Mica
Ismaël Ferroukhi breaks a nine-year absence with third feature, Mica, a French-Moroccan co-production produced by Lamia Chraibi, starring Sabrina Ouzani, Zakaria Inan and Azelarab Khagat. Ferroukhi won Best Debut Film at the 2004 Venice Film Festival for The Great Journey and his 2011 sophomore film Free Men received an Special Screening at Cannes. The film was a recent winner of the Gff award at the Final Cut in Venice Workshop.
Gist: Co-written by Fadette Drouard, Mica is a kid from the slums who is hired as a handyman at a swank Casablanca tennis club.…...
Ismaël Ferroukhi breaks a nine-year absence with third feature, Mica, a French-Moroccan co-production produced by Lamia Chraibi, starring Sabrina Ouzani, Zakaria Inan and Azelarab Khagat. Ferroukhi won Best Debut Film at the 2004 Venice Film Festival for The Great Journey and his 2011 sophomore film Free Men received an Special Screening at Cannes. The film was a recent winner of the Gff award at the Final Cut in Venice Workshop.
Gist: Co-written by Fadette Drouard, Mica is a kid from the slums who is hired as a handyman at a swank Casablanca tennis club.…...
- 12/31/2019
- by Nicholas Bell
- IONCINEMA.com
They used to come out years after the original – and be quite different. Now films such as Avengers: Endgame are released in ‘new’ versions weeks after the original – and fans are lapping them up
Apocalypse Now returned to cinemas again this month, with a self-proclaimed Final Cut that runs half an hour longer than the original version and 20 minutes shorter than 2001’s Redux cut. Once, the strangest aspect of this new release would have been Francis Ford Coppola’s inability to finalise his vision for the film. Now, the weirdest thing is that it took so bloody long.
Apocalypse Now waited 40 whole years before returning to cinemas with this new, definitive version. Let’s compare that with Spider-Man: Far From Home, which came out almost – but not quite – two months ago. An extended version is already about to be released. Same with Midsommar. This also came out in early July,...
Apocalypse Now returned to cinemas again this month, with a self-proclaimed Final Cut that runs half an hour longer than the original version and 20 minutes shorter than 2001’s Redux cut. Once, the strangest aspect of this new release would have been Francis Ford Coppola’s inability to finalise his vision for the film. Now, the weirdest thing is that it took so bloody long.
Apocalypse Now waited 40 whole years before returning to cinemas with this new, definitive version. Let’s compare that with Spider-Man: Far From Home, which came out almost – but not quite – two months ago. An extended version is already about to be released. Same with Midsommar. This also came out in early July,...
- 8/29/2019
- by Stuart Heritage
- The Guardian - Film News
Francis Ford Coppola has been making the rounds talking about “Apocalypse Now” for weeks. Ever since it was revealed that the filmmaker decided to go back to the editing bay one last time on his classic war film, he’s discussed the ins and outs of the various versions of the film, while also discussing why the upcoming ‘Final Cut’ is the definitive cut. But recently, speaking to Collider, Coppola didn’t just discuss the film but decided to shed some light on what it was like filming with two legendary icons, Dennis Hopper and Marlon Brando.
Continue reading Francis Ford Coppola Talks Marijuana’s Creative Benefits & Dennis Hopper’s Drug-Fueled ‘Apocalypse Now’ Performance at The Playlist.
Continue reading Francis Ford Coppola Talks Marijuana’s Creative Benefits & Dennis Hopper’s Drug-Fueled ‘Apocalypse Now’ Performance at The Playlist.
- 8/26/2019
- by Charles Barfield
- The Playlist
Lionsgate and American Zoetrope are releasing “Apocalypse Now Final Cut,” the third version of Francis Coppola’s 1979 war epic, to commemorate the film’s 40th anniversary. While multiple versions of any mainstream movie are unusual, everything about this movie was unorthodox.
On Oct. 14, 1969, Variety reported that Warner Bros. bought the script by John Milius, with Coppola to produce and George Lucas to direct. They envisioned a scrappy 16mm film for $2 million, to lense in San Francisco, Louisiana and Thailand.
The project remained in limbo until Coppola revived it. He told Variety in February 1976 that filming would begin in a month, on a $12 million budget, with United Artists aiming for an April 7, 1977 release. The movie finally opened Aug. 15, 1979, after endless shooting in the Philippines, on a budget of $30 million-plus.
At the Cannes world premiere in May 1979, Coppola stunned the press conference by comparing the prolonged production to America’s role in...
On Oct. 14, 1969, Variety reported that Warner Bros. bought the script by John Milius, with Coppola to produce and George Lucas to direct. They envisioned a scrappy 16mm film for $2 million, to lense in San Francisco, Louisiana and Thailand.
The project remained in limbo until Coppola revived it. He told Variety in February 1976 that filming would begin in a month, on a $12 million budget, with United Artists aiming for an April 7, 1977 release. The movie finally opened Aug. 15, 1979, after endless shooting in the Philippines, on a budget of $30 million-plus.
At the Cannes world premiere in May 1979, Coppola stunned the press conference by comparing the prolonged production to America’s role in...
- 8/23/2019
- by Tim Gray
- Variety Film + TV
“They were my favorite,” says Gold Derby senior editor Susan Wloszczyna about Bailey Munoz and Mariah Russell‘s performance in the first live episode of “So You Think You Can Dance” season 16. They were “just so happy to be with each other. They were fun to watch. He’s amazing. He’s a b-boy, and he did everything that he had to do and more.” But did the show throw another contestant under the bus? Watch Wloszczyna and fellow editor Daniel Montgomery discuss “Top 10 Perform” above.
Montgomery appreciates that “Sytycd” is all about pushing contestants out of their comfort zone, but he argues that tap dancer Eddie Hoyt has been pushed harder than anyone else. With “the hip-hop dance in the ‘Final Cut,’ and now doing jazz funk and then another hip-hop group routine with the other guys, it felt like they’re pushing him harder than anyone else,” says Montgomery.
Montgomery appreciates that “Sytycd” is all about pushing contestants out of their comfort zone, but he argues that tap dancer Eddie Hoyt has been pushed harder than anyone else. With “the hip-hop dance in the ‘Final Cut,’ and now doing jazz funk and then another hip-hop group routine with the other guys, it felt like they’re pushing him harder than anyone else,” says Montgomery.
