Butch Cassidy and the Sundance Kid (1969) - News Poster

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Night Passage — Die Uhr ist abgelaufen

It’s the great Anthony Mann-James Stewart western that Mann didn’t direct: Stewart goes it alone, over-filling a good western idea with ‘cute’ scenes and conservative messages Mann had no use for. But it’s an exciting picture, and one of co-star Audie Murphy’s best — and it’s the first feature in the splendid oversized format known as Technirama.

Night Passage

Blu-ray

Explosive Media (De)

1957 / color / 2:35 widescreen / 90 min. / available at Amazon.de / Die Uhr ist abgelaufen /Street Date August 10, 2017 / Eur 17,99

Starring: James Stewart, Audie Murphy, Dan Duryea, Dianne Foster, Elaine Stewart, Brandon De Wilde, Jay C. Flippen, Herbert Anderson, Robert J. Wilke, Hugh Beaumont, Jack Elam, Olive Carey, Ellen Corby, Chuck Roberson.

Cinematography: William Daniels

Film Editor: Sherman Todd

Original Music: Dimitri Tiomkin

Written by Borden Chase

Produced by Aaron Rosenberg

Directed by James Neilson

Universal-International didn’t spare the production values for their big-screen western Night Passage.
See full article at Trailers from Hell »

Little Big Man (Region B)

Arthur Penn’s under-appreciated epic has everything a big-scale western could want — spectacle, interesting characters, good history and a sense of humor. Dustin Hoffman gets to play at least five characters in one as an ancient pioneer relating his career exploits — which are either outrageous tall tales or a concise history of the taking of The West.

Little Big Man

Region B Blu-ray

Koch Media

1970 / Color / 2:35 widescreen / 139 147 min. / Available from Amazon.de / Street Date September 14, 2017 / Eur 17.99

Starring: Dustin Hoffman, Faye Dunaway, Chief Dan George, Martin Balsam, Richard Mulligan, Jeff Corey, Aimée Eccles, Kelly Jean Peters, Carole Androsky, Ruben Moreno, William Hickey, Jesse Vint, Alan Oppenheimer, Thayer David.

Cinematography: Harry Stradling Jr.

Production Designer: Dean Tavoularis

Art Direction: Angelo P. Graham

Special Makeup: Dick Smith

Special Effects: Logan Frazee

Film Editors: Dede Allen, Richard Marks

Original Music: John Hammond

Written by Calder Willingham from the novel by Thomas Berger

Produced
See full article at Trailers from Hell »

The Little Drummer Girl: Alexander Skarsgard joins the cast

Tony Sokol Kirsten Howard Nov 21, 2017

True Blood's Alexander Skarsgard will sink his teeth into the adaptation of John le Carré’s spy novel The Little Drummer Girl...

Alexander Skarsgard, who made sure the entertainment was bloody good at the Fangtasia vampire bar on HBO's True Blood, will scope out new dramatic talent for something a little different in his next role as Becker, who Deadline reports will be "an intriguing stranger with whom [Florence] Pugh’s brilliant young actress Charlie strikes up an acquaintance while on holiday in Greece" in AMC's new The Little Drummer Girl adaptation.

"But it rapidly becomes apparent that Becker’s intentions are far from romantic," the entertainment news outlet went on to reveal. "He’s an Israeli intelligence officer, who entangles her in a complex and high stakes plot which unfolds as she takes on the role of a lifetime in the ‘theatre of the real.
See full article at Den of Geek »

Sliff 2017 Interview: Actor Patrick Fabian – Star of Driverx

Driverx screens Sunday, November 5th at 3:15pm at The Tivoli Theater (6350 Delmar Blvd, St. Louis) as part of this year’s St. Louis International Film Festival. Producer Mark Stolaroff will be in attendance. Ticket information can be found Here.

