The Outlaw Josey Wales (1976) - News Poster


Kkk link to Clint Eastwood film | Letters

The Outlaw Josey Wales’s background has considerable relevance in today’s Trumpised Us, writes Dr Robert Smith

You highlight in the week’s TV films (Guide, 30 September) the Clint Eastwood western, The Outlaw Josey Wales, as did Joe Queenan last month writing about Eastwood’s career (G2, 4 August). But that this piece of nonsense derives from a novel by Earl Carter (alias “Forest Carter”), subsequently identified as a Kkk activist and white supremacist. So the film’s background has considerable relevance in today’s Trumpised Us, had this been pointed out instead of praising the movie. Like most films, this post-civil war effort has various themes, but its underlying message is that decent southerners were not fighting to save slavery, but to defend themselves and their families from marauding, murderous Union soldiers. Emanating from the pen of a southern racist, this tale might seem a trifle distorted in larding
See full article at The Guardian - Film News »

With ‘War for the Planet of the Apes,’ Matt Reeves Crafts a Personal Blockbuster

With ‘War for the Planet of the Apes,’ Matt Reeves Crafts a Personal Blockbuster
Before he took the helm of the “Planet of the Apes” franchise in 2014, Matt Reeves had no intention of ever directing a studio blockbuster. In fact, he figured he had a foolproof plan for getting himself out of any potential tentpole assignment: Insist on doing the story he wanted to do, the studio’s franchise-development apparatus be damned.

So when he was approached to direct “Dawn of the Planet of the Apes,” the second entry in the rebooted series inaugurated by Rupert Wyatt’s “Rise of the Planet of the Apes,” Reeves put his foot down right away.

“I was initially excited, and then I saw the [studio’s] outline and I said, this isn’t really the story I would want to tell, I don’t think this is for me,” Reeves says. “To my shock they said, ‘no, no, wait, just tell us the story you want to do.’ I said, ‘I
See full article at Variety - Film News »

How ‘The Empire Strikes Back’ and ‘The Great Escape’ Influenced ‘War for the Planet of the Apes’

How ‘The Empire Strikes Back’ and ‘The Great Escape’ Influenced ‘War for the Planet of the Apes’
The Bridge on the River Kwai, The Outlaw Josey Wales, Ben-Hur, and Apocalypse Now – these are a few of the classic films that inspired War for the Planet of the Apes. The battle of wills from David Lean’s classic and The Thin Red Line‘s “darker, more nuanced reflection of human nature” were key influences for filmmaker Matt Reeves. Before Reeves’ sequel, […]

The post How ‘The Empire Strikes Back’ and ‘The Great Escape’ Influenced ‘War for the Planet of the Apes’ appeared first on /Film.
See full article at Slash Film »

Class of 1987: Frightning Strikes Twice – Celebrating House II: The Second Story with the Cast & Crew [Part 2]

[Editor's Note: A version of this retrospective originally appeared in the September 2014 issue of Deadly Magazine.] With House II: The Second Story, the vastly underrated sequel written and directed by Ethan Wiley (who also wrote the screenplay for the original House), New World Pictures introduced audiences to a whole new world filled with unexpected frights and adventures with an Old West twist. The sequel was released in late August of 1987 and took a decidedly left turn away from the more straightforward house of horrors style seen in Steve Miner’s original film, instead favoring a tone that was much more light-hearted, fun-spirited, and far more family friendly.

For the uninitiated, House II follows a young man named Jesse (Arye Gross), who inherits a strange house from the parents who gave him up for adoption when he was just an infant. As he begins to settle into his new dwelling with the help of his girlfriend, Kate (Lar Park Lincoln), his best pal, Charlie (Jonathan Stark), and Charlie’s aspiring musician girlfriend,
See full article at DailyDead »

Han Solo Firing: Will Ron Howard Share Directing Credit With Lord & Miller?

Han Solo Firing: Will Ron Howard Share Directing Credit With Lord & Miller?
If the Han Solo spinoff is the kind of blockbuster that most box office sages predict it will be, a lot of people will be taking credit for its success.