- 8/15/2019
- by Daniel Montgomery and Susan Wloszczyna
- Gold Derby
For me, one of the biggest surprises during the “Final Cut” round for the guys on “So You Think You Can Dance” was the elimination of Nathan Cherry from the competition. He got glowing reviews from the judges for his last performance, but they sent him packing anyway, and 42% of the “Sytycd” fans we polled say he was “robbed of a spot in the live shows.” Scroll down to see our complete poll results at the bottom of this post.
Cherry specializes in hip-hop, but for his “Final Cut” performance he was given a contemporary duet with all-star Melanie Moore that was choreographed by Talia Favia. It was an emotional piece in which Cherry had to portray a man who suspects his partner is cheating on him. Dominic “D-Trix” Sandoval told him, “You blew me away.” Mary Murphy thought he was “spectacular.” And Nigel Lythgoe called him “absolutely incredible.” Raves all around,...
Cherry specializes in hip-hop, but for his “Final Cut” performance he was given a contemporary duet with all-star Melanie Moore that was choreographed by Talia Favia. It was an emotional piece in which Cherry had to portray a man who suspects his partner is cheating on him. Dominic “D-Trix” Sandoval told him, “You blew me away.” Mary Murphy thought he was “spectacular.” And Nigel Lythgoe called him “absolutely incredible.” Raves all around,...
- 8/9/2019
- by Daniel Montgomery
- Gold Derby
After weeks of training and auditions, “So You Think You Can Dance” season 16 made its final eliminations before the live shows. In “Final Cut — The Top Ten Guys,” judges Nigel Lythgoe, Mary Murphy, Laurieann Gibson and Dominic “D-Trix” Sandoval decided the five male dancers who would move on to the live shows starting on August 12. So who made the cut? Find out below in our live blog with all the minute-by-minute developments as they happen.
Last week’s show named the five women who are advancing to the live shows: Mariah Russell, Stephanie Sosa, Anna Linstruth, Sophie Pittman and Madison Jordan. That meant the eliminations of Melany Mercedes, Ashley Sanchez, Sofia Ghavami, Sumi Oshima and Nazz Sldryan.
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So let’s hear it for the boys. The top 10 coming into this final cut were Benjamin Castro (contemporary specialist), Nathan Cherry (hip-hop...
Last week’s show named the five women who are advancing to the live shows: Mariah Russell, Stephanie Sosa, Anna Linstruth, Sophie Pittman and Madison Jordan. That meant the eliminations of Melany Mercedes, Ashley Sanchez, Sofia Ghavami, Sumi Oshima and Nazz Sldryan.
Sign UPfor Gold Derby’s free newsletter with latest predictions
So let’s hear it for the boys. The top 10 coming into this final cut were Benjamin Castro (contemporary specialist), Nathan Cherry (hip-hop...
- 8/6/2019
- by Daniel Montgomery
- Gold Derby
Director Francis Ford Coppola has cut together an ultimate version of his classic 1979 Vietnam War drama Apocalypse Now. This version of the film is called Apocalypse Now: Final Cut and we have the first trailer to share with you for it today.
This is Coppola’s favorite and preferred version of the film and it is getting a 4K release that will also screen in theaters. This version of the film clocks in at 183 minutes and I can’t wait to see it. I love this film and I’m curious to see how this final cut plays out. When talking about the film, Coppola says:
"It's my favorite version because I feel the first one we released was clipped too short and Redux is a little too long. This one is 'just right.'"
Coppola's "visually dazzling masterpiece is a surreal, hallucinatory, epic tragedy about the horror of the Vietnam War.
This is Coppola’s favorite and preferred version of the film and it is getting a 4K release that will also screen in theaters. This version of the film clocks in at 183 minutes and I can’t wait to see it. I love this film and I’m curious to see how this final cut plays out. When talking about the film, Coppola says:
"It's my favorite version because I feel the first one we released was clipped too short and Redux is a little too long. This one is 'just right.'"
Coppola's "visually dazzling masterpiece is a surreal, hallucinatory, epic tragedy about the horror of the Vietnam War.
- 8/4/2019
- by Joey Paur
- GeekTyrant
Francis Ford Coppola on How ‘Apocalypse Now’ Was Deemed a Failure — and Nearly Inventing Smartphones
Francis Ford Coppola recently worked cinephiles into a frenzy by saying that, after an eight-year absence from filmmaking, he’d finally begun work on long-planned passion project “Megalopolis,” a film that’s always been dogged by funding issues. That followed his unspooling of “Apocalypse Now: Final Cut” at the Tribeca Film Festival in April, which cut certain scenes from 2001’s extended “Apocalypse Now Redux” while adding back some of the “weirder” elements lost from the 1979 theatrical cut. “Final Cut” will be released on Blu-ray in August.
“Apocalypse Now” — and what it says about how a work of art can shape-shift, in both its own form and in the minds of viewers and critics — was the reason for a wide-ranging new interview with Coppola conducted by Rolling Stone‘s David Fear. The whole Q&A is a reminder of what a forward-looking thinker the “Godfather” filmmaker is; he even almost kicked...
“Apocalypse Now” — and what it says about how a work of art can shape-shift, in both its own form and in the minds of viewers and critics — was the reason for a wide-ranging new interview with Coppola conducted by Rolling Stone‘s David Fear. The whole Q&A is a reminder of what a forward-looking thinker the “Godfather” filmmaker is; he even almost kicked...
- 5/31/2019
- by Christian Blauvelt
- Indiewire
Jason from Mnpp here with this week's "Beauty vs Beast" -- Francis Ford Coppola's film Apocalypse Now has been coming up in conversation a lot lately, and not just because my boyfriend kept accidentily getting the title of Gregg Araki's TV show Now Apocalypse backwards. The film is celebrating its 40th anniversary this Friday, and besides doing a screening and conversation about the film at the Tribeca Film Fest last week Coppola's putting out what he's calling a "Final Cut" in August, in theaters and on blu-ray. It falls somewhere between the original release and the 2001 Redux cut, apparently. But no matter the cut it's the tension between Captain Benjamin L. Willard (Martin Sheen) and Colonel Walter E. Kurtz (Marlon Brando) that remains the the backbone of the film, and that's what we're investigating today...
picture polls
Previously Two weeks back most of us still hadn't seen Avengers Endgame,...
picture polls
Previously Two weeks back most of us still hadn't seen Avengers Endgame,...
