April 21, 2014

Tag Archives: Jack Cardiff

Clint Eastwood’s “Hereafter” concludes New York Film Fest this weekend

By Sean O’Connell
Hollywoodnews.com: The 48th annual New York Film Festival draws to a close this weekend with screenings of “Meek’s Cutoff,” Joe Dante’s “The Hole 3D,” and Sunday’s gala screening of Clint Eastwood’s “Hereafter,” with Matt Damon in the lead.
Before the curtain falls on the Gotham fest, several New York journalists are summarizing what they saw, and what impact the festival continues to have on film’s expanding landscape.
The Wall Street Journal, for instance, encourages patrons to think outside the marquee and chase titles that lack the star power of “Hereafter” or “Cutoff.” Sebastian Silva and Pedro Peirano’s “Old Cats” gets a nod, as does the 1946 film “A Matter of Life and Death” by Michael Powell and Emeric Pressburger, which stars Roger Livesy and David Niven and screens as a tribute to cinematographer Jack Cardiff.
Film Journal International, meanwhile, predicts that “change is afoot off-screen at The Film Society” as Rose Kuo takes over as the fest’s executive construction wraps on Lincoln Center’s new Film Center.
And Gordon Cox admits in Variety that NYFF “has turned into an unusually high-profile platform this year” as he breaks down a few last-minute sales in the fest’s final weekend.
As for the annual Oscar race, “The Social Network” – which opened the fest – seems to have elevated its awards profile while Julie Taymor’s “The Tempest” took even more hits from unimpressed media members. We’ll find out this weekend how “Hereafter” plays, because Eastwood’s drama remains on the fringe of certain categories and could work itself back into the race with a strong New York showing.
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This Week In Movies – ‘Resident Evil,’ ‘The Romantics,’ ‘Heartbreaker’

By Pete Hammond
HollywoodNews.com: It was a week in movies where all the action was in other countries with the Venice Film Festival wrapping up in Italy and the Toronto International Film Festival just getting under way in Canada.
So with the field all to itself in this country and not shown in advance to critics, a wise move considering its current dismal 14% fresh rating on Rotten Tomatoes, the week’s one lone wide release “Resident Evil: Afterlife” shows there is some life after all in Screen Gems’ durable but dopey franchise mixing Zombies and Jovavich (as in Milla). Earning an estimated $27.7 million for the SLOW three day back-to-school post-summer weekend, ‘Afterlife’ scored the series’ best opening numbers ever, well over the last two entries “Resident Evil: Apocalypse” and “Resident Evil: Extinction” which both opened to about $23 mill(a)ion each without the benefit of 3D’s hiked prices that this one had. For those who care the original that started this whole thing opened to about $17 million in 2002 dollars. It’s hard to recall another weekend this year that one studio had all to themselves but Sony’s Screen Gems not only had the number one film, it also took the number two slot with its third weekend of the Matt Dillon heist movie, “Takers” which, considering it is also completely forgettable tripe, has racked up a pretty decent $48 million so far. George Clooney’s “The American” was expected to experience a huge drop in this its second weekend but fell only an average 55%, not good but not disastrous considering its D minus Cinemascore last week that might have indicated treacherous word-of-mouth ahead. Actually it was the better-scored “Machete” a spinoff from the Grindhouse flop that fell the most of any flick this week, a whopping 63% which should finally convince director Robert Rodriguez to step off the Grindhouse beat once and for all.

Now despite the fact that there was only one new nationwide release this weekend there were PLENTY of other movies hitting the marketplace. You just had to live in the right town, namely LA or NY. According to Boxoffice Magazine’s Sara Schieron who diligently tracks down new releases like it was a cult religion, there were a possible record 30 films opening somewhere in the U.S. this weekend. Wow. It would appear that in this purgatory period between summer and fall tiny distributors were looking to [...]

Mark Romanek to lead 37th Telluride Film Festival

HollywoodNews.com: The 37th Annual Telluride Film Festival has just unveiled this year’s lineup that includes more than a handful of documentaries and will salute Claudia Cardinale for a tribute that will include a screening of “The Girl with the Suitcase.”
Mark Romanek will show “Never Let Me Go” and there is rumor that James Franco’s “127 Hours” may also make a surprise showing.
View the complete Telluride Film Festival lineup below:
“A Letter to Elia,” directed by Martin Scorcese and Kent Jones
“Another Year,” directed by Mike Leigh
“Biutiful,” directed by Alejandro Gonzales Inarritu
“Brandy in the Wilderness,” directed by Stanton Kaye (1968)
“Carlos,” directed by Olivier Assayas
“Chicago,” directed by Cecil B. DeMille (1927)
“Chico and Rita,” directed by Fernando Trueba
“The First Grader,” directed by Justin Chadwick
“The First Movie,” directed by Mark Cousins
“The Girl With The Suitcase,” directed by Valerio Zurlini (1961)
“The Illusionist,” directed by Sylvain Chomet
“Happy People: A Year in the Taiga,” directed by Werner Herzog and Dmitry Vasyukov
“If I Want To Whistle, I Whistle,” directed by Florin Serban
“Incendies,” directed by Denis Villeneuve
“Inside Job,” directed by Charles Ferguson
“The King’s Speech,” directed by Tom Hooper
“Moana: A Story of the South Seas,” directed by Robert Flaherty (1927)
“Never Let Me Go,” directed by Mark Romanek
“Of Gods and Men,” directed by Xavier Beauvois
“Oka! Amerikee,” directed by Lavinia Currier
“The Plummer,” directed by Peter Weir (1976)
“Poetry,” directed by Lee Chang-dong
“Precious Life,” directed by Shlomi Eldar
“The Princess of Montpensier,” directed by Bertrand Tavernier
“Le Quattro Volte,” directed by Michelangelo Frammartino
“Rotaie” directed by Mario Camerini (1930)
“Tabloid,” directed by Errol Morris
“Tamara Drewe,” directed by Stephen Frears
“The Tenth Inning,” directed by Ken Burns
“The Way Back,” directed by Peter Weir
Six Films: Curated by Michael Ondaatje
“The Ascent,” directed by Larisa Shepitko (1977)
“Confidence,” directed by Istvan Szabo (1980)
“Fat City,” directed by John Huston (1972)
“Here’s Your Life,” directed by Jan Troell (1966)
“The Hustler,” directed by Robert Rossen (1961)
“Mother Dao, the Turtlelike,” directed by (1995)
Spotlight on Harutyun Khachatryan
“Border,” by Harutyun Khachatryan
“Return of the Poet,” by Harutyun Khachatryan
Backlot
“…But Film is My Mistress,” directed by Stig Bjorkman
“Cameraman: The Life and Work of Jack Cardiff,” directed by Craig McCall
“Chekhov for Children,” directed by Sasha Waters Freyer
“Daniel Schmid: Le Chat Qui Pense,” directed by Pascal Hoffman and Benny Jaberg
“Documentarist,” directed by Harutyun Khachatryan
“Hurricane Kalatozov,” directed by Patrick Cazals
“Images from a Playground,” directed by Stig Bjorkman
“Moguls and Movie Stars,” directed by Jon Wilkman
“The Magnificent Tati,” directed by Michael House
“Music Makers of the Blue Ridge,” by David Hoffman
“On ‘Being There’ with Richard Leacock,” directed by Jane Weiner
“Pygmies in [...]