Notícias

The 1987 sci-fi action classic RoboCop is one of those rare perfect movies. Everything about it works just right. The satire. The violence. The characters. The design of RoboCop himself. And it’s difficult to follow up perfection. Which is evident in RoboCop 2, a movie that tried to carry on the story… But ended up feeling tonally inconsistent and a bit scattered. It’s a fun movie, but not on the level of its predecessor. And now, we’re going to dig into just what happened to RoboCop 2.

Orion Pictures had a big hit on their hands with RoboCop, which they released on July 17, 1987. Made on a budget of just under fourteen million dollars, the film earned more than fifty-three million dollars at the box office. So, of course, Orion wanted to replicate that success as quickly as possible. They hired RoboCop writers Edward Neumeier and Michael Miner to...

This post contains spoilers for season 2, episode 2 of "Severance."

After ending its first season on a heart-thumping cliffhanger, "Severance" has returned to delve deeper into Lumon's dark web of conspiracies. While the latest season picks things up from the perspectives of the innies (who experience the unsettling aftermath of their revolt), episode 2 focuses on the outies, and how they are dealing with the incident that concluded season 1 of the show. While outie Dylan (Zach Cherry) struggles to get a new job due to his severed status, outie Irving (John Turturro) makes a covert payphone call while being tailed by outie Burt (Christopher Walken). Meanwhile, Helena Eagan (Britt Lower) is seen scrambling to salvage Lumon's tarnished reputation, which necessitates drastic administrative changes that feel more ominous than comforting.

Amid this subdued chaos engulfing the world outside Lumon's stark offices, outie Mark (Adam Scott) wrestles over potential revelations about his seemingly dead wife,...

Why do Quentin Tarantino’s movies never have any bold scenes? ( Photo Credit – Flickr )

Way back, Quentin Tarantino vowed never to share a penny of his success with his mom, Connie Zastoupil. And yep, he’s kept that promise.

The Pulp Fiction mastermind spilled the tea on The Moment with Brian Koppelman, sharing a childhood clash that changed everything. Turns out, Tarantino’s writing dreams weren’t exactly hyped at home. His mom’s biting words? They lit a fire in him—a fire that’s still blazing today.

“She was always giving me a hard time about my struggles in school,” Tarantino revealed. But the breaking point came when she belittled his dreams. During a tirade about his poor grades, she sarcastically dismissed his aspirations, saying, “‘Oh, and by the way, this little writing career? That sh*t is f*cking over.’”

Trending Conclave: Ralph Fiennes & Edward Berger...

From Martin Campbell, the director of Casino Royale and The Protege, comes a new tense action thriller from Lionsgate, Dirty Angels. The film is based on female soldiers going undercover as medics to rescue teenagers caught between Isis and the Taliban. It stars Eva Green and Academy Award nominee Maria Bakalova. We had the opportunity to sit down and talk with director Martin Campbell and the film’s star, Maria Bakalova, ahead of the film’s release.

Dirty Angels follows an American soldier, Jake, who joins an all-women commando unit to help rescue a group of schoolgirls taken in Afghanistan. The mission is to gain the terrorists’ trust by posing as members of a relief organization. This is the type of action thriller that I enjoy. It’s a nicely balanced story mixed with shootouts, explosions, and great hand-to-hand combat.

Ruby Rose as Medic and Jojo T. Gibbs as Geek in Dirty Angels.

Some cliche somewhere said that ‘a picture is worth a thousand words.’ This has proven to be the case for me and especially when it comes to fan art. I have always sought out great fan art and have wanted to share it with as many people as possible. “Awesome Art We’ve Found Around The Net” is the outlet for that passion. In this column, I will showcase the kick-ass artwork of some great artists, with the hopes that these artists get the attention they deserve. That’s the aim. If you have any questions or comments, or even suggestions of art or other great artists, feel free to contact me at any time at [email protected].

Alien vs. Predator by Ignacio Lazaro

Batman Returns by Richard Philpott

Gremlins by Kevin Wilson

The Lion King by Natalie Dombois

The Matrix by Brian C Hailes

Mighty Morphin Power Rangers...

In the mid-1970s, legendary director William Friedkin—fresh off The Exorcist (1973)—helicoptered into South America with tens of millions of dollars…and emerged with malaria and a bleak, thrilling masterpiece: Sorcerer (1977). The only problem was the competition, a little movie called Star Wars (1977).Host Rico Gagliano tells the story of how Sorcerer (1977) crashed and burned at the box office—with help from the film’s screenwriter, Walon Green, Oscar-winning producer Mark Johnson, and more.The latest season of the Mubi Podcast, Box Office Poison, dives into six visionary films...that were also notorious flops. Inspired by the new book of the same name by Tim Robey, film critic for The Telegraph, each episode takes a wild ride through a great movie’s rise, fall, and rise.Listen to episode one below or wherever you get your podcasts:Apple PodcastsSpotifyMoreAfter listening, check out the latest “Mubi Podcast Expanded” piece which...