- 5/6/2019
- by JA
- FilmExperience
This is not a recapitulation of the production (Eleanor Coppola did that), a summation of how and why there is now a definitively subtitled Final Cut (Francis Ford Coppola did that), or a conveying of the power that comes with seeing Apocalypse Now projected big and played loud (I don’t want to do that). Nor is it a review, which at this point is not unlike describing The Last Supper to Renaissance enthusiasts.
So, yes: Final Cut. The words conjure up hope for those who love pieces of Redux‘s approximately seven-hour additions, start shifting in their seat once Col. Kurtz appears in full daylight–one of many choices suggesting a work best left carved-down–yet are unable to shake Coppola’s assertion that the original iteration isn’t actually quite to the level of weird for which he’d aspired. Those who prefer going theatrical will likely roll...
So, yes: Final Cut. The words conjure up hope for those who love pieces of Redux‘s approximately seven-hour additions, start shifting in their seat once Col. Kurtz appears in full daylight–one of many choices suggesting a work best left carved-down–yet are unable to shake Coppola’s assertion that the original iteration isn’t actually quite to the level of weird for which he’d aspired. Those who prefer going theatrical will likely roll...
- 4/30/2019
- by Nick Newman
- The Film Stage
By Lee Pfeiffer
On April 28, director Francis Ford Coppola appeared at the Tribeca Film Festival to unveil "Apocalypse Now: Final Cut" which he feels is the definitive presentation of his landmark 1979 film. Coppola, looking trimmed down and very fit at age 80, was greeted by an enthusiastic sold-out audience at Manhattan's historic Beacon Theatre. The event inexplicably got off to a delayed start of almost 40 minutes as eager cinephiles began to grow restless. However, once Coppola took the stage to introduce the film, all was forgiven. He made a few brief remarks and indicated that he felt the original cut of the film was too short and his 2001 "Redux" version was too long. Then to the delight of the audience, he introduced an actor who had appeared in numerous Coppola films- Robert Duvall, who earned an Oscar nomination for his performance as the self-described "goofy fuck", Lt. Colonel Kilgore. Duvall only spoke briefly,...
On April 28, director Francis Ford Coppola appeared at the Tribeca Film Festival to unveil "Apocalypse Now: Final Cut" which he feels is the definitive presentation of his landmark 1979 film. Coppola, looking trimmed down and very fit at age 80, was greeted by an enthusiastic sold-out audience at Manhattan's historic Beacon Theatre. The event inexplicably got off to a delayed start of almost 40 minutes as eager cinephiles began to grow restless. However, once Coppola took the stage to introduce the film, all was forgiven. He made a few brief remarks and indicated that he felt the original cut of the film was too short and his 2001 "Redux" version was too long. Then to the delight of the audience, he introduced an actor who had appeared in numerous Coppola films- Robert Duvall, who earned an Oscar nomination for his performance as the self-described "goofy fuck", Lt. Colonel Kilgore. Duvall only spoke briefly,...
- 4/30/2019
- by nospam@example.com (Cinema Retro)
- Cinemaretro.com
Every year, the Tribeca Film Festival is a spring event that highlights some of the best young filmmakers around. However, you wouldn’t be wrong in saying that this year’s festival has been highlighted by one of the greatest American filmmakers of all time — Francis Ford Coppola. You see, the director recently appeared at the festival to present a new cut and restoration of his classic “Apocalypse Now,” dubbed the “Final Cut,” and by most accounts, the new cut might just well be the definitive edition of the film.
Continue reading ‘Apocalypse Now: Final Cut’ Trailer: Coppola’s Classic Gets A 4K Restoration & New “Perfect” Cut In August at The Playlist.
Continue reading ‘Apocalypse Now: Final Cut’ Trailer: Coppola’s Classic Gets A 4K Restoration & New “Perfect” Cut In August at The Playlist.
- 4/30/2019
- by Charles Barfield
- The Playlist
It’s no great surprise that an American classic like “Apocalypse Now” would receive an updated version, complete with a new hi-res scan and revised sound mix to take advantage of the latest in theater/home sound technology. But that isn’t the only thing that Francis Ford Coppola did for the 40th anniversary of celebrated look at the Vietnam War.
“Francis could have simply just restored it in 4K, and that’s what we’d release,” said Coppola’s American Zoetrope archivist James Mockoski. “But that was not exciting for him.”
Instead, Mockoski served as restoration supervisor on a year-long archival, technical and creative process that resulted in “Apocalypse Now: Final Cut,” which premiered at the Tribeca Film Festival last evening and will be re-released in theaters and on Blu-ray this August. Here’s what you need to know.
The Actual Final Cut
In 1979, Coppola had taken on so...
“Francis could have simply just restored it in 4K, and that’s what we’d release,” said Coppola’s American Zoetrope archivist James Mockoski. “But that was not exciting for him.”
Instead, Mockoski served as restoration supervisor on a year-long archival, technical and creative process that resulted in “Apocalypse Now: Final Cut,” which premiered at the Tribeca Film Festival last evening and will be re-released in theaters and on Blu-ray this August. Here’s what you need to know.
The Actual Final Cut
In 1979, Coppola had taken on so...
- 4/29/2019
- by Chris O'Falt
- Indiewire
‘Apocalypse Now Final Cut’ Film Review: Francis Ford Coppola’s New Version Might Be the Best One Yet
At the end of a weekend in which one three-hour movie broke all kinds of box-office records, another three-hour movie drew two resounding standing ovations at the Tribeca Film Festival.
Of course, the three-hour movie that wasn’t “Avengers: Endgame” was a 40-year-old classic, a monumental demonstration that Marvel Studios is the new kid on the block when it comes to supercharged and supersized entertainment.
Francis Ford Coppola came to Tribeca on Sunday night to present what he calls the “Final Cut” of his epic “Apocalypse Now,” which was considered a grand folly up until the moment it won the Palme d’Or at the 1979 Cannes Film Festival (in a tie with “The Tin Drum”) and then survived mixed reviews to become a hallucinatory landmark in war movies.
