Weapon X-Men #1 Writer: Christos Gage | Artist: Yildiray Cinar | Colourist: Nolan Woodard | Letters: Clayton Cowles
This was a lot of fun and I am not concerned to admit that my enjoyment of this really caught me off guard. I get sucked into anything with ‘Weapon X’ in the title and sometimes in the past that has burned me. But wow this was so much fun! That is high praise indeed seeing as it doesn’t really involve any alternate Wolverines I hold a soft spot for. Okay Old Man Logan is tried and tested, but I feel he has been overused. Here he is presented perfectly as like a Lethal Weapon ‘I’m too old for this shit’ Wolverine. Then we have Weapon X from Age of Apocalypse. That four-issue mini-series is a massive blind spot for me, but I am certainly tracking it down after reading this. In this story...
This was a lot of fun and I am not concerned to admit that my enjoyment of this really caught me off guard. I get sucked into anything with ‘Weapon X’ in the title and sometimes in the past that has burned me. But wow this was so much fun! That is high praise indeed seeing as it doesn’t really involve any alternate Wolverines I hold a soft spot for. Okay Old Man Logan is tried and tested, but I feel he has been overused. Here he is presented perfectly as like a Lethal Weapon ‘I’m too old for this shit’ Wolverine. Then we have Weapon X from Age of Apocalypse. That four-issue mini-series is a massive blind spot for me, but I am certainly tracking it down after reading this. In this story...
- 4/10/2024
- by Ian Wells
- Nerdly
Although he only made two fiction features, filmmaker Michael Roemer benefited greatly from an early rediscovery in the 1990s, thanks to the fortuitous unearthing of a film he made in 1969, The Plot Against Harry, a wry, dry comedy starring Martin Priest. His other film, 1964’s Nothing But a Man, is often compared by critics to the slicker, middle-America-friendly films that Sidney Poitier was making during the same era. Almost without exception, film about the minority experience in ’60s America were smoothed-over paeans to “the triumph of the human spirit,” starring or co-starring whites whose presence is required as witnesses, arbiters, and the final, thankful beneficiaries of growth and change. Bland but well-meaning, films like Guess Who’s Coming to Dinner? and A Patch of Blue, seeking to instruct the white moviegoer by giving them a diagrammatic path to sociopolitical enlightenment, had a funny habit of discounting, even nullifying, the Black experience.
- 2/22/2024
- by Jaime N. Christley
- Slant Magazine
This article contains spoilers for Marvel’s What If…? episode 7.
With a couple exceptions, Marvel’s What If…? series has had a fairly consistent system to its endings. They would end the story on one note and then tack on a cliffhanger scene that would subvert it. T’Challa as Star-Lord ends on a happy note? Well, Peter Quill and Ego might bring the end of the universe. Loki rules Earth? Well, here are some heroes who say otherwise. Spider-Man hopes to save the world from the zombie apocalypse? Well, here’s Zombie Thanos waiting for him.
This week, we have the seventh episode of nine, “What If… Thor Were an Only Child?” After a four-episode streak of some of the darkest stuff the series could give us, we’re rewarded with some kind of unholy mix of a superhero adventure, a 1980s party comedy, and a Looney Tunes cartoon.
With a couple exceptions, Marvel’s What If…? series has had a fairly consistent system to its endings. They would end the story on one note and then tack on a cliffhanger scene that would subvert it. T’Challa as Star-Lord ends on a happy note? Well, Peter Quill and Ego might bring the end of the universe. Loki rules Earth? Well, here are some heroes who say otherwise. Spider-Man hopes to save the world from the zombie apocalypse? Well, here’s Zombie Thanos waiting for him.
This week, we have the seventh episode of nine, “What If… Thor Were an Only Child?” After a four-episode streak of some of the darkest stuff the series could give us, we’re rewarded with some kind of unholy mix of a superhero adventure, a 1980s party comedy, and a Looney Tunes cartoon.
- 9/22/2021
- by Gavin Jasper
- Den of Geek
Nina Dobrev and Bruna Papandrea are teaming to adapt the Greer Macallister novel “Woman 99” for television.
Dobrev will star in and executive produce the series, with Papandrea also executive producing under her Made Up Stories banner. Made Up Stories’ Steve Hutensky and Casey Haver will also serve as executive producers with Janice Park serving as producer. Macallister will serve as a consulting producer. Endeavor Content will produce. No writer or network is currently attached.