Stars: Kris Kristofferson, Ernest Borgnine, Ali McGraw, Burt Young, Franklyn Ajaye, Brian Davies, Seymour Cassel, Cassie Yates | Written by Bill Norton | Directed by Sam Peckinpah

Directed by Sam Peckinpah, Convoy is a film that rides on the wave of the trucker and Cb radio craze of the 1970s. Based on the popular country song of the same name by C.W. McCall, the movie attempts to blend action, comedy, and social commentary into one wild, sprawling road adventure. However, its execution leaves much to be desired, and it often feels like it’s unsure of what kind of film it wants to be.

The story revolves around Martin “Rubber Duck” Penwald (played by Kris Kristofferson), a stoic and charismatic trucker who finds himself on the run from an overzealous sheriff named “Dirty” Lyle Wallace (Ernest Borgnine). Along the way, Rubber Duck inadvertently inspires a convoy of fellow truckers to follow him,...

The late great country music legend Kris Kristofferson also boasted an impressive movie career filled with iconic roles. Although Kristofferson had already made it big with hits like Me and Bobby McGee, his major acting debut in 1972 signaled an important new dimension to his acclaimed career, and he continued acting consistently until shortly before his retirement in 2021. While Kristofferson sadly died in September 2024, aged 88, he left behind an impressive body of work in country music and on the big screen.

From his extraordinary acting debut in the cult classic Cisco Pike to his final role as country musician Blaze Foleys father in Ethan Hawkes insightful biopic Blaze, Kristofferson proved himself a talented actor capable of imbuing his roles with his real emotive power. With iconic portrayals in Westerns like Pat Garrett and Billy the Kid and the dramatic rollercoaster that was A Star Is Born, Kristofferson possessed a unique cinematic charm and undeniable onscreen charisma.

John Wayne's introduction in Stagecoach made him a movie star, but one of his final movies has a scene that rivals it. John Wayne fronted 80 Westerns throughout his career, including the groundbreaking likes of The Searchers or Rio Bravo; even Wayne's final film The Shootist was a Western. Despite becoming a screen icon, the early years of Wayne's career were a struggle. His first real lead in The Great Trail stalled Wayne's career for a decade, where he spent much of his time fronting so-called "Poverty Row" Westerns.

It was director John Ford who saw the star potential in Wayne, with Ford becoming the star's friend and mentor. The John Ford and John Wayne Western movie run is legendary in itself, and in many ways shaped what the genre would evolve into. Wayne's breakthrough was playing the Ringo Kid in 1939's Stagecoach, with his introduction scene - where he...

The Longest Day boasts one of the most iconic war movie ensembles ever assembled, rivaling even modern blockbusters like Saving Private Ryan. Featuring a star-studded cast with international talent, this 1962 film captures the intensity and historical significance of the D-Day landings. The camaraderie and talent displayed in The Longest Day's cast is a cinematic achievement that may never be replicated in today's film industry.

John Wayne's classic war movie The Longest Day still has one of the most war movie ensembles ever assembled. The Longest Day is often considered one of the greatest war movies about D-Day ever made and is right up there with other World War II classics such as Saving Private Ryan (1998). At 2 hours and 58 minutes long, The Longest Day offers a phenomenal depiction of the infamous D-Day landings at Normandy on June 6, 1944, a day that will always be remembered in American history.

While The...

The majority of Stephen King's novels (and many of his short stories) have been adapted into films or TV projects over the years, but there a few outliers that have yet to make the leap from page to screen. While it seems inevitable that sooner or later, every King work (with one notable exception) will be adapted, you have to wonder why some books have yet to materialize as movies. In 2016, King was asked by Deadline if there were any books he was surprised hadn't been adapted yet, and he had an answer: "The Regulators." If you came of age in the 1990s, as I did, and were a Stephen King nerd, as I was (and still am), you know all about "The Regulators," because it wasn't a normal Stephen King release. In fact, it technically wasn't even a Stephen King book — it was attributed to King's pseudonym, Richard Bachman.

Pat Garrett and Billy the Kid is now available in the Criterion Collection.

Sam Peckinpah is extremely relevant to my evolution as a cinephile. Straw Dogs was the first Criterion Release I ever owned, given to me as a birthday gift many years ago by a film-loving friend who introduced me to many important films I might not have seen otherwise. I was captivated by the film’s brutality and depth. These are themes that define most Peckinpah films and part of what makes him such a controversial, yet important, filmmaker. Surprisingly, this was my first viewing of Pat Garrett and Billy the Kid. Unsurprisingly, it delivered exactly what I wanted from a gritty 70’s western directed by one of the strongest auteurs of his time.

Pat Garrett and Billy the Kid plot

When Pat Garrett (James Coburn) takes on the role of Sheriff, he’s tasked with bringing in...

The British Film Institute (BFI) is set to make waves with its upcoming “Art of Action” season, anchored by a re-release of Kathryn Bigelow’s 1991 cult classic “Point Break.”

The U.K.-wide celebration of action choreography in cinema will run from October to December, offering audiences a high-octane journey through the evolution of the genre.

