After teaming together as producer/director and actor for Saving Private Ryan on the big screen in 1998, Spielberg and Hanks continued their look at WWII by executive producing Band of Brothers in 2001 and The Pacific in 2010. While those mini-series focused on the war on the ground and at sea, respectively, the new mini-series will focus on the war in the skies, taking a look at the officers and enlisted men who served in the “Mighty Eighth” Air Force.
HBO states that the as-yet-untitled mini-series will be based in part on the book “Masters of the Air: America’s Bomber Boys Who Fought the Air War Against Nazi Germany” by Donald L. Miller, though other books may also serve as inspiration.
Hanks and Spielberg will executive produce, along with Gary Goetzman, for Playtone and Amblin Television.
Band of Brothers and The Pacific won a combined total of 14 Emmy Awards, including Outstanding Mini-series in both 2002 and 2010.
Though their inclusion causes some controversy when they are pitted against “regular” movies, Band of Brothers and The Pacific are available to rank on Flickchart, due to their availability on home video and the fact that Flickchart adopts a policy of inclusion wherever possible for those who want to rank them.
You can look here for a list of the Best Mini-series of All Time on Flickchart. Band of Brothers tops the list, winning a whopping 77% of all its matchups on Flickchart.
via The Wrap
> For more on the controversy behind Flickchart’s generous definition of what constitutes a “flick”, you may enjoy reading The “Unrankables”.
Before beginning part 3 of my year-in-review opus I’d like to acknowledge how truly great a year we’ve had this year in regards to movies. For as many films and performances that will be nominated for awards, there will be just as many that have a right to feel snubbed. There were so many quality indie, genre, and franchise films that even the stingiest of movie watchers could easily find one movie they really enjoyed. This year was so great that they didn’t even abide by the normal January-February as dumping grounds mentality, releasing movies like Haywire, The Grey, Chronicle, and Wanderlust, which are all vastly superior to the normal dreck that’s usually released at the beginning of the year. Even some of the more disappointing movies of the year were at least interesting to discuss, like Prometheus and The Dark Knight Rises.
Some Romances Are Stronger Than the Bonds of Time
Safety Not Guaranteed received quite a bit of love as the indie darling of the year. So much so that I assumed it would end up being this year’s annual indie movie that makes my top 5. Turns out, I didn’t like it nearly as much as everyone else. A lot of that had to do with my expectations being way too high, but the movie is far from flawless. As much as I like Mark Duplass his character is essentially a male version of a manic pixie dream girl and serves the purpose of being an eccentric person whose love saves the main character, Aubrey Plaza, despite being completely unrealistic to real life relationships. Jake Johnson has his own clichés to fight against as the guy who is a jerk but is funny enough where the audience doesn’t hate him. Then they find out his jerkiness is based around his unhappiness so they start to love him and he goes through a predictable character arc. Despite my complaints I still think the movie is good, just not as good as every other person seems to think.
Looper was writer/director Rian Johnston’s third feature film which starred Hollywood’s newest big man on campus Joseph Gordon-Levitt as a young Bruce Willis, or was Bruce Willis an old Joseph Gordon-Levitt? Time travel being used as a way for mobsters to have people killed with no evidence left behind? Awesomely brilliant idea, especially by having Jeff Daniels as the guy who traveled back in time to run it. Having numerous people have slight telekinetic powers? A little jarring and way more unbelievable than the idea of time travel for some reason. There was also a romantic sub-plot with Emily Blunt which felt a little forced, but since JGL and Blunt are so good, they made it work. That’s how the movie feels as a whole, though. It definitely has its problems and plot holes, but overall it’s so original and well-made/acted that it’s easy to forgive them.
And the Winner Is: Looper - but speaking of time travel let’s go back in time a few decades ourselves.
Sometimes good people do evil things.
Sometimes, it arises from a false sense of security, the mistaken idea of a victimless crime. Sometimes, it’s just part of the job. In this episode of Reel Rumbles, two films face off that feature decent characters performing heinous acts. The circumstances are different, but the results are the same: The lives of Hank Mitchell and Paul Edgecombe are forever altered by the very bad things they are forced – or choose – to do.
Ah, the 1980s. My generation has taken nostalgia from a wistful remembrance and turned it into a marketing campaign. If you mention this decade in the context of film, you’ll likely find yourself in conversation about the numerous blockbusters and the franchises built from them, but there were also a lot of entertaining comedies that have largely fallen by the wayside as basic cable programmers have abandoned older comedies to the history books. Here are some of the gems waiting for you on Netflix.
Since last fall’s revamping of Flickchart‘s global ranking system (see the official announcement about that here), many films have found themselves moved around on the global charts. But one thing remains consistent: the Directors Who Dominate continue to do so. Previously covered in this series, Christopher Nolan and Quentin Tarantino remain at the top of the charts (with their highest-ranked films at #1 and #4, respectively.) But the biggest change is that their newest efforts (Inception and Inglourious Basterds) have a much stronger presence on the chart, where they now appear at #2 and #13. And this brings us to another director who continually dominates, the man who is widely regarded (for good or ill) as the father of the modern blockbuster: Steven Spielberg.