With it being seven years since his last live-action film, 2014’s The Grand Budapast Hotel, Wes Anderson is hard at work. Following a Cannes premiere, The French Dispatch finally arrives in limited theaters on October 22 followed by a wide release the following week, and he’s already shooting his next film (recently revealed to have the title Asteroid City) outside of Madrid with Tilda Swinton, Bill Murray, Adrien Brody, Tom Hanks, Margot Robbie, Rupert Friend, Jason Schwartzman, Scarlett Johansson, Bryan Cranston, Hope Davis, Jeffrey Wright, Liev Schreiber, Tony Revolori, and Matt Dillon.
As is the case with all of his work, Wes Anderson synthesizes cinema history in his own specific language and for The French Dispatch he has provided a list of influences. As revealed in a promotional book sent to The Flim Stage and styled after the film’s magazine, 32 films are listed that “provided inspiration to the filmmakers,...
As is the case with all of his work, Wes Anderson synthesizes cinema history in his own specific language and for The French Dispatch he has provided a list of influences. As revealed in a promotional book sent to The Flim Stage and styled after the film’s magazine, 32 films are listed that “provided inspiration to the filmmakers,...
- 10/12/2021
- by Jordan Raup
- The Film Stage
Ant-man’S Played A Hench
So are we sick of talking about Serpent Solutions yet? Yes. Then let’s talk about its older brothers, Power Broker and Power Broker, Inc .
Later.
First, there’s one more thing about Serpent Solutions, that corporation of super villains which would hire itself out to other corporations that needed illegal things to be done. Serpent Solutions did the illegal things and the corporations paid Serpent Solutions for doing them. My recent thrashings of the reasoning – or lack there of; and I think we’ll go with the latter – behind this premise failed to address one important question; how did Serpent Solutions find its clients?
Did some masked serpent villain appear on a TV screen asking, “Do you know me?” then shill their skill on the premise that because Serpent Solutions was were a group of unknown super villain, they were the perfect people to...
So are we sick of talking about Serpent Solutions yet? Yes. Then let’s talk about its older brothers, Power Broker and Power Broker, Inc .
Later.
First, there’s one more thing about Serpent Solutions, that corporation of super villains which would hire itself out to other corporations that needed illegal things to be done. Serpent Solutions did the illegal things and the corporations paid Serpent Solutions for doing them. My recent thrashings of the reasoning – or lack there of; and I think we’ll go with the latter – behind this premise failed to address one important question; how did Serpent Solutions find its clients?
Did some masked serpent villain appear on a TV screen asking, “Do you know me?” then shill their skill on the premise that because Serpent Solutions was were a group of unknown super villain, they were the perfect people to...
- 4/15/2016
- by Bob Ingersoll
- Comicmix.com
Few films in Venice this year have arrived trailing as much controversy in their their wake as Palestinian-Israeli filmmaker Suha Arraf’s new feature Villa Touma, which screens in Venice Critics Week.
Arraf’s drama received a large part of its funding from public sources in Israel but the director wished it to be identified as a Palestinian film.
There have been calls from such prominent figures as Israel’s Culture and Sports Minister Limor Livnat for her to return the Israeli money with which she made the film.
On the eve of her Venice screening, Arraf, respected internationally as the screenwriter of such award winning films as The Syrian Bride and Lemon Tree, said she was baffled by the heated Israeli reaction to Villa Touma.
The writer-director pointed out that she has never denied the film was made with Israeli money. There is nothing in her contract that requires her to present the film as an Israeli...
Arraf’s drama received a large part of its funding from public sources in Israel but the director wished it to be identified as a Palestinian film.
There have been calls from such prominent figures as Israel’s Culture and Sports Minister Limor Livnat for her to return the Israeli money with which she made the film.
On the eve of her Venice screening, Arraf, respected internationally as the screenwriter of such award winning films as The Syrian Bride and Lemon Tree, said she was baffled by the heated Israeli reaction to Villa Touma.
The writer-director pointed out that she has never denied the film was made with Israeli money. There is nothing in her contract that requires her to present the film as an Israeli...
- 8/29/2014
- by geoffrey@macnab.demon.co.uk (Geoffrey Macnab)
- ScreenDaily
Few films in Venice this year have arrived trailing as much controversy in their their wake as Palestinian-Israeli filmmaker Suha Arraf’s new feature Villa Touma (which screens in Venice Critics Week.)
Arraf’s drama received a large part of its funding from public sources in Israel but the director wished it to be identified as a Palestinian film.
There have been calls from such prominent figures as Israel’s Culture and Sports Minister Limor Livnat for her to return the Israeli money with which she made the film.
