1. filmrevues:

    Spaceballs (1987) - dir. Mel Brooks

    Spaceballs is the exact parody of Star Wars you’d expect from a Mel Brooks with one tragic flaw: there’s no Luke Skywalker character. Instead we get Lone Starr (Bill Pullman), a take on Han Solo. A New Hope would have been a terrible film if Han Solo were the main character, so Spaceballs fals short from the beginning, simply because it’s a bunch of sight gags that miss a greater opportunity to call upon the incestual love triangle.

    But still, Rick Moranis, John Candy, Joan Rivers and Mel Brooks himself all deliver. Especially Rick Moranis, god I miss him.

    6.2

    So many great laughs!

     

  2. thefilmstage:

    Photos by a young Stanley Kubrick, taken in the 1940’s while employed by Look Magazine. [x] [Set 2 of 2]

    (via inherentvicecity)

     

  3. Wang Ningde. “Some Days” series. 

    (Source: palomarosejimenez, via kpiarz)

     

  4. "I don’t want to be a star. If you have to label me anything, I’m an actor - I guess. A journeyman actor. I think "star" is what you call actors who can’t act."

    Pioneer. Screen legend. Paul Muni. 

     

  5. The power and emotion in this scene is indescribable… 1 of #PaulMuni’s finest moments on screen.

     
     

  6. My top 5 foreign born starlets (currently) !

     

  7. "The world changes, we do not, there lies the irony that finally kills us"

    Interview with the Vampire: The Vampire Chronicles…

    (Source: cheesekills, via tom-cruise-temple)

     

  8. Ahhh married life… How sweet it is! lmaoooo…

    (Source: thebeasthowls, via themayorofcrazytown)

     

  9. gosly:

    Wes Anderson - Filmography

     


  10. image

    Mr. Nolan is the director of the “Dark Knight” trilogy, “Inception,” and the coming “Interstellar.”

    Hungry for savings, studios are ditching film prints (under $600 each), while already bridling at the mere $80 per screen for digital drives. They want satellite distribution up and running within 10 years. Quentin Tarantino’s recent observation that digital projection is the “death of cinema” identifies this fork in the road: For a century, movies have been defined by the physical medium (even Dogme 95 insisted on 35mm film as the presentation format).

    Savings will be trivial. The real prize the corporations see is the flexibility of a nonphysical medium.

    Movies as Content

    As streams of data, movies would be thrown in with other endeavors under the reductive term “content,” jargon that pretends to elevate the creative, but actually trivializes differences of form that have been important to creators and audiences alike. “Content” can be ported across phones, watches, gas-station pumps or any other screen, and the idea would be that movie theaters should acknowledge their place as just another of these “platforms,” albeit with bigger screens and cupholders.

    This is a future in which the theater becomes what Tarantino pinpointed as “television in public.” The channel-changing part is key. The distributor or theater owner (depending on the vital question of who controls the remote) would be able to change the content being played, instantly. A movie’s Friday matinees would determine whether it even gets an evening screening, or whether the projector switches back to last week’s blockbuster. This process could even be automated based on ticket sales in the interests of “fairness.”

    Instant reactivity always favors the familiar. New approaches need time to gather support from audiences. Smaller, more unusual films would be shut out. Innovation would shift entirely to home-based entertainment, with the remaining theaters serving exclusively as gathering places for fan-based or branded-event titles.

    This bleak future is the direction the industry is pointed in, but even if it arrives it will not last. Once movies can no longer be defined by technology, you unmask powerful fundamentals—the timelessness, the otherworldliness, the shared experience of these narratives. We moan about intrusive moviegoers, but most of us feel a pang of disappointment when we find ourselves in an empty theater.

    The audience experience is distinct from home entertainment, but not so much that people seek it out for its own sake. The experience must distinguish itself in other ways. And it will. The public will lay down their money to those studios, theaters and filmmakers who value the theatrical experience and create a new distinction from home entertainment that will enthrall—just as movies fought back with widescreen and multitrack sound when television first nipped at its heels.

    image

    These developments will require innovation, experimentation and expense, not cost-cutting exercises disguised as digital “upgrades” or gimmickry aimed at justifying variable ticket pricing. The theatrical window is to the movie business what live concerts are to the music business—and no one goes to a concert to be played an MP3 on a bare stage.

    Back to the Future

    The theaters of the future will be bigger and more beautiful than ever before. They will employ expensive presentation formats that cannot be accessed or reproduced in the home (such as, ironically, film prints). And they will still enjoy exclusivity, as studios relearn the tremendous economic value of the staggered release of their products.

    The projects that most obviously lend themselves to such distinctions are spectacles. But if history is any guide, all genres, all budgets will follow. Because the cinema of the future will depend not just on grander presentation, but on the emergence of filmmakers inventive enough to command the focused attention of a crowd for hours.

    image

    Getty Images

    These new voices will emerge just as we despair that there is nothing left to be discovered. As in the early ’90s, when years of bad multiplexing had soured the public on movies, and a young director named Quentin Tarantino ripped through theaters with a profound sense of cinema’s past and an instinct for reclaiming cinema’s rightful place at the head of popular culture.

    Never before has a system so willingly embraced the radical teardown of its own formal standards. But no standards means no rules. Whether photochemical or video-based, a film can now look or sound like anything.

    It’s unthinkable that extraordinary new work won’t emerge from such an open structure. That’s the part I can’t wait for.

     

  11. Beauty. Talent. Queens born in NY.

     

  12. "No-one knows you’re here, so keep as quiet as possible."

    #ThePianist… one of the most meaningful scenes in the entire film… 

    (Source: nortonings, via tomtykwer)

     

  13. Quite dope.

    noseatbelts:

    The Films of Quentin Tarantino

    Reservoir Dogs (1992)

    Pulp Fiction (1994)

    Jackie Brown (1997)

    Kill Bill, vol. 1 (2003)

    Kill Bill, vol. 2 (2004)

    Death Proof (2007)

    Inglourious Basterds (2009)

    Django Unchained (2012)

    (via ilyhoneybunny)

     

  14. Her Highness Frida.

    (Source: fridaandtattoos, via ilyhoneybunny)

     

  15. eezyhq:

    These made 2013 a dope year!

    #BlvckNation

    (via famousbutunknown)