“Woman 99″ follows a young woman whose quest to free her sister from an infamous insane asylum risks her sanity, her safety, and her life. The novel was published by Sourcebooks Landmark in March 2019.
“Bringing ‘Woman 99’ to life with Bruna, Casey, Janice and Endeavor Content has been a dream come true,” Dobrev said. “It’s so important to tell women’s stories written by women with women for women. Unfortunately history continues to repeat itself, and Woman 99 explores themes of mental illness,...
Dobrev will star in and executive produce the series, with Papandrea also executive producing under her Made Up Stories banner. Made Up Stories’ Steve Hutensky and Casey Haver will also serve as executive producers with Janice Park serving as producer. Macallister will serve as a consulting producer. Endeavor Content will produce. No writer or network is currently attached.
“Woman 99″ follows a young woman whose quest to free her sister from an infamous insane asylum risks her sanity, her safety, and her life. The novel was published by Sourcebooks Landmark in March 2019.
“Bringing ‘Woman 99’ to life with Bruna, Casey, Janice and Endeavor Content has been a dream come true,” Dobrev said. “It’s so important to tell women’s stories written by women with women for women. Unfortunately history continues to repeat itself, and Woman 99 explores themes of mental illness,...
- 7/23/2020
- by Joe Otterson
- Variety Film + TV
Thom Andersen and Pedro Costa on stage at the Courtisane Festival. Photo by Michiel Devijver.This year’s Courtisane Festival paired Pedro Costa and Thom Andersen as their artists in focus. Both filmmakers hung out with each other and the public for the full five days of this under-recognized gem of a festival in Ghent. What at first might seem very different directors with distinct backgrounds actually proved to be kindred spirits. In the end credits of his new cine-history, The Thoughts That Once We Had, Andersen thanks Costa, because “without [him] this motion picture would have been poorer.” Andersen has admired Costa’s work ever since he discovered In Vanda’s Room (2000) at the Montreal Festival du Nouveau Cinéma in 2001. He wrote about this experience and about Colossal Youth (2006) in Film Comment in 2007. Andersen has invited Costa to CalArts, where he teaches, more than once, and Cinema Scope published a...
- 7/17/2015
- by Ruben Demasure
- MUBI
I have to write about this great series because after all, I am a Los Angelina myself!
Los Angeles Filmforum was started in 1975 by Terry Cannon. Adam Hyman became director in 2003 as an act of love for films which would not reach the light of day without his work. That Moca is supporting him in this series is also important and it shows that Los Angeles has a sense of itself and finds the sense in preserving what film history has created.
Los Angeles Filmforum at Moca is supported through both organizations by the Los Angeles County Board of Supervisors through the Los Angeles County Arts Commission; the Department of Cultural Affairs, City of Los Angeles; and at Moca by Catherine Opie.
Additional support of Filmforum's screening series comes from the Mike Kelley Foundation for the Arts. Additional support to Filmforum generously provided by American Cinematheque. They also depend on our members, ticket buyers, and individual donors.
Los Angeles is perhaps the most photographed, yet least understood city in the world. For all of the countless images, it is as though few people have actually seen the city well enough to depict it. Coinciding with A New Sculpturalism: Contemporary Architecture from Southern California, Los Angeles Filmforum at Moca presents a program of recent films that break this mold, and in so doing document the changing landscape of the city in the 21st century. Thom Andersen, Alexandra Cuesta, and Clay Dean use poignant and at times even poetic images of buildings, immigrant neighborhoods, deteriorating signage, and readymade still lifes to give us a sense of place as well as the uncanny. Serving as an elegiac prologue to this recent efflorescence of observational cinema is Kent MacKenzie’s heartbreaking Bunker Hill 1956, a rich documentary memorializing the site whose destruction preceded downtown’s current incarnation as a corporate office block (and home to Moca).
