The Titanic star gained much recognition as a thriller actor back in 2006, with his The Departed and Blood Diamond receiving much praise from the critics, who emphasized DiCaprio's fitting in the genre. However, there is a 2010 movie which consolidated the actor’s belonging to thrillers, showing how convincing he is at revealing the twists.
Adapted from Dennis Lehane’s 2003 novel, this thriller’s plot revolves around a Deputy U.S. Marshal Teddy Daniels (DiCaprio), who explores the disappearance of a patient from a psychiatric facility on an isolated island. It’s already enough for the movie to be of great interest to the audience, as such a setting promises quite a chilling roller coaster.
DiCaprio's fans have already recognized the synopsis of Shutter Island. However, the movie’s beginning is only playing with us and is preparing for the final twist, which still blows fans’ minds. It’s most curious...
Adapted from Dennis Lehane’s 2003 novel, this thriller’s plot revolves around a Deputy U.S. Marshal Teddy Daniels (DiCaprio), who explores the disappearance of a patient from a psychiatric facility on an isolated island. It’s already enough for the movie to be of great interest to the audience, as such a setting promises quite a chilling roller coaster.
DiCaprio's fans have already recognized the synopsis of Shutter Island. However, the movie’s beginning is only playing with us and is preparing for the final twist, which still blows fans’ minds. It’s most curious...
- 4/23/2024
- by info@startefacts.com (Ava Raxa)
- STartefacts.com
Apple is doing something it almost never does: licensing existing content to bulk up its streaming service.
Apple TV+ — which, up until this point, has relied predominantly on original TV shows and movies to lure in new subscribers — has announced that, for a limited time, more than four dozen movies have been made available at no additional charge.
More from TVLineWhat’s New on Netflix in March — Plus: Disney+, Hulu, Amazon and OthersThe Best Streaming Services in 2024: Disney+, Hulu, Max and MoreSex and the City Sets Netflix Release Date - When Will It Hit the Streaming Giant? Get Apple...
Apple TV+ — which, up until this point, has relied predominantly on original TV shows and movies to lure in new subscribers — has announced that, for a limited time, more than four dozen movies have been made available at no additional charge.
More from TVLineWhat’s New on Netflix in March — Plus: Disney+, Hulu, Amazon and OthersThe Best Streaming Services in 2024: Disney+, Hulu, Max and MoreSex and the City Sets Netflix Release Date - When Will It Hit the Streaming Giant? Get Apple...
- 3/2/2024
- by Ryan Schwartz
- TVLine.com
As we look back on the cinematic landscape of the 1990s, the era stands out for its blockbuster films that not only shattered box office records but also became cultural cornerstones. These films were more than just entertainment; they were shared experiences that defined a decade. Let’s take a moment to revisit the top 5 blockbusters of the 1990s, reminiscing their success and impact on audiences worldwide. 1. Titanic (1997) The Titanic is not just a film; it’s a monumental chapter in cinematic history. Directed by James Cameron, this epic romance-disaster film captivated audiences with its tragic love story set...
- 1/22/2024
- by Steve Delikson
- TVovermind.com
La La Land garnered a record-tying 14 Academy Award nominations this year — it’s now neck-and-neck with Titanic and All About Eve for receiving the most Oscar nominations in a given year. Among those nods is a first-ever Best Actress nom for Emma Stone, who’s been racking up rave reviews for her performance in the film.
While we’ve got musicals on the mind, let’s take a look back at some other actresses who’ve received acclaim for their musical turns.
Anne Hathaway, Les Misérables (2012)
Hathaway’s turn as Fantine was the only non-technical award the 2012 adaptation of the smash musical picked up.
While we’ve got musicals on the mind, let’s take a look back at some other actresses who’ve received acclaim for their musical turns.
Anne Hathaway, Les Misérables (2012)
Hathaway’s turn as Fantine was the only non-technical award the 2012 adaptation of the smash musical picked up.
- 2/22/2017
- by Alex Heigl
- PEOPLE.com
Fly over the moon. Sing in the rain. Fasten your seatbelts. Make an offer no one can refuse. See classic movies on the big screen!
Gene Kelly will sing in the rain, Bette Davis will fasten her seatbelt for a bumpy night, Marlon Brando will make an offer no one can refuse, Cary Grant and Eva Marie Saint will scurry across Mount Rushmore, and Elliott and E.T. will fly over the moon – and they’ll do it all on the silver screen in 2017. Today, Fathom Events and TCM announce their continuing partnership to bring monthly screenings of their “TCM Big Screen Classics” series to movie theaters nationwide throughout the year.
