ALL THAT JAZZ (1979) – AFI Movie Club Helmed by legendary choreographer, actor, dancer and stage director Bob Fosse, ALL THAT JAZZ (1979) was named by the American Film Institute as one of the art form’s great filmed musicals. Learn more about ALL THAT JAZZ in the AFI Catalog. Have...
The end of the movie hints that there will probably be a part two, so catch up on this one while you can. View full post on Youtube Watch Now Sierra Burgess Is A Loser The movie is about a girl named Sierra who doesn't meet the stereotypical standards of beauty. This leaves her...
Movies. One of my family’s companies was a video store, so I got to watch everything.Ilovemovies and bring that sensibility to my writing. If you think my action scenes are cinematic, that’s probably why. When you’re reading my books, I want to put a movie in your head. Wikiped...
Kicking the film off on a high note is a six-minute song-and-dance number that goes down in the middle of freeway traffic. Filming the scene took two days and involved stitching three consecutive shots together to create what appeared to be a single take. Among the movie's 14 Academy ...
Fullmetal Alchemist the Movie: Conqueror of Shamballa 1,033 votes Edward Elric, the Fullmetal Alchemist, is on the other side of the gate. He has befriended someone who resembles his brother, Al, and has met a gypsy resembling Rose. He finds out that the Germans are planning on ...
Also ranks #2 on 13 Famous Movie Roles That Sean Connery Turned Down Also ranks #2 on The Best Characters in the Matrix Series, Ranked Also ranks #4 on The Most Powerful Movie Teachers And Mentors 17 Benjamin Buford "Bubba" Blue Forrest Gump 343 votes A sweet but sim...
29. “Take Off With Us,” All That Jazz (1979) It is the great paradox of Bob Fosse’s career that musical theater is unabashedly dorky, unless he’s the one doing it. Fosse refashioned Broadway movement as slinky and sexy, minimalist and dangerous, gritty and raw. His addictions and...
As with its French equivalents, much of the British New Wave looks horribly dated in a modern context: all that light jazz, casual romantic disaffection and overeager jump-cutting doesn’t really wash with contemporary audiences. But what’s beyond criticism is the commitment to emotional veracity...
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A bit of both, but the fact that its disaster movie mechanics are so believable, even when you know full well there’s a man inside that heavy monster suit (shout out to Katsumi Tezuka) is down to the stony-faced sincerity with which Ishiro Honda conducts his opera of destruction. He ...