In person: Thom Anderson and Clay Dean
What: Los Angeles Filmforum at Moca Presents: This is the City
When: Thursday, July 11, 2013 – 7pm
Where: Moca Grand Avenue, Ahmanson Auditorium, 250 South Grand Avenue, Los Angeles 90012
Tickets: $12 general admission; $7 students with valid ID
Tickets available at moca.org
Free for Moca and Los Angeles Filmforum members; must present current membership card to claim free tickets
Info 213/621-1745 or education[a]moca.org
“Get Out [of the Car]” began as an outgrowth of “Los Angeles Plays Itself,” inspired by a peeling billboard. The film became a 30-minute symphony devoted to the remnants of a vanished Los Angeles of neighborhood farms and demolished concert halls. —Saul Austerlitz, New York Times
“Although Los Angeles has appeared in more films than any other city, I believe that it has not been well served by these films. San Francisco, New York, London, Paris, Berlin, Tokyo have all left more indelible impressions. It happens that many film-makers working in Los Angeles don’t appreciate the city, and very few of them understand much about it, but their failures in depicting it may have more profound causes.
“In Los Angeles Plays Itself, I claimed that the city is not cinematogenic. ‘It’s just beyond the reach of an image.’ Now I’m not so sure. In any case, I became gradually obsessed with making a proper Los Angeles city symphony film.” —Thom Andersen, “Get Out of the Car: A Commentary”
Screening:
Kent MacKenzie, Bunker Hill 1956
1956, 16mm, black and white, sound; 18min.
Print courtesy of USC.
Before making his landmark feature The Exiles, Kent MacKenzie produced this intelligent and sensitive portrait of the Bunker Hill neighborhood, which was already in 1956 under very serious threat of total redevelopment and eradication. The film focuses in particular on the single, elderly pensioners who lived in the neighborhood, and proposes that far from being a slum, Bunker Hill was a very defined and beloved community. —Mark Toscano
Alexandra Cuesta, Despedida (Farewell)
2013; 16mm, color, sound; 10 min.
Shot in Boyle Heights in East Los Angeles, this transitory neighborhood resonates with the poetry of local resident Mapkaulu Roger Nduku. Verses about endings, looking and passing through open up the space projected. A string of tableaus gather a portrait of a place and compose a goodbye letter to an ephemeral home. —AC
Clay Dean, Not West of Western
2011; 16mm, black and white, sound; 13.5 min.
Walking within parameters that define the heart of Los Angeles, Not West of Western explores the cross section of still photography and cinema while at the same time calling attention to the unique cross-cultural landscape of the city. —CD
Thom Andersen, Get Out of the Car
2010; 16mm, color, sound; 35 min.
Direction: Thom Andersen; camera: Madison Brookshire, Adam R. Levine; editing: Adam R. Levine; sound: Craig Smith
Get Out of the Car is a city symphony film in 16mm composed from advertising signs, building facades, fragments of music and conversation, and unmarked sites of vanished cultural landmarks (including El Monte Legion Stadium and the Barrelhouse in Watts). The musical fragments compose an impressionistic survey of popular music made in Los Angeles (and a few other places) from 1941 to 1999, with an emphasis on rhythm’n’blues and jazz from the 1950s and corridos from the 1990s. The music of Richard Berry, Johnny Otis, Leiber and Stoller, and Los Tigres del Norte is featured prominently. —Ta
Total Running Time: 76.5 min.
Programmed by Madison Brookshire
Los Angeles Filmforum at Moca furthers Moca’s mission to be the defining museum of contemporary art by adding a bimonthly series of film and video screenings organized and co-presented by Los Angeles Filmforum—the city’s longest-running organization dedicated to weekly screenings of experimental film, documentaries, video art, and experimental animation.
Los Angeles Filmforum was started in 1975 by Terry Cannon. Adam Hyman became director in 2003 as an act of love for films which would not reach the light of day without his work. That Moca is supporting him in this series is also important and it shows that Los Angeles has a sense of itself and finds the sense in preserving what film history has created.
Los Angeles Filmforum at Moca is supported through both organizations by the Los Angeles County Board of Supervisors through the Los Angeles County Arts Commission; the Department of Cultural Affairs, City of Los Angeles; and at Moca by Catherine Opie.
Additional support of Filmforum's screening series comes from the Mike Kelley Foundation for the Arts. Additional support to Filmforum generously provided by American Cinematheque. They also depend on our members, ticket buyers, and individual donors.
