Watch: Take a Look Back at the Films That Inspired ‘Baby Driver’ and ‘Drive’

The origins of these stoic getaway drivers can be traced back to the samurai. Seriously.

Most good stories have lineage, meaning that they come from much older stories. It’s not that there’s nothing new under the sun, it’s that solid storytelling always circles back to a handful of origins. Take Edgar Wright’s Baby Driver, for instance, and Nicholas Winding Refn’s Drive. The films are united by their cool, silent, good-looking, somewhat mysterious protagonists, played with great restraint by Ansel Elgort and Ryan Gosling, respectively, who do little but drive criminals from one place to another and yet somehow manage to be the icy nucleus at the center of each film’s respective atom.

As Patrick (H) Willems astutely shows us in his new video essay, these two films both have their origin in a Walter Hill film from the late ’70s called The Driver, about a strikingly similar character. And yet the lineage doesn’t stop there.

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Slapstick and Zombies: Films That Have Inspired Peter Jackson’s Work

From mindless zombies to Buster Keaton, Peter Jackson has been inspired by them all.

The moment you mention Peter Jackson’s name, you immediately think of what? Middle Earth, the Shire, hobbits, and epic battle sequences between the courageous Fellowship and disgustingly repulsive orcs. But even though The Lord of the Rings series made Jackson one of the most successful directors in the industry, he actually got his start directing low-budget horror comedies, like Bad Taste and Dead Alive, a genre that is clearly miles away from the fantasy adventure films he’s known for today.

This departure from form and content might seem strange at first glance, but once you know which films influenced the work of the New Zealand-born filmmaker, you might get a much clearer understanding of his creative origins. Fandor shares five of these films in the video below.

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Be Inspired by The Most Beautiful Shots in Cinema of the 21st Century

The Most Beautiful Shots in Film of the 21st Century

Movies can be exhilarating experiences, capturing life and all its beauty in ways that can’t even be described. There are so many unforgettable moments, so many shots and scenes that stay with us forever. The Most Beautiful Shots of the 21st Century is a short video compiled by Ignacio Montalvo, which highlights some of the best shots over the last 16 years. This will inspire you and fill you with emotion, reminding you why movies are so wonderful. I love that he includes shots from some of my favorites: Sunshine, Big Fish, Fellowship of the Ring, The Squid and the Whale, 500 Days of Summer, Her, Black Swan, Mad Max: Fury Road. I also adore the scene from Xavier Dolan’s Mommy (which I wrote an entire article about). Pure bliss. ›››

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Watch Trailer for Jess Franco Inspired Psychodrama S&M: Les Sadiques


German Jess Franco homage S&M: Les Sadiques releases official trailer

We just got an eyeful of a wild arthouse German thriller made by filmmakers who truly get the often confounding cinema of late Spanish exploitation legend Jess Franco called S&M: Les Sadiques. Directed and photographed by Alex Bakshaev, the film is a quasi companion piece to Franco’s 1971 Soledad Miranda film, Eugenie De Sade, both films being inspired by the writings of that marvelous pervert the Marquis De Sade and even sharing some key Berlin locations. It’s a stylish, super sexy little marvel of a movie and we have the trailer to share below.

Synopsis: S&M: Les Sadiques stars Sandra Bourdonnec as Sandra, a Sadean dominant figure who manipulates teenage runaway Marie (Nadine Pape) into commiting an atrocious act of violence to prove her fidelity. Kevin Kopacka co-stars as Corrado, a naive musician whose chance intrusion tips the already twisted relationship between the two women further off balance. Veteran New German Wave actor Harry Baer (‘Mr. Scarface’, ‘Gods of the Plague’) makes a cameo as uncle Franz. Set in wintry Berlin and partially scored with Daniel White cues familiar from 1970’s and 1980’s Eurociné and Jess Franco films, ‘S&M: Les Sadiques’ will appeal to those who like their eurosleaze atmospheric and stylish.

