eatmomovies
eatmomovies
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eatmomovies · 5 years ago
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The director of King Of New York talks about the King himself.
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eatmomovies · 7 years ago
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Ramin Bahrani, the writer/director of the criminally underseen 99 Homes has once again teamed up with Michael Shannon and brought aboard Michael B. Jordan (as Guy Montag) in a new reimagining of Ray Bradbury's seminal allegory about censorship, Fahrenheit 451. It looks (sorry) HOT!!!
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eatmomovies · 7 years ago
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eatmomovies · 8 years ago
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Director Paul Thomas Anderson has shot a 14-minute film of Haim’s three recording sessions for their single, VALENTINE.
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eatmomovies · 8 years ago
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An incredible lesson in not-acting from the late great Harry Dean Stanton.
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eatmomovies · 9 years ago
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Top-Shelf Films Arrive via TCM’s New Streaming Service, Film Struck
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It’s hard to bring something new to the on-demand landscape. But leave it to the good folks at TCM and Criterion to bring something that’s not only new, but sorely needed. It’s called Film Struck and it just launched this week.
Film Struck is the brainchild of TCM, whose rise to the peak of cinematic respectability is a stunning journey if you’re old enough to remember when Turner studios was universally lambasted for colorizing black & white classics. 
The new streaming service was announced at this year’s TCM Festival and it provides the best features of their website and cable channel presentations. In addition to HD quality presentations, many of the films will have introductions by TCM’s curators and the filmmakers themselves to give you background and context for the movies. Classic and independent films from such studios as Janus Films, Icarus, Kino, Zeitgeist and Flicker Alley will be available alongside major studio releases like films from the Warner Archive. More are sure to follow. 
The Criterion Collection (which has long been housed on Hulu and will continue to do so until December) is the premier destination for modern classics, venerated titles and foreign films. Its extensive library of features, shorts and documentaries will also be exclusively a part of Film Struck as an additional service. You can use the TCM side exclusively or add Criterion.
Look, there’s no shortage of places of places where you can find mainstream blockbusters. The combination of Netflix, Hulu and Amazon Prime have a reasonable collection of good films that justify their prices. But Film Struck will, for me, get rid of something that I find myself doing more and more of: scrolling through collections looking for quality films. Now I’ll have a single place to find great films as well as discover forgotten gems.
About the only hiccups I see are the fact that Film Struck isn’t available on Roku or Chromecast (but is available on iOS, Android, Amazon Fire and Apple TV). The other problem, for now, is that Film Struck is only available in the U.S.
You can try Film Struck for two weeks for free here. The plans start at $6.99/month for Film Struck, $10.99 for Films Struck + Criterion or $99.00 annually upfront for both. Let us know how you’re finding the service!
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eatmomovies · 9 years ago
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On the 25th Anniversary of the release of Silence of the Lambs, Oscar-winning screenwriter Ted Tally shares how they managed to compete strongly against JFK, The Prince of Tides, Thelma & Louise, and Bugsy for the year’s Best Picture Oscar while their distribution company, Orion, was going under:
“Those other films spent lavishly, but we had one thing they didn’t, and it was revolutionary. Our film had a videotape, and Orion had just enough money scratched together to send them to voters. That was still a new idea, and no movie had opened far enough in advance to be on videotape. Maybe it wasn’t the only film with a screener, but people said, ‘Oh, I remember that movie, and I really liked it. I’ll look at it again.’ It saved our lives, that Orion had just enough money left to send a videotape. That was the extent of it. They didn’t reopen the film in New York and LA. They didn’t run extensive ads in the trades. That was it. They sent out a videotape.”
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eatmomovies · 10 years ago
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Melvin Williams, the inspiration for the character Avon Barksdale on The Wire, has died. He played the Deacon on the show and, in real life, served as a community advocate upon his full release from prison in 2003. 
David Simon learned about Williams as a writer for the Baltimore Sun. Here is the five-part series written by Simon on Williams reprinted on the Sun’s website.
Williams was 73.
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eatmomovies · 10 years ago
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Daft Punk vs. 2001
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eatmomovies · 10 years ago
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A sketch video I directed along with several of my Nerdist homeys has just hit the web! Check out Darth Vader as he seeks completion funding for the third Death Star! Please share if you likey!
(via https://www.youtube.com/watch?v=Yqqc6qOfQXA)
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eatmomovies · 10 years ago
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I’m in this offbeat workplace comedy along with some players from Nerdist! Please like, share & subscribe if you’re down with what you see. More episodes are coming. Thanks!
