Kings Row
“Kings Row” was adapted from a much racier novel from 1940 and had to be sanitized quite a bit because of the Hays Code. They had to leave some pretty big elements out — homosexuality, mercy killings, incest, nymphomania — but even with that, the film still is very dark because of the issues it does deal with. Join us — Pete Wright and Andy Nelson — as we continue our Black and White Cinematography of James Wong Howe series with Sam Wood’s 1942 film “Kings Row.”
The Thin Man
James Wong Howe is often cited as one of the most influential cinematographers there have been. He worked in film from the early days of the silents to the mid-70s when he received his last Oscar nomination for his color work on “Funny Lady.” But his black-and-white cinematography is what he’s primarily known for. Join us — Pete Wright and Andy Nelson — as we start up our Black and White Cinematography of James Wong Howe series with W.S. Van Dyke’s 1934 film “The Thin Man.”
Mad Max: Fury Road
In case you haven’t heard, everybody seems to be talking about “Mad Max: Fury Road.” Whether they’re talking about the silly fan theories about who Tom Hardy really is playing in this film, or the ‘meninist’ groups telling people to avoid it because of its feminist agenda, or everyone else talking about the amazing action film that George Miller gave us, it certainly seems to be on people’s minds. Join us — Pete Wright and Andy Nelson — as we finish up our Mad Max series with Miller’s latest entry, and our favorite, “Mad Max: Fury Road.”
Mad Max: Beyond Thunderdome
While the first two Mad Max films had so much going for them, it sure seemed like a stumble with the third of the trilogy. But that’s looking at it through today’s eyes because some critics like Roger Ebert sure loved it — he put it on his ’10 Best’ list of 1985! Join us — Pete Wright and Andy Nelson — as we go beyond Thunderdome with Mel Gibson and Tina Turner, continuing our Mad Max series with Miller’s 1985 film.
Mad Max 2: The Road Warrior
With the international popularity of “Mad Max,” George Miller was excited to get back into the driver’s seat and continue with his hero as he wandered the dystopian wastes of Australia looking for fuel. It was a smart move as “Mad Max 2,” or “The Road Warrior” as it was released in the States, not only did well at the box office but helped build the cult following of this franchise. Join us — Pete Wright and Andy Nelson — as we continue our Mad Max series with 1981’s “Mad Max 2: The Road Warrior.”
Mad Max
George Miller’s film “Mad Max” came out in 1979 in Australia and became a huge success, going on to become the most profitable film ever until it was unseated from its throne by one Blair Witch. It went on to spur two sequels and, soon, a fourth. Join us — Pete Wright and Andy Nelson — as we gear up for one of our most anticipated movies this summer by kicking off our Mad Max series with the start of it all — “Mad Max.“
Touch of Evil
Orson Welles never was one who could direct in the Hollywood studio system without a hitch, and his last studio picture he directed, 1958’s “Touch of Evil,” stands testament to that fact. While the shoot itself went well, the film ran into its issues in post, leaving a truncated version that Welles wasn’t a part of (nor happy with) released on the bottom of a double bill. Now, with a re-edited re-release, the film now stands as not only one of the great films noirs but also as one of Welles’ finest cinematic achievements. Join us — Pete Wright and Andy Nelson — as we finish our film noir series with this magnificent, and dark, film.
Ace in the Hole
Released in 1951, Ace in the Hole came out a time when neither the public nor the critics were ready for something like it and it flopped. Hard. But with time, it’s found a new audience and has been canonized as one of Billy Wilder’s greatest achievements. Join us — Pete Wright and Andy Nelson — as we continue our Film Noir series with “Ace in the Hole.”
Out of the Past
The two films most often cited as the ultimate representations of film noir are Billy Wilder’s 1944 film “Double Indemnity” and Jacques Tourneur’s 1947 film “Out of the Past.” Tourneur’s film gives us Robert Mitchum at his laconic best, Jane Greer at her sexiest and Kirk Douglas in one of his earliest roles but already defined by his machismo. Join us — Pete Wright and Andy Nelson — as we continue our Film Noir series with “Out of the Past.”
Scarlet Street
Fritz Lang may have often had conflicts with his producers, but when he turned out a great film, he made so great that it’s easy to look past his argumentative nature and just focus on the end product. Well, perhaps more so now than at the time. Sure, he had his stinkers, but looking at a magnificent film like “Scarlet Street,” it’s easy to forgive any battles he started and just relish the brilliance of the story. Join us — Pete Wright and Andy Nelson — as we continue our Film Noir series with Lang’s 1945 masterpiece, “Scarlet Street.”