BFI Distribution will bring “Point Break,” starring Keanu Reeves and Patrick Swayze, back to U.K. cinemas on Nov. 8. The film’s return to the big screen after years of limited theatrical showings is expected to be a major draw for both nostalgic fans and new viewers alike.

The “Art of Action” season, presented by the BFI Film Audience Network using National Lottery funds, aims to showcase the artistry behind action sequences that have kept audiences enthralled for decades. The program will feature a diverse array of films, including silent era classics like Buster Keaton...

One could say it’s a “by-the-numbers” summer with “Despicable Me 4,” “Inside Out 2”” and “A Quiet Place: Day One” among the top box office films. But one of the masterpieces of the 20th century, Akira Kurosawa’s “Seven Samurai,” is back in theaters for its 70th anniversary in a limited release in a new 4K restoration. The acclaimed, influential epic is set in a 16th century Japanese village of poor farmers who hire the seven samurai to protect them from invading bandits intent on stealing their barley crop.

The film stars two members of Japanese filmmaker’s stock company — Toshiro Mifune and Takashi Shimura. “Samurai” as noted in the press notes for the new restoration “virtually redefined Japanese cinema’s sword play and period genres, proving Kurosawa a master of both visually thrilling and dramatically complex storytelling.”

Though “Seven Samurai” was released in Japan on April 26, 1954, and was...

France’s Deauville American Film Festival has announced a retrospective gathering 50 U.S. features that have challenged perceptions of the world to mark its 50th anniversary.

The selection ranges from D. W. Griffith’s 1916 silent epic Intolerance to Quentin Tarantino’s Once Upon A Time In Hollywood, and also includes Ida Lupino’s groundbreaking 1950 rape drama Outrage as well as Spike Lee’s Do The Right Thing. (see full list below)

“Cinema has always made us dream, travel, desire, fantasize, laugh, cry. But how many films have been able to shake up our certainties, question our beliefs, question our prejudices and put our own views into perspective?,” said the festival.

“The Deauville American Film Festival wanted to highlight a selection of 50 films that have changed the way we look at the world,” it continued.

Launched in 1975, the festival unfolding in the swanky Normandy beach resort of Deauville, annually fetes Hollywood...

John Wayne co-helmed his goriest Western, Big Jake, due to director George Sherman's ill health. Big Jake marked John Wayne's final time working with Maureen O'Hara and featured his sons Patrick Wayne and Ethan as his on-screen family. Due to disliking violent films, Wayne insisted humor balance the violence in Big Jake, which turned out to be a mistake.

John Wayne made arguably his bloodiest Western in 1971, and the film is even more interesting when a certain making of detail is taken into account. John Wayne fronted 80 Westerns during his career and was still cranking them out at a steady pace during the 1970s. Despite the genre being in decline, most of the actor's output from this era like The Cowboys or Wayne's only sequel Rooster Cogburn turned a profit. Unfortunately, most of his final films like Howard Hawk's Rio Lobo are underwhelming, and the star was starting to show his age.

Personally and professionally, Sam Peckinpah was running on fumes by the time he made 1973’s Pat Garrett and Billy the Kid. Years of substance abuse left the director in such fragile health that he spent some days on the production’s Mexico locations filming from a hospital bed, and his dilapidated condition only exacerbated his notoriously combative personality and contributed to the film’s budget and schedule overruns. Infuriated by the escalating expense of the production and set on an arbitrary runtime ceiling, MGM took over editing before Peckinpah could finish the job and released a hastily assembled 106-minute version that hit theaters to indifferent reviews and middling returns. Only in 1988, four years after the director’s death, did the film gain stature as one of his finest works thanks to the release of a rough, never-finalized preview cut prepared by Peckinpah.

An account of the final days of the...

Kevin Costner is contemporary America’s No. 1 cowboy patriarch, the sort of actor who gives off a strong frontier-zaddy vibe while looking remarkably at home on a horse. He wasn’t the sole reason why Yellowstone became a massive hit, just the biggest; whether you love or loathe Taylor Sheridan’s ranch-style soap opera, it’s hard to argue with the sheer star power and earned sense of take-no-shit gravitas Costner brought to the role of John Dutton. That show not only gave Costner a renewed level of cultural currency — the man never stopped working,...

The most rewatchable Westerns offer depth beyond surface enjoyment, with spectacular filmmaking and enduring storytelling. Films like The Wild Bunch revolutionized the Western genre and stand the test of time. From iconic classics like The Searchers to modern hits like Django Unchained, these films deliver unforgettable characters and compelling narratives.

The Western genre has had countless classic releases over the decades, but some stood above the rest in terms of rewatch value. Although there were incredibly exciting Westerns that stood as fantastic cinematic viewing experiences, this was not always enough to ensure that audiences returned to them repeatedly throughout the years. However, other Western movies delivered just the right kind of action, strong characterization, and deeply nuanced storytelling that meant Western lovers would decide to return to those characters and find new aspects to enjoy with each subsequent viewing.

