Review: "The Giant Behemoth" (1959); Warner Archive Blu-ray Release

  • CinemaRetro
By Todd Garbarini

Long before a carcharodon carcharias wreaked havoc on Amity Island in New York over the July Fourth weekend in the 1970s, atomic blast activity in the 1940s disrupted Mother Nature’s natural chain of events and Hollywood was all too willing to jump on to the atomic admonition bandwagon, churning out fantastic tales of miniscule creatures ballooning to hundreds of times their original size and going medieval on their human counterparts. Gordon Douglas’s Them! (1954) is my favorite film from this era and I find the overall tone of the film to be creepy even today. I was eleven when I first saw it and the sight of oversized, monstrous ants (resulting from nearby military atomic bomb tests) terrorizing La from deep within the Los Angeles Riverbed was truly unnerving. James Whitmore impressed me in his role as the police officer who was determined to save two
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‘What Men Want’ Editor Helped Give the Movie a ’30s Screwball Comedy Feel

  • Variety
‘What Men Want’ Editor Helped Give the Movie a ’30s Screwball Comedy Feel
Editor Emma E. Hickox comes from a showbiz legacy family. Her father was director Douglas Hickox (“Sitting Target”), and her mother, Ann V. Coates, won an Oscar for editing “Lawrence of Arabia.” Even though young Emma learned much about the industry as a child “through osmosis,” she says that it was important for her to make it on her own.

“I wanted to direct theater,” says the London native, who had worked in L.A. as an unpaid assistant. “When someone said they were looking for an apprentice editor, I wasn’t keen at all. Then they told me how much they were going to pay, and I said, ‘See you on Monday!’”

Once in the editing room, Hickox fell for the job. Hard. “I love filing and being organized,” she says. “I’m very precise, so I adored being an assistant editor.” Working under Frank Morriss, Hickox learned that
See full article at Variety »

The Giant Behemoth

“Brace Yourself For A Shock!…200 Feet of Living Burning Horror!” Eugène Lourié’s second feature about an irate sea monster wrecking a city features sober eco-preaching, good performances by Gene Evans and André Morell, and several minutes of exciting stop-motion animation nirvana. One just needs to overlook a few lunkhead effects scenes and concentrate on the key Willis O’Brien / Pete Peterson material. It’s a Shock all right — do you prefer to be stepped on like a bug, or fried by a zillion volts of ‘projected radiation?’

The Giant Behemoth


Warner Archive Collection

1959 / B&W / 1:78 widescreen / 80 min. / Street Date January 22, 2019 / available through the WBshop / 21.99

Starring: Gene Evans, André Morell, John Turner, Leigh Madison, Jack MacGowran, Maurice Kaufmann, Derren Nesbitt.

Cinematography: Ken Hodges

Production Design: Eugène Lourié

Special Visual Effects: Willis H. O’Brien, Pete Peterson, Phil Kellison, Jack Rabin, Irving Block, Louis DeWitt.

Original Music: Edwin Astley
See full article at Trailers from Hell »

'Lawrence Of Arabia' editor Anne V. Coates dies at 92

'Lawrence Of Arabia' editor Anne V. Coates dies at 92
British-born filmmaker worked on Becket, The Elephant Man, In The Line Of Fire.

Anne V. Coates, the Oscar-winning editor of David Lean’s Lawrence Of Arabia who earned four other Academy Award nominations, has died. She was 92.

Coates, who died on Tuesday in the Los Angeles area, earned nods for Becket, The Elephant Man, In The Line Of Fire and, most recently, Out Of Sight.

She was born on December 12 1925 in Surrey and embarked on a distinguished career after Lean’s cinematographer Ronny Neames spotted her work on Pickwick Papers and landed her the Lawrence Of Arabia job.

Speaking of
See full article at ScreenDaily »

Anne V Coates, Oscar-Winning Film Editor, Dies at 92

Anne V Coates, Oscar-Winning Film Editor, Dies at 92
Oscar-winning film editor Anne V. Coates, best known for her work on the 1962 epic “Lawrence of Arabia,” has died at 92.

The British Academy of Film and Television Arts shared news of her death on Wednesday.

The English-born editor took home the Academy Award for Best Film Editing in 1963 for her work on the David Lean-directed desert odyssey. She was nominated for an Academy Award four more times in her career, for her work on “Becket” in 1964, David Lynch’s The Elephant Man” in 1980, “Out of Sight” in 1988, and “In the Line of Fire” in 1993.

