Accompanied by his two henchmen, Yang Kang (Ku Feng) and Ying Tien (Tien Sheng), Chief Tao Ching Lung (Lam Kau) is on his way to Jiangbei town; however, being lost, they ask Chang Wei Fu (Chang Yi), a young woodcutter, for directions. Subsequently, they thank him by shooting arrows at him just to poke fun. While having a break at a nearby stream, they see a girl and decide to follow her to her home. Interrupted by her aged parents while they try to have their way with her, they kill both the elderly, including her defenseless child brother. Nevertheless, keen to acquire another wife; Chief Tao takes her along with them instead of killing her.
Almost immediately, Chang comes across a wondering swordsman who, with the speed of lightning, dispatches the eight assailants surrounding him. Overwhelmed by what he witnesses, he follows the master for nearly two days,...
Almost immediately, Chang comes across a wondering swordsman who, with the speed of lightning, dispatches the eight assailants surrounding him. Overwhelmed by what he witnesses, he follows the master for nearly two days,...
- 5/13/2021
- by David Chew
- AsianMoviePulse
Los Angeles – His acting career spanned from working with Alfred Hitchcock to Tim Burton. Along the way, he had significant TV and film roles including a Best Supporting Oscar win for portraying Bela Lugosi in Burton’s “Ed Wood”. Martin Landau died in Los Angeles on July 15, 2017. He was 89.
He was one of the rare actors known both for distinctive parts in both television and film, and had a revival in his career towards the end of his life. Besides working for directors Hitchcock and Burton, he also has roles in films by Woody Allen, Joseph L. Mankiewicz, Francis Ford Coppola and Frank Darabont. On television, he had an early role on “Mission: Impossible in the 1960s, and another on the cult series “Space :1999”
Martin Landau in a 2013 Appearance in Chicago
Photo credit: Joe Arce of Starstruck Foto for HollywoodChicago.com
Martin Landau was born in Brooklyn, New York,...
He was one of the rare actors known both for distinctive parts in both television and film, and had a revival in his career towards the end of his life. Besides working for directors Hitchcock and Burton, he also has roles in films by Woody Allen, Joseph L. Mankiewicz, Francis Ford Coppola and Frank Darabont. On television, he had an early role on “Mission: Impossible in the 1960s, and another on the cult series “Space :1999”
Martin Landau in a 2013 Appearance in Chicago
Photo credit: Joe Arce of Starstruck Foto for HollywoodChicago.com
Martin Landau was born in Brooklyn, New York,...
- 7/17/2017
- by adam@hollywoodchicago.com (Adam Fendelman)
- HollywoodChicago.com
It takes a lot to stand out when you’re standing between Robert Mitchum and John Wayne. And it surely isn’t easy when you’re also standing in front of the venerable Howard Hawks. But this was the position 25-year-old James Caan found himself in when he took on the role of Alan Bourdillon Traherne, otherwise known as Mississippi, in Hawks’ 1967 Western, El Dorado. Though Hawks was nearing the end of his filmmaking career (this would be his penultimate movie) and Caan was just at the start of his (following two features and about five years of extensive television work), they were each entering the project under similar circumstances. Indeed, it was their shared experience on the disappointing Red Line 7000 (1965) that left them both wanting. It may have been a personal letdown for Caan, but that film’s poor reception wasn’t a deal-breaker as far as his prospects were likely to continue.
- 5/15/2017
- MUBI
Women on the Verge: Lipsky’s Overwrought Portrait of Dysfunction
Those having experienced the independent cinema styling of Jeff Lipsky won’t be surprised by the end product of his latest overblown cascade of maudlin litanies in Mad Women. A forced provocation ruinously scored by an endless patter of affected, hopelessly insincere bits of dialogue, the ineptitude is exacerbated by this being Lipsky’s sixth feature, and yet this production bears the same marks of amateurism as his previous endeavors. Shrill, annoying, and as graceful to observe as a symphony of tapered fingernails viciously excoriating a football field sized chalk board, the end result features overly rehearsed actors floundering through endless, exaggerated monologues.
