Nothing Lasts Forever is a 1984 sci-fi movie with Zach Galligan and Bill Murray that disappeared. Yet it's resurfaced.
Feature
I love a good quest. There’s nothing that drives a plot quite like it, from Jason setting out to find the Golden Fleece to Indiana Jones’ determination to track down the Ark of the Covenant. Along the way there is always action, and adventure, and some friends to meet and enemies to defeat. Because that’s how a quest works.
Quests don’t have to be about objects. They can also be about finding your place in the world, and Nothing Lasts Forever tells the story of Adam Beckett, a young man who wants to be an artist, even though he has no idea of what an artist actually is. His quest takes him to a strange, totalitarian Manhattan where wannabe artists must sit a practical exam, and eventually to some very surprising places,...
Feature
I love a good quest. There’s nothing that drives a plot quite like it, from Jason setting out to find the Golden Fleece to Indiana Jones’ determination to track down the Ark of the Covenant. Along the way there is always action, and adventure, and some friends to meet and enemies to defeat. Because that’s how a quest works.
Quests don’t have to be about objects. They can also be about finding your place in the world, and Nothing Lasts Forever tells the story of Adam Beckett, a young man who wants to be an artist, even though he has no idea of what an artist actually is. His quest takes him to a strange, totalitarian Manhattan where wannabe artists must sit a practical exam, and eventually to some very surprising places,...
- 7/11/2014
- by sarahd
- Den of Geek
The Ann Arbor Film Festival, having survived their half-a-century blowout in 2012, is back with another rip-roarin’ 51st edition in 2013, which will run from March 19-24, screening a mind-boggling amount of experimental short films and a few features.
Highlights of the fest include:
Special presentations by this year’s jurors, including Marcin Gizycki round-up of Polish animation from the 1950s to the present; Laida Lertxundi’s selection of some of her films as well as her biggest influences; and Kevin Jerome Everson’s mini-retrospective of his own films.
There’s also special tributes to Pat O’Neill, including a retrospective of his short films from the ’70s to the present as well as a screening of his 1989 35mm experimental epic Water and Power; Suzan Pitt, with selections of short films from her career; and a screening of Ken Burns’ latest doc The Central Park Five, co-directed with his daughter Sarah Burns and son-in-law David McMahon,...
Highlights of the fest include:
Special presentations by this year’s jurors, including Marcin Gizycki round-up of Polish animation from the 1950s to the present; Laida Lertxundi’s selection of some of her films as well as her biggest influences; and Kevin Jerome Everson’s mini-retrospective of his own films.
There’s also special tributes to Pat O’Neill, including a retrospective of his short films from the ’70s to the present as well as a screening of his 1989 35mm experimental epic Water and Power; Suzan Pitt, with selections of short films from her career; and a screening of Ken Burns’ latest doc The Central Park Five, co-directed with his daughter Sarah Burns and son-in-law David McMahon,...
- 3/19/2013
- by Mike Everleth
- Underground Film Journal
George Lucas, 1977
The original Star Wars (let's not bother with this Episode IV: A New Hope subheading nonsense) lays its cards on the table with its opening shot: a gigantic, evil-looking spaceship chasing down a far smaller craft. Like the rest of the movie, you could watch it with the sound off and completely follow what was going on. It's the purity of the story that has made this film endure, the classic themes handed down through the ages. It may be dressed up with robots, spaceships and trash compactors, but it's the old-as-time hero journey – George Lucas has said he consciously modelled his screenplay on Joseph Campbell's study of comparative mythology The Hero With a Thousand Faces.
In the cynical 70s, the notion of making a movie that mixed Kurosawa and Flash Gordon must have sounded as ludicrous as it does today. The film industry wasn't even ready for...
The original Star Wars (let's not bother with this Episode IV: A New Hope subheading nonsense) lays its cards on the table with its opening shot: a gigantic, evil-looking spaceship chasing down a far smaller craft. Like the rest of the movie, you could watch it with the sound off and completely follow what was going on. It's the purity of the story that has made this film endure, the classic themes handed down through the ages. It may be dressed up with robots, spaceships and trash compactors, but it's the old-as-time hero journey – George Lucas has said he consciously modelled his screenplay on Joseph Campbell's study of comparative mythology The Hero With a Thousand Faces.
In the cynical 70s, the notion of making a movie that mixed Kurosawa and Flash Gordon must have sounded as ludicrous as it does today. The film industry wasn't even ready for...
- 10/21/2010
- by Phelim O'Neill
- The Guardian - Film News
The Academy of Motion Picture Arts and Sciences will present a program devoted to animator and visual effects artist Adam Beckett entitled "Infinite Animation: The Work of Adam Beckett," on Aug. 17 at the Linwood Dunn Theater in Hollywood.
The evening will include a screening of "Life in the Atom," a short film that Beckett left unfinished when he died at the age of 29.
The evening will be presented by the Academy's Science and Technology Council and hosted by visual effects artist Richard Winn Taylor and Beckett biographer Pamela Turner. It also will feature screenings of six more of Beckett's films and an onstage panel discussion with his colleagues and friends.
Scheduled guests include visual effects artists David Berry and Richard Edlund, animator Chris Cassady, and filmmakers Beth Block, Roberta Friedman and Pat O'Neill.
The films to be screened are "Dear Janice" (1972), "Heavy-Light" (1973), "Evolution of the Red Star" (1973), "Flesh Flows" (1974), "Sausage...
The evening will include a screening of "Life in the Atom," a short film that Beckett left unfinished when he died at the age of 29.
The evening will be presented by the Academy's Science and Technology Council and hosted by visual effects artist Richard Winn Taylor and Beckett biographer Pamela Turner. It also will feature screenings of six more of Beckett's films and an onstage panel discussion with his colleagues and friends.
Scheduled guests include visual effects artists David Berry and Richard Edlund, animator Chris Cassady, and filmmakers Beth Block, Roberta Friedman and Pat O'Neill.
The films to be screened are "Dear Janice" (1972), "Heavy-Light" (1973), "Evolution of the Red Star" (1973), "Flesh Flows" (1974), "Sausage...
- 7/30/2009
- The Hollywood Reporter - Movie News
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