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(Aotn)-Ok, Smt Heads, you’ve waited til the midnight hour for your Thursday Trailer fix… And the night time is the right time! The red band trailer for the craziest, new indie spoof “Snake Outta Compton” has smacked the interwebs hard. So, let’s get in on the fun!

Check the red band trailer right now: Warning: Explicit Language

Coming Attractions: And now for something completely different for Thursday Trailers!

John Carpenter’s Tales of Science Fiction: Vortex #1 is the newest comic offering from the Horror Movie Master and his collaborators. Check out the book trailer here:

With all communication lost from a mining asteroid, space station Benson dispatches a rescue ship to investigate. What the team discovers threatens not only to overwhelm and destroy them, but could ultimately threaten all life on Earth. Vortex is the second story of John Carpenter’s monthly anthology series Tales of Science Fiction.

Imagine that you’re one of the most powerful people in the film business. The sun is just starting to set on another ominously hot September day, but everything looks beautiful and infinite through the floor-to-ceiling windows of your sleek Hollywood office. It wouldn’t be accurate to say that you’re living the dream, because even your wildest fantasies were never this good. The check you got to direct your second “Star Wars” movie had so many digits on it that it looked more like a business card, and the next check someone writes you is going to be blank. And then — pop! — it happens. You get another one of those magical Big Ideas that minted you as a modern titan: What the world truly needs right now is another live-action American remake of a phenomenally popular Japanese anime.

Perfect. A foolproof plan. Sure, Netflix wouldn’t tell you...

Every week, IndieWire asks a select handful of film and TV critics two questions and publishes the results on Monday. (The answer to the second, “What is the best film in theaters right now?”, can be found at the end of this post.)

This week’s question: In honor of the bone-crunching “Atomic Blonde,” what is the greatest movie fight scene?

Read More‘Atomic Blonde’: How They Turned One Amazing Action Scene Into a Seven-Minute Long Take Erin Oliver Whitney (@cinemabite), ScreenCrush

I’ve got a soft spot for wuxia so the “best fight scene” immediately evokes Zhang Yimou in my mind. I could list every fight in “Hero,” sequences so spellbindingly beautiful and graceful you forget you’re watching violence. The bamboo forest battle from “House of Flying Daggers” is another all-timer, a mesmerizing fight that almost entirely takes place in the air. And the bone-crunching, table-smashing...

By David Kozlowski | 21 July 2017

Welcome to Issue #5 of The Lrm Weekend, a weekly column highlighting cool and unique videos about film, TV, comics, Star Wars, Marvel, DC, animation, and anime. We also want to hear from you, our awesome Lrm community! Share your favorite videos to: @LRM_Weekend and we'll post your Tweets below!

Previous Issue: 7.14.17

What's happening everybody? It's Comic-Con week here at Lrm, so while everyone else is geeking-out down in San Diego, we decided to get a little bit weird. We're digging into some classic John Carpenter films, we've got a couple truly amazing fight scenes, a war film that can go toe-to-toe with Dunkirk, and an awesome new behind-the-scenes video about this holiday's Star Wars: The Last Jedi! Have a great Weekend guys!!!

Why do we love superheroes, martial arts, fantasy, and sci-fi? The big fight scenes, of course. Every week we'll bring you an epic...

To read The National Review’s “Politically Incorrect Guide Memorial Day Movies” is one of those moments where you seriously wonder if conservatism in the Trump Era isn’t just one big episode of “Punk’d.” Written by Arthur Herman, a senior fellow at the Hudson Institute, the list was an attempt to highlight war movies for conservatives to watch on Memorial Day – many of which are fantastic – but are bizarrely packaged and advertised as movies that will piss off liberals.

Read More: ‘Dunkirk’ Trailer: Christopher Nolan Says It’s ‘Not a War Film,’ But It Still Looks Unbearably Intense

“These movies portray serving one’s country in uniform as something to be revered and respected, not dismissed,” boasts the Twitter promo for the piece. Its marketing is a straw-man argument, so it’s first important to establish a few matters of fact.

During the Vietnam War, there was liberal...

The Yakuza

Blu-ray

Warner Archive Collection

1975 / Color / 2:40 widescreen / 112 & 123 min. / Street Date February 14, 2017 / available through the WBshop / 21.99

Starring Robert Mitchum, Takakura Ken, Brian Keith, Eiji Okada, Richard Jordan, Keiko Kishi, James Shigeta, Herb Edelman.

