American History X (1998) - News Poster


Blitz Films Launches With Martial Arts Drama ‘Heart of a Champion’ (Exclusive)

Independent filmmakers Sergey Sarkisov and Nick Sarkisov have launched Blitz Films as a finance and production company, Variety has learned exclusively.

The first project the company is producing and financing is “Heart of a Champion,” a martial arts story written by David McKenna (“American History X”). Produced in association with Straight Up Films, the film follows a high school judo prodigy who steps into the Ultimate Fighting Championship cage to face the ultimate rival in a battle for recognition and retribution –- his father.

Blitz, which made the announcement Wednesday, will specialize in “responsibly-budgeted” indie fare along with a wide variety of genre projects. Producer Eryl Cochran has signed on as head of production and development for Blitz and will work out of the company’s Los Angeles office.

Nick Sarkisov will make his American feature directorial debut with “Heart of a Champion.” He began his career working with independent
See full article at Variety - Film News »

Film News Roundup: Tony Kaye to Direct Crime Drama ‘Honorable Men’

Film News Roundup: Tony Kaye to Direct Crime Drama ‘Honorable Men’
In today’s film news roundup, Tony Kaye is attached to a crime drama, Brandon Sklenar gets a role in “Indigo Valley,” Orion Classics buys “Clara’s Ghost,” and romcom “Paper Friends” has started shooting in New York City.

Director Attachment

British director Tony Kaye has come on board to helm the independent crime drama “Honorable Men,” Variety has learned exclusively.

The film is being produced by Life Entertainment with producers Sam Khoze, Justin Steele, and Patrick McErlean along with the Film House and producer Ryan R. Johnson.

Kaye’s directing credits include “American History X,” “Black Water Transit,” and “Detachment.” He did not approve of the final cut of “American History X” and tried unsuccessfully to have his name removed as director of the movie, for which Edward Norton received an Oscar nomination.

Kaye also received six Grammy nominations for music videos such as Johnny Cash’s “God’s
See full article at Variety - Film News »

Own Terminator 2: Judgement Day On 4K Ultra HD™ Combo Pack Box Set, Blu-ray And Digital On July 17

Director James Cameron’s iconic sci-fi action classic returns in pristine clarity when Terminator 2: Judgment Day arrives in a Limited Collector’s Edition EndoArm box set including a 4K Ultra HD Combo Pack (plus Blu-ray and Digital HD) on July 17 from Lionsgate.

Still lauded by critics today as one of the greatest action films of all time, only 6,000 of the Limited Collector’s Edition EndoArm box sets will be released in the U.S., allowing fans to own a life-sized replica of the T-800 EndoArm mounted on a uniquely numbered stand with James Cameron’s signature. Say “hasta la vista, baby” to Sd and relive each quintessential moment in four times the resolution with Full HD and High Dynamic Range on the film’s 4K scan.

The Terminator 2: Judgment Day EndoArm Limited Collector’s Edition 4K Combo Pack box set is loaded with bonus content, including an all-new
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New Trailer For John Travolta's True Crime Mafia Biopic Gotti

"This life of ours is a wonderful life... if you can get away with it."

We've got a new trailer for John Travolta's upcoming crime drama Gotti, which tells the story of the rise and fall of one of the most famous mafia bosses of all time, John Gotti. Travolta takes on the role of the infamous 'Teflon Don' and it looks like he gives a solid performance. Gotti seemed like a bit of an over-the-top kind of guy and Travolta nails that here. This looks like the best film project that the actor has been a part of in a long time.

Gotti follows infamous crime boss John Gotti’s (Travolta) rise to become the “Teflon Don” of the Gambino Crime Family in New York City. Spanning three decades and recounted by his son John Jr. (Spencer Lofranco), Gotti examines Gotti’s tumultuous life as he and his
See full article at GeekTyrant »

The year Heat was criminally overlooked by the Oscars

Tom Jolliffe looks back at the Oscars in 1996, when Heat was criminally overlooked by the Academy…

The year was 1996, which looked back over the films of the previous year. It was a fairly strong year, and like a lot of the nomination lists throughout that decade there are some oddities. There are also glaring omissions. When I look back at a great year of films, my three favourites from 1995 would have to be Se7en, The Usual Suspects and Heat. Not one of these was nominated for best picture.

