Movie City News Archive for September, 2017

Monty Hall, 96, Host of “Let’s Make a Deal”

Monty Hall, 96, Host of “Let’s Make a Deal”

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Friday Estimates

American Made is a fine measure of where Tom Cruise is right now. He can still open movies, even though people love to talk about no one being able to open movies. But he can only do so much on his own. The weekend probably ends up around $17 million, which, given how soft the sell on the film was, shouldn’t disappoint. It will be headlined as though it is. Flatliners is a head-scratcher. The cast is good… but nostalgia for that movie has a lot to do with the stars of the original who were all on the cusp of exploding. Magnolia finds a nice audience for Harry Dean Stanton in Lucky on one screen while Searchlight can’t get the ball over the net with any velocity with Battle of the Sexes now that warm-ups are over.

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Ty Burr On The Texas Terrors Of Austin Film Scene, But Also About The Best Female Writers On Film Online

Ty Burr On The Texas Terrors Of Austin Film Scene, But Also About The Best Female Writers On Film Online

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WSJ Abruptly Ends European, Asian Print Editions As NewsCorp Burns Through $643 Million In Past Fiscal Year

WSJ Abruptly Ends European, Asian Print Editions As NewsCorp Burns Through $643 Million In Past Fiscal Year

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Failed Screenwriter Steve Bannon Potshots The Industry That Wouldn’t Have Him

“You’ve got to understand something: These actors and actresses, they’re all dumb as ticks — and they’re all lazy. Right, they’re like pieces of furniture. They’re all dumb as ticks. By the way, that’s why movie attendance is down, people are tired of it. That’s why they’re not watching the National Football League, cutting the…

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Abbey Bender On When Fashion Designers Become Filmmakers

Abbey Bender On When Fashion Designers Become Filmmakers

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Review-ish, Blade Runner 2049 (no spoilers)

Don’t think about it too much. Try not to read too many reviews or articles about the film. And while you watch… and just after you watch… deep breaths. Let it bloom in your mind and your heart.

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“Everything really is a spoiler. It’s true. Every. Damn. Thing…. Stopped reading? Good. Then you won’t see me declare that Denis Villeneuve is the Stanley Kubrick of our time, and he just made his 2001: A Space Odyssey. Except it’s a 35-years-later studio sequel with a lot of plot, which is awkward and risky to write, I know. I know.”

“Everything really is a spoiler. It’s true. Every. Damn. Thing…. Stopped reading? Good. Then you won’t see me declare that Denis Villeneuve is the Stanley Kubrick of our time, and he just made his 2001: A Space Odyssey. Except it’s a 35-years-later studio sequel with a lot of plot, which is awkward and risky to…

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“We meet the grizzled blade runner of yore, Harrison Ford, who reminds us that these movies were always about the most human of inventions, love, even if manufactured by machines. It’s a unicorn in the fog.”

“We meet the grizzled blade runner of yore, Harrison Ford, who reminds us that these movies were always about the most human of inventions, love, even if manufactured by machines. It’s a unicorn in the fog.”

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“A rugged vulnerability that hints at the anguish that awaited Deckard after the first film’s enigmatic ending.”

“A rugged vulnerability that hints at the anguish that awaited Deckard after the first film’s enigmatic ending.”

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“I mean, when you cast Tom Cruise in your movie, I’m acutely aware he’s Tom Cruise and all the baggage that comes with that. And I love using that. I loved in Edge of Tomorrow making him a total coward and I’m sort of making fun of Mission: Impossible Tom Cruise. Or in American Made, I’m going to make fun of the Maverick, Top Gun Tom Cruise.”