Cinematography: Kozo Okazaki, Duke Callaghan

Production Design: Stephen Grimes

Art Direction: Yoshiyuki Ishida

Film Editor: Don Guidice, Thomas Stanford

Original Music: Dave Grusin

Written by: Leonard Schrader, Paul Schrader, Robert Towne

Produced by: Michael Hamilburg, Sydney Pollack, Koji Shundo

Directed by Sydney Pollack

The Warner Archive Collection is on a roll with a 2017 schedule that has so far released one much-desired library Blu-ray per week. Coming shortly are Vincente Minnelli’s Bells are Ringing, Billy Wilder’s Love in the Afternoon Ken Russell’s The Boy Friend and Val Guest’s When Dinosaurs Ruled the Earth, and that only takes us through February. First up is a piercing action drama from 1975.

There are favorite movies around Savant central,...

My original plan was to publish a list of my ten most anticipated films screening at the Fantasia Film Festival but considering the incredible line-up this year, I find it near impossible to narrow it down to only ten. So instead I’ve decided to select one movie a day, or better yet, the movie that you should choose if you only had time for one.

Day 1. Tangerine

Christmas Eve in Tinseltown!

If you’re not familiar with director Sean Baker start taking notes. The man is a genius and one of the best indie American filmmakers working today. In Starlet, Baker spun an unlikely friendship between a young porn actress and an old lady in the San Fernando Valley. In Prince of Broadway, he chronicled the struggles of a hustler balancing fatherhood while working in New York’s wholesale district. Baker’s work avoids labels by refusing to adhere...

Action adventure The Dead Lands is in UK cinemas this weekend. Director Toa Fraser talks about its making and how James Cameron’s a fan...

A taut and intense action adventure, The Dead Lands is a superb showcase for director Toa Fraser. It provides an insight into a culture not often explored on screen - set in pre-colonial New Zealand, the film’s dialogue is entirely in the Maori language - while delivering the kind of pared-back revenge story you might expect from a western or a samurai film.

In other words, The Dead Lands is both unique to its country and universal; its historical setting and subtitles might suggest something for the arthouse crowd, but its bruising fight scenes will please the action crowd, too. What’s more, James Cameron is officially a fan.

As The Dead Lands makes its debut in UK cinemas, we caught up with Toa Fraser...

Editor's Note: RogerEbert.com is proud to reprint Roger Ebert's 1978 entry from the Encyclopedia Britannica publication "The Great Ideas Today," part of "The Great Books of the Western World." Reprinted with permission from The Great Ideas Today ©1978 Encyclopædia Britannica, Inc.

It's a measure of how completely the Internet has transformed communication that I need to explain, for the benefit of some younger readers, what encyclopedias were: bound editions summing up all available knowledge, delivered to one's home in handsome bound editions. The "Great Books" series zeroed in on books about history, poetry, natural science, math and other fields of study; the "Great Ideas" series was meant to tie all the ideas together, and that was the mission given to Roger when he undertook this piece about film.

Given the venue he was writing for, it's probably wisest to look at Roger's long, wide-ranging piece as a snapshot of the...

Japan's biggest film is a kooky, cross-cultural time-travel yarn. What does it say about the country's hugely influential cinema?

Viewed from nine time zones away, Japan's current No 1 film, Thermae Romae, seems to be yet another example of the scintillating oddities of the like only that country produces. Adapted from Mari Yamazaki's award-winning manga, it's about a browbeaten architect in ancient Rome who finds an unexpected source of ideas: his local steam bath conceals a time tunnel that leads to a modern-day Japanese bathhouse. He greets the scrawny patrons as "flat-faced slaves" – then the film sets out to ask what 21st-century society could ever do for this Roman. Well, fruit-flavoured milk and vibrating tummy toners, for starters.

The film looks great. And, propelled by the country's undying obsession with outsiders, it's gone like the clappers at the Japanese box office, having become the top-grossing release of the year so far.

The first time I saw him, he was striding toward me out of the burning Georgia sun, as helicopters landed behind him. His face was tanned a deep brown. He was wearing a combat helmet, an ammo belt, carrying a rifle, had a canteen on his hip, stood six feet four inches. He stuck out his hand and said, "John Wayne." That was not necessary.

Wayne died on June 11, 1979. Stomach cancer. "The Big C," he called it. He had lived for quite a while on one lung, and then the Big C came back. He was near death and he knew it when he walked out on stage at the 1979 Academy Awards to present Best Picture to "The Deer Hunter," a film he wouldn't have made. He looked frail, but he planted himself there and sounded like John Wayne.

John Wayne. When I was a kid, we said it as one word: Johnwayne.