Two still got some recognition from the board. The Usual Suspects was nominated for two awards and won both, for Kevin Spacey (Best supporting actor) and Christopher McQuarrie (Best Original Screenplay). Se7en was nominated for best editing. Heat on the other hand was completely ignored. Not even a token nod for best catering or something. In a film about cops and robbers,
See full article at Flickeringmyth »

10 American History X Facts You Never Knew

10 American History X Facts You Never Knew
American History X, the moody drama about a pair of troubled brothers caught up in the Neo-Nazi skinhead movement, took an honest look at the underbelly of white supremacist counterculture in America, in many ways, presaging the state of the country 20 years after its release. Released in 1998, a year before Fight Club, American History X earned Edward Norton an Oscar nomination for Best Actor. Here we look at 10 things you never knew about American History X.

American History X was partially inspired by a true story.

American History X marked the debut of screenwriter David McKenna, who went on to write another movie partly based on a true story, Blow, starring Johnny Depp. Real life former white supremacist skinhead Frank Meeink was arrested at age 17 and spent three years in prison, where he befriended several inmates of various ethnicities and grew to reject his former beliefs. He is now a writer and lecturer.
See full article at MovieWeb »

Wamg Giveaway – Win the Terminator 2: Judgement Day on 4K Ultra HD

Director James Cameron’s iconic sci-fi action classic has returned in pristine clarity. Terminator 2: Judgment Day arrived recently in a Limited Collector’s Edition EndoArm box set including a 4K Ultra HD Combo Pack (plus Blu-ray and Digital HD). Still lauded by critics today as one of the greatest action films of all time, only 6,000 of the Limited Collector’s Edition EndoArm box sets will be released in the U.S., allowing fans to own a life-sized replica of the T-800 EndoArm mounted on a uniquely numbered stand with James Cameron’s signature. Say “hasta la vista, baby” to Sd and relive each quintessential moment in four times the resolution with Full HD and High Dynamic Range on the film’s first-ever 4K scan. The Terminator 2: Judgment Day EndoArm Limited Collector’s Edition 4K Combo Pack box set is loaded with bonus content, including an all-new, never-before-seen documentary
See full article at »

The Best of the 8’s – From 1968 to 2008

As 2018 begins and we enter year 8 of this decade, Tom Jolliffe takes a look back at his favourite films from the previous five year 8’s…

Beginning with…

2008 – Let The Right One In

In a strong year, which included The Dark Knight and Slumdog Millionaire, I’ve opted for a genre redefining vampire film from Sweden. Not only is this my favourite of that particular year, but it’s one of the best of this century.

Anchored by two exceptional performances by the young leads, Kare Hedebrant and Lina Leandersson, this beautifully shot, haunting, thoughtful and poignant look at troubled youth (under the guise of a vampire cover which never dives carelessly into the recognisable tropes, but respects them) was one of the most surprising films of recent times. Every nuance of character from its considered human story is matched by the powerful impact of the ‘horror’ elements. From combusting vampires,
See full article at Flickeringmyth »

Jerry Greenberg, ‘The French Connection’ Editor, Dies at 81

Jerry Greenberg, ‘The French Connection’ Editor, Dies at 81
Jerry Greenberg, the film editor who created one of the most legendary car chase scenes in history, died Friday after a long illness. He was 81.

While Greenberg was best-known for his Oscar- and BAFTA-winning editing for “The French Connection,” which included an iconic car chase sequence, he worked on other notable films like “Apocalypse Now” and “The Untouchables.” His work on “Apocalypse Now” earned him a second Oscar nomination in 1979, as well as BAFTA and Ace Eddie award nominations, alongside his co-editors. He received a second Oscar nomination in the same year for his editing of “Kramer Vs. Kramer.”

