An erotic underwater love scene, the cheap but colorful motels of the displaced, a tennis match with more than a trophy at stake: Three cinematographers explain how they got their shots, and why they mattered.
In the Martin Scorsese-produced shoot ’em up “Free Fire,” South African actor Sharlto Copley plays Vern, a narcissistic gunrunner in a polyester suit who’s prone to a certain behavioral grandiloquence.
The opening set piece in Paramount’s “Ghost in the Shell” should be soothingly familiar to those who love Masamune Shirow’s groundbreaking manga comic book on which the live-action 3-D movie adaptation was based — at least, insofar as any on-screen shoot ’em up can reasonably evoke fan nostalgia.
Veteran movie producers Jennifer Todd and Michael De Luca landed the job producing next week’s Oscars telecast by pitching the academy a novel concept: They wanted to bring “an overarching tone of joy.”
More than three decades into one of Hollywood’s most blue-chip movie careers, two-time Oscar winner Tom Hanks has entrenched himself in the public imagination as a baby-boomer version of Jimmy Stewart: an über-American avatar of unimpeachable decency and everyman triumphalism with a shelf full of acting awards and a real-life Presidential Medal of Freedom to prove it.