If your favorite movie of 2014 leaves Oscar Sunday a loser, have no fear. History suggests that the Academy Award losers have just as good a chance to become all-time classics as the winners. Granted, sometimes, the Academy gives the little golden statue to the right film. No one is going to argue The Godfather (1972), Casablanca (1942), or Schindler’s List (1993). But seriously, in 20 years is ANYONE gonna remember the overrated message movie of Crash (2005) or even the more recent 21st century silent film, The Artist? I sincerely doubt it. In fact, on 2007’s American Film Institute’s 100 Greatest Films (10-year edition), 14 out the top 20 were NOT Best Picture winners, some not even nominated.
So here’s a brief list of some of the greatest Academy Award Best Picture losers of all time.
So, Frank Vincent, Marky Ramone, and Brea Grant are locked in a Brooklyn jail cell together… No, it’s not the start of some bizarre joke””it’s the start of one powerful gorefest by Alan Robert entitled Killogy. IDW has bundled the miniseries into one volume that every horror comic devotee should plan to have in their collection.
Alan Robert’s tight script drops the reader right in the middle of a high-tension scene thanks to his Tarantino-esque manipulation of the story’s timeline. This is a tricky thing to pull off properly, but Robert (best know for Wire Hangers) makes it seem effortless as he fills in the plot with pieces of the past to reveal the strange and possibly supernaturally-influenced connections between the characters.
Martin Scorsese, whose directorial style in the world of cinema has placed him in the absolute pantheon of some of the all-time greats past or present, celebrates his 70th birthday today!
The works of Scorsese are held in the highest regard, the running themes for the most part of his still on-going filmography have points mired in guilt and ultimate salvation through redemption, mostly by way of extreme violence or some sort of characterization which breaks down (lifts up as?) naked, exposed as shameless or triumphant, but in its uncomfortably organic foundations. Themes of alpha males in trouble, or self-abuse that manifests itself to the destruction of themselves and characters around them, usually done for the most part in an Italian-American milieu. Scorsese never makes things easy, he never makes watching his films easy, in fact quite the contrary, when one embarks on watching one of his works they have not seen before, there’s always a backburner with the reminder that a Scorsese production is going to get jarring, it’s going to get intense, it is going to be visual and with the upmost respect and passion for filmmaking as an art as well as taking care of its narratives. With a Scorsese film, with a Scorsese production, whether the end result is satisfying or not, and the entire Scorsese filmography for certain has peak high and valley low all over it, there’s still going to be an instant stamp on it, a branding that only this Italian-American pioneer has mastered in his own right.
Henry Hill, the former underworld mobster who became an anti-folk hero when he was immortalized in the film Goodfellas, died in Los Angeles yesterday after a long illness at the age of 69, reports TMZ.
Hill, who was born in Brooklyn, NY, and was an associate for the Lucchese crime syndicate, had been accused throughout that “career” of a litany of Mafia-related offenses, including extortion, theft, kidnapping, assault, and drug dealing. He got out of that dangerous existence by testifying against his former cohorts in the mob, leading to lengthy prison sentences for them and a place in the Witness Protection Program for him. As a result, it forced him to live in rural existences deep in the midwest of America.
When it comes to the gangster film, very few pieces are as brilliant or influential as Martin Scorsese’s Goodfellas. And now, it’s coming to the current king of television, AMC.
Deadline is reporting that the film will now be turned into a TV series on AMC, with writer Nicholas Pileggi and producer Irwin Winkler back aboard the project. Based on a novel entitled Wiseguy, the show will, like the movie, follow the “rise and fall of the Lucchese crime family associate Henry Hill, and his friends from 1955 to 1980.”