American Animals is based on the true story of two college students from Lexington, Kentucky named Spencer (Barry Keoghan) and Warren (Evan Peters). Despite them having a somewhat tranquil lifestyle in middle-class suburbia, they still yearn for something more. They eventually come up with a scheme to live the American Dream by stealing valuable old books from the library of Transylvania University. They also enlist the help of accounting major Eric (Jared Abrahamson) and fitness junkie Chas Allen (Blake Jenner). But as the four men plan the robbery, it eventually leads to a downfall that will shape their lives in
Results tagged “Drama”
American Animals offers up a witty yet complex demonstration of the conflicting pursuit of the American Dream.
An entirely-too-old George Arliss portrays a much younger Hamilton in this early pre-Code biopic from the Warner Archive Collection.
Far removed from the musical stage sensation of today, the 1917 Broadway production of Hamilton presented audiences with a condensed version of the first Secretary of the Treasury's battle to pass his Assumption Bill funding act in the years following the end of the Revolutionary War. With very little else in-between. But that didn't seem to matter much to the public, who were probably more excited to see recent Academy Award winner George Arliss ‒ the first (and youngest) English-born actor to earn such an honor in the US ‒ parading about amid a compelling human drama he himself had
The Warner Archive Collection knots it up with this captivating western starring Gary Cooper, Maria Schell, Karl Malden, and first-timer George C. Scott.
Several years before a more somber wave of performers rode into town, Gary Cooper was ‒ as he had done so eloquently before ‒ pioneering a unique protagonist who would fit right at home in a '70s revisionist western. In Delmer Daves' The Hanging Tree, released two years before one of the genre's quintessential heroes passed away, we witness the stalwart High Noon icon delivering his final lead performance in a cowboy picture. This time, however, Cooper does not play a man haunted by what he must do. Rather, he's tormented over what he has done. Set in the tiny
The Warner Archive Collection raises an early Sound Era seafaring thriller featuring Kay Johnson and Louis Wolheim.
Were you to examine the wake of just about every cinematic maritime thriller pitting a random assortment of passengers against an onboard maniac, the trail will more than likely trace back to 1930's The Ship from Shanghai. As the title may indicate, the story opens in Shanghai. Well, it's technically an assortment of stock footage from the Orient and a Hollywood nightclub set ‒ complete with an all-too lively gweilo playing the drums in yellowface while an otherwise Asian band plays "Singin' in the Rain" in Chinese. Fear not, though, for the film shifts into an entirely different gear soon
The Warner Archive Collection finds a rare Barbara Stanwyck flick co-starring the famous Emerald City Wizard himself, Frank Morgan.
After witnessing the man she is due to marry (in just two days) get gunned down in front of her by a jealous husband (the cad!), poor Marian (Barbara Stanwyck, Double Indemnity) becomes a bitter, dejected, clinically depressed recluse. Months later, her family, completely uncertain what to do with her now that she's so very sad and boring, pack up her belongings and ship her off to the Canadian Rockies so she can mope in peace there. And indeed she does, until she decides to run off into the woods after nearly experiencing an emotion, wherein she promptly falls off
Twilight Time books a classic, slow burning cop drama starring George C. Scott and Stacy Keach.
Columbia Pictures' The New Centurions was filmed and released during a particularly interesting era: a time when the lives and actions of police officers was present in just about every form of media, be they negative, positive, or somewhere in-between. In the instance of this 1972 cop drama, we find ourselves planted directly in the epicenter of the two, where moments of lighthearted comedy can give way to heartbreaking tragedy at any moment. The film was adapted for the screen by the prolific Stirling Silliphant (Village of the Damned, The Killer Elite), as taken from former law enforcement officer and
Twilight Time proudly unleashes the intense, unofficial sequel to "The French Connection". And it's nothing short of awesome.