Also Read: Cannes Report, Day 1: 'Everybody Knows' Premieres, Cate Blanchett Shines on the Croisette

We're so sad to learn that British film editor Anne V. Coates has died. During her incredible career, Anne was BAFTA-nominated four times for work including The Elephant Man and Erin Brockovich, and received the BAFTA Fellowship in 2007. She will be greatly missed.

— BAFTA (@BAFTA) May 9, 2018

Other notable credits include 1965’s “Young Cassidy,” 1968’s “The Bofors Fun” 1974’s “Murder on the Orient Express” and 2000’s “Erin Brockovich.” Most recently, she worked on 2015’s “Fifty Shades of Grey.” Coates was born in southeast England in 1925, and began her career editing short films for church tours. She later became an assistant film editor at London’s Pinewood Studios. Coates grabbed her first editing credit for “The Pickwick Papers” in 1952.

Also Read: Focus Features Acquires Penelope Cruz Drama 'Everybody Knows' in Cannes

BAFTA awarded Coates with its Academy Fellowship, its highest honor, in 2007. Coates went on to become the second editor to ever win a career achievement award from the Los Angeles Film Critics Association in early 2016. “In a way, I’ve never looked at myself as a woman in the business,” Coates told in 2000. “I’ve just looked at myself as an editor. I mean, I’m sure I’ve been turned down because I’m a woman, but then other times I’ve been used because they wanted a woman editor. “I just think, ‘I’m an editor,’ and I never expected to get paid less because I was a woman. I grew up with three brothers, and I never thought I would get paid less for anything than they did.”

Also Read: Cannes' Female Troubles: Women Directors Have Always Been Scarce

Coates was married for several years to director Douglas Hickox. She was survived by her three children, sons Anthony and James Hickox, and her daughter, Emma Hickox-Burford — all of which followed Coates into the film business.

Read original story Anne V Coates, Oscar-Winning Film Editor, Dies at 92 At TheWrap
See full article at The Wrap »

Awards Round-Up: Honors for “Mudbound,” “I Am Not a Witch,” and More

I Am Not a Witch

Awards season is heating up and while the Golden Globes didn’t show much love for women directors, the British Independent Film Awards and New York Film Critics Online sure did. “I Am Not a Witch” helmer Rungano Nyoni took home the Best Director prize as well as the The Douglas Hickox Award for Best Debut Director at the BIFAs on Sunday. Meanwhile, Nyfc Online named Dee Rees’ “Mudbound” Best Picture (in a tie with “The Florida Project”). “Mudbound” also won Best Ensemble Cast and Rees received the Best Director award.

I Am Not a Witch,” the story of an eight-year-old girl who is accused of witchcraft, also netted a Bifa for Breakthrough Producer (Emily Morgan). And “Mudbound” — which follows two families, one black and one white, in the WWII-era American South — was among Nyfc Online’s Top 10 Films of 2017. The only other woman-directed flick
See full article at Women and Hollywood »

Bifa winners announced by Amber Wilkinson - 2017-12-11 10:24:12

Johnny and Gheorghe, played by Josh O'Connor and Alec Secareanu, in God's Own Country Photo: Courtesy of Eiff Francis Lee's farm Lgbt romance God's Own Country took home the top prize at the British Independent Film Awards last night. It's star Josh O'Connor, who plays a sheep farmer who falls for a migrant worker, was named best actor, while Lee also picked up the gong for best debut screenwriter.

The night reflected a strong year for British film, with no single film dominating the awards. William Oldroyd's dark costume drama Lady Macbeth won the best screenplay award for Alice Birch, while its star Florence Pugh was named best actress and her co-star Naomi Ackie judged most promising newcomer. Cinematographer Ari Wegner was also honoured for his work on the film. The best directing award went to Rungano Nyoni for her drama I Am Not A Witch along with
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‘God’s Own Country’, ‘Lady Macbeth’ & ‘The Death of Stalin’ Take Top Prizes At BIFAs

God’s Own Country, Lady Macbeth and The Death of Stalin were the big winners of the 2017 British Independent Film Awards (Bifa) held at Old Billingsgate.

God’s Own Country won four BIFAs: Best British Independent Film. Josh O’Connor took home Best Actor and Francis Lee was named Best Debut Screenwriter, plus the previously announced Best Sound award.

Lady Macbeth added to its brace of awards announced earlier this month (Best Cinematography sponsored by Blackmagic Design and Best Costume Design) with trophies for Best Screenplay sponsored by BBC Films for Alice Birch, Best Actress sponsored by Mac for Florence Pugh and Most Promising Newcomer sponsored by The London Edition for Naomie Ackie.

Simon Russell Beale was named Best Supporting Actor for his performance in The Death of Stalin, which had previously been awarded Best Production Design, Best Make Up & Hair Design and Best Casting.