The most rewatchable Westerns all had something in common: They offered...

The actor-director’s second film behind the camera is a quirky spin on the genre given true grit by its magnetic heroine

On the surface, The Dead Don’t Hurt, the second directorial venture from Viggo Mortensen, has the weathered, leathery look of a traditional Hollywood western. The story of a rocky romance between a spirited, rebellious woman and a strong, silent man, the film was shot, in imposing widescreen, largely on location in Durango, Mexico, a region that also provided the backdrop for numerous classics of the genre. John Sturges’s The Magnificent Seven, Sam Peckinpah’s The Wild Bunch and Pat Garrett and Billy the Kid and Sergio Leone’s The Good, the Bad and the Ugly all made use of the wide open sky, sweeping vistas and photogenically phallic geological formations. There’s a rough-hewn drama to the look of the land, with jutting rocky outcrops contrasted against the squat,...

The roots of the western genre can be traced back to Edwin S. Porter's silent 1903 thriller The Great Train Robbery. Masterpieces like Stagecoach and Shane established tropes and explored the gunslinger psyche. The Wild Bunch disrupts traditional cowboy heroism in Sam Peckinpah's blood-soaked rebel anthem.

The western is a cornerstone of American cinema and, from Shane to The Searchers, many of those early, seminal, genre-defining westerns still hold up today. Filmmakers have been mythologizing the Old West for as long as theyve been telling stories on film. Edwin S. Porters The Great Train Robbery, one of the first narrative films ever made, released in 1903, laid out the tropes and conventions of the western genre.

Fred Zinnemanns High Noon introduced a moralistic edge to the typically violent genre. Sergio Leones A Fistful of Dollars introduced a bleak, brutal Italian take on the American western. George Roy Hills Butch Cassidy...

For the last two years in a row, one of the major premieres at the Cannes Film Festival has been a mainstream film that works with the trappings and tropes of the Western genre. But there’s not much connection between Martin Scorsese’s Oklahoma-set 1920s period piece “Killers of the Flower Moon,” one of the hits of last year’s festival, and Kevin Costner’s “Horizon: An American Saga,” which had its premiere at the Grand Theatre Lumiere on Sunday evening.

For Scorsese, approaching that location and time period meant thinking hard about what he could bring to a genre that he felt had peaked with directors like John Ford and Howard Hawks in the 1940s and ’50s, and essentially been ended by Sam Peckinpah’s revisionist Western “The Wild Bunch” in the late 1968s.

Costner, though, has little interest in revisionist thinking about the genre; “Horizon” is proudly,...

Sylvester Stallone was used to doing real physical stunts in most of his action films. Which was why the actor didn’t really care all that much for having his hard work replaced digitally.

What Sylvester Stallone really felt about green screens vs. stunts Sylvester Stallone | Axelle/Bauer-Griffin/FilmMagic

Stallone wasn’t too impressed with the opportunities technology like green screens created. Green screens can allow whole cities to come alive during movies without having to physically build sets. Or travel to other places to get the right look. They also presented the opportunity to lessen the burden of physical stunts for actors. Still, Stallone preferred the grounded reality and authenticity of action stunts. He actually might’ve found that a bit easier than doing green screens.

“I don’t know how those guys do that green-screen work – I’ve done a bit and it drives me crazy. I like...

Stars: James Gaudioso, Adam Shippey, Shawnee Smith, Drew Moerlein, Tyrese Gibson, Kresh Novakovic, Taryn Manning, Bruce Dern, Montanna Gillis | Written by James and Anthony Gaudioso | Directed by Ante Novakovic

Bloodline Killer begins on Halloween Eve when Connor sees his father killed by the masked serial killer known as Skulleton. He tries to save him but to no avail, and the only thing that saves him is his mother Moira putting several bullets into the killer. That drops him, but while she isn’t looking, the body vanishes.

At the hospital, Connor and his brother Michael almost get in a fight over Connor not being able to their father. Detective Cypher and his partner Detective Fink find out that someone claiming to be a cop has already interviewed the hospitalized Moira. And we find out that Skulleton is her cousin.

Elsewhere, Samantha, the killer’s sister finds him and drugs him...

It might feel like we just rang in the new year last week, but believe it or not, summer is already here -- at the movies, anyway.

With the release of the Ryan Gosling-Emily Blunt action-romcom The Fall Guy, Hollywood's most lucrative season has officially arrived.

But the calendar is light on sure bets this year, and that's mostly because of recent box office trends that have left studio execs in a very uncertain position.

As you probably recall, Barbie and Oppenheimer were the summer box office success stories of 2023.

In retrospect, it seems like a foregone conclusion that two films that so dominated the zeitgeist would also win big commercially.

After all, prior to last year, you had to go all the way back to 2010 for a year in which the highest-grossing movie was neither a sequel nor a superhero flick.

That was the year that James Cameron...

When Tony Scott died in 2012, he left behind more than a few unfinished projects, including a remake of Sam Peckinpah’s iconic Western, The Wild Bunch.

