Anatomy of a Murder (1959) - News Poster

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CW’s Riverdale Seaons One Comes to Disc August 15

  • Comicmix
Burbank, CA (May 22, 2017) – Unlock the mystery and dive into small town secrets as Warner Bros. Home Entertainment releases Riverdale: The Complete First Season on DVD on August 15, 2017. Premiering with 2.4 million viewers, The CW’s top new show across all major demos* is created by Roberto Aguirre-Sacasa (Glee, Big Love), produced by Greg Berlanti (The Flash, Supergirl, DC’s Legends of Tomorrow, Blindspot), and stars Kj Apa (Shortland Street), Lili Reinhart (The Kings of Summer), Camila Mendes (Randy Doe), Cole Sprouse (The Suite Life of Zack and Cody), Marisol Nichols (Big Momma’s House 2), Madelaine Petsch (The Curse of Sleeping Beauty), Ashleigh Murray (Deidra & Laney Rob a Train), Mädchen Amick (Twin Peaks), and Luke Perry (Beverly Hills 90210). Roberto Aguirre-Sacasa is also an executive producer, along with Sarah Schechter (Arrow, Blindspot, DC’s Legends of Tomorrow), and Jon Goldwater (Publisher/CEO, Archie Comics). The release contains all 13 gripping episodes from the first season,
See full article at Comicmix »

Riverdale Season 1 Blu-Ray Release Date And Extras Revealed

Although it isn’t an exact mirror of what’s to be found in the pages of Archie Comics’ various periodicals, Arrowverse mastermind Greg Berlanti and the rest of the folks over at The CW once again found the winning formula for comic book adaptations on the small screen with the critically acclaimed Riverdale.

Aside from boasting live action versions of Archie Andrews (Kj Apa), Betty Cooper (Lili Reinhart), Veronica Lodge (Camila Mendes) and Cheryl Blossom (Madelaine Petsch) that each looked like they leapt from a comic book, Jughead Jones (Cole Sprouse) was slightly reimagined yet felt as though he became the voice of young intellectual misfits, allowing the product to have an authentic feel.

But even with a stellar cast, the writing has to be there in order to make an unfolding series work. In addition to the high school drama aspects that remain a tried and true formula for prime time television,
See full article at We Got This Covered »

Was the 'Riverdale' Murderer Too Obvious?

  • BuddyTV
Was the 'Riverdale' Murderer Too Obvious?
Riverdale has finally revealed the murderer of Jason Blossom. The murder was very close to home, as the episode "Anatomy of a Murder" revealed Clifford Blossom killed his own son, Jason. Riverdale viewers were given undeniable proof of Jason's murder by watching essentially a snuff film of the deed that was somehow stored in Jason's letterman jacket. The episode detailing Jason's killer was probably one of Riverdale's best so far but the reveal of Cliff killing Jason did feel a bit anticlimactic. The real mystery of Riverdale season 1 might not be who killed Jason but why Cliff killed Jason.
See full article at BuddyTV »

‘American Gods,’ a ‘Batman’ Documentary Plus More TV You Must See This Week

American Gods

It’s been a long time coming, but American Gods is finally here, closing out a month that’s been filled with exciting new shows. With May, though, comes the return of a science program that ought to interest movie fans (Breakthrough) and a new feature documentary that ought to interest comic book fans (Batman & Bill). Plus we’ve finally got a new season of Sense8 and new episodes of some of the greatest TV series, Better Call Saul and Fargo, plus the penultimate chapter of Riverdale’s first season.

To help you keep track of the most important programs over the next seven days, here’s our guide to everything worth watching, whether it’s on broadcast, cable, or streaming for April 30–May 1:

SUNDAYAmerican Gods (Starz, 9pm)

Neil Gaiman’s 2001 novel hits the small screen from the showrunning team of Bryan Fuller (Hannibal) and screenwriter Michael Green (Logan), and it’s “the adaptation
See full article at FilmSchoolRejects »

Trailer and promo for Riverdale Season 1 Episode 12 – ‘Anatomy of a Murder’

Following a batch of images for ‘Anatomy of a Murder’ [check them out here], The CW has now released a trailer and promo for the twelfth episode of the live-action Archie series Riverdale which you can watch here…

Things Are Not Always As They Seem – Archie (Kj Apa) and Veronica (Camila Mendes) are shocked to learn of the arrest but know they need to come clean to their parents about what they uncovered. Still hurt by the betrayal of his friends and torn over who to trust, Jughead (Cole Sprouse) reluctantly joins them in a quest for truth. Meanwhile, Cheryl (Madelaine Petsch) confronts her mom about why she treats her so much worse than she ever did with Jason.

