Few creative talents have the breadth of a career equal to Lee Grant. The 98-year-old director, actor, and writer has a storied body of work, debuting on screen in 1951 in William Wyler’s Detective Story, for which she received a Best Supporting Actress Oscar nomination and Cannes Best Actress win, while also receiving a Supporting Actress Oscar for Shampoo. Grant, who has also appeared in Mulholland Drive, Valley of the Dolls, and In the Heat of the Night, has also set a few records: she’s the oldest living film director, while 1980’s Tell Me a Riddle was the first major American film to be entirely written, produced and directed by women, and she’s the only Academy Award-winning actor to also direct an Academy Award-winning documentary with 1986’s Down and Out in America.
Among the most revelatory repertory cinema I saw last year, the much-deserved 4K restorations of Grant...
Among the most revelatory repertory cinema I saw last year, the much-deserved 4K restorations of Grant...
- 5/2/2024
- by Jordan Raup
- The Film Stage
In 1983, audiences watched Tom Cruise dance in his parents’ living room in Paul Brickman’s adolescent drama “Risky Business.” The film became a cultural touchstone — with Cruise’s dance often imitated but never duplicated — that has endured for 40 years. Cruise took that success and has now become the biggest, if not the last, global movie star. But when this author watches “Risky Business,” it’s the story of Lana, the teenage sex worker who propels Cruise’s Joel on his quest towards running a brothel, that sticks out.
Actress Rebecca De Mornay was in her early twenties when she made “Risky Business” and has never truly gotten her flowers for it. It’s even more frustrating to consider that the actress went on to star in hits in her own right, including the 1992 thriller “The Hand That Rocks the Cradle” and Disney’s 1993 adaptation of “The Three Musketeers.” De Mornay...
Actress Rebecca De Mornay was in her early twenties when she made “Risky Business” and has never truly gotten her flowers for it. It’s even more frustrating to consider that the actress went on to star in hits in her own right, including the 1992 thriller “The Hand That Rocks the Cradle” and Disney’s 1993 adaptation of “The Three Musketeers.” De Mornay...
- 7/12/2023
- by Kristen Lopez
- The Wrap
Walker said: “This is for all the women that win this award after me.”
Elvis cinematographer Mandy Walker became the first woman to win the feature competition at the American Society of Cinematographers Awards on Sunday (March 5).
Accepting her award, Walker said: “This is for all the women that win this award after me.”
Walker is the third woman to be nominated in the ASC feature competition, following Rachel Morrison in 2018 for Mudbound and Ari Wegner in 2022 for The Power Of The Dog; and is also nominated for the Academy Awards this Sunday.
The other feature nominees were Greig Fraser...
Elvis cinematographer Mandy Walker became the first woman to win the feature competition at the American Society of Cinematographers Awards on Sunday (March 5).
Accepting her award, Walker said: “This is for all the women that win this award after me.”
Walker is the third woman to be nominated in the ASC feature competition, following Rachel Morrison in 2018 for Mudbound and Ari Wegner in 2022 for The Power Of The Dog; and is also nominated for the Academy Awards this Sunday.
The other feature nominees were Greig Fraser...
- 3/6/2023
- by Screen staff
- ScreenDaily
“Elvis” director of photography Mandy Walker won Feature Film at the ASC Awards March 5, when the American Society of Cinematographers handed out its honors at the 37th annual awards at the Beverly Hilton Hotel.
Walker’s win in the feature film category could prove prescient; 17 out of the last 36 years found the ASC film winner winning the Academy Award. But it’s worth noting that Oscar nominees “Tár” and “All Quiet on the Western Front” were not among the ASC nominees.
In the TV categories, “The Old Man” took awards for Motion Picture, Limited Series, or Pilot Made for Television and Episode of a One-Hour Television Series – Commercial, while “Barry” won Episode of a Half-Hour Television Series for its Season 3 finale and “The Marvelous Mrs. Maisel” won Episode of a One-Hour Television Series – Non-Commercial for its Season 4 finale.
In addition, several honorary awards were handed out. Egot winner Viola Davis...
Walker’s win in the feature film category could prove prescient; 17 out of the last 36 years found the ASC film winner winning the Academy Award. But it’s worth noting that Oscar nominees “Tár” and “All Quiet on the Western Front” were not among the ASC nominees.
In the TV categories, “The Old Man” took awards for Motion Picture, Limited Series, or Pilot Made for Television and Episode of a One-Hour Television Series – Commercial, while “Barry” won Episode of a Half-Hour Television Series for its Season 3 finale and “The Marvelous Mrs. Maisel” won Episode of a One-Hour Television Series – Non-Commercial for its Season 4 finale.
In addition, several honorary awards were handed out. Egot winner Viola Davis...
- 3/6/2023
- by Mark Peikert
- Indiewire
Elvis cinematographer Mandy Walker cracked a glass ceiling on Sunday, becoming the first woman to win the American Society of Cinematographers Award in the feature competition during the 37th ASC Awards.