His career began as an assistant to pioneering editor Dede Allen on 1963’s “America America,” and he went on to assist her on “Bonnie and Clyde,” which received acclaim for its final ambush scene that contained more than 50 cuts in under a minute. He notably collaborated with director Brian De Palma after working on 1980’s “Dressed to Kill,” which
See full article at Variety - Film News »

‘Shot Caller’ Review: Dir. Ric Roman Waugh (2017)

Shot Caller review: Game of ThronesNikolaj Coster-Waldau swaps Westeros for prison in this eye-opening and brutal feature.

Shot Caller review by Kat Hughes.

Shot Caller Review

This Friday for many there is only one film that matters at the cinema, Star Wars VIII: The Last Jedi, but it isn’t the only new release out. Altitude have taken the bold move to release their latest movie, Shot Caller, the same weekend as Rian Johnson’s take on the popular space opera. Granted, Shot Caller is screening only in a limited amount of cinemas, but if you fancy something a little less mainstream, then this may very well be the film for you.

Starring Nikolaj Coster-Waldau (Games of Thrones) and Jon Bernthal (The Walking Dead, The Punisher), Shot Caller tells the sorry tale of Coster-Waldau’s Jacob, a typical American businessman who finds himself in prison after a tragic car accident.
See full article at The Hollywood News »

Movie Review – Shot Caller (2017)

Shot Caller, 2017.

Directed by Ric Roman Waugh.

Starring Nikolaj Coster-Waldau, Jon Bernthal, Lake Bell, Benjamin Bratt, Omari Hardwick, and Holt McCallany.


A newly released prisoner is forced to enter a gang war upon his return to the outside world in a bid to get his life back on track.

With HBO’s epic Game of Thrones reaching its much-anticipated climax in 2018, fans will be wondering what is going to become of the show’s stars once the battle for Westeros is finally finished. Many of the stars, Peter Dinklage and Emilia Clarke most notably, have attempted to make a step-up to the big-screen with mixed results but one star fans won’t have to worry about, judging by his performance in his latest film, Shot Caller, is Nikolaj Coster-Waldau.

Waldau, best known for his role as Jaime Lannister, is completely transformed here, playing Jacob, the grizzled, Hulk Hogan mustachioed
See full article at Flickeringmyth »

Giveaway – Win a Shot Caller quad poster

To celebrate the release of the action-packed crime thriller Shot Caller – in select cinemas 15th December – we have an official quad poster up for grabs.

Screen superstars Nikolaj Coster-Waldau from Game of Thrones, and Jon Bernthal from The Punisher, team up for this brutal and brilliant crime thriller from action writer director Ric Roman Waugh (Snitch).

Jacob Harlon (Coster-Waldau), a successful financier, is sent to jail after a drink driving accident. In order to survive the cutthroat prison environment, he joins the Ayran Brotherhood prison gang. Upon release, Harlon is a changed man, and must placate his no-nonsense parole agent, and an La County sheriff, at the same time as repaying the debt to the gang who looked after him inside, who want him to arrange an illegal arms deal. He has to comply if he wants to keep his family safe from vengeance.

★★★★ Empire

“One of the most powerful
See full article at Flickeringmyth »

Animal Factory Starring Willem Dafoe on Blu-ray November 28th From Arrow Video

Animal Factory starring Willem Dafoe will be available on Blu-ray November 28th From Arrow Video

Troubled youth Ron Decker (Edward Furlong, American History X) is sentenced to a ten-year stint in the notorious San Quentin State Prison for a drug-dealing conviction. Inexperienced in the ways of prison life, he’s taken under the wing of Earl Copen (Willem Dafoe, To Live and Die in La), an experienced con with the entire prison in the palm of his hand – inmates and guards alike. But as Ron grows increasingly cocky in his privileged role as Earl’s confidant, is he in danger of biting off more than he can chew with some of the jail’s more volatile inhabitants?