Skidding into middle age, a stay-at-home dad must drive for an Uber-like ride-share company to help support his working wife and two young daughters. Leonard (Patrick Fabian of “Better Call Saul”), a middle-aged man living in the suburbs, has lost his mojo. It’s been two years since the demise of his record store, and now he’s a stay-at-home dad taking care of two young daughters while wife Dawn (Tanya Clarke) works during the day. With both kids now in elementary school, he’s been interviewing for jobs, but

record companies aren’t looking for a 50-year-old music lover with a knowledge of classic rock and pre-’80s hip-hop.
See full article at WeAreMovieGeeks.com »

Gunpowder episode 3 review

Aliya Whiteley Nov 4, 2017

Gunpowder's entertaining final episode offered much to enjoy. Spoilers ahead in our review...

This review contains spoilers.

See related The Walking Dead: Steven Yeun reflects on Glenn The Walking Dead: TV show will not overtake the comics The Walking Dead season 8 episode 3 review: Monsters

Was the BBC drama Gunpowder, in the end, a horror story?

It finished as it began: with torture and death. Anybody who knows the first thing about Bonfire Night could tell you that was going to happen. I’m glad that the director, J Blakeson, applied the same principles to these last difficult scenes as he did to the ones that kicked off the series. There was no looking away from what the state was capable of. The camera was steady as it gazed upon the decapitated head of Catesby (Kit Harington), placed outside parliament as a warning to all.
See full article at Den of Geek »

A Sequel To Rob Zombie’s The Devil’s Rejects Is In The Works

After teasing a return to the franchise for years now, we’re happy to be able to confirm that Rob Zombie will be bringing us a sequel to The Devil’s Rejects, which is widely regarded as one of his best films – and rightfully so. Sure, it may just be a Texas Chainsaw variation, but what sets it apart is the fact that, on some insane level, you actually kind of like these people by the end of the movie. It’s crazy, but that really is what makes it work.

For those unfamiliar, the pic is a spinoff of Zombie’s 2003 effort House of 1,000 Corpses (which was also quite good) and given that it ended with the main characters presumably meeting their maker, we imagine that this sequel will shift its focus elsewhere, perhaps to some of the supporting players? Or, maybe, it’ll take the form of a prequel/spinoff?
See full article at We Got This Covered »

15 Actors Almost Cast as Superman

  • MovieWeb
15 Actors Almost Cast as Superman
"It's a bird, it's a plane, it's... Sylvester Stallone?!" Christopher Reeve cast such a long shadow after his incredible portrayal of Superman it took years to get another actor into the cape. (And lookalike actor Brandon Routh's performance in Superman Returns was nothing short of homage.) But before Christopher Reeve, and in many developmental stages along the way, under the guidance of directors like Tim Burton, Brett Ratner, and McG, a handful of major movie stars came close to securing the role of DC's Last Son of Krypton. Here, we're looking at 15 actors who were almost Superman.

Paul Newman

Paul Newman, the late screen legend who starred opposite Robert Redford in the cinematic classic Butch Cassidy and the Sundance Kid, among other notable roles, turned down Superman not once, not twice, but three different times. He was offered the lead role, as well as the roles of Lex Luthor and Superman's dad,
See full article at MovieWeb »

Freebie and the Bean

Here’s how one pushed the limits of good taste in 1974. James Caan and Alan Arkin run the gamut of racist, raunchy, sexist & homophobic jokes as bad boy cops breaking the rules, and director Richard Rush delivers some impressive, expensive action stunts on location in San Francisco. Does it get a pass because it’s ‘outrageous?’ The public surely thought so. If the star chemistry works the excess won’t matter. With Valerie Harper, Loretta Swit and Jack Kruschen.

Freebie and the Bean

Blu-ray

Warner Archive Collection

1974 / Color / 2:40 widescreen / 113 min. / Street Date August 8, 2017 / available through the WBshop / 21.99

Starring: Alan Arkin, James Caan, Valerie Harper, Loretta Swit, Jack Kruschen, Mike Kellin, Paul Koslo, Linda Marsh, Alex Rocco.