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eatmomovies · 10 years ago
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An unseen gem screens at midnight this Friday at The Cinefamily in Los Angeles. Exploitation master Larry Cohen’s 35mm personal print of GOD TOLD ME TO sees the inside of a movie theater for the first time in 40 years.
The movie, shot in a verité style on the streets of mid-70s New York, concerns the investigation into a series of seemingly random shootings that are dropping people on the streets like flies.
Originally the film was to be scored by legendary composer Bernard Hermann (Psycho, Taxi Driver) but in order to receive a tax credit, the film needed to be screened once in Oregon. Cohen put together a quick cut of the film, sans Hermann’s yet-to-be-written score, and screened it. But Hermann died not 24 hours later and the film was later recut with a new score from Frank Cordell and that original 35mm print was shelved, never to be seen again...until now!
Tickets for the screening are $12 and can be purchased here.
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eatmomovies · 10 years ago
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The Best Film of the Year, The Look of Silence, arrives in L.A.
My greatest dream is to make a film that changes the world. And director Joshua Oppenheimer has now made two. His documentary, The Look of Silence, opens Friday in L.A. and, along with his The Act of Killing, comprises a pair among the greatest films of our century. What began as a social justice project for poisoned plantation workers has led to the largest Muslim country on earth reluctantly coming to terms with a horrible chapter in its past. The terrorized victims of that country’s violence have been given a voice with which to finally call out their abusers.
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Seeing The Look of Silence a few weeks ago, I couldn’t help but feel some profound parallels between the “purge" of so-called communists there and the increasing body count of African-Americans at the hands of our police here in America. With each passing day punctuated by our politicians’ deafening silence on our own genocide here, America resembles a gross caricature of injustice that wears the frock of its inhumanity proudly and in plain view.
Anyone who’s seen The Act of Killing (I highly recommend the extended director’s cut available on Netflix, YouTube and Vimeo) knows the basic story of the mid-60s military coup. After taking control of the country, the coup empowered local gangsters to round up suspected “communists”, torture them and kill them with impunity. Without the benefit of trials or juries, an estimated one million men were taken from their homes and executed, irrespective of their actual political leanings. This, during the height of the Cold War, where in our country communists were seen as reprehensible menaces lurking in every shadow.
To add insult to grave injury, the Indonesian gangsters were then hailed as heroes and essential components of the country’s new order. They were given prestige and political offices, while the families of the victims had to instantly move on and live in silence among the killers and other victims’ families. That tense atmosphere was kept alive through the present day because the populace feared more potential violence. In silence was how you went about your life.
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Into this situation entered Oppenheimer, an American-born filmmaker living in Denmark. He originally came to Indonesia to help document the failed attempt by plantation workers (of an American company!) to get protective clothing that would shield them from the corrosive pesticides that were eating their internal organs and causing their premature deaths. Oppenheimer couldn’t understand why these women gave up so easily when the company laughed off their demands. He learned about the country’s gruesome history and the resulting silence. And was then directed to a villager, Adi Rukun, whose brother was famously killed.
Rukun conveyed to Oppenheimer that his own very existence was the only thing that brought his mother out of her profound grief. His brother and subsequent death were known locally as symbols of that era because he was the only person whose murder was marked with a grave. Many of the killed were simply disappeared, and dumped into rivers which washed out to sea. His brother’s fate was well-known, along with the men who had killed him. Adi and his family continued living among the men, never daring to engage them.
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Oppenheimer left Adi a camera and then went to see if anyone else would talk to him about the killings. To his utter shock, the killers not only were willing to talk about it, they were quite boastful of their actions. They relished their twisted view that they had contributed to the well-being of the country and gladly shared hours and hours of detailed memories regarding that era. Oppenheimer met a particularly colorful gangster, Anwar Congo, who became the focus of The Act of Killing.
Congo, a charming septuagenarian (as far as mass murderers go) was such a fan of Hollywood movies and the cinema that the filmmakers gave him the chance to direct cinematic versions of his actions during that time. The Act of Killing is a series of psychedelic tableaus done in various movie genres where the killings are seen as noble and, in one notable musical sequence, the actors portraying the murdered are grateful for their deaths and deliverance!
The filming of Oppenheimer’s documentary made Congo a nationwide sensation. He appeared on talk shows and was widely applauded since the film crew was seen as a verification of the nobility of his actions during the purge. Oppenheimer, now famous himself, got all the way in the vice president’s residence, a sign of how many people were proud of their country’s actions. The knife, it seemed, would continue to be plunged further into the sad hearts of the victims’ grief.
