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Tag Archive: Fathom Events


Review by C.J. Bunce

This weekend one of the greatest American film classics celebrated its 30th anniversary across the U.S.  Thirty years later and Phil Alden Robinson′s Field of Dreams still holds up.  But thirty years is a long time, and my umpteenth viewing for Fathom Events and Turner Classic Movies theatrical release for Father’s Day netted even more new thoughts about one of my all-time favorite movies.  I can’t think of a better Father’s Day movie, but if you missed it in the theater this weekend, you have one more day and two showings to catch it before it goes back in the vaults until its next anniversary.  Find out more about tomorrow’s two screenings and find your local participating theater at the Fathom Events website for the anniversary event here.  TCM host Ben Mankiewicz adds some film trivia before and after the screening–he’s a great host for these anniversary events.

Not even two minutes pass before Kevin Costner′s Ray Kinsella hears the ghostly words from afar that set the story into motion: If you build it, he will come.  From there, Robinson’s tightly written, major re-work of the W.P. Kinsella novel Shoeless Joe is non-stop magic (check out my retro review of the novel here at borg earlier this year where I compare it to the film).  It’s accompanied by James Horner′s sweeping, emotional score that will jerk you around from ghost story surprise to epic cross-country adventure and back to quiet, pastoral personal drama.  You can go back and scratch your head over the actual films that won Academy Awards over Field of Dreams for 1989–it was nominated for Best Picture, Best Adapted Screenplay, and Best Score.  You’ll find Field of Dreams is the only film that stuck with audiences three decades later, airing almost weekly now on cable channels, confirming its place in the Library of Congress’s film recognition and at the top of the American Film Institute’s rankings more than once.

It’s the rare film like Field of Dreams that begs for there to be an Academy Award for best casting.  Margery Simkin, the casting director for films from Beverly Hills Cop to Top Gun to Star Trek Discovery deserves a salute for getting every role just right.  Kevin Costner never veers from pure immersion into this new farmer wanting to follow his gut instincts.  Amy Madigan plays the perfect supportive partner and wife to Ray.  Gaby Hoffman is smart for her age as Ray’s daughter and a true credit to the film.  Director/writer Phil Alden Robinson should share in the brilliant updating the novel character from real-life J.D. Salinger to the fictional Terence Mann–audiences know James Earl Jones so well from Star Wars, yet here we get the benefit of his powerfully emotional eyes and that broad smile and laugh.  I always look forward to Ray Liotta′s steely stare, his knowing calmness, and his snarky laugh-out-loud dismissal of Ty Cobb.  Keeping with the novel and my take from past viewings, Archie Graham brings the magic home as the crucial piece of the puzzle driving the story to its end, played young and eager in a 1920s mindset by the great Frank Whaley and in his later years as a wise small-town doctor by film legend Burt Lancaster.  The quaint beauty of Dubuque, Iowa, made for the perfect backdrop to film Graham’s hometown of Chisholm, Minnesota, for these scenes.

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Seven years ago the writers at borg came up with our top ten favorite fantasy movies (take a look at my list here).  I’m happy to see that my list hasn’t changed much.  Two of my top ten fantasy movies are returning to theaters nationwide for limited showings.  First, Field of Dreams (my #6 favorite), is back next week, followed in July by The Muppet Movie (my #3 favorite).  Celebrating its 30th anniversary, Field of Dreams will be in theaters for Fathers’ Day, an opportunity to share the ultimate story of believing in yourself and trusting your instincts with a new generation.  It’s scheduled to appear at more than 600 theaters.  Then celebrating the 40th anniversary of The Muppet Movie, Fathom Events is partnering with The Jim Henson Company and Universal Pictures to show the classic big-screen debut of the Muppets on more than 700 screens nationwide.

Fathom Events joins Universal Pictures and Turner Classic Movies to bring Field of Dreams to theaters Sunday, June 16, for showings at 1:00 p.m. and 4:00 p.m. local time, and Tuesday, June 18, at 4:00 p.m. and 7:00 p.m. local time.  Director Phil Alden Robinson′s re-write of W.P. Kinsella’s novel Shoeless Joe (reviewed here at borg), features three of cinema’s most fantastic characters coming together: reclusive author Terence Mann (James Earl Jones), baseball player Archibald “Moonlight” Graham (Burt Lancaster and Frank Whaley) and “Shoeless Joe” Jackson (Ray Liotta).  It was nominated for six–and made three–of the American Film Institute’s lists of the top American films of all time, including being named the all-time #6 top fantasy film.