For the second consecutive year, “TCM Big Screen Classics” offers film fans an amazing journey into the magic of movies year-round. Beginning in January, the series presents one or more films each month in movie theaters – all accompanied by specially...
Gene Kelly will sing in the rain, Bette Davis will fasten her seatbelt for a bumpy night, Marlon Brando will make an offer no one can refuse, Cary Grant and Eva Marie Saint will scurry across Mount Rushmore, and Elliott and E.T. will fly over the moon – and they’ll do it all on the silver screen in 2017. Today, Fathom Events and TCM announce their continuing partnership to bring monthly screenings of their “TCM Big Screen Classics” series to movie theaters nationwide throughout the year.
For the second consecutive year, “TCM Big Screen Classics” offers film fans an amazing journey into the magic of movies year-round. Beginning in January, the series presents one or more films each month in movie theaters – all accompanied by specially...
- 12/13/2016
- by Tom Stockman
- WeAreMovieGeeks.com
The Nazis can't even keep the National Socialist propaganda out of a simple science fiction fable. Hans Albers is the Aryan King Midas as a scientist, and gorgeous Brigitte Helm the Englishwoman who thinks he's peachy keen. The climax is pure Sci-Fi heaven, an unstable 'Atomic Fracturing' installation, wa-ay deep down in a mineshaft under the ocean. Gold (1934) Blu-ray Kino Classics 1934 / B&W / 1:33 flat Full Frame / 117 min. / Street Date June 14, 2016 / available through Kino Lorber / 29.95 Starring Hans Albers, Friedrich Kayßler, Brigitte Helm, Michael Bohnen, Ernst Karchow, Lien Deyers, Eberhard Leithoff, Rudolf Platte. Cinematography Otto Baecker, Werner Bohne, Günther Rittau Art Direction Otto Hunte Film Editor Wolfgang Becker Original Music Hans-Otto Borgmann Written by Rolf E. Vanloo Produced by Alfred Zeisler Directed by Karl Hartl
Reviewed by Glenn Erickson
The Hardy Encyclopedia of Science Fiction still teases Sci-fi fans that want to see everything listed in its pages. Thankfully, videodisc companies catering to collectors make possible the sale of titles that might never show up on some (authorized) streaming service. Video disc has brought us the original Der Schweigende Stern and Alraune from Germany, and I hope to someday see good copies of Kurt Siodmak and Karl Hartl's F.P. 1 Does Not Answer and the Harry Piel Sci-fi trilogy An Invisible Man Roams the City, The World Unmasked (an X-ray television camera) and Master of the World (a robot with a death ray). I've read about Karl Hartl's 1934 Gold for at least fifty years, since John Baxter's Science Fiction in the Cinema told us (not quite correctly) that its final reel had been borrowed for the conclusion of Ivan Tors' 1953 Sci-fi picture The Magnetic Monster. As it turns out, Kino is releasing both movies in the same week. Sometimes referred to as the Nazi Metropolis, Hartl's Gold is a follow-up to the director's very successful F.P.1. Does Not Answer, a spy thriller about a fantastic airport in the mid-Atlantic called Floating Platform One. Both pictures were filmed in simultaneous foreign versions to maximize the box office take. The German original of F.P. 1 starred matinee idol Hans Albers (The Blue Angel) Sybille Schmitz (Vampyr) and Peter Lorre, while a concurrent French version used Charles Boyer, Danièle Parola and Pierre Brasseur. A third English version starred Conrad Veidt, Jill Esmond and Donald Calthrop. The French version starred Brigitte Helm in the same role, but star Hans Albers reportedly rebelled at making two movies for the price of one. According to reports, the exceedingly expensive Gold was in production for fifteen months. We can see the cost immediately in the enormous main set for the 'atomic fracturing' machine built to transmute lead into gold. Otto Hunte and Günther Rittau designed and filmed special effects for Metropolis and the impressive set is very much in the same style. Off the top of my head I can't think of any technical apparatus quite so elaborate (and solid-looking) built for a film until the 1960s and Ken Adam's outlandish settings for UA's James Bond films. Writer Rolf E. Vanloo had worked on the silent classic Asphalt and is the sole writer credited on the popular Marlene Dietrich vehicle I Kiss Your Hand, Madame. His screenplay for Gold is tight and credible, even if its theme is even more simplistic than -- and somewhat similar to -- that of Thea von Harbou for Metropolis. Scientist Werner Holk (Hans Albers) aids the visionary Professor Achenbach (Friedrich Kayßler) in testing what looks like an electric atom smasher. The experiment: to turn lead into gold. The 'Atomic Fracturer' explodes, killing the old genius, whose work is discredited. Holk barely survives, thanks to a blood transfusion from his faithful girlfriend Margit Moller (Lien Deyers). When agents for the fabulously wealthy Englishman John Wills (Michael Bohnen) contact Holk, he realizes that the experiment was sabotaged. Werner allows himself to be taken to a fabulous