Nevada Smith (Katie Lynn Stokes) is the product of a seemingly affluent environment. Residing in the privileged community known as Iris Glen, she is the second of three children belonging to her dentist father Richard (Reed Birney...
Those having experienced the independent cinema styling of Jeff Lipsky won’t be surprised by the end product of his latest overblown cascade of maudlin litanies in Mad Women. A forced provocation ruinously scored by an endless patter of affected, hopelessly insincere bits of dialogue, the ineptitude is exacerbated by this being Lipsky’s sixth feature, and yet this production bears the same marks of amateurism as his previous endeavors. Shrill, annoying, and as graceful to observe as a symphony of tapered fingernails viciously excoriating a football field sized chalk board, the end result features overly rehearsed actors floundering through endless, exaggerated monologues.
Nevada Smith (Katie Lynn Stokes) is the product of a seemingly affluent environment. Residing in the privileged community known as Iris Glen, she is the second of three children belonging to her dentist father Richard (Reed Birney...
- 7/8/2015
- by Nicholas Bell
- IONCINEMA.com
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By Tom Lisanti
Steve McQueen: The Actor and His Films by Andrew Antonaides and Mike Siegel from Dalton Watson Fine Books is one of the finest, most lavish movie books about a single actor that I have ever read. All of iconic superstar Steve McQueen’s films are equally discussed from his classics (The Blob, The Magnificent Seven, The Great Escape, The Cincinnati Kid, The Sand Pebbles, Bullitt, The Thomas Crown Affair, Papillon), to his lesser known earlier movies (Never Love a Stranger, The Great St. Louis Bank Robbery)An Enemy of the People, The Hunter), to his misfires (The Honeymoon Machine, Soldier in the Rain, Baby the Rain Must Fall), to his TV series (Wanted: Dead or Alive). Most coffee table-type movie books that I have encountered are extravagantly- made, featuring glorious photographs, but containing very little substance. However, Steve McQueen...
By Tom Lisanti
Steve McQueen: The Actor and His Films by Andrew Antonaides and Mike Siegel from Dalton Watson Fine Books is one of the finest, most lavish movie books about a single actor that I have ever read. All of iconic superstar Steve McQueen’s films are equally discussed from his classics (The Blob, The Magnificent Seven, The Great Escape, The Cincinnati Kid, The Sand Pebbles, Bullitt, The Thomas Crown Affair, Papillon), to his lesser known earlier movies (Never Love a Stranger, The Great St. Louis Bank Robbery)An Enemy of the People, The Hunter), to his misfires (The Honeymoon Machine, Soldier in the Rain, Baby the Rain Must Fall), to his TV series (Wanted: Dead or Alive). Most coffee table-type movie books that I have encountered are extravagantly- made, featuring glorious photographs, but containing very little substance. However, Steve McQueen...
- 12/22/2011
- by nospam@example.com (Cinema Retro)
- Cinemaretro.com
(Introducing Dom Robinson, a new Blu-ray/DVD Reviewer and Home Video enthusiast who runs DVD Fever and has recently joined Owf)…
Well, the obvious reason it’s good for you is because you’re seeing the film as it was originally intended by the director. In times gone by, the average t.v. watcher would baulk at the thought of seeing black bars on their screen when watching a film, but this has thankfully waned somewhat in the 21st century thanks to the advances in home cinema technology and the price drops that have allowed these high-end systems to take over our living rooms.
For many years, the chances of seeing a film with a ratio of 2.35:1 being shown on a conventional TV channel was rather a rarity, even in the early ’90s when Alex Cox’s Moviewatch series would claim to show films for film buff, yet he...
Well, the obvious reason it’s good for you is because you’re seeing the film as it was originally intended by the director. In times gone by, the average t.v. watcher would baulk at the thought of seeing black bars on their screen when watching a film, but this has thankfully waned somewhat in the 21st century thanks to the advances in home cinema technology and the price drops that have allowed these high-end systems to take over our living rooms.