Based on the semi-autobiographical novel of the same name by Eddie Bunker (Reservoir Dogs), Animal Factory was Steve Buscemi (Lonesome Jim, Interview)’s second stint in the director’s chair and sees him marshaling a formidable ensemble cast,
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Doc NYC: Barbara Kopple on Her True Crime Tale, A Murder in Mansfield

“A friend of mine has this absolutely fantastic story that we should all do together.” Barbara Kopple heard these words, she tells me, on a phone call last year with producer John Morrissey (American History X). She’s likely heard such preambles before. Kopple has directed documentaries for more than 40 years, from her landmark labor-strike feature Harlan County U.S.A. to her profiles of Woody Allen (Wild Man Blues), the Dixie Chicks (Shut Up & Sing) and the late, eternally great Sharon Jones (Miss Sharon Jones!). Morrissey wanted to pitch Kopple a film on Collier Landry, an L.A.-based filmmaker whose mother […]
See full article at Filmmaker Magazine »

Doc NYC 2017 Women Directors: Meet Barbara Kopple — “A Murder in Mansfield”

“A Murder in Mansfield”

Barbara Kopple is a two-time Academy Award winning filmmaker. Her credits include “This Is Everything: Gigi Gorgeous,” “Miss Sharon Jones!” and “Harlan County USA.” Kopple actively participates in organizations that address social issues and support independent filmmaking.

“A Murder in Mansfield” will premiere at the 2017 Doc NYC film festival on November 12.

W&H: Describe the film for us in your own words.

Bk: “A Murder in Mansfield” is the story of a boy who grew to manhood haunted by the trauma of a murder and by issues with his parents and family that remained unresolved in him many years later because of that murder. It’s a story about human resilience and hope. It’s a story about someone choosing to confront the past in an effort to take control of his future.

Collier Landry is the boy and the man at the center of this story, the son of a prominent doctor and a beautiful, loving mother in Ohio. Dr. John and Noreen Boyle raised Collier with a picture-perfect life, but below the surface was deep dysfunction and unhappiness. Even before the tragedy that changed his life, Collier was dealt a psychological double-whammy: a distant father who withheld love and acceptance from him, and a lonely mother who overcompensated by treating her son like her missing partner.

Then one day at age 11, Collier told his parents good night, went to bed and woke up to learn his mother was missing. 26 days later, her body was discovered in the basement of Dr. John’s second house. Also discovered was John’s pregnant mistress for whom he had purchased the house. Collier and his adopted sister were pulled from their home and placed in foster care as their father was arrested and charged with the murder of their mother.

The arrest and ensuing trial turned the small city of Mansfield upside-down. Collier had a very public decision to make. Would he stand by his father, regardless of his guilt, or would he seek to avenge his mother? As the cameras rolled inside the courtroom from nearly every news outlet in Ohio, an angry young Collier took the stand and left no bones about whose side he was on.

As dramatic as that story was, it turned out to be only the beginning for Collier. And that’s where our film picks up. After the news and cameras went away, the boy struggled with the fallout of his decision to testify.

W&H: What drew you to this story?

Bk: The first thing we watched when we started this project was Collier’’s hours of testimony at his father’s trial when he was 12-years-old. He was such a bright, articulate, sensitive, and artistic boy. It was like an adult talking from a child’s mouth.

Another thing that strikes you is that Collier clearly had a lot of anger toward his father at that point. You wonder, “Was he angry before the murder?” It seems like something that’s been simmering inside him for a long time. He’s asked by the prosecutor how much time he spent with his mother and how much with his father, and he answers, “99% with my mother and 1% with my father,” which drew a gasp from the courtroom audience.

It was a child’s exaggeration, but it’s clear that there is something deeper going on between Collier and his father. That footage opens “Murder in Mansfield,” and everyone who watches it is just hooked right away by this compelling young man, as I was.

Meeting Collier, who is such an open and vibrant person, it is hard to imagine how much he had endured. His attitude towards life is so inspiring to me, and I was touched — but not surprised, by how many people loved him.

Collier’s relationship with his father is complicated and their correspondence is heartbreaking. I was left feeling that the maturity and emotional intelligence Collier displayed in his letters to his father was incredible. I understood how deeply Collier wanted acceptance and approval from his father, even with their convoluted past.