The crowd at the Beverly Hilton’s International Ballroom erupted with applause and gave Walker a lengthy standing ovation as her name was called.
“This is for all the women that win this award after me,” she said to enthusiastic applause, and she looked for to more women breaking more glass ceilings. “Thijs is an inclusive, representative community,” she said, adding, “I didn’t cry, I thought I was going to cry.”
She thanked Elvis director Baz Luhrmann for allowing her to “create magic with him;” Catherine Martin for her “support and inspiration; and her crew for “dancing with the camera and flying with the camera” during Austin Butler’s performance as Elvis.
Walker’s bold lensing of Elvis...
The crowd at the Beverly Hilton’s International Ballroom erupted with applause and gave Walker a lengthy standing ovation as her name was called.
“This is for all the women that win this award after me,” she said to enthusiastic applause, and she looked for to more women breaking more glass ceilings. “Thijs is an inclusive, representative community,” she said, adding, “I didn’t cry, I thought I was going to cry.”
She thanked Elvis director Baz Luhrmann for allowing her to “create magic with him;” Catherine Martin for her “support and inspiration; and her crew for “dancing with the camera and flying with the camera” during Austin Butler’s performance as Elvis.
Walker’s bold lensing of Elvis...
- 3/6/2023
- by Carolyn Giardina
- The Hollywood Reporter - Movie News
Mandy Walker has won the American Society of Cinematographers feature-film award for “Elvis,” making her the first woman ever to win that award. She is only the third female nominee in the category, after Rachel Morrison for “Mudbound” in 2018 and Ari Wegner for “The Power of the Dog” last year.
Walker now has the chance to become the first woman to win the Oscar for cinematography, where she is also the third female nominee in the gender-neutral Oscars category that took the longest to nominate a woman. Her competitors at the Oscars include two who were also nominated by the ASC, Roger Deakins for “Empire of Light” and Darius Khondji for “Bardo, False Chronicle of a Handful of Truth,” along with James Friend for “All Quiet on the Western Front” and Florian Hoffmeister for “Tar.”
“This is for all the women who will win the award after me, and for...
Walker now has the chance to become the first woman to win the Oscar for cinematography, where she is also the third female nominee in the gender-neutral Oscars category that took the longest to nominate a woman. Her competitors at the Oscars include two who were also nominated by the ASC, Roger Deakins for “Empire of Light” and Darius Khondji for “Bardo, False Chronicle of a Handful of Truth,” along with James Friend for “All Quiet on the Western Front” and Florian Hoffmeister for “Tar.”
“This is for all the women who will win the award after me, and for...
- 3/6/2023
- by Steve Pond and Jason Clark
- The Wrap
The American Society of Cinematographers is handing out its 37th annual ASC Awards tonight at the Beverly Hilton, and Deadline is posting the winners as they’re announced. See the list below.
The night’s first prize went to Carl Herse for HBO’s Barry, which won for Episode of a Half-Hour Series.
The society’s nominees for its marquee Theatrical Feature Film prize are Roger Deakins for Empire of Light, Greig Fraser for The Batman, Darius Khondji for Bardo, Claudio Miranda for Top Gun: Maverick and Mandy Walker for Elvis. Fraser won the ASC’s top prize last year for Dune, en route to winning the Cinematography Oscar.
The ASC film winner has won the Academy Award nearly half of the time — 17 times in its 36 years. Bardo, Elvis and Empire of Light will vie for the Best Cinematography Oscar on March 12 against All Quiet on the Western Front (James Friend...
The night’s first prize went to Carl Herse for HBO’s Barry, which won for Episode of a Half-Hour Series.
The society’s nominees for its marquee Theatrical Feature Film prize are Roger Deakins for Empire of Light, Greig Fraser for The Batman, Darius Khondji for Bardo, Claudio Miranda for Top Gun: Maverick and Mandy Walker for Elvis. Fraser won the ASC’s top prize last year for Dune, en route to winning the Cinematography Oscar.
The ASC film winner has won the Academy Award nearly half of the time — 17 times in its 36 years. Bardo, Elvis and Empire of Light will vie for the Best Cinematography Oscar on March 12 against All Quiet on the Western Front (James Friend...
- 3/6/2023
- by Erik Pedersen
- Deadline Film + TV
In an unusual turn of events, this year’s recipient of the International Award at the American Society of Cinematographers Awards is also a nominee in its feature competition. Darius Khondji, who has been working as a director of photography for decades and earned his first Academy Award nomination for Evita (directed by Alan Parker) in 1996, is taking home the annual honor and competing for a trophy for his work on Bardo, False Chronicle of a Handful of Truths.
While some DPs are known for longtime relationships with a single director, Khondji has amassed a remarkable body of work through productions with a range of helmers whose cinematic styles vary widely. Bardo was his first collaboration with Alejandro G. Iñárritu, whom Khondji describes as a very visual director who was intent on making the film, which Netflix released Dec. 16, feel as immersive as possible. He also has lensed films for...
