Saturday Night Fever (1977) - News Poster


Lucifer Season 3 Episode 11 Review: City of Angels

  • TVfanatic
Maybe if it wasn't a holiday, Lucifer Season 3 Episode 11 would have been more fun.

Then again, fun is fun, and given the opportunity to go back to the beginning, there wasn't a whole lot of it considering.

"City of Angels" was obviously another of the standalone episodes shoveled into Lucifer Season 3 because there was nothing else to do here while we're anxiously awaiting news on Cain.

I'm not going to turn down the opportunity to see Tom Ellis strutting down the Venice promenade like Tony Manero from Saturday Night Fever. If anyone could wear that suit today and get away with it, it would be Ellis. He looked damn good.

Nothing was important enough to drag me to work before my holiday was over, though.

Did I really want to watch and review this on New Year's Day? No. I didn't. It should have been a helluva lot more entertaining
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10 Things You Didn’t Know about “Saturday Night Fever”

Saturday Night Fever is one of those films you look back on and then look to the current culture of today and then spend a few minutes trying to reconcile how such things could have possibly been considered normal back then. It’s hitting its 40th anniversary this week since being released and while a lot of people have kind of forgotten a great deal about it there are areas around the Us that still idolize Tony Manero for their own reasons. The reason I find this disturbing is that while he was guy disillusioned by his life spent at a

10 Things You Didn’t Know about “Saturday Night Fever
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Saturday Night Fever: The Ultimate Disco Movie review – Bruno Tonioli hits the floor

The Strictly judge took a loving look behind the scenes of the film that made John Travolta an A-list star and made disco a global phenomenon

“Forty years ago, one film changed the world,” said Strictly Come Dancing judge Bruno Tonioli, speaking of Saturday Night Fever. You might not remember it that way. You might recall Saturday Night Fever coming out and the world staying pretty much the same. But it’s Christmas – let’s give Bruno’s thesis a full hearing.

Saturday Night Fever: The Ultimate Disco Movie (BBC2) was a deep dive into the making of a low-budget, possibly world-changing film, with contributions from its cast members, producers and one of its directors. What promised to be an over-the-top fan letter from Tonioli was, in the end, an entertaining examination of the making of an accidental blockbuster.

Continue reading...
See full article at The Guardian - TV News »

Al Pacino's New Movie Earns Rare 0% Rating on Rotten Tomatoes

Al Pacino's New Movie Earns Rare 0% Rating on Rotten Tomatoes
Al Pacino, no matter what happens during the rest of his acting career, will always be remembered as one of the greatest actors to ever grace the silver screen. Still, his more recent efforts have left something to be desired and, if Rotten Tomatoes is to be believed, his latest movie is no different. In fact, his new movie Hangman has earned a very rare distinction. Hangman is now one of very few, terrible movies that boasts a 0 percent approval rating from critics on Rotten Tomatoes. Ouch.

Hangman, which arrives in theaters for limited release this weekend, co-stars Karl Urban and Brittany Snow. A couple of respectable actors in their own right. So what went so wrong here? Apparently, a whole lot. As of this writing, there are 11 reviews counted for Hangman and every single of them is negative. Here's what the Los Angeles Times had to say about the movie in their negative review.
See full article at MovieWeb »

Al Pacino’s ‘The Hangman’ Gets Rare 0 Percent Rotten Tomatoes Rating

  • The Wrap
Al Pacino’s ‘The Hangman’ Gets Rare 0 Percent Rotten Tomatoes Rating
He may have multiple Oscars, Emmys, Golden Globes and even two Tony Awards, but Al Pacino’s newest movie, “The Hangman,” has received the rare 0 percent critics rating on Rotten Tomatoes, TheWrap has learned. Pacino’s latest bomb joins Adam Sandler’s “The Ridiculous 6” in the zero percent club along with Elle Fanning’s “The Nutcracker in 3D,” and the “Saturday Night Fever” sequel “Staying Alive.” “The Hangman” centers on decorated homicide detective Ray Archer (Pacino) who partners with criminal profiler Will Ruiney (Karl Urban) to catch one of the city’s notoriously vicious serial killers, who is playing a twisted version of murder.
See full article at The Wrap »