See Also: Follow all of our Riverdale coverage here

Riverdale airs on Thursdays on The CW.
See full article at Flickeringmyth »

Promo images for Riverdale Season 1 Episode 12 – ‘Anatomy of a Murder’

The CW has released a batch of promo images for the twelfth episode of the live-action Archie series Riverdale, entitled ‘Anatomy of a Murder’; take a look here…

Things Are Not Always As They Seem – Archie (Kj Apa) and Veronica (Camila Mendes) are shocked to learn of the arrest but know they need to come clean to their parents about what they uncovered. Still hurt by the betrayal of his friends and torn over who to trust, Jughead (Cole Sprouse) reluctantly joins them in a quest for truth. Meanwhile, Cheryl (Madelaine Petsch) confronts her mom about why she treats her so much worse than she ever did with Jason.

See Also: Follow all of our Riverdale coverage here

Riverdale airs on Thursdays on The CW.
See full article at Flickeringmyth »

The Evolution of Title Slides

From informative to artistic.

This is one of the cooler videos I’ve come across in a while, as it traces the creative evolution of filmmaking from a perspective I’ve yet to see in any other video: the title slide.

The title slide is the same thing as the title card, and its name pretty much sums up what it does: tells you the film’s title. In Hollywood’s early days back in the 1910s, 20s, and 30s, title slides were chockful of information: movie title, director, studio, studio logo, copyright information, year of production, producer names, and all sorts of other stuff. As the medium progressed, you started seeing less and less information in title slides and more and more creativity. This creativity hits a tipping point around the 1960s when Saul Bass started working his particular brand of title magic for films like Hitchcock’s Psycho, Vertigo
See full article at FilmSchoolRejects »

‘Feud: Bette and Joan’ Main Titles: How That Striking Vintage Opening Sequence Got Made

‘Feud: Bette and Joan’ Main Titles: How That Striking Vintage Opening Sequence Got Made
Without uttering a word, the main title sequence for FX’s new anthology series “Feud: Bette and Joan” sets the dramatic yet somber tone for the entire series by using musical and graphical cues from ‘60s cinema.

While the images trace the plot of “What Ever Happened to Baby Jane?,” it also reflects the misery of the actresses drawn into a cycle of torment of their own devising. Take a look at the sequence:

The credits fit right in with “Feud,” a technicolor feast that examines the even more colorful rivalry between acclaimed actresses Bette Davis and Joan Crawford, which reached its pinnacle while they co-starred in the psycho-biddy horror movie “What Ever Happened to Baby Jane?” in 1962. The series takes place during and after the shooting of the film, in which Bette (Susan Sarandon) and Joan (Jessica Lange) play combative siblings Baby Jane and Blanche, respectively. There is no love lost between these sisters,
See full article at Indiewire Television »

‘Feud: Bette and Joan’ Main Titles: How That Striking Vintage Opening Sequence Got Made

  • Indiewire
‘Feud: Bette and Joan’ Main Titles: How That Striking Vintage Opening Sequence Got Made
Without uttering a word, the main title sequence for FX’s new anthology series “Feud: Bette and Joan” sets the dramatic yet somber tone for the entire series by using musical and graphical cues from ‘60s cinema.

While the images trace the plot of “What Ever Happened to Baby Jane?,” it also reflects the misery of the actresses drawn into a cycle of torment of their own devising. Take a look at the sequence:

The credits fit right in with “Feud,” a technicolor feast that examines the even more colorful rivalry between acclaimed actresses Bette Davis and Joan Crawford, which reached its pinnacle while they co-starred in the psycho-biddy horror movie “What Ever Happened to Baby Jane?” in 1962. The series takes place during and after the shooting of the film, in which Bette (Susan Sarandon) and Joan (Jessica Lange) play combative siblings Baby Jane and Blanche, respectively. There is no love lost between these sisters,
See full article at Indiewire »

The Best Movie Scores of The 21st Century — IndieWire Critics Survey

  • Indiewire
The Best Movie Scores of The 21st Century — IndieWire Critics Survey
Every week, IndieWire asks a select handful of film and TV critics two questions and publishes the results on Monday. (The answer to the second, “What is the best film in theaters right now?”, can be found at the end of this post.)

This week’s question:

Last Friday saw the release of Garth Davis’ “Lion,” the musical score for which is the gorgeous result of a collaboration between two giants of the neo-classical movement, Dustin O’Halloran and Hauschka. It’s just the latest indication that we’re living in a fascinating, vibrant time for movie music, and December boasts a number of films that will only add more fuel to that fire. With that in mind, we asked our panel of critics to name their favorite film score of the 21st Century.

