailer). This amazing work is currently available on Netflix, but will also be playing on TCM starting this month (full schedule available at the bottom of this link).
“Something Terrible Has Happened Here”: The Crazy Story Of How “Clue” Went From Forgotten Flop To Cult Triumph. (previously)
“One day, we looked around and realized that almost no one is making tokusatsu anymore,” said Shinji Higuchi, one of a handful of Japanese directors who still have experience in the genre, having directed three movies in the 1990s featuring the giant fire-breathing turtle Gamera. “We don’t want this technique to just quietly disappear without at least recognizing how indebted we are to it.” - The last days of the rubber-suit monsters.
Fragments of a hologram rose: Re-seeing Blade Runner - Tears in rain Memories of missing words, stories and concepts; All-seeing eye Entering picture space with the Esper; The city and the city The architecture of Los Angeles, 2019; Painting the future Syd Mead’s production art; Spinner and gun Tools of the job
One of the 20th century's most prolific and well regarded authors of crime fiction, Elmore Leonard, has died at the age of 87, following a stroke two weeks ago. Leonard's novels and short stories were frequently adapted to movies and television, with particular acclaim in the cases of Get Shorty, Out of Sight, Jackie Brown, and Justified.
"Harrison Ford Angrily Points At Stuff" Supercut, courtesy of Conan O'Brien.
If you rented VHS horror and sci-fi in the late eighties and early nineties, then you’ll recognize the name of Charles Band. [more inside]
Comic artist Chris Weston unilaterally declares it Kurt Russell week and produces a triptych of posters for Escape from New York, The Thing and Big Trouble in little China. These are just the roughs.
"The restless protagonists of these films never have wake up to the reality that crop-dusters simply can't fly faster than sleek racing aircraft. Instead, it's the naysaying authority figures who need to be enlightened about the importance of never giving up on your dreams, no matter how irrational, improbable, or disruptive to the larger community." (Atlantic article)
Damon Lindelof uses the story of American folk hero John Henry as an illustrative example of the market pressures on blockbuster screenwriting.
By employing directors with backgrounds in drama, the studios hope action-heavy films will be infused with greater depth. The catch, however, is that drama directors are usually inexperienced at, and thus incapable of, properly handling [the] material that is the film's main selling point .... "The Wolverine" is the latest example of this burgeoning trend. To name just a few examples from the past couple of years, "X-Men Origins: Wolverine" (dir: Gavin Hood), "Quantum of Solace" (dir: Mark Forster), "Skyfall" (dir: Sam Mendes) ... were all brought to the screen by filmmakers whose careers were predicated on dramas or comedies, not action. That fad remains in full effect this summer .... While no studio exec would dare hand over an Oscar-hopeful drama to Michael Bay, the opposite model—Hey, Marc Forster directed "Finding Neverland," so he's obviously the ideal candidate for a Bond film!—now reigns supreme.Nick Schager writes about action films helmed by a director who is not an action director.
John Boorman's Lord Of The Rings "Perhaps the most provocative change occurs in Lothlorien where, before gazing into Galadriel’s mirror, Frodo must become intimate with her."
Metafilter's own Anil Dash defends talking in movies. Metafilter's own Jesse Thorn agrees, and extends the point to the world of menswear blogging.
When Hollywood turned to talkies, it created a not-quite-British, not-quite-American style of speaking that has all but disappeared.
Scandals of Classic Hollywood: The Ecstasy of Hedy Lamarr - Science! Fascists! Orgasms! Libel! Escapes From Literal Castles! (SoCH previously and Anne Helen Petersen previously)
As Harvey Weinstein decides American audiences aren't smart enough for Snowpiercer, Daily Grindhouse writer Ric Meyers takes a poke at The Weinstein Company's troubled history with Asian Cinema.
With the Discovery Channel facing criticism, disgust, and outrage over its choice to feature a fake "documentary" to kick off its popular "Shark Week" programming series, we should not forget another selachimorphic disaster from 26 years ago: Jaws 4: The Revenge, which has the dubious distinction of a perfect 0% "fresh" rating at Rotten Tomatoes. The troupe at the bad movie podcast "How Did This Get Made?" (previously) skewered the film in an episode last year, but this week they just may have found the answer to their show's titular question by locating and interviewing the now-retired director of the film, Joseph Sargent. "We all lost sight of the absurdity of the premise," recollects Mr. Sargent, "which is that the shark is getting even."
As much as Metafilter loves Jim Henson's Dark Crystal and Labyrinth, neither of those films would be half as powerful without the work of Brian and Wendy Froud. [more inside]