Friends laughed at Michel Hazanavicius when he wanted to make a silent movie. But Harvey Weinstein loved it – and bought it. Now there are Oscar rumours

'When I first told people about my idea for this movie, they just laughed at me," says Michel Hazanavicius. "Friends, actors, producers – they all laughed. They'd say, 'Ok, Ok, but what do you really want to do?'" The problem was that Hazanavicius wanted to make a silent movie, 70 years after talkies rendered silents commercially obsolete and aesthetically outré. True, there have been some avant garde silent film-makers (Canadian Guy Maddin, for instance), but Hazanavicius isn't of their temper. "I wanted to make a charming mainstream movie. But nobody thought the market was ready for it. Producers said: 'Nobody wants to see a movie like that.'"

But they do. Hazanavicius's unremittingly charming and inventive movie The Artist, about a 1920s Hollywood star eclipsed...

Ronald Reagan, Knute Rockne: All American Kay Francis, William Powell, Myrna Loy, Jean Harlow: Packard Campus Movies Thursday, September 1 (7:30 p.m.) The Wanderers (Orion, 1979) Set against the urban jungle of 1963 New York's gangland subculture, this coming of age teenage movie is set around the Italian gang the Wanderers. Directed by Philip Kaufman. With Ken Wahl, John Friedrich and Karen Allen. Action drama. Rated R. Color, 117 min. Thursday, September 8 (7:30 p.m.) Mildred Pierce (Warner Bros., 1945) A housewife-turned-waitress finds success in business but loses control of her ungrateful teenaged daughter. Directed by Michael Curtiz. With Joan Crawford, Zachary Scott and Ann Blyth. Drama. Black & White, 111 min. Selected for the National Film Registry in 1996. Friday, September 9 (7:30 p.m.) Pre-code Drama Double Feature Jewel Robbery (Warner Bros., 1932) A wealthy, married woman becomes captivated by a debonair jewel thief. Directed by William Dieterle. With Kay Francis and William Powell. Comedy,...

Whether they are glossy or gritty, embedded or independent, the best war documentaries still reveal the sheer savagery of combat, says film-maker Kevin Macdonald

When was real combat first recorded on film? Probably almost as soon as the "cinematograph" camera was invented. They say that around 1916, Mexican revolutionary general Pancho Villa used to stage battles for his cameramen to record when the light was good. During the second world war, John Ford and John Huston were just two of the great Hollywood directors who picked up 16mm cameras to film real action for, respectively, The Battle of Midway and Report from the Aleutians. But these were straightforward propaganda movies for the most part: they made no pretences of showing what combat was really like for a soldier – what it felt like physiologically and psychologically. Their aim was to stir the patriotic fervour of the audience and to soothe their anxieties about the conflict.

Greetings, all! I've put together what I hope you will find to be a fun quiz. We're doing this the low-tech way. Leave your answers in the comments section, and I'll score them. (If a ludicrous number of people participate, I request that you be extremely patient.)

What's the prize? Your choice between an Oscar-winning DVD (title to be determined) or -- should you be in the La area anytime in the near future -- my treating you to one of the guided tours of the Kodak Theatre, home of the Oscars. (As many times as I've gone past Hollywood and Highland since living in Los Angeles, it would give me an excuse finally to check it out.) Of course, the real prize in these parts is bragging rights, isn't it?

If you have inside knowledge of the Oscar ceremony you are ineligible to compete, unless your name is James Franco or Anne Hathaway,...

Sam Peckinpah, 1969

Director Sam Peckinpah was considered a spendthrift, a loose cannon, and a failure by the time he shot The Wild Bunch in 1968. His last feature, Major Dundee, had been an acrimonious experience. It had been released in a brutally truncated and mutilated form to middling reviews. In the interim Peckinpah had regained a measure of respect for his beautiful TV adaptation of Katherine Anne Porter's 1937 novel Noon Wine. It is the least seen of his great works, and demonstrated, at the time, that he was not the madman of recent legend (not that there wasn't plenty of legendary madness to come).

Offered the screenplay for The Wild Bunch, he tore it apart with a vengeance, retrofitting it to accommodate his own key concerns and themes: men out of time facing obsolescence and death (it could easily be called No Country for Old Men); violence as a ballet...

John Ford, 1956

The urtext of the "movie brat" generation of the 70s, The Searchers – John Ford's story of two men trailing their female cousin, kidnapped by Apaches – has been cited endlessly in their movies. Paul Schrader's Hardcore is a remake set in, of all places, the La porn industry; Martin Scorsese's Taxi Driver, John Milius's Big Wednesday, and Wim Wenders's Paris, Texas all either directly quote it, bicker with it, or partially remake it. And why? Because The Searchers is simply the densest, darkest, weirdest, funniest, most incoherent and yet most satisfying western of the 50s.

It is the portrait of an American hero possessed of all the virtues of frontier honour and self-reliance, who is also a flat-out exterminatory racist and white supremacist, a man driven to the brink of insanity by his fear of racial impurity. And the movie never sits still, piling...

