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In the nineties, producer Lawrence Bender was closely linked with Quentin Tarantino and Miramax. In addition to producing most of Tarantino’s movies, Bender also oversaw Miramax’s Oscar-winning hit, Good Will Hunting. While Bender remains active as a producer, his movie career has cooled off since his heyday in the 90’s. He parted ways with Tarantino following Inglourious Basterds in 2009 and has been pulled into recent controversies surrounding his past partnerships. At the time of this profile in the March 1998 issue of Movieline magazine, Bender was still on top of the world.
Quentin Tarantino’s follow-up to Pulp Fiction, Jackie Brown, was saddled with unrealistic expectations. Pulp Fiction changed cinema for the rest of the decade. It also revived John Travolta’s flagging career with one of the greatest comebacks in Hollywood history. Everyone wondered who would Tarantino revive next? The cast of Jackie Brown included a number of candidates including veteran actors like Pam Grier and Robert Forster.
Bridget Fonda (who played a burnout just like her then-boyfriend Eric Stoltz did in Pulp Fiction) was at a point in her career where she could have used a little jolt. But lightning doesn’t strike twice. Jackie Brown was nowhere near as successful as Tarantino’s previous effort. It didn’t end up doing all that much to change Fonda’s fortunes. In this interview from the January 1998 issue of Movieline magazine, Fonda discusses her wild days and what it was like growing up in a famous family.
The July/August 2002 issue of Movieline magazine included a list of the top 25 movie soundtracks up to that point. Some of the usual suspects are here, but a few inclusions and omissions are likely to be controversial. Did your favorite movie soundtrack make the cut?
He’s Batman. Or he was, anyway. He was also Beetlejuice. But by 1997, Michael Keaton’s batting average at the box office was down. He was coming off a string of disappointments and flops. His next movie, Desperate Measures, wouldn’t make its scheduled summer release date. Instead, it got pushed back to the dumping grounds of January. Keaton’s career was entering its “What the Hell Happened?” stage. In this interview from the August ’97 issue of Movieline magazine, Keaton discusses the roles he turned down, how he almost named himself Michael Jackson and why he believes he sometimes achieves greatness.
Here we are in our final four, so it’s nothing but the cream of the crop from here on, right? Well, that certainly the case in this particular contest. Both started the bracket among my favorite five overall in the game, so I’m pretty pleased to have to make the tough decision when I cast my vote. Both movies feature top notch artistry from their actors, directors, cinematographers, and designers. For our final four round I’m going to be featuring members of the casts, covering not just their work in the films in question, but also in some other notable appearances.
Here we have the de facto championship of our unofficial crime section of this bracket. It’s just the second competition of this second round and my format for it has already blown up in my face. How you ask? Join me below and be prepared to be annoyed with me.
Today we have a matchup between films by two unique and widely admired directors who aren’t afraid of taking on violent or upsetting subject matter. Unfortunately, despite our admiration for both of these movies, neither one managed to fulfill expectations at the box office. The Game spent a week in the number one spot and raked in more than $100 million (if you include overseas receipts), but when compared to Fincher’s hit Se7en from just two years prior, this number had to feel disappointing to the film’s producers. The fact that the film’s production budget is not easily available also suggests that Fincher and company might have over-spent on it. Meanwhile, Jackie Brown‘s production budget was a pretty reasonable twelve million dollars, which would make its eventual domestic gross of close to forty million more than acceptable in most cases. But, like Fincher, Tarantino’s most recent full-length project Pulp Fiction had not established reasonable expectations for some people, not only because of its domestic take of more than $100 million, but because the director had become a star in his ow right. Both have continued to do the kind of work they’ve wanted to and have had some successes along the way, making these movies simply look like well-reviewed base hits in the long run. But which one do we want to stick around another round in our game?
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Jeff The Wildman recently ranked his favorite adaptations of Elmore Leonard’s works. It was a bit different from the usual worst to first in that several of the adaptations are quite obscure, so the rankings were not comprehensive. As always, we gave readers the chance to rank ten of their favorite movies based on Leonard’s novels. Here’s what you came up with.
Bridget Fonda came from Hollywood royalty. Peter Fonda is her father and Jane Fonda is her aunt. Her grandfather was the legenday Henry Fonda.
In the late 80’s, Bridget Fonda was hailed as one of America’s most promising young actresses. In the early 90’s, she seemed poised for a break-out that never happened. And then, she disappeared faster than you can say “Steve Guttenberg in the 90’s”.
What the hell happened?