Link Runner

Indiewire has a handy guide for filmmakers of great perks you get from filming in various states
Maxim celebrates the influence of Die Hard 25 years after its debut
Vulture has the 25 best action movies since Die Hard
i09 shares a 60 second animated redux of Blade Runner. I normally live for this sort of thing but I don't really like this one. I think maybe it's because if you rob Blade Runner of its grandiose visuals and color and mood, you don't have much! 

Off Cinema Fun
Towleroad "the greatest shirtlesss popsicle ad ever" 
Thought Catalog "5 business lessons I learned on MTV"
Thrillist Twinkies are back! So here are great moments in the snack cake's history 

Helen Mirren © Kagan McLeodDiva Worship!
Saturday Evening Post talks to Her Fabulousity Helen Mirren 

Guardian on the exciting trend of actresses as co-writers. Greta Gerwig love for this:

Understandably, Gerwig has bristled at being described as Baumbach's "muse". "I'm OK with the term muse as long as you acknowledge the muse wrote the script, too," she told a recent interviewer. "I feel like I'm the loudest muse that the world has ever seen."

Love them both!

After Link: Blue Jasmine, Red Wedding, Emerald City

Stranger Than Most encourages you to see these 20 underseen masterpieces. Lot of great films mentioned though I shall limit my "seconded!" shouting to Summer Hours, Three Women and [safe] today
Guardian Joss Whedon "I kept telling my mom that reading comic books would pay off"
Gawker volcanic imagery aside, After Earth is not scientology propaganda, just a crap movie
Hollywood & Swine after After Earth's rough opening weekend, Sony cancels "take your kid to work day" LOL
The Atlantic when did men -- other than George Clooney of course -- lose their charm?
Cinema Blend pages from Heath Ledger's Joker diary. CB claims this is from a German tv series but the narration is in French so I'm not sure what's going on

WSJ Speakeasy Interesting... turns out Woody Allen's Blue Jasmine is a riff on the Bernie Madoff scandal and Speakeasy claims that Alec Baldwin's performance will be talked about. (Perhaps I should change that supporting actor chart?)
Salon The internet is losing its collective mind over Game of Thrones. As I said on twitter, I am more and more convinced that fans are victims and George R R Martin and the HBO series are their abusive lover. FWIW I quit reading the books after the Red Wedding. It's just not for me. Don't need the gore and the abuse!
Playbill sings the praises of Broadway breakthrough Annaleigh Ashford from Kinky Boots. Is she the next Goldie Hawn? 
Cinema Blend The Wizard of Oz (1939) is converting to 3D and IMAX for its 75th anniversary next week.
/Film ruh roh. The screenwriter of Green Lantern is signing on to the Blade Runner sequel. It was already a bad enough idea, lightning rarely striking twice.

Watch & Listens
YouTube Patrick Stewart speaks out on domestic violence and mental health awareness - lovely
KCRW - The Business interviews (literally) naked Mitchell Hurwitz on the challenges of continuing the Bluth story for a 4th season of Arrested Development

And did you see this fun video tribute above to Cyndi Lauper whose show Kinky Boots (just discussed) has a ton of Tony nominations? Various morning shows and current Broadway casts contributed for the 30th Anniversary of her classic hit "Girls Just Wanna Have Fun"

Top Ten 1980s

for discussion fun

Tootsie, one of the inarguably great American comedies

"The Tuesday Top Ten will get more article-like soon," he said (again). "It really will." But it was so much fun to discuss the 1930s and the 1970s, which are arguably the two most respected decades (critically speaking) of American cinema. So how about a decade that gets no respect? The 1980s. The '80s are tough for me to feel discerning about because I lived through them and was a) young and b) just falling in love with the movies and c) just falling hard for the movies so how could the cinema possibly have been hitting its nadir? I still have inordinate fondness for movies that might more safely be called guilty pleasures like Yentl, Superman II, Splash, Return of the Jedi, Clue, and about half of the filmography of John Hughes... and so on. I even like revisiting really bad movies from that decade. 

Off the top of my head my ten favorites of the decades. 