For many years, the chances of seeing a film with a ratio of 2.35:1 being shown on a conventional TV channel was rather a rarity, even in the early ’90s when Alex Cox’s Moviewatch series would claim to show films for film buff, yet he...
- 1/18/2011
- by Dom Robinson
- Obsessed with Film
Article by Dana Jung
The 1970s was a time of many cinematic styles and fads, and one of the most entertaining phases of the era was the Hitchcock-inspired movie. Through the popular writings of people such as Francois Truffaut and Richard Shickel in the 1960s, Alfred Hitchcock had rightfully and rather suddenly been elevated from mere shockmeister to Master Artist of the Cinema. Either intentionally or by cinematic osmosis, Hitchcock’s style became the fashion of the day throughout the 70s. From low budget exploitation such as Wicked, Wicked (covered in a previous Not Available on DVD), to arguably its peak in the work of Brian De Palma (Sisters and especially Obsession), several filmmakers basically ripped off one of the greatest directors in history throughout the 70s. Long camera tracking/dolly shots, first person perspective, and rapid editing started showing up in loads of films, even non-thrillers. But by the end of the 70s,...
The 1970s was a time of many cinematic styles and fads, and one of the most entertaining phases of the era was the Hitchcock-inspired movie. Through the popular writings of people such as Francois Truffaut and Richard Shickel in the 1960s, Alfred Hitchcock had rightfully and rather suddenly been elevated from mere shockmeister to Master Artist of the Cinema. Either intentionally or by cinematic osmosis, Hitchcock’s style became the fashion of the day throughout the 70s. From low budget exploitation such as Wicked, Wicked (covered in a previous Not Available on DVD), to arguably its peak in the work of Brian De Palma (Sisters and especially Obsession), several filmmakers basically ripped off one of the greatest directors in history throughout the 70s. Long camera tracking/dolly shots, first person perspective, and rapid editing started showing up in loads of films, even non-thrillers. But by the end of the 70s,...
- 9/10/2010
- by Tom Stockman
- WeAreMovieGeeks.com
Exclusive: World champion poker player Chris Ferguson is putting his chips on the table to back, Rcr Pictures, a new film/TV venture. The company will be run by producer and former River Road Entertainment executive Robin Schorr, who said she has raised the funding for overhead and a five-year revolving development fund to generate properties she'll package and then set up with distributors. The lead investors are Ferguson and his business partner, Ray Bitar. Schorr confirmed that the first project set up is a contemporary remake of Nevada Smith, the 1966 Western that starred Steve McQueen as a wronged man hellbent [...]...
- 4/9/2010
- by MIKE FLEMING
- Deadline Hollywood
The Film Society of Lincoln Center will host a major tribute to Steve McQueen commencing on May 20. Throughout the week, there will be many screenings of McQueen films, some hosted by his family and colleagues. Norman Jewison will introduce The Cincinnati Kid; Candice Bergen will introduce a restored print of The Sand Pebbles, producer David Foster will introduce The Getaway, director Peter Yates will introduce Bullitt, and Robert Vaughn will introduce The Magnificent Seven. Many other McQueen films will be screened including Nevada Smith, The Towering Inferno, The Great Escape, Papillon and a rare big screen showing of An Enemy of the People, McQueen's little-seen adapation of the Ibsen classic. For details click here...
- 5/16/2009
- by nospam@example.com (Cinema Retro)
- Cinemaretro.com
John Michael Hayes, who was nominated for an Oscar for his screenplay for Alfred Hitchcock's suspense classic Rear Window passed away on November 19. He was 89 years old. Hayes also wrote the screenplays for Hitchcock's The Trouble With Harry, To Catch a Thief and the director's remake of his own film, The Man Who Knew Too Much. (Hitchcock forbade Hayes from seeing the earlier version of the movie to ensure he brought a fresh approach to the concept.) Hayes was also Oscar-nominated for Peyton Place. His other prominent film credits include The Carpetbaggers, The Children's Hour, Butterfield 8 and Nevada Smith. For more click here...
- 11/26/2008
- by nospam@example.com (Cinema Retro)
- Cinemaretro.com
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