yacht and from there to a Scottish castle, where, hundreds of feet under the ocean, Wills has constructed his own, far larger atom smasher with plans stolen from Achenbach. Split between his need for revenge and a desire to prove the dead Achenbach's theories, Holk goes through with the experiment. Wills' daughter Florence (Brigitte Helm), a gorgeous playgirl, is attracted to the German visitor, Holk finds that the workers' foreman, Schwarz (Rudolf Platte) is of a like mind on economic issues. But Wills' engineer Harris (Eberhard Leithoff) is jealous of Holk's talent, and cannot be trusted. Gold begins by repeating the 'big money hostile takeover of science' theme from Fritz Lang's Frau im mond: a pioneering German scientific exploit is siezed by an unscrupulous international business entity. The unspoken message is that the weakened Germany is being cheated in the world economy because it lacks the resources to exploit its superior technology. The avaricious John Wills makes big financial decisions all day long. There's no gray area in this conflict, as Wells murders, steals and spies on people to get what he wants. We've seen his ruthless agents wreck Achenbach's original, modest experiment. This 'England plays dirty' theme mirrors Germany's bitterness toward England for at least the better part of a century of colonial, naval and financial competition. Versailles and WW1 aren't mentioned, but that had to be on the minds of the audience as well: Germany innovates and works hard, but is consistently handed a raw deal. The scenes with the sleek, fascinating Brigitte Helm would be better if they went somewhere; her Florence does what she can to entice Herr Holk but withdraws when he declares his love for his faithful girl back home, the one whose life blood now flows in his veins. 'Das Blut' cannot be dishonored, even if Holk is half convinced that Wills is going to have him murdered after the giant machine starts turning out Gold by the ton. Act Two instead becomes a conflict between Big Capitalism and the lowly-but-virtuous Working Man. Down in the underground warren of tunnels (another Metropolis parallel) Wills' Scottish workforce of sandhogs and technicians side with Holk against their boss. After a preliminary test yields a tiny bit of gold, we get the expected montages of worldwide economic panic, standard material in socially oriented sci-fi as diverse as La fin du monde and Red Planet Mars. Wells plans to grow rich by flooding the world with his artificially produced gold, a strategy that will have to be explained to me. Gold is the world's standard of value precisely because it's rare; it can't be printed up like money. Thirty years later, the surprisingly sophisticated scheme of Auric Goldfinger is to increase the value of his stash of gold bullion by rendering America's gold reserves radioactive, and therefore worthless. If scarcity raises the value of the element, making more should do the opposite. (On the other hand, what about artificial diamonds? Is there any correspondence there?) [I'm acutely aware that discussing the subject matter of movies mainly points up how much I don't know, about anything but movies.] The Incredible Holk convinces the mob of workers that he represents their interests better than the greedy John Wills. The idea that rich English capitalists need to be rejected in favor of honest German morality is the only real message here. It's as simple as the 'heart mediating between the hands and the brain' slogan of Metropolis, but with a slightly arrogant nationalism added. The lavishly produced Gold was filmed on a series of truly impressive sets, including Wills' enormous Scottish mansion. But the giant setting for the climax, deep in a mine under the ocean floor, is the stuff of core Sci-fi. Millions of volts of electricity are harnessed to transmute lead into Gold. That's got to be a heck of an electricity bill; factor in the other enormous overhead costs and we wonder if Wills will ever turn a profit. The special effects for this sequence are sensational. The enormous apparatus is suspended on huge oversized porcelain insulators. The giant glass tubes atop the specimen stage are apparently visualized with mattes and foreground miniatures. But the camera pans and trucks all over the hangar-sized set; it all looks real, with bolts of electricity flashing like crazy. It's a dynamic special effect highlight of the 1930s. The actors sell the conflict well. Beefy Hans Albers sometimes looks like George C. Scott. He exudes personal integrity and a calm force of will. Lien Dyers is as wholesome here as she was wantonly sexualized six years earlier in Fritz Lang's Spies. Michael Bohnen is more than convincing as a powerful man trying to corner all business on an international scale. Although mostly in for decoration, Brigitte Helm is a sophisticated dazzler. Those penciled eyebrows remind us that she had become the Marlene Dietrich that didn't go to Hollywood. Although she did have offers, Helm wanted to stay in Germany. The Nazification of the film