The 1970s was the Golden Age of the “Movie of the Week” with the three networks –ABC, CBS and NBC — not only offering theatrical flicks several days a week, but also made-for-tv movies. These ran the gamut from the silly — 1973’s “The Horror at 37,000 Feet” — to such acclaimed award-winning fare as 1970’s “Tribes,” 1971’s “Brian’s Song” and “Duel,” 1972’s “That Certain Summer” and “The Glass House,” 1974’s “The Autobiography of Miss Jane Pittman” and 1975’s “Queen of the Stardust Ballroom” and “Love Among the Ruins.”
I have especially warm memories of ABC’s “Love Among the Ruins,” which marked the only film pairing of Oscar-winning legends Katharine Hepburn and Laurence Olivier. I was a junior in college when it originally aired and I recall an Sro crowd at the Brooks Hall TV lounge at Allegheny College in Meadville (Sharon Stone’s hometown) Pa to watch the exquisite romantic comedy.
I have especially warm memories of ABC’s “Love Among the Ruins,” which marked the only film pairing of Oscar-winning legends Katharine Hepburn and Laurence Olivier. I was a junior in college when it originally aired and I recall an Sro crowd at the Brooks Hall TV lounge at Allegheny College in Meadville (Sharon Stone’s hometown) Pa to watch the exquisite romantic comedy.
- 4/17/2020
- by Susan King
- Gold Derby
Joe Wright's "Anna Karenina" (November 16) looks to be a highly original take on the Leo Tolstoy classic, but it's certainly not the first time (or even the 10th) that the Russian romance has been adapted for the big screen. Below, a compare-and-contrast of six film versions. "Anna Karenina," 1935: Greta Garbo stars in the title role, with Fredric March as Vronsky. Clarence Brown ("National Velvet" and another Garbo vehicle, "Anna Christie") directs. This was Garbo's second outing as Anna K., with her first go-around in 1927's "Love" (see below). The film's budget is estimated at just north of $1 million, with the domestic take at $865K. The film is 100% Fresh, and Emmanuel Levy writes: "In her 23rd film, Garbo's luminous performance, as the adulterous protag of Tolstoy's novel, is way above the mediocre level of the narrative and direction; the film is a remake of 'Love,' in which.
- 8/20/2012
- by Beth Hanna
- Thompson on Hollywood
The warning signs for Battle: Los Angeles were there for us when Sony made the unprecedented decision to not screen the movie for U.K. blogs in an attempt to avoid the critics mauling they must have known was coming. A heavy U.S. embargo has just been lifted on the movie (notice – just hours before it opens tomorrow) and the backlash against Battle: La is thunderous and defeaning.
Legendary film critic Roger Ebert has given the movie half a star (!);
“Battle: Los Angeles” is noisy, violent, ugly and stupid. Its manufacture is a reflection of appalling cynicism on the part of its makers, who don’t even try to make it more than senseless chaos. Here’s a science-fiction film that’s an insult to the words “science” and “fiction,” and the hyphen in between them. You want to cut it up to clean under your fingernails.
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Legendary film critic Roger Ebert has given the movie half a star (!);
“Battle: Los Angeles” is noisy, violent, ugly and stupid. Its manufacture is a reflection of appalling cynicism on the part of its makers, who don’t even try to make it more than senseless chaos. Here’s a science-fiction film that’s an insult to the words “science” and “fiction,” and the hyphen in between them. You want to cut it up to clean under your fingernails.
View Poll...
- 3/10/2011
- by Matt Holmes
- Obsessed with Film
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