AClockworkOrange Tagged Articles at Cinematical
Holiday Movie Junk: Save 50% on Blu-ray Discs
Filed under: Fandom », Home Entertainment », Holiday Movie Junk »
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Well, it's the day after Christmas -- Santa has packed up his sh*t and ditched town for another whole year -- and we're left with some stuff we want, some stuff we don't want and some stuff we haven't yet figured out. Like me, most of you will probably head on back to the mall today or over the weekend to do some returning, and with that extra cash in your pocket you might be looking for something film-related to pick up. Well, those new and old Blu-ray costumers should seriously run on over to Amazon.com, who have put roughly 200 titles on sale for 50% off.
There's no time like the present to stock your Blu-ray library, and if you haven't picked them up already, here are a few titles we definitely recommend WALL-E ($24.49), Bottle Rocket Criterion Collection ($23.99), The Thing ($16.49), The Shining ($13.99), A Clockwork Orange ($13.99) and The Nightmare Before Christmas. That should get you started ... now head on over to Amazon.com to check out the rest.
We here at Cinematical hope you're having a wonderful holiday season!
Review: Boy A
Filed under: Drama », Theatrical Reviews », The Weinstein Co. », Cinematical Indie »
Movies about ex-convicts and their difficulty assimilating back into society generally begin with the prison release, during which the protagonist typically looks downright miserable. At first thought, I recall the opening of Vincent Gallo's Buffalo '66, which ironically exaggerates the hopelessness of post-incarceration by adding a lack of a public restroom to the list of things the former jailbird is without. But at the beginning of John Crowley's new film, Boy A, the titular young man being turned back into the world is high-browed and smiling from ear to ear. And this change from the expected norm really drew me into the film immediately.
Perhaps the difference is that for most films about ex-cons, the hero doesn't have a very good chance at starting over. For "Boy A," however, there's a literal reinvention taking place. In the first scene, the young man (Andrew Garfield) sits with his caseworker, Terry (Peter Mullan), and discusses the details of his release, which include his receiving a new home, a new job and, most importantly, a new identity -- he chooses the name "Jack." Also, rather symbolically, Terry hands Jack a gift, a pair of sneakers that unintentionally represents the young man's ability to comfortably run away from his former life.
Mick Jagger and the Beatles Wanted 'A Clockwork Orange'?
Filed under: Classics », Casting »
No, no, there's not going to be a remake of A Clockwork Orange starring Mick Jagger. At least I don't think so. This is just a fun bit of what-could-have-been. We like to play around with alternate-universe casting here once in a while, and this one's a doozy. Someone found a letter from producer Si Litvinoff to legendary director John Schlesinger, urging him to consider directing an adaptation of Anthony Burgess's novel. And part of the pitch was that Mick Jagger wanted the role of the psychopathic Alex, and that the Beatles "love[d] the project" and wanted to provide the musical score. Fortunately (?) Schlesinger wasn't interested and the project eventually wound up falling to good old Stanley Kubrick.The Clockwork Orange we got was -- like all of Kubrick's work -- too singular a film to even try to imagine how someone else's version would have been different. But I admit I'm amused (and intrigued) by the notion of Jagger taking on the Malcolm McDowell role. Hell, after watching the manic two-hour stage show he put on in Shine a Light at age 63, I'm kind of convinced that he's actually omnipotent. As for the Beatles? That's just creepy. I'll stick with Kubrick's classical selections.
[hat tip: Movie City News]
SXSW Review: The Great Ecstasy of Robert Carmichael
Filed under: Drama », Independent », SXSW », Festival Reports », Cinematical Indie »
The Great Ecstasy of Robert Carmichael is absolutely horrifying. Loaded with easy cynicism and even easier sadism, it's a beautifully orchestrated, ideological disaster that shoots for social commentary but settles for lowest-blow shock. From what I can tell, the film premiered at Cannes in 2005 and has been making the rounds of European film festivals ever since – making its inclusion in the Narrative Competition here somewhat curious. 25-year-old first-time writer-director Thomas Clay was scheduled to make an appearance at last night's Austin premiere, but failed to show – a bizarre move for a filmmaker seemingly so desperate to confront is audience.
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