Cinematography: Laszlo Kovacs

Film Editors: Michael MacLean, Fredric Steinkamp

Original Music: Dominic Frontiere

Written by Robert Kaufman, Floyd Mutrux

Produced and Directed by Richard Rush

‘Buddy’ pictures have been around forever, but I
See full article at Trailers from Hell »

Hopscotch

A generic spy story becomes an inspired light comedy with the application of great talent led by the star-power of Walter Matthau. Matthau’s CIA spook hooks up with old flame Glenda Jackson to retaliate against his insufferable CIA boss (Ned Beatty) with a humiliating tell-all book about the agency’s dirty tricks history. Matthau’s sloppy, slouchy master agent is a comic delight; Ronald Neame’s stylishly assured direction makes a deadly spy chase into a wholly pleasant romp.

Hopscotch

Blu-ray

The Criterion Collection 163

1980 / Color / 2:39 widescreen / 105 min. / available through The Criterion Collection / Street Date August 15, 2017 / 39.95

Starring: Walter Matthau, Glenda Jackson, Sam Waterston, Ned Beatty, Herbert Lom, David Matthau, George Baker, Ivor Roberts, Lucy Saroyan, Severn Darden, George Pravda.

Cinematography: Arthur Ibbetson, Brian W. Roy

Production Designer: William J. Creber

Film Editor: Carl Kress

Original Music: Ian Fraser

Written by Bryan Forbes from a novel by Brian Garfield

Produced
See full article at Trailers from Hell »

Why Any Movie About Trump Should Make Us Love the Man, Not Hate Him

Why Any Movie About Trump Should Make Us Love the Man, Not Hate Him
In the mid-1970s, William Goldman took on what seemed like an insurmountable challenge: how to turn the richly detailed manuscript of All the President’s Men, which Robert Redford had just optioned from Watergate reporters Bob Woodward and Carl Bernstein, into a movie.

The celebrated screenwriter had faced other such challenges: transforming the meandering story of two turn-of-the-century bandits into 1969’s Butch Cassidy and the Sundance Kid; figuring out how to terrify us with a Nazi fugitive on the loose in contemporary Manhattan, in 1974’s Marathon Man. (Will a dental visit ever be the same again?) In each case, he succeeded, winning an Oscar...
See full article at The Hollywood Reporter - Movie News »

The New West: The Greatest Revisionist Westerns of All-Time

The classical western exists as an ideal sandbox for stories of heroism, in which white hats can immediately separate our protagonists from the black-hatted antagonists. Occasionally, though, we have a revisionist western that questions and defies the well-trodden patriarchal confines of the genre, as if looking at an old image from a tilted perspective and finding something new.

Sometimes, the characters don’t fit into the dusty old boxes occupied by so many western heroes and heroines. The hero robs and kills to stay alive, frightened and overwhelmed by this strange, new frontier. Other times, the stereotypical Western landscape disappears, blanketed in snow. Horses drive their hooves through ice-covered puddles. Wind screams past bone-thin trees — manifest destiny frozen over, encasing the American dream in ice.

In the case of Sofia Coppola’s newest, The Beguiled, gender and power roles reverse: an injured Union soldier (Colin Farrell) turns up at a girl’s school, an arrival which breeds intense sexual tension and rivalry among the women (Nicole Kidman, Kirsten Dunst and Elle Fanning). According to our review, the movie is “primarily based on the 1966 book by Thomas Cullinan,” and “appears, at first glance, to be a remake of Don Siegel’s 1971 film adaptation rather than any sort of new reading of the original text. Coppola, of course, is far too clever for that.”

In celebration of The Beguiled, we’ve decided to take a look at the finest examples of the revisionist western. Enjoy, and please include your own favorites in the comments.