L.A. Confidential screenwriter Brian Helgeland was attached to write the script for the remake of The Wild Bunch for Tony Scott, and he spilled a few details about the project while speaking with Inverse, including that it would have been set in the modern day.

“I also wrote 45 pages of The Wild Bunch for Tony to direct before he died. Sadly, I always say that I’m still on page 45 of that project,” Helgeland said. “It’s pretty violent and set in the modern day. The plot revolves around L.A. rampart cops that were being sent to prison, but during the trial, they’re still technically free. So, they decide to head down to Mexico and rob a bank before scattering to the...

John Flynn’s Rolling Thunder is a lean, mean revenge thriller that could have only been made in the 1970s. It’s 1973, to be exact, and Major Charles Rane (William Devane) has recently returned to San Antonio after several years in a Viet Cong prison camp. Greeted with a hero’s welcome, Rane has little use for his neighbors’ praise, which he appears to regard (correctly) as an almost poignantly inadequate expression of collective survivor’s guilt.

Rane, along with his friend and fellow veteran Johnny Vohden (Tommy Lee Jones), inhabits the film with a calm pragmatism that might be disconcerting for viewers accustomed to cinema’s more overheated depictions of soldiers coming home. The men don’t appear to resent the friends and family who’re blessedly ignorant of the atrocities they experienced abroad, but the soldiers no longer possess the facilities necessary to uphold basic social conventions such...

Dan Wallin, the music scoring engineer who recorded such classic film scores as “Spartacus,” “Bullitt,” “The Wild Bunch” and “Out of Africa,” died early Wednesday in Hawaii. He was 97.

Twice Oscar-nominated for best sound (1970’s “Woodstock” and 1976’s “A Star Is Born”), he won a 2009 Emmy for sound mixing on the Academy Awards telecast and received two additional Emmy nominations in the sound mixing category.

But it was Wallin’s skill behind the console, recording and mixing musical scores for movies and TV, that won him legions of fans among nearly all of Hollywood’s top composers and ensured steady employment for more than half a century.

He recorded the music for an estimated 500 films, including those for “Bonnie and Clyde,” “Cool Hand Luke” and “Finian’s Rainbow” in the 1960s; “The Way We Were,” “Blazing Saddles,” “Nashville,” “King Kong” and “Saturday Night Fever” in the 1970s; “Somewhere in Time,” “The Right Stuff...

The Story: A covert army unit goes to war with Cash Bailey (Powers Boothe), a well-connected drug dealer, who also happens to be the childhood best friend of an honest Texas Ranger (Nick Nolte) who’s caught in the middle of what’s turning into a bloody drug war.

The Players: Starring: Nick Nolte, Powers Boothe, Michael Ironside, Clancy Brown, William Forsythe, María Conchita Alonso, and Rip Torn. Music by Jerry Goldsmith. Directed by Walter Hill.

The History: Let me take a moment here to pay tribute to an actor who never gets his due anymore: the late Powers Boothe. While never a household name, he was well-known as a character actor in a career that spanned four decades. He appeared in a lot of great movies, including Southern Comfort, The Emerald Forest, Sin City, heck – even The Avengers! But, one of the best roles he ever had was in...

How you situate Sergio Leone’s epic, acerbic A Fistful of Dynamite within the filmmaker’s larger body of work just might depend on which title it bears when you watch it. The original Italian title, Giù la testa, is probably best rendered by the thematically appropriate Keep Your Head Down, but Leone insisted the film go out under the looser translation Duck, You Sucker! It’s a line that recurs several times throughout the film, one that Leone insisted was authentic American slang of the era, though clearly it isn’t any such thing.

The replacement title A Fistful of Dynamite attempts to link it with Leone’s earlier A Fistful of Dollars, but this one gets far darker and more serious than the more “innocent” tales of adventure that form the Dollars trilogy. Probably the most appropriate title was the one applied to it by the French: Once Upon a Time…...

At its core, John Sturges’s Gunfight at the O.K. Corral is another retelling of the exploits of Wyatt Earp (Burt Lancaster) and Doc Holliday (Kirk Douglas) where the facts are buried under layers of myth. Doc is introduced as a surly card sharp and drunk, and he’s ultimately steered out of trouble by Wyatt. This is a different approach from John Ford’s My Darling Clementine, in which Doc doesn’t appear until well into the film and is a public nuisance to Wyatt and others. By initially focusing on Doc, who’s more receptive to Wyatt’s council here, the film winds up giving the men equal footing as protagonists, making this something closer to a buddy picture.

After a prologue set in Fort Griffin, Texas, the film’s story is neatly mapped out in a two-act structure, with the characters travelling from Dodge City to Tombstone,...