I Am Not a Witch
See full article at The Hollywood News »

British Independent Film Awards: ‘God’s Own Country’ and ‘Lady Macbeth’ Win Top Prizes

  • Indiewire
British Independent Film Awards: ‘God’s Own Country’ and ‘Lady Macbeth’ Win Top Prizes
“God’s Own Country” won multiple prizes at the British Independent Film Awards, including Best British Independent Film, Best Actor for Josh O’Connor, and Best Debut Screenwriter for Francis Lee. Lee also directed the romantic drama, which stood tall at the ceremony in London; “Lady Macbeth” — which took home the Screenplay, Actress, Most Promising Newcomer, Cinematography, and Costume Design awards — and “I Am Not a Witch” (Director, Debut Director, Breakthrough Producer) had big nights as well.

Read More:‘Lady Macbeth’ Leads British Independent Film Nominations

This year’s ceremony, the 20th, took place in London. Full list of winners:

Best British Independent Film

“God’s Own Country”

Best Director

Rungano NyoniI Am Not a Witch

Best Screenplay

Alice BirchLady Macbeth

Best Actress

Florence PughLady Macbeth

Best Actor

Josh O’Connor “God’s Own Country”

Best Supporting Actress

Patricia ClarksonThe Party

Best Supporting Actor

Simon Russell Beale
See full article at Indiewire »

‘Lady Macbeth’ Leads 2017 British Independent Film Awards Nominations

Lady Macbeth topped the list of nominations for the 2017 British Independent Film Awards (Bifa) announced this morning by Maisie Williams and Hayley Squires at The London Edition.

Debut features dominate the nominations list, with the first-time writers, producers and directors of Lady Macbeth, I Am Not a Witch and God’s Own Country all recognised in the three newcomer categories – Debut Screenwriter, Breakthrough Producer sponsored by Creativity Media and The Douglas Hickox Award for Best Debut Director – as well as Best Screenplay sponsored by BBC Films, Best Director and Best British Independent Film.

Included in Lady Macbeth’s 15 nominations are nods for Florence Pugh, Naomi Ackie and Cosmo Jarvis for their performances; Naomi is nominated twice, for Best Supporting Actress and Most Promising Newcomer sponsored by The London Edition. The film has also been nominated for five technical categories, newly introduced this year, including Best Cinematography sponsored by Blackmagic Design,
See full article at The Hollywood News »

“I Think There’s a Parallel Between Gender Politics and Politics of the Land”: Clio Barnard on Her Tiff Premiere, Dark River

UK-based Clio Barnard has impressively transitioned from video artist to acclaimed feature filmmaker in the span of just seven years. After making several short films, her feature debut The Arbor, a hybrid documentary about the late playwright Andrea Dunbar, went on to win a bevy of awards, including London Film Festival’s Best British Newcomer award, Tribeca Film Festival’s Jury Award, British Independent Film Awards’ Douglas Hickox Award, and subsequently a BAFTA nomination for Outstanding Debut by a British Writer, Director, or Producer. Her second feature The Selfish Giant, loosely based on Oscar Wilde’s children’s story of the same name, also […]
See full article at Filmmaker Magazine »

Tiff 2017 Women Directors: Meet Clio Barnard — “Dark River”

Dark River

Clio Barnard is a director whose films have won her The Douglas Hickox Award at the British Independent Film Awards (BIFAs), Best Screenplay at the Evening Standard British Film Awards, and Best British Newcomer at the BFI London Film Festival.

Her previous works include “The Selfish Giant” and “The Arbor.” Dark River” is Barnard’s third feature film.

Dark River” will premiere at the 2017 Toronto International Film Festival on September 10.

W&H: Describe the film for us in your own words.

Cb: Framed by Pj Harvey singing a folk song setting of a traditional children’s rhyme “My Father Gave me an Acre of Land,” I see “Dark River” as a folk tale about the exploitation of a woman’s body and the land.

W&H: What drew you to this story?

Cb: I was inspired by “Trespass,” a novel written by Rose Tremain. I was interested in the relationship between the adult siblings whose dispute over the neglected family farm forces both of them to confront a past they have developed different strategies to suppress.

W&H: What do you want people to think about when they are leaving the theater?

Cb: In part it is a film about how damaging it is to be silenced and to bury the past, about how as children we can feel we failed to protect our siblings, and can carry misplaced guilt with us for the rest of our lives.

It is also about acceptance, putting the past to rest, about the difficulty of that process. By the end the siblings are able to reconnect. I hope people will think about the complexity of sibling relationships when there is trauma within the family.

W&H: What was the biggest challenge in making the film?

Cb: The subject matter.