The Assassination of Jesse James by the Coward Robert Ford (Andrew Dominik)

Robert Ford (Casey Affleck) idolized the legendary outlaw Jesse James (Brad Pitt), growing up hearing campfire stories about the man. Ford loved James so much that he eventually willed himself into the man’s life story. You cannot tell James’s story without also telling Ford’s. These two tragic lives are irrevocably linked by Ford’s betrayal. The film’s dryly antiseptic voiceover narration confides that Ford grew to regret his violent ways. The same goes for James, who at one point beats a child and then weeps into his horse’s neck, unable to live with his own deeds. While James’ propensity for violence is a deeply cut character flaw, Pitt plays the outlaw like an emotionally wounded teenager. His jovial sense of humor cloaks a vindictive and self-loathing interior. Whether Jesse James hurts himself or someone else, there is always a witness looking on with wide eyes. After James’ murder, Ford became a celebrity, touring the country reenacting the shooting. But Ford gained his prominence by killing a beloved folk hero. And so, one day, a man named Edward Kelly walked into Ford’s saloon with a shotgun and took revenge for James’s murder. Unlike the aftermath of Ford’s deed, people leapt to Kelly’s defense, collecting over 7000 signatures for a petition, leading to his pardon. America hated Robert Ford because he killed Jesse James. They loved Edward Kelly because he killed Robert Ford.

Buffalo Bill and the Indians, or Sitting Bull’s History Lesson (Robert Altman)

Robert Altman’s largely forgotten and often funny western about egotistical showman Buffalo Bill Cody (Paul Newman) treats its lead without respect, eagerly mocking him at every opportunity. Known across America as they best tracker of man and animals alive, Cody runs Buffalo Bill’s Wild West Show, a rodeo-like performance of cowboy-feats, ranging from simple rope tricks to the trick-shots of the legendary Annie Oakley. However, Cody is a fraud, a walking accumulation of lies and tall-tales. When Cody gets the chance to hire Chief Sitting Bull, the man who defeated General Custer at Little Big Horn, he’s thrilled, until Sitting Bull refuses to participate in his offensive show. Contrasted with phony Buffalo Bill Cody, Sitting Bull drips with dignified authenticity, totally uninterested in living up to the ignorant public’s racist image of his people. While the manufactured “reality” of Cody’s shows gets applause from white audiences, the stoic realness of Sitting Bull initially receives jeers, until something occurs to the crowd: this isn’t showmanship; this is the real thing. Later, when Cody and his gang form a posse, he hastily removes his show attire and searches through his wardrobe, cursing: “Where’s my real jacket?” So utterly consumed by his own public image, Cody can no longer locate his true self. Altman’s film is a rare western with a lead character who never succeeds, changes, or learns from his mistakes, always remaining a hopelessly pompous horse’s ass.

Butch Cassidy and the Sundance Kid (George Roy Hill)

As we meet the legendary Butch Cassidy (Paul Newman) he’s scoping out a bank, recently renovated to include heavy iron bars over every window and bolted-locks on every door. He asks the guard what happened to the old bank, which displayed such architectural beauty. “People kept robbing it,” the guard says. “Small price to pay for beauty,” Butch replies. It’s a running theme in revisionist westerns to reveal the truth behind the legend. The changing times had rendered bandits on horseback obsolete. But Butch Cassidy and his partner, the Sundance Kid (Robert Redford) didn’t see the end coming until the future was already upon them. After barely evading a super-posse (to use a term coined by screenwriter William Goldman) led by a ruthless bounty hunter, they escape to Bolivia with Etta (Katherine Ross) Sundance’s girl, where their criminal ways are similarly received. What began as a vacation away from their troubles slowly becomes a permanent getaway run, sowing seeds of inevitable tragedy. Etta sees what Butch and Sundance cannot: the end. “We’re not going home anymore, are we?” Etta tearfully asks Sundance, informing him that she has no plans to stick around to watch them die. George Roy Hill’s Butch Cassidy and the Sundance Kid is a tearful celebration of a pair of old dogs too foolish to learn new tricks.

