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Mythologizing the recently passed away young actor, this poster for Robert Altman's The James Dean Story eagerly attempts to cash in further on his short life
James Dean's life is retold, starting from his birth in 1931, his mother's early death, his upbringing in Fairmount, Indiana, his time in New York as a young actor; achieving success in Hollywood, and his tragic 1955 early end in a speeding accident.
The James Dean Story is written by Stewart Stern (The Outsider (1961)) and produced, directed and edited by debuting Missourian master filmmaker Robert Altman (Hawaiian Eye (1959, TV-series)) and George W. George (Bonanza (1962-63, writer)).
The movie's strength lie in the wonderful Americans who were someone in Dean's life, and who let themselves be interviewed for the film. The narrator's explanations about the ruminations of its super star subject are pretty subjective but also almost poetic. It is easy to identify with Dean and feel a sense of terrible upset at his early passing on, even today, watching this film.
In lieu of a trailer for the documentary, unavailable at Youtube, here is a fan-made tribute to the film
Cost: Reportedly 35k $
Box office: Unknown
= Uncertain
[The James Dean Story was released 14 January (Japan) and runs 81 minutes. At first envisioned as a biopic, Elvis Presley lobbied to play Dean before the plan was scrapped in favor of a documentary. Shooting took place in Indiana, New York and Los Angeles, California. One site reports that the film 'fared poorly' at the box office, but it was released in at least 6 international markets as well. The gross regrettably is not known, but with the small cost, it seems unlikely that the film did not yield a healthy profit. Altman returned with The Delinquents (1957); George left directing alone but remained active as a writer and producer. 1k+ users have given The James Dean Story a 3.4/5 average rating at Rotten Tomatoes.]
A powerful image of the interlocked white and black hands of a black man and a white female evocatively used on the poster for Spike Lee's Jungle Fever
Explores the struggles of an interracial young couple, an African-American architect and an Italian-American secretary in New York, a crack addict and their more or less understanding surroundings.
Jungle Fever is written, produced and directed by Georgian master filmmaker Spike Lee (She's Gotta Have It (1986)), whose 5th feature it is. He also co-stars as Cyrus.
Jungle Fever is a very good 'local' film, - 'local' meaning that it is very much an American and a New-Yorker film, which may seem superfluous to audiences not Americans or New-Yorkers, or at least to those uninterested in America and New York. But as someone who falls into this third group, I find it absolutely wonderful.
The film puts a spotlight on modern, American racism, which is a favorite theme of Lee's, and he certainly doesn't make it easy for the characters of Wesley Snipes (The Fan (1996)) and Annabella Sciorra (Luke Cage (2018, TV-series)), who venture on the extra-marital, interracial affair at the film's core. Besides these two blazing stars, the film enjoys strong turns from Samuel L. Jackson (The Long Kiss Goodnight (1996)) (as the crack addict), John Turturro (The Jesus Rolls (2019)), Ossie Davis (Philly (2002, TV-series)) and Lee himself. There are fresh songs from Stevie Wonder to enjoy along with the film, and the dialog is great. SPOILER Only the somewhat disappointing "NOOOOO!" ending weighs down on this great piece of filmmaking.
= Box office success (returned 3.12 times its cost)
[Jungle Fever premiered 16 May (Cannes Film Festival, main competition) and runs 132 minutes. Jackson had left crack rehab two weeks before filming and his ravaged look was reportedly caused by this. Shooting took place from August - December 1990 in New York. Universal Pictures made Lee scrap a prologue with his views on racism from the film. It opened #3, behind fellow new release City Slickers and holdover hit Backdraft, to a 5.3 mil. $ first weekend in North America, where it spent one more weekend in the top 5 (#4), grossing 32.4 mil. $ (74 % of the total gross). The film won a National Board of Review award and was nominated for a Grammy, among other honors. It lost the Palme d'Or to Barton Fink. Roger Ebert gave it a 3.5/4 star review, equal in rating to this one. Lee returned with 9 music videos prior to his theatrical return with Malcolm X (1992). Snipes returned in The Waterdance (1992); Sciorra in The Hand that Rocks the Cradle (1992). Jungle Fever is certified fresh at 84 % at Rotten Tomatoes.]