When I looked at tapes of young Collier, so brave and well-spoken on the stand, my hope was that he might grow up to be something like the adult Collier I know now. Adult Collier is kind, smart, and following his dreams as a cinematographer. I am thankful to know a person like Collier, who makes us believe again in the power of the human spirit and our ability to survive tragedy and live a full life.

W&H: What do you want people to think about when they are leaving the theater?

Bk: “A Murder in Mansfield” has a true crime subject, but we weren’t interested in making a true crime documentary. For one thing, most of the documentaries in the genre are trying to create doubt about whether someone convicted are actually innocent, or whether someone who got off is actually guilty.

In the case of Noreen Boyle’s murder, I don’t think I’ve ever seen a clearer cut case of guilt than with the man who got convicted for it, John Boyle. In the midst of divorcing, with Dr. John Boyle’s baby due the following month from another woman, he rents a jackhammer for the first time, he and his wife go to sleep in separate rooms of their Mansfield home, and his wife is never seen alive again.

Boyle tells his son Collier the next morning that “Mommy took a little vacation.” 26 days later, Noreen’s body is unearthed by police in the basement of the new home John Boyle has just purchased for his mistress. She was suffocated by a bag and hit twice on the back of the skull by a hammer-like object.

So immediately this was not a case where you are exploring a mystery or a miscarriage of justice. Instead it was compelling to me to explore the effect it had on the mental and spiritual well-being of those connected to the case, especially Collier.

I studied psychology in Boston before I became a filmmaker, and my son is now a psychiatrist in Manhattan. I’ve done several documentaries that look at mental illness and psychological damage by getting up close and personal with a few individuals dealing with those issues. These are always “heavy” subjects to tackle, but it can also be incredibly inspiring to watch someone try to fix themselves, to try to better their own lives and be happy.

“A Murder in Mansfield” was a chance to look at the trauma experienced by people close to a violent crime — how sometimes there are more victims than just the recognized victim. It seemed like an under-explored topic given how many people in America are affected by violent crime, and one that an audience might be moved by.

W&H: What was the biggest challenge in making the film?

Bk: The real challenge of this film took place inside Collier Landry. Our team was along for the ride, essentially, and it was on him to figure out what he was looking for, both in Mansfield and inside himself, and what path he needed to take to get there.

I know that was an extraordinarily difficult process for him, and we had a lot of conversations and concern about going with him on his journey rather than pushing him into a journey. It had to be his, not ours. Collier held a great deal of faith that confronting and examining the trauma he carried would lead to good things — something that others in his life were very skeptical about and preferred to avoid it like the plague.

We wanted to make sure that what we were participating in would be healing for him, not add further harm. We consulted with mental health specialists before we started filming, and Collier picked up his sessions with Mansfield’s Dr. Dennis Marikis that he had started as a child when the murder happened.

So he had someone who cared and understood his story to guide him repeatedly through all this as it unfolded. And there’s no question in my mind that the results for Collier speak for themselves. He took the right approach.

W&H: How did you get your film funded? Share some insights into how you got the film made.

Bk: The project came about when an old friend from Hollywood, John Morrissey, sent me a message about a cinematographer he knew out there named Collier Landry. Actually, I recently looked back at the first email, and it was sent in late January 2015, coincidentally twenty-five years to the day after Collier’s mother’s body had been found, his father arrested, and his life changed forever.

Morrissey was a producer probably best known for “American History X,” and he had produced my 2005 film “Havoc” starring Anne Hathaway and Bijou Phillips. That was a scripted film, and Morrissey had always been interested in doing a documentary with me. He ran in the same circles as Collier and saw something in his story, and when my producers and I heard it, so did we.

The original concept was to follow several individuals all connected by the same violent crime, watching them come together, and help each other find ways to deal with lingering trauma. There were 1,197,704 violent crimes committed in the U.S. in 2015, according to a report released by the FBI. We felt a film on this subject could be an inspiration to so many people who find themselves as “secondary victims.”

As we researched the subject, we found that many of those close to violent crimes suffer Ptsd-like symptoms. Many never deal with their trauma because they don’t want to give any further energy to such a terrible event in their lives by focusing on it or thinking about it more than they have already had to. As a result, many carry baggage from these crimes for the rest of their lives and never find a way to deal with it.

