The book that collected those interviews, originally published in 1966 in France as Le Cinéma selon Alfred Hitchcock and later printed in English under the title Hitchcock/Truffaut, become one of the most sacred texts in all of cinema; any film buff worth their salt has a copy on their shelf, dog-eared and highlighted. And now one of the foremost movie buffs in the country has turned that book into a film. …Read More
The third-act appearance of Kevin Spacey as ‘Seven’ killer John Doe blindsided opening weekend audiences, since Spacey was unbilled on posters and in the opening credits, and unseen in the trailers and TV spots. It’s a good trick—and part of a long-running tradition of surprise, unbilled appearances by actors and actresses of note. …Read More
Twenty years ago this week, Bryan Singer’s The Usual Suspects opened in theaters, and everybody lost their minds. It ended up redefining the “twist” ending, becoming a kind of shorthand for a left-field, eleventh-hour plot development that reconfigures everything that’s come before. But it was neither the first nor last movie to do that ending, or do it well. …Read More
We thought we were getting two David Fincher HBO shows — but now it looks likely that we won’t even be getting one.
Novelist Chuck Palahniuk tweeted news that his novel Fight Club — which of course was the basis of the cult classic film — is being made into a rock opera by — if his tweet doesn’t deceive — Julie Taymor and David Fincher.
Today, New York’s Film Forum kicks off a four-week, 50-film “True Crime” festival, spotlighting some of the most iconic dramas, mysteries, and thrillers based on real events. It’s one of our most durable genres — the festival spans something like eight decades — and for good reason: the best true crime movies are often tense, gripping, and suspenseful (even when we already know the outcome). Here are a few of our all-time favorites.
It’s a classic good news/bad news scenario: the good news is that director David Fincher, screenwriter Gillian Flynn, and star Ben Affleck are looking to reteam after the critical and popular success of last fall’s Gone Girl. The bad news? It’s for a remake (or, as Variety inexplicably dubs it, a reboot) of Alfred Hitchcock’s 1951 adaptation of Patricia Highsmith’s Strangers on a Train. The news is getting a pretty mixed reception among film buffs, even Fincher diehards, and for good reason: remaking Hitch is not, traditionally, a feat wisely attempted or successfully accomplished.