It’s not clear, however, who officially will get the nod for bringing the Star Wars smuggler’s early days to the big screen, particularly after the abrupt firing of Phil Lord and Chris Miller late in the shooting necessitated an 11th hour change of directors. On Thursday, Lucasfilm announced that Ron Howard will replace the duo, but how credit will be meted out is still being discussed.

The Directors Guild of America, which has the ultimate authority, has refused to comment on Lord and Miller’s surprise firings. Several sources said the credits issue is unlikely to be resolved for several months and that the union is taking a methodical approach to resolving how the different filmmakers’ contributions will be acknowledged.

Lord and Miller were dismissed due to creative differences in the fourth month of production after clashing with producer and Lucasfilm chief Kathleen Kennedy and co-writer/executive producer Lawrence Kasdan. Howard, who’s a DGA national board member, was announced as the replacement on Thursday morning. Production will resume on July 10 and the untitled movie is still due to be released on May 25, 2018.

It’s not the first time that directors have been dismissed while in production. Curtis Hanson, for example, had to step down as the director of “Chasing Mavericks” due to health issues. He ultimately shared a directing credit with Michael Apted, the filmmaker brought in to finish the project.


Star Wars’ Han Solo Spinoff: Lord & Miller Firing Is Latest in Long Line of Director Exits

However, the high profile nature of the Han Solo spinoff and the fact that production is relatively far along are complicating factors, making this uncharted territory for the DGA to navigate. Sources have told Variety that the current scenario is very rare and is unlikely to be settled soon since the movie requires re-shoots this summer and extensive work in post-production due to special effects.

Disney-Lucasfilm, Howard, Lord and Miller have also not commented on the issue of who will get the directing credit. Studio sources say they will defer to the guild’s rules.

The specific language in the DGA’s basic agreement with production companies spells out that in a situation with multiple directors, the production company will make a determination of who will be credited and then notify the directors. At that point, any of the notified directors can appeal to the DGA.

“The Guild may then determine the issue,” the provision says.

The provision also says that if DGA fails to reach a decision, the employer shall make the determination and that decision will be final. The language does not specify when a production company needs to make its notification of the directors other than prior to the release of the film.

The DGA’s rules also preclude replacing the director with someone else already employed on the movie. That prevented Disney-Lucasfilm from naming Lawrence Kasdan as the new director despite his extensive experience in the director’s chair. That rule dates back to the firing of Philip Kaufman from 1976’s “The Outlaw Josey Wales.” In that case, Clint Eastwood, the star of the film, took over behind-the-camera duties, inciting an uproar.

The DGA has a “one director” rule but that provision covers established directing teams such as Lord and Miller, who also received the directing credit on “The Lego Movie,” “21 Jump Street” and “22 Jump Street.”

Related storiesRon Howard on 'Star Wars' Han Solo Movie Directing Gig: 'I've Been a Fan Forever'Hollywood Bids Adieu to Retiring Directors Guild Chief Jay D. RothRon Howard to Take Over as Director of 'Star Wars' Han Solo Spinoff
See full article at Variety - Film News »

Lord & Miller vs. Kasdan & Kennedy: A Fight for the future of our franchise films

Anghus Houvouras on the Han Solo director situation and a fight for the future of franchise films…

I’m still in a state of utter disbelief over the disintegration that has happened between directors Chris Miller and Phil Lord and the creative conglomerate that handles the cinematic Star Wars universe. It’s an absolute gobstopper of a conversation starter with endless potential for columnists to get comfortable in their armchairs as they postulate about the rift on every single level, from studio head on down the ladder.

To me, the actual drama is less interesting than the overreaching theme of this spat. Lord and Miller represent the future of franchise filmmaking. Young, extremely talented individuals who are capable of telling great stories. Lucasfilm, most notably Kathleen Kennedy and Lawrence Kasdan, represent the old guard. Experienced minds who understand both the creative and business side of the film industry.

We’ve watched for years as studios have gobbled up young, emerging talent and slapped them onto franchise films. The trend isn’t exactly new. Warner Bros. grabbed a young Tim Burton to helm 1989’s Batman. It worked out great until Warner Bros. decided Burton’s dark and quirky visions didn’t sell enough toys and they parted ways over creative differences.