Three mysteriously looking stars veiled in seriousness adorn this poster for James Gray's The Immigrant
Ewa and her sister arrive to the US from Poland in 1921 but are split up on Ellis Island, and Ewa winds up with a dubious man, hidden from the watchful eye of the law.
The Immigrant is written by Ric Menello (Tougher Than Leather (1988)) and co-writer/co-producer/director James Gray (Little Odessa (1994)).
Gray again here shows his gift as a sublime storyteller with a classical film and a story that could have been told 80 years ago as well. The Immigrant has beautiful cinematography (by Darius Khondji (Okja (2017))), production design and costumes. Fine performances from Joaquin Phoenix (Joker: Folie à Deux (2024)) and Jeremy Renner (The Hurt Locker (2008)), - but it is Marion Cotillard (The Dark Knight Rises (2012)) who once again astounds the viewer with a fully authentic turn as the Polish Ewa, a cowed but not beaten woman, who fights for her sister and her own life.
The Immigrant may seem only distantly relevant to some. For me it was a pure pleasure.
[The Immigrant premiered 24 May (Cannes Film Festival, main competition) and runs 117 minutes. Gray based the story mainly on recollections from his own grandparents. Shooting took place from January - March 2012 in New York. When the film's investors sold the distribution rights to The Weinstein Company, against Gray's wishes, and when Harvey Weinstein demanded a different ending, which Gray refused to give him, the distribution was left in shambles, with the film only getting a very small and unsupported release in North America. The film opened #47 to a 44k $ first weekend in 3 theaters in North America, where it peaked at #18 and in 150 theaters, grossing 2 mil. $ (33.9 % of the total gross). The biggest market for the film was France with 2.2 mil. $ (37.3 %), with North America 2nd biggest and Spain 3rd with 464k $ (7.9 %). The film lost the Palme d'Or to Blue Is the Warmest Color. It was also nominated for 2 Independent Spirit awards, among other honors. Gray returned with The Red Road (2014, TV-series) and a Chanel commercial prior to his theatrical return with The Lost City of Z (2016). Cotillard returned in Anchorman 2: The Legend Continues (2013); Renner in American Hustle (2013); and Phoenix in Her (2013). The Immigrant is certified fresh at 86 % at Rotten Tomatoes.]
Steamy 'amour' in a pitch black and stylized space are teased on this poster for Thomas Vinterberg's It's All About Love
In the year 2021, John lands in New York, where people perish of poor hearts on a daily basis and are simply left in the streets. He goes there to finish his divorce from his celebrated, rich figure skating wife. The two still seem to love each other.
It's All About Love is written and directed by Danish master filmmaker Thomas Vinterberg (Sneblind (1990)), whose 4th film it is. Mogens Rukov (The Inheritance/Arven (2003)) contributed to the script.
More elements of the plot in It's All About Love: The figure skater has been cloned. Both her and her husband come from Poland. In Kenya people float. And Sean Penn (Hurlyburly (1998)) flies around (in airplanes) and philosophizes about life. There is a theme of snails and laboriously photographed scenes with many actors, who speak but say nothing. The close relationship at the heart of the film is suddenly disturbed by some Bergmanesque shouting arguments - and violence.
Everything rings false and seems static, fatally boring and utterly, horribly self-indulgent and pretentious, as if this was the grand, uncontrolled epic creation of a 17 year-old art cinema student. Joaquin Phoenix (Ladder 49 (2004)) and Claire Danes (The Flock (2007)) turn in jolting efforts, but they cannot change the fact that this if one of the most disastrous follow-ups to a global breakout success (Vinterberg's Dogme masterpiece sensation The Celebration/Festen (1998)) by a newly minted, celebrated filmmaker. Outrageously overrated locally (in Denmark's infamously self-congratulatory and nepotistic film and media industry), It's All About Love is a pure blood catastrophe.
= Box office disaster (returned 0.1 times its cost)
[It's All About Love was released 10 January (Denmark) and runs 106 minutes. Vinterberg reportedly spent 2½ years writing the script. A stunning 23 companies and support bodies collaborated in the financing and production of the film. Shooting took place in Italy, Paris, France, Kenya, Sweden, Vancouver, British Columbia, New York, Copenhagen, Denmark, England and in Oslo, Norway. The film opened #110 to a 2k $ first weekend in 2 theaters in North America, its peak there where it grossed just 6k $ (0.006 % of the total gross). The film's biggest markets were its home market Denmark, where it sold 50k tickets, grossing 530k $ (53 %), Greece with 149k $ (14.9 %) and France with 123k $ (12.3 %). The film won 3 Robert awards, Denmark's Oscar. Vinterberg returned with Dear Wendy (2005). Phoenix returned with a voice performance in Brother Bear (2003) and a physical performance in The Village (2004); Danes in Terminator 3: Rise of the Machines (2003). It's All About Love is rotten at 19 % with a 3.90/10 critical average at Rotten Tomatoes.]
