Email here for additions & corrections.

Ishtar
(May, 1987)
The Seven-Per-Cent Solution (OOP)
(Ross, 1976)
The Devils
(Russell, 1974)
The Pirates of Penzance
(Papp/Leach, 1983)
The Fortune
(Nichols, 1975)
-30-
(Webb, 1959)
Betrayal
(Jones, 1983)
Play It As It Lays
(Perry, 1972)
The Outfit
(Flynn, 1973)
Alex in Wonderland
(Mazursky, 1969)
The Legend of Lylah Clare
(Aldrich, 1968)
In The Cool of the Day
(Stevens, 1963)
That Cold Day in the Park
(Altman, 1969)
Thumb Trippin'
(Masters, 1972)
Midas Run
(Kjellin, 1969)
At Long Last Love
(Bogdanovich, 1973)
Brewster McCloud
(Altman, 1972)
Outcast of the Islands
(Reed, 1951)

Reader Submissions
1930's-1950's
The Moon's Our Home
(Seiter, 1936)
Sh! The Octopus
(McGann, 1937)
The Mating Season
(Leisen, 1951)
Bad for Each Other
(Rapper, 1953)
The Phenix City Story
(Karlson, 1955)
Run of the Arrow
(Fuller, 1956)
House of Secrets
(Green, 1956)
Saint Joan
(Preminger, 1957)
Macabre
(Castle, 1958)
The Fiend Who Walked the West
(G. Douglas, 1958
Five Gates to Hell
(Clavell, 1959)
1960's
Key Witness
(Karlson, 1960)
Summer and Smoke
(Glenville, 1961)
The Chapman Report
(Cukor,1962)
Bachelor Flat
(Tashlin, 1962) [on Hulu]
The L Shaped Room
(Forbes, 1963)
The Chalk Garden
(Neame, 1964)
A Thousand Clowns
(Coe, 1965)
You're a Big Boy Now
(Coppola, 1966)
The Whisperers
(Forbes, 1967)
Dark of the Sun
(Cardiff, 1968)
Skidoo
(Preminger, 1968)
Last Summer
(Perry, 1969)
The Comic
(C. Reiner, 1969)
1970-1974
The Revolutionary
(Williams, 1970)
The Landlord
(Ashby, 1970)
Diary of a Mad Housewife
(Perry, 1970)
Tropic of Cancer
(Strick, 1970)
I Never Sang for My Father
(Cates, 1970)
Sometimes a Great Notion
(Newman, 1971)
Marriage of a Young Stockbroker
(Turman, 1971)
The Music Lovers
(Russell, 1971)
Drive, He Said
(Nicholson, 1971)
The Steagle
(Sylbert, 1971)
The Last Movie
(Hopper, 1971)
Made For Each Other
(Bean, 1971)
The Day the Clown Cried
(Lewis, 1972)
Hickey & Boggs (OOP)
(Culp, 1972)
The Carey Treatment
(Edwards, 1972)
Pete 'n' Tillie
(Ritt, 1972)
Slither
(Zieff, 1973)
Man on a Swing
(Perry, 1974)
Open Season
(Collinson, 1974)
The Tamarind Seed
(Edwards, 1974)
Law and Disorder
(Passer, 1974)
Homebodies
(Yust, 1974)
Stardust
(Apted, 1974)
Celine and Julie Go Boating
(Rivette, 1974)
1975-1979
Rafferty and the Gold Dust Twins
(Richards, 1975
At Long Last Love
(Bogdanovich, 1975)
Hearts of the West
(Zieff, 1975)
Welcome to L.A.
(Rudolph, 1976)
W.C. Fields and Me
(Hiller, 1976)
Citizens Band
(Demme, 1977)
Twilight's Last Gleaming
(Aldrich, 1977)
Looking for Mr. Goodbar
(Brooks, 1977)
Girlfriends
(Weill, 1978)
Movie Movie
(Donen, 1978)
The Medusa Touch
(Gold, 1978)
American Hot Wax
(Mutrux, 1978)
Hot Stuff
(DeLuise, 1979)
Scavenger Hunt
(Schultz , 1979)
Players
(Harvey, 1979)
Rich Kids
(Young, 1979)
Nightwing
(Hiller, 1979)
Screams of a Winter's Night
(Wilson, 1979
When You Comin' Back Red Ryder?
(Katselas, 1979
1980's
Resurrection
(Petrie, 1980)
The Awakening
(Newell, 1980)
Simon
(Brickman, 1980)
God's Angry Man
(Herzog, 1980)
Fast-Walking
(Harris, 1982)
Twice Upon a Time
(Korty & Swenson, 1983)
Trouble in Mind
(Rudolph, 1985)
When the Wind Blows
(Murikami, 1986)
Housekeeping
(Forsyth, 1987)
The Glass Menagerie
(Newman, 1987)
Patty Hearst
(Schrader, 1988)
Drowning by Numbers
(Greenaway, 1988)
Haunted Summer
(Passer, 1988)
The Decline of Western Civilization Part II: The Metal Years
(Spheeris, 1988)
1990's
Old Times
(Curtis, 1991)
Prospero's Books
(Greenaway, 1991)
City of Hope
(Sayles, 1991)
The Baby of Macon
(Greenaway, 1993)
King of the Hill
(Soderbergh, 1993)
Dadetown
(Hexter, 1995)
SubUrbia
(Linklater, 1997)

Upcoming

January 8

Bitch Slap

Waiting for Armageddon

Wonderful World

Youth in Revolt

January 15

January 22

Drool

Extraordinary Measures

The Girl on the Train

Willy Nilly

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"Why, my colleagues constantly wonder, are all the year-end awards contenders not being screened?," writes Boston Herald film guy and columnist Stephen Schaefer. "Why has no one seen The Curious Case of Benjamin Button, Australia, Cadillac Records, Gran Torino or Seven Pounds?"'