What Lord and Miller have experienced isn’t exactly new either. ‘Creative differences’ is something that happens all the time. Directors are attached and jettisoned from feature film projects with the frequency of rest stop hand jobs. The average blockbuster goes through dozens of writers and directors before settling on a creative team to take the project into production.

It’s less common to see a director leave the project in the middle of production, but there is historical precedent. Superman II, The Outlaw Josey Wales, Exorcist: The Beginning and even classics like Gone With the Wind. Movies that famously cited irreconcilable differences between director and production and had to bring in someone else to try to stick the landing.

The less common part is seeing a creative team exit a project in the modern age of franchise friendly talent. Walking away from Star Wars is a bold move. One that I am in awe of. I have sat here slack-jawed for nearly 15 hours after hearing the news. There are so many interesting facets to this story, but for me it ultimately boils down to this:

We’re looking at a battle for the future of franchise filmmaking.

Lord & Miller vs. Kennedy & Kasdan.

To be fair there really isn’t a side that needs taking. This isn’t a knock-down, drag-out fight but a salient example of the current state of franchise filmmaking. Are you interested in a newer creative vision for your favorite franchise or do you want more of the same? This is exactly what this story represents.

Kennedy, Kasdan and company are protecting a brand. Working to ensure that the elements that made the franchise successful are rigidly adhered to. However they’ve created something of a hostile workplace. Hostile is the wrong word. ‘Less than hospitable’ seems more apt. J.J. Abrams famously turned down The Force Awakens only to eventually take on the role when it seemed no one else would. Rian Johnson came on for one film. Josh Trank was fired. Gareth Edwards was basically replaced and left out of all the final decisions on Rogue One. Now Lord & Miller have been fired. I wouldn’t exactly call that a sterling employment record. If I was Colin Trevorrow, I’d be more than a little bit nervous.

Why aren’t talented young filmmakers sticking around? Why does Disney bother bringing in singular voices if they have no interest in their vision? Are they clutching their franchise so tightly that they’re choking it to death? It would be nice if Disney could loosen their grip. Bring in unique filmmakers and let them create something that stays true to the Star Wars universe but allows a Galaxy Far, Far Away to broaden and become creatively diverse.

Right now Disney has become the evil Empire desperately trying to control their franchise universe. Lord and Miller may very well become the face of the resistance.

Anghus Houvouras
See full article at Flickeringmyth »

Win a Clint Eastwood 40 Film Collection boxset

Author: Competitions

To mark the release of Clint Eastwood 40 Film Collection, out now, we’ve been given a copy of the boxset to give away on DVD.

For nearly 40 years, Clint Eastwood has called Warner Bros home. This essential collection contains the extraordinary films created during his partnership with the studio, where Eastwood opened Malpaso Productions in 1975. The deluxe boxset includes: Where Eagles Dare (1968), Kelly’s Heroes (1970), Dirty Harry (1971), Magnum Force (1973), The Enforcer (1976), The Outlaw Josey Wales (1976), The Gauntlet (1977), Every Which Way but Loose (1978), Bronco Billy (1980), Any Which Way You Can (1980), Honkytonk Man (1982), Firefox (1982), Sudden Impact (1983), City Heat (1984), Tightrope (1984), Pale Rider (1985), Heartbreak Ridge (1986), Bird (1988), The Dead Pool (1988), Pink Cadillac (1989), White Hunter, Black Heart (1990), The Rookie (1990), Unforgiven (1992), A Perfect World (1993), The Bridges of Madison County (1995), Absolute Power (1997), Midnight in the Garden of Good and Evil (1997), True Crime (1999), Space Cowboys (2000), Blood Work (2002), Mystic River (2003), Flags of Our Fathers (2006), Letters from Iwo Jima
See full article at HeyUGuys »

Clint Eastwood Is Returning to Acting

Clint Eastwood Is Returning to Acting
Clint Eastwood is one of those rare Hollywood stars who is a legend both in front of and behind the camera. While he's best known to most audiences as an actor, with decades of iconic performances, but he has also established himself as one of our finest filmmakers as well. In recent years, the multi-hyphenate has focused his energies more on filmmaking and less in acting, with his last on screen performance coming in his 2012 baseball movie entitled Trouble With the Curve, where he played an aging baseball scout. During an appearance at the Cannes Film Festival, the Hollywood icon suggested that he eventually will make his return to acting.