Los Angeles is perhaps the most photographed, yet least understood city in the world. For all of the countless images, it is as though few people have actually seen the city well enough to depict it. Coinciding with A New Sculpturalism: Contemporary Architecture from Southern California, Los Angeles Filmforum at Moca presents a program of recent films that break this mold, and in so doing document the changing landscape of the city in the 21st century. Thom Andersen, Alexandra Cuesta, and Clay Dean use poignant and at times even poetic images of buildings, immigrant neighborhoods, deteriorating signage, and readymade still lifes to give us a sense of place as well as the uncanny. Serving as an elegiac prologue to this recent efflorescence of observational cinema is Kent MacKenzie’s heartbreaking Bunker Hill 1956, a rich documentary memorializing the site whose destruction preceded downtown’s current incarnation as a corporate office block (and home to Moca).
In person: Thom Anderson and Clay Dean
What: Los Angeles Filmforum at Moca Presents: This is the City
When: Thursday, July 11, 2013 – 7pm
Where: Moca Grand Avenue, Ahmanson Auditorium, 250 South Grand Avenue, Los Angeles 90012
Tickets: $12 general admission; $7 students with valid ID
Tickets available at moca.org
Free for Moca and Los Angeles Filmforum members; must present current membership card to claim free tickets
Info 213/621-1745 or education[a]moca.org
“Get Out [of the Car]” began as an outgrowth of “Los Angeles Plays Itself,” inspired by a peeling billboard. The film became a 30-minute symphony devoted to the remnants of a vanished Los Angeles of neighborhood farms and demolished concert halls. —Saul Austerlitz, New York Times
“Although Los Angeles has appeared in more films than any other city, I believe that it has not been well served by these films. San Francisco, New York, London, Paris, Berlin, Tokyo have all left more indelible impressions. It happens that many film-makers working in Los Angeles don’t appreciate the city, and very few of them understand much about it, but their failures in depicting it may have more profound causes.
“In Los Angeles Plays Itself, I claimed that the city is not cinematogenic. ‘It’s just beyond the reach of an image.’ Now I’m not so sure. In any case, I became gradually obsessed with making a proper Los Angeles city symphony film.” —Thom Andersen, “Get Out of the Car: A Commentary”
Screening:
Kent MacKenzie, Bunker Hill 1956
1956, 16mm, black and white, sound; 18min.
Print courtesy of USC.
Before making his landmark feature The Exiles, Kent MacKenzie produced this intelligent and sensitive portrait of the Bunker Hill neighborhood, which was already in 1956 under very serious threat of total redevelopment and eradication. The film focuses in particular on the single, elderly pensioners who lived in the neighborhood, and proposes that far from being a slum, Bunker Hill was a very defined and beloved community. —Mark Toscano
Alexandra Cuesta, Despedida (Farewell)
2013; 16mm, color, sound; 10 min.
Shot in Boyle Heights in East Los Angeles, this transitory neighborhood resonates with the poetry of local resident Mapkaulu Roger Nduku. Verses about endings, looking and passing through open up the space projected. A string of tableaus gather a portrait of a place and compose a goodbye letter to an ephemeral home. —AC
Clay Dean, Not West of Western
2011; 16mm, black and white, sound; 13.5 min.
Walking within parameters that define the heart of Los Angeles, Not West of Western explores the cross section of still photography and cinema while at the same time calling attention to the unique cross-cultural landscape of the city. —CD
Thom Andersen, Get Out of the Car
2010; 16mm, color, sound; 35 min.
Direction: Thom Andersen; camera: Madison Brookshire, Adam R. Levine; editing: Adam R. Levine; sound: Craig Smith
Get Out of the Car is a city symphony film in 16mm composed from advertising signs, building facades, fragments of music and conversation, and unmarked sites of vanished cultural landmarks (including El Monte Legion Stadium and the Barrelhouse in Watts). The musical fragments compose an impressionistic survey of popular music made in Los Angeles (and a few other places) from 1941 to 1999, with an emphasis on rhythm’n’blues and jazz from the 1950s and corridos from the 1990s. The music of Richard Berry, Johnny Otis, Leiber and Stoller, and Los Tigres del Norte is featured prominently. —Ta
Total Running Time: 76.5 min.
Programmed by Madison Brookshire
Los Angeles Filmforum at Moca furthers Moca’s mission to be the defining museum of contemporary art by adding a bimonthly series of film and video screenings organized and co-presented by Los Angeles Filmforum—the city’s longest-running organization dedicated to weekly screenings of experimental film, documentaries, video art, and experimental animation.