Tasha Robinson (@TashaRobinson), The Verge

There are some really striking contenders out there, topped by Susumu Hirasawa’s manic,
See full article at Indiewire »

The Boston Strangler

True-Crime Terror! Richard Fleischer and Edward Anhalt’s riveting serial killer makes extensive use of split- and multi-screen imagery. One of the most infamous murder sprees on record fudges some facts but still impresses as a novel approach.

The Boston Strangler

Blu-ray

Twilight Time

1968 / Color / 2:35 widescreen / 116 min. / Street Date November 15, 2016 / Available from the Twilight Time Movies Store 29.95

Starring Tony Curtis, Henry Fonda, George Kennedy, Mike Kellin, Hurd Hatfield, Murray Hamilton, Jeff Corey, Sally Kellerman, George Furth

Cinematography Richard H. Kline

Art Direction Richard Day, Jack Martin Smith

Film Editor Marion Rothman

Written by Edward Anhalt from the book by Gerold Frank

Produced by Robert Fryer

Directed by Richard Fleischer

Reviewed by Glenn Erickson

Twelve years ago i wasn’t all that impressed with The Boston Strangler. I thought it too slick and felt that its noted multi-screen sequences were a trick gimmick. I appreciate it more now — except for the name cast,
See full article at Trailers from Hell »

Toronto Film Review: ‘Denial’

Toronto Film Review: ‘Denial’
The best courtroom dramas are riveting intellectual thrillers. They’re about legal and moral puzzles heroically assembled, piece by piece, in a flow of interlocking information. That’s true of such classic films as “12 Angry Men,” “Anatomy of a Murder,” or “The Verdict,” and it was true of last year’s superb “Woman in Gold,” in which Helen Mirren played a Jewish refugee who fought, in the courts of Austria and the U.S., to reclaim a legendary Klimt painting stolen from her family 60 years before by the Nazis.

Considering that legacy, “Denial,” a drama based on recent Holocaust history — or, in fact, on the denial of it — would seem to have the makings of a terrific movie. It’s about the British libel suit that was brought, in 1996, against Deborah Lipstadt and her publisher, Penguin Books, by David Irving, the British historian who Lipstadt accused of being a Holocaust denier.
See full article at Variety - Film News »

Karlovy Vary Film Festival Pays Tribute to Female Mexican Directors, Otto Preminger

Karlovy Vary Film Festival Pays Tribute to Female Mexican Directors, Otto Preminger
London — The Karlovy Vary Intl. Film Festival, which plays July 1-9, will put the spotlight on the current generation of Mexican female directors, and also plans to run a tribute to Otto Preminger.

Festival artistic director Karel Och said: “Kviff’s special tributes will once again become an exciting meeting point between the modern and the classic. The festival will highlight the vital creativity of contemporary Mexico’s young female directors, and will remember, three decades after his passing, the visionary genius of Otto Preminger, a fellow Central European who conquered the United States with his overpowering charm and unflagging advocacy for freedom of artistic expression.“

The focus on women directors from Mexico includes nine films from the past five years. The festival highlights the founding of the Imcine film institute in 1983 as of “undeniable importance to the increase of female directors in Mexico.” It was this organization, the fest says,
See full article at Variety - Film News »

Karlovy Vary fest reveals first titles for 2016 edition

  • ScreenDaily
Karlovy Vary fest reveals first titles for 2016 edition
World premiere of Intimate Lighting restoration, a focus on Mexican female directors, a tribute to Otto Preminger and the first Eurimages Lab Project Award set for 2016 edition.

Karlovy Vary International Film Festival (Kviff) has unveiled the first wave of titles and industry initiatives set for its 51st edition (July 1-9).

The festival, hosted in the picturesque Czech spa town, will world premiere a digital restoration of Ivan Passer’s Intimate Lighting. The bittersweet comedy about an encounter between two former classmates and musicians is described one of the most striking films of the Czechoslovak New Wave of the 1960s.

The 82-year-old director, who was honoured with Kviff’s Crystal Globe for Outstanding Artistic Contribution to World Cinema in 2008, will be present at the premiere on July 2.

Mexican female directors

Semana Santa

Kviff will also spotlight Mexican female directors, screening nine features and one short from the past five years. The filmmakers include Elisa Miller, who won a Palme
See full article at ScreenDaily »

Everything Steven Soderbergh Watched and Read in 2015

Displaying a transparency that few filmmakers of his fame and / or caliber would even bother with, Steven Soderbergh has, for a couple of years, been keen on releasing lists of what he watched and read during the previous twelve months. If you’re at all interested in this sort of thing — and why not? what else are you even doing with your day? — the 2015 selection should be of strong interest, this being a time when he was fully enmeshed in the world of creating television.