Saturday Night Fever Turns 40: The Top Five Movie Moments

The year was 1977. It was a time marked by perms and afros, huge flares and sweet dance moves – not to mention John Travolta’s first blockbuster hit, Saturday Night Fever. This classic film, which celebrated its fortieth anniversary this month, is widely renowned as the quintessential story of 1970s Brooklyn. In fact, the movie was added to the National Film Registry in 2010 – a section of the Library of Congress reserved for movies deemed “culturally, historically, or aesthetically significant”. The movie exposed the gritty reality of disco culture, following the story of dance enthusiast Tony Manero (played by

Saturday Night Fever Turns 40: The Top Five Movie Moments
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Stayin’ Alive: 40 Years of Saturday Night Fever

  • Cineplex
Stayin’ Alive: 40 Years of Saturday Night FeverStayin’ Alive: 40 Years of Saturday Night FeverKurt Anthony12/15/2017 10:31:00 Am

Whether you’re a brother or whether you’re a mother, everybody knows Saturday Night Fever!

Strutting into theatres on December 16, 1977, the iconic disco drama celebrates its 40th anniversary today and we’ve got boogie fever!

Directed by John Badham (Dracula, WarGames), Saturday Night Fever was inspired by a New York Magazine article titled “Tribal Rites of the New Saturday Night” and went on to become a massive box office success. Shot on a modest budget of $3M, the film has since earned over $237M worldwide!

Starring John Travolta as the groove-shakin’ Tony Manero, Saturday Night Fever served as a breakout role for the talented triple-threat and even earned him a Best Actor nomination at the 1978 Academy Awards.

Of course, there wouldn’t be much dancing without music! One of the best-selling soundtracks of all time,
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John Waters Annual Top Ten List

by Nathaniel R

Everyone's favorite weirdo kitsch and camp-loving auteur has released his annual top ten list. Though we really wish he'd make one last movie (A Dirty Shame was a weird thing to end on 13 years ago!) at least he's still with us as a cultural voice. His lists are always so fun to read because they're reliably eclectic with a little bit of every type of movie and usually one thing we've never heard of (this time that's I, Olga Hepnarova... a black and white docudrama about a chainsmoking lesbian in Prague). Topping his 2017 list is Edgar Wright's Baby Driver. He writes:

The best movie of the year is a popcorn thriller, an art film, and a gearhead classic that grossed over $100 million. It deserved to! Watching the star turn of Ansel Elgort was like seeing John Travolta in Saturday Night Fever for the first time.

See full article at FilmExperience »

Filmmaking Legends on How New York’s Era of Decay Sparked a Creative Revolution

Filmmaking Legends on How New York’s Era of Decay Sparked a Creative Revolution
In the 1970s and early ’80s, New York City embodied the revolution taking place in American cinema. It was brash and brutal, crude and powerful, sexy and grimey, and had a swagger that was unmistakable.

It was also a low point for the city. The Bronx was burning, crime was rising and city hall was broke. But even as respectable folks fled for the safety of the suburbs, New York became a canvas for talented filmmakers. From “The French Connection” to “Saturday Night Fever,” it posed as the setting of classic films that ushered in a new era of on-screen realism. It was the age of De Niro and Pacino, Scorsese and Lumet, talents who upended the sterile and factory-like approach to making movies that dominated the studio system.

It’s a revolution in filmmaking that’s over. Just as Times Square, the setting of “Taxi Driver,” has been replaced by a fantasyland for tourists, movies
See full article at Variety - Film News »

First Trailer For John Travolta As Legendary Crime Boss ‘Gotti’ [Watch]

John Travolta’s comeback in the 1990s is one of the more famous in American stardom. In the 1970s, Travolta became one of the biggest draws around thanks to “Grease” and “Saturday Night Fever,” but spent much of the 1980s in a series of disappointments, culminating in the “Look Who’s Talking” franchise.But then, Quentin Tarantino came knocking with “Pulp Fiction,” and Travolta became an even bigger star than before, with a run of terrific movies including “Get Shorty,” “Face/Off,” “The Thin Red Line” and “Primary Colors.”

