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HBO beats out Fox Searchlight, will produce Larry David-Jon Hamm project

HBO has made a name for itself by getting high-profile movie stars to act in its TV shows and, along the way, it has produced a number of pedigreed made-for-TV movies, as well. As audiences’ preference have shifted from the big-screen to the not-so-small ones in their living rooms, this trend has only been exacerbated. First, we

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New trailer for “The Master” offers new revelations about P.T.A.’s vision

In my recent Comic-Con thought piece, I vowed that we at Critic Speak would never again post marketing materials, including trailers, without a good reason for doing so. Well, I think there are a couple of good reasons to check out this new trailer for Paul Thomas Anderson’s “The Master,” unless you are committed to

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“Lawrence of Arabia” coming to Blu-Ray and back to theaters — will it help sell digital?

The long-awaited Blu-Ray release of David Lean’s 1962 epic “Lawrence of Arabia” will finally happen on November 13 (pre-order it here), but perhaps the more interesting piece of news is that the restoration is also headed for theaters. “One night only” digital presentations of older films have become common over the past few years, thanks

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A ‘Con’ is right: Why Comic-Con is destructive to film journalism and fanhood

Regular readers of Critic Speak probably realize the absence of something that nearly every other movie blog on the web is currently running: Comic-Con coverage. I figure it’s best that I clue everyone in as to why, because our reasons for avoiding the popular convention will significantly influence the site’s content from now on. Those

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Ernest Borgnine dies at 95

Ernest Borgnine, the prolific film and television actor whose filmography spanned more than 60 years, died Sunday in Los Angeles of renal failure. He was 95. After serving in the Navy during World War II, Borgnine started his acting career. His big break was in 1953’s “From Here to Eternity.” Shortly thereafter, he won an

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Reviews by Request: “Make Way for Tomorrow” (1937)

Filmmakers, like humanity in general, have long been obsessed with death – and why wouldn’t they be? The construct is simultaneously universal and intensely personal, terrifying and exciting, certain and unknown. These bipolarities make for good theater. But for as frequently as The End is dramatized on the silver-screen, the years leading up to it

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