While some DPs are known for longtime relationships with a single director, Khondji has amassed a remarkable body of work through productions with a range of helmers whose cinematic styles vary widely. Bardo was his first collaboration with Alejandro G. Iñárritu, whom Khondji describes as a very visual director who was intent on making the film, which Netflix released Dec. 16, feel as immersive as possible. He also has lensed films for...
- 3/3/2023
- by Carolyn Giardina
- The Hollywood Reporter - Movie News
Los Angeles, Feb 19 (Ians) Oliver Wood, an English cinematographer whose credits include ‘Die Hard 2’, ‘Face/Off’, aThe Other Guys’ and the original ‘Bourne’ trilogy, has passed away at his home in Hollywood following a battle with cancer. He was 80.
With a career spanning across seven decades, Wood worked across a wide variety of projects, collaborating with directors like John Woo, Adam McKay, Antoine Fuqua, Barry Sonnenfeld and Larry Cohen, reports ‘Variety’.
He was nominated for a BAFTA award for best cinematography for his work on 2007’s aThe Bourne Ultimatum’, directed by Paul Greengrass.
Born in London, Wood moved to New York City when he was 19. His first major credit came on Leonard Kastle’s 1970 crime film aThe Honeymoon Killers’ making a strong impression for his technique of using available light to give the anachronistic dark comedy the look of a newsreel.
As per ‘Variety’, Wood shot numerous B-movies and independent...
With a career spanning across seven decades, Wood worked across a wide variety of projects, collaborating with directors like John Woo, Adam McKay, Antoine Fuqua, Barry Sonnenfeld and Larry Cohen, reports ‘Variety’.
He was nominated for a BAFTA award for best cinematography for his work on 2007’s aThe Bourne Ultimatum’, directed by Paul Greengrass.
Born in London, Wood moved to New York City when he was 19. His first major credit came on Leonard Kastle’s 1970 crime film aThe Honeymoon Killers’ making a strong impression for his technique of using available light to give the anachronistic dark comedy the look of a newsreel.
As per ‘Variety’, Wood shot numerous B-movies and independent...
- 2/19/2023
- by News Bureau
- GlamSham
Oliver Wood, an English cinematographer whose credits include “Die Hard 2,” “Face/Off,” “The Other Guys” and the original “Bourne” trilogy, died Monday, Feb. 13, at his home in Hollywood following a battle with cancer. He was 80.
With a career spanning across seven decades, Wood worked across a wide variety of projects, collaborating with directors like John Woo, Adam McKay, Antoine Fuqua, Barry Sonnenfeld and Larry Cohen. He was nominated for a BAFTA award for best cinematography for his work on 2007’s “The Bourne Ultimatum,” directed by Paul Greengrass.
Born in London, Wood moved to New York City when he was 19. His first major credit came on Leonard Kastle’s 1970 crime film “The Honeymoon Killers,” making a strong impression for his technique of using available light to give the anachronistic dark comedy the look of a newsreel.
Wood shot numerous B-movies and independent films throughout the late 1970s and ’80s, frequently collaborating...
With a career spanning across seven decades, Wood worked across a wide variety of projects, collaborating with directors like John Woo, Adam McKay, Antoine Fuqua, Barry Sonnenfeld and Larry Cohen. He was nominated for a BAFTA award for best cinematography for his work on 2007’s “The Bourne Ultimatum,” directed by Paul Greengrass.
Born in London, Wood moved to New York City when he was 19. His first major credit came on Leonard Kastle’s 1970 crime film “The Honeymoon Killers,” making a strong impression for his technique of using available light to give the anachronistic dark comedy the look of a newsreel.
Wood shot numerous B-movies and independent films throughout the late 1970s and ’80s, frequently collaborating...
- 2/18/2023
- by Jazz Tangcay and J. Kim Murphy
- Variety Film + TV
Mandy Walker’s bold lensing of Baz Luhrmann’s Elvis made her the third woman to ever be nominated in the feature category of the American Society of Cinematographers’ ASC Awards, which announced it nominations on Monday.
The feature nominees in the competitive 37th ASC Awards race are Walker; Roger Deakins for Empire of Light; Greig Fraser for The Batman; Darius Khondji for Bardo, False Chronicle of a Handful of Truths; and Claudio Miranda for Top Gun: Maverick.
Walker is now in a select group of just three women who have been nominated in the ASC feature competition. Rachel Morrison was nominated in 2018 for Mudbound, followed by Ari Wegner, who was nominated in 2022 for The Power of the Dog. Morrison and Wegner both went on to earn historic Oscar nominations.
With his work on Sam Mendes’ drama Empire of Light, Deakins extends his record number of ASC feature nominations to a remarkable 17 noms.
The feature nominees in the competitive 37th ASC Awards race are Walker; Roger Deakins for Empire of Light; Greig Fraser for The Batman; Darius Khondji for Bardo, False Chronicle of a Handful of Truths; and Claudio Miranda for Top Gun: Maverick.