The 1974 spin on westerns sees Mel Brooks pointing at the absurdity of racism and the history of human evil while always ensuring a steady stream of laughter

Though it rarely gets mentioned in the same breath as The Wild Bunch, McCabe and Mrs Miller and the wave of revisionist westerns that came out of Hollywood in the late 60s and early 70s, Mel Brooks’s Blazing Saddles doesn’t need any artfully hazy Vilmos Zsigmond cinematography to upend Old West mythology. True, it is a comedy where a horse gets cold-cocked, a Native American chief (one of three characters played by Brooks) speaks Yiddish and Count Basie’s orchestra makes an appearance on the plains. Yet from the opening sequence, where Chinese immigrants and recently freed Black slaves work under the white man’s whip to build a railroad, this irreverent Looney Tunes spoof of the genre takes a dimmer...

Mickey Gilbert, the fearless stunt performer who jumped off a cliff for Robert Redford in Butch Cassidy and the Sundance Kid and doubled for Gene Wilder in films including Blazing Saddles, Silver Streak and The Frisco Kid, has died. He was 87.

Gilbert died Monday of natural causes at his home in Camarillo, California, his oldest son, Tim Gilbert, also a stunt performer, told The Hollywood Reporter.

Early in his career, Gilbert was a horse wrangler in William Wyler’s Ben-Hur (1959) and a bank robber in Sam Peckinpah’s The Wild Bunch (1969). Years later, he took the lumps for Lee Majors’ Colt Seavers on the 1981-86 ABC action show The Fall Guy.

Though they weren’t friends at the time, Gilbert and Redford were in the same class at Van Nuys High School, graduating in 1954. They got together on George Roy Hill’s Butch Cassidy and the Sundance Kid (1969) when Redford...

If you’ve ever wondered what it feels like to have your soul put through the emotional equivalent of a meat grinder, then boy, do we have a list for you! Thanks to the collective masochism of the internet, we’ve scoured a popular Reddit thread where the biggest horror fans shared the films that left them feeling like they need a hug… or ten. From existential dread to narratives so bleak they’d make a goth smile, these movies are guaranteed to mess you up in the best way possible.

So, let’s dive into the abyss with these soul-crushing cinematic experiences that are anything but your typical jump-scare fest, and come with the horror-fan seal of approval! Or.. warning.

Dimension Films 1. The Mist (2007)

First up, The Mist blankets its audience in a thick fog of existential terror and human fragility. Directed by Frank Darabont and based on Stephen King’s novella,...

Since the silent era, a century’s worth of movies has told us how to love, how to die, how to dress, how to behave. But things have changed a lot since the silent era, which raises the question: Are movies still vital to our lives? Are they still at the core of our cultural life? Do they still matter?

Beyond Hollywood’s scrambled economics, one of the biggest threats to its hegemony is social media — TikTok, Facebook, Instagram, and X-formerly-known-as-Twitter — with which it has always had an uncomfortable relationship, alternately its victim or master. Thanks to the gravitational pull of social media, as well as the pandemic and two strikes, the studios and theaters have endured a disastrous stretch, and even the streamers, after enjoying a several decades-long honeymoon (the so-called era of “Peak TV”), started to falter. A dense fog of doom and gloom settled over the industry.

On January 26, Bandai Namco will release Tekken 8 for PlayStation 5, Xbox Series X/S, and PC. While there will surely be multiple seasons of Dlc for the game, the first season will end right around the 30th anniversary of the series. 30 years of eight mainline titles, two tag team offshoots, a Nina Williams spinoff, some mediocre-at-best movies, a pretty decent Netflix animated series, and a handful of weird-ass comic tie-ins.

In those three decades, Bandai Namco gave us what might just be the best fighting game series to ever exist. If the fighting genre had a Mount Rushmore, surely the titles carved into it would be Street Fighter, Mortal Kombat, Tekken, and King of Fighters. I mean, I suppose you could argue Super Smash Bros., but the fighting game community treats it like Anakin Skywalker in the Jedi Council. It’s there, but is treated like an outsider.

But why is...

Not all classic westerns rely on high-octane action scenes; some focus on rounding out characters and conveying social commentary. Slow West, The Sisters Brothers, and True Grit are examples of western movies that prioritize character development over action. The Power of the Dog, Bad Day at Black Rock, and Killers of the Flower Moon explore psychological turmoil and societal issues within the western genre.

The western genre traditionally relies on shootouts, train robberies, and horseback chases to keep its audience entertained, but not every western movie needs to lean into high-octane action scenes to captivate viewers. Shane has a brutal bar brawl, The Wild Bunch has a blood-soaked gunfight, and The Good, the Bad, and the Ugly forces its characters to cross an active Civil War battlefield. But not every classic western is as action-heavy as them.

Rio Bravo spends most of its runtime hanging around with the characters while...

Spoiler Alert: This article discusses mild plot points in the new movie “The Beekeeper.”

David Ayer’s new film “The Beekeeper” is an action movie extravaganza that’s reminiscent of the best Schwarzenegger and Stallone flicks of the ’80s. Jason Statham stars as Adam Clay, a man who seeks vengeance on the call center that scams one of his friends (played by Phylicia Rashad). Unfortunately for the criminals, led by nepo baby tech bro Derek Danforth (Josh Hutcherson), Statham has a secret past that makes him an ass-kicking machine.