Enlarged to the traditional size of Kaiju movie monsters, the three stars threaten to wreak havoc on New York City on this fine poster for Ali Abbasi's The Apprentice
The son of American businessman Fred Trump, Donald Jr. is hellbent on making himself stand out in a way that his perceived let-down pilot brother has neglected, and to boost himself into a New York tycoon and world-famous business leader, he enrolls under the mentorship of local ruthless lawyer Roy Cohn.
The Apprentice is written by Gabriel Sherman (Independence Day: Resurgence (2016)) and directed by Iranian-born Danish master filmmaker Ali Abbasi (Shelley (2016)), whose 4th feature it is.
A biopic about the arguably most talked-about and controversial figure worldwide in the last few decades, and then releasing it during the subject's third presidential campaign, is bound to be divisive. The filmmakers have 'attacked' their central character from a critical, leftist position to be sure but to their credit have attempted to tell the story of the 1970s and 1980s arrival of Donald Trump in business without their sentiments and politics sneaking in. Global opinion on Trump is still very much in determination, and will be for his second period as US President 2025-29. This makes for an obstacle for the film, because in essence many audiences will be still too much involved in the ongoing 'Trump reality' to have the reserve and interest to look into a fictional retelling of his past. In any case he is such a behemoth that the film is likely to keep attracting new audiences for the years to come.
This is of course also based on the fact that The Apprentice is fueled by a strong script and great performances: Sebastian Stan (Ghosted (2023)) arrives in force and is very authentic as Trump; Jeremy Strong (Succession (2018-23)) is intense and highly persuasive as the chameleon-like, powerful Cohn, SPOILER whose AIDS disease renders him an outcast before his death; and Maria Bakalova (Bodies Bodies Bodies (2022)) as Donald's first wife Ivana, who is portrayed brilliantly as a flawed but mostly sympathetic woman. Martin Donovan (Tenet (2020)) is a great choice and very good as Fred Trump. The production design and locations are never lacking, but what is lacking in the life of Donald Trump, it seems, is love and sincere affection. A shark-like pursuit of money and power instead rules supreme. This makes his story a fairly dark watch, but the pacing nevertheless keeps it moving well, SPOILER and a darkly humorous, directorially rich flourish in the end is that Abbasi provides a gruelingly visual account of Donald's liposuction and bald spot plastic operations which he cross cuts with Cohn's demise. Appropriately devoid of sentimentality, The Apprentice has an admirable punk rock energy, serious performances and may very well stand the test of time.
[The Apprentice premiered 20 May (Cannes Film Festival, main competition) and runs 123 minutes. Announced in 2018, the film only really came underway when the cast and Abbasi were announced in 2022 and 2023. 15 companies and support bodies were involved in the financing and production of the film. Shooting took place from November 2023 - January 2024 in Ontario, including in Toronto. SPOILER The rape scene was based on Ivana Trump's divorce deposition (under oath) in which she alleged it. She backed away from the allegation 30 years later, during Trump's third presidential campaign. Trump's amphetamine use was detailed in Harry Hurt's biography. The film was attacked by Dan Snyder, one of its financial backers, who had thought it would be a positive account of its subject. His stake was then bought by James Shani and Rich Spirit, already stakeholders in the film. Trump's team unsuccessfully tried to stop it from coming out, while Abbasi invited Trump to see it for himself, getting no response. Trump called the film a "disgusting hatchet job" and the filmmakers "human scum". The film's distribution prospects were made difficult by Trump's looming power, but it was eventually released, just weeks prior to the November 2024 election. The film opened #10 to a 1.6 mil. $ first weekend in 1,740 theaters in North America, its peak there, where it has so far grossed 3.9 mil. $. The film's BoxOfficeMojo site is missing its Danish gross, where it has so far grossed at least 640k $. The film has two announced markets left to release in; Russia and Japan. It lost the Palme d'Or to Anora. Abbasi does not have his next film announced yet. Stan returns in Thunderbolts (2025); Strong in Deliver Me from Nowhere; and Bakalova in Triumph (2024). The Apprentice is certified fresh at 82 % with a 6.80/10 critical average at Rotten Tomatoes.]
