And what jokes they are! The very American Robert Morse stars as a British visitor to L.A., a wannabe poet who gets caught up in the machinations of a cemetary owner (Jonathan Winters) and his top mortician (Rod Steiger in the role of a lifetime). It's more cult than cemetary, and Morse soon becomes enchanted with one the cemetary's guide/beautician/chanteuse (a dippy Anajette Comer). The film haphazardly careens from subplot to subplot, eventually settling into a set piece about a kid obsessed with rockets, which Winters sees as the solution to the problem of running out of space for "loved ones" in the cemetary (aka corpses).
Continue reading: The Loved One Review
Ranking as filmcritic.com's #1 movie of all time in our recent Top 100 Films of the Millennium feature, I suppose we have some explaining to do as to why we picked it. Not only is the movie wickedly funny, it's a subversive anti-war film that shows just how easily a conflict could erupt and the end of the world be brought about. The cast is top notch, and Sellers would have stolen the show if George C. Scott, Pickens, and Sterling Hayden didn't keep taking it back. Never for five seconds is this film less than perfect -- from its devilish gags (courtesy of co-writer Terry Southern) to its hilarious improvisations (courtesy, of course, of Sellers) to its simply unpredictable plot. I've seen this movie two dozen times and each with each viewing not only do I get something more from it, but I keep thinking the ending is going to change.
Wyatt (Peter Fonda) and Billy (Dennis Hopper) are the quintessential hippie bikers. Cruising across America with a gas tank full of dope, these two dropouts are living the dream of freedom and rugged individuality. To this day, the image of Fonda and Hopper (neither of whom knew how to ride a motorcycle before making this film) careening helmetless down the open highway to the tune of Steppenwolf's "Born to be Wild" defines the American biker motif more clearly than any Hell's Angel could ever hope to.
Continue reading: Easy Rider Review
McQueen is the Kid, a young card player who believes he is the best in the country. Edward G. Robinson is the Man, the aging veteran that McQueen must knock off his pedestal. McQueen is cocky, confident, appealing, and fundamentally decent; Robinson is complex and opaque, with one of the greatest poker faces in cinema. The inevitable showdown between the two is a battle of wills and nerve which lasts a night, most of the next day and another night.
Continue reading: The Cincinnati Kid Review
Sellers may very well have had no idea what he was getting into with this movie, an adaptation of the cult novel by the same name from author Terry Southern. The film concerns Sellers' business magnate Guy Grand, who adopts a homeless man (Starr) and presents him to the board as his son.
Continue reading: The Magic Christian Review
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Tristan Corrigan on the difficulties of making music within a genre that is so popular.
From 'Happy' to 'Banana Pancakes', these are soaked in positivity.