Most movies that break out of the pack, with their own special blend of technique and vision, can be said to defy categories. But Alfonso Cuarón’s Gravity, which drew massive audiences this weekend and, I suspect, spoke to them (as it did to me) in a powerful and transporting way, may be a unique case. Offhand, I can’t name a science fiction movie that mesmerizes you because it feels at once so novel and so retro, so thrillingly forward-thinking and so exquisitely cast from the visual poetry of a long-ago era. Just think about it: READ FULL STORY
Tag: Stanley Kubrick (1-8 of 8)
Matthew Modine on his short-films collection and how making 'Cutthroat Island' felt like being kidnapped -- EXCLUSIVE VIDEO
Before Matthew Modine became an actor and starred in movies like Vision Quest and Memphis Belle, he dreamed of becoming a painter. It was the back-up career he never needed after a solid 30-year career of memorable roles on film, television, and the Broadway stage. But he never lost his artistic eye, which proved useful in other creative pursuits, beginning with his collaboration with Stanley Kubrick on 1987’s Full Metal Jacket. Modine documented that complicated production experience with still photography, and working with the esteemed director of 2001 and A Clockwork Orange inspired him to try his own hand behind the camera.
Modine has directed about a dozen short films, several of which debuted at the Sundance Film Festival. Six of his favorites are part of a new collection from the Short Movie Channel, The Short Films of Matthew Modine, which becomes available for download tomorrow. The shorts, which were made between 1993 and 2011, include collaborations with director Todd Field (Little Children) and writer David Sedaris, and as a collection, they present a very personal insight into the worldview of the artist. “I like the way they fit together,” says Modine. “There’s a progression as a filmmaker, stylistically, and strength of cinematic storytelling. And if there’s something about them, it is about forgiveness and acceptance. That’s the one common thread that runs through each of them.”
Modine, who worked with Christopher Nolan on last year’s The Dark Knight Rises and co-stars opposite Ashton Kutcher on the upcoming Steve Jobs biopic Jobs, is currently working to bring the 1961 Civil War novel, Walk Like a Man, to the big screen. He recently chatted with EW about his short films.
'Room 237': Check out the poster for the awesome new documentary about Stanley Kubrick's 'The Shining' -- EXCLUSIVE
In Stanley Kubrick’s 1980 horror classic The Shining, Scatman Crothers’ chef Hallorann warns Danny Lloyd’s Danny to stay the hell away from room 237 of the Overlook Hotel — which turns out to excellent, if ignored, advice. But while room 237 is to be avoided, the new documentary Room 237 is a must-see, one which EW’s Owen Gleiberman has described as a “mesmerizing pop-art document.” The work of first-time director Rodney Ascher, the film showcases the theories of five obsessive Shining fans as to what Kubrick really intended with his Stephen King adaptation and features footage from both that snowy chiller and many others.
Room 237 opens theatrically on March 29 and will also be available on VOD, SundanceNOW, and other digital outlets from that date. You can check out the film’s trailer, synopsis, and — exclusively — the new Room 237 poster below.
Cannes: Horror stalks the Croisette in 'Dario Argento's Dracula' and an amazing documentary about 'The Shining'
At a film festival dominated by subtitled deep-think, you sometimes need a break. You need a meal, or a drink, or a nap. Or, just maybe, you need a movie like Dario Argento’s Dracula. I’ve never been the biggest fan of this schlock-operatic Italian splatter maven, but after such fevered orgies of gore as Suspiria and Unsane, the thought of him going back to the source — going back to Dracula — sounded appealing. Dracula turns out to be ripely entertaining in a kitschy-sincere old-fashioned way. (The kitsch is in how sincere it is.) It’s true, to a far greater degree than I expected, to Bram Stoker’s novel — much truer than Francis Coppola’s version — and the feel is pure Christopher Lee Hammer horror: the fleshy writhing bosoms (though in this case, they’re uncorseted), the blood smeared like tomato sauce across the mouth of Dracula — played, in a very straight 1960s haircut but with a lot of zest, by Thomas Kretschman. In an age of designer vampires, the movie rekindles the grandeur of Dracula. In this movie, he’s the vampire as aristocratic pimp, and when he sinks his fangs into necks, he really acts out the hunger; you can taste how good it tastes to him. Most of the acting is cardboard-hammy-inept (Asia Argento, who of course strips down for her dad, is better than usual — but then, she always sounds like she’s from Transylvania), and the director, who’s now 71, stages his gruesome effects in a way that’s so primitive that they’ve acquired a novel tactility. You can’t skewer eyeballs, lop off heads, and uncork geysers of blood with this much junky ingenuity unless you believe, in your showman’s heart, in the deep sensuality of violence. READ FULL STORY
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