Dead Man (Jim Jarmusch)

The gorgeous and haunting Dead Man opens with a soot-faced Crispin Glover trilling as he points out the window of a train: “They’re shooting buffalo,” he cries. “Government said, it killed a million of them last year alone.” The American machine greedily consumes the landscape, leaving smoldering devastation in its path, while a stone-faced accountant named William Blake (Johnny Depp) travels to the hellish town of Machine, where he’s promised a job. Unfortunately, there’s no job at the end of the line for this seemingly educated man, blissfully unaware of his namesake, the poet William Blake. After taking a bullet to the chest, Blake wanders this dying western landscape as if in a dream, guided by Nobody (Gary Farmer) a Native American raised in England after getting kidnapped and paraded around as a sideshow attraction for whites. At one point, Blake stumbles upon three hunters by a camp fire, one of which, played by Iggy Pop, wears a muddy dress and bonnet like a twisted schoolmarm. Writer-director Jim Jarmusch’s twist on the western (accompanied by Robby Müller’s flawless cinematography) hums with textured period detail and vivid costume design, the accumulation of which achieves an eerily stylized tone.

Django Unchained (Quentin Tarantino)

The spirit of Quentin Tarantino’s Django Unchained is in the sequence scored by Jim Croce’s “I’ve Got a Name.” Django (Jamie Foxx), now a free man, removes the old saddle from his horse’s back, a saddle originally procured by a white slaver, the animal’s previous owner. He then mounts in its place, his own saddle personalized with an embroidered D. His freedom is still new and unfamiliar but, Django is more than willing to grasp those reigns. What works best about the film is how Tarantino’s screenplay embraces the politics of the Antebellum South in a fashion carefully ignored by every other western of its time. The dialogue, Tarantino’s most applauded talent, wheels a careful turn between a sly comedy-of-manners and a bluntly provocative historical indictment, always landing on a shameless exploitation cinema influenced need for violent catharsis. Tarantino’s channeling of Spaghetti Western violence, with the gore cranked up to a level far beyond that of even Sergio Corbucci’s bloodiest work, delivers tenfold on that catharsis, splattering the pristine white walls of Candyland plantation bright red.

El Topo (Alejandro Jodorowsky)

Dripping with transgressive and bizarre imagery, El Topo embraces every taboo imaginable with a breathless zeal. Existing somewhere between Midnight Movie oddity and art-house epic, Alejandro Jodorowsky’s second feature envisions the west as an unknowable landscape, dotted with peculiar and grotesque characters, such as a legless gunfighter who rides around on the back of an armless man. Describing the film in narrative terms, beat by beat, would be pointless, although we follow a rider in black, the titular El Topo (which means The Mole) who crosses the desert with a naked boy on the saddle. Though we spend more time with El Topo, his son is the heart of the film, this warped and subversive pseudo-fable exploring the cyclical nature of life. Jodorowsky’s painterly eye for composition lends individual shots with arresting and breathtaking resonance. With less than subtle biblical imagery scattered throughout, including a marvelous sequence involving a religion based around the game of Russian Roulette, Jodorowsky’s film feels at times like a twisted celebration of mysticism, sampling notes from Catholicism, Christianity, Hinduism and Buddhism. It’s ending, a chaotic, dream-like burst of violence, adds a scathing gut-punch to an already overwhelming experience. There is no other western quite like El Topo, to say the least.

Continue >>
See full article at The Film Stage »

From Bruce Lee to Paul Walker: how Hollywood pulled off its biggest resurrection acts

Paul Newman is only the latest star to return to the big screen after death. From Philip Seymour Hoffman to Peter Sellers, here are some of the most celebrated performances from beyond the grave

Related: Bruce Lee, Audrey Hepburn and the ethics of digital necromancy

We may never see the likes of Paul Newman again. But we can at least hear the blue-eyed star of Butch Cassidy and the Sundance Kid one more time after it was announced that Newman, who died in 2008, will return as the voice of old-time racer Doc Hudson in forthcoming animated adventure Cars 3.