Walker is now in a select group of just three women who have been nominated in the ASC feature competition. Rachel Morrison was nominated in 2018 for Mudbound, followed by Ari Wegner, who was nominated in 2022 for The Power of the Dog. Morrison and Wegner both went on to earn historic Oscar nominations.
With his work on Sam Mendes’ drama Empire of Light, Deakins extends his record number of ASC feature nominations to a remarkable 17 noms.
- 1/9/2023
- by Carolyn Giardina
- The Hollywood Reporter - Movie News
Click here to read the full article.
As the 2022-23 awards season gets underway, The Hollywood Reporter’s Behind the Screen is here to help you track the creative awards from guilds and societies such as the American Society of Cinematographers, the Art Directors Guild and the Cinema Audio Society. Below are the key dates, honorees and other information. The listing will be updated regularly.
10th Make-Up Artists and Hair Stylists Guild Awards (IATSE Local 706), Saturday, Feb. 11, at the Beverly Hilton Hotel
Honorees: Steve La Porte, the Oscar and Emmy-winning make-up artist best known for Beetlejuice, Star Trek 3: The Search for Spock, and Terminator 2 & 3; and Josée Normand, Emmy-winning hair stylist known for her work on Star Trek: Voyager, Die Hard and Pirates of the Caribbean: The Curse of the Black Pearl, will receive Lifetime Achievement Awards.
Emmy-winning make-up artist Fred C. Blau Jr. (Apocalypse Now, 2001’s Planet of the Apes...
As the 2022-23 awards season gets underway, The Hollywood Reporter’s Behind the Screen is here to help you track the creative awards from guilds and societies such as the American Society of Cinematographers, the Art Directors Guild and the Cinema Audio Society. Below are the key dates, honorees and other information. The listing will be updated regularly.
10th Make-Up Artists and Hair Stylists Guild Awards (IATSE Local 706), Saturday, Feb. 11, at the Beverly Hilton Hotel
Honorees: Steve La Porte, the Oscar and Emmy-winning make-up artist best known for Beetlejuice, Star Trek 3: The Search for Spock, and Terminator 2 & 3; and Josée Normand, Emmy-winning hair stylist known for her work on Star Trek: Voyager, Die Hard and Pirates of the Caribbean: The Curse of the Black Pearl, will receive Lifetime Achievement Awards.
Emmy-winning make-up artist Fred C. Blau Jr. (Apocalypse Now, 2001’s Planet of the Apes...
- 12/22/2022
- by Carolyn Giardina
- The Hollywood Reporter - Movie News
Click here to read the full article.
The American Society of Cinematographers has revealed the honorees for the 37th ASC Awards: Stephen Goldblatt will receive Society’s Lifetime Achievement Award, Darius Khondji the International Award, Charlie Lieberman the President’s Award, Fred Murphy the Career Achievement in Television honor and Sam Nicholson will get the Curtis Clark Technical Achievement Award.
Born in South Africa, British cinematographer Goldblatt was twice nominated for an Oscar, for Batman Forever (1995) and The Prince of Tides (1991), and is known for a body of work that includes the first two Lethal Weapon movies for Richard Donner and two Batman movies (Joel Schumacher’s Batman Forever and Batman & Robin). He also is known for collaborations with Mike Nichols, including Closer, Charlie Wilson’s War and the 2003 miniseries Angels in America, for which Goldblatt was Emmy nominated (he also received Emmy nominations for 2001’s Conspiracy and 2002’s Path...
The American Society of Cinematographers has revealed the honorees for the 37th ASC Awards: Stephen Goldblatt will receive Society’s Lifetime Achievement Award, Darius Khondji the International Award, Charlie Lieberman the President’s Award, Fred Murphy the Career Achievement in Television honor and Sam Nicholson will get the Curtis Clark Technical Achievement Award.
Born in South Africa, British cinematographer Goldblatt was twice nominated for an Oscar, for Batman Forever (1995) and The Prince of Tides (1991), and is known for a body of work that includes the first two Lethal Weapon movies for Richard Donner and two Batman movies (Joel Schumacher’s Batman Forever and Batman & Robin). He also is known for collaborations with Mike Nichols, including Closer, Charlie Wilson’s War and the 2003 miniseries Angels in America, for which Goldblatt was Emmy nominated (he also received Emmy nominations for 2001’s Conspiracy and 2002’s Path...
- 12/5/2022
- by Carolyn Giardina
- The Hollywood Reporter - Movie News
Robert and Michelle King’s supernatural procedural series “Evil” has long been one of the most terrifying shows on television and streaming (it premiered on CBS before migrating to its current home on Paramount+), as well as one of the most profoundly philosophical.
