From an Esquire.com online article:
No Time to Die, as Bond 25 is called, will be out on April 8, 2020 in the U.S. and April 3 in the UK.
Directed by True Detective’s Cary Fukunaga, No Time to Die was delayed earlier this year when Daniel Craig injured his ankle on the set and underwent reparative surgery. Also starring Rami Malek as the main villain, the film will follow Bond after he’s left MI6, “when his friend Felix Leiter enlists his help in the search for a missing scientist. When it becomes apparent that they were abducted, Bond must confront a danger the likes of which the world has never seen,” according to the film’s official synopsis.
To read more click on the following link: https://www.esquire.com/entertainment/movies/a28761356/james-bond-25-title-no-time-to-die-release-date/?source=nl&utm_source=nl_esq&utm_medium=email&date=082019&src=nl&utm_campaign=17826563
From a BBC.com cuture article:
Faced with the question of why Some Like It Hot has topped BBC Culture’s poll of the best ever big-screen comedies, it’s tempting to say something similar. Wilder’s glittering masterpiece doesn’t just use the handsomest kid in town (and a terrific actor, to boot), but its most radiant sex symbol, Marilyn Monroe, and one of its most dexterous comedians, Jack Lemmon. It also has a bevy of bathing beauties, a crowd of sinister mafiosi, a glamorous seaside setting in the roaring ‘20s, and a sizzling selection of songs.
It is structured so meticulously that it glides from moment to moment with the elegance of an Olympic figure skater, and the consummate screwball dialogue, by Wilder and IAL Diamond, is so polished that every line includes either a joke, a double meaning, or an allusion to a line elsewhere in the film. To quote one character, it’s a riot of “spills, thrills, laughs and games”. To quote another, it deserves to be “the biggest thing since the Graf Zeppelin”. So why was it chosen as the best comedy ever made? Simple. What else were we going to choose?
To read more click on the following link: http://www.bbc.com/culture/story/20170817-why-some-like-it-hot-is-the-greatest-comedy-ever-made
Feom a Wall Street Journal Arts & Entertainment article:
Seventy-five years ago, “Double Indemnity” opened in theaters across America. It was an instant hit, and remains to this day a staple offering of revival houses and on cable TV and streaming video. Yet little journalistic notice has been taken of the birthday of Billy Wilder’s first great screen drama, a homicidal thriller that nonetheless had—and has—something truly unsettling to say about the dark crosscurrents of middle-class American life.
Directed by Wilder and co-written by him and Raymond Chandler, the celebrated mystery novelist, “Double Indemnity” is the story of a restless insurance salesman who helps a sexy, frustrated housewife murder her husband for profit. Though neither Wilder nor Chandler realized it at the time, it would later be acknowledged by critics and scholars as the first fully developed example of film noir, in which a flawed but basically innocent protagonist is presented with a moral choice, makes the wrong call, and is plunged into a violent after-hours world of passion and crime.
To read more click on following link: https://www.wsj.com/articles/a-film-noir-icon-turns-75-11565637941
From a Vanity Fair article by Sonia Saraiya
“Ephron and Reiner’s love language pushed the envelope in 1989 in a way that seems rather tame now: As I grew up and began to dabble in romantic partnerships myself, When Harry Met Sally… felt like the rare option I wanted to emulate and embody, and I studied it like a textbook. In many ways, it’s a manual for romantic partnership—a funny, entertaining film that’s closely attentive to the nuts and bolts of falling in love.”
My first memory of When Harry Met Sally… is that I wasn’t allowed to watch it. When I think about the film now, I see it as a romance—an inverted one, where love does not come until 12 years after first sight, but a love story nonetheless. But When Harry Met Sally…’s unwholesome raciness—the faked orgasm, the f-bombs, the woman who meows in the throes of passion—featured prominently in the film’s marketing campaign. So did the film’s central, provocative, deeply heteronormative question: Can men and women ever “just” be friends? And it needed an R rating to answer that question, too! The film glowed with forbidden allure.
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