Category: External Movies (Page 284 of 336)

GQ names 25 sexiest women in film

Jessica Alba in Sin CityWhen it comes to women in film, GQ has never been afraid to speak its mind, but with its new feature on the sexiest cinematic gals of all time, it will likely cause some debate amongst men, and even a few women. That isn’t to say they’ve necessarily chosen the wrong group of women, but when it comes to a topic like this, well, it’s more about personal reference than anything else.

There are plenty of no-brainers included (like Jessica Alba in “Sin City” and Raquel Welch in “100 Rifles”), as well as a few that are debatable (is Sienna Miller in “Layer Cake” any sexier than the many other model-turned-actress in the biz)?, but I have to imagine there was definitely someone more appropriate than “That Chick from ‘Planet of the Apes’” for the final spot. As it turns out, there is, and her name is Sophia Loren, who the magazine has included as the list’s unofficial 26th member. Check out the full feature here, along with photos and short blurbs on why each actress was chosen.

4 Months 3 Weeks and 2 Days

Sometimes simple, ordinary life can be more terrifying than any horror or suspense film – especially if you’re living under a dictatorship that seeks to manipulate the personal lives of its citizens. Christian Mungiu’s remarkable film won the top prize at Cannes and multiple critic’s prizes, wowed international audiences and created a small uproar when the Academy failed to shortlist it for the Foreign Language Oscar, and it’s obvious why. While “4 Months 3 Weeks and 2 Days” only alludes to the extreme Cold War-era anti-contraception and anti-abortion policies of ultra-Stalinist Romanian dictator Nicolae Ceauşescu, the film details with bird’s eye view directness its destructive consequences on two college students (Anamaria Marinca and Laura Vasiliu), when one becomes pregnant and they circumnavigate the emotionally and physically dangerous road to an abortion before Ceauşescu’s bloody 1989 downfall.

Using very long takes and no music at all, Mungius’ film draws the viewer in with the simplest and most relatable of situations and the purest filmic minimalism, milking suspense and something like abject terror via convincing, seemingly banal dialogue, and remarkably low-key performances from its two young female stars alongside an astonishingly believable ensemble cast. Generating unbearable tension and suspense from a situation which feels utterly real, this is not necessarily a film for everyone and it’s not necessarily always easy to watch for any of us. Still, once you start watching it you’ll have a hard time stopping. Nothing here plays out as expected and few films in recent years have generated such tension from the mundane details of life in a political and social pressure cooker, which, it turns out, has more in common with life here in the mostly free world than any of us would like to think.

Click to buy “4 Months 3 Weeks and 2 Days”

The new “Poltergeist” ad for DirecTV will give you the creeps

Haaaaaaave you seen the new DirecTV ad that features Craig T. Nelson reprising his role as Steve Freeling in “Poltergeist”?

I caught it last night, and…well, is it just me, or did it feel really creepy and exploitative to see the late Heather O’Rourke?

I don’t think it was intended to feel that way (nor, apparently, does O’Rourke’s mother), but at the end of the ad, when Nelson says, “That’s going to come back to haunt me,” all I could think was, “Uh, yeah, and so is Heather…”

A Chat with Mitch Pileggi

You may know him as FBI Assistant Director Walter Skinner on “The X-Files” or, more recently, you may have thrilled to his recurring role on “Stargate: Atlantis” as Col. Steven Caldwell, but either way, if you’re a sci-fi fan, you probably recognize the face of Mitch Pileggi. Pileggi’s resume is wide and varied – he’s recently popped up FX’s “Sons of Anarchy,” has turned up on CBS’s “CSI” and “Cold Case,” and was a regular on ABC’s short-lived (but thoroughly brilliant) “Daybreak” – but now it’s The CW’s turn. After a one-off turn on “Reaper,” Pileggi has found his way onto a flashback episode of “Supernatural,” playing Sam and Dean’s grandfather. We spoke to Pileggi in conjunction with the episode, which airs on Oct. 2nd, which gave him the opportunity to praise the cast of that show, speak to the variety of work he’s done, and stand bemused at people’s fondness for his 1989 cinematic collaboration with Wes Craven.

Stay tuned for…

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Brand Upon the Brain

It’s over-simplifying, but there’s no way around it: Winnipeg surrealist Guy Maddin works the same general territory as David Lynch. But while Lynch is still, in his unique way, a creature of Hollywood, Maddin has remained a Manitoba miniaturist whose films are both overtly psychological and proudly melodramatic. Oddly enough, Maddin’s movies are often more accessible than Lynch’s – at least partly because the filmmaker is an unabashed fan of the primal storytelling style of silent movies. “Brand Upon the Brain” builds upon the director’s fandom by being Maddin’s second actual silent film, and was originally presented as a theatrical event with a live orchestra, sound effects artists, and narrators. This typically lavish Criterion DVD includes both studio recordings and crisp live audio tracks with seven different narrators, including Isabella Rossellini (“Blue Velvet”), professional weirdo Crispin Glover, and the great nonagenarian character actor Eli Wallach (“The Good, the Bad, and the Ugly”).

The movie itself combines elaborate fantasy and confessional filmmaking, at least on the level of metaphor – the main character is named “Guy Maddin” and the director has described the film as “97% true.” It’s not a drag, though – there’s a pleasing and funny jumble of genre elements ranging from teen detective to grand guignol horror, some nudity (both the sexy kind and the not so sexy kind, in this case involving a male corpse) and Ms. Rossellini’s narration is literally a scream. Featuring a deliberately herky-jerky editorial approach (a new wrinkle for Maddin that I’m not wild about), “Brand Upon the Brain” works for the most part, but for me this doesn’t quite add up to Class A insanity. I would have happier with a bit more melodrama and a bit less psychosexual metaphor.

Click to buy “Brand Upon the Brain”

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