Also Read: 'Linda Ronstadt: The Sound of My Voice' Review: Rock Doc Starts and Ends With the Music
You probably...
Of course, the three-hour movie that wasn’t “Avengers: Endgame” was a 40-year-old classic, a monumental demonstration that Marvel Studios is the new kid on the block when it comes to supercharged and supersized entertainment.
Francis Ford Coppola came to Tribeca on Sunday night to present what he calls the “Final Cut” of his epic “Apocalypse Now,” which was considered a grand folly up until the moment it won the Palme d’Or at the 1979 Cannes Film Festival (in a tie with “The Tin Drum”) and then survived mixed reviews to become a hallucinatory landmark in war movies.
Also Read: 'Linda Ronstadt: The Sound of My Voice' Review: Rock Doc Starts and Ends With the Music
You probably...
- 4/29/2019
- by Thom Geier
- The Wrap
In a conversation at the Tribeca Film Festival with Steven Soderbergh, who said he saw Apocalypse Now 17 times as a teenager in Baton Rouge, La, Francis Ford Coppola reminisced about working with Marlon Brando and managing though chaos.
“The fuse had been blown on the circuit,” Coppola said of the 1979 film, whose 40th anniversary “Final Cut” is being celebrated at Tribeca.
“In filmmaking as in life, bad things are going to happen,” Coppola told Soderbergh during the conversation at the Beacon Theatre, alluding to the biblical series of events that hit the production, including a typhoon and Martin Sheen’s heart attack. “The good news is that there is no hell. But the quasi-good news is, this is heaven.”
Soderbergh noted the extensive record of the film,...
“The fuse had been blown on the circuit,” Coppola said of the 1979 film, whose 40th anniversary “Final Cut” is being celebrated at Tribeca.
“In filmmaking as in life, bad things are going to happen,” Coppola told Soderbergh during the conversation at the Beacon Theatre, alluding to the biblical series of events that hit the production, including a typhoon and Martin Sheen’s heart attack. “The good news is that there is no hell. But the quasi-good news is, this is heaven.”
Soderbergh noted the extensive record of the film,...
- 4/29/2019
- by Dade Hayes
- Deadline Film + TV
It took nearly 50 years for “Amazing Grace” to land in theaters, but one aspect of its journey appears unfinished. Variety reports that Chiemi Karasawa has filed an arbitration case against Alan Elliott for what she says is unpaid work on the Aretha Franklin documentary. “I have not been paid a dime of my Producer Fee or the amounts that I am entitled to contractually,” she told Variety. “I’m saddened that it’s come to this point, but thrilled that the film is being released for a public audience where it belongs.”
Aspects of her account are backed up by several collaborators. “Chiemi really made everything happen,” Charles Hobson, who produces documentaries and introduced Karasawa to Elliott, said. “I know she got the production house in L.A. She deserves a lot of the credit.” Stephanie Apt, president of Final Cut in New York, confirmed that Karasawa hired Jeff Buchanan...
Aspects of her account are backed up by several collaborators. “Chiemi really made everything happen,” Charles Hobson, who produces documentaries and introduced Karasawa to Elliott, said. “I know she got the production house in L.A. She deserves a lot of the credit.” Stephanie Apt, president of Final Cut in New York, confirmed that Karasawa hired Jeff Buchanan...
- 4/8/2019
- by Michael Nordine
- Indiewire
After 47 years, the Aretha Franklin concert documentary “Amazing Grace” finally arrives in theaters Friday. Alan Elliott has told the story of how he rescued the unreleased footage from the Warner Bros. vault, had it restored and assembled, and then spent years negotiating with Franklin and her estate to secure the film’s release.
But absent from that story is producer Chiemi Karasawa, who alleges that she played a critical role in bringing the film to screen and has not been paid for her work.
Karasawa recently filed an arbitration case against Elliott, alleging that she is owed a producer fee and other compensation for years of work on the project. Among other things, she says she arranged to retrieve the footage and process it, oversaw the editing of the film, and set up screenings for industry figures that ultimately led to its theatrical release.
“I have not been paid a...
But absent from that story is producer Chiemi Karasawa, who alleges that she played a critical role in bringing the film to screen and has not been paid for her work.
Karasawa recently filed an arbitration case against Elliott, alleging that she is owed a producer fee and other compensation for years of work on the project. Among other things, she says she arranged to retrieve the footage and process it, oversaw the editing of the film, and set up screenings for industry figures that ultimately led to its theatrical release.
“I have not been paid a...
- 4/5/2019
- by Gene Maddaus
- Variety Film + TV
Joseph Baxter Apr 4, 2019
Megalopolis, the long-planned sci-fi dream project of Francis Ford Coppola, is finally moving forward.
Francis Ford Coppola’s Megalopolis is a mooted movie that’s almost as mythical as the sci-fi-utopia New York City in which it was to be set. While the project – the planned pièce de résistance of his storied career – managed to shoot 30 minutes of second unit footage, the September 11, 2001 terrorist attacks made an unwelcome atmosphere for his planned vision. However, the Megalopolis myth never died, and now, nearly two decades after its false start, Coppola appears to be moving forward with the project!
Coppola, the legendary director/screenwriter of The Godfather Trilogy, Apocalypse Now, The Outsiders and The Cotton Club, is reportedly making preparations to make his Megalopolis dream movie into a reality this year, reports Deadline. Just a few days short of his 80th birthday, Coppola has dusted off his script and...
Megalopolis, the long-planned sci-fi dream project of Francis Ford Coppola, is finally moving forward.
Francis Ford Coppola’s Megalopolis is a mooted movie that’s almost as mythical as the sci-fi-utopia New York City in which it was to be set. While the project – the planned pièce de résistance of his storied career – managed to shoot 30 minutes of second unit footage, the September 11, 2001 terrorist attacks made an unwelcome atmosphere for his planned vision. However, the Megalopolis myth never died, and now, nearly two decades after its false start, Coppola appears to be moving forward with the project!
Coppola, the legendary director/screenwriter of The Godfather Trilogy, Apocalypse Now, The Outsiders and The Cotton Club, is reportedly making preparations to make his Megalopolis dream movie into a reality this year, reports Deadline. Just a few days short of his 80th birthday, Coppola has dusted off his script and...