Answer: Button will be screened next week in New York and Los Angeles. Clint Eastwood has only recently completed his final work on Gran Torino. Australia won't be seen until l1.18 or thereabouts due to Baz Luhrmann doing last-minute post-production tweaks. And Cadillac Records (Sony, 12.5) ...I don't know what the deal is with this one.

Schaefer, however, feels that "the most obvious answer is the rise of the viral online community. That means once a movie is screened, instant judgment awaits. It's not posting early reviews online [but] the buzz that concerns them.

"And when you have a risky $150 million prestige picture like Button or a risky epic like Australia with a star like Nicole Kidman who hasn't had a domestic hit in far too long or Clint Eastwood's latest bid to continue his amazing record with the Oscar voters or Will Smith's reunion with the director who guided him to his Oscar nomination with Pursuit of Happyness, well, you have a lot of fear.

"Right now the studios can build buzz for all these movies, they can say they're in the race for Best Picture and not be contradicted. But once they're seen, reality immediately take over; the studios no longer have control. Weeks before a movie opens, its Oscar (but not necessarily its Golden Globe) chances could be over."

Justice<< previous | next >>In Committee

Posted by Jeffrey Wells on November 14, 2008 at 2:13 PM

comment #1

p.Vice says ...

In other words: bitch bitch bitch, whine whine whine, baby wants his wattle.

Widdle baby will surely get to see those movies over the next few weeks so he needs to have some patience and shut the fuck up. This is the kind of tripe that makes it impossible to allow a film to be taken on its own merits and not press everyone into who can come up with the quickest snap judgment.

Posted by p.Vice at November 14, 2008 2:37 PM

comment #2

scooterzz says ...

'cadillac records' screens in l.a. on the 18th & 19th (three times)......

Posted by scooterzz at November 14, 2008 2:45 PM

comment #3

btwnproductions says ...

Cadillac Records is considered an awards contender? Anyway a couple of NY screenings are planned later in the month and a few days before opening.

Posted by btwnproductions at November 14, 2008 2:56 PM

comment #4

Chase Kahn says ...

I'm sorry, I saw the GRAN TORINO trailer again today and I think it looks terrible. I hope I'm wrong, but hearing Clint growl out lines like he just smoked a pack of Kools and watched THE DARK KNIGHT on loop is cringe-worthy.

If Clint wasn't attached to it, I don't think anybody would care...and it would come out in April

Posted by Chase Kahn at November 14, 2008 2:56 PM

comment #5

Edward Havens says ...

Is he talking screened for critics or screened for awards consideration? His article doesn't seem to quantify, but I'd be willing to guess because he's in Boston and Bean Town doesn't get a shitload of FYC screenings he means the former. But at least in Los Angeles, New York City and San Francisco, there are a boatload of FYC screenings for Seven Pounds and Cadillac Records, including some before either film opens theatrically. So maybe it just simply has to do with the films not being 100% ready yet. And didn't Fincher say at the Bruin for Monday's SAG Nominating Committee screening of Button that there were still a couple shots he wanted to fix?

Posted by Edward Havens at November 14, 2008 2:59 PM

comment #6

scooterzz says ...

i've got 'button' down for the 20th at the dga....that's the only screening of it i've been offered......

Posted by scooterzz at November 14, 2008 3:47 PM

comment #7

LexG says ...

CADILLAC RECORDS looks like some cross between that Joe Esterhaus/Kevin Bacon payola movie and that Larenz Tate Frankie Lyman bio... neither of which were hits or serious contenders.

Good cast and all for the most part (though no one who I or anyone else ever feels compelled to RUSH OUT and see for 10 bucks), but I couldn't be more sick of 50s-60s backstage stories and musical bios.

Posted by LexG at November 14, 2008 4:26 PM

comment #8

TedM says ...

To Edward Havens.

Despite writing for a Boston paper, Steven Schaefer spends more time in NYC than some residents. He's always there, particularly for junkets. He's just trying to stir the pot because he likes to be the first to see things and he's very afraid he's missing out on something.

Side note: He's ruined many films for me because he was at the first screening and has absolutely no compunction about speaking about every aspect of the movie. The spoiler whiners on here who took Mr. Wells to task would be appalled by Schaeffer and his ilk.

Posted by TedM at November 14, 2008 5:16 PM

comment #9

scooterzz says ...

lex -- i so get what you're saying but then they throw etta james into the mix and i've gotta check it out....will i be disappointed?...probably...but it's fuckin' etta james!....i'm there......

Posted by scooterzz at November 14, 2008 11:32 PM

comment #10