The 2013 Oscar Nominees are in – did your favorite movie get a nod?
Check out the giant list of nominees and see which movies made the biggest splash.
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Check out the giant list of nominees and see which movies made the biggest splash.
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Django Unchained is poised to be a big hit for Tarantino, already reveling in big bucks and good reviews.
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See Chris Pine, Zach Quinto, and Benedict Cumberbatch in these NEW pics from Star Trek Into Darkness
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In the James Gunn directed film scheduled to launch sometime in 2014, Joseph Gordon-Levitt has joined the short list to take on the role of Quill, the Guardians leader.
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Tom Jane returns as Frank Castle, the man most known as The Punisher.
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We preview the upcoming Dredd, a reboot / remake of the Judge Dredd franchise that aims to be more serious and focused than the adaptation from 1995.
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Liam Neeson is back in the sequel to an awesome and awe-inspiring movie about a retired CIA agent's quest to find his daughter. Like The Bourne Identity where Jason Bourne grows up and has a family.
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In recent years, however, this simple idea of allowing truly inspiring and thought provoking feats of cinema to be seen by more people has been trumped by celebrity orientated culture and a public thirst for being comfortable in the movie theaters, rather than challenged. 2011, as in no other, offers the best example of this sudden divergence from masterful works of art to hokey, trite pieces of fluff that will be forgotten before the year is out.
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It is in fact Matthew Broderick, and it has the music. Color me excited!
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We've come a long way from the days of Shakespeare's "A Midsummer Night's Dream" and Marilyn Monroe and Tom Ewell's romance in "The Seven Year Itch". Now movie producers are looking for ways to wedge romantic plots into anything they can get their hands on - it's no wonder that there have been more romantic comedies in the last five years than all of the other years of film combined!
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Here are a few films whose directors passed over color and decided black and white would be a much more fitting color scheme for the tone and overall reception and impact of their piece.
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In the previous installment of From Book to Film, we discussed two films that, though adapted from a novella and a novel, respectfully, differed from their source material in terms of narrative structure, adding, expanding upon or even skipping over plot points while still managing to create a strong, everlasting cinematic experience.
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A novel is such a singular experience it is no wonder that adapting a book to the medium of film is as arduous a task as any. When you read, you are alone. Not in the sense that no one else is around you, but rather that you are the reader and the narrator and the painter of the scenes in your head. You provide the voices and translate the imagery to fit the way you perceive the story.
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Of the films explored in this series, 1981's "Arthur" seems the most appropriate to remake. Starring Dudley Moore, in what would be his most iconic role, "Arthur" follows the misadventures of the titular hapless drunk whose immense fortune and desperate alcoholism has left him alone and distanced from the rest of the world.
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In 2008, one of the best foreign films in recent memory was released and not only redefined the perception of horror but defied boundaries of the nature of love and the capabilities for young actors to capture convincing characters and manage innate but intimate emotion.
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To remake a film, one must fight against all the images, characters, lines and scenes of the original that play in your head like a never ending carousel going ‘round and ‘round and ‘round, and create something new and hopefully just as appealing. But with so much of the magic of film lying in the realms of unexpectedness, that unidentifiable factor that evokes emotion and establishes deep-rooted connections between the characters and audience is there an art or a point to retelling a story that worked well in the first place?
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Since the start of the new millennium, when the internet really took off, movie spoilers have taken a whole new direction. With websites that employ photographers to sneak around sets and take as many pictures as they can, and camera phones that grant ordinary citizens the same power, audiences seem to want to know everything about a movie before it comes out, giving way to a comfortable theater experience that does not offer any surprises.
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It wasn’t so long ago that a single year could produce more than one film that could be put on a shelf amongst the greats. The most recent example is 2007, with "No Country for Old Men" and "There Will Be Blood" standing proud as prime exhibits of creative force and the possibilities of a year in film that shines a light on more than one masterpiece. But even these seemed two amongst thousands in an otherwise standard year.
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Set in the mid 19th century, “13 Assassins” follows a group of samurai warriors, a title which itself is fading in respect and necessity, who attempt to kill a sadistic Lord Naritsugu before he has a chance to take the throne and plunge the country into violence, death and despair. After Naritsugu ruthlessly kills innocent citizens, even taking to rape and dismemberment, Shinzaemon, a man well practiced in the fleeting way of the samurai, is brought in to council and eventually lead the small rebellion against the Lord’s tyrannical rule.
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Torrid, emotionally enlightening and voraciously realistic, "Blue Valentine" thrives on life and creates an in-depth and profoundly enveloping portrait of a young, contemporary couple portrayed by the enigmatic Ryan Gosling and the always unraveling and talented Michelle Williams.
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