Variety attended a master class being put on by the actor-filmmaker at the Cannes Film Festival, where he discussed a variety of topics. The filmmaker stated that he does miss performing "once in a while but not often," while hinting
See full article at MovieWeb »

Witness The End In New Trailer For ‘War For The Planet Of The Apes’

War for the Planet of the Apes” arrives this summer, marking the third chapter in the blockbuster franchise. Matt Reeves (“Cloverfield“) returns after directing the critical and commercial success “Dawn of the Planet of the Apes” which grossed over $700 million and paved the way for the next film.

As opposed to “running like maniacs” to make ‘Dawn,’ Reeves told EW recently that the studio “actually gave us time.” Screenwriter Mark Bomback, who also worked on ‘Dawn,’ teamd up again with Reeves, and they watched all the previous ‘Apes’ films, but also sought inspiration from classic films like “Bridge on the River Kwai,” “The Great Escape,” “Ben-Hur,” “The Ten Commandments,” and “The Outlaw Josey Wales.”

“Really, it almost primarily is about the war within Ceasar.

Continue reading Witness The End In New Trailer For ‘War For The Planet Of The Apes’ at The Playlist.
See full article at The Playlist »

‘War for the Planet of the Apes’ Photo Draws Inspiration From Biblical Epics and Clint Eastwood

‘War for the Planet of the Apes’ Photo Draws Inspiration From Biblical Epics and Clint Eastwood
Matt Reeves is aiming high with War for the Planet of the Apes. He looked to such classics as Bridge on the River Kwai, Ben-Hur, and The Outlaw Josey Wales for inspiration, giving us a clear idea of where his head is at with the sequel. For The Batman director, he saw an emotional connection between his sequel and those films, so […]

The post ‘War for the Planet of the Apes’ Photo Draws Inspiration From Biblical Epics and Clint Eastwood appeared first on /Film.
See full article at Slash Film »

Blu-ray Review – House: The Complete Collection

House: The Complete Collection Limited Edition Box Set

Directed by Steve Miner/Ethan Wiley/James Isaac/Lewis Abernathy.

Starring William Katt, Kay Lenz, George Wendt, Richard Moll, Arye Gross, Jonathan Stark, Royal Dano, Lar Park-Lincoln, Amy Yasbeck, Bill Maher, John Ratzenberger, Dean Cleverdon, Lance Henriksen, Brion James, Rita Taggart, Dedee Pfeiffer, Terri Treas, Melissa Clayton, Scott Burkholder, Denny Dillon, Kane Hodder.


1980s VHS rental hit House and its three sequels are brought together on Blu-ray for the first time in the UK in a lavish box set from Arrow Video.

A hugely popular VHS rental back in the day, 1985s House is a film that was put together by a team of people that included producer Sean S. Cunningham (Friday the 13th/The Last House on the Left), writer Fred Dekker (Night of the Creeps/The Monster Squad), director Steve Miner (Friday the 13th Part 2/Halloween H20:
See full article at Flickeringmyth »

Have Yourself A Movie Little Christmas: 2016 Edition

I’m guessing that you, just like most of us, have always had seasonal favorites when it comes to movies that attempt to address and evoke the spirit of Christmas. Like most from my generation, when I was a kid I learned the pleasures of perennial anticipation of Christmastime as interpreted by TV through a series of holiday specials, like How the Grinch Stole Christmas, A Charlie Brown Christmas, Santa Claus is Coming to Town and even musical variety hours where the likes of Bing Crosby and Andy Williams and Dean Martin et al would sit around sets elaborately designed to represent the ideal Christmas-decorated living room, drinking “wassail” (I’m sure that’s what was in those cups) and crooning classics of the season alongside a dazzling array of guests. (We knew we were moving into a new world of holiday cheer when David Bowie joined Bing Crosby for
See full article at Trailers from Hell »

Giveaway – Win The Hired Hand on Dual Format DVD and Blu-ray

The Hired Hand is out now on Dual Format and courtesy of Arrow Academy, and we have a copy to give away.