For two days only this July, The Muppet Movie returns with screenings on Thursday, July 25, and Tuesday, July 30.  The Muppet Movie will play at 12:30 p.m. and 7 p.m. (local time) each day.  Following the international success of the television show The Muppet Show, which at its peak aired in more than 100 countries, Muppets creator Jim Henson took a creative risk to have the characters star in their first motion picture.  The result, directed by James Frawley, became a box-office hit, starring Kermit (performed by Henson), Miss Piggy and Fozzie Bear (performed by Frank Oz), Gonzo (performed by Dave Goelz) and his chicken Camilla (performed by Jerry Nelson), Scooter (performed by Richard Hunt), and dozens of other favorite characters.

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With the 40th anniversary of Ridley Scott’s Alien in full swing, yesterday for Alien Day 2019 we only scratched the surface of what is coming your way this year by way of non-fiction and fiction offerings about the film and franchise.  But before we get to previews, you’re not going to want to miss Alien returning to the theaters October 13, 15, and 16, 2019.  Fathom Events is again partnering with TCM Big Screen Classics for this big event.

 

The biggest news from the publishing front arrives this fall.  Titan Books is releasing Alien: 40 Years/40 Artists, an artistic tribute to the sci-fi horror masterpiece Alien.  Forty artists, filmmakers, and fans have been invited to contribute a piece of original art to commemorate the 40th anniversary.  Pieces range from alternative posters to gothic interpretations of key scenes.  Sketches, process pieces, and interview text accompany each new and unique nightmare.  In addition to cover artist Dane Hallett—an Alien: Covenant concept artist—the contributors include Blade Runner 2049 director Denis Villeneuve, Sam Hudecki, Tanya Lapointe, Star Wars concept artist and creature designer Terryl Whitlatch, Kong: Skull Island director Jordan Vogt-Roberts, and Jon Wilcox.

Tim Waggoner, one of the best tie-in writers of fiction is back with Alien: Prototype, where we find corporate spy Tamar Prather stealing a Xenomorph egg from Weyland-Yutani, taking it to a lab facility run by Venture, a Weyland-Yutani competitor.  Former Colonial Marine Zula Hendricks—now allied with the underground resistance—infiltrates Venture’s security team.  When a human test subject is impregnated, the result is a Xenomorph that, unless it’s stopped, will kill every human being on the planet.  You can pre-order Alien: Prototype now here at Amazon.

Three more new Alien books are in the works for this year.  Below we have your first look at Alien: The Blueprints.

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It’s a twofold celebration:  It’s not only the 80th anniversary of the first appearance of Batman, it’s also the 30th anniversary of director Tim Burton’s visionary film, 1989’s Batman, starring Michael Keaton, Jack Nicholson, and Kim Basinger.  On this year’s Free Comic Book Day, May 4, Fathom Events has pulled together the first of the four original Warner Brothers Batman movies: Burton’s Batman and Batman Returns, and Joel Schumacher’s Batman Forever and Batman and Robin.  The four Bat-films will screen over four days as part of Fathom Events’ Batman 80th anniversary marathon.

My sister and I saw Batman on its opening night in June 1989, and stayed in our seats to watch it again.  The crowd erupted at every scene that revealed something iconic from the comics, but nothing compared to the ovation with the first appearance of the new Batmobile.  The excitement makes sense–audiences hadn’t been dazzled with superheroes on the screen in this way since Christopher Reeve appeared in 1977’s Superman, more than a decade before.  On the heels of Frank Miller’s success with the surprisingly dark and gritty four-issue mini-series The Dark Knight Returns in 1986, it was still a surprise when audiences got their first glimpses at Burton’s similarly dark, Gothic vision for the film.  His choice of then comedic actor Michael Keaton for Bruce Wayne and Batman drew the same kind of ire as any outside-the-box announcement today.  But Keaton was trying to show he had a different side, as demonstrated by his recent dark and outrageous role in Beetlejuice followed by his dramatic film Clean and Sober.  As for Jack Nicholson, everyone just wanted to seem him play the role his smile was made for, as the crazed, maniacal, murderous jokester The Joker.

So if you missed them the first time, you get Danny Elfman′s defining theme, plus Michael Keaton, Val Kilmer, and George Clooney as Batman, Alicia Silverstone as Batgirl, Chris O’Donnell as Robin, plus an arsenal of villains: Jack Nicholson as The Joker plus Michelle Pfeiffer as Catwoman, Danny DeVito as The Penguin, Jim Carrey as The Riddler, Tommy Lee Jones as Two-Face, Uma Thurman as Poison Ivy, and Arnold Schwarzenegger as Mr. Freeze.  And all four movies have in common Michael Gough as Alfred and Pat Hingle as Commissioner Gordon.