If that was a peak, recent years have been something of a trough: Travolta’s recent films have mostly, like similar actors of his vintage, been cheap VOD jobs with titles you’ve not heard of like “The Forger,” “Life On The Line,” “Criminal Activities” and “I Am Wrath” (with Ti West’s underrated, underseen “In A Valley Of Violence” a
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Toronto Film Review: ‘Razzia’

Toronto Film Review: ‘Razzia’
If political courage were a measure of artistic merit, Moroccan director Nabil Arouch’s “Razzia,” a kaleidoscopic drama about intolerance and social tumult in Casablanca, would be a formidable achievement. As it stands, Arouch’s decision to keep courting controversy after his last film, “Much Loved,” was banned from Morocco for its depiction of prostitution in Marrakech is laudable in a country where the censors hold sway. Yet the everything-is-connected framework, linking five stories across a 30-year span, plays like a multipronged pitchfork wielded against the establishment, with each character sharpened to a point. The message-first approach drains the film of spontaneity and depth, despite the rousing passion of its director. A prime spot in Tiff’s Platform competition will raise its profile, but “Razzia” may struggle to find a home, inside and outside Morocco.

With repeated references to “Casablanca,” Arouch draws a contrast between the romantic and rebellious spirit of the Humphrey Bogart-Ingrid Bergman classic
See full article at Variety - Film News »

1980 and the Death of the Disco Musical

The AppleThe musical possesses a unique form of power rarely afforded to other Hollywood genres. In the words of film scholar Rick Altman, “The musical invites us to forget familiar notions of plot, psychological motivation, and causal relationships.” In contrast to other commercial genres, the musical is almost one-of-a-kind in its ability to arrest time and space, to suspend disbelief, to defy our lived understanding of human relationships and even the very conventions of filmgoing. In what other mainstream genre can fictional characters get away with looking into the camera lens so often? Dramatic logic is replaced in the Hollywood musical by spectacle and raw emotional appeal, with singing as the defining device for such purely cinematic priorities.But what happens to the musical when singing is taken out of it? This was the conundrum of the short-lived disco musical, a sub-genre that ended as soon as it began.Popular
See full article at MUBI »

Film Review: ‘The Fabulous Allan Carr’

Film Review: ‘The Fabulous Allan Carr’
A life lived very large — although his plus-size physicality would be the source of perpetual insecurity and eventual health woes — Allan Carr was both the quintessential Hollywood showman and an exception to most of its rules. His attraction to glamour and glitz was old-school, yet the camp edge he brought to it as a “flamboyantly” out gay man was often a bit much for staid industry mind-sets. His hits (big-screen “Grease,” the stage “La Cage aux Folles”) were record breakers, though some might argue his flops were even more unforgettable — one, the notorious 1989 Academy Awards ceremony he produced, stirring such intense backlash it abruptly ended his career.

Garishly colorful, packed with stars, legendary parties, and a wide streak of pathos, it’s a singular life story entertainingly recounted in “The Fabulous Allan Carr.” This latest documentary by Jeffery Schwarz isn’t as warts-and-all dishy an approach to that saga as the 2010 print tome “Party Animals,” by
See full article at Variety - Film News »

Baby Driver or Oedipus Wrecks

Vroom! Vroom! Ansel Elgort, the cute-as-cute-can-be lead of the cancer romance, The Fault in Our Stars, bops around Baby Driver like Saturday Night Fever’s Tony Manero, with his ear buds semi-glued in. You keep expecting a few disco balls to pop into view while the Bee Gees let loose on the soundtrack.

