In the season finale of the YouTube series Reunited Apart with Josh Gad, the core cast of John Hughes’s Ferris Bueller’s Day Off (1986) joined together for the first time in thirty-four years, according to NBC Chicago. Matthew Broderick, Jennifer Grey, Alan Ruck, Mia Sara, Cindy Pickett, Lyman Ward, as well as Ben Stein all hopped onto a Zoom call with Gad. Broderick, who hadn’t seen Ruck in at least fifteen years, told Gad about how he hurt his knee before shooting the parade scene, before the cast went on to act out iconic scenes from the cult classic.
Between violent confrontations with police in protests over George Floyd’s death, the COVID-19 pandemic, as well as record unemployment rates, there is little to celebrate about this year’s Pride Month, according to The New York Times. This isn’t to say all Pride events are canceled or postponed, because many can still be enjoyed online, such as virtual drag shows, benefit concerts, and, of course, “entertaining and evocative” films about the queer community and its history. Seven of these movies are: Arthur J. Bressan Junior’s Gay USA (1977); Greta Schiller and Robert Rosenberg’s Before Stonewall (1984); Christopher Ashley’s Jeffrey (1995); Gus Van Sant’s Milk (2008); Matthew Warchus’s Pride (2014); Robin Campillo’s BPM (Beats Per Minute) (2017); and David France’s The Death and Life of Marsha P. Johnson (2017).
As protests continue to rage over the death of George Floyd, Black social justice leaders as well as scholars urge people wanting to make a change to educate themselves on systemic racism through books, conversations, movies, and documentaries, according to ABC. Doctor Creshema Murray, founding fellow at The Center for Critical Race Studies at the University of Houston-Downtown, published her first book in 2018, Leadership Through The Lens: Interrogating Production, Presentation, and Power. “Television and film is a way for us to disconnect from what’s happening in the real world, but it’s also a tool for us to understand,” says Doctor Murray.
The Guardian critic Erik Morse was twelve years old when he saw a heavily edited version of Brian De Palma’s Dressed to Kill (1980) for the first time on late-night television. According to Morse, in the decade before the film started appearing regularly on cable as well as video rentals, the Italian “giallo,” the genre from which De Palma borrows most heavily, had been followed up by low-budget slashers and erotic thrillers. Morse writes, “Dressed to Kill’s kaleidoscopic atmosphere – its watery, soft-focus lens, garish colour palette and flashy, optical tricks such as slow-motion, mirrored surfaces, split screens and dioptres – was a feast for my languorous, pre-teen senses.”
After meeting with a panel of five filmmakers yesterday, California Governor Gavin Newsom has announced he will issue guidelines Monday for film and television companies to resume production in the wake of the novel coronavirus pandemic, according to The Mercury News. Among those sitting on the panel were director-producer Ava DuVernay, as well as Netflix chief content officer Ted Sarandos. DuVernay, who lost a family member and a crew member to COVID-19, says the quarantine has had positive impacts on the filmmaking process, such as virtual writers rooms, in addition to fewer cast and crew crowding together on sets.
After more than two years of campaigning on social media under the hashtag #ReleaseTheSnyderCut, fans of the DC Extended Universe will get to stream the director’s cut of Zack Snyder’s Justice League (2017) on HBO Max in 2021, according to Fox Business. During the production of the film – which stars Ben Affleck as Bruce Wayne, uniting some of the world’s most famous characters to face an apocalyptic threat – Snyder’s daughter committed suicide, forcing him to leave the production while Joss Whedon reportedly reshot the movie. Snyder told The Hollywood Reporter today, “You probably saw one-fourth of what I did.”
Spike Lee’s Do the Right Thing (1989) – written as well as produced by the filmmaker, and starring Danny Aiello, Ossie Davis, Ruby Dee, John Turturro, Samuel L. Jackson, and Lee himself – is one of the greatest films of all time, according to Far Out Magazine. Regardless, the racially charged release was only nominated in two categories at that year’s Academy Awards (Best Supporting Actor and Best Original Screenplay), winning neither. Some critics said the movie could “incite black audiences to riot,” to which Lee responded, “I don’t remember people saying people were going to come out of theatres killing people after they watched Arnold Schwarzenegger films.”
In celebration of Alien Day in April, The Guardian critic Ben Child ranked the eight films in the classic science fiction series from worst to best. Beginning with Paul W. S. Anderson’s Alien vs. Predator (2004) as well as Colin and Greg Strause’s Alien vs. Predator: Requiem (2007) tied for last, Child argues James Cameron’s Aliens (1986) surpasses Ridley Scott’s Alien (1979) as the greatest installment in the saga. Child writes, “Final mention, however, goes to Scott’s original Alien… At the time, there had simply been no more terrifying movie ever made by Hollywood, while [Sigourney] Weaver delivered a career-making performance.”
Lifetime unveiled this year’s “It’s a Wonderful Lifetime” holiday film lineup, which includes a movie starring a ninety-eight-year-old Betty White, according to CBS News. In the movie, White will play a character who “helps whip would-be Santas into shape, spreading the true meaning of Christmas,” which leads the rest of the cast to wonder if she’s secret Mrs. Claus. Despite the coronavirus pandemic, the twenty-eight holiday pictures are all in various stages of production, with the first set to premiere October 25 – Marie Osmond, Kelly Rowland, Melissa Joan Hart, as well as Mario Lopez will also appear in their own titles.
Pamela Hutchinson, writing for The Guardian, reviewed Federico Fellini’s 8½ (1963) after seeing it for the first time. According to Hutchinson, Fellini’s surrealist comedy-drama about a creatively blocked filmmaker named Guido Anselmi (Marcello Mastroianni) is inspired by the director’s own… well… lack of inspiration and it is “an easy film to admire from the off… fluid and dreamlike.” However, Hutchinson takes issue with the film’s representation of Guido’s mistress, wife, and star, “mostly buxom and/or bothersome,” who appear in one of his fantasies as a harem of women who bathe him like an infant until he attacks them with a whip.