A Sean Young polaroid from the set of Blade Runner

1. The Purple Rose of Cairo (Woody Allen)
2. Blade Runner (Ridley Scott)
3. A Room With a View (James Ivory)
4. Tootsie (Sydney Pollack)
5. Dangerous Liaisons (Stephen Frears)
6. Amadeus (Milos Forman)
7. Hannah and Her Sisters (Woody Allen)
8. Aliens (James Cameron)
9. Law of Desire (Pedro Almodovar)
10. Raiders of the Lost Ark (Steven Spielberg) 

With apologies too... Silkwood, Reds, Diva, The Empire Strikes Back, The Little Mermaid, The complete works of Michelle Pfeiffer, Moonstruck, Raging Bull, Jean de Florette, Manon of the Spring, The King of Comedy, Heathers, sex lies and videotape, The complete works of Kathleen Turner, The Shining, Victor/Victoria, The Right Stuff, Bull Durham, Little Shop of Horrors, The Terminator, Witness, Broadcast News, Running on Empty, Women on the Verge of a Nervous Breakdown, Who Framed Roger Rabbit, and Raising Arizona. I could go on and on and on but I'd better stop before I start singing Xanadu again.

 

I'd love to hear your lists, both guilty pleasures and critically lauded efforts you think deserve their reputations.

Monologue Monday: "Time To Die"

Today marked the 30th anniversary of Blade Runner, one of the most influential movies of all time. The last time I saw the picture was  5 years ago for its restored 25th anniversary . T'was quite a mindfuck to see a movie so clearly 80s looking like it just came from the lab. For the anniversary I thought I'd share this previous article on Roy Batty's famous final monologue...

Blade Runner's perfect opening shot. Human but abstract

I've lost track of the times I've seen people steal from it, particularly in the art direction/ production design world (the world that spawned auteur Ridley Scott, don'cha know?). Roy Batty (Rutger Hauer), the leader of a freethinking band of androids known as "replicants" is the best character in the movie. He's scary yet soulful and sympathetic... like a 21st century Frankenstein monster. [More after the jump]

Click to read more ...

Links, Fences, Songs, Brainnnnns

Free Unqualified... The Artist = Anchorman ?
SuperPunch for your next horror movie party with friends, zombie chocolates with cherry brainnnnns! 
Carpetbagger talks to Stuart Craig on the challenges of art directing Hogwarts over eight Harry Potter films 
Antagony & Ecstacy offers up a great top ten list: ten best Oscar slates ever from 2009's animated feature to 1939's best actresses and everywhere inbetween.
Senses of Cinema looks at the question of identity in Splendor in the Grass (1961) 

Flavorwire Disney Princess tattoos. Why the hell not?
Movie|Line on Clint Eastwood vs the ever-nuttier GOP after his Superbowl commercial
Towleroad  No song performances at this year's Oscars? Christ, AMPAS really needs to call me. They could've had such a watercooler live tv moment with "Man or Muppet". I explain how.

Complex the '25 Hottest Women on Horror TV shows'. Fun list with shoutouts to two of the best TV shows of all time Buffy the Vampire Slayer and Twin Peaks 
World of Wonder three things
Empire clears up that silly rumor that Harrison Ford was going to be in the Blade Runner sequel that nobody should be making to begin with shame on you Ridley Scott do you really want to turn into George Lucas I'm just saying... 

Today's Must Read
Grantland Mark Harris writes a fabulous column on Viola Davis's extraordinary gift, the Best Actress race and Hollywood's race relations.

Faced with the peril of that archetype, Davis did the hardest job of anyone in the Best Actress category: She made the movie better — much better — without playing against it. Much of The Help is bright, candy-colored, and loud: It’s full of silly wigs and garish costumes, sitcom slapstick and shit pies, wicked old dears like Sissy Spacek, finger-snappin’ Designing Women tell-offs, and the kind of steroidal pivots from comedy to poignancy to melodrama that would shame an episode of Glee. What Davis gives the film is humanity. Aibileen is a gentle but wary woman — she’s lived long enough to know that in her world, you survive by bending, not breaking, by keeping your thoughts to yourself, by seeing and hearing everything while appearing to register very little, and by trying to apply your own sense of decency and kindness to a badly needed paying job in an often indecent and unkind world. When she’s on-screen, the hummingbird shrieks of the movie’s other characters are hushed; you’re reminded that the human toll of daily, casual racism doesn’t really get addressed by making Bryce Dallas Howard eat poo. Because Davis is a physically gifted actress who can incorporate the exhaustion and strain of being Aibileen into every motion and muscle, and also the rare performer — even in this year ofThe Artist and Max von Sydow — whose silences draw you even closer, she seems to correct The Help’s excesses without ever standing self-protectively outside it. At every turn, she un-simplifies the movie.

Nick and I keep wondering when Hollywood is going to make August Wilson's Fences (for which Viola won a Tony opposite Denzel Washington) into a movie and everyone I know who is into theater keeps wondering why this hasn't happened for Fences or really any of August Wilson's plays. So it's nice to see that subject is revived again here. Seriously what time like the present Hollywood? Get on that. How many times do we have to ask?