Ayer and Hutcherson broke down our burning questions about this blood and honey-soaked extravaganza.

Why did you want to take on “The Beekeeper” as your next action movie?

David Ayer: It was an opportunity to work with Jason. The script itself had the magic elements, like a story that has amazing twists and a sense of heart that is hard to find in these movies.

Following The Film Stage’s collective top 50 films of 2023, as part of our year-end coverage, our contributors are sharing their personal top 10 lists.

In all honesty, the films of 2023 should take a backseat to the images we are seeing every day in Gaza, where journalists and average citizens have been recording and documenting a daily assault on their homes and livelihoods by the Idf. Whatever fakery we watched and enjoyed in the cinema this year should always be kept in perspective in importance with images that are real and actually happening right now. The Palestinians who have documented these important images have been targeted and killed with intent and purpose to silence what their photos and videos are showing and saying.

List of journalists who have been killed.

The below is of lesser note:

Best First Watches:

Angel’s Egg La belle noiseuse Centipede Horror Charley Varrick Coffy Crimson Gold...

The western genre has produced some of the greatest ensemble casts in cinema history, with star-studded lineups featuring screen icons like John Wayne, Clint Eastwood, and Charles Bronson. Filmmakers have often teamed up famous actors who were capable of leading their own movies, creating captivating cinematic dynamics on-screen. Movies like "Butch Cassidy and the Sundance Kid," "The Magnificent Seven," and "The Hateful Eight" showcase the power of ensembles, bringing together multiple renowned actors to create memorable performances.

Since the western was Hollywood’s favorite genre for most of the 20th century, there are a ton of classic westerns with star-studded ensemble casts full of screen legends. The western genre launched the careers of screen legends like John Wayne, Clint Eastwood, and Charles Bronson, and once those careers had been launched, the studios had fun teaming them up in star-studded ensemble casts. Some of the greatest westerns ever made have taken...

Ever since Martin Scorsese‘s “Killers of the Flower Moon” premiered at Cannes, critics have celebrated it as Scorsese’s first real Western after decades in which the genre’s influence could be felt at the edges of movies like “Casino” and “Gangs of New York.” The director himself sees it a little differently. As the guest on IndieWire’s Filmmaker Toolkit podcast’s 250th episode, he said, “How can I make a Western? I come from the Lower East Side. The guys who made Westerns, when they came out [to Los Angeles], they were riding horses. The old cliché of the director wearing jodhpurs? Well, that’s what they did — you got around on a horse, you had to wear boots, you had to have a riding crop.”

Scorsese feels that the Western as he knew it in childhood ended with Sam Peckinpah’s “The Wild Bunch” in 1969, and that it’s...

The early autumn slump has been reversed.

France’s box office bounced back in November following a downturn in September and October with 15.1 million ticket sales, a total gross of €108.8m based on an average ticket price of €7.2.

However, admissions were still down 19.6% from the pre-pandemic 2017-2019 average for the month.

It was enough to assure solid annual figures to date with ticket sales hitting upwards of 162.8 million admissions (€1.17bn), above 2022’s full year 152 million admissions but below the 2017-2019 pre-pandemic average of 208 million tickets per year. Estimates suggest 2023 will reach between 180-190 million.

The upswing comes after an abysmal...

Clint Eastwood believes John Wayne's best Western performances can be found in his work with director John Ford, particularly "Red River" and "The Searchers." Eastwood praises Ford for breaking down clichés and giving characters more depth, and applauds Wayne's ability to convincingly play older characters. Although there was never a feud between Eastwood and Wayne, they came from different generations and never worked together due to their differing views on cinema.

Clint Eastwood believes two of John Wayne's best Western performances can be found in his work with director John Ford. Eastwood was one of the last movie stars to make his name off the back of Westerns. He claims this was never his intention, but the fact he looked good on a horse meant he lucked his way into TV series Rawhide, which then led to his starring role in Sergio Leone's Dollars trilogy. Clint Eastwood's Westerns...

Earlier this week, two filmmaking titans gathered for a special conversation. Martin Scorsese and Steven Spielberg, who last chatted publicly about The Fabelmans, participated in a post-screening DGA talk following a screening of Killers of the Flower Moon. “You are the master of our medium and this is your masterpiece, Marty,” Spielberg told his dear friend.

While the conversation touched on a number of fascinating insights into the making of the historical epic, including how seeing Silence convinced the Osage consultants that Scorsese was the right choice to direct, Spielberg shared a particularly great bit: “It’s so amazing to see Bobby D and Leo D in this film together. This is your sixth collaboration with Leo and your eleventh with Bobby. You are only three films shy of tying the record with John Ford, who directed John Wayne fourteen times, so you can’t quit yet with Bobby.”

Speaking...

Several more December screenings from the American Cinematheque and Netflix have joined the initial slate of programming at the Egyptian Theatre in Hollywood.