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In the summer of 1979, Ridley Scott revealed the next evolution in science fiction and horror with his landmark creation Alien Thanks to Star Wars art director Roger Christian, audiences saw the first lived-in look into our future, a sci-fi world that felt more realistic than nearly any sci-fi movie before it (space fantasy Star Wars excluded).  Dismissing the brand new, antiseptic look of 2001: A Space Odyssey, it was Christian’s realism and H.R. Giger‘s creepy creations that made the scares of Alien that much more jolting.  Arriving for the 40th anniversary of Alien, go-to behind-the-scenes movie book writer J.W. Rinzler is back after last year’s The Making of the Planet of the Apes (reviewed here at borg), with his next book, The Making of Alien.

Emerging first from the mind of writer Dan O’Bannon, Alien would become one of the most memorable sci-fi/horror thrillers of all time.  The film brought us Academy Award-winning concept art, new alien monsters, gore, ships, and other spectacular effects thanks to Giger, Carlo Rambaldi, Brian Johnson, Nick Allder, and Dennis Ayling, and groundbreaking set work by Christian, Michael Seymour, Leslie Dilley, and Ian Whittaker.  Including new interviews with Ridley Scott and other key staff from the original production crew and featuring many never-before-seen photographs and artworks from the Fox archives, The Making of Alien promises to be the definitive work on this masterpiece of sci-fi/horror.

Above and following are some preview pages from The Making of Alien Pre-order The Making of Alien now here at Amazon, and come back this summer for our review here at borg:

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When we created last year’s preview of 2018 movies we were pretty sure we were going to have some great movies this year, but we were surprised by what ended up being the best.  All year we tried to keep up with what Hollywood had to offer and honed in on the genre content we thought was worth examining.  We went back and looked at it all and pulled together our picks for our annual Best Movies of 2018.

GenredomAs always, we’re after the best genre content of the year–with our top categories from the Best in Movies.  There are thousands of other places that cover plain vanilla dramas and the rest of the film world, but here we’re looking for movies we want to watch.  What do all of this year’s selections have in common?  In addition to those elements that define each part of genredom, each has a good story.  Special effects without a good story is not good entertainment, and we saw plenty of films this year that missed that crucial element.

Come back later this month for our TV and print media picks, and our annual borg Hall of Fame inductees.  Wait no further, here are our movie picks for 2018:

Best Film, Best Drama – Bohemian Rhapsody (20th Century Fox).  For the epic historical costume drama category, this biopic was something fresh and new, even among dozens of movies about bands that came before it.  Gary Busey played a great Buddy Holly and Val Kilmer a perfect Jim Morrison, and we can add Rami Malek and Gwilym Lee’s work as Freddie Mercury and Brian May to the same rare league.  But it wasn’t only the actors that made it work.  Incredible cinematography, costume and set recreations, and an inspiring story spoke to legions of moviegoers.  This wasn’t just another biopic, but an engaging drama about misfits that came out on top.  Honorable mention: Black Panther (Disney/Marvel).

Best Sci-fi Movie, Best Retro Fix, Best Easter EggsSolo: A Star Wars Story (Disney/Lucasfilm).  Put aside the noise surrounding the mid-year release of Solo before fans had recovered yet from The Last Jedi, and the resulting film was the best sequel (or prequel) in the franchise since the original trilogy (we rate it right after The Empire Strikes Back and Star Wars as #3 overall).  All the scenes with Han and Chewbacca were faithful to George Lucas’s original vision, and the new characters were as cool and exciting, and played by exceptional talent, as found in the originals, including sets that looked like they were created in the 1970s of the original trilogy.  The Easter Eggs scattered all over provided dozens of callbacks to earlier films.  This was an easy choice: no other science fiction film came close to the rip-roaring rollercoaster of this film, and special effects and space battles to match.   Honorable mention for Best Sci-Fi Movie: Orbiter 9 (Netflix).

Best Superhero Movie, Best Crossover, Best Re-Imagining on Film Avengers: Infinity War (Disney/Marvel).  For all its faults, and there were many, the culmination of ten years of careful planning and tens of thousands of creative inputs delivered something no fan of comics has ever seen before:  multiple, fleshed out superheroes played by A-list actors with intertwined stories with a plot that wasn’t all that convoluted.  Is it the best superhero move ever?  To many fans, yes.  But even if it isn’t the best, its scope was as great as any envisioned before it, and the movie was filled with more great sequences than can be found in several other superhero movies of the past few years combined.  But teaming up Thor with Rocket?  And Spider-Man with Doctor Strange and Iron Man?  That beat all the prior Avengers team-ups that came before (and anything offered up from the other studios).  It’s easy to brush off any given film with so many superhero movies arriving these days, but this one was the biggest, grandest, and greatest made yet and deserves all the recognition.  Honorable mention: Spider-Man: Into the Spider-Verse (Sony Pictures Animation), Black Panther (Disney/Marvel).