Sadly, no balls. No white suit. And not much of a credible plot in this frenetic crime/coming-of-age hybrid.

What we do get is a rhythmic youth delivering coffee and pizza, driving getaway cars, caring for a deaf, mute, disabled older gent, and falling in love with Debora (Lily James), a singing waitress, to the throbbing beats of Queen’s "Brighton Rock," The Champs' "Tequila," and Barry White's "Never Never Gonna Give Ya Up." Imagine Derek Hough in Pulp Fiction.

A masterwork??? Some media folks have been raving over Baby Driver weeks before its release date.
See full article at CultureCatch »

Movie Poster of the Week: New York in the 1970s in Polish Posters

Above: Polish poster for Escape from New York (John Carpenter, USA, 1981). Designer: Wieslaw Walkuski.For three weeks in July, New York’s Film Forum is running a stellar series of more than 40 1970s New York-set films. As soon as I heard about the program I wanted to do a poster article on it, given that the 1970s was a heyday for American poster design. However, when I started to look at the posters I realized that many of them were so well known that rehashing their posters wasn’t that interesting. But in my search I started to notice how many of the films had Polish counterparts. It is interesting that so many of these American productions were released in Poland and it may have had a lot to do with the counter-cultural, anti-establishment bent of most of the films.While poster design in the U.S. had moved quite decisively from illustration to photography-based in the late 60s, Polish poster art was still mostly drawn and painted in the 1970s. There are a couple of exceptions here but the photos are collaged or posterized in a way that is quite different from the way they would be used in the U.S. Another interesting note is that very few of the posters make use of New York signifiers, with the obvious exception of the Statue of Liberty for Escape from New York, and a silhouetted skyline for Manhattan (notably the two films with the most New York-specific titles). Otherwise the posters seen here are typically idiosyncratic, eccentric, beautiful, alluring, occasionally baffling and, with the possible exception of Serpico, always strikingly unlike their American counterparts. This selection also feels like a tour of great Polish poster art in the 70s, with most of the major artists represented: Jakub Erol, Wiktor Gorka, Eryk Lipinski, Andrzej Klimowski, Jan Mlodozeniec, Andrzej Pagowski, Waldemar Swierzy, Wieslaw Walkuski and more. It seems as if every major designer got a crack at at least one of these challenging, thrilling films.Above: Polish poster for Manhattan (Woody Allen, USA, 1979). Designer: Andrzej Pagowski.Above: Polish poster for Marathon Man (John Schlesinger, USA, 1976). Designer: Wiktor Gorka.Above: Polish poster for All That Jazz (Bob Fosse, USA, 1979). Designer: Leszek Drzewinski.Above: Polish poster for Three Days of the Condor (Sydney Pollack, USA, 1975). Designer: J. Czerniawski.Above: Polish poster for The Hospital (Arthur Hiller, USA, 1971). Designer: Marcin Mroszczak.Above: Polish poster for Diary of a Mad Housewife (Frank Perry, USA, 1970). Designer: Eryk Lipinski.Above: Polish poster for Taxi Driver (Martin Scorsese, USA, 1976). Designer: Andrzej Klimowski.Above: Polish poster for Klute (Alan J. Pakula, USA, 1971). Designer: Jan Mlodozeniec.Above: Polish poster for Saturday Night Fever (John Badham, USA, 1977). Designer: Andrzej Pagowski.Above: Polish poster for The French Connection (William Friedkin, USA, 1971). Designer: Andrzej Krajewski.Above: Polish poster for Serpico (Sidney Lumet, USA, 1973). Designer: Jakub Erol.Above: Polish poster for The Panic in Needle Park (Jerry Schatzberg, USA, 1971). Designer: Tomas Ruminski.Above: Polish poster for Midnight Cowboy (John Schlesinger, USA, 1969). Designer: Waldemar Swierzy.Above: Polish poster for The Anderson Tapes (Sidney Lumet, USA, 1971). Designer: Jan Mlodozeniec.See New York in the 70s at Film Forum from July 5 to 27.Posters courtesy of Heritage Auctions.
See full article at MUBI »

John G. Avildsen, 'Rocky,' 'The Karate Kid' Director, Dead at 81

John G. Avildsen, 'Rocky,' 'The Karate Kid' Director, Dead at 81
John G. Avildsen, the Oscar-winning director of Rocky and The Karate Kid, died Friday in Los Angeles following a battle with pancreatic cancer. He was 81.