From Dec. 8 to 14, classic film buffs can catch the Los Angeles premiere of brand new restorations of “Days of Heaven” and “L’amour Fou.” Also featured is a 50th anniversary screening of “Don’t Look Now” with a 35mm Ib Tech print. A 35mm presentation of Douglas Sirk’s 1959 “Imitation of Life” will be followed by a Q&a with actor Susan Kohner along with a book signing by Foster Hirsch in connection with “Hollywood and the Movies of the Fifties.”

A new 4k restoration of “Lone Star” will include a Q&a with director John Sayles.

From Dec. 15 to Dec. 21, the theater will feature a 70mm run of Zack Snyder’s “Rebel Moon — Part One: A Child of Fire” ahead of its Netflix premiere. Just in time for Christmas,...

Clear your calendar, L.A. cinephiles! The American Cinematheque has announced the titles for its extraordinary 70mm festival taking place at the iconic Egyptian Theatre in the days after the movie palace reopens following a three-year restoration. Netflix, in partnership with the American Cinematheque, bought the cinema in 2020.

The 516-seat theater, which was the longtime home of the American Cinematheque before the refurbishment, will retain its full ability to project 70mm prints and also be one of only five cinemas in the U.S. capable of projecting nitrate film. That early form of celluloid prints is notable for its astounding sharpness and vivid colors — you’ve never seen Technicolor until you’ve seen it in nitrate — but it’s extremely flammable, which you know if you’ve seen “Inglourious Basterds,” and thus harder to handle for many projectionists today.

The festival “Ultra Cinematheque 70: Hollywood,” running from November 10 through November...

Martin Scorsese is crediting Ari Aster’s “Midsommar” for inspiring the pacing and running time of “Killers of the Flower Moon.”

Scorsese told The Irish Times that the 206-minute length of “Killers of the Flower Moon” is in line with horror films ranging from auteurs like Aster or Val Lewton. “Killers of the Flower Moon” borrows from a blend of genres like Westerns and horror.

“I very much like the style and pacing of good horror films like Ari Aster’s ‘Midsommar’ or ‘Beau Is Afraid,'” Scorsese said. “The pacing of those films goes back to the B films of Val Lewton, Jacques Tourneur’s ‘Cat People’ or ‘I Walked With a Zombie.’ Just going a little slower, a little quieter.”

Scorsese continued, “I was very concerned about allowing scenes that were not narrative into the story, scenes to do with the Osage culture — leaving in those scenes of custom,...

Holy Moses! Has it really been 35 years since Young Guns rode with guns ablazing into theaters? You better believe it, pardner, and Lionsgate plan to celebrate the occasion with a timed 35th-anniversary release of the modern Western on a SteelBook in National 4K Ultra HD (+ Blu-ray + Digital), plus a Best Buy exclusive release on December 5th. This is the first time the film will be available in 4K with a brand-new transfer featuring Dolby Vision Hdr. A new Dolby Atmos audio mix and the original 2.0 stereo theatrical mix will be included. This is also the first time the film will be on digital and Blu-ray.

Here’s the official synopsis for Youg Guns via Lionsgate:

The year is 1878, Lincoln County. John Tunstall, a British ranch owner, hires six rebellious boys as “regulators” to protect his ranch against the ruthless Santa Fe Ring. When Tunstall is killed in an ambush, the Regulators,...

NYC Weekend Watch is our weekly round-up of repertory offerings.

Paris Theater

The Paris has reopened with a new Dolby Atmos screen and a 70mm series featuring The Wild Bunch, Baraka, Playtime, and Once Upon a Time in Hollywood, as well as Blade Runner and Apocalypse Now in surround sound.

Roxy Cinema

Ahead of The Zone of Interest, Jonathan Glazer’s feature debut Sexy Beast plays on 35mm; Jean Eustache’s My Little Loves screens.

Museum of the Moving Image

Lost in Translation, The Four Horsemen of the Apocalypse, and House Party all show on 35mm; Ida Lupino’s Hard, Fast and Beautiful plays on 16mm.

Film Forum

An essential retrospective of Ousmane Sembène, featuring 35mm prints and new restorations, has begun, Michael Roemer’s great The Plot Against Harry screens on 35mm; Contempt continues in a 4K restoration; Billy Elliot plays on Sunday

Bam

The Battle of Chile, newly restored,...

This article contains mention of sexual assault.

Controversy has surrounded Western movies for decades, often stemming from issues of violence, race, and societal norms. Westerns faced censorship challenges due to their gunplay, causing famous directors to struggle with distributors. Certain Westerns, like "The Wild Bunch" and "Brokeback Mountain," challenged traditional Western archetypes and faced backlash for their themes.

Though they were once the dominant genre in the '50s and '60s, certain Western movies ended up being popular because they were so controversial. Controversy in Westerns arose from all sorts of issues around violence, race, and societal norms of the era, sometimes inspired by something on set during filming, but often the overall quality of the released project. In almost all cases, the same things that were deemed controversial 70 years ago would be considered the same today, except for a select few that can benefit from society's more modern and tolerant set of standards.