“I mean, when you cast Tom Cruise in your movie, I’m acutely aware he’s Tom Cruise and all the baggage that comes with that. And I love using that. I loved in Edge of Tomorrow making him a total coward and I’m sort of making fun of Mission: Impossible Tom Cruise. Or in American Made, I’m going to make fun…

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George Englund, 91, Editor-Producer-Director-Actor-Husband Of Cloris Leachman

George Englund, 91, Editor-Producer-Director-Actor-Husband Of Cloris Leachman

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The DVD Wrapup: Transformers, Lynch’s Art, Piano Teacher, Ruby, Sarno, Jesús, Devil’s Candy and more

For a movie that cost an estimated $217 million to make and God knows how much more to market, Transformers: The Last Knight shouldn’t have had to rely on the overseas marketplace to save to save its ass.

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Record Bid For Audrey Hepburn’s Working Script Of Breakfast At Tiffany’s Is From… Tiffany’s

Record Bid For Audrey Hepburn’s Working Script Of Breakfast At Tiffany’s Is From… Tiffany’s

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Kent Jones On All Manner Of Things Cinematic

“The cinema is very, very young, but many of the people who write about it treat it as if it were very, very old. When you really stop to think about it, the idea is ridiculous. Poetry and painting developed over a few thousand years, but the cinema zipped its way up to speed because…

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An Eye-Stingingly Good Profile Of The Great New Yorker Writer John McPhee

An Eye-Stingingly Good Profile Of The Great New Yorker Writer John McPhee, By Sam Anderson

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Newcity’s Fifth Annual “Film 50,” By Ray Pride, Covers Chicago’s Thriving Film Community In 20,000 Words (But Fifty-Two Small Bites); Dozens Of Portraits By Joe Mazza

Newcity’s Fifth Annual “Film 50,” By Ray Pride, Covers Chicago’s Thriving Film Community In 20,000 Words (But Fifty-Two Small Bites); Dozens Of Portraits By Joe Mazza

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“Hugh Hefner To Be Buried Next To Marilyn Monroe, Whose Photos Were Used To Launch Playboy Without Her Consent”

“Hugh Hefner To Be Buried Next To Marilyn Monroe, Whose Photos Were Used To Launch Playboy Without Her Consent”

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Choire Sicha On “Pajama Man” And His Influence On Sloppy Man Garb

“In the daytime, Hugh Hefner wore custom-made silk — not satin, satin made him slip off the bedsheets, he said — in a shade he liked to call “gunfighter black.” At night he would transition into rich colors. Of an evening, he would add a bathrobe. For company, he’d put on a smoking jacket. Mr….

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Movie City News

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“Well, actually, of that whole group that I call the post-60s anti-authority auteurs, a lot of them came from television. Peckinpah’s the only one whose television work represents his feature work. I mean, like the only one. Mark Rydell can direct a really good episode of ‘Gunsmoke’ and Michael Ritchie can direct a really good episode of ‘The Big Valley,’ but they don’t necessarily look like The Candidate. But Peckinpah’s stuff, even the scripts he wrote that he didn’t even direct, have a Peckinpah feel – the way I think there’s a Corbucci West – suggest a Peckinpah West. That even in his random episodes that he wrote for ‘Gunsmoke’ – it’s right there.”
~ Quentin Tarantino

“The thought is interrupted by an odd interlude. We are speaking in the side room of Casita, a swish and fairly busy Italian bistro in Aoyama – a district of Tokyo usually so replete with celebrities that they spark minimal fuss. Kojima’s fame, however, exceeds normal limits and adoring staff have worked out who their guest is. He stops mid-sentence and points up towards the speakers, delighted. The soft jazz that had been playing discreetly across the restaurant’s dark, hardwood interior has suddenly been replaced with the theme music from some of Kojima’s hit games. Harry Gregson-Williams’ music is sublime in its context but ‘Metal Gear Solid 4: Guns of the Patriots’ is not, Kojima acknowledges, terribly restauranty. He pauses, adjusting a pair of large, blue-framed glasses of his own design, and returns to the way in which games have not only influenced films, but have also changed the way in which people watch them. “There are stories being told [in cinema] that my generation may find surprising but which the gamer generation doesn’t find weird at all,” he says.
~ Hideo Kojima