On the eve of her Venice screening, Arraf, respected internationally as the screenwriter of such award winning films as The Syrian Bride and Lemon Tree, said she was baffled by the heated Israeli reaction to Villa Touma. The writer-director pointed out that she has never denied the film was made with Israeli money. There is nothing in her contract that requires her to present the film as an Israeli...
Arraf’s drama received a large part of its funding from public sources in Israel but the director wished it to be identified as a Palestinian film.
There have been calls from such prominent figures as Israel’s Culture and Sports Minister Limor Livnat for her to return the Israeli money with which she made the film.
On the eve of her Venice screening, Arraf, respected internationally as the screenwriter of such award winning films as The Syrian Bride and Lemon Tree, said she was baffled by the heated Israeli reaction to Villa Touma. The writer-director pointed out that she has never denied the film was made with Israeli money. There is nothing in her contract that requires her to present the film as an Israeli...
- 8/29/2014
- by geoffrey@macnab.demon.co.uk (Geoffrey Macnab)
- ScreenDaily
Moviefone's Pick of the Week "Jiro Dreams of Sushi" What's It About? This documentary looks at Jiro Ono, a sushi chef in his mid-80s, who is regarded as the best in the world. See It Because: Ono is a fascinating character, and the movie's approach to his food preparation is meditative and hypnotic (plus, the film will make you really hungry). Moviefone's Blu-ray Pick of the Week "The Last Days of Disco" (Criterion Collection) What's It About? Kate Beckinsale and Chloe Sevigny star as two Ivy League graduates looking for love in New York, during disco's last moment in the sun. See It Because: Criterion is also releasing "Metropolitan" on Blu-ray today, but we're picking "Disco" as the one to see. The early '80s setting gives the film an exciting flavor, so if dialogue-heavy indies aren't really your thing, you can still give this one a shot. New...
- 7/24/2012
- by Eric Larnick
- Moviefone
1948 was a good year for mermaids.
In Britain, producer Betty E. Box presented Miranda, starring Glynis Johns as a Cornish water-nymph who goes on dry land disguised as an invalid, making merry with the menfolk. Six years later, a sequel, Mad About Men, continued the character's amorous adventures in Technicolor.
Meanwhile in America, William Powell romanced mute mermaid Ann Blyth, an apparent manifestation of his mid-life crisis, in Mr. Peabody and the Mermaid. (Tarzan and the Mermaids, the same year, did not supply any true amphbious ladies.)
What do these fish stories reveal about their respective countries of origin? None of the films' directors have much in the way of auteur credentials—Ken Annakin directed the first Miranda film, staying true to the tradition of innocuous entertainment which was the defining quality of his career, and Ralph Thomas directed the second: though his son Jeremy has produced major films for Bertolucci and Cronenberg,...
In Britain, producer Betty E. Box presented Miranda, starring Glynis Johns as a Cornish water-nymph who goes on dry land disguised as an invalid, making merry with the menfolk. Six years later, a sequel, Mad About Men, continued the character's amorous adventures in Technicolor.
Meanwhile in America, William Powell romanced mute mermaid Ann Blyth, an apparent manifestation of his mid-life crisis, in Mr. Peabody and the Mermaid. (Tarzan and the Mermaids, the same year, did not supply any true amphbious ladies.)
What do these fish stories reveal about their respective countries of origin? None of the films' directors have much in the way of auteur credentials—Ken Annakin directed the first Miranda film, staying true to the tradition of innocuous entertainment which was the defining quality of his career, and Ralph Thomas directed the second: though his son Jeremy has produced major films for Bertolucci and Cronenberg,...
- 5/31/2012
- MUBI
Just what were Den Of Geek’s favourite films of 2010? Our writers put forward their personal choices, in our mammoth round-up...
The year’s nearly over and the season of turkey beckons. As 2010 draws to a close, what better time to pick over the films of the last 12 months? Here, then, are the writers of Den Of Geek’s five favourite films of the year, along with their most despised misfire of 2010.
And at the bottom, we’ve got the round-up of the overall top ten (it'll take a bit of scrolling if you want to go directly there!). So, what’s our absolute favourite movie of the year? Read on to find out…
Ti Singh
Top 5
1. Agora
2. Inception
3. Toy Story 3
4. Robin Hood
5. The Social Network
Stinker of the year: The Other Guys
I love a good historical epic, and in a summer dominated by sequels, remakes and reboots,...
The year’s nearly over and the season of turkey beckons. As 2010 draws to a close, what better time to pick over the films of the last 12 months? Here, then, are the writers of Den Of Geek’s five favourite films of the year, along with their most despised misfire of 2010.