Continue reading...
See full article at The Guardian - Film News »

Interview, Audio: Director Brett Haley Discovers ‘The Hero’

Chicago – The familiar character actor and voiceover artist, Sam Elliott, has been breaking out in that latter part of his career. Known for his cowboy roles, smooth bass-tone voice and epic mustache, the icon has been seen lately in diverse roles in “Grandma,” “Digging for Fire,” “Grace and Frankie” and his latest – and perhaps greatest – “The Hero.”

Brett Haley and Sam Elliott on the Set of ‘The Hero

Photo credit: The Orchard

“The Hero” is co-written (with Marc Basch) and directed by Brett Haley, who had previously directed Elliott, opposite Blythe Danner, in “I’ll See You in my Dreams.” Haley must have been inspired, because he wrote “The Hero” expressly for Elliott, and uses the actor’s cowboy character past as a basis for the role of Lee Hayden, an old actor with a broken past, and a health condition that changes everything. Elliott is masterful as the lead in the film,
See full article at HollywoodChicago.com »

Julian Fellowes webchat – your questions answered on The Wind in the Willows, Downton Abbey, winning an Oscar – and Nando's

The Downton Abbey creator answered your questions on his new TV show The Gilded Age, Gosford Park – and whether he has a butler

2.17pm BST

Thank you for the questions - I'm flattered that you're interested. It's a nice feeling - not just that people are enjoying the show but also that they want to know more about the people who made it.

2.15pm BST

DonRodrigo asks:

Do you put milk first in your tea or last? And do you take sugar?

Last. And I never take sugar in tea.

2.14pm BST

Peely1 asks:

Have you ever been to Nando’s?

Yes! There's an excellent one in Dorchester, right next to the cinema.

2.12pm BST

DonRodrigo asks:

How tall are you?

5ft 10in

2.11pm BST

Pagey asks:

Are you planning to write anything in a contemporary setting, outside of your direct experience? I believe there is too much reverence for
See full article at The Guardian - TV News »

Playback: Sam Elliott on ‘The Hero’ and Living His Childhood Dream

Playback: Sam Elliott on ‘The Hero’ and Living His Childhood Dream
Welcome to “Playback,” a Variety podcast bringing you exclusive conversations with the talents behind many of today’s hottest films.

Icon is a word that gets thrown around a lot but it seems safe to say Sam Elliott qualifies. Even the man’s voice is iconic, which was the entry-point for his role in Brett Haley’s new film, “The Hero.” Elliott stars as a voice actor searching for that next gear in life, and it’s the kind of character he admits he doesn’t get to play very often. Deep into a nearly 50-year career, he cherishes these kinds of opportunities — so much so that he’s actually taken to calling the role of Lee Hayden a gift, rather than an opportunity.

He put plenty of himself into the part, but he cautions that there are glaring differences. Still, he could relate to Lee’s plight, both in
See full article at Variety - Film News »

Butch Cassidy And The Sundance Kid Saturday Morning at The Hi-Pointe

“Think ya used enough dynamite there, Butch?”

Butch Cassidy And The Sundance Kid screens at St. Louis’ fabulous Hi-Pointe Theater this weekend as part of their Classic Film Series. It’s Saturday, June 10th at 10:30am at the Hi-Pointe located at 1005 McCausland Ave., St. Louis, Mo 63117. The film will be introduced by Harry Hamm, movie reviewer for Kmox. Admission is only $5

Butch Cassidy And The Sundance Kid (1969) is a Western based loosely on fact as it tells the story of Wild West outlaws Robert LeRoy Parker, known to history as Butch Cassidy and his partner Harry Longabaugh, the “Sundance Kid” as they migrate to Bolivia while on the run from the law in search of a more successful criminal career.It stars Paul Newman and Robert Redford as Butch Cassidy and the Sundance Kid respectively,together with Katharine Ross.It was written by William Goldman and directed by George Roy Hill.
See full article at WeAreMovieGeeks.com »

When Did Films Start Getting So Long?