W&H: How did you get your film funded? (Is it a studio film, a crowdsourced film, somewhere in between?) Share some insights into how you got the film made.

Cb: The film was financed by BFI, Film4, Screen Yorkshire, and the Wellcome Trust.

W&H: What does it mean for you to have your film play at the Toronto International Film Festival?

Cb: I’m absolutely thrilled! I’m especially thrilled to be in the prestigious Platform section, which is a very special part of the festival.

W&H: What’s the best you’ve received?

Cb: Best advice: Cast well, crew well.

W&H: What advice do you have for other female directors?

Cb: People will ask you about your gender in relation to being a director — just ignore them and get on with the job because gender doesn’t make any difference to how you do the job but the world needs your insights. We need your point of view!

W&H: Name your favorite woman-directed film and why.

Cb: I love “Winter’s Bone” by Debra Granik. I felt I’d never seen a film about that community before, that specific place, about contemporary rural poverty in the USA. The casting and performances are exceptional.

I love the restricted palette, and the way Granik uses professional and nonprofessional actors — it has an incredible atmosphere and is absolutely gripping.

W&H: There have been significant conversations over the last couple of years about increasing the amount of opportunities for women directors yet the numbers have not increased. Are you optimistic about the possibilities for change? Share any thoughts you might have on this topic.

It was hard to choose just one film to answer the question above, so there is a rich and varied number of female directors, but not enough of them yet. I’m hopeful numbers will grow.

There was a time when it felt like there weren’t many role models but I do think it is changing and it’s important to keep raising awareness and fighting to make that change happen.

Tiff 2017 Women Directors: Meet Clio Barnard — “Dark River” was originally published in Women and Hollywood on Medium, where people are continuing the conversation by highlighting and responding to this story.
See full article at Women and Hollywood »

It Came From The Tube: Blackout (1985)

There’s nothing like a good mystery, and HBO’s Blackout (1985) has a central premise that’s hard to deny: You survive a car crash, but have no memory of who you were before. Until, 7 years later, someone shows up and insinuates that you were a man who murdered his entire family and then fled. Now, could you go about your life, or would you want to know the truth? And if you were a killer, would that impulse return?

HBO’s original programming was still in its infancy, so the film, which debuted on Sunday, July 28th, plays as a barely more graphic version of a network offering, which is fine anyway; Blackout offers enough story and characterization to diminish any desire for extra blood or sleaze.

Once more, to our faux TV Guide:

Blackout (Sunday, check local listings for the 42 of you who have HBO)

Following a horrific car accident,
See full article at DailyDead »

Movie Review – The Boss Baby (2017)

The Boss Baby, 2017.

Directed by Tom McGrath.

Featuring the voice talents of Alec Baldwin, Miles Christopher Bakshi, Steve Buscemi, Jimmy Kimmel, Lisa Kudrow, and Tobey Maguire.


Life is great for seven year old Tim. As an only child, he gets his parents’ undivided attention – until his baby brother arrives and monopolises Mum and Dad. Tim feels pushed out, but then he discovers this is no ordinary baby. Not only does he wear a suit and tie and carry a briefcase, he’s a micro manager on a mission.

A little lad is perfectly happy as an only child until everything is upended by the arrival of a baby brother. The boy feels neglected, the baby is stroppy, constantly demanding and loud, the whole home descends into chaos, and Mom and Dad are constantly frazzled. Sounds like a decent enough idea for an animation…….

Except that DreamWorks have run into
See full article at Flickeringmyth »

Inside No. 9 series 3 episode 6 review: Private View

Louisa Mellor Mar 21, 2017

Spoilers ahead in our review of the final series 3 episode of Inside No. 9, which takes us to the world of modern art…

This review contains spoilers.

See related The Last Kingdom series 2 episode 1 review The Last Kingdom series 2: politics, battles and arselings What can we expect from new BBC drama, The Last Kingdom?

Inefficiency. It’s a criticism often levelled at the BBC by a certain species of rapacious vulture who sees the corporation not as the lustrous national gem it is, but as an unjust barrier to the extent to which they’re able to feather their own nests. The BBC is full of waste, they caw. The BBC must be more efficient!

If any of the vultures had the nous to watch BBC Two at 10pm on a Tuesday night for the past few weeks, they’d have been delighted. Well, not delighted.
See full article at Den of Geek »

Little America: Michael Bay to produce political thriller

Kayti Burt Jan 26, 2017

Little America will be set in a future where a "Trump-like" president has bankrupted America. Michael Bay is producing.

If you're looking for escapist entertainment to avoid thinking about the current socio-political climate, Universal's upcoming dystopian action thriller Little America might not be it. 

