The Classics Shelf: Anthony Perkins, Part Four
In part 4 of The Classics Shelf's ongoing series about Anthony Perkins, Bil Antoniou looks at the actor in the 1970s with appearances in films like Murder on the Orient Express.
Vanessa Redgrave
We Really Like Her: Deep Impact
We Really Like Her's Emily Gagne & Danita Steinberg take us behind their August pick, Deep Impact! Celebrate Mimi Leder's classic disaster epic with them on Aug. 16.
BGM Episode 130: Evening
Bil, Daniel, and Michael are joined by Mark from Dublin_Zoetrope for Evening!
Unfinished Song Review
It's pat and cheesy crowd-pleasing stuff, but thanks to a spectacular cast anchored by one of Terence Stamp's best performances, Unfinished Song earns its tearjerker status.
Interview: Paul Andrew Williams
We talk to Unfinished Song director Paul Andrew Williams about making the jump from hardcore British thrillers to crowd pleasers about old people singing, working with Terence Stamp, and finding just the right music for the right occasion (which sometimes happens to be Motorhead).
The Last Will and Testament of Rosalind Leigh Review
While it’s normally admirable for most horror films in this day in age to play out as slow burns that mete out minor details to the audience over time, The Last Will and Testament of Rosalind Leigh takes it to wholly dull, but undoubtedly good looking extremes.
TIFF 2012 Reviews; Part 9
For our final round-up of TIFF 2012 reviews we take a look at some great stuff yet to come and some films we're doubling back on with reviews for The Paperboy, Song for Marion, Frances Ha, Room 237, The ABCs of Death, Ghost Graduation, The We and the I, Imogene, Iceberg Slim: Portrait of a Pimp, Outrage Beyond, Come Out and Play, The Lesser Blessed, and The Bay.
Coriolanus Review
While there probably hasn’t been much clamouring for another modern Shakespearian adaptation – meaning the dialog stays nearly word for word the same, but the setting is present day – the fact that actor and first time director Ralph Fiennes has made one of the Bard’s lesser noticed plays, Coriolanus, into such a film, seems oddly okay. With a genuine passion for theatrics and bloodlust that the world’s most noted playwright would approve of, Fiennes delivers an engrossing tale of betrayal, hatred, and revenge that manages to overcome any shortcomings he has as a novice film director.