Having been at the forefront of America’s here-and-now with Easy Rider and the counterculture movies of Roger Corman, Peter Fonda retreated to the past and the American West for his directorial debut, The Hired Hand.

Fonda plays Harry, a man who deserted his wife and child to explore the wide-open plains with his best friend Archie (Warren Oates). “Tired of the life” he decides to finally return home in order to rekindle his marriage and reacquaint himself with his daughter.

Scripted by Alan Sharp (Ulzana’s Raid, Night Moves), shot by Vilmos Zsigmond (Blow Out, The Long Goodbye) and with a standout score by folk musician Bruce Langhorne, The Hired Hand is a beautiful, elegiac picture that ranks alongside The Outlaw Josey Wales and Pat Garrett and Billy the Kid
See full article at Flickeringmyth »

Directors' Trademarks: Clint Eastwood

  • Cinelinx
Directors’ trademarks is a series of articles that examines the “signatures” that filmmakers leave behind in their work. This month, we’re examining the trademark style and calling signs of Clint Eastwood as director.

Clint Eastwood became an american film star in the 1960’s thanks to his acting performances in a number of western films. As he began to branch out with new roles in front of the camera, he sought out to have more creative input into the types of film projects that he would be involved in. One way he was able to accomplish this was by creating his own production company which eventually allowed him to work behind the camera as director. His first film as director was 1971’s Play Misty For Me, which was well received by critics and did well at the box office. HIs second film as director was High Plains Drifter (1973), in which he also starred.
See full article at Cinelinx »

Blu-ray Cover Art & Release Details for The Velvet Vampire, Time Walker, Up From The Depths & More

Over the next two months, Scream Factory’s releases include five Blu-rays limited to 1,000 units apiece. Each release will highlight an obscure and underseen sci-fi, horror, or fantasy film from the ’70s and ’80s, and the cover artwork and details on each Blu-ray have been revealed.

Deathstalker Double Feature (August 30th): “Deathstalker (1983)

Deathstalker (Richard Hill) is a mighty warrior chosen to battle the evil forces of a medieval kingdom who sets off on a journey to the most challenging tournament in the land. To the winner will go the throne of the evil wizard, the ultimate mystical power and the love of the beautiful Princess Codille (Barbi Benton). But first Deathstalker must prove himself worthy of his legacy . . . and treachery lurks at every turn.

Deathstalker II (1987)

Deathstalker II (John Terlesky) has a mission: to save the kingdom from the wicked grip of the immoral wizard Jerak and his queen Sultana,
See full article at DailyDead »

‘Free State of Jones’ Review Roundup: Matthew McConaughey-Starring Historical Epic Isn’t For Everybody

‘Free State of Jones’ Review Roundup: Matthew McConaughey-Starring Historical Epic Isn’t For Everybody
The McConnaissance is…not entirely back. “Free State of Jones,” which features Matthew McConaughey’s first major role since “Interstellar,” stars the Oscar winner in a role that should be tailormade for more awards glory: As the often overlooked and frequently forgotten Newton Knight, who launched his own insurrection during the Civil War, alongside free men and slaves alike. The film has been a long time passion project for director Gary Ross, but the final product has been labeled a misfire of a historical epic, one that goes for by-the-numbers miniseries plotting over actual passion, a film that can’t even capitalize fully on its stellar cast, which also includes Gugu Mbatha-Raw and Keri Russell.

