The Sting (1973)
Not so fast.
While 53 of the 89 Best Picture champs to date include an Oscar-winning performance, 36 of them (40%) did not win any acting awards. And among those three dozen winners are four of the eight films — “The Hurt Locker” (2009), “Argo” (2012), “Birdman” (2015) and “Spotlight” (2016) — decided by preferential ballot under the newly expanded slate of Best Picture nominees.
Surprisingly, an even dozen of the Best Picture winners did not even reap any acting nominations. That is welcome news for “Arrival,” which does not number an acting bid among its eight nominations. However, four of those films
The wrestler-turned-actor, 45, fulfilled his childhood dream of learning to play a song with the musical instrument… but with a twist.
“As a kid I had this dream of playing my favorite ragtime song, ‘The Entertainer’ from Marvin Hamlisch on piano. But I truly sucked at piano. Until I started using my feet,” he captioned the Instagram video shared Sunday afternoon.
The tune, written by jazz musician Scott Joplin, was popularly adapted by Hamlisch for the film classic The Sting in 1973.
The film’s star Mary J. Blige not only received a supporting actress nomination, but she is also nominated for Best Original Song for “Mighty River” from the film, alongside co-writers Raphael Saadiq and Taura Stinson.
But it’s been baby steps for women behind the camera in terms of Oscar nominations, let alone wins.
Here is a look at some of the trailblazers:
See 2018 Oscar nominations: Full list of Academy Awards
Production designers Dennis Gassner and Paul Austerberry will square off for the Oscar. Gassner, the favorite, created a harsh and brutalistic dystopia for Denis Villeneuve’s “Blade Runner” sequel, while Austerberry’s brought noir and water motifs to Guillermo del Toro’s period fantasy-romance.
For TV, “Game of Thrones,” (period or fantasy), “The Handmaid’s Tale” (contemporary), “Black Mirror” (limited series), “Glow” (half-hour series), and “Will & Grace” (multi-camera series) were the big winners.
Adg honors went to Lucasfilm president and “Star Wars” franchise producer Kathleen Kennedy
Continue reading ‘American Animals’: A Real Life Heist Steals From Tired Clichés [Sundance Review] at The Playlist.
It has been an incredible year for female stories, both real and fictional. The “Me Too” and “Time’s Up” movements have shined
“The Post” is Williams’ 28th film for the director and could, when the Oscar nominations are announced a month from now, become his 51st. He already has five Academy Awards and is the most-nominated living person.
In general, composers say, newspaper movies are tough assignments. First, they tend to be verbose and expository; and second, they are often as objective as the journalists they depict, and manipulative music may seem out of place. Yet, over the years, some have produced compelling music to complement powerful dialogue.
Orson Welles’ “Citizen Kane” (1941) was the first film score to composed by the legendary Bernard Herrmann, who had spent much of the previous decade working with Welles in radio. Here, the Boston Pops
We had to start our list with Martin Scorsese’s gambling masterpiece. This has everything you need in a casino film with Robert De Niro very impressive as the guy from the mob who takes over a Las Vegas gambling establishment. But it was Sharon Stone’s show-stopping performance as Ginger McKenna that really added that all-important glamour factor.
But for suave sophistication it’s hard to beat the 2001 remake of Ocean’s Eleven. With an awesome script that saw a bunch of very stylish guys attempting a heist
Warner Archive Collection
1973 / Color / 2:40 widescreen / 112 min. / Street Date October 31, 2017 / available through the WBshop / 21.99
Starring: Gene Hackman, Al Pacino, Dorothy Tristan, Ann Wedgeworth, Richard Lynch, Eileen Brennan, Penny Allen, Richard Hackman, Al Cingolani, Rutanya Alda.
Cinematography: Vilmos Zsigmond
Film Editor: Evan Lottman, Craig McKay
Production Design: Albert Brenner
Original Music: Fred Myrow
Written by Garry Michael White
Produced by Robert M. Sherman
Directed by Jerry Schatzberg
Movie-wise, everything was up in the air in the early 1970s. The view from Westwood in West Los Angeles, then the place to go see a film,
Now we know.