Two boys in an urban landscape with looming, oversized adults hovering around them make up this poster for George Tillman Jr.'s The Inevitable Defeat of Mister & Pete
Mister has to take the 8th grade again, but he gets a larger problem this summer, when his mother, who is a heroin-addicted prostitute, is removed from his life, and he does his best to survive, along with his friend from the hood, Pete.
The Inevitable Defeat of Mister & Pete is written by Michael Starrbury (When They See Us (2019, miniseries)) and co-produced and directed by Wisconsinite master filmmaker George Tillman Jr. (Scenes for the Soul (1995)), whose 6th feature it is.
The film is a kind of modern day US version of Oliver Twist, though without a Fagin (the classic Dickens' novel's iconic villain.) Instead the fault for the childhood misery laid out here, - which seems at least as grueling as in that 19th century, London-set novel, - is shared by many characters and a surrounding society at large, which - despite incredible wealth - allows itself to let children be abandoned in dire circumstances. Another obvious comparison would be to Lee Daniels' Precious (2009), but unlike that great drama, The Inevitable Defeat of Mister & Pete has no escapist insert montages but rather remains at all times in the present predicament of its two boy protagonists. When they meet hunger, addiction and rows of disappointments, it could have made the film unbearable, - and it is completely engulfing to be sure, - but the charisma and drive of the Mister character, and the way he manages so bravely keep himself above water ultimately makes the journey bearable and ultimately deeply moving. Skylan Brooks (Empire (2018-20)) is tremendous in the role, while the precocious Ethan Dizon (Avengers: Infinity War (2018)) as Pete gives one of those kinds of child performances, which is in no way faultless or seamless but is nevertheless priceless, because Dizon puts all of his wonderful being so forcefully into the work. The two are supported by Jennifer Hudson (Sing (2016)), outstanding as Mister's mother, Adewale Akinnuoye-Agbaje (Wetlands (2017)) as the tough cop, who shares the film's golden nugget lines in a teary scene, and The Wire's Julito McCullum (Will You Marry Me (2024)) as a mean kid from the block.
This is an angry film about the failures of the projects, - both internally and as they relate to the American urban centers and the country. The score (by Mark Isham (Blacklight (2022)) and Alicia Keys (The Secret Life of Bees (2008, actress))) is engaged and well-made, and the direction is a role-model expedition in social realism. The Inevitable Defeat of Mister & Pete is a humbling film in the best possible ways.
= Box office disaster (returned 0.16 times its cost)
[The Inevitable Defeat of Mister & Pete premiered 25 January (Sundance Film Festival) and runs 108 minutes. Shooting took place from July - August 2012 in New York. The film opened #24 to a 254k $ first weekend in 147 theaters in North America, its peak in the market, where it grossed 496k $ (98 % of the total gross). Its only other recorded market was South Africa. The-Numbers.com estimates that the film also made 330k $ on the domestic home video market. It was nominated for an Independent Spirit award. Tillman Jr. returned with The Longest Ride (2015). Brooks returned in Oliver, Stoned. (2014); Dizon in Sullivan & Son (2013, TV-series) and theatrically in Bad Words (2013). The Inevitable Defeat of Mister & Pete is fresh at 84 % with a 6.90/10 critical average at Rotten Tomatoes.]
What do you think of The Inevitable Defeat of Mister & Pete?
A pintsized Indian stands erect in a boy's hand palms on this imagination-teasing poster for Frank Oz's The Indian in the Cupboard
Omri is a boy who lives with his parents and two brothers in New York, and on his ninth birthday he receives a cupboard with magic properties: It turns a plastic Indian toy into a real, live, miniature Indian!
The Indian in the Cupboard is written by Melissa Mathison (The Black Stallion (1979)), adapting the same-titled 1980 children's novel by Lynne Reid Banks (Bad Cat, Good Cat (2011)), and directed by English-born American master filmmaker Frank Oz (The Dark Crystal (1982)), whose 7th feature it is.