- 6/19/2013
- by Sydney Levine
- Sydney's Buzz
Jimmy Picard
Director: Arnaud Desplechin
Writer(s): Arnaud Desplechin
Producer(s): Why Not Productions’ Pascal Caucheteux
U.S. Distributor: Rights Available
Cast: Benicio Del Toro, Mathieu Amalric, Elya Baskin (Spider-Man 3)
Working on and off the project for two decades, Arnaud Desplechin’s 9th film is like a stone that has been reduced to fine sand particles. Apparently influenced by Kent MacKenzie’s The Exiles, Jimmy Picard will have been precisely detailed in its’ account of these two men account. and has been worked on with the finest of details as to make this the most authenticated of accounts. Expect a long runtime and equally stunning perfs from Benicio Del Toro and Mathieu Amalric.
Gist: Adapted from the 1951 non-fiction account by psychoanalyst Georges Devereux, “Psychotherapy Of A Plains Indian,” the film will follow the true story of Picard (Del Toro), a Plains Indian of the Blackfeet nation, as...
Director: Arnaud Desplechin
Writer(s): Arnaud Desplechin
Producer(s): Why Not Productions’ Pascal Caucheteux
U.S. Distributor: Rights Available
Cast: Benicio Del Toro, Mathieu Amalric, Elya Baskin (Spider-Man 3)
Working on and off the project for two decades, Arnaud Desplechin’s 9th film is like a stone that has been reduced to fine sand particles. Apparently influenced by Kent MacKenzie’s The Exiles, Jimmy Picard will have been precisely detailed in its’ account of these two men account. and has been worked on with the finest of details as to make this the most authenticated of accounts. Expect a long runtime and equally stunning perfs from Benicio Del Toro and Mathieu Amalric.
Gist: Adapted from the 1951 non-fiction account by psychoanalyst Georges Devereux, “Psychotherapy Of A Plains Indian,” the film will follow the true story of Picard (Del Toro), a Plains Indian of the Blackfeet nation, as...
- 1/16/2013
- by Eric Lavallee
- IONCINEMA.com
With 2010 only a week over, it already feels like best-of and top-ten lists have been pouring in for months, and we’re already tired of them: the ranking, the exclusions (and inclusions), the rules and the qualifiers. Some people got to see films at festivals, others only catch movies on video; and the ability for us, or any publication, to come up with a system to fairly determine who saw what when and what they thought was the best seems an impossible feat. That doesn’t stop most people from doing it, but we liked the fantasy double features we did last year and for our 3rd Writers Poll we thought we'd do it again.
I asked our contributors to pick a single new film they saw in 2010—in theaters or at a festival—and creatively pair it with an old film they saw in 2010 to create a unique double feature.
I asked our contributors to pick a single new film they saw in 2010—in theaters or at a festival—and creatively pair it with an old film they saw in 2010 to create a unique double feature.
- 1/10/2011
- MUBI
They drank, fought, chased women and died. But La's Native Americans live on in a lost gem of a film: The Exiles
In Los Angeles Plays Itself, the cult documentary by Thom Andersen about "the most photographed city in the world – and the least remembered", the director heaped praise on an all-but forgotten La movie: Kent Mackenzie's The Exiles, which documented a riotous and boozy Friday night in the lives of several Native Americans, originally from Arizona, living in the Bunker Hill area of downtown La in the late 1950s.
Unlauded and largely unseen in its day, it has received ecstatic plaudits from Us critics ever since. Today it's seen as both a unique moment in the history of Native American film-making and a record of the vanished community (and the beautiful Victorian architecture) that once existed where La's skyscrapers now stand.
The Exiles, which is out on DVD this week,...
In Los Angeles Plays Itself, the cult documentary by Thom Andersen about "the most photographed city in the world – and the least remembered", the director heaped praise on an all-but forgotten La movie: Kent Mackenzie's The Exiles, which documented a riotous and boozy Friday night in the lives of several Native Americans, originally from Arizona, living in the Bunker Hill area of downtown La in the late 1950s.