Collier tried to convince others affected by his mother’s murder to be a part of this film. One family member told Collier that she had tried so hard to move on and did not want to go back into the worst moment of her life. When these kinds of tragedies happen that mix terrible loss with man’s inhumanity to man, the depths of depravity, many people can’t let themselves go there for too long and try to quickly move past it toward something positive in their lives.

The problem is that they never really heal.

For Collier, even though he had carved out this successful life for himself in production out in L.A., he still carried this with him every day, and it still affected him in all kinds of ways. When I met him he seemed desperate to find someone else he could share that with, someone who had been affected by the same terrible moment. And he seemed genuinely concerned that others might be hurting and he might be in a unique position to help them.

But his journey proved to be more complicated.

W&H: What does it mean for you to have your film play at Doc NYC?

Bk: Doc NYC is a wonderful film festival and so important for documentaries. Thom Powers has my love and admiration for creating it. Another film of mine very dear to my heart, “Miss Sharon Jones!” got its U.S. premiere opening the festival in 2015.

The same year I was honored to receive a career achievement award from the festival, alongside my colleagues Frederick Wiseman and Jon Alpert. I look forward to that ceremony every year because it’s a chance to see all my favorite filmmakers and colleagues together in one room celebrating what we do.

W&H: What’s the best and worst advice you’ve received?

Bk: Bad advice? I can’t remember anything in particular, but I think most of the bad advice in my life has been people telling me I can’t do something or shouldn’t do something. It’ll cost too much. It’s too dangerous.

Some advice I heard early in my career that I live by when making documentaries is to be true to your “characters” — be true to the people you are filming, and allow them to take the lead of where they are going, because they will always be much more interesting and moving than whatever you have in your mind. And be a really good listener.

As far as life goes: When someone tells you that you can’t do something and you feel deeply in your soul that you can, go for it. If you fail, you’ll learn from it. If you do well, the risk was well taken.

W&H: What advice do you have for other female directors?

Bk: It’s the same as I would have for male directors: not to be afraid of anything. That really is the best advice. Stick it out, know that you can do it, even if you aren’t sure you can, and people will help you and stand up with you. If you tell other people you need their help, people will want to see you succeed.

Don’t take no for an answer, figure out a solution, go by your instincts.

Believe in yourself and mostly have fun. Make the material your own.

It’s not easy to make documentaries. You are always prying into other people’s lives, often in times of stress. Trust between you and the people whose stories you are telling is sacred. Stay focused. Serve the story, as it is being told by the characters you are following.

Maybe most importantly, there’s no right or wrong way to direct. Embrace good ideas from others. And it’s also okay to change your mind. That’s courageous. That’s a good thing. If you find a better way to do something, it’s fine to change your mind. That’s part of life. And I think it’s very open and cool to say, “Hey, I thought this was a good way to do it, but this is better.”

W&H: Name your favorite woman-directed film and why.

Bk: This question makes me feel like you’ve got a gun to my head. Well, you’re going to need a lot more guns, because there are too many great female directors for me to pick just one!

W&H: There have been significant conversations over the last couple of years about increasing the amount of opportunities for women directors yet the numbers have not increased. Are you optimistic about the possibilities for change? Share any thoughts you might have on this topic.

Bk: Yes, I am optimistic. So many consistently great documentaries by women are getting to be ever more popular. Women directors are a special group who are determined, have perseverance, and continue on in the hardest of times.

They should be applauded, loved, and given lots and lots of money to make their films!