An imaginative, fantastical story, perfectly adapted by glorious Mathison and directed impeccably by Oz in what is likely his best picture. The Indian in the Cupboard is irresistible.
The actors portraying the family and the child actors are natural, and Hal Scardino (Searching for Bobby Fischer (1993)) as Omri is enormously good, especially his whispering intonations to his 'creations'. Litefoot (Adaptation. (2002)) as the Indian, David Keith's (Heritage Falls (2016)) cowboy and Steve Coogan (The Lost King (2022)) as a World War I medic are all outstanding. The film is well-acted all the way around, elegant and shot (by Russell Carpenter (Avatar: The Way of Water (2022))) and scored (by Randy Edelman (The Mummy: Tomb of the Dragon Emperor (2008))) without ostentation. The narrative tickles our conventional expectations and instead gives us a deep tale (not unlike Harold Ramis' comedy masterpiece Groundhog Day (1993)) with themes of childhood, respect for life, racism and death. The Indian in the Cupboard is moving and unique.
Box office: In excess of 35.6 mil. $ (North America alone)
= Uncertain but likely a big flop (projected return of 1.22 times its cost)
[The Indian in the Cupboard was released 14 July (North America) and runs 96 minutes. Shooting took place from July - October 1994 in California, including in Los Angeles, and in New York.The film opened #6 to a 7.7 mil. $ first weekend in North America, where it grossed 35.6 mil. $. The foreign gross numbers are regrettably kept hidden away somewhere, but a likely projection would be a 55 mil. $ final gross, which would rank the film a big flop. Roger Ebert gave it a 2/4 star review, translating to 4 notches under this one. Oz returned with In & Out (1997). Scardino returned in Marvin's Room (1996). The Indian in the Cupboard is fresh at 70 % with a 6.40/10 critical average at Rotten Tomatoes.]
A fashionably colored skull outline with a seductive woman's lips and jaws in a sea of black makes up most of this most elegant poster for Dario Argento's Inferno
A music student pursues tracks from his sister's mysterious disappearance in New York, just after being near to an equally mysterious double homicide in Rome, his place of study.
Inferno is written and directed by Italian master filmmaker Dario Argento (The Bird with the Crystal Plumage/L'Uccello dalle Piume di Cristallo (1970)), whose 7th feature it is. Dardano Sacchetti (Turbo (2000, TV-series)) and co-writer/co-star Daria Nicolodi (Suspiria (1977)) contributed uncredited contributions, and the story is inspired by Thomas De Quincey's (Lake Reminiscences (1834-40)) Suspiria de Profundis (1845). It is the second film in Argento's Three Mothers trilogy, also consisting of Suspiria (1977) and Mother of Tears/La Terza Madre (2007).
It is a fantastical, dream-like horror. Its opening scenes in a largely deserted New York City are unforgettable, and so are several incredible scenes later on. The Verdi scene in Rome and the cat drowning scene in Central Park must be called out as among the film's highlights.
Beautifully, atmospherically lit, and designed with exemplary effects, Inferno is memorable as a surrealist, sensually dense, deeply cinematic descent into the dark hell of our subconscious. It is among Argento's best, an unavoidable, strange and wild horror classic.
= Uncertain but likely a huge flop (projected return of 0.66 times its cost)
[Inferno was released 7 February (Italy) and runs 107 minutes. Shooting took place from May - September 1970 in Rome, Italy and in New York. Argento became ill with hepatitis during the shoot. The film was commissioned after Suspiria's success, but new Fox management saw no quality in the endeavor and the film reportedly only had a tiny release in North America. The gross numbers, except for Italy, where the film was popular, are regrettably not reported. Only 1,126 paid admission in Denmark. With a projected final gross of 2 mil. $, the film would rank as a huge flop. Argento returned with Tenebrae (1982). Eleonora Giorgi (SoloMetro (2007)) returned in Mia moglie è una Strega (1980); Leigh McCloskey (Bones (2011, TV-series)) in Hart to Hart (1981, TV-series) and theatrically in Hearts and Armour (1983); and Alida Valli (La Bocca (1991) in L'eredità della Priora (1980, miniseries)), Verso l'ora Zero (1980, TV movie) and theatrically in Aquella Casa en las Afueras (1980). Inferno is fresh at 63 % with a 5.70/10 critical average at Rotten Tomatoes.]
