The prolific actor appeared in more than 190 films and TV shows and was a vocal anti-war activist
Donald Sutherland, whose acting career spanned six decades and included starring in such highly acclaimed films as Don’t Look Now, M*A*S*H and The Hunger Games, has died aged 88.
He died in Miami after a long illness, confirmed by his representatives.
Continue reading...The 230-page unpublished memoir will reflect the horrors suffered by ordinary Japanese citizens in a feature-length drama
A major feature film on Hiroshima is going into production, inspired in part by an unpublished memoir of a Japanese man who witnessed the devastation of the city after the atomic bomb was dropped in 1945.
Scriptwriter Elisabeth Bentley was taken aback by the personal recollections of Kiyoshi Tanimoto in a 230-page memoir that she unearthed in a US archive.
Continue reading...The actor, best known for his tough-guy roles in war and action movies including Black Hawk Down, also had a turbulent private life
Tom Sizemore, the actor best known for appearances in Saving Private Ryan and The Relic, has died aged 61, his manager confirmed in a statement.
“It is with great sadness and sorrow I have to announce that actor Thomas Edward Sizemore … passed away peacefully in his sleep today at St Joseph’s Hospital Burbank. His Brother Paul and twin boys Jayden and Jagger (17) were at his side,” Sizemore’s representative, Charles Lago said.
Continue reading...An elite soldier is sent on a perilous solo mission in this underwhelming drama set during the Namibian war of independence
This South African-made action-drama unfolds against the background of a conflict little known about above the equator, much less used as a setting for film – the Namibian war of independence from 1966-90, AKA the South African border war. Often considered South Africa’s version of Vietnam, it was, among other things, a proxy fight between South Africa, then still under apartheid, and its allies at the time, and the People’s Liberation Army of Namibia, who were backed by the Soviet Union and Cuba.
Although there’s a fair amount of on-screen contextualising in the opening minutes to explain key terms and ideas, The Recce feels made for a local audience that has a grasp of the cultural and historical background. That means it’s not easy for outsiders to read the ideology of this stylised, fictional account of an elite Afrikaner soldier, Henk Viljoen (Greg Kriek), the “recce”, who is ordered to go across enemy lines alone one last time to kill a Russian officer. Henk leaves behind his pregnant wife Nicola (Christia Visser), with whom we spend a lot of screen time as she looks anxious, remembers happier moments in her marriage and visits Henk’s parents, who are sick with worry about their son. In the narrative mix is Captain Le Roux (Grant Swanby), an English-speaking South African officer who is also worried about Henk and the general madness of the war.
Continue reading...Apted made his name with the brilliant Up TV series that examined people’s lives every seven years, before going on to become a film-maker of distinction, whose influence cannot be overstated
Michael Apted, who has died aged 79, was a British movie director who – like Ken Loach and Ken Russell – earned his stripes working on TV. But it was his destiny to help create an epic ongoing masterpiece for the small screen with truly cinematic scope and beyond: current-affairs television which had the scale of cinema, combined with the Mass Observation Project and the Roman census.
Granada Television’s Seven Up! from 1964, was, to quote a comedy of the era, not so much a programme, more a way of life. It took 14 British children at the Jesuit age of seven (that is, the age at which the Jesuits’ St Ignatius of Loyola famously said he could “show you the man” if schooled early enough) and interviewed them about their lives and opinions – seven from a working-class background and seven from a posher caste. Then it was updated every seven years, finally spanning 56 years.
The actor who terrified a generation in the 90s horror classic returns to the role for the sequel – and for a documentary looking back at the gruelling shoot on Oliver Stone’s iconic 1986 war movie
Tony Todd chuckles heartily. “Why in the fuck would I go to a mirror, with me in the mirror – the actor who played the role – and call out my own damn name five times?” I have just asked the dumb – but obligatory – question of whether he has ever dared utter Candyman’s fatal invocation. Todd played Daniel Robitaille, AKA the Candyman, the hook-handed, bee-spouting yet swoonsome spectre from the 1992 horror classic. “I have never waded in that water. I don’t even listen to people when they come to me and say that. I cut them off. They try it; they want to me stop them or something.”
Todd is probably getting quite a bit of this right now. Candyman was already enjoying a critical revival in the last few years as Black Lives Matter and other social movements gathered headway; despite, or perhaps because of, its white director (the Englishman Bernard Rose), it was able to smuggle in a theme that was exceptional for a 90s horror film: the psychic cost of centuries of oppression of African Americans. Now, after the George Floyd protests and with a Jordan Peele-produced sequel imminent, interest in this unusually sensitive piece of Hollywood product is white-hot.
Continue reading...One regiment’s symbolic and often suicidal defence of a warehouse in bombed-out Shanghai is the subject of this tub-thumping war epic
The domestic release of this thunderous Chinese war epic was delayed last year for what trade magazine Variety described as “mysterious political reasons”. It is thought the film displeased Communist party academics by portraying rival Kuomintang army officers during the 1937 Sino-Japanese war in too positive a light. To an outsider, however, The Eight Hundred looks like a paragon of tub-thumping patriotism in its description of heroic Chinese soldiers defending the Sihang warehouse in the battle for Shanghai. Like Dunkirk for Brits, the incident is seen here as an honourable defeat, a moment to galvanise national pride.
Continue reading...This trench-warfare tale is its country’s biggest box-office success, but it is guilty of some bad misfires
The Rifleman is the top-grossing film of all time at the Latvian box office and if you had to guess at the kind of film that would inspire such nationwide enthusiasm, you’d guess it was something like this: a lavishly mounted, lion-hearted first world war epic based on a book banned by the Soviets for 60 years.
Oto Brantevics stars as Arturs, a 16-year-old who signs up in 1915 to fight the Germans, alongside his brother Edgars (Raimonds Celms) and father Vanags (Martins Vilsons). Both Arturs and his dad are outside the required age range for the army, but rules are bent on account of the father’s exceptional marksmanship. Thus, three men of the same family set off to war, fighting sometimes for the Tsar, sometimes for the Red Army – but always, really, for each other.
Continue reading...Director tells how getting every detail right was crucial to helping his cast understand emotions of war
Wasted youth, random violent death and the folly of armed conflict are the big themes of 1917, Sam Mendes’s orchestral symphony of a first world war film. But for the director and the team who made it alongside him, no detail was too small to consider.
“It was very important, the question of historical accuracy,” said Mendes. “We had two very fine historical advisers, Andy Robertshaw and Peter Barton, who are world renowned. And one military adviser, Paul Biddiss, who was also brilliant.”
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