Neil Calloway wonders why every film has to be so long now…

With the rumour that Justice League is going to clock in at just shy of three hours, it’s time to ask when did movies start getting really long?

Of course, there have always been long movies, but back then films came with an intermission, now we’re expected to sit through 170 minutes with no respite. There are a couple of reasons for this, I reckon. Though Zack Snyder has denied the movie will be that long, it sounds about right.

One is that with franchise films, each instalment has to be bigger and better, both metaphorically and literally. Everyone wants more action sequences than the last, and everyone wants more characters, too, which is where the second reason comes in.

Every actor wants to be the lead in a film and to receive top billing, but that
See full article at Flickeringmyth »

Exclusive Interview: Sharlto Copley, Armie Hammer And Ben Wheatley Talk Free Fire

When attending South by Southwest every year, there’s at least one press junket that goes above-and-beyond. Food, activities – the works. This year, it was for Free FireBen Wheatley’s feature-length shootout where a gun deal goes butts-up. I’d already caught his masterpiece at the Toronto International Film Festival, where it quickly become one of my favorite movies of 2016 (and now, by release date scheduling, 2017). Such a crazy concept billed on 70s action sleaziness, but Wheatley executes each trigger-pull beautifully. Read about my love for this maniac shoot-em-up right here, or accept the following blurb as gospel:

Free Fire is a relentless genre assault of bullets, laughs and personality, like a pseudo action movie that cranks intensity to 11 and rips off the knob.

Needless to say, the only thing better than watching Free Fire would be participating in a non-lethal shootout with the film’s cast and creators.
See full article at We Got This Covered »

'Donnie Darko' Returns to Theaters as Arrow Films Debuts 4K Restoration

Seth Metoyer,

MoreHorror.com

Donnie Darko is one of my all time favorite movies and the news from Arror Films has me stoked!

In celebration for its fifteenth anniversary, director Richard Kelly and Arrow Films are releasing a 4k restoration of the film.

The movie will be shown in select theaters beginning March 31st. Check out all the dates and times from the official releases below.

From The Press Release

Arrow Films has announced the March 31st domestic theatrical debut of the 4K restoration of Richard Kelly's cult hit Donnie Darko. Following a wildly successful re-release in the UK for its fifteenth anniversary, the film will return to theaters in cities across the United States. Fifteen years before "Stranger Things" combined science-fiction, Spielberg-ian touches and 80s nostalgia to much acclaim, Kelly set the template and the benchmark with his debut feature, Donnie Darko. Initially beset with distribution problems,
See full article at MoreHorror »

Donnie Darko 4K Restoration Coming to Us Theaters This March from Arrow Films

Arrow Films recently celebrated the 15th anniversary of Donnie Darko with a new 4K restoration, and after taking it on the road in the UK, Arrow Films has now announced a Us theatrical re-release of the cult film:

Press Release: Los Angeles, CA - Arrow Films has announced the March 31st domestic theatrical debut of the 4K restoration of Richard Kelly's cult hit Donnie Darko. Following a wildly successful re-release in the UK for its fifteenth anniversary, the film will return to theaters in cities across the United States. Fifteen years before "Stranger Things" combined science-fiction, Spielberg-ian touches and 80s nostalgia to much acclaim, Kelly set the template and the benchmark with his debut feature, Donnie Darko. Initially beset with distribution problems, it would slowly find its audience and emerge as arguably the first cult classic of the new millennium. The 4K restoration of Donnie Darko will premiere
See full article at DailyDead »
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