For arguably the worst film of his undistinguished career, Sly Stallone has assembled a crowd of familiar screen action men to play a band of mercenaries who go around the world gleefully wasting bad guys in large numbers with guns, knives, explosives and karate chops. When not killing people, they grin at one another and swap self-aggrandising macho talk. Bruce Willis and Arnold Schwarzenegger have non-executive walk-on roles and Chuck Norris, Jean-Claude Van Damme, Steven Seagal and Vinnie Jones are presumably being held in reserve for the sequel. For the record, John Ford's They Were Expendable, one of the greatest pictures about men in battle, is indispensable. Stallone's Expendables is redundant, superfluous, worthless and every pejorative synonym Roget can come up with.

Action and adventureSylvester StallonePhilip French

guardian.co.uk © Guardian News & Media Limited 2010 | Use of this content is subject to our Terms & Conditions | More Feeds...

He wields a mean whiplash. Iron Man 2 stars Mickey Rourke as Ivan Vanko, a brilliant technologist and inventor who is unfairly branded a "villain" by an arrogant billionaire in a metal suit (Robert Downey Jr.). Oh, there's other people in the movie, like a rival billionaire weapons dude (Sam Rockwell), a stiff military man (Don Cheadle), an uptight business chick (Gwenyth Paltrow) and a foxy yet humorless vixen (Scarlett Johansson), but, make no mistake, it is Vanko who is the true hero, ready to lay down his life to defend the honor of his family, especially his fallen father. Toward that end, Vanko invents a wicked electronic whip that smacks the ground like thunder, slices fine European race cars in half, and puts the hurt on Tony Stark.

Vanko's whips are the latest variation on a movie tradition that dates back to silent movie days. Whips were widely used...

Um ... probably not. But the folks over at Market Saw seem to believe that they've uncovered secret galactic plans to create a brand new big-screen Star Wars trilogy in 3D. However, they claim these films wouldn't be directed by George Lucas -- instead, he'd pass them off to other directors like Steven Spielberg or Francis Ford Coppola (who Market Saw claims their source mentioned directly as a potential candidate). Yeah, definitely let me know when Coppola decides to direct a Star Wars film so I can look out my window and watch all the pigs flying.

Almost immediately after this rumor hit, folks began to read between the lines. Market Saw, who've been the unofficial Avatar fansite for awhile now, continually mention in their piece that Avatar has to do well in theaters in order for this new Star Wars trilogy to happen since Lucas wants the films in 3D...

Quentin Tarantino on the set of Inglourious Basterds

Photo: The Weinstein Co. After my not-to-difficult-to-figure-out clues in my What I Watched column yesterday here we have my personal ranking of Quentin Tarantino's first six films. I am excluding his 1987 feature My Best Friend's Birthday for lack of availability and I am not including this weekend's release of Inglourious Basterds because I am not yet ready to weigh in with an official opinion on that one just yet and plan on catching a midnight screening this Thursday before even writing my review. Also, since you guys haven't seen it yet what fun is it really in including it? So, after re-watching all of Tarantino's movies this weekend, here we have my personal ranking of his films with a favorite clip or two from each for your enjoyment. Hope you enjoy and hope you are ready for a week that will...

The first time I saw him, he was striding toward me out of the burning Georgia sun, as helicopters landed behind him. His face was tanned a deep brown. He was wearing a combat helmet, an ammo belt, carrying a rifle, had a canteen on his hip, stood six feet four inches. He stuck out his hand and said, "John Wayne." That was not necessary.

John Wayne died 30 years ago on June 11. Stomach cancer. "The Big C," he called it. He had lived for quite a while on one lung, and then the Big C came back. He was near death and he knew it when he walked out on stage at the 1979 Academy Awards to present Best Picture to "The Deer Hunter," a film he wouldn't have made. He looked frail, but he planted himself there and sounded like John Wayne.

John Wayne. When I was a kid, we...

Scary creatures can invade any time or place, such as outer space, a cave or your innocent daughter’s upstairs bedroom. And horror can come from anywhere—even underground. Such is the case when strange flesheating monsters invade the Old West in writer/director J.T. Petty’s The Burrowers, coming on Lionsgate DVD April 21, and Fango visited the set to dig up the details.

John Ford’s Western films, especially 1956’s The Searchers, served as a template for this creature feature, set in the Dakota Territories in 1879. Petty and his team are putting an emphasis on open spaces, dark moodiness and the broody nature of a Western-era posse. Add in subterranean lifeforms, alien-like but born of the Earth, that hunt and prey on humans, and you have a film (see our reviews here and here) that initially sounds a bit like Tremors in the cowboy era. But it’s not,...