Spielberg’s 1975 classic is headed to selected US theatres this summer.
Just when you thought it was safe to go back to the theatre think again, as Steven Spielberg’s terrifying 1975 horror classic Jaws is headed back to cinema’s to celebrate the film’s 40th anniversary.
Steven Spielberg first bought Jaws to cinema’s in 1975.
Fathom Events, Turner Classic Movies and Universal Pictures Home Entertainment are coming together to bring the film back to theatres this summer, for a limited time on June 21 and June 24 at 2 p.m. and 7 p.m in select cinemas nationwide.
When a girl leaving a beach party on Amity Island, New England goes for an evening swim in the Atlantic, she is brutally attacked and eaten by a colossal great white shark. While the Mayor refuses to close the beach out of fear that the lack of tourism that would ensue would have a huge financial backlash on the town, another person is brutally killed. A bounty is placed on the shark which motivates amateur shark-hunters to go after it. However, they only managed to capture and kill a tiger shark which, while putting the public at ease as they assume it was the same creature, raises suspicions amongst a not so easily fooled group of people in the shape of a police chef, a fisherman and a marine scientist who determinedly set out to find and destroy the real menace.
Continue: Jaws Trailer
The connection is deeper than you'd think. As Shark painstakingly illustrates, Steven Spielberg and his crew employed a fair share of magic tricks during the tumultuous filming of this eventual blockbuster, and they often felt like the proverbial tablecloth was being yanked out from beneath their feet as problem after problem rode in on the crests of each wave off the coast of Martha's Vineyard.
Continue reading: The Shark Is Still Working Review
Morgen's conceit with Chicago 10 -- mixing archival footage of the riot and its aftermath with animated recreations of the trial -- is not the film's problem. In fact, by breaking away from the well-worn documentarian's path of narration and flashback, Morgen does opens interesting doors for other filmmakers to follow. But the filmmakers (Morgen's main backer was Vanity Fair editor and occasional political dilettante Graydon Carter) have such a lack of faith in their own subject's inherent power that it all ends up more a gimmick than a bold new direction in non-fiction filmmaking. Medium Cool 2008 it's not.
Continue reading: Chicago 10 Review
The plot stars promisingly enough. Frank Castle (Jane, *61, The Sweetest Thing) is an FBI undercover agent, the kind of guy who's so good that the Bureau moves him around for his own protection. At his final job in Tampa, he busts up a major weapons deal that kills the son of powerful crime lord Howard Saint (poor, poor John Travolta).
Continue reading: The Punisher (2004) Review
Of course, like all schoolyard tales it was too good to be true. "Blue Thunder" wasn't a top clandestine Commie-busting nuke firing super secret weapon; it was a cool looking helicopter that the cops used to control rioters. When I actually saw the movie a few years later, I was bummed to say the least.
Continue reading: Blue Thunder Review
Ernest Tidyman's story follows the adventures of two New York narcotics cops, "Popeye" Doyle (Hackman), and his partner, Russo (Roy Scheider). They track a lead about a large drug delivery that develops into a plan that could entirely destroy the marijuana trade between Paris and New York.
Continue reading: The French Connection Review
If you recalled fondly the line that Nelson said in an episode of The Simpsons after Bart uses a fake ID to get into this film ("I'll tell you two things wrong with that title"), then you're like most of America. I knew a little bit more coming in: that it was based on a novel by William S. Burroughs that is the quintessence of non-linear narrative and that it was directed by David Cronenberg.
Continue reading: Naked Lunch Review
On the surface, the movie is the autobiographical story of Fosse going through a physical/emotional breakdown during the making of the original stage version of Chicago in the mid-1970s. Roy Scheider plays the Fosse stand-in, Joe Gideon, as a pill-popping, compulsively womanizing, perfectionist, son of a bitch who finds happiness only in his work. But Fosse rips apart the standard showbiz puff piece right from the start, by dropping viewers right into the frenzied mess of Gideon's life, and mixing up the already-fractured storyline with a recurring sequence where Gideon talks over his life with a glowing, radiant Muse figure (Jessica Lange).
Continue reading: All That Jazz Review
When a girl leaving a beach party on Amity Island, New England goes for an...
When John Badham's Blue Thunder came out I was just a kid, but the film...
The French Connection puts the majority of contemporary action movies to shame. It proves...