- 4/4/2019
- Den of Geek
Francis Ford Coppola is turning 80 this month and he’s marking the occasion by announcing plans to kick off production sometime this year on a passion project he’s wanted to direct for over three decades: “Megalopolis[/link].” The science-fiction epic was written in the early 1980s but always took a backseat to Coppola’s other projects. By the time “The Godfather” director was ready to move into production at the turn of the century, the September 11 attacks happened and shut the production down as the film is based in New York City and details the attempts of an architect to reconstruct a utopian version of the city following a mega-disaster.
“Yes, I plan this year to begin my longstanding ambition to make a major work utilizing all I have learned during my long career, beginning at age 16 doing theater, and that will be an epic on a grand scale, which I’ve entitled ‘Megalopolis,...
“Yes, I plan this year to begin my longstanding ambition to make a major work utilizing all I have learned during my long career, beginning at age 16 doing theater, and that will be an epic on a grand scale, which I’ve entitled ‘Megalopolis,...
- 4/4/2019
- by Zack Sharf
- Indiewire
The Tribeca Film Festival will close with Universal/Working Title’s Danny Boyle-directed Yesterday, a Beatles-themed comedy scripted by Oscar winner Richard Curtis.
Festival organizers also have slotted gala screenings of Apocalypse Now, which has been restored for its 40th anniversary, as well as 35-year-old Cameron Crowe comedy Say Anything…
Between Me and My Mind, a world premiere documentary about Phish frontman Trey Anastasio, will have a gala screening followed by a performance by Anastasio’s band at New York’s Beacon Theatre.
Tribeca also announced it will kick off its 13th annual ESPN-branded sports festival with The Good, The Bad, The Hungry, a documentary about the Nathan’s Hot Dog Eating Contest held annually in Coney Island on July 4. Also included in today’s announcement is news of a free screening of the original 1977 Star Wars on May 4 (an annual date that prompts punny greetings of...
Festival organizers also have slotted gala screenings of Apocalypse Now, which has been restored for its 40th anniversary, as well as 35-year-old Cameron Crowe comedy Say Anything…
Between Me and My Mind, a world premiere documentary about Phish frontman Trey Anastasio, will have a gala screening followed by a performance by Anastasio’s band at New York’s Beacon Theatre.
Tribeca also announced it will kick off its 13th annual ESPN-branded sports festival with The Good, The Bad, The Hungry, a documentary about the Nathan’s Hot Dog Eating Contest held annually in Coney Island on July 4. Also included in today’s announcement is news of a free screening of the original 1977 Star Wars on May 4 (an annual date that prompts punny greetings of...
- 3/14/2019
- by Dade Hayes
- Deadline Film + TV
On tap today are my reviews for two recent films that Scream Factory is celebrating with new Blu-ray releases: the 2000 sequel Urban Legends: Final Cut and Tobe Hooper’s The Mangler. And rather than waste any time, I’m just going to dive right in instead.
Urban Legends: Final Cut: When Urban Legends: Final Cut was released, I could not have been more excited heading into the theater that opening weekend. Sure, in many cases, horror sequels often end up being an experience of diminishing returns, but considering how strong the concept of the original Urban Legend was, I was just excited to see what other legends would get explored this time around. And, as it turns out, not very many at all. Which only makes up just part of my disappointment when it comes to Urban Legends: Final Cut.
The sequel opens like a cheesy slasher-y version of Final Destination,...
Urban Legends: Final Cut: When Urban Legends: Final Cut was released, I could not have been more excited heading into the theater that opening weekend. Sure, in many cases, horror sequels often end up being an experience of diminishing returns, but considering how strong the concept of the original Urban Legend was, I was just excited to see what other legends would get explored this time around. And, as it turns out, not very many at all. Which only makes up just part of my disappointment when it comes to Urban Legends: Final Cut.
The sequel opens like a cheesy slasher-y version of Final Destination,...
- 12/20/2018
- by Heather Wixson
- DailyDead
Make sure you check the backseat of your car, because as Scream Factory announced during Comic-Con, they're bringing Urban Legend and Urban Legends: Final Cut to Blu-ray, and now they've revealed the extensive special features for both releases, including a 147-minute documentary, a new audio commentary, a bunch of new interviews, and more!
Press Release: Get ready to face your worst fears this November 20, 2018 when Scream Factory™ unleashes 90’s horror smash hit Urban Legend Collector’s Edition 2-Disc Blu-ray and its suspenseful follow-up Urban Legends: Final Cut Blu-ray. A must-have for loyal fans, movie collectors and horror enthusiasts, Urban Legend Collector’s Edition and Urban Legends: Final Cut contain special bonus content. Pre-order now at ShoutFactory.com
Directed by Jamie Blanks, Urban Legend stars Jared Leto (Dallas Buyers Club), Alicia Witt (TV’s The Exorcist), Rebecca Gayheart (Jawbreaker), Joshua Jackson (The Affair), Loretta Devine (Grey’s Anatomy), Tara Reid...
Press Release: Get ready to face your worst fears this November 20, 2018 when Scream Factory™ unleashes 90’s horror smash hit Urban Legend Collector’s Edition 2-Disc Blu-ray and its suspenseful follow-up Urban Legends: Final Cut Blu-ray. A must-have for loyal fans, movie collectors and horror enthusiasts, Urban Legend Collector’s Edition and Urban Legends: Final Cut contain special bonus content. Pre-order now at ShoutFactory.com
Directed by Jamie Blanks, Urban Legend stars Jared Leto (Dallas Buyers Club), Alicia Witt (TV’s The Exorcist), Rebecca Gayheart (Jawbreaker), Joshua Jackson (The Affair), Loretta Devine (Grey’s Anatomy), Tara Reid...
- 10/12/2018
- by Derek Anderson
- DailyDead
The NRA appears to be at a loss for content. The organization has turned to covering an array of cultural issues that have nothing to do with guns. On Friday, it set a bizarre new low when Dana Loesch used the “Final Cut” segment of her hour-long show Relentless to take dead aim at long-running children’s program Thomas & Friends. The segment was capped with an unsettling image of Thomas the Tank Engine and his friends wearing white Ku Klux Klan hoods atop flaming train tracks.
While complaining about diversity,...
While complaining about diversity,...