The two aspects are inextricably linked, as the questions the series asks about faith, reason and whether evil comes from outside of us or within are explored via stories showcasing monsters both paranormal and human. Finding a visual corollary for the show’s ongoing tension between the pragmatic and the spiritual while sustaining its eerie, dread-inducing atmosphere is the job of cinematographers Fred Murphy and Petr Hlinomaz, whose bold approach to lenses and composition has turned “Evil” into not only one of the most thoughtful and frightening series on the air but one of the most visually striking.
One thing that immediately sets “Evil” apart from most...
The two aspects are inextricably linked, as the questions the series asks about faith, reason and whether evil comes from outside of us or within are explored via stories showcasing monsters both paranormal and human. Finding a visual corollary for the show’s ongoing tension between the pragmatic and the spiritual while sustaining its eerie, dread-inducing atmosphere is the job of cinematographers Fred Murphy and Petr Hlinomaz, whose bold approach to lenses and composition has turned “Evil” into not only one of the most thoughtful and frightening series on the air but one of the most visually striking.
One thing that immediately sets “Evil” apart from most...
- 8/12/2022
- by Jim Hemphill
- Indiewire
Criterion lets out the stops to celebrate a filmmaker long due for some victory laps — Claudia Weill’s endearing drama takes on the subject of a modern woman trying to be independent but human in the tough art world of New York. The Movies was a hard field to crack as well. Criterion says that when Weill was admitted to the Academy of Motion Picture Arts and Sciences in 1981, she was only the fourth woman director ever voted in. The cast of this freewheeling show is delightful — Melanie Mayron, Anita Skinner, Christopher Guest, Bob Balaban, Amy Wright, Viveca Lindfors, and of course Eli Wallach.
Girlfriends
Blu-ray
The Criterion Collection 1055
1978 / Color / 1:66 widescreen / 88 min. / available through The Criterion Collection / Street Date November 10, 2020 / 39.95
Starring: Melanie Mayron, Anita Skinner, Christopher Guest, Eli Wallach, Bob Balaban, Amy Wright, Viveca Lindfors.
Cinematography: Fred Murphy
Film Editor: Suzanne Petit
Original Music: Michael Small
Written by Vicki Polon...
Girlfriends
Blu-ray
The Criterion Collection 1055
1978 / Color / 1:66 widescreen / 88 min. / available through The Criterion Collection / Street Date November 10, 2020 / 39.95
Starring: Melanie Mayron, Anita Skinner, Christopher Guest, Eli Wallach, Bob Balaban, Amy Wright, Viveca Lindfors.
Cinematography: Fred Murphy
Film Editor: Suzanne Petit
Original Music: Michael Small
Written by Vicki Polon...
- 12/8/2020
- by Glenn Erickson
- Trailers from Hell
An epic 15-disc box set featuring the films of Federico Fellini isn’t the only release arriving on The Criterion Collection this November. Following Roma and Marriage Story, they will also be adding another Netflix title to their library: Martin Scorsese’s mob epic The Irishman. Featuring a brand-new documentary on the making of the film, a video essay by critic Farran Smith Nehme, and program on the visual effects, and more, it looks like an essential pick-up even if you already have a Netflix subscription.
Also among the November lineup is Norman Jewison’s delightful romantic drama Moonstruck, featuring interviews with the cast and crew, an audio commentary from 1998 with Cher, Jewison, and John Patrick Shanley, and more. Claudia Weill’s landmark indie drama Girlfriends is also coming to Criterion, with interviews featuring the cast and crew, short films by Weill, and more. Lastly, Jim Jarmusch’s Ghost Dog: The Way of the Samurai...
Also among the November lineup is Norman Jewison’s delightful romantic drama Moonstruck, featuring interviews with the cast and crew, an audio commentary from 1998 with Cher, Jewison, and John Patrick Shanley, and more. Claudia Weill’s landmark indie drama Girlfriends is also coming to Criterion, with interviews featuring the cast and crew, short films by Weill, and more. Lastly, Jim Jarmusch’s Ghost Dog: The Way of the Samurai...
- 8/18/2020
- by Leonard Pearce
- The Film Stage
Despite having the Oscar-winning Reversal of Fortune made from his book of the same name, it seems Alan Dershowitz this week had to have the difference between fact and fiction painstakingly explained to him by one of ViacomCBS’ top lawyers over Jeffrey Epstein.
“If we understand your letter correctly, you are complaining about a line spoken by a fictional character, in an episode of the fictional series The Good Fight,” wrote the company’s Jonathan Anschell to Dershowitz’s attorney Imran Ansari on July 28 (read it here).
The company’s response comes after a letter sent by Ansari to seemingly everyone associated with the production of The Good Fight — including creators Robert and Michelle King and producers Scott Free — alleged that the line in the Fred Murphy-directed and Laura Marks-penned season finale that aired May 28 was defamatory and could lead to further legal action.
“You make this complaint...
“If we understand your letter correctly, you are complaining about a line spoken by a fictional character, in an episode of the fictional series The Good Fight,” wrote the company’s Jonathan Anschell to Dershowitz’s attorney Imran Ansari on July 28 (read it here).
