They can be set anywhere from Australia to Pakistan and increasingly its women who are shooting from the hip. With new westerns such as My Pure Land and Brimstone, the gunslinger genre continues to reinvent itselfin
Always changing, the western never changes. Whatever era it is, the essence remains. If I told you about a pivotal scene in which a gunslinger turns to the camera and stares, hard-eyed, at the audience, I might be describing The Great Train Robbery, made in 1903, a silent cinema milestone whose star, Justus D Barnes, was a middle-aged stage actor. Or I could mean My Pure Land, a new film about three women in rural Pakistan defending their home from bandits. Its star is Suhaee Abro, a classically trained dancer in her first major role. Thousands of miles and more than a century apart, she and Barnes share a western moment.
Westerns in 2017 are politically open-minded, geographically flexible cinematic Lego to be assembled as you like. The director of My Pure Land is Sarmad Masud, a British-Pakistani film-maker from the east Midlands, for whom the genre usefully shaped his ideas. Old and new meet again. My Pure Land is based on a contemporary true story: a young woman called Nazo Dharejo defended her family home from 200 armed assailants. And while we mostly know the western as a period piece, for the nickleodeon thrill-seekers of 1903 it was not. The Great Train Robbery, too, portrayed real events ones that had taken place three years earlier on the Union Pacific Railroad; the culprits were led by Robert LeRoy Parker, also known as Butch Cassidy, then still at large in south America.
‘Star Wars’ movies to take hiatus after episode IX
Peter Mayhew, with co-stars Harrison Ford at Mark Hamill, celebrates the 40th anniversary of Star Wars in 2017.
Days before his 75th birthday, and mere weeks before the 42nd anniversary of Star Wars, one of its leading lights has gone out of the world.
Peter Mayhew, the 7-foot-2-inch British actor whose name is forever synonymous with Chewbacca the Wookiee, died this week at the age of 74. He passed away at his home in Boyd, Texas.
Mayhew’s family, including his wife Angie and three children, announced his passing via the actor’s popular Twitter account, @theWookieeRoars.
The family of Peter Mayhew, with deep love and sadness, regrets to share the news that Peter has passed away. He left us the evening of April 30, 2019 with his family by his side in his North Texas home. pic.twitter.com/YZ5VLyuK0u
— Peter Mayhew (@TheWookieeRoars) May 2, 2019
‘Avengers Endgame’ Crosses $2 Billion At Global Box Office In Record Time
LOS ANGELES (AP) — “Avengers: Endgame has crossed the $2 billion mark at the global box office in record time and is leaving newcomers in its dust.
The Walt Disney Co. estimates Sunday that the Marvel blockbuster has added $145.8 million from North American theaters and $282.2 million internationally in its second weekend in theaters bringing its global total to $2.2 billion.
“Endgame” is one of 5 movies to ever reach that mark and, not accounting for inflation, is now the second biggest film of all time worldwide behind “Avatar’s” $2.8 billion. “Avatar” reached $2 billion in 47 days of release compared with 11 for “Endgame.”
New films picked up scraps at the domestic box office, including “The Intruder,” with $11 million, “Long Shot,” with $10 million, and ‘Uglydolls’ with $8.5 million.”
John Singleton: Boyz N the Hood director dies
Boyz N the Hood sent audiences reeling and marked the start of an uneven career for a writer-director whose films were rooted in lived experience
“Hollywood wasnt ready for John Singleton when he exploded on to the movie scene at the age of 23 and maybe its been unready ever since. When Singleton was nominated for the best director Oscar for his sensational 1991 debut Boyz N the Hood (for which he also wrote the original screenplay), he was the first African American film-maker to have been entered for the category and the youngest person ever.
He didnt win. But as Singleton sent audiences reeling out of theatres with Ice Cubes How to Survive in South Central over the closing credits, it seemed to many that here was a young master, with a compelling film about young men growing up in South Central Los Angeles, something to be compared to Scorseses Mean Streets or Fellinis I Vitelloni. Yet despite the respect and affection for him, despite a strong professional work rate, despite continued creativity and focus resulting most recently in a new TV crime series Snowfall Singleton arguably did not have the fully realized directorial career that others had.
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