Most critics aren’t big fans of the film, and even the ones who liked it — or at least gave it a positive review to warrant a “Fresh” on Rotten Tomatoes — don’t sound entirely
See full article at Indiewire »

Happy 86th Birthday Clint Eastwood! Here Are His Ten Best Films

Article by Jim Batts, Dana Jung, and Tom Stockman

Happy Birthday to one of We Are Movie Geeks favorite stars. Clint Eastwood was born on this day in 1930, making him 86 years old. The actor and two-time Oscar winning director hasn’t let his age slow him down a bit. Sully, his new movie as a director, opens in September.

We posted a list in 2011 of his ten best directorial efforts Here

Clint Eastwood has appeared in 68 films in his six (!) decades as an actor, and here, according to We Are Movie Geeks, are his ten best:

Honorable Mention: Honkytonk Man

By the 1980s, Clint Eastwood was one of Hollywood’s most bankable stars. With his own production company, directorial skills, and economic clout, Eastwood was able to make smaller, more personal films. A perfect example is the underrated Honkytonk Man, which also happens to be one of Eastwood’s finest performances.
See full article at »

Buck Kartalian, Julius in ‘Planet of the Apes,’ Dies at 93

Buck Kartalian, Julius in ‘Planet of the Apes,’ Dies at 93
Buck Kartalian, a character actor who starred as Julius, the keeper of the cages, in the original “Planet of the Apes,” died Tuesday in Mission Hills, Calif. He was 93.

His memorable line in “Planet of the Apes” was, “You know what they say: ‘Human see, human do.'” He played a gorilla named Frank in the sequel “Conquest of the Planet of the Apes.”

Among his many TV and film credits are many well-know works, including “Cool Hand Luke,” “The Outlaw Josey Wales,” “Mister Roberts,” “Gymkata” and “The Rock.” He started as a wrestler and body builder, but soon that led to roles on Broadway and TV.

He moved to Los Angeles to pursue a career in films and further his work in television. Throughout his 60 years in the business he had roles in popular TV series, including “My Favorite Martian,” “Friends,” “E.R.,” “Curb Your Enthusiasm” and “How I Met Your Mother.
See full article at Variety - TV News »

Howard Hughes Reviews "Cattle Drive", "Calamity Jane & Sam Bass" And "Black Horse Canyon" UK DVD Releases From Simply Media

  • CinemaRetro
Unbridled Passion by Howard Hughes

Following the release in March of ‘A Man Called Gannon’ (1968), Simply Media in the UK continue to release more Universal-International westerns, this time of 1940s and ‘50s vintage. The new releases, out on 18 April, are ‘Calamity Jane & Sam Bass’ (1949), ‘Cattle Drive’ (1951) and ‘Black Horse Canyon’ (1954). This trio of films are literally ‘Horse Operas’, with the accent on thoroughbred steeds and their importance and role in the working west. Be they cattle drovers, stock breeders or outlaws, where would any of them be without the horse? The answer, of course, is walking.

I’ll review the DVDs in the order I watched them. First up is ‘Cattle Drive’, a 1951 western directed by Kurt Neumann. Chester Graham Jnr (Dean Stockwell), the spoilt, arrogant son of railroad magnet Chester Graham Snr (Leon Ames), is accidentally left behind when the train he is travelling on makes a water stop.
See full article at CinemaRetro »

Planet Of The Titans: the Star Trek movie that never was

Ryan Lambie Oct 11, 2017

In the late 1970s, an aborted feature film would have given the Klingons a striking movie outing...

It's March 1977, and there's a very odd party going on at Paramount. The champagne's flowing, the glasses are clinking, but the atmosphere's far from celebratory.

See related Arrow season 6: UK air date announced Arrow season 6: Rick Gonzalez interview Arrow season 5 episode 23 review: Lian Yu

Writers Alan Scott and Chris Bryant, who for the past six months had been working on a Star Trek movie script, have decided to leave the project following numerous rewrites and conflicted ideas from producers.

Susan Sackett, who was Star Trek creator Gene Rodenberry's personal assistant at the time, was one of several people at that party. "The occasion was one of celebration," Sackett wrote in the seventh issue of Starlog magazine, "yet touched with the sadness of saying 'au revoir' to old friends.
See full article at Den of Geek »
An error has occured. Please try again.

See also

Showtimes | External Sites