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One particular scene, that Adi happened to record, instigated The Look of Silence. It was a scene of his elderly father, now blind and with dementia, panicking at the mistaken thought of being in a neighbor’s house. The fear, living deep within his skin and soul, bubbled up as the old man faced the same mindset that he lived during the purge. It was at this moment, with his father blind and braying, that Adi realized that he could not let a generation who witnessed the atrocities die out. He wanted to finally talk to his brother’s assassins. Not confront them, per se, but see if they held any remorse or understanding of the wounds they had inflicted on their countrymen.
Naturally Oppenheimer did not want to do it. As he pointed out, no surviving member of any country’s purge has ever confronted the murderers while they are still in power. The threat to Adi and his family was too large. But Adi did not relent. He and Oppenheimer were able to leverage the crew’s notoriety around the killers because The Act of Killing hadn’t been released yet and everyone still assumed that Oppenheimer had the official blessing of the highest politicians in the land.
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The Look of Silence (just called Silence in Indonesia) is that series of interviews. The men, all of whom are older and some with significant political power, believe they are meeting a fellow countrymen who has questions about that time. And since Adi is an ophthalmologist, he even offers free eye exams and glasses to sweeten the deal. Adi becomes a man who makes them see. The effect is powerful.
Joshua Oppenheimer can never return to Indonesia. The effect his movies have had on Indonesian society have begun to transform the entire country and its collective memory. For the first time ever, the country is acknowledging what happened during that fraught period and the president is supposedly going to address it during his state speech on August 17th. Adi, for whom Oppenheimer feared greatly and for whose family he put in place evacuation measures during the movie, has moved the family to another part of Indonesia. He has a brick and mortar optometry office and his children and their schooling will be taken care of. See The Look of Silence. It has changed the world. It has changed Adi. And I’m certain it will change you.
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eatmomovies · 10 years ago
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The sixth feature from Oscar-winner Alejandro González Iñárritu, lensed by IMO the greatest cinematographer of all-time Emmanuel “El Chivo” Lubezki, and starring the soon to be legendary comedy team of Leo and Hardy, arrives this December. This movie makes two snow-bound westerns during Oscar season, the other being Quentin Tarantino’s The Hateful Eight.
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eatmomovies · 10 years ago
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eatmomovies · 10 years ago
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eatmomovies · 10 years ago
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10 Facts About Fury Road: Parts Four & Five
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The cars. George Miller has wisely gone back to the cars.
In Mad Max: Fury Road, the fourth movie in the Mad Max series that seemed to end with the, shall we say, less-loved Mad Max Beyond Thunderdome, George Miller has once again taken the reins and given us essentially a sequel to the best one of the lot, 1982′s adrenalized The Road Warrior. Thunderdome was mostly directed by George Oglive because Miller was distraught over the death of his producer and friend, Byron Kennedy. The parts that Miller did direct in that film? The final sequence which featured...the chase scenes.
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For this latest installment that finds Tom Hardy taking over Mel Gibson’s iconic character and joining forces with Charlize Theron, Miller needed someone to create cars that would be characters unto themselves. So he put his production designer from Happy Feet, Colin Gibson, in charge of creating the future-retro motorized vehicles that drive much of the film’s mayhem. In all, 88 types of cars were made, but 150 of them needed to be produced because so many got trashed during production. The cars had to withstand the intensity of the Namibian desert where they filmed while being fully functional, CGI be damned.
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Where did a gifted designer like Gibson cut his teeth making such vehicles with panache? On a little Australian movie called The Adventures of Priscilla, Queen of the Desert. You’ll recall that in that film, the drag queens played by Hugo Weaving and Guy Pearce(!) made their way across the Outback performing on top of the titular bus. That movie was where Gibson “discovered how to build mechanical drive units”, vehicles that could be driven externally by someone remotely.
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An assortment of cars from various countries and eras were brought in to create the world in Fury Road. All the cars, from the 1932 Chevrolet Coupe (pictured below) to the Czech Tatra used as Theron’s big-rig, were cut, sliced, diced, and glued back together to make a symphony of metal death that look like proto-punk mutations of the Transformers.
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And don’t worry. The Interceptor is still here. The same 1974 Ford Falcon that was used in the first films has returned with some, ahem, upgrades.
For a more detailed report on the cars used, check out this article. But wait until after you’ve seen the movie. Seeing the cars for the first time on the big screen is a big part of the big fun that is this movie.
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