Since the days of Shakespeare, theater has welcomed politics to the stage. For that reason, it’s been an acting medium that “Orange Is the New Black” and “The Handmaid’s Tale” star Samira Wiley has visited time and again. This Sunday, April 30, she’ll reunite with Theater of War Productions for a stirring, empowering take on Martin Luther King, Jr.’s final sermon, “The Drum Major Instinct,” as part of the Bric Open theater festival in Brooklyn, New York. The dramatic reading will take place from 1 p.m.–3 p.m. at the Bric House Ballroom. “[Theater of War is] a company I would literally drop everything, schedule-permitting, to go and work with,” Wiley told Backstage on a recent phone interview. “I believe that they are a theater for change, [and] they’re a theater company that is really in touch with what’s going on in the world.” Wiley previously worked with the company,...
- 4/28/2017
- backstage.com
Director Robert Montgomery's last is a war movie like no other, a study in leadership and command with no combat scenes. James Cagney uses none of his standard personality mannerisms; the result is something very affecting. And that music! You'll think the whole show is the memory of a soul in heaven. The Gallant Hours Blu-ray Kl Studio Classics 1960 / B&W / 1:66 widescreen / 115 min. / Street Date April 5, 2016 / available through Kino Lorber / 29.95 Starring James Cagney, Dennis Weaver, Ward Costello, Vaughn Taylor, Richard Jaeckel, Les Tremayne, Walter Sande, Karl Swenson, Leon Lontoc, Robert Burton, Carleton Young, Raymond Bailey, Harry Landers, Richard Carlyle, James Yagi, James T. Goto, Carl Benton Reid, Selmer Jackson, Frank Latimore, Nelson Leigh, Herbert Lytton, Stuart Randall, William Schallert, Arthur Tovey, John Zaremba. Cinematography Joseph MacDonald Art Director Wiard Ihnen Original Music Roger Wagner Written by Beirne Lay Jr., Frank D. Gilroy Produced and Directed by Robert Montgomery...
- 4/15/2016
- by Glenn Erickson
- Trailers from Hell
There’s something to be said about Relic Entertainment’s decision to focus on the Soviet Army’s brutal Eastern Front during World War II.
In their follow up to the 2006 smash hit Company of Heroes, players assume command of Lev Abramovich Isakovich, a former Soviet officer who was locked up in a Gulag in 1952 after the terrors of war shake his faith in the Soviet cause. Company of Heroes 2 tells Isakovich’s story through a series of flashbacks that force players to break through German lines and culminates in the brutal battle for Berlin.
Digging into the campaign reveals Relic’s attempt to expose players to the terrifying reality that Soviet soldiers faced on the Eastern Front during World War II. Unfortunately, a combination of lackluster cutscenes hinders the narrative that Relic hopes to deliver, and the low resolution 3D models that litter the cinematic moments also hinder the overall presentation level.
In their follow up to the 2006 smash hit Company of Heroes, players assume command of Lev Abramovich Isakovich, a former Soviet officer who was locked up in a Gulag in 1952 after the terrors of war shake his faith in the Soviet cause. Company of Heroes 2 tells Isakovich’s story through a series of flashbacks that force players to break through German lines and culminates in the brutal battle for Berlin.
Digging into the campaign reveals Relic’s attempt to expose players to the terrifying reality that Soviet soldiers faced on the Eastern Front during World War II. Unfortunately, a combination of lackluster cutscenes hinders the narrative that Relic hopes to deliver, and the low resolution 3D models that litter the cinematic moments also hinder the overall presentation level.
- 6/26/2013
- by Michael Shelton
- We Got This Covered
In 1970, the Vietnam war was still raging, people were debating and protesting the Asian struggle and the Greatest generation was wondering what happened to duty, service, and love of country. After a period when World War II movies appeared to have exhausted their welcome at the movie theater, along came Patton with a riveting performance of a true American hero from George C. Scott. Few images that year surpassed the one of Patton on the stage, flanked by the largest American flag ever seen. It seared patriotism into our hearts and minds, reminding us all what it took to win a war.
It did not ignite a fresh wave of war films, but it did stand the test of time, often appearing on Best War Films of All Times lists and Scott will be forever connected with Patton. After all, the film earned seven Academy Awards, including Best Picture, Best...
It did not ignite a fresh wave of war films, but it did stand the test of time, often appearing on Best War Films of All Times lists and Scott will be forever connected with Patton. After all, the film earned seven Academy Awards, including Best Picture, Best...
- 11/18/2012
- by Robert Greenberger
- Comicmix.com
Contrary to even our own guide to what's coming out on video-on-demand and online, rumors of the demise of those shiny discs that still take up shelf space have been greatly exaggerated. Take next week, for example, in which one will only be able to enjoy the guilty pleasure of "Lake Placid 3" or the easy charm of the Adam Scott indie comedy "Passenger Side" on DVD or upgrade to high-definition for the "Alien Quadrilogy" boxed set, a rerelease of the "Back to the Future" trilogy or better yet, Criterion editions of Stanley Kubrick's "Paths of Glory" or the Japanese curiosity "Hausu" on Blu-ray. And it's not even December yet.
