«Far From the Madding Crowd,»
another remake of an older film — the original with Julie Christie and Alan Bates came out in 1967 — went from 576 to 865 theaters and will bring in $ 2.8 million in its fourth week for Fox Searchlight.
«Far From the Madding Crowd,»
another remake of older film — the original with Julie Christie and Alan Bates came out in 1967 — went from 576 to 865 theaters and brought in $ 606,000 in its fourth week for Fox Searchlight.
Not exact matches
Among the top five
films of 2016 was The Jungle Book, a
remake of a 49 - year -
old movie.
Remakes of grand
old films are to be discouraged, but director Philip Kaufman gets away with this one on style and verve.
Echols thought the movie was bad, but I'll bet he will be tempted, for
old time's sake, to see two other
remakes of films he remembers from before his fall: Footloose and The Thing.
Personally I haven't seen the
old film, but enjoyed the
remake, Keanu Reeves fits the character perfectly it's his type
of role.
Garrett has also been in
films such as 2009's horror
remake of «Last House on the Left» and The Coen Brothers» «No Country for
Old Men».
The 79 - year -
old writer - director - actor was accompanied by two
of the
film's stars, Emma Stone and Parker Posey, but it was Allen who held court during the 40 - minute press conference, speaking on a number
of topics including world philosophy,
remaking his own work and his upcoming Amazon Studios TV series.
Medium jumps are never an easy thing to do, whether it's today's commonplace practice
of remaking an
old television series as a
film residing between homage and parody, or as in the case
of The Muppet Movie, simply bringing characters who found popularity on TV to a cinema audience.
The
film was a sizeable success, but instead
of continuing to put twists on
older films, Disney instead started straight - up
remaking them.
Ann Sheridan, with lots
of oomph, takes over Bette Davis»
old role (and Jeanne Eagels») in this Americanized
remake of the
film versions
of the classic W. Somerset Maugham short story «The Letter.»
It's a very
old - fashioned kind
of film, a
remake of a 1942 Italian
film Four Steps in the Clouds (Quattro Passi fra le Nuvole), and with the exception
of some more modern themes and overall sexiness, this update probably could have been made without much alteration back then as well.
The nominees are Herman Yau's bomb disposal actioner Shock Wave, which is a fun
old school Hong Kong
film but not really a serious contender, Wilson Yip's Paradox, which is also quite a good action
film (it may be part
of the SPL series) and has a better chance but probably not, and Chasing the Dragon, which I haven't seen yet but also chases that early 90s Hong Kong vibe (it's kind
of a
remake of 1992 Best
Film winner To Be Number One).
But rather than merely update the
old formula with new effects, along the lines
of last year's Ghostbusters
remake, the
film instead becomes a cute romance, as Babyjohn accidentally turns a pretty vampire girl almost human.
Darkness comes thisclose to reaching sci - fi classic status, but the screenwriters opt to pay homage to
old stories instead
of charting their own path making it feel more like a
remake and not the fresh start suggested by the 2009
film.
Despite the uptick in
remakes, it's extremely difficult to identify a few dozen great ones — particularly when you exclude movies like The Thing, which represent the second attempt at adapting a novel — and yet we can't deny that some
of the greatest
films ever made wouldn't have been possible without slapping a new paint job on an
old chassis.
THE LADYKILLERS (Grade: D): This Coen brothers
remake of the classic 1955 British comedy — with Tom Hanks in the Alec Guinness role as the leader
of a gang
of crooks who plan a heist in the home
of a dotty
old woman (Irma P. Hall)-- not only misses all the wit and charm
of the original, but it may stand as the clumsiest, crudest, least funny and most pandering
of all their
films.
It's almost a miracle that despite numerous problems — a cultural context that's implausible, characters that are too
old, a cast - against - type Richard Gere, a wooden Jennifer Lopez, clumsy direction — that Shall We Dance the American
remake of the 1996 Japanese hit, is an enjoyable
film.
This setting allows Bay and writer Ehren Kruger (who wrote two good movies over a decade ago — Arlington Road and The Ring — before descending into Hollywood hackdom) the
films only flourish
of ironic «wit» — the crotchety
old gent theatre owner (great character actor Richard Riehle, wasted here) complains that all they make sequels and
remakes nowadays.
Villeneuve just didn't
remake the original
film, like a remaster
of an
old Frank Sinatra song.
«PETE»S DRAGON» — Disney's
remake of a ’77
film that most wouldn't call a classic was a refreshing,
old - fashioned adventure not just for kids.
A
remake of sorts
of the 1969
film La Piscine, A Bigger Splash tells the story
of ageing rock star Marianne Lane (Tilda Swinton) and her younger lover Paul (Schoenaerts) who, while vacationing on the volcanic island
of Pantelleria, are unexpectedly joined by hirsute
old flame Harry (Fiennes) and his daughter Penelope (Dakota Johnson).
With all the hype and controversy surrounding the idea
of remaking «Ghostbusters» with female stars, the idea
of judging the new movie on its own merits, instead
of comparing it to the 32 - year -
old original — arguably one
of the 10 funniest and most original
films ever made — is laughable.
She remembers bits
of old Tarantino
films, and then proceeds to
remake them in brash, story - boardy constructions, complete with pink Cadillacs with their diabolically dangerous yellow headlights and a grease - quiffed gangster.
Yet, while Made in L.A. appeared as diverse and sprawling as the city whose art it presented, it might also be argued that the bulk
of the work on view extended four familiar (and familial) lineages
of Los Angeles art that were well represented in «PST»: hard - edge abstraction (represented here in paintings by Brian Sharp and Alex Olson and painterly objects by Lisa Williamson and Brenna Youngblood), found - object assemblage (in the work
of Liz Glynn, Ry Rocklen, Henry Taylor, and Erika Vogt, among others), eclectic performance practices (including live pieces by Math Bass, Kenyatta A. C. Hinkle, and Ashley Hunt, as well as the collective Slanguage's array
of community - based works at LAXART), and
film and video projects that pointed, more or less, to the looming shadow
of Hollywood (e.g., Miljohn Ruperto's Seven and Five, 2012, which includes multiple
remakes of a 1961 episode
of the TV show Alfred Hitchcock Presents, and Dan Finsel's The Space Between You and Me, 2012, for which the artist restaged Farrah Fawcett and Keith Edmier's decade -
old roll in the clay).
One is a personal retrospective
of the Super-8
films the artist created during his first two decades
of art making; another comprises two portraits, one
of an
old Thai farmer ritualistically toiling through the day and the other
of a European artist at work; finally, and most poignantly, a frame - by - frame
remake of the great German
film - maker Rainer Werner Fassbinder's key
film Ali: Fear Eats the Soul (1974).
In this work Shulie (1997) Subrin
remade, almost shot for shot, a rediscovered 1967
film produced by four male graduate students about a young female art student, 22 year -
old Shulamith Firestone, in an attempt to create a portrait
of the «Now» generation.