He’s clearly observing the medium with a close eye, be it what’s on air or what his friends (specifically David Fincher and his stillborn projects) show him, and how that might relate to his apparent love of 48 Hours Mystery or approach to a comparatively light slate of cinematic assignments — specifically: it seems odd that the last time he watched Magic Mike Xxl, a
See full article at The Film Stage »

Special Feature: The best minimalist posters

  • CineVue
The job of a movie poster is simple: it needs to invoke a sense of curiosity and excitement for the movie prior to release. Because of this, many movie companies often overcomplicate movie poster designs, jam-packing them with imagery, slogans and unnecessary marketing fodder. Every now and again, though, you see a movie poster that has a simple, refined design; it's usually these types of posters that go on to become iconic, well-known posters in the following years. We've rounded up some of our favourite, minimalistic movie posters below. Many of them are iconic and you'll likely recognise them, but there's sure to be a few in there that you haven't seen before (we hope). Remember, you can order them online if you like from poster printing companies such as FastPrint.

1. The Birds

The Birds is a 1963 movie, directed by Alfred Hitchcock. Despite the fact that it isn't one of Hitchcock's most famous movies,
See full article at CineVue »

Scream: The TV Series Season 1 Episode 9 Review – ‘The Dance’

Martin Carr reviews the ninth episode of Scream: The TV Series

Earlier this week news broke of Wes Craven’s death from brain cancer. A debilitating, dignity stripping disease which I have had the unfortunate honour of witnessing first hand. However, with anything which has such a devastating affect it is best to reduce any column inches concerning this blight to zero. For now then let us focus on the man.

When I was growing up Craven was known for one film; Last House on The Left. A rape slash revenge flick which managed to make it onto the video nasty list, circa nineteen eighty something. By the way I was borne in seventy four, meaning my formative years were shaped by the video tape revolution. Age restrictions in rental shops were laughable, allowing me to watch everything from Shogun Assassin to Driller Killer. These gems combined with my imagination
See full article at Flickeringmyth »

Saul Bass Evolves with the Ants

  • MUBI
When a film buff thinks of Saul Bass, what does he or she think of? Janet Leigh’s fatal shower? The spiro-graphic opening of Vertigo? While often tasked with the former—designing key sequences—he is probably best remembered for the latter: creating such iconic title sequences as Anatomy of a Murder and North by Northwest; atmospheric openers building the mood and even propelling the plot in a dramatic manner far beyond the scope of what was considered the “traditional” credit sequence.Which is interesting: his only feature directorial credit, 1974’s Phase IV, does not contain a title sequence. This is perhaps intentional: the man who pioneered the title sequence as Art eschewing it entirely in his move to director. And this would certainly not be the only polarizing aspect of a widely neglected film that is equal measures thoughtful and mainstream-matinee-silly.Phase IV opens with a cosmic event—the
See full article at MUBI »

Episode 160 – Otto Preminger’s Anatomy of a Murder

This time on the podcast, Scott is joined by David Blakeslee and Trevor Berrett to discuss Otto Preminger’s Anatomy of a Murder.

About the film:

A virtuoso James Stewart plays a small-town Michigan lawyer who takes on a difficult case: the defense of a young army lieutenant (Ben Gazzara) accused of murdering a local tavern owner who he believes raped his wife (Lee Remick). This gripping envelope-pusher, the most popular film by Hollywood provocateur Otto Preminger, was groundbreaking for the frankness of its discussion of sex—but more than anything else, it is a striking depiction of the power of words. Featuring an outstanding supporting cast—with a young George C. Scott as a fiery prosecutor and the legendary attorney Joseph N. Welch as the judge—and an influential score by Duke Ellington, Anatomy of a Murder is an American movie landmark, nominated for seven Oscars, including best picture.
See full article at CriterionCast »

The Face Of An Angel Review

This review was originally published during our coverage of the 2015 Leeds Film Festival.

The Face of an Angel sets its sights on the 2007 murder of Meredith Kercher, still an open wound in the public consciousness. We instinctively crave digestible narratives of heroes, villains and victims: characters that these events refuse to provide. Villains become victims, heroes become villains and, after years of analysis, evidence and testimony, we’re no closer to knowing what really happened in that Perugia flat than we were the day after it happened.

Winterbottom chooses to approach the case through meta-narrative by creating Thomas (Daniel Brühl), an analogue for himself who recognizes the fertile soil of a high profile murder in Siena and explores how he could transform it into worthwhile cinema. Early on the character receives some advice that’s essentially the film’s manifesto: “If you’re going to make a movie, make it a fiction.
See full article at We Got This Covered »
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