Unlauded and largely unseen in its day, it has received ecstatic plaudits from Us critics ever since. Today it's seen as both a unique moment in the history of Native American film-making and a record of the vanished community (and the beautiful Victorian architecture) that once existed where La's skyscrapers now stand.
The Exiles, which is out on DVD this week,...
- 2/17/2010
- by John Patterson
- The Guardian - Film News
The Exiles
DVD, BFI
In 1961 British-born director Kent Mackenzie made The Exiles, one of the first films to show the lives of Native Americans. Before this, they were usually portrayed as little more than savages in westerns, and Mackenzie, perhaps because of his non-us roots, could clearly see the huge gulf between this big-screen image and the reality. Set in La, the film offers a day in the life of some of America's indigenous population, attempting to show how things are "not for all, but for many" in a John Cassavetes-style improvised drama. The cast, full of interesting names such as Frankie Red Elk and Delos Yellow Eagle, were mostly born on the dwindling reservation land their people were corralled into in the 19th century, and though they are only a generation or two from owning the country, it's clear their place in society is nowhere near the top,...
DVD, BFI
In 1961 British-born director Kent Mackenzie made The Exiles, one of the first films to show the lives of Native Americans. Before this, they were usually portrayed as little more than savages in westerns, and Mackenzie, perhaps because of his non-us roots, could clearly see the huge gulf between this big-screen image and the reality. Set in La, the film offers a day in the life of some of America's indigenous population, attempting to show how things are "not for all, but for many" in a John Cassavetes-style improvised drama. The cast, full of interesting names such as Frankie Red Elk and Delos Yellow Eagle, were mostly born on the dwindling reservation land their people were corralled into in the 19th century, and though they are only a generation or two from owning the country, it's clear their place in society is nowhere near the top,...
- 2/13/2010
- by Phelim O'Neill
- The Guardian - Film News
Michael Jackson's 1983 video "Thriller" is among the 25 motion pictures that have been selected this year for preservation by Librarian of Congress James H. Billington.
The Hollywood Reporter tells us:
Under the terms of the National Film Preservation Act, each year the Librarian of Congress names 25 films to the registry that are "culturally, historically or aesthetically" significant, to be preserved for all time. These films are not selected as the "best" American films of all time; rather, they are chosen as works of enduring importance to American culture.
So now, "Thriller" is one of the 525 films since the Registry's inception to be preserved and honored as a significant element of our history.
Here's the complete list of 2009 selections:
Dog Day Afternoon (1975)
The Exiles (1961)
Heroes All (1920)
Hot Dogs for Gauguin (1972)
The Incredible Shrinking Man (1957)
Jezebel (1938)
The Jungle (1967)
The Lead Shoes (1949)
Little Nemo (1911)
Mabel's Blunder (1914)
The Mark of Zorro (1940)
Mrs. Miniver (1942)
The Muppet Movie...
The Hollywood Reporter tells us:
Under the terms of the National Film Preservation Act, each year the Librarian of Congress names 25 films to the registry that are "culturally, historically or aesthetically" significant, to be preserved for all time. These films are not selected as the "best" American films of all time; rather, they are chosen as works of enduring importance to American culture.
So now, "Thriller" is one of the 525 films since the Registry's inception to be preserved and honored as a significant element of our history.
Here's the complete list of 2009 selections:
Dog Day Afternoon (1975)
The Exiles (1961)
Heroes All (1920)
Hot Dogs for Gauguin (1972)
The Incredible Shrinking Man (1957)
Jezebel (1938)
The Jungle (1967)
The Lead Shoes (1949)
Little Nemo (1911)
Mabel's Blunder (1914)
The Mark of Zorro (1940)
Mrs. Miniver (1942)
The Muppet Movie...
- 12/31/2009
- by Manny
- Manny the Movie Guy
Every year for the last 20 years, 25 motion pictures have been selected for archiving in the Library of Congress' National Film Registry. Here's the full of list of this year's films, while after the break I will embed full video for some of the shorts. Dog Day Afternoon, Dir. Sidney Lumet (1975) The Exiles, Dir. Kent MacKenzie (1961) Heroes All, Dir. Anthony Young (1920) Hot Dogs for Gauguin, Dir. Martin Brest (1972) The Incredible Shrinking Man, Dir. Jack Arnold (1957) Jezebel, Dir. William Wyler (1938) The Jungle, Dir. Charlie "Brown" Davis, Jimmy "Country" Robinson, David "Bat" Williams (1967) The Lead Shoes, Dir. Sidney Peterson (1949) Little Nemo, Dir. Winsor McCay (1911) Mabel's Blunder, Dir. Mabel Normand (1914) The Mark of Zorro, Dir. Rouben Mamoulian (1940) Mrs. Miniver, Dir. William Wyler (1942) The Muppet Movie, Dir. James Frawley (1979) Once Upon a Time in the West, Dir. Sergio Leone (1968) Pillow Talk, Dir. Michael Gordon (1959) Precious Images, Dir. Chuck Workman (1986) Quasi at the Quackadero, ...
