Robert Redford

robert-redford

Robert Redford Tells UN General Assembly to “Save the World Before It’s Too Late”

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Robert Redford told the United Nations at a general assembly yesterday, “This may be our last chance” to curb the damage of greenhouse gases on the planet. Redford was responding to this December’s climate conference in Paris, where environmentalists hoped an agreement would be reached by developing and developed nations to rein in greenhouse gas emissions that are warming the planet.
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Promo art for "Taken 3"

The 10 Goofiest “Viral” Marketing Campaigns in Movie History

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Taken 3 (or, as its ads would have it, TAK3N — which I believe is pronounced “Take-three-en”?) is out Friday, and I can’t tell you anything about it, because (as is so often the case with the little masterpieces we’re given in January) it’s not being screened for critics. But I can tell you that it’s being marketed with a totally awesome LinkedIn campaign! Yes, the year’s least necessary sequel and your most annoying email sender have paired up to create a little bit of online movie marketing magic, reminding us that when it comes to creating film ad campaigns with the express purpose of “going viral,” the occasional Blair Witch or Cloverfield is often counterbalanced by numerous laughable embarrassments.
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Thandie Newton in "W."

The 10 Worst Movies Based on Real Political Events

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Last week, everybody got a big chuckle (some more than others) out of The Hollywood Reporter’s scoop that Michael Bay — best known for making movies about cars transforming into giant robots and blowing shit up — is in talks to helm 13 Hours, a political drama about the 2012 attack on the US embassy in Benghazi. And while most of those titters come from the participation of meathead entertainment maker and short-short connoisseur Bay (and from speculating on the various ways in which he could fumble the attack’s narrative, in light of its subsequent status as a political football), there’s also some rightful skepticism about the ability of anyone in Hollywood to make this particular “political drama,” since that’s a subgenre the movie industry seems so inclined to fuck up. So on this most political of days, let’s take a quick walk down that hall of shame, shall we?
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Jeremy Renner in "Kill The Messenger"

Know Your Righteous Movie Journalists

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In the new drama Kill the Messenger (out today) Jeremy Renner stars as Gary Webb, a small-time journalist (easily supporting a family of five in a realllly comfortable home, but let’s put such nitpicks aside) who stumbles upon a giant story of CIA-sanctioned drug smuggling, corruption, and cover-ups, and ends up taking on not only the government, but his bosses. It’s not the first time we’ve heard this story; Renner’s film is the latest in a long tradition of movies celebrating the journalist on a mission, so we’ve assembled the best and worst of those newsmen and women, ranked by righteousness.
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Poster image for "Bob & Carol & Ted & Alice"

‘Mad Men’ Multiplex: Which 1969 Movies Will Turn Up This Season?

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From the third-season cola campaign aping Bye Bye Birdie to last year’s multiple screenings of Planet of the Apes, Mad Men has always dipped generously into the pool of period cinema to help set its scene, while simultaneously drawing inspiration from films of the era (The Apartment, BUtterfield 8, Will Success Spoil Rock Hunter, and How to Succeed in Business Without Really Trying — starring Bert Cooper himself, Robert Morse — leap to mind). We’ve taken some guesses at the books this season’s 1969 timeframe might introduce; here are a few of the most popular movies of that year, and how they might work their way into Don Draper’s world.
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Chris Evans and Scarlett Johansson in "Captain America: The Winter Solider"

How to Make a Great Superhero Movie: Hire a Comedy Director

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If you look up the filmographies of Anthony and Joe Russo, directors of the new (and very good) Captain America: The Winter Soldier, you’re not going to see much that screams SUMMER TENTPOLE ACTION MOVIE MAKERS. Their only two previous features were the mostly unseen Big Deal on Madonna Street remake Welcome to Collinwood and the mostly unloved Owen Wilson comedy You, Me and Dupree. And then you will find lots and lots of television comedy, everything from the monkey-doctor comedy Animal Practice to more acclaimed programs like Arrested Development, Happy Endings, and Community. The natural assumption is that the powers-that-be at Marvel who handed the Russo brothers the keys to Captain America were taking a big chance. But Marvel has reached a point where it’s actually more unusual for them to pick conventional action directors for their films — in fact, what’s making their big-screen efforts stand out from the blockbuster pack is their tendency to place them in the hands of, when you get down to it, comedy filmmakers.
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2014 Oscar Nominations: A Look at This Year’s (Few) Surprises

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The West Coast entertainment media got up nice and early this morning (or stayed up all night, YOLO), put on their Thursday best, and turned out to watch Chris Hemsworth and Academy of Motion Picture Arts and Sciences president Cheryl Boone Isaacs announce this year’s nominees for the Academy Award. It’s all become a bit rote at this point: months of breathless speculation, relentless campaigning, and meta-narratives, followed by an announcement that honors a lot of the year’s best, while including a few surprises and shutouts.
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2013: The Year Prestige Cinema Reinvented Action Filmmaking

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A quick glance at the box-office returns for 2013 confirms that this year, like pretty much every year since, oh, 1980, action was king: all but three of the top ten films could be considered, by at least some loose definition, action movies. (All but two of them are sequels or prequels, but that’s another, even more depressing conversation.) This year at the multiplex, we were treated to superheroes destroying cities in Man of Steel, zombies destroying cities in World War Z, aliens destroying cities in Star Trek: Into Darkness, and robot suits destroying, well, a pier in Iron Man 3. All that computer-generated carnage doesn’t create much in the way of human stakes or emotional resonance; you may have a rooting interest in the hero, but there’s never much doubt they’re going to come out on top, and by the end of the summer, action movie fatigue had set in. But, presumably through coincidence and/or parallel thinking, three films this fall took a decidedly different approach, and in doing so, turned the so-called “action movie” on its head.
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