Unfortunately in this time of tightened purse strings, the studios and specialty labels like Shout! Factory, Criterion and Olive Films aren't going to make this holiday season any easier on the wallet, with most digging deep into the vaults to...
Unfortunately in this time of tightened purse strings, the studios and specialty labels like Shout! Factory, Criterion and Olive Films aren't going to make this holiday season any easier on the wallet, with most digging deep into the vaults to...
- 10/21/2010
- by Stephen Saito
- ifc.com
For a market that is supposed to be flat, there are a number of U.S. film acquisitions made in the month of March, not to mention February. If there's no money, are these companies acquiring them for no mgs? The films are also holding up surprisingly well in theaters which bodes well for future sales of independent films into the coming year. Rumblings from venture capital waiting in the wings to begin investing again are also heard. I predict 2010 will be the year of the turnaround when the buying cycle begins again. Meanwhile there are some bargains to be had. Also notable are the key festivals where these films have all shown.
Amreeka was acquired by National Geographic and will open New Directors/ New Films. It showed as a work in progress at the Dubai Film Festival and went from there to its world premiere at Sundance. William Morris Independent brokered the deal on behalf of E1 Entertainment which has acquired Charlotte Mickie's and Robert Lantos' Maximum as well as U.K. distribtution company Contender all of which are very notable moves in the industry.
Afghan Star which showed at IDFA went to ZeitgeistZeitgeist[/link] for U.S. It was the Sundance World Doc winner of both Best Director and Audience Awards. Earlier this month they acquired Three Monkeys from the bankrupt New Yorker whose auction earlier this month found no takers. So its catalog still resides with its creditor Technicolor.
Nowhere Boy went to The Weinstein Co. for U.S., Latin America and German speaking territories from Hanway.
The Greatest went to Senator for North America who saw it at Sundance. It was repped by Graham Taylor of Endeavor and CAA on behalf of the filmmakers.
Paranoids went to Oscilloscope from Visit Films for North America just before its SXSW premiere. The Toronto and Berlin film of Fortissimo, Unmistaken Child, went earlier to Oscilloscope for North America. Earlier in the month Oscilloscope acquired Burma VJ and The Garden.
B-Side acquired its first film for U.S., RiP: A Remix Manifesto before its SXSW screening. Disinformation will release it on DVD. In Canada Eye Steele and National Film Board of Canada will partner with B-Side on its release there.
One of several new U.S. distributors, Trela Media, acquired its first of 6 envisioned yearly acquisitions, Guest of Cindy Sherman which has played in several festivals already for North America.
Another new and innovative U.S. distribution configuration of Variance Films, Elementary Films and Argyle Productons will will release the Hot Docs, Hamptons and Margaret Mead festival film Nursery University in April 2009 in New York.
Lorber HT Digital acquired Intangible Asset #82 before it SXSW premiere and Nollywood Babylon which showed in Toronto and Sundance for North America.
Anvil! The Story of Anvil was acquired by VH1 for North America.
Strand acquied U.S. rights to The Headless Woman from Focus. It had been named one of the best as yet undistributed films of 2008 by IndieWIRE after its premier in Cannes last year.
First Run acquired Four Seasons Lodge by Albert Maysles and a handpicked team for U.S.
Wolfe acquired Pedro for DVD and VOD, and MTV acquired TV rights in North America. Produced by Richard Glatzer and Wash Westmoreland for U.S., it premiered in Toronto.
The Cove which premiered in Sundance and was acquired for world sales by The Works went to Lionsgate, Roadside Attractions and Participant for U.S. The deal was made with William Morris Indendent and Submarine.
Alive Mind, Richard Lorber's intellectual, spiritual and alternative distribution outfit acquired North American rights to Theater of War.
Film Movement acquired North American rights to Munyurangabo from Umedia after its festival screenings in Cannes' Un Certain Regard, Berlin, Toronto and New Directors/ New Films. It premiered at Slamdance.
Regent acquired worldwide rights excluding North America to Weather Girl from Submarine Entertainment.
Amreeka was acquired by National Geographic and will open New Directors/ New Films. It showed as a work in progress at the Dubai Film Festival and went from there to its world premiere at Sundance. William Morris Independent brokered the deal on behalf of E1 Entertainment which has acquired Charlotte Mickie's and Robert Lantos' Maximum as well as U.K. distribtution company Contender all of which are very notable moves in the industry.
Afghan Star which showed at IDFA went to ZeitgeistZeitgeist[/link] for U.S. It was the Sundance World Doc winner of both Best Director and Audience Awards. Earlier this month they acquired Three Monkeys from the bankrupt New Yorker whose auction earlier this month found no takers. So its catalog still resides with its creditor Technicolor.