Best Fantasy Movie, Best Comedy MovieJumanji: Welcome to the Jungle (Columbia Pictures).  No movie provided more laugh-out-loud moments this year than last winter’s surprise hit, a sequel that didn’t need to be a sequel, and a video game tie-in for a fake video game.  A funny script and four super leads made this an easy pick in the humor category, but the Raiders of the Lost Ark-inspired adventure ride made for a great fantasy film, too.  Honorable mention for Best Fantasy Movie: Black Panther (Disney/Marvel), Ready Player One (Warner Bros./Amblin).

Best Movie Borg, Best Borg Film – Josh Brolin’s Cable, Deadpool 2 (20th Century Fox).  Brolin’s take on Cable ended up as one of those great borgs on par with the Terminator from the standpoint of “coolness” factor.  But the trick that he wasn’t really the villain of the movie made him that much more compelling in the film’s final moments.  Ryan Reynolds was back and equal to his last Deadpool film, and his Magnificent Seven/Samurai Seven round-up of a team was great fun.  If not for all that unwinding of what happened in the movie in the coda, this might have made the top superhero movie spot.  But Deadpool 2 was a good reminder there is something other than Disney’s MCU to make good superhero flicks.

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With Spirited Away, director Hayao Miyazaki transported Japanese anime into the mainstream consciousness in the United States.  A dramatic fantasy story with gravitas and an incredible journey, Spirited Away would win the Oscar for Best Animated Film–Miyazaki’s only Oscar (except his lifetime honorary Oscar).  A modern fable in the classic tradition, 17 years ago audiences first met Chihiro Ogino, a brave ten-year-old girl not happy with her parents moving her into a new neighborhood.  But when she wanders off, she finds herself trapped in a world of spirits, beasts, and uniquely imaginative surprises.  Wondrous, curious, and even grotesque, something of everything is tucked into Spirited Away.

Spirited Away is not just any other movie.  Like Nausicaa and the Valley of the Wind, the film transcends the typical use of animated cinema, providing the kind of experience that will leave audiences discussing it long afterward.  Critics across the globe lined up in agreement–not only was it the highest grossing film in Japan’s history, the critical acclaim seems to know no end.  In 2016 it was listed as the fourth best film of the 21st century as picked by 177 international film critics.  Last year the New York Times called it the second best film of the century so far.

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The film is back in theaters for a limited three-day release beginning tonight as part of the Fathom Events series, in partnership with Studio Ghibli and GKids.  Spirited Away follows the brave young girl who enters a spirit world to rescue her parents and herself.  It is an incredible fantasy, with dark undertones about real-world concerns including human greed, borrowing from classic children’s stories Alice in Wonderland, The Wizard of Oz, and Pinocchio.  It offers spectacular characters and is a story of great courage.

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You’ll believe a car can fly.

Before there was a Fast and the Furious series, before Baby Driver, before Clint was Dirty Harry, before Smokey met the Bandit, or before Max ever got mad, there was Steve McQueen in Bullitt You may try but you’re unlikely to conjure up a film that defines cool more than McQueen does as a San Francisco cop trying to protect a witness in a major case.  For 50 years the Oscar-winning car chase (from editor Frank B. Keller) has topped best action scene lists from film critics and everyone else.  Robert Vaughn was hardly better than as the demanding Senator Chalmers.

The music of the great Lalo Schifrin (Mission: Impossible, The Man from U.N.C.L.E., Mannix, Starsky and Hutch, Planet of the Apes) perfectly encapsulates the era, complete with a jazz flute interlude.  There’s a reason Hollywood kept returning to Schifrin for action movie scores, like Kelly’s Heroes, Enter the Dragon, Brubaker, Charley Varrick, Cool Hand Luke, THX 1138, and the Dirty Harry and Rush Hour movies–the music is that memorable.  We are lucky to have a dozen great Steve McQueen movies to re-visit, and this is one of the best.  Plus you can only look to James Bond movies for an opening credits montage as cool as you’ll find in Bullitt.

You have two more chances to see Bullitt in the theater for its 50th anniversary re-release.  And that’s today, October 9, at 2 p.m. and 7 p.m. local time.  Get tickets now and check theaters availability at the Fathom Events website, www.FathomEvents.com.