A 40th Anniversary trailer and poster have landed for Sony Pictures Close Encounters Of The Third Kind. The film will be re-released in cinemas September 1, 2017.
As a highlight of the celebration, the film has been restored and remastered in 4K and will be returning to the big screen in the United States and Canada. The Director’s Cut will receive an exclusive 1 week engagement in theaters across the country starting September 1, as well as a World Premiere in the Venezia Classici section of the Venice International Film Festival.
In their original review from 1977, The Hollywood Reporter wrote:
“To get to the bottom line with minimum delay,
A cult gem in its own right, 1981's Galaxy Of Terror also gave James Cameron his start in big-screen filmmaking...
In most respects, it's pure Roger Corman: low-budget, swiftly made, and loaded with gratuitous gore and bare flesh. But take a closer look at Galaxy Of Terror, the amiably tawdry sci-fi horror flick released by Corman's New World in 1981, and you'll see the creative fingerprints of one James Cameron.
See related 8 Star Wars games we'd like to see
Directed by Bruce D Clark - who also co-wrote - Galaxy Of Terror slams together the plots of Ridley Scott's Alien and the 50s classic, Forbidden Planet. A group of explorers land on the planet Morganthus, where they discover a huge ancient pyramid; one by one, the visitors are terrorised and killed by monsters from their subconscious. One luckless character is torn apart by claws and tentacles
You find the Vaughn character selling cars and his arm is so shot that if you buy a car from him, he’ll play catch with your kid in the parking lot. And then there is an ex who shows up, who he had a tryst with a couple decades ago, and she has a twentysomething kid, who is now in the Cleveland organization, throwing about 102 mph. So, the story pretty much focuses on that. The kid does not like me. We do not like each other. It bookends our story, but it also passes the torch.
While Sheen may be excited for the project, the rights holder, Morgan Creek Films, has no interest in making the movie:
With the rumour that Justice League is going to clock in at just shy of three hours, it’s time to ask when did movies start getting really long?
Of course, there have always been long movies, but back then films came with an intermission, now we’re expected to sit through 170 minutes with no respite. There are a couple of reasons for this, I reckon. Though Zack Snyder has denied the movie will be that long, it sounds about right.
One is that with franchise films, each instalment has to be bigger and better, both metaphorically and literally. Everyone wants more action sequences than the last, and everyone wants more characters, too, which is where the second reason comes in.
Every actor wants to be the lead in a film and to receive top billing, but that
It's an understandable impulse, of course. (Who doesn't love Afros or piles of cocaine?) But taking such a superficial approach to the seventies means glossing over the grittier,
By: Carson Blackwelder
There was always a chance for the best picture category at the 2017 Academy Awards to feature solid representation for female producers and, with the nominations official, the numbers are in. Turns out there are five of the nine films in this year’s top category with women behind it — but how does that stand up to the rest of Oscar history?
As mentioned above, there are five out of the total nine films in the best picture category this year that took some girl power to get made. There’s Hell or High Water (Carla Hacken and Julie Yorn), Hidden Figures (Donna Gigliotti and Jenno Topping), Lion (Angie Fielder), Manchester by the Sea (Kimberly Steward and Lauren Beck), and finally Moonlight (Adele Romanski and Dede Gardner). This leaves out Arrival, Fences, Hacksaw Ridge, and La La Land as
Is there a prouder American institution than that of the con artist? They abound throughout our history and literature. Huckleberry Finn adventured with the Duke and the Dauphin, Herman Melville gave us a literal boatload of con men in The Confidence Man, and Paul Newman and Robert Redford grifted and conned their way through The Sting.
And it’s not just fiction. Not only are all the aforementioned con artists based on real people, but they just keep popping up in the tale of America: Bernie Madoff, Frank Abagnale and Mel Weinberg are all living men infamous for their tricks of confidence. Even the sitting president has been labeled a con artist by both his detractors and members of his own political party.
With all this said, is it necessary to tell another story centered around con artists? Someone certainly seems to think so.
The elements are there for a good story with Gold, but they don’t fit together well thanks to an underwritten script and
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