Doc NYC 2017 Women Directors: Meet Barbara Kopple — “A Murder in Mansfield” was originally published in Women and Hollywood on Medium, where people are continuing the conversation by highlighting and responding to this story.
See full article at Women and Hollywood »

Orlando’s Spooky Empire Convention to Feature Cast Members from the New It Movie

Spooky Empire has announced that Sophia Lillis, Jaeden Lieberher, Jeremy Ray Taylor, and Wyatt Oleff from the new It movie will be special guests at the Orlando convention this fall. In addition to the It (2017) cast's attendance, the convention will also celebrate a special 30th anniversary of Joel Schumacher's The Lost Boys, and more:

Press Release: Orlando – Spooky Empire, who hosts one of the most coveted and recognizable thriller conventions in the nation, announces the reunion of the Hollywood classic, Sixteen Candles, with the attendance of Molly Ringwald, John & Joan Cusack and Anthony Michael Hall on October 27 – 29, 2017 at The Hyatt Regency Orlando. The convention will also celebrate the 30th anniversary of iconic American horror comedy The Lost Boys with the attendance of Billy Wirth, Jamison Newlander and G Tom Mac. The convention has also added an array of new activities for guests to enjoy including a Charity Casino Night,
See full article at DailyDead »

Intense Trailer For John Travolta's True Crime Drama Gotti

John Travolta takes on the role of crime boss John Gotti in the upcoming film Gotti. It looks like he gives an incredible performance in the movie. It's good to see the actor taking on good projects again. This is probably one of the best movie roles he's taken on in a long time. This looks like it could be a great film and I'll definitely be checking it out.

Gotti follows infamous crime boss John Gotti’s (Travolta) rise to become the “Teflon Don” of the Gambino Crime Family in New York City. Spanning three decades and recounted by his son John Jr. (Spencer Lofranco), Gotti examines Gotti’s tumultuous life as he and his wife (Kelly Preston) attempt to hold the family together amongst tragedy and multiple prison sentences.

Travolta is also joined in the film by Pruitt Taylor Vince (Monster, Heroes Reborn), Stacy Keach (American History X,
See full article at GeekTyrant »

Hollywood Flashback: Before Charlottesville Clash, 'American History X' Turned Racial Hate Into Drama

Hollywood Flashback: Before Charlottesville Clash, 'American History X' Turned Racial Hate Into Drama
American History X — a film that took the phrase "creative differences" to new extremes. In 1996, The Hollywood Reporter announced the New Line production would be "a story about the consequences of urban racism as a family is torn apart by hate."

Things did get torn apart — but not in the way the producers envisaged. The film is centered on a neo-Nazi skinhead (Edward Norton, then 27) who, while in prison, learns the error of his ways and then...
See full article at The Hollywood Reporter - Movie News »

We chat to The Graduate Producer Lawrence Turman to celebrate 50 years of the awesome classic

Author: Adam Lowes

Here’s to you, Mrs. Robinson! The classic coming-of-age yarn The Graduate is celebrating its 50th anniversary this year. To mark this very special occasion we spoke with the film’s producer, Lawrence Turman.

Having reached something of a landmark age himself last year in turning 90, Mr. Turman has had a long and illustrious career in Hollywood, with an array of iconic films under his belt as producer, including The Thing, American History X and Short Circuit. Taking time out from his schedule (still working, he teaches film classes at the University of Southern California) Mr. Turman chatted with us about the enduring legacy of the film.

HeyUGuys: Congratulations on this milestone. Firstly, what do you think it is about the film which has awarded it this longevity?

Lawrence Truman: I chuckle because if I knew, I’d have constantly repeated it.

How did the project materialise?
See full article at HeyUGuys »

Refugees and Nationalism: How Europe Is Questioning Its Identity Through the Movies

Refugees and Nationalism: How Europe Is Questioning Its Identity Through the Movies
Less than two weeks after the start of Brexit negotiations, the European Union turned to a familiar place to wrestle with its current identity crisis — the movies.

That was the setting last weekend in the Czech Republic, when European Union representatives gathered at the Karlovy Vary International Film Festival to announce the 10 selections for the Lux Film Prize. At a cocktail lounge in the Grandhotel Pupp, Wes Anderson’s inspiration for “The Grand Budapest Hotel,” attendees toasted to the promise and hope of Europe’s shared cultural unity — while 473 miles west in Brussels, one member of that union outlined the terms of its removal.

European Parliament sponsors Lux, and the prizemaking will continue throughout the year. This fall at the Venice International Film Festival, those 10 films will be narrowed down to three, which will be subtitled in all 24 official E.U. languages and distributed into every member country, at which
See full article at Indiewire »
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