Don’t miss it!

C.J. Bunce
Editor
borg.com

Some of the very best genre favorites are heading back to the big screen in September and October, with many screenings celebrating some landmark anniversaries.  All of the films are part of the Fathom Events series (see FathomEvents.com for local listings), bringing classic movies to theaters as a retrospective treat for fans and an opportunity to introduce a new generation to some of Hollywood and Japan’s significant achievements in film.  So if you’re looking for your sci-fi/adventure/suspense fix, it’s on its way, along with one of the best fantasy films of all time, an animated movie milestone, and the film that defined cool in the 1960s.

First in theaters is Steven Spielberg’s adaptation of Michael Crichton’s sci-fi novel of archaeology meeting the future in Jurassic Park Throw all the sequels out the window, this is the only entry in the franchise you need to see.  One of film’s greatest moments was Spielberg’s first full-screen of a modern Earth populated with dinosaurs.  John Williams provided one of his most memorable themes.  And Samuel L. Jackson told us all to hold onto our butts as he shut down the park’s security system.  It’s really been 25 years since we first saw a dinosaur in the rearview mirror.  You’ll have too many reasons to see this one on the big screen again or for the first time, and no reason not to.  It’s showing Sunday, September 16, Tuesday, September 18, and Wednesday, September 19 nationwide.

Then, as part of Studio Ghibli Fest 2018, the enchanting and beloved Hayao Miyazaki anime classic My Neighbor Totoro is back.  Join Satsuki, Mei, Granny, everyone’s friend Totoro, and the fantastic Cat Bus for an imaginative fantasy adventure story.  It’s been called delightful, strange, extraordinary, and magical.  It’s all that and more.  Audiences will have two options for watching Totoro, either the original Japanese version with English subtitles on Monday, October 1, or the American dubbed version featuring the young sister voice actors Dakota and Elle Fanning, Sunday, September 30, or Wednesday, October 3.

Before there was a Fast and the Furious series, before Baby Driver, before Clint was Dirty Harry, before Smokey met the Bandit, or before Max ever got mad, there was Steve McQueen in Bullitt.  You may try but you’re unlikely to conjure up a film that defines cool more than McQueen does as a San Francisco cop trying to protect a witness in a major case.  For 50 years the Oscar-winning car chase (from editor Frank B. Keller) has topped best action scene lists from film critics and everyone else.  Robert Vaughn was hardly better than as the demanding Senator Chalmers.  The music of the great Lalo Schifrin (Mission: Impossible, The Man from U.N.C.L.E., Mannix, Starsky and Hutch, Planet of the Apes) perfectly encapsulates the era, complete with a jazz flute interlude.  There’s a reason Hollywood kept returning to Schifrin for action movie scores, like Kelly’s Heroes, Enter the Dragon, Brubaker, Charley Varrick, Cool Hand Luke, THX 1138, and the Dirty Harry and Rush Hour movies–the music is that memorable.  We are lucky to have a dozen great Steve McQueen movies to re-visit, and this is one of the best.  Plus you can only look to James Bond movies for an opening credits montage as compelling as you’ll find in Bullitt.

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Forty years ago this weekend, the soundtrack to the movie Grease was released in stores, two months in advance of the premiere of the movie.  Singles from the LP, “Grease,” and “You’re the One That I Want,” went to #1 in the United States, while “You’re the One That I Want,” and “Summer Nights” went to #1 in the UK, “Hopelessly Devoted to You” and “Sandy” went to #2 in the UK, and “Grease” made it to #3 in the UK.  Back in 1978, even in advance of the movie, the radio was playing these songs and every teenager knew the words to this musical set in the 1950s with a disco beat.

The Bee Gees lead Barry Gibb wrote the song “Grease,” released on the album on the heels of The Bee Gees’ megahit album Saturday Night Fever from only a few months back in November 1977–still unsurpassed as the best selling soundtrack album of all time.  The song “Grease” also includes guitar work by Peter Frampton.  Five of the 24 tracks feature vocals by the film’s leads John Travolta and Olivia Newton-John, with six performed by 1950s throwback group Sha Na Na.

Grease, the movie, expanded on the success of both Happy Days and American Graffiti, and the 1970s nostalgia for the late 1950s and early 1960s.  Fathom Events and TSM Big Screen Classics brought Grease back to theaters this week and you have one final opportunity to catch a screening this Saturday, April 14, 2018.  Check your local listings and the Fathom Events website here for details.  Released in June 1978, Grease became the highest grossing musical film ever, and forty years later it holds a spot in fourth place.

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