Avildsen’s son Anthony confirmed the filmmaker's death to the Los Angeles Times, adding that Avildsen died at Los Angeles' Cedars-Sinai Medical Center.

Avildsen won the Academy Award for Best Picture for his work on 1976's Rocky. Like the titular boxer played by Sylvester Stallone, the film was an underdog itself: Despite a minuscule million-dollar budget, Rocky became the highest-grossing film of 1976, winning three Oscars
See full article at Rolling Stone »

John Heyman, Distinguished Financier and Producer, Dies at 84

Film producer and financier John Heyman, who founded influential British agency International Artists and the World Group Companies, died Friday in New York, his family told Variety via statement. He was 84.

John Heyman passed away in his sleep today, Friday the 9th of June,” the statement read.

His son, David Heyman, is the producer of the Harry Potter films, among many others.

Heyman’s World Film Sales pioneered the foreign pre-sales of films on a territory by territory basis.

John Heyman produced films including “The Go-Between” (1971), family sci-fi film “D.A.R.Y.L.” (1985) and “The Jesus Film” (1979). He was also an uncredited executive producer on David Lean’s 1984 E.M. Forster adaptation “A Passage to India.”

Over the course of his career he arranged financing of more than $3 billion to co-finance films including “Awakenings” and “The Odessa File” (at Columbia), “Edward Scissorhands,” “Home Alone” and “The Rocky Horror Picture Show” (Fox), “Victor/Victoria” and
See full article at Variety - Film News »

Cannes adds restored 'Bugsy Malone', 'Saturday Night Fever'

  • ScreenDaily
Cannes adds restored 'Bugsy Malone', 'Saturday Night Fever'
Exclusive: Cannes Classics additions also include Michael Bay’s Bad Boys.

Cannes Classics is understood to have added three movies to its lineup in the shape of Bugsy Malone, Saturday Night Fever and Bad Boys.

Director Alan Parker has been closely involved in the restoration of his 1976 classic Bugsy Malone, which is due to get a Cinéma de la Plage (beach screening) on Friday May 19th.

The director’s cut of John Travolta dance drama Saturday Night Fever, which will celebrate its 40th anniversary this year with a Us re-release, is slated for a Cinéma de la Plage on Saturday 20th May.

The cut will include three scenes not in the original release.

Michael Bay’s 1995 action-comedy Bad Boys will also get a beach screening on Monday 22 May. The film’s star Will Smith is on the festival jury this year.

The trio are among the Classics lineup restored by distributor Park Circus, which has also
See full article at ScreenDaily »

Guardians Of The Galaxy Vol. 2 Kicks Off Summer 2017! -- The Weekend Warrior

Welcome back to the Weekend Warrior, your weekly look at the new movies hitting theaters this weekend, as well as other cool events and things to check out.

Guardians of the Galaxy, Vol. 2 Kicks Off the Summer With a Sci-Fi Action-Comedy

After three weeks of dominating the box office, Universal’s The Fate of the Furious is going to have to give way to a new movie, and that’s because the first weekend of May means that it’s officially...The Summer Movie Season!!!!

Just like the last couple years, the summer movie season is kicking off with a new movie from Marvel Studios, and their sequel Guardians Of The Galaxy, Vol. 2 (Marvel Studios/Disney), reunites Chris Pratt as Starlord, Zoe Saldana as Gamora, Dave Bautista’s Drax, Michael Rooker’s Yondu with the voices of Vin Diesel and Bradley Cooper as Groot and Rocket Racoon, for the next
See full article at LRM Online »
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