The company’s response comes after a letter sent by Ansari to seemingly everyone associated with the production of The Good Fight — including creators Robert and Michelle King and producers Scott Free — alleged that the line in the Fred Murphy-directed and Laura Marks-penned season finale that aired May 28 was defamatory and could lead to further legal action.
“You make this complaint...
- 7/31/2020
- by Dominic Patten
- Deadline Film + TV
Horton Foote strikes again, with a warm and thoughtful tale of life as it was lived in East Texas in 1950. Geraldine Page won an Oscar for her unguarded portrait of Carrie Watts, a woman who has outlived her peers and been uprooted from an ideal hometown of her youth. Her trip to recover her life becomes a bittersweet acknowledgment that some things just need to be accepted with as much grace as can be mustered.
The Trip to Bountiful
Blu-ray
Kl Studio Classics
1985 / Color / 1:85 widescreen / 108 min. / Street Date September 25, 2018 / available through Kino Lorber / 29.95
Starring: Geraldine Page, John Heard, Carlin Glynn, Richard Bradford, Rebecca De Mornay.
Cinematography: Fred Murphy
Film Editor: Jay Freund
Original Music: Norman Kasow, J.A.C. Redford
Written by Horton Foote from his play
Produced by Dennis Bishop, Horton Foote, Sam Grogg, Sterling Van Wagenen, George Yaneff
Directed by Peter Masterson
They say ‘you can’t go home...
The Trip to Bountiful
Blu-ray
Kl Studio Classics
1985 / Color / 1:85 widescreen / 108 min. / Street Date September 25, 2018 / available through Kino Lorber / 29.95
Starring: Geraldine Page, John Heard, Carlin Glynn, Richard Bradford, Rebecca De Mornay.
Cinematography: Fred Murphy
Film Editor: Jay Freund
Original Music: Norman Kasow, J.A.C. Redford
Written by Horton Foote from his play
Produced by Dennis Bishop, Horton Foote, Sam Grogg, Sterling Van Wagenen, George Yaneff
Directed by Peter Masterson
They say ‘you can’t go home...
- 9/22/2018
- by Glenn Erickson
- Trailers from Hell
Special Mention: Death Proof
Written and directed by Quentin Tarantino
USA, 2007
Genre: Slasher
The obvious reference points of Death Proof are such movies as Vanishing Point, Roadgames, Dirty Mary Crazy Larry, and even Spielberg’s Duel – but Death Proof is influenced by more than just vehicular horror. Tarantino’s homage to the road-fury genre is really two movies in one, offering two versions of the same story about two separate groups of beautiful women who are stalked by a homicidal maniac who uses his car (his weapon of choice) to terrorize and eventually kill his victims. Death Proof can easily be viewed as two slasher films, with the second half acting as a sequel, offering new, beautiful victims for the murderous Stuntman Mike (Kurt Russell) to terrorize. It’s a grim stalk-and-slash picture with a blaring commentary of female empowerment. Replace the typical sharp edged blade with a car, and...
Written and directed by Quentin Tarantino
USA, 2007
Genre: Slasher
The obvious reference points of Death Proof are such movies as Vanishing Point, Roadgames, Dirty Mary Crazy Larry, and even Spielberg’s Duel – but Death Proof is influenced by more than just vehicular horror. Tarantino’s homage to the road-fury genre is really two movies in one, offering two versions of the same story about two separate groups of beautiful women who are stalked by a homicidal maniac who uses his car (his weapon of choice) to terrorize and eventually kill his victims. Death Proof can easily be viewed as two slasher films, with the second half acting as a sequel, offering new, beautiful victims for the murderous Stuntman Mike (Kurt Russell) to terrorize. It’s a grim stalk-and-slash picture with a blaring commentary of female empowerment. Replace the typical sharp edged blade with a car, and...
- 10/14/2015
- by Ricky Fernandes
- SoundOnSight
Q The Winged Serpent
Directed by Larry Cohen
Written by Larry Cohen
1982, USA
Genre pioneer Larry Cohen takes a stab at the giant-monster genre with Q, The Winged Serpent, a first-rate grade-z schlock masterwork, which successfully combines a film noir crime story with good old-fashioned creature effects. The title refers to the winged Aztec god Quetzalcoatl, represented here as a dragon-like, flying serpent hovering over New York City. Detectives Shepard (David Carradine) and Powell (Richard Roundtree) investigate a bizarre series of deaths where victims have been snatched from high-rise buildings and dropped to the streets below, minus their head. After witnesses report seeing the flying creature, Shepard follows a lead that Quetzalcoatl has been brought back to life by a series of sacrifices performed by a killer they are also chasing. Meanwhile, when a diamond heist goes wrong, petty thief Jimmy Quinn (Michael Moriarty) hides out in the infrastructure of...