Off the record, there were two sequels to William Friedkin's 1971 action-packed Oscar-winning cop thriller The French Connection. Officially, only John Frankenheimer's 1975 follow-up French Connection II ‒ a film which has always failed to live up to its predecessor in my opinion ‒ falls into that category. From a decidedly less official point of view, however, Philip D'Antoni's 1973 action classic The Seven-Ups is a motion picture that many feel is entirely more deserving of the honor. Though neither film shares the same director, the late Mr. D'Antoni was nevertheless one of the most significant denominators (or, "connections", if
The Warner Archive Collection pairs two different versions of the same story ‒ with Basil Rathbone and Maurice Evans taking turns playing the bad guy ‒ on one disc.
In today's world of cinema, a remake, reboot, preboot, prequel, or sequel is about as easy to find as a pregnant lady in a maternity ward. Ultimately, it's all about branding: a title (or character) studios can mercilessly milk the money of consumers out of until even the most die-hard Transformers fans say "Enough already!", less the studios lose their limited rights to the property in question. And, while it may come as something of a surprise to younger generations, Hollywood has never been terribly shy about remaking a movie in order to keep up with the times. Or at
Twilight Time releases the forgotten, award-winning "kitchen sink" drama from Bryan Forbes, which all fans of Morrissey and The Smiths should probably see.
Long before Hollywood tried to appeal to everyone by adding various "token" characters from all walks of life, postwar British filmmakers were trying something much more subtle and less transparent. One stellar example is the 1962 domestic drama The L-Shaped Room from director Bryan Forbes (The Stepford Wives). Adapted for the screen by Forbes from the best-selling novel by Lynne Reid Banks (The Indian in the Cupboard), this solid little "kitchen sink" drama finds former musical icon Leslie Caron (An American in Paris, Gigi, Lili) as one of many tenants in a boarding house full of characters who would be
By hook or crook, Linda Darnell climbs her way to the top in the once-controversial drama, now available from Twilight Time.
A full decade before its hugely successful Peyton Place managed to poke a few holes in the brick walls of alleged decency, 20th Century Fox was already turning a controversial bestseller into a major ‒ however sanitized ‒ motion picture. Previously in history, Kathleen Winsor's 1944 novel Forever Amber had been condemned by the Hays Office, but that hardly stopped top Fox man Darryl F. Zanuck from securing the movie rights for the book immediately after its publication and turning something racy into a big-budgeted epic. Three years later, Fox's Forever Amber premiered. It would prove to be the biggest
Twilight Time releases the odd real-time film noir cult classic starring Richard Widmark, Marilyn Monroe, and Anne Bancroft.
Though modest in budget and undoubtedly filmed in a relatively short period of time, 20th Century Fox's Don't Bother to Knock from 1952 is the sort of movie which just about any variety of film aficionado should take a look at. Based on Mischief from the previous year by mystery novelist Charlotte Armstrong, this cult film noir piece from Julian Blaustein (The Day the Earth Stood Still, Khartoum), Don't Bother to Knock features many significant firsts in the fabulous history of film. The first American movie by famed British director Roy Ward Baker (A Night to Remember), the production also
There's a killer on the loose and someone has to foot the bill in this obscured, Oscar-winning satire now available from Twilight Time.
What happens when you combine the talents of actors George C. Scott (Patton, Hardcore), and Diana Rigg (The Avengers, Theatre of Blood) with director Arthur Hiller (The In-Laws) and writer Paddy Chayefsky (Network)? Well, from a historical perspective, 1971's The Hospital resulted in an Oscar win in 1972 for Best Original Screenplay. Alas ‒ as is frequently the case with most Academy Award winners ‒ the film quickly faded from the general public's memory, despite the still-relevant social commentary hidden immediately below the surface of Chayefsky's extremely cynical and darkly comical story. Set in bustling Manhattan, The Hospital takes place
Twilight Time unholsters Walter Hill's wildly uneven western starring Jeff Bridges as the iconic gunman.
Although it was never a title I saw when it was initially released, Walter (The Warriors) Hill's Wild Bill has always lingered in the back of my mind for an utterly absurd reason. Following an extremely limited release in cinemas (spoiler alert: it bombed), the film hit the shelves of a video rental outlet I was managing at the time. It was a decidedly rural area, where just about anything western was considered a keeper by the locals, the majority of whom were about as "hick" as could be. One memorable afternoon, a middle-aged gentleman came in to return the
The best version yet of an influential classic.