industry and the appalling political climate motivated her to leave for Switzerland in 1935, abandoning her career. Although the gist of Gold fits in with Josef Goebbels' National Socialist propaganda aims, the movie doesn't attack England directly. Ufa may have held hopes of foreign distribution. The one man in Scotland that Holk knows he can trust is the captain of Wills' yacht, a fellow German. Nine years later, Josef Goebbels' anti-British version of Titanic would make a German the single ethical person in authority on the doomed ocean liner. The fellow is constantly badmouthing the craven captain and the venal English ship owner. When Hans Albers finishes this movie with a ten-cent moral about love being the only real treasure, the show seems plenty dumb. But that amazing special effect set piece is too good to dismiss so easily. Gold is a classic of giddy '30s science fiction. The Kino Classics Blu-ray of Gold (1934) is a good encoding of the Wilhelm Murnau Stiftung's best copy of this once-rare item. The print we see is intact and with has good audio, but the contrast is rough. It shifts and flutters a bit, especially in some scenes in the middle. I did notice that the final special effects sequences looked better than much of the rest of this surviving print. But the parts of the movie repurposed for The Magnetic Monster look better on that 1953 science fiction film than they do here. In his book Film in the Third Reich David Stewart Hull explains that when the occupation forces reviewed the recovered German films, they ordered this one destroyed. They were concerned that the Alchemy / Atomic Fracturing machine might have some connection to Germany's wartime nuclear program. So how could Ivan Tors have bought the footage from Ufa, if the U.S. Army had seized it? I have a feeling - just idle speculation -- that it might have been obtained in a special deal made through government connections. Since the image looks much better on The Magnetic Monster, Ivan Tors might even have cut up Gold's only existing printing element to make his movie. After finally seeing Gold, one more thing impresses me besides the grandiose special effects. It's sort of a 'brain-drain' movie. In the '30s, Germany had a reputation for the best precision engineering in the world. Werner Holk is semi-kidnapped to serve John Wills' greedy science project, which was pirated from Germany in the first place. Also in awe of German scientific prowess is Brigitte Helm's Florence. The playgirl finds Werner Wolk's brilliance and clarity of mission irresistible. He's both smarter and more ethical than her father. Holk just stands there looking like he's posing for a statue, and Florence is carried away. Ms. Helm is terrific, but it would be nice if her character had a more central role to play in the story. On a scale of Excellent, Good, Fair, and Poor, Gold (1934) Blu-ray rates: Movie: Very Good Video: Fair + This may be a rare surviving print. Sound: Good - Minus Supplements: none Deaf and Hearing Impaired Friendly? Yes; Subtitles: English Packaging: Keep case Reviewed: June 10, 2016 (5137)
Visit DVD Savant's Main Column Page Glenn Erickson answers most reader mail: dvdsavant@mindspring.com
Text © Copyright 2016 Glenn Erickson...
Reviewed by Glenn Erickson
The Hardy Encyclopedia of Science Fiction still teases Sci-fi fans that want to see everything listed in its pages. Thankfully, videodisc companies catering to collectors make possible the sale of titles that might never show up on some (authorized) streaming service. Video disc has brought us the original Der Schweigende Stern and Alraune from Germany, and I hope to someday see good copies of Kurt Siodmak and Karl Hartl's F.P. 1 Does Not Answer and the Harry Piel Sci-fi trilogy An Invisible Man Roams the City, The World Unmasked (an X-ray television camera) and Master of the World (a robot with a death ray). I've read about Karl Hartl's 1934 Gold for at least fifty years, since John Baxter's Science Fiction in the Cinema told us (not quite correctly) that its final reel had been borrowed for the conclusion of Ivan Tors' 1953 Sci-fi picture The Magnetic Monster. As it turns out, Kino is releasing both movies in the same week. Sometimes referred to as the Nazi Metropolis, Hartl's Gold is a follow-up to the director's very successful F.P.1. Does Not Answer, a spy thriller about a fantastic airport in the mid-Atlantic called Floating Platform One. Both pictures were filmed in simultaneous foreign versions to maximize the box office take. The German original of F.P. 1 starred matinee idol Hans Albers (The Blue Angel) Sybille Schmitz (Vampyr) and Peter Lorre, while a concurrent French version used Charles Boyer, Danièle Parola and Pierre Brasseur. A third English version starred Conrad Veidt, Jill Esmond and Donald Calthrop. The French version starred Brigitte Helm in the same role, but star Hans Albers reportedly rebelled at making two movies for the price of one. According to reports, the exceedingly expensive Gold was in production for fifteen months. We can