Directed by Larry Cohen
Written by Larry Cohen
1982, USA
Genre pioneer Larry Cohen takes a stab at the giant-monster genre with Q, The Winged Serpent, a first-rate grade-z schlock masterwork, which successfully combines a film noir crime story with good old-fashioned creature effects. The title refers to the winged Aztec god Quetzalcoatl, represented here as a dragon-like, flying serpent hovering over New York City. Detectives Shepard (David Carradine) and Powell (Richard Roundtree) investigate a bizarre series of deaths where victims have been snatched from high-rise buildings and dropped to the streets below, minus their head. After witnesses report seeing the flying creature, Shepard follows a lead that Quetzalcoatl has been brought back to life by a series of sacrifices performed by a killer they are also chasing. Meanwhile, when a diamond heist goes wrong, petty thief Jimmy Quinn (Michael Moriarty) hides out in the infrastructure of...
- 9/22/2013
- by Ricky
- SoundOnSight
Cameras started rolling on the third season of CBS’s The Good Wife today, and while Christine Baranski, who just scored her second supporting actress Emmy nomination for the role of Diane — her ninth career Emmy nod — won’t begin shooting until next week, she tells EW she’s already hard at work on the show’s casting director Mark Saks. “You may see another involvement with a guy, maybe a younger love interest. I don’t know. I don’t know,” she says nonchalantly when asked what awaits Diane this fall. Her ideal beau? “You know what I keep whispering in Mark Saks’ ear,...
- 7/15/2011
- by Mandi Bierly
- EW - Inside TV
Tomorrow is the first day of shooting for season 3 of CBS’ The Good Wife, and what better way to welcome the cast back than with nine Emmy nominations — including nods for the series, actors Julianna Margulies, Josh Charles, Christine Baranski, Archie Panjabi, Alan Cumming, and guest star Michael J. Fox, as well as casting director Mark Saks and director of photography Fred Murphy? Charles, who’s celebrating his first-ever Emmy nom, returned to New York last night after two-and-a-half weeks out of the country. (“Obviously, when you’re walking around Jerusalem or in the Dead Sea or Masada, it’s...
- 7/14/2011
- by Mandi Bierly
- EW - Inside TV
Auto Focus continues filmmaker Paul Schrader's fascination with how the male personality can disintegrate. It joins a number of films he has written or directed in which some mutant gene, some strange quirk in the emotional fabric, condemns a man to obsessive behavior he can neither fix nor abandon.
This time it's the story of actor and radio personality Bob Crane, whose hidden gene caused him to become addicted to sex and pornography, leading him into a murky world that ended with his murder in 1978.
Despite all of Schrader's films delving into this theme, the director's focus on this troubled character remains peculiarly fuzzy. Schrader seemingly has no point of view about Crane. We watch a life fall apart as one could observe an organism under a microscope -- with neither passion nor compassion. It comes awfully close to an exercise in morbidity.
Sony Pictures Classics will need all of Schrader's marquee power along with that of stars Greg Kinnear and Willem Dafoe to draw the curious to such downbeat fare. Crane's story does fascinate in a train-wreck sort of way. But the picture leaves one with a slightly sick, unclean feeling -- a feeling that Taxi Driver and his underrated, brilliant Affliction never did.
Crane first came to public attention with a morning drive-time radio show in Los Angeles in the late '50s, on which he played drums, goofed around with sound effects and conducted celebrity interviews. My own memory of that show includes an occasional editorial swipe at "risque" Hollywood movies. Hard to believe what followed.
Kinnear's Crane adopts an eager-to-please personality as a means to win friends and influence the right people to advance in show business. He lands the lead in the TV series Hogan's Heroes in 1965, quickly becoming a household name. The movie, written by Michael Gerbosi from Robert Graysmith's book "The Murder of Bob Crane," insists that fame doesn't go to his head; rather he develops an unhealthy palship with an electronic and photography whiz named John Carpenter (Dafoe).
John is on the cutting edge of early videography. Soon Crane not only has prototypical video equipment in his living room, he accompanies his new friend to Hollywood strip clubs to play the drums. Slowly but inexorably Crane gets drawn into the pre-AIDS netherworld of strippers, promiscuous sex and the kinkiness of recording his own sexual escapades. Not even divorce from his first wife (Rita Wilson) and marriage to a second (Maria Bello) slows him down. These obsessions rule his life and damage his career until he decides to go cold turkey -- which means breaking off his friendship with John. The next morning he is found bludgeoned to death in a motel room. Most evidence points to John as the killer, but he is never convicted.
Schrader and cinematographer Fred Murphy visually depict this downward spiral by opening the film with bright, cheery, saturated colors, then gradually shifting to monochromatic, desaturated tones that mirror the home videos Crane so loves. But Crane's emotional breakdown is not so easily charted.
Crane's is an unexamined life. When he does put the brakes to his obsessions, t his stems not from any moral or spiritual epiphany but simply a wise career move. He is forever Hogan, a smart, snappy guy with a crooked smile that makes sexual conquest easy.
