When you have to keep an obsessive eye on film, music, books, visual art, television, the Internet, and all other manner of popular culture, something eventually has to give, and for us — well, for this author, anyway — it’s sports. An almost-complete disinterest in professional and collegiate sporting events can make one feel a bit of an outcast (and it certainly makes for a confusing Facebook feed; apparently some guy who’s really into Jesus won something important on Sunday?), but after faking it through high school and college, I can’t pretend to care anymore. Maybe it makes me a pencil-necked geek, but the idea of spending three hours watching a football going to and fro — particularly when there are still Hitchcock movies I haven’t seen — is simply unacceptable.

However, many of the same film fans who are patently disinterested in a Sunday afternoon of TV sports will gladly spend that same time planted in front of a sports-themed movie — basically the same thing, albeit with better camera angles and a scripted ending. (And the angles are the only difference in a wrestling movie, HA HA!) And that’s fine with this viewer; as I told a friend after its release, “I’d watch football every week if it looked like Any Given Sunday.” But cinephiles more sport-phobic than I (and they’re out there!) might prefer films that keep the game play squarely off-screen. In honor of today’s DVD release of Moneyball, one of the best of the bunch, we offer ten genuinely good movies about sports that are notable for their minimal sports action. Check them out after the jump, and add your own in the comments.

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[Editor's note: While your Flavorwire editors take a much-needed holiday break, we're revisiting some of our most popular features of the year. This post was originally published August 10, 2011.] Earlier this summer, a shocking number of our readers flocked to read (and amend) our list of the harshest author-on-author insults in history. But you know who is even more childish, trifling, vindictive, and nasty than your favorite scribes? Your favorite filmmakers. These directors may not have quite the same precision with the written word as those rancorous authors, but when it comes to pettiness, they can’t be beat. After the jump, we’ll run down 30 of our favorite slights, slanders, and cheap shots from filmmakers both classic and contemporary; we’d love to hear yours in the comments.

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Shame, a candid and powerful look at sexual addiction from director Steve McQueen (no, another Steve McQueen) is out in limited release tomorrow, and as we reported last month, it’s going out with the NC-17 rating—no children under 17 admitted, under any circumstances. The rating, many have surmised, is due to the film’s copious male nudity, and that’s how the American ratings system works: all the naked ladies you want, but the erect male member= automatic NC-17.

The rating was initiated by the MPAA back in 1990, and was intended to be an alternative to the porn-stained (if you’ll pardon the pun) X rating; NC-17 movies, like Henry & June (the inaugural film to carry the rating), Bad Lieutenant, The Dreamers, and Lust, Caution would be for adults, by adults. But it quickly became the kiss of death for filmmakers and distributors. Just as with the X rating before it, newspapers and television outlets wouldn’t carry ads for NC-17 films, while larger theatrical chains and home video outlets refused to carry them. Smaller films would take the mark or (as Kids and Happiness did) go out unrated, while the editing process for big releases became something of a con game: if a film was rated NC-17, the distributor would make the trims necessary for an R-rating, enjoy the publicity, and then restore the cut material for the inevitable “unrated” DVD release (frequently carried by the very chains that refused to stock NC-17 films). By the late 1990s, studios wouldn’t even bother with the first step, cranking out unrated versions of raunchy comedies and adult thrillers as a standard step in their home video release plans.

While the politics of who gets an R and who doesn’t are shady at best (check out the terrific documentary This Film is Not Yet Rated), we can’t help but wonder about what would have happened if the NC-17 could have been what its creators wanted it to be. Fox Searchlight’s decision to release Shame with the scarlet letters/numbers has prompted another round of “will the NC-17 finally become respectable?” questions (answer: dubious), but what if that question weren’t necessary, because the NC-17 had never been stigmatized? Had that been the case, we might have seen the uncut movies we’ve assembled after the jump. Read More »

There’s a terrific little movie coming out tomorrow called London Boulevard (it’s available now on demand as well), a tough British gangster flick along the lines of The Long Good Friday or Mona Lisa, starring Colin Farrell and Keira Knightley and directed by William Monahan, who wrote The Departed. But his stylish direction and their charismatic performances aren’t why I can’t get the picture out of my head. It’s because of the Yardbirds.

Three times in the film (the opening credits, the closing credits, and a key point in-between), Monahan fires up “Heart Full of Soul,” the marvelously moody blues-rocker from 1965. It’s a great song, but it’s so well-matched to the film that they’re now all tied up together in my head; it’s pretty safe to bet that any time I hear that song from now on (which, being a Yardbirds fan, will be more often than you’d think), there will be an image of Farrell on his jail cot to accompany it.

And that’s the power of a well-chosen music cue in film; when they’re properly matched, we’ve suddenly married them, and anytime we hear that song we see that scene, and anytime we think of that movie, we hear that song. After the jump, we present ten songs that are forever tied to the movies that showcased them (and, just to keep it fair, there’s no songs from “musicals,” and no songs that were composed specifically for the film in question). Agree, disagree, and add your own in the comments. Read More »

Last weekend, a “secret screening” at Los Angeles’ AFI Fest marked the first public outing for Haywire, Steven Soderbergh’s new… mixed-martial-arts based action/spy thriller. Come again? Yes, according to Movieline’s report from the post-screening Q&A, Soderbergh cooked up the project while on the rebound after losing Moneyball, stumbling across one of MMA star Gina Carano’s fights and deciding to build a movie around her. While Soderbergh’s filmography has been fairly esoteric, genre-wise (he’s skipped from experimental dramas to big-budget heist movies to dark comedies to coming-of-age tales to sci-fi), we certainly didn’t expect him to get all hyped up about making a film that he would compare to the early pictures of Steven Seagal.