see the cost immediately in the enormous main set for the 'atomic fracturing' machine built to transmute lead into gold. Otto Hunte and Günther Rittau designed and filmed special effects for Metropolis and the impressive set is very much in the same style. Off the top of my head I can't think of any technical apparatus quite so elaborate (and solid-looking) built for a film until the 1960s and Ken Adam's outlandish settings for UA's James Bond films. Writer Rolf E. Vanloo had worked on the silent classic Asphalt and is the sole writer credited on the popular Marlene Dietrich vehicle I Kiss Your Hand, Madame. His screenplay for Gold is tight and credible, even if its theme is even more simplistic than -- and somewhat similar to -- that of Thea von Harbou for Metropolis. Scientist Werner Holk (Hans Albers) aids the visionary Professor Achenbach (Friedrich Kayßler) in testing what looks like an electric atom smasher. The experiment: to turn lead into gold. The 'Atomic Fracturer' explodes, killing the old genius, whose work is discredited. Holk barely survives, thanks to a blood transfusion from his faithful girlfriend Margit Moller (Lien Deyers). When agents for the fabulously wealthy Englishman John Wills (Michael Bohnen) contact Holk, he realizes that the experiment was sabotaged. Werner allows himself to be taken to a fabulous yacht and from there to a Scottish castle, where, hundreds of feet under the ocean, Wills has constructed his own, far larger atom smasher with plans stolen from Achenbach. Split between his need for revenge and a desire to prove the dead Achenbach's theories, Holk goes through with the experiment. Wills' daughter Florence (Brigitte Helm), a gorgeous playgirl, is attracted to the German visitor, Holk finds that the workers' foreman, Schwarz (Rudolf Platte) is of a like mind on economic issues. But Wills' engineer Harris (Eberhard Leithoff) is jealous of Holk's talent, and cannot be trusted. Gold begins by repeating the 'big money hostile takeover of science' theme from Fritz Lang's Frau im mond: a pioneering German scientific exploit is siezed by an unscrupulous international business entity. The unspoken message is that the weakened Germany is being cheated in the world economy because it lacks the resources to exploit its superior technology. The avaricious John Wills makes big financial decisions all day long. There's no gray area in this conflict, as Wells murders, steals and spies on people to get what he wants. We've seen his ruthless agents wreck Achenbach's original, modest experiment. This 'England plays dirty' theme mirrors Germany's bitterness toward England for at least the better part of a century of colonial, naval and financial competition. Versailles and WW1 aren't mentioned, but that had to be on the minds of the audience as well: Germany innovates and works hard, but is consistently handed a raw deal. The scenes with the sleek, fascinating Brigitte Helm would be better if they went somewhere; her Florence does what she can to entice Herr Holk but withdraws when he declares his love for his faithful girl back home, the one whose life blood now flows in his veins. 'Das Blut' cannot be dishonored, even if Holk is half convinced that Wills is going to have him murdered after the giant machine starts turning out Gold by the ton. Act Two instead becomes a conflict between Big Capitalism and the lowly-but-virtuous Working Man. Down in the underground warren of tunnels (another Metropolis parallel) Wills' Scottish workforce of sandhogs and technicians side with Holk against their boss. After a preliminary test yields a tiny bit of gold, we get the expected montages of worldwide economic panic, standard material in socially oriented sci-fi as diverse as La fin du monde and Red Planet Mars. Wells plans to grow rich by flooding the world with his artificially produced gold, a strategy that will have to be explained to me. Gold is the world's standard of value precisely because it's rare; it can't be printed up like money. Thirty years later, the surprisingly sophisticated scheme of Auric Goldfinger is to increase the value of his stash of gold bullion by rendering America's gold reserves radioactive, and therefore worthless. If scarcity raises the value of the element, making more should do the opposite. (On the other hand, what about artificial diamonds? Is there any correspondence there?) [I'm acutely aware that discussing the subject matter of movies mainly points up how much I don't know, about anything but movies.] The Incredible Holk convinces the mob of workers that he represents their interests better than the greedy John Wills. The idea that rich English capitalists need to be rejected in favor of honest German morality is the only real message here. It's as simple as the 'heart mediating between the hands and the brain' slogan of Metropolis, but with a slightly arrogant nationalism added. The lavishly produced Gold was filmed on a series of truly impressive sets, including Wills' enormous Scottish mansion. But the giant setting for the