Nowhere Boy went to The Weinstein Co. for U.S., Latin America and German speaking territories from Hanway.
The Greatest went to Senator for North America who saw it at Sundance. It was repped by Graham Taylor of Endeavor and CAA on behalf of the filmmakers.
Paranoids went to Oscilloscope from Visit Films for North America just before its SXSW premiere. The Toronto and Berlin film of Fortissimo, Unmistaken Child, went earlier to Oscilloscope for North America. Earlier in the month Oscilloscope acquired Burma VJ and The Garden.
B-Side acquired its first film for U.S., RiP: A Remix Manifesto before its SXSW screening. Disinformation will release it on DVD. In Canada Eye Steele and National Film Board of Canada will partner with B-Side on its release there.
One of several new U.S. distributors, Trela Media, acquired its first of 6 envisioned yearly acquisitions, Guest of Cindy Sherman which has played in several festivals already for North America.
Another new and innovative U.S. distribution configuration of Variance Films, Elementary Films and Argyle Productons will will release the Hot Docs, Hamptons and Margaret Mead festival film Nursery University in April 2009 in New York.
Lorber HT Digital acquired Intangible Asset #82 before it SXSW premiere and Nollywood Babylon which showed in Toronto and Sundance for North America.
Anvil! The Story of Anvil was acquired by VH1 for North America.
Strand acquied U.S. rights to The Headless Woman from Focus. It had been named one of the best as yet undistributed films of 2008 by IndieWIRE after its premier in Cannes last year.
First Run acquired Four Seasons Lodge by Albert Maysles and a handpicked team for U.S.
Wolfe acquired Pedro for DVD and VOD, and MTV acquired TV rights in North America. Produced by Richard Glatzer and Wash Westmoreland for U.S., it premiered in Toronto.
The Cove which premiered in Sundance and was acquired for world sales by The Works went to Lionsgate, Roadside Attractions and Participant for U.S. The deal was made with William Morris Indendent and Submarine.
Alive Mind, Richard Lorber's intellectual, spiritual and alternative distribution outfit acquired North American rights to Theater of War.
Film Movement acquired North American rights to Munyurangabo from Umedia after its festival screenings in Cannes' Un Certain Regard, Berlin, Toronto and New Directors/ New Films. It premiered at Slamdance.
Regent acquired worldwide rights excluding North America to Weather Girl from Submarine Entertainment.
- 3/23/2009
- Sydney's Buzz
Meryl Streep In Director John Walter'S Documentary Theater Of War. Courtesy White Buffalo Entertainment. In the field of documentary, John Walter has emerged as the medium's most eloquent and entertaining cultural historian. The Detroit-born director, who is also an unpublished poet, began his career in the film industry as a boom operator and worked in that capacity on Sam Raimi's Evil Dead II. In the mid 90s, he became an editor, beginning with Norman Reedus' Messenger (1994), and in 1995 he directed Edison's Miracle of Light, an episode of PBS' television series The American Experience. In 2002, Walter made his documentary feature debut with How to Draw a Bunny, a portrait of the Pop Art collage artist and prankster Ray Johnson, which...
- 1/7/2009
- by Nick Dawson
- Filmmaker Magazine-Director Interviews
Filmmaker John Walter says he wishes that when he became interested in writer-director Bertolt Brecht, there had been a documentary like Walter's Theater of War. "It's a nonacademic introduction to Brecht that doesn't foreground his theoretical writings but rather his sense of humor and his engagement with the world around him, and with just enough biographical information that gives you a foundation for further exploring his great body of work," says Walter.Interspersed with lively professorial commentary, recollections from Brecht's daughter, and footage of Brecht, the film takes as its jumping-off point the 2006 Public Theater production of Mother Courage and Her Children, featuring an adaptation by Tony Kushner and starring Meryl Streep, Kevin Kline, and Austin Pendleton. It was directed by George C. Wolfe with music by Jeanine Tesori."I wanted to do this film for quite a while, but I was waiting for the right production, and this was it,...
- 12/31/2008
- by Simi Horwitz
- backstage.com
John Walter labels his film Theater Of War “a documentary about art and politics,” which is the kind of blatant provocation meant to pay homage to the film’s ostensible subject, Bertolt Brecht. In 2006, Walter was allowed to film the rehearsals for George C. Wolfe’s Central Park production of Brecht’s anti-war play Mother Courage And Her Children, starring Meryl Streep, Kevin Kline, and Austin Pendleton, with a Tony Kushner translation and songs by Jeanine Tesori. Walter was also granted extended time with Streep, who allowed a rare and reluctant glimpse at her process in deference to Brecht, an artist who favored exposing his own artifice. Walter intersperses his coverage of the Mother Courage production with biographical sketches and analysis of Brecht—much of it provided by post-modern novelist Jay Cantor. At one point, Walter shoots some stock footage of Cantor working at his computer, then cuts to a shot of what.
- 12/25/2008
- by Noel Murray
- avclub.com
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