But maybe there’s a lesson to be learned here: too often, filmmakers become defined by a certain type of movie, locked into a specific genre or style. Some break out occasionally (see Scorsese’s upcoming Hugo), and a few have made a career of genre-jumping (think Danny Boyle). But back in the “studio era,” directors-for-hire like Howard Hawks and John Ford were given assignments, and had to adapt themselves into journeymen who could make any kind of film with style and skill. After the jump, we’ve compiled a short list of a few filmmakers who we’d like to see class up some B-movies.

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Last night, Current TV wrapped up “50 Documentaries to See Before You Die,” a month-long countdown series summarizing the best of non-fiction cinema. And our sympathies go out to the folks at Current, because as we well know, any time you put together a “best of” anything list, you’re going to get second-guessed from here to kingdom come. But let’s face it: there are some absolutely puzzling exclusions. No Grey Gardens? Gimme Shelter? Hearts of Darkness? Gates of Heaven? Woodstock? The oldest titles on the list are The Thin Blue Line and The Decline of Western Cilvilization Part II: The Metal Years — golden oldies from 1988. We liked Catfish fine, but is there anyone on this earth who thinks it’s a better doc than Salesman? Who thinks Shut Up & Sing tops Don’t Look Back? Who finds Food, Inc. more vital than Titicut Follies?

And don’t even get us started on the fact that Dear Zachary isn’t on there.

But let’s put those complaints aside, because a list like this ultimately does more good than harm — any time a cable network can shine a light on great documentary films, we’re all for it, and these are (almost) all genuinely great documentaries. Where we really disagree is in the ranking — they picked the right movies (post-’88, anyway), but they’ve got them in the wrong order. Super Size Me at #5? Seriously? (Yes, yes, of course it’s just a coincidence that the show is hosted by Super Size Me director Morgan Spurlock.) So we’ve taken the 50 titles Current compiled and reorganized then into own top 10, with the reasons why, after the jump.

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Today marks the 60th anniversary of the publication of J.D. Salinger’s much-beloved novel, The Catcher in the Rye. The book has been much argued over in the years since its publication, but no one can deny that it has influenced countless artists, writers and troubled teenagers and had a lasting impact on American culture.  Holden is in many ways the original angsty American teen, sex-obsessed and confused, and as a tribute to the occasion of his 60th (or should we say, 77th?) year, we’ve collected a few of our favorite Holden variations, incarnations and iterations here. Click through to see our list of troubled teens, social dropouts, misguided misanthropes and other heirs to our dear Holden Caulfield, and let us know how the man, the myth, the legend has affected your own inner life in the comments. But, of course, don’t be phony.

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1. It has been confirmed: Charlie Sheen will be introducing acts and performing live comedy at the 2011 Gathering of the Juggalos; the annual event is scheduled to run August 11-14 in Cave-in-Rock, Illinois. [via Perez]

2. The Playlist reports that Spike Lee — who says that he hasn’t been able to get financing for any of his films in three years! — is currently in talks to direct the long-delayed American remake of Park Chan-Wook’s modern Korean classic Oldboy. We weren’t exactly thrilled when the project was first announced, but with Lee at the helm, it could be interesting.

3. What do you think of Damien Hirst’s artwork for the new Red Hot Chili Peppers album, I’m With You, which is due out on August 2? Is it just us, or could it use a little more formaldehyde shark? [via Vulture]

4. Tête de Femme (Head of a Woman), a small, 1965 drawing by Picasso valued at over $200,000, has been stolen from San Francisco’s Weinstein Gallery. Says the gallery’s president: “My greatest fear is that, with all this attention on it, the person will realize it’s unsellable and will dispose of it in a less-than-proper manner.” [via ArtsBeat]

5. Some not so surprising news: There will be a fifth Pirates of the Caribbean movie. According to The Wrap, Jerry Bruckheimer is currently supervising rewrites to the script and Johnny Depp is negotiating his salary. Considering that the fourth installment of the franchise surpassed $1 billion at the global box office over the weekend, and Bruckheimer says he’ll only do a film with Depp on board, we think he should aim big.

Bonus link: The 5 Most Talented 3D Sidewalk Artists

The Fourth of July weekend is upon us, and it would seem appropriate to celebrate the birthday of the nation with a bit of America-lovin’ cinema. However, these films are not exactly known for their subtlety; the line between patriotism and jingoism is a fine one, and if you’re not careful, you may find yourself suffering through flag-waving pap like Independence Day and The Patriot. We like our Fourth of July cinema a little more perceptive than that; America is a complicated notion, an idea as much as a place, constantly redefining itself and expanding its own borders and definitions. After the jump, we’ve put together a few films that acknowledge that complexity, and find their drama within it.

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We love our commenters, who are smart and sweet and supportive, always. (Almost.) So big ups to “Jax” for making this writer’s life a little easier by writing, in response to the inclusion of American Grafitti and Dazed and Confused on our “10 Great Summer Nostalgia” movies list: “Speaking of 24-hour movies, has Flavorwire done post on best 24-hour movies? Or movies set within specific time limits?” We hadn’t, Jax. But we have now.

Come to find out, there’s actually a wealth of really terrific movies set over one long day or one long night (or both). Even when setting some ground rules just for the process of thinning the herd (for example: nothing with flashbacks outside of that time frame — which eliminated Reservoir Dogs, Halloween and 25th Hour, amongst others), we still left out some awfully good stuff: A Single Man, The Breakfast Club, The Paper, Training Day, Adventures in Babysitting (don’t judge), Collateral, Friday, Rope, Duel, the Die Hard movies, etc. We’re not saying these films are necessarily better than those; these are just the ten that struck our fancy today. Check ‘em out after the jump.

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