climax, deep in a mine under the ocean floor, is the stuff of core Sci-fi. Millions of volts of electricity are harnessed to transmute lead into Gold. That's got to be a heck of an electricity bill; factor in the other enormous overhead costs and we wonder if Wills will ever turn a profit. The special effects for this sequence are sensational. The enormous apparatus is suspended on huge oversized porcelain insulators. The giant glass tubes atop the specimen stage are apparently visualized with mattes and foreground miniatures. But the camera pans and trucks all over the hangar-sized set; it all looks real, with bolts of electricity flashing like crazy. It's a dynamic special effect highlight of the 1930s. The actors sell the conflict well. Beefy Hans Albers sometimes looks like George C. Scott. He exudes personal integrity and a calm force of will. Lien Dyers is as wholesome here as she was wantonly sexualized six years earlier in Fritz Lang's Spies. Michael Bohnen is more than convincing as a powerful man trying to corner all business on an international scale. Although mostly in for decoration, Brigitte Helm is a sophisticated dazzler. Those penciled eyebrows remind us that she had become the Marlene Dietrich that didn't go to Hollywood. Although she did have offers, Helm wanted to stay in Germany. The Nazification of the film industry and the appalling political climate motivated her to leave for Switzerland in 1935, abandoning her career. Although the gist of Gold fits in with Josef Goebbels' National Socialist propaganda aims, the movie doesn't attack England directly. Ufa may have held hopes of foreign distribution. The one man in Scotland that Holk knows he can trust is the captain of Wills' yacht, a fellow German. Nine years later, Josef Goebbels' anti-British version of Titanic would make a German the single ethical person in authority on the doomed ocean liner. The fellow is constantly badmouthing the craven captain and the venal English ship owner. When Hans Albers finishes this movie with a ten-cent moral about love being the only real treasure, the show seems plenty dumb. But that amazing special effect set piece is too good to dismiss so easily. Gold is a classic of giddy '30s science fiction. The Kino Classics Blu-ray of Gold (1934) is a good encoding of the Wilhelm Murnau Stiftung's best copy of this once-rare item. The print we see is intact and with has good audio, but the contrast is rough. It shifts and flutters a bit, especially in some scenes in the middle. I did notice that the final special effects sequences looked better than much of the rest of this surviving print. But the parts of the movie repurposed for The Magnetic Monster look better on that 1953 science fiction film than they do here. In his book Film in the Third Reich David Stewart Hull explains that when the occupation forces reviewed the recovered German films, they ordered this one destroyed. They were concerned that the Alchemy / Atomic Fracturing machine might have some connection to Germany's wartime nuclear program. So how could Ivan Tors have bought the footage from Ufa, if the U.S. Army had seized it? I have a feeling - just idle speculation -- that it might have been obtained in a special deal made through government connections. Since the image looks much better on The Magnetic Monster, Ivan Tors might even have cut up Gold's only existing printing element to make his movie. After finally seeing Gold, one more thing impresses me besides the grandiose special effects. It's sort of a 'brain-drain' movie. In the '30s, Germany had a reputation for the best precision engineering in the world. Werner Holk is semi-kidnapped to serve John Wills' greedy science project, which was pirated from Germany in the first place. Also in awe of German scientific prowess is Brigitte Helm's Florence. The playgirl finds Werner Wolk's brilliance and clarity of mission irresistible. He's both smarter and more ethical than her father. Holk just stands there looking like he's posing for a statue, and Florence is carried away. Ms. Helm is terrific, but it would be nice if her character had a more central role to play in the story. On a scale of Excellent, Good, Fair, and Poor, Gold (1934) Blu-ray rates: Movie: Very Good Video: Fair + This may be a rare surviving print. Sound: Good - Minus Supplements: none Deaf and Hearing Impaired Friendly? Yes; Subtitles: English Packaging: Keep case Reviewed: June 10, 2016 (5137)
Visit DVD Savant's Main Column Page Glenn Erickson answers most reader mail: dvdsavant@mindspring.com
Text © Copyright 2016 Glenn Erickson...
- 6/14/2016
- by Glenn Erickson
- Trailers from Hell
Warning: Calling the following piece an "Idiot's Guide" is a bit of a misnomer. You may or may not be aware of what happens in the "Scary Movie" movies, but there's no way you will emerge from reading this a smarter person overall. I just watched all four "Scary Movie" movies consecutively and my brain is currently curled up in a ball shivering in a far corner of my skull, asking what it did to deserve that.
