#film-posters

#film-posters

The new consolidated studio will be led by Josh Mandel, previously CEO of The Mill, who will be taking on the new role of President of Advertising at Technicolor Creative Studios.

Faces of Death follows a pathologist trying to understand what happens when we die, subjecting himself and the viewer to a series of 'snuff' films depicting violent deaths.

April O'Neil comes down out of City Hall as the ace reporter and then walks into the Hoyt-Schermerhorn station. That secret, that the Downtown Brooklyn station is subbing in for City Hall, is at the heart of an upcoming film series at BAM.

A small-budget cult classic can be just as iconic as a major studio film if it speaks to audiences and evokes strong feelings.

I would almost liken the pieces we included to trophies. You could take these examples as pinnacles of human civilization. So much so that Yorgos wasn't keen on us even having reproductions. Michelle, then, seems to have collected these items as a kind of physical highlight reel of human creativity—and therefore, as subtle self-validation of her humanity.

LORNE, an unprecedented, behind-the-scenes glimpse at the man who built an inimitable empire of comedy, shaping television and culture for generations.

"Cinematic Immunity" offers a workers'-eye view of Hollywood on the Hudson, revealing the intricate dynamics of filmmaking in New York City from 1954 to 9/11.

Emma drops an absolute bombshell in the midst of a game where they're asked to reveal the worst thing they've ever done. Soon everyone around her starts to question how well they really know her.

I knew he was a legendary director and he was giving me a list of his movies like Raging Bull, Taxi Driver. Then he was like, 'You probably can't watch any of those quite yet, but there is this one movie I directed called Hugo.' A couple days later, in the mail, I received a copy of Hugo on Blu-ray from his office, which is really crazy.

Set on the blossom tree-lined fringes of Hyde Park in London, Herbert Wilcox's black-and-white rom-com blows in like a fresh spring breeze. The film charts the will-they-won't-they romance between Richard (Michael Wilding), a wealthy lord masquerading as a butler, and Judy (Anna Neagle), the niece of the family who employs him.

The invention of the Cinématographe was ready right away. The process of the invention was longer, and there were a lot of inventors before Lumière.

A quarter-century later, it's safe to say that those days have come to an end. Not only does the streaming-only Netflix of the twenty-twenties no longer transmit movies on DVD through the mail (a service its younger users have trouble even imagining), it ranks approximately nowhere as a preferred cinephile destination. That has to do with a selection much diminished since the DVD days

It's nice that you are asking about props, because they're not really acknowledged, says Jode Mann, a TV prop master in Los Angeles. When Mann worked on the children's comedy show Pee-wee's Playhouse in the 1980s, she got a call from its star, Paul Reubens, who said he was nominating her for an Emmy. It was only after Mann told her mother and promised to thank her if she won that Reubens called back to say he couldn't nominate her because there's no category for you.

an Act of Killing-style re-enactment of the 1919 conquest of the Adriatic city of what is now Rijeka by a rag-tag army assembled by the proto-fascist dandy-poet Gabriele D'Annunzio. It was precisely the kind of quirky cinematic gem that the European film awards should be there to champion: a film ignored by the main festivals, about an overlooked but relevant episode in history.