- 9/13/2018
- by Ryan Bort
- Rollingstone.com
Moroccan villagers doing battle with a rapacious mining company, armed only with poems and songs. Four aging Sudanese filmmakers looking to inspire a love of cinema in their countrymen. A celebrated South African poet living out his final days on a mental journey into his own past after being diagnosed with terminal cancer.
Their stories of courage, determination and hope are among this year’s selections for Final Cut in Venice, the Venice Production Bridge workshop providing post-production support and networking opportunities to films from Africa and the Arab world.
Taking place from Sep. 1-3, the program awards prizes and financial assistance to six selected projects, while offering an opportunity for producers and directors to pitch their films to foreign buyers, distributors, producers and festival programmers in order to facilitate the post-production process, promote possible co-production opportunities and access the international distribution market.
Established in 2013 to provide completion funds for selected films from Africa,...
Their stories of courage, determination and hope are among this year’s selections for Final Cut in Venice, the Venice Production Bridge workshop providing post-production support and networking opportunities to films from Africa and the Arab world.
Taking place from Sep. 1-3, the program awards prizes and financial assistance to six selected projects, while offering an opportunity for producers and directors to pitch their films to foreign buyers, distributors, producers and festival programmers in order to facilitate the post-production process, promote possible co-production opportunities and access the international distribution market.
Established in 2013 to provide completion funds for selected films from Africa,...
- 9/1/2018
- by Christopher Vourlias
- Variety Film + TV
Heading to a book party for screenwriter-novelist Tom Epperson’s latest, a South American journalistic thriller called Roberto To The Dark Tower Came, I got to wondering: Will there ever be another great Hollywood book? You know, the kind that makes you catch your breath, slap the beach chair, and gasp, “Did they really do that stuff?”
Mostly, they did—witness the photograph of Robert Towne lounging in the sand with his naked Amazons, as he did some sort of prep for Personal Best, in 1981. The snapshot is tucked in the middle of Peter Biskind’s Easy Riders, Raging Bulls: How the Sex, Drugs and Rock ‘N’ Roll Generation Saved Hollywood. Published in 1998, it was, for me, the last truly great movie business book. Biskind dished shovel-loads of gossip within a cultural arc, as he told how film greats like Martin Scorsese, Francis Coppola and, of course, Towne, reached for...
Mostly, they did—witness the photograph of Robert Towne lounging in the sand with his naked Amazons, as he did some sort of prep for Personal Best, in 1981. The snapshot is tucked in the middle of Peter Biskind’s Easy Riders, Raging Bulls: How the Sex, Drugs and Rock ‘N’ Roll Generation Saved Hollywood. Published in 1998, it was, for me, the last truly great movie business book. Biskind dished shovel-loads of gossip within a cultural arc, as he told how film greats like Martin Scorsese, Francis Coppola and, of course, Towne, reached for...
- 6/9/2018
- by Michael Cieply
- Deadline Film + TV
Welcome to almost-summer! That means it’s time to think summer reading. Fans of cinema will find plenty of recent gems to read here, along with some bonus novels, a visual feast for Beatles junkies, and a Blu-ray release of one of David Lynch’s most fascinatingly divisive films. Let’s start with a new look at films based on the work of the horror maestro of Bangor, Maine.
Screening Stephen King: Adaptation and the Horror Genre in Film and Television by Simon Brown (University of Texas Press)
It is high time we had a serious examination of the many film adaptations of Stephen King’s novels. In Screening Stephen King, Simon Brown offers deep analysis of not just the obvious choices like Carrie but low-budget fare like Children of the Corn and The Mangler. Especially fascinating is his study of the several ABC-tv miniseries of the late 1980s and early 1990s.
Screening Stephen King: Adaptation and the Horror Genre in Film and Television by Simon Brown (University of Texas Press)
It is high time we had a serious examination of the many film adaptations of Stephen King’s novels. In Screening Stephen King, Simon Brown offers deep analysis of not just the obvious choices like Carrie but low-budget fare like Children of the Corn and The Mangler. Especially fascinating is his study of the several ABC-tv miniseries of the late 1980s and early 1990s.
- 5/23/2018
- by Christopher Schobert
- The Film Stage
France’s Annecy Intl. Film Festival is once again bringing five animated features, each in different stages of production, to participate in the works in progress sessions – “Goes to Cannes” – at the Cannes Film Festival. Held on Friday May 11, Annecy Goes to Cannes, now in its third year, focuses on animated films looking to acquire sales agents, distribution or additional festival pick-ups.
Annecy Goes to Cannes is run by Citia, the organization behind the Annecy festival – Europe’s and one of the world’s most important animation festival – Mifa market and the Forum Blanc.
Citia project manager Géraldine Baché told to Variety that, “This edition of Annecy Goes to Cannes features projects identified and tracked over the last few years at Annecy and other places we’ve travelled. This edition specifically reflects how big the diversity in animation is in terms of audience, with movies dedicated to kids, teens, adults and families.
Annecy Goes to Cannes is run by Citia, the organization behind the Annecy festival – Europe’s and one of the world’s most important animation festival – Mifa market and the Forum Blanc.
Citia project manager Géraldine Baché told to Variety that, “This edition of Annecy Goes to Cannes features projects identified and tracked over the last few years at Annecy and other places we’ve travelled. This edition specifically reflects how big the diversity in animation is in terms of audience, with movies dedicated to kids, teens, adults and families.
- 5/11/2018
- by Jamie Lang
- Variety Film + TV
How does “Tyrel” differ from Sebastián Silva’s earlier films? “It was an actual screenplay,” he explained during an interview at the IndieWire Studio at the Sundance Film Festival this January. It was far from the Chilean filmmaker’s first time in Park City — “The Maid,” “Crystal Fairy,” “Magic Magic,” and “Nasty Baby’ all premiered there as well — but its editing process required an evolution in his style.
Silva credits much of that to editor Sofia Subercaseaux, who was with him in the IndieWire Studio. “What was very heroic from Sofia is that these movies are shot in a very unorthodox way. We rarely turn the camera off, you know, when we do takes…It’s a movie that didn’t take that long to shoot, but it takes a long time to edit.”
“I know what the movies are about before you’re shooting them. I feel like we...
Silva credits much of that to editor Sofia Subercaseaux, who was with him in the IndieWire Studio. “What was very heroic from Sofia is that these movies are shot in a very unorthodox way. We rarely turn the camera off, you know, when we do takes…It’s a movie that didn’t take that long to shoot, but it takes a long time to edit.”