- 12/30/2009
- by Brendon Connelly
- Slash Film
by Jeffrey M. Anderson
The Exiles
directed by Kent MacKenzie
1961, 72 minutes, USA
Milestone Films
Most people have probably never heard of Kent MacKenzie's historically and culturally essential film The Exiles (1961). Some clips of it surfaced in Thom Andersen's exceptional 2004 cine-essay Los Angeles Plays Itself—about the The City of Angels as depicted in movies—but unfortunately, most people have never heard of that film either. Andersen included it prominently because it managed to find vivid corners of the city that didn't actually look like set dressing. Now, thanks to Milestone Films (who also gave us the 2007 re-release and 2008 DVD of Charles Burnett's extraordinary Killer of Sheep), The Exiles has been released uncut on an outstanding two-disc set—presented by Burnett himself.
Continued reading DVD Of The Week: The Exiles...
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The Exiles
directed by Kent MacKenzie
1961, 72 minutes, USA
Milestone Films
Most people have probably never heard of Kent MacKenzie's historically and culturally essential film The Exiles (1961). Some clips of it surfaced in Thom Andersen's exceptional 2004 cine-essay Los Angeles Plays Itself—about the The City of Angels as depicted in movies—but unfortunately, most people have never heard of that film either. Andersen included it prominently because it managed to find vivid corners of the city that didn't actually look like set dressing. Now, thanks to Milestone Films (who also gave us the 2007 re-release and 2008 DVD of Charles Burnett's extraordinary Killer of Sheep), The Exiles has been released uncut on an outstanding two-disc set—presented by Burnett himself.
Continued reading DVD Of The Week: The Exiles...
Comments (0)
Comments on this Entry:...
- 11/20/2009
- GreenCine Daily
Joe Dante presenting "The Movie Orgy" in L.A., a rare stateside appearance of Japanese auteur Hirokazu Kore-eda for a retrospective in New York and the Fantastic Fest in Austin are just a few of the events that serve as the perfect antidote for the endless stream of summertime sequels and toy-based franchises.
More Fall Preview: [Theatrical Calendar]
[Anywhere But a Movie Theater]
[Breakout Performances]
92Y Tribeca
While the 92Y Tribeca is taking a well-deserved break in August, the cinema space comes roaring back in September, beginning with hosting the Fifth Annual NYC Shorts Festival (Sept. 10-13), followed by a late night "Labyrinth" sing-along complete with trivia and a costume contest (Sept. 25-26), and a Michael Winterbottom double bill of "Code 46" and "24 Hour Party People" (Sept. 30)...In October, the 92Y Tribeca will premiere "Zombie Girl: The Movie" (Oct. 2), the doc about 12-year-old filmmaker Emily Hagins and her quest to make a zombie movie, followed by hosting the Iron...
More Fall Preview: [Theatrical Calendar]
[Anywhere But a Movie Theater]
[Breakout Performances]
92Y Tribeca
While the 92Y Tribeca is taking a well-deserved break in August, the cinema space comes roaring back in September, beginning with hosting the Fifth Annual NYC Shorts Festival (Sept. 10-13), followed by a late night "Labyrinth" sing-along complete with trivia and a costume contest (Sept. 25-26), and a Michael Winterbottom double bill of "Code 46" and "24 Hour Party People" (Sept. 30)...In October, the 92Y Tribeca will premiere "Zombie Girl: The Movie" (Oct. 2), the doc about 12-year-old filmmaker Emily Hagins and her quest to make a zombie movie, followed by hosting the Iron...