Schrader never examines the two men's relationship in any fundamental way -- not their sexual identity, their emotional makeup nor the factors that bind them together.
The period details do work well. They remind us of an era when the Playboy philosophy was taken seriously and a life of sexual pursuit was seen as a kind of freedom rather than a kind of enslavement. It is here the cautionary tale works best, as an example of what happens when one realizes the wrong dream.
AUTO FOCUS
Sony Pictures Classics
Focus Puller Inc.
Credits:
Director: Paul Schrader
Writer: Michael Gerbosi
Based on the book "The Murder of Bob Crane" by: Robert Graysmith
Producers: Scott Alexander, Larry Karaszewski, Todd Rosken, Pat Dollard
Executive producers: Trevor Macy, Rick Hess, James Schamus
Director of photography: Fred Murphy
Production designer: James Chinlund
Music: Angelo Badalamenti
Costume designer: Julie Weiss
Editor: Kristina Boden
Cast:
Bob Crane: Greg Kinnear
John Carpenter: Willem Dafoe
Anne Crane: Rita Wilson
Patricia Crane: Maria Bello
Lenny: Rob Leibman
Running time -- 104 minutes
No MPAA rating...
This time it's the story of actor and radio personality Bob Crane, whose hidden gene caused him to become addicted to sex and pornography, leading him into a murky world that ended with his murder in 1978.
Despite all of Schrader's films delving into this theme, the director's focus on this troubled character remains peculiarly fuzzy. Schrader seemingly has no point of view about Crane. We watch a life fall apart as one could observe an organism under a microscope -- with neither passion nor compassion. It comes awfully close to an exercise in morbidity.
Sony Pictures Classics will need all of Schrader's marquee power along with that of stars Greg Kinnear and Willem Dafoe to draw the curious to such downbeat fare. Crane's story does fascinate in a train-wreck sort of way. But the picture leaves one with a slightly sick, unclean feeling -- a feeling that Taxi Driver and his underrated, brilliant Affliction never did.
Crane first came to public attention with a morning drive-time radio show in Los Angeles in the late '50s, on which he played drums, goofed around with sound effects and conducted celebrity interviews. My own memory of that show includes an occasional editorial swipe at "risque" Hollywood movies. Hard to believe what followed.
Kinnear's Crane adopts an eager-to-please personality as a means to win friends and influence the right people to advance in show business. He lands the lead in the TV series Hogan's Heroes in 1965, quickly becoming a household name. The movie, written by Michael Gerbosi from Robert Graysmith's book "The Murder of Bob Crane," insists that fame doesn't go to his head; rather he develops an unhealthy palship with an electronic and photography whiz named John Carpenter (Dafoe).
John is on the cutting edge of early videography. Soon Crane not only has prototypical video equipment in his living room, he accompanies his new friend to Hollywood strip clubs to play the drums. Slowly but inexorably Crane gets drawn into the pre-AIDS netherworld of strippers, promiscuous sex and the kinkiness of recording his own sexual escapades. Not even divorce from his first wife (Rita Wilson) and marriage to a second (Maria Bello) slows him down. These obsessions rule his life and damage his career until he decides to go cold turkey -- which means breaking off his friendship with John. The next morning he is found bludgeoned to death in a motel room. Most evidence points to John as the killer, but he is never convicted.
Schrader and cinematographer Fred Murphy visually depict this downward spiral by opening the film with bright, cheery, saturated colors, then gradually shifting to monochromatic, desaturated tones that mirror the home videos Crane so loves. But Crane's emotional breakdown is not so easily charted.
Crane's is an unexamined life. When he does put the brakes to his obsessions, t his stems not from any moral or spiritual epiphany but simply a wise career move. He is forever Hogan, a smart, snappy guy with a crooked smile that makes sexual conquest easy.
Schrader never examines the two men's relationship in any fundamental way -- not their sexual identity, their emotional makeup nor the factors that bind them together.
The period details do work well. They remind us of an era when the Playboy philosophy was taken seriously and a life of sexual pursuit was seen as a kind of freedom rather than a kind of enslavement. It is here the cautionary tale works best, as an example of what happens when one realizes the wrong dream.
AUTO FOCUS
Sony Pictures Classics
Focus Puller Inc.
Credits:
Director: Paul Schrader
Writer: Michael Gerbosi
Based on the book "The Murder of Bob Crane" by: Robert Graysmith
Producers: Scott Alexander, Larry Karaszewski, Todd Rosken, Pat Dollard
Executive producers: Trevor Macy, Rick Hess, James Schamus
Director of photography: Fred Murphy
Production designer: James Chinlund
Music: Angelo Badalamenti
Costume designer: Julie Weiss
Editor: Kristina Boden
Cast:
Bob Crane: Greg Kinnear
John Carpenter: Willem Dafoe
Anne Crane: Rita Wilson
Patricia Crane: Maria Bello
Lenny: Rob Leibman
Running time -- 104 minutes
No MPAA rating...
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