In 1968, George A. Romero made a name for himself and essentially created the zombie genre with Night of the Living Dead. The dead rose from the grave to attack the living, an event whose origin is, at best, speculated upon by the time the credits roll. Five years later in 1973, Romero gave us The Crazies, in which we knew almost immediately what the cause of the madness was, but were less sure how to avoid, diagnose, treat, or save anyone from it. The film opens with two children, a brother trying to scare his sister by unscrewing light
AIP's only Gothic romance is just as weird as you'd expect, and can now be seen in High-Definition thanks to Twilight Time.
Even if you don't include the many television adaptations, the number of times Emily Brontë's one and only novel has been transformed into a movie for the big screen alone is not only staggering, it's Wuthering. And since there are so many superior versions of Wuthering Heights ranging from the likes of Samuel Goldwyn to Luis Buñuel flying high within those ne'erending winds above us, there's bound to be the occasional oddity plummeting down to the frozen English tundra below. In this case, a strange account of the timeless tale has fallen into our laps thanks to the folks at
The obscured (if slightly controversial now) coming-of-age hit returns to home video courtesy the Warner Archive Collection.
An unexpected box office sensation upon its 1971 debut, Robert Mulligan's adaptation of Herman Raucher's Summer of '42 has since become as distant to audiences as has the element of romance to the average Tinder user. Indeed, the advent of modern technology has far-removed the timeless coming-of-age motif from that of younger generations, who will more than likely find the film's characters ‒ to say nothing of their particular plights here ‒ weird, if not completely unsettling. A personal favorite of iconic rogue filmmaker Stanley Kubrick (it's the only live-action film featured in The Shining, I believe), Summer of '42
Rachel McAdams, Rachel Weisz, and Alessandro Nivola give three of the year's best performances in this compelling romantic drama.
After helming the Oscar winning foreign language film A Fantastic Woman, director Sebastian Lelio brings us Disobedience, a portrait of forbidden love that is transfixing and anchored by three flawless leading performances. Also, like A Fantastic Woman, it is a great portrayal of queer women finding their inner strength and is a gem that slowly has you under its spell by the time it’s over. Based on the novel by Naomi Alderman, Disobedience tells the story of a New York photographer named Ronit (Rachel Weisz) who returns back home to London after hearing about the death of her father. Her
Fritz Lang's final two American films ‒ both starring Dana Andrews ‒ get the much-deserved Warner Archive Collection treatment.
Metropolis. M. The Dr. Mabuse series. There are so many reasons to love Fritz Lang's early, German-language films, all of which helped define the German Expressionist movement. Following Lang's fleeing of Nazi Germany in the early '30s, the Austrian-German-born filmmaker put his expertise use of light and shadows to become a pioneer in the world of film noir ‒ helming such classics as Ministry of Fear and Scarlet Street, as well as the iconic 1953 masterpiece, The Big Heat. Even as his 20-year-plus Hollywood career began to wrap up in the late '50s, Lang's filmic contributions were as marvelously dark
From screwball spoofs to serious dramas, this quintet of features from the one and only comedian/filmmaker offers a variety of stylings.
Whether you are a collector, purist, enthusiast, or just someone who is trying to get through the work day, there is nothing as gratifying as being able to mark something off of a checklist. And every time Twilight Time issues a classic Woody Allen film on Blu-ray, it gives his fans a chance to experience something just as gratifying. Fortunately for all parties involved, Allen's extensive (and still-expanding, as he has rarely skipped a year without making a movie since 1965) library can come that much closer to being "complete" thanks to Twilight Time's regular releases of the filmmaker's work,
Despite the efforts of its cast, especially leading actress Antonella Costa, Dry Martina still succumbs to its complicated storytelling.
In the opening scene of Dry Martina, our main character is performing at a concert and about midway through her performance, she immediately takes off her wig and steps out of the stage. The minute she stops performing, we see her turn into a different, more troubled person. That small moment is an indication of what Dry Martina is about. It is a character study about a woman on the verge of self-destruction that is successfully anchored by its leading actress even though the film itself is rather, shall I say, slightly dry. Martina (Antonella Costa) is a former pop