In the American Old West of 1874, construction on a new railroad led by Lyle (Burton Gilliam) runs into quicksand. The route has to be changed, which will require it to go through Rock Ridge, a frontier town where everyone has the last name of "Johnson" (including a "Howard Johnson," a "Dr. Samuel Johnson," a "Van Johnson" and an "Olson N. Johnson"). The conniving State Attorney General Hedley Lamarr (Harvey Korman) – who constantly has to correct people who call him "Hedy", the name of a movie star, instead of "Hedley" – wants to buy the land along the new railroad route cheaply by driving out the townspeople. He sends a gang of thugs, led by his flunky assistant Taggart (Slim Pickens), to scare them away, prompting the townsfolk to demand that Governor William J. Le Petomane (Mel Brooks) appoint a new sheriff. Lamarr persuades the dim-witted Le Petomane to select Bart (Cleavon Little), a black railroad worker who was about to be hanged, as he believes a black lawman will so offend the townspeople that they will either abandon Rock Ridge or lynch the new sheriff, with either result paving the way for him to take over the town.
On November 4, 1979, Iranian activists storm the United States embassy in Tehran in retaliation for President Jimmy Carter giving the Shah asylum in the U.S. during the Iranian Revolution. More than 50 of the embassy staff are taken as hostages, but six avoid capture and hide in the home of Canadian ambassador Ken Taylor. With the escapees' situation kept secret, the U.S. State Department begins to explore options for exfiltrating them from Iran. Tony Mendez, a U.S. Central Intelligence Agency exfiltration specialist, is brought in for consultation. He criticizes the proposals, but is at a loss when asked for an alternative. While on the phone with his son, he is inspired by watching Battle for the Planet of the Apes and begins plans for creating a cover story for the escapees: that they are Canadian filmmakers who happened to be in Iran scouting exotic locations for a similar science-fiction film.
Set in New Jersey during the Great Depression, the film tells the story of Cecilia, a clumsy waitress who goes to the movies to escape her bleak life and loveless, abusive marriage to Monk, whom she has attempted to leave on numerous occasions.
Ce documentaire, qui comprend des entretiens avec Steven Spielberg, nous raconte la carrière longue de 50 ans du réalisateur et nous donne un aperçu de la part de ses proches notamment J.J. Abrams, Christian Bale, Drew Barrymore, Cate Blanchett, Francis Ford Coppola, Daniel Craig, Daniel Day-Lewis, Brian de Palma, Laura Dern, Leonardo DiCaprio, Richard Dreyfuss, Ralph Fiennes, Harrison Ford, David Geffen, Tom Hanks, Dustin Hoffman, Holly Hunter, Jeffrey Katzenberg, Ben Kingsley, Kathleen Kennedy, George Lucas, Liam Neeson, Martin Scorsese, Oprah Winfrey et Robert Zemeckis
Hossein Rezai plays a local stonemason-turned-actor. Outside the set of a film in which he is acting, he makes a marriage proposal to his leading lady, a student named Tahereh, who was orphaned by an earthquake. Because he is poor and illiterate, the girl's family finds his offer insulting; the girl avoids him as a result. She continues evading him even when they are filming, as she seems to have trouble grasping the difference between her role in the film and her real-life self. The fictional couple takes part in what would be the filming of Life, and Nothing More....
In Citizen Kane, Welles plays Charles Foster Kane, whose fictional life partially mirrors that of Hearst's. However, Chicago inventor and utilities magnate Samuel Insull, Chicago Tribune publisher Robert R. McCormick, and even Welles's own life were used in creating Kane.
The film is the equivalent of a walk through a cinema museum. The doc interviews many modern-day directors of photography and they illustrate via examples their best work and the scenes from films that influenced them to pursue their art.
Lassés de toujours jouer les mêmes rôles, le Petit Chaperon rouge, sa grand-mère et le Loup demandent une nouvelle version du conte. Dans celle-ci, le Petit Chaperon rouge devient une pin-up travaillant dans un cabaret.
The Boys: The Sherman Brothers' Story est un fascinant documentaire sur les frères Sherman, le duo extraordinairement prolifique oscarisé à qui l'on doit tant de chansons, et dont la grande réussite professionnelle dans le divertissement familial cachait des différences de vues de plus en plus grandes au cours de leurs soixante années de partenariat.
Ce travail de citoyen et d’espion, d’explorateur et de peintre, de chroniqueur et d’aventurier qu’ont si bien décrit tant d’auteurs, de Casanova à Gilles Perrault, n’est-ce pas une belle définition du métier de cinéaste que l’on a envie d’appliquer à Renoir, à Becker, au Vigo de l’Atalante, à Duvivier, aussi bien qu’à Truffaut ou Demy. A Max Ophuls et aussi à Bresson. Et à des metteurs en scène moins connus, Grangier, Gréville ou encore Sacha, qui, au détour d’une scène ou d’un film, illuminent une émotion, débusquent des vérités surprenantes. Je voudrais que ce film soit un acte de gratitude envers tous ceux, cinéastes, scénaristes, acteurs et musiciens qui ont surgi dans ma vie. La mémoire réchauffe : ce film, c’est un peu de charbon pour les nuits d’hiver.
Le convoi d'Ajax est attaqué par Deadpool. Il commence par massacrer les gardes à l'intérieur d'une voiture, avant de s'en prendre au reste du convoi. Après une longue escarmouche, où il est contraint de n'utiliser que les douze balles qu'il lui reste, Deadpool capture Ajax (dont le véritable nom est Francis, ce que Deadpool ne cesse de lui rappeler). Après l'intervention de Colossus et Negasonic venus empêcher Deadpool de causer plus de dégâts et le rallier à la cause des X-Men, Ajax parvient à s'échapper en retirant le sabre de son épaule. Il apprend par la même occasion la véritable identité de Deadpool : Wade Wilson.