And at the bottom, we’ve got the round-up of the overall top ten (it'll take a bit of scrolling if you want to go directly there!). So, what’s our absolute favourite movie of the year? Read on to find out…
Ti Singh
Top 5
1. Agora
2. Inception
3. Toy Story 3
4. Robin Hood
5. The Social Network
Stinker of the year: The Other Guys
I love a good historical epic, and in a summer dominated by sequels, remakes and reboots,...
- 12/17/2010
- Den of Geek
One of Alberto Cavalcanti's supreme masterworks
Alberto Cavalcanti (1897-1982), born in Brazil to Italian parents, is one of the key figures in movie history. He studied law and architecture in Europe before making a reputation in France as a production designer and a pioneer director of the style that became known as poetic realism. In the mid-1930s John Grierson recruited him for the British documentary movement (his most famous picture from that time is Coal Face), and during the second world war Michael Balcon brought him to Ealing to give the studio's output a shot of documentary realism. Known to his colleagues as "Cav" and signing his movies with just his surname, his first film there was Went the Day Well? (1943), the best, most ferocious picture of the war years. He followed it with three films very much in the British vein Balcon sought to mine: Champagne Charlie,...
Alberto Cavalcanti (1897-1982), born in Brazil to Italian parents, is one of the key figures in movie history. He studied law and architecture in Europe before making a reputation in France as a production designer and a pioneer director of the style that became known as poetic realism. In the mid-1930s John Grierson recruited him for the British documentary movement (his most famous picture from that time is Coal Face), and during the second world war Michael Balcon brought him to Ealing to give the studio's output a shot of documentary realism. Known to his colleagues as "Cav" and signing his movies with just his surname, his first film there was Went the Day Well? (1943), the best, most ferocious picture of the war years. He followed it with three films very much in the British vein Balcon sought to mine: Champagne Charlie,...
- 7/13/2010
- by Philip French
- The Guardian - Film News
He was behind the Ealing films and made a handful of the most polished, imaginative and enjoyable movies of the 1940s. It's time the name of Alberto Cavalcanti was better known, argues Kevin Jackson
'Directed by Cavalcanti" runs the last of the black-and-white title credits. Back in the 1940s, the ordinary chap in the Odeon's ninepenny stalls is baffled, even annoyed. Who on earth is this jumped-up foreigner, thinking he's so bloody famous that he doesn't need a first name? (In fact, Cavalcanti was widely seen as one of the most self-effacing, charming men ever to have worked in film.) And why is a bloody Eyetie in charge of a British film – let alone an Ealing film, the most British productions of all? (In fact, Cavalcanti was Brazilian.) But those in the audience who had noticed the unusual credit once or twice before settled deeper into their red plush seats,...
'Directed by Cavalcanti" runs the last of the black-and-white title credits. Back in the 1940s, the ordinary chap in the Odeon's ninepenny stalls is baffled, even annoyed. Who on earth is this jumped-up foreigner, thinking he's so bloody famous that he doesn't need a first name? (In fact, Cavalcanti was widely seen as one of the most self-effacing, charming men ever to have worked in film.) And why is a bloody Eyetie in charge of a British film – let alone an Ealing film, the most British productions of all? (In fact, Cavalcanti was Brazilian.) But those in the audience who had noticed the unusual credit once or twice before settled deeper into their red plush seats,...
- 7/2/2010
- by Kevin Jackson
- The Guardian - Film News
Two highly-anticipated second feature films from U.S. underground filmmakers will be making their World Premieres all the way over at the 64th annual Edinburgh International Film Festival, which will run for twelve days on June 16-27. The films are Rona Mark’s The Crab and Zach Clark’s Vacation!.
The Crab, which screens on June 21, is the touching story of a verbally abusive man born with two enormous, mutant-like hands; while Vacation!, which screens on June 20, tracks four urban gals let loose in a sunny seaside resort down South.
Both Mark and Clark previously screened their debut features at Eiff. Mark’s Strange Girls screened there in 2008 and Clark’s Modern Love Is Automatic screened in 2009. Both films also ended up as runners-up in Bad Lit’s annual Movie of the Year award, again Strange Girls in 2008 and Modern Love in 2009. Sadly, these two masterpieces are still unavailable on...
The Crab, which screens on June 21, is the touching story of a verbally abusive man born with two enormous, mutant-like hands; while Vacation!, which screens on June 20, tracks four urban gals let loose in a sunny seaside resort down South.
Both Mark and Clark previously screened their debut features at Eiff. Mark’s Strange Girls screened there in 2008 and Clark’s Modern Love Is Automatic screened in 2009. Both films also ended up as runners-up in Bad Lit’s annual Movie of the Year award, again Strange Girls in 2008 and Modern Love in 2009. Sadly, these two masterpieces are still unavailable on...
- 6/4/2010
- by Mike Everleth
- Underground Film Journal
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