That said, it is true that you will know more about the "Scary Movie" franchise — a Lot more — after having read this piece. We here at NextMovie would hate to see you go into "Scary Movie 5" without having a lick of knowledge about the first four movies. Imagine the embarrassment in front of your friends! "Ugh, you didn't know that The Oracle, played by Queen Latifah in a spoof of 'The Matrix,...
That said, it is true that you will know more about the "Scary Movie" franchise — a Lot more — after having read this piece. We here at NextMovie would hate to see you go into "Scary Movie 5" without having a lick of knowledge about the first four movies. Imagine the embarrassment in front of your friends! "Ugh, you didn't know that The Oracle, played by Queen Latifah in a spoof of 'The Matrix,...
- 4/9/2013
- by Nick Blake
- NextMovie
Want to brush up on a bit of Oscar history ahead of the big night this weekend? With four days to go until the Academy crowns its 85th best picture winner, you can review the 84 that came before it in the video below, a montage of all the Oscar best picture winners created by Vimeo user Nelson Carvajal.
The montage features clips from such iconic cinematic moments as Scarlett O’Hara watching the flaming sunset over Tara in Gone with the Wind, the British Olympians running on the beach in Chariots of Fire, the Sharks dancing through the streets of...
The montage features clips from such iconic cinematic moments as Scarlett O’Hara watching the flaming sunset over Tara in Gone with the Wind, the British Olympians running on the beach in Chariots of Fire, the Sharks dancing through the streets of...
- 2/21/2013
- by Emily Rome
- EW - Inside Movies
Well, I just lost my afternoon. In honor of Paramount’s 100th anniversary, Vanity Fair has “assembled 116 of the greatest talents ever to work at the studio.” That means Leo, Bob, and Marty, some icons of the studio’s golden age (hello, Eva Marie Saint, Jerry Lewis, and Michael York!), almost the entire casts of Transformers and Star Trek, and even that Canadian whippersnapper Justin Bieber, whom you might remember from a little indie film called Never Say Never. And that’s just the tip of the iceberg (Titanic zing, hey-yo!).
Because Vanity Fair knows you want to see every...
Because Vanity Fair knows you want to see every...
- 6/12/2012
- by Lanford Beard
- EW.com - PopWatch
Even stars get starstruck! Downton Abbey actress Laura Carmichael reportedly got to try on Meryl Streep’s trousers from the 1985 film Out of Africa. In season 2 of the PBS series Lady Edith Crawley (Laura Carmichael) does a brief stint as a tractor driver which excited Carmichael because of the wardrobe change. Season 2, now out on DVD features a behind the scenes look at fashion and uniforms for the drama, a well as many other bonuses. In one of the featurettes Carmichael talks about trying on Streep’s trousers.
Normally outfitted in corsets and dresses, since the show is set in the early 1900′s this was a chance for the actress to not only wear something “comfortable” for a change, but also something that was worn by another famous star. Although Carmichael did not actually get to wear Streep’s trousers on set; the costumers made a new pair pants for Lady Edith,...
Normally outfitted in corsets and dresses, since the show is set in the early 1900′s this was a chance for the actress to not only wear something “comfortable” for a change, but also something that was worn by another famous star. Although Carmichael did not actually get to wear Streep’s trousers on set; the costumers made a new pair pants for Lady Edith,...
- 2/7/2012
- by Mina Kelly
- Boomtron
Another week, another list of DVDs and Blu-rays out to buy from today.
The Lovers’ Guide 3D – Twenty years after the original The Lovers’ Guide exploded into the lives of the UK public, the ground-breaking guide is back with another no-holds-barred exploration of the pleasures of love-making. To mark the anniversary of the series that has brought adult sex advice firmly into the mainstream, the latest instalment has been created using cutting edge 3D technology as the next stop in the sexual revolution. Here the audience is engaged with a never-before-seen sense of intimacy and massively richer viewpoint. Now bigger, better and bolder than ever before, The Lovers’ Guide 3D – Igniting Desire features the voices of Gemma Bissix (Eastenders, Hollyoaks) and Jeremy Edwards (Hollyoaks, Holby City) and will take audiences to an altogether new level of love-making enlightenment. Review.
I Spit On Your Grave – A remake of the controversial 1979 cult classic,...
