Put “ancient Egyptian people” into a Google image search, and none of the resulting photos resemble Christian Bale or Joel Edgerton, stars of Ridley Scott’s biblical epic Exodus: Gods and Kings.
Mike Nichols was a master of self-satire, a man of wealth and education and connections for whom his best targets were those of wealth, education and connections, from the vapid Californians of “The Graduate” to the military brass of “Catch-22.” Here are highlights from the long film career of Nichols, who died on Nov. 19 at age 83:
“Who’s Afraid of Virginia Woolf?” (1966) — Nichols was already a top stage director when he made a spectacular film debut by adapting Edward Albee’s play about the bickering, self-loathing spouses George (a history professor) and Martha (daughter of the college president). Filmed in claustrophobic black and white, winner of five Academy Awards, it featured the world’s most glamorous couple, Richard Burton and Elizabeth Taylor, very unglamorous and almost unrecognizable — he in glasses and an old sweater, she in a knotty wig and dull, unflattering dresses and blouses. The film was highly profane and sexually explicit for its time, and was among the first releases that barred attendees under 18 who were unaccompanied by an adult.
Time is relative, especially for young actors tasked with playing brilliant theoretical physicists.
Eddie Redmayne estimates that the euphoria of being cast as Stephen Hawking for the film “The Theory of Everything” lasted a millisecond. Then came the overwhelming fear.
Neil Patrick Harris will host the 87th Oscar show live on ABC TV on Feb. 22, 2015.
The next James Bond film will have a title that nods to the series' past: "SPECTRE."
Director Sam Mendes announced the title this week, along with the identity of several new cast members and a new version of Bond's iconic Aston Martin car.
Let’s start with a plea.
Not since Paddy Chayefsky’s “Network” have characters been chewed and spit out by TV news quite like they have been of late at the movies.
“Nightcrawler” and “Gone Girl” both present portraits of a preying, narrative-distorting media, whether staked out on the lawn or hunting down a homicide for the 11 o’clock news. While the films differ greatly and have other thoughts in their heads, both show the behind-the-scenes pursuit of that old mantra: “If it bleeds, it leads.”
Harry Shearer is hardly the first person to mine comedy from the rich vein where Richard Nixon shines.
But no one has done it more faithfully than Shearer, who, in his new series, mimics Nixon unimpeachably while re-enacting real-life scenes as the man known to detractors as Tricky Dick - all to hilarious effect.
The giant, inflatable whale in this Gulf Coast city signals not only the arrival of one of the world's biggest documentary festivals, but also the emergence of film as a way to tell the story of climate change.
Once perhaps relegated to National Geographic and PBS features, environmentally conscious narratives have gone Hollywood. Director James Cameron and deep-sea explorer Fabien Cousteau have made their own real-life sagas, the types of documentaries that are the focus of the Blue Ocean Film Festival here. But the issues they bring to life are also finding their place on the big screen.
The Logo TV network wants to explore how a gay and straight man look at pop culture differently.
That's the basis for "The Straight Out Report," a new weekly program starting next month that aspires to be the cable network's own version of "The Daily Show" or "Talk Soup."
When we first see Michael Keaton in “Birdman,” Alejandro G. Inarritu’s bracingly inventive and accomplished new film about fame, relevance, self-worth and lots of other intense stuff, he’s sitting in his white undies, in the middle of a dressing room.
No, really in the middle. Like, in the air. He’s levitating.