- 8/5/2009
- by Stephen Saito
- ifc.com
- Following up on from the vault releases of Charles Burnett’s Killer of Sheep and Kent Mackenzie’s The Exiles (a pair of films which I have criminally still yet to see), Milestone Films has restored and presenting what is labeled as a Venezuelan Masterwork called Araya. The Cannes winner (it shared the International Critics Prize with Alain Resnais’ Hiroshima, Mon Amour) is opening at the IFC Center on October 7th, 2009. Margot Benacerraf (a one time filmmaker) will be in attendance. A film that Jean Renoir said "Don't Cut a Single Frame", sees Benacerraf’s portray a day in the life of three families living in one of the harshest places on earth — Araya, an arid peninsula in northeastern Venezuela. For 450 years, since its discovery by the Spanish, the region’s salt was manually collected and stacked into glowing white pyramids. Overlooking the area, a 17th-century fortress built to
- 7/22/2009
- IONCINEMA.com
The National Society of Film Critics hailed the animated documentary "Waltz With Bashir" as the best picture of 2008 on Saturday.
The last of the major critics groups to weigh in with a selection of the year's best, the National Society's choice confirmed the rising status of animated films. Last month, the Los Angeles Film Critics' Assn. singled out "Wall-E" as its best picture of the year. And "Wall-E" also tied with the British comedy "Happy-Go-Lucky" for runner-up status in the National Society's best picture voting.
Directed by Ari Forman and released by Sony Pictures Classics, "Bashir" centers on the Israeli war with Lebanon in 1982.
"Happy-Go-Lucky," a Miramax release, walked off with the most awards, though. Mike Leigh's portrait of a blithe spirit and the effects she has on those around her earned Leigh both best director and best screenplay honors. Sally Hawkins, as its upbeat central character, was named best actress,...
The last of the major critics groups to weigh in with a selection of the year's best, the National Society's choice confirmed the rising status of animated films. Last month, the Los Angeles Film Critics' Assn. singled out "Wall-E" as its best picture of the year. And "Wall-E" also tied with the British comedy "Happy-Go-Lucky" for runner-up status in the National Society's best picture voting.
Directed by Ari Forman and released by Sony Pictures Classics, "Bashir" centers on the Israeli war with Lebanon in 1982.
"Happy-Go-Lucky," a Miramax release, walked off with the most awards, though. Mike Leigh's portrait of a blithe spirit and the effects she has on those around her earned Leigh both best director and best screenplay honors. Sally Hawkins, as its upbeat central character, was named best actress,...
- 1/3/2009
- by By Gregg Kilday
- The Hollywood Reporter - Movie News
It took nearly 50 years, but an important piece of film history is finally getting its due.
"The Exiles," a moody black-and-white chronicle of 12 hours in the life of American Indians trying to survive off the reservation, was shot from 1958 to 1961 by Kent Mackenzie.
He had just graduated from USC, and this was his first time directing.
"The Exiles" was shown at the 1961 Venice Film Festival, where it won praise. Even so, the film and Mackenzie were soon forgotten.
He got to direct one more feature before dying in 1980, at age...
"The Exiles," a moody black-and-white chronicle of 12 hours in the life of American Indians trying to survive off the reservation, was shot from 1958 to 1961 by Kent Mackenzie.
He had just graduated from USC, and this was his first time directing.
"The Exiles" was shown at the 1961 Venice Film Festival, where it won praise. Even so, the film and Mackenzie were soon forgotten.
He got to direct one more feature before dying in 1980, at age...
- 7/11/2008
- by By V.A. MUSETTO
- NYPost.com
Kent MacKenzie's 1961 film The Exiles has been hailed as a landmark in American independent cinema, and called one of the most honest portrayals of contemporary Native American life ever filmed. Both those claims are verifiable. Compared to the slick approach that Hollywood took even to the "social problem" films of the era, The Exiles is bracing and raw, more akin to the French New Wave and British kitchen-sink dramas. And compared to the Westerns and comedies of the time, The Exiles is infinitely more complex in its characterizations of Indians who struggle with poverty and loneliness in Los Angeles. But it would oversell this movie to say it's still as fresh as it must have seemed in its day. The cinematic landscape has since witnessed more than four decades of spare, virtually plotless foreign and indie films about people hanging out, and if anything, The Exiles feels a little.
- 7/10/2008
- by Noel Murray
- avclub.com
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