The only way to watch today is either a little bit sleepy, a little bit hungover, a tiny bit high, or all three. It was a provocative, pseudo tongue-in-cheek movie in 1996 when it was released on January 18, and 30 years later, it feels like a surreal fever dream. In some ways, you could say is the most patient B-movie of all time, waiting for nearly an hour to actually reveal its supernatural, bloodthirsty premise.
In a non-Netflix world, a film like The Rip flashy, action-heavy, led by two household names should be available this weekend on the biggest high-format screens across the country. But then in that same world, at this particular time, it's doubtful that a film like this would even get made, granted a budget that's reportedly close to $100m, highly unusual for R-rated non-IP.
The New York Comedy Film Festival has announced the full lineup for its inaugural edition, running February 15-22, with screenings and events taking place at venues including Asylum NYC and the Baruch College Performing Arts Center. Spanning a full week, the festival aims to showcase the range of comedic storytelling on screen, from broad laughs to darker, more experimental takes, across features, shorts, series and documentaries.
I still can't watch Quint get eaten alive by the shark in "Jaws" (1975), but I will happily replay the climactic kill scene from "Day of the Dead" (1985), in which a highly hissable villain, Captain Rhodes, gets dismembered by a horde of the hungry undead. Is it the gristly, lip-smacking hilarity of the carnage-the taffy-like ease with which they pull Rhodes's flesh apart,
His first solo single was a cover of Elmer Bernstein's theme from The Man with the Golden Arm, and his debut solo album, Moss Side Story, was a soundtrack to a nonexistent film noir. He's gone on to compose scores for actual soundtracks, like new documentary SCALA!!!, which is about London's infamous arthouse cinema from the '70s and '80s where Adamson spent a lot of time.
For years now, actors have rung the alarm bells over the AI industry planning to sell their likeness and voices - either with or without their consent - and hence threatening to put them out of work. Beyond a major 2023 strike by Hollywood actors fueled by these concerns, we've already seen actors take matters into their own hands, like when Scarlett Johansson threatened to sue OpenAI over a ChatGPT update that she claims imitated her voice.
After dozens of films over a storied six-decade career, Jodie Foster is trying something new, playing the lead role in a French film for the very first time. There's hardly a trace of an American accent in Foster's turn as Parisian therapist Lilian Steiner in A Private Life (Vie privee) and she appears to be very much at home. The character she plays is an American woman who built her career in France.
Grief-porn, in relation to cinema, would suggest that the film in question is emotionally manipulative, formulaic; grief-art would suggest the film unleashes feelings both universal and true. It's curiously circular. In a film about grief, the valorised quality is depth of feeling; it stands or falls by how profoundly the hero(ine) experiences emotion, and the audience proves its acuity, buys itself into the imaginative contract, by its ability to mirror that profundity.
Nick Digilio has been a movie critic for 40 years, for many of those years on WGN radio, now with a popular podcast and hosting screenings in Chicago. And I've been talking to him about movies for 25 of those years. I still remember our first conversation, which included a discussion of "Donnie Darko" and the mid-century Hollywood director Douglas Sirk. He usually interviews me, but in honor of his new book, 40 Years, 40 Films, we switched, and I got to interview him.
"Michelle is definitely going to be in 4, if we make 4," Cameron shares to TVBS News, per . He already has a vision in store for her: she would be a Na'vi named Paktuelat, but didn't specify what tribe she would be a part of. Cameron has already conquered land, sea, and fire in the world of Pandora, but maybe there's a tribe of Na'vi living underground.
Jodorowsky's most recent project is Alejandro Jodorowsky. Art Sin Fin (Taschen), two volumes in which he reviews his career, almost as boundless as it is surreal. Curated by editor and academic Donatien Grau, director of contemporary programs at the Louvre, this monograph is a work of art in itself and a manifesto that captures Jodorowsky's kaleidoscopic, mysterious, and dreamlike creative spirit across all his universes, from film and theater to poetry and comics, by way of philosophy and tarot.