The Lovers’ Guide 3D – Twenty years after the original The Lovers’ Guide exploded into the lives of the UK public, the ground-breaking guide is back with another no-holds-barred exploration of the pleasures of love-making. To mark the anniversary of the series that has brought adult sex advice firmly into the mainstream, the latest instalment has been created using cutting edge 3D technology as the next stop in the sexual revolution. Here the audience is engaged with a never-before-seen sense of intimacy and massively richer viewpoint. Now bigger, better and bolder than ever before, The Lovers’ Guide 3D – Igniting Desire features the voices of Gemma Bissix (Eastenders, Hollyoaks) and Jeremy Edwards (Hollyoaks, Holby City) and will take audiences to an altogether new level of love-making enlightenment. Review.
I Spit On Your Grave – A remake of the controversial 1979 cult classic,...
- 2/7/2011
- by Kat
- Nerdly
Noteworthy inclusions: “Winter’s Bone” for best picture; Ethan Coen and Joel Coen (“True Grit”) for best director; Javier Bardem (“Biutiful”) for best actor; Jeremy Renner (“The Town”) and John Hawkes (“Winter’s Bone”) for best supporting actor; Hailee Steinfeld (“True Grit”) and Jacki Weaver (“Animal Kingdom”) for best supporting actress; “The Illusionist” for best animated film (feature); “GasLand,” “Restrepo,” and “Waste Land” for best documentary film (feature); Greece (“Dogtooth”) for best foreign language film; “I Am Love” for best costume design; “127 Hours” for best film editing; “Barney’s Version” and “The Way Back” for best makeup; “Unstoppable” for best sound editing; “Hereafter” and “Iron Man 2” for best visual effects. Noteworthy snubs: “Blue Valentine” and “The Town” for best picture; Christopher Nolan (“Inception”) for best director; Robert Duvall (“Get Low”), Ryan Gosling (“Blue Valentine”), and Mark Wahlberg (“The Fighter”) for best actor; Julianne Moore (“The Kids Are All Right...
- 1/25/2011
- by Scott Feinberg
- Scott Feinberg
La Jolla Playhouse welcomes back Rick Elice, co-writer of the Tony Award-winning Jersey Boys, as the playwright of Peter and the Starcatchers. Alex Timbers and Roger Rees are set to direct with choreography by Kelly Devine and music by Wayne Barker. Peter and the Starcatchers will be playing at the Sheila and Hughes Potiker Theatre at La Jolla Playhouse February 13 -March 8, 2009. Based on the best-selling novel by Dave Barry and Ridley Pearson, Peter and the Starcatchers dares to tell the real story of precisely how a desperate orphan in Victorian England became The Boy Who Would Not Grow Up. It's a tale that travels halfway round the world and straight up to the stars. It's a comedy that takes aim at social injustice. It's a romance of young heroes who risk everything for the sake of doing right. It's an expos? of extravagant villains possessed of a single-minded ferocity from...
- 1/23/2009
- BroadwayWorld.com
David Dobkin has tapped longtime production exec Jeff Kleeman to run his Warner Bros.-based Big Kid Pictures shingle.
Dobkin chose Kleeman for the post because of the executive's experience in launching tentpoles, as well as his experience writing and creating comedy. Kleeman will help develop features of the tentpole, comedy and animated variety, as well as television projects.
Kleeman comes to Big Kid from MGM/Ua, where he held was exec vp motion picture production since September. That was actually Kleeman's second stint at MGM/Ua. He first joined the company in 1993 and was responsible for overseeing a new phase of the James Bond franchise with "GoldenEye," "Tomorrow Never Dies" and "The World Is Not Enough." He also oversaw the development and production of "Rob Roy," "Hackers" and "The Thomas Crown Affair."
Kleeman began his career in 1987 as a production exec at Paramount, working on such movies as "Internal Affairs,...
Dobkin chose Kleeman for the post because of the executive's experience in launching tentpoles, as well as his experience writing and creating comedy. Kleeman will help develop features of the tentpole, comedy and animated variety, as well as television projects.
Kleeman comes to Big Kid from MGM/Ua, where he held was exec vp motion picture production since September. That was actually Kleeman's second stint at MGM/Ua. He first joined the company in 1993 and was responsible for overseeing a new phase of the James Bond franchise with "GoldenEye," "Tomorrow Never Dies" and "The World Is Not Enough." He also oversaw the development and production of "Rob Roy," "Hackers" and "The Thomas Crown Affair."
Kleeman began his career in 1987 as a production exec at Paramount, working on such movies as "Internal Affairs,...
- 8/26/2008
- by By Borys Kit
- The Hollywood Reporter - Movie News
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