“I know what the movies are about before you’re shooting them. I feel like we...
- 4/23/2018
- by Indiewire Staff
- Indiewire
Screen reveals the burning questions ahead of this year’s festival…
Anticipation for the 73rd Venice Film Festival (Aug 31 - Sept10) has been building for weeks.
Now, ahead of the world’s oldest film showcase (and the autumn’s first major awards barometer), Screen highlights ten burning questions…
1. Awards race under orders…
This year’s awards race will get underway in earnest on the Lido. In the last three years the festival has kickstarted major Oscar runs for three movies: Gravity, Birdman and Spotlight, while last year’s crop also included popular awards titles The Danish Girl and Anomalisa.
This year’s line-up is starrier than ever with Venice’s competition alone featuring Damien Chazelle’s La La Land (more of which below), Tom Ford’s blue ribbon drama Nocturnal Animals, Jacqueline Kennedy biopic Jackie, starring Natalie Portman, Denis Villeneuve’s big-budget sci-fi Arrival and Michael Fassbender-Alicia Vikander romance The Light Between Oceans.
Which films, if...
Anticipation for the 73rd Venice Film Festival (Aug 31 - Sept10) has been building for weeks.
Now, ahead of the world’s oldest film showcase (and the autumn’s first major awards barometer), Screen highlights ten burning questions…
1. Awards race under orders…
This year’s awards race will get underway in earnest on the Lido. In the last three years the festival has kickstarted major Oscar runs for three movies: Gravity, Birdman and Spotlight, while last year’s crop also included popular awards titles The Danish Girl and Anomalisa.
This year’s line-up is starrier than ever with Venice’s competition alone featuring Damien Chazelle’s La La Land (more of which below), Tom Ford’s blue ribbon drama Nocturnal Animals, Jacqueline Kennedy biopic Jackie, starring Natalie Portman, Denis Villeneuve’s big-budget sci-fi Arrival and Michael Fassbender-Alicia Vikander romance The Light Between Oceans.
Which films, if...
- 8/25/2016
- by andreas.wiseman@screendaily.com (Andreas Wiseman)
- ScreenDaily
Tom Ford’s Nocturnal Animals, Pablo Larrain’s Jackie, Mel Gibson’s Hacksaw Ridge and Michael Fassbender romance The Light Between Oceans among line-up.Scroll Down For Line-up
The 73rd Venice Film Festival (Aug 31 - Sept 10) has unveiled the 55 features – mixing star vehicles and international auteurs – that will make up this year’s official selection.
A total of 20 films will play in competition, 18 will play out of competition and 19 will play in Horizons.
Venice is on a roll having played host to the Best Picture Oscar winner two years in a row while three years ago Gravity went on to score seven Oscars.
Ahead of the world’s oldest festival, the buzz is palpable once again.
Competition titles include Tom Ford’s Nocturnal Animals, Pablo Larrain’s Jacqueline Kennedy biopic Jackie (seemingly a last minute confirmation) and Michael Fassbender romance The Light Between Oceans.
Auteur directors among the line-up include Terrence Malick, Lav Diaz, [link...
The 73rd Venice Film Festival (Aug 31 - Sept 10) has unveiled the 55 features – mixing star vehicles and international auteurs – that will make up this year’s official selection.
A total of 20 films will play in competition, 18 will play out of competition and 19 will play in Horizons.
Venice is on a roll having played host to the Best Picture Oscar winner two years in a row while three years ago Gravity went on to score seven Oscars.
Ahead of the world’s oldest festival, the buzz is palpable once again.
Competition titles include Tom Ford’s Nocturnal Animals, Pablo Larrain’s Jacqueline Kennedy biopic Jackie (seemingly a last minute confirmation) and Michael Fassbender romance The Light Between Oceans.
Auteur directors among the line-up include Terrence Malick, Lav Diaz, [link...
- 7/28/2016
- ScreenDaily
Tom Ford’s Nocturnal Animals, Pablo Larrain’s Jackie, Mel Gibson’s Hacksaw Ridge and Michael Fassbender romance The Light Between Oceans among line-up.Scroll Down For Line-up
The 73rd Venice Film Festival (Aug 31 - Sept 10) has unveiled the 55 features – mixing star vehicles and international auteurs – that will make up this year’s official selection.
A total of 20 films will play in competition, 18 will play out of competition and 19 will play in Horizons.
Venice is on a roll having played host to the Best Picture Oscar winner two years in a row while three years ago Gravity went on to score seven Oscars.
Ahead of the world’s oldest festival, the buzz is palpable once again.
Competition titles include Tom Ford’s Nocturnal Animals, Pablo Larrain’s Jacqueline Kennedy biopic Jackie (seemingly a last minute confirmation) and Michael Fassbender romance The Light Between Oceans.
Auteur directors among the line-up include Terrence Malick, Lav Diaz, [link...
The 73rd Venice Film Festival (Aug 31 - Sept 10) has unveiled the 55 features – mixing star vehicles and international auteurs – that will make up this year’s official selection.
A total of 20 films will play in competition, 18 will play out of competition and 19 will play in Horizons.
Venice is on a roll having played host to the Best Picture Oscar winner two years in a row while three years ago Gravity went on to score seven Oscars.
Ahead of the world’s oldest festival, the buzz is palpable once again.
Competition titles include Tom Ford’s Nocturnal Animals, Pablo Larrain’s Jacqueline Kennedy biopic Jackie (seemingly a last minute confirmation) and Michael Fassbender romance The Light Between Oceans.
Auteur directors among the line-up include Terrence Malick, Lav Diaz, [link...
- 7/28/2016
- ScreenDaily
Kevin Spacey, Steven Seagal and, erm, Kangaroo Jack: they all nabbed the box office top spot last decade...
By the end of the 2000s, getting number one at the American box office was a valuable marketing commodity. As such, studios pumped more and more money into making sure they at least had a great opening weekend for their product.
The consequence of this was that it was harder and harder for smaller and quirkier films to take a brief spot in the sun. Certainly towards the second half of the decade, it seems that the number one movie each week was pre-ordinained in a marketing meeting somewhere.
Still, there were some films that have since fallen out of public view that clawed their way to number one. How many of these do you remember?