According to The Hollywood Reporter, Universal just won the bidding war for Little America, the spec script written by Rowan Athale. Athale will direct the film, with Michael Bay and Platinum Dunes producing.

The premise of Little America? In a dystopian future where a "Trump-like" president has bankrupted the United States and China is calling in its debts, Americans begin immigrating to China to find work.

In the midst of this political climate, a Chinese billionaire hires a former American Force Recon member to rescue his daughter from an American ghetto. Action thriller or prophetic documentary? We'll let you decide. According to THR's sources,
See full article at Den of Geek »

"American Honey" Wins Big at British Independent Film Awards

Here's the full list of winners at the British Independent Film Awards:

Best British Independent Film

American Honey, dir: Andrea Arnold

Best Director

Andrea Arnold, American Honey

Best Actor

Dave Johns, I, Daniel Blake

Best Actress

Sasha Lane, American Honey

Best Screenplay

Babak Anvari, Under The Shadow

Best Documentary

Notes On Blindness, dir: Peter Middleton

Best Supporting Actress

Avin Manshadi, Under The Shadow

Best Supporting Actor

Brett Goldstein, Adult Life Skills

Discovery Award

The Greasy Strangler: Jim Hosking, Toby Harvard, Daniel Noah, Andrew Starke, Ant Timpson, Josh C Waller, Elijah Wood

Best Debut Screenwriter

Rachel Tunnard, Adult Life Skills

Best International Independent Film

Moonlight, dir: Barry Jenkins

The Douglas Hickox Award (Debut Director)

Babak Anvari, Under The Shadow

Outstanding Achievement in Craft

Robbie Ryan: Cinematography, American Honey

Breakthrough Producer

Camille Gatin: The Girl With All The Gifts

Most Promising Newcomer

Hayley Squires: I, Daniel Blake

See full article at Manny the Movie Guy »

Sweet success at BIFAs for American Honey by Amber Wilkinson - 2016-12-05 09:31:12

American Honey won the award for best British film, while Sasha Lane was named best actress at BIFAs Andrea Arnold's road trip drama American Honey was named Best British independent film at the BIFAs last night, while Arnold picked up the best director accolade. The film also saw Sasha Lane named best actress for her debut in the film and Robbie Ryan pick up the achievement in craft award for his cinematography.

Babak Anvari also made a big impact with his debut, the Tehran-set horror Under The Shadow. The Farsi language film, which tells the story of a mother and daughter terrorised by a djinn saw Anvari pick up the Douglas Hickox Award for best debut film and the screenplay prize. His nine-year-old star Avin Manshadi was named best supporting actress for her first screen role.

The best actor award went to Dave Johns for his role in Ken Loach's benefits drama I,
See full article at »

The 2016 British Independent Film Awards winners in full

Bifa winners 2016: American Honey wins the night, by Dave Johns takes Best Actor for his work on I, Daniel Blake.

See the complete Bifa winners 2016 list below.

American Honey won the night at the 2016 British Independent Film Awards (Bifa) held at Old Billingsgate last night. The film won four awards including Best British Independent Film. Andrea Arnold took home Best Director, Sasha Lane won Best Actress sponsored by Mac and Robbie Ryan’s Cinematography was rewarded with the Outstanding Achievement in Craft award.

The film will be screened in 25 Vue, Odeon and Everyman cinemas across the country on Sunday 11 December, as the first in the Bifa Independents screening series supported by the BFI.

Also recognised was the eponymous hero of I, Daniel Blake, Dave Johns. He took home the Best Actor award, while his co-star Hayley Squires was named Most Promising Newcomer sponsored by The London Edition.

Under the Shadow
See full article at The Hollywood News »

2016 British Independent Film Awards: Full Winners List

2016 British Independent Film Awards: Full Winners List
American Honey” took the top prize at the 2016 British Independent Film Awards, which was held on Sunday at London’s Old Billingsgate.

American Honey” was named Best British Independent Film, and also scored three additional awards (including Best Director for Andrea Arnold). Barry Jenkins’ “Moonlight” was the night’s only non-uk winner, picking up honors for Best International Independent Film.

The 19th annual Bifa ceremony, hosted by Jennifer Saunders, also presented Clare Binns with the Special Jury Prize for her “unstinting efforts in bringing independent film to new audiences.”

Naomie Harris was also presented the Variety Award by Danny Boyle, in recognition of the global impact she made this year in helping to focus the international film spotlight on the UK.

Read More: La Film Critics Association Name the Best Films and Performances of 2016

The Richard Harris Award was given to Alison Steadman by Richard Harris’ granddaughter Ella Harris and
See full article at Indiewire »
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