Eye Of The Beholder
January 2000, one week
Based on Marc Behm's book of the same name,...
By the end of the 2000s, getting number one at the American box office was a valuable marketing commodity. As such, studios pumped more and more money into making sure they at least had a great opening weekend for their product.
The consequence of this was that it was harder and harder for smaller and quirkier films to take a brief spot in the sun. Certainly towards the second half of the decade, it seems that the number one movie each week was pre-ordinained in a marketing meeting somewhere.
Still, there were some films that have since fallen out of public view that clawed their way to number one. How many of these do you remember?
Eye Of The Beholder
January 2000, one week
Based on Marc Behm's book of the same name,...
- 5/13/2015
- by simonbrew
- Den of Geek
It's 1994, and aspiring filmmaker Kerry Conran sits down with his Macintosh IIci to begin work on a short film that's a throwback to the buccaneering adventure serials of the '30s and '40s. In those post-Jurassic Park days, computer-generated visual effects technology was still in its infancy, but Conran, a former CalArts student, saw the potential to tell a story he'd dreamed about. After four years of painstaking work with blue screen and his already-obsolete Mac, he fashioned a black and white teaser trailer for The World of Tomorrow.
Alongside Conran for the entirety of the journey was his brother Kevin Conran, who served as production and costume designer on both the short and eventual feature film. Speaking to Digital Spy from his home in California, Kevin recalled the lightbulb moment when his brother first pitched him the idea.
"At the time I was working as a freelance...
Alongside Conran for the entirety of the journey was his brother Kevin Conran, who served as production and costume designer on both the short and eventual feature film. Speaking to Digital Spy from his home in California, Kevin recalled the lightbulb moment when his brother first pitched him the idea.
"At the time I was working as a freelance...
- 9/27/2014
- Digital Spy
Ben Child: This may be dubious, Guy Ritchie-lite territory, but Jude Law performs his role as a sleazy safecracker with some panache
Reading on mobile? Click here to watch video
Jude Law put on two stone in weight and agreed to sport a nasty receding hairline to play a gone-to-seed gangster in Dom Hemingway, the first trailer for which has just hit the web. The film, by Matador writer-director Richard Shepard, which debuted to strong reviews in Toronto earlier this month, sees Law as a sleazy safecracker out to collect money owed to him for keeping his mouth shut and doing his time. After travelling to meet crime boss Mr Fontaine (Demián Bichir) in the south of France, he falls foul of an exotic femme fatale and finds himself once again bereft of moolah and facing up to an uncertain future.
Shephard's darkly comic screenplay also sees Hemingway vying...
Reading on mobile? Click here to watch video
Jude Law put on two stone in weight and agreed to sport a nasty receding hairline to play a gone-to-seed gangster in Dom Hemingway, the first trailer for which has just hit the web. The film, by Matador writer-director Richard Shepard, which debuted to strong reviews in Toronto earlier this month, sees Law as a sleazy safecracker out to collect money owed to him for keeping his mouth shut and doing his time. After travelling to meet crime boss Mr Fontaine (Demián Bichir) in the south of France, he falls foul of an exotic femme fatale and finds himself once again bereft of moolah and facing up to an uncertain future.
Shephard's darkly comic screenplay also sees Hemingway vying...
- 9/24/2013
- by Ben Child
- The Guardian - Film News
It's Glasgow gangsters this time, not Cockneys, but Britflick director Ray Burdis doesn't show much improvement
Ray Burdis co-directed and appeared in the grisly mockney-geezer Britflicks Final Cut (1998) and Love, Honour and Obey (2000), and this clumsy, cliched crime thriller, written and directed by Burdis, has some echoes of those, despite being set in Glasgow. It is worryingly like the many ropey London-estuary gangland movies that are allegedly "true stories" – that is, based on the self-pitying and self-serving books by ex-criminals who explain how their crime career began with standing up to bullies, and how they were never the really bad ones. This has a great cast: Martin Compston plays Paul Ferris, a young Glasgow tough guy who gets involved in the crime empire run by local godfather Arthur Thompson (Patrick Bergin). Denis Lawson gives the film a touch of humanity and class as Ferris's weary dad. But as a whole,...
Ray Burdis co-directed and appeared in the grisly mockney-geezer Britflicks Final Cut (1998) and Love, Honour and Obey (2000), and this clumsy, cliched crime thriller, written and directed by Burdis, has some echoes of those, despite being set in Glasgow. It is worryingly like the many ropey London-estuary gangland movies that are allegedly "true stories" – that is, based on the self-pitying and self-serving books by ex-criminals who explain how their crime career began with standing up to bullies, and how they were never the really bad ones. This has a great cast: Martin Compston plays Paul Ferris, a young Glasgow tough guy who gets involved in the crime empire run by local godfather Arthur Thompson (Patrick Bergin). Denis Lawson gives the film a touch of humanity and class as Ferris's weary dad. But as a whole,...
- 1/18/2013
- by Peter Bradshaw
- The Guardian - Film News
It's a lack of pretension that makes Ray Winstone so likable – so long as we don't start getting fancy notions of him as 'an actor'
I suspect Ray Winstone usually knows a good film from a bad one, but he has a world-weary calm that sees no need to let us in on the secret. Perhaps he has an inkling of how pleased we are to see him, and since he has had to declare bankruptcy twice so far as a professional actor he may take a certain gloomy pleasure in just being employed. There are actors well versed in elaborate, erudite answers to the question, "Why did you take this part?", but Winstone has the battered patience of a bloke who has seldom believed in "taking" a part rather than having the good/bad luck of ending up with it. It is that lack of pretension that leaves him so natural and likable,...
I suspect Ray Winstone usually knows a good film from a bad one, but he has a world-weary calm that sees no need to let us in on the secret. Perhaps he has an inkling of how pleased we are to see him, and since he has had to declare bankruptcy twice so far as a professional actor he may take a certain gloomy pleasure in just being employed. There are actors well versed in elaborate, erudite answers to the question, "Why did you take this part?", but Winstone has the battered patience of a bloke who has seldom believed in "taking" a part rather than having the good/bad luck of ending up with it. It is that lack of pretension that leaves him so natural and likable,...
- 11/18/2011
- by David Thomson
- The Guardian - Film News
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