We’ll have more on the film soon but in the meantime, check out the wicked little, hyper-voyeuristic trailer below…

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Watch: ‘Tears In The Rain’ Sci-Fi Short Film Inspired by ‘Blade Runner’

Tears In The Rain Sci-Fi Short Film

“I would know if I was a replicant!” We’re always on the lookout for good sci-fi short films. Tears In The Rain is an intriguing little short from South Africa that is clearly directly inspired by Blade Runner, set in the world of Philip K. Dick’s novel Do Androids Dream of Electric Sheep?. This short was made on a budget of only $ 1500 which is crazy impressive, and it looks great. I wish there was more taking place outside on the streets, but it’s still cool to see a well-made short film set in this world, and I can always appreciate some fascinating dialogue. This gets deep into the themes from the original novel about free will and whether or not our memories are real, and if we would know that we’re a robot, or are just designed to think we’re real. ›››

Continue reading Watch: ‘Tears In The Rain’ Sci-Fi Short Film Inspired by ‘Blade Runner’

Get Out Movie Art Gallery: Work Inspired By Jordan Peele’s Directorial Debut

Check out new Get Out movie art and catch the Get Out movie in theaters next month!

Take a tour of Jordan Peele’s Get Out movie with six pieces of film-inspired artwork

Blumhouse Productions and QC Entertainment have today revealed an art series inspired by the upcoming Get Out movie. The upcoming horror thriller is written and directed by Jordan Peele (Key and Peele, Keanu) and, in the gallery viewer below, you can check out art by Corey Barksdale, Frank Morrison, Sindisio Nyoni, Jermaine Rogers, Sharlene Artsy and Taj Tenfold. You can also click here to get tickets to a free Get Out movie preview. Act fast, though, as the seats are first come, first serve!

RELATED: Watch the Trailer for Jordan Peele’s Get Out!

“People know me for my work in comedy, but now I’ll get to focus on my passion for writing and directing horror films,” said Peele earlier this year. “Like comedy, horror has an ability to provoke thought and further the conversation on real social issues in a very powerful way. ‘Get Out’ takes on the task of exploring race in America, something that hasn’t really been done within the genre since ‘Night of the Living Dead’ 47 years ago. It’s long overdue.”

The Get Out movie begins as Chris (Daniel Kaluuya) and his girlfriend, Rose (Allison Williams), have reached the meet-the-parents milestone of dating. She invites him for a weekend getaway upstate with Missy (Catherine Keener) and Dean (Bradley Whitford).

At first, Chris reads the family’s overly accommodating behavior as nervous attempts to deal with their daughter’s interracial relationship, but as the weekend progresses, a series of increasingly disturbing discoveries lead him to a truth that he could have never imagined.

Equal parts gripping thriller and provocative commentary, Get Out is written and directed by Peele and produced by Blumhouse’s Jason Blum, as well as Sean McKittrick (Donnie Darko, The Box), Peele and Edward H. Hamm Jr. (The Box, Bad Words). Blumhouse’’s Couper Samuelson is executive producing alongside QC’s Ray Mansfield and Shaun Redick.

Get Out also stars Caleb Landry Jones (X-Men series), Milton “Lil Rel” Howery (The Carmichael Show), Betty Gabriel (The Purge: Election Year), Marcus Henderson (Pete’s Dragon) and Keith Stanfield (Straight Outta Compton).

Which of these Get Out movie pieces is your favorite? Let us know in the comments below!

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The ‘Kong: Skull Island’ Monsters Were Inspired by ‘Princess Mononoke’

kong skull island

The trailers for Kong: Skull Island feel like some kind of bizarre fever dream given a blockbuster budget and I mean that in the nicest way imaginable. I’m not entirely sure what director Jordan Vogt-Roberts is cooking up with this one, but I sure like the look of the menu: Tom Hiddleston and Samuel L. Jackson battling giant monsters on King Kong’s island home in the ’70s with a disheveled John C. Reilly on hand to provide exposition while the posters deliberately borrow imagery from Apocalypse Now? Holy cow. Sign me up.

So yeah, it makes perfect sense that Hayao Miyazaki‘s Princess Mononoke was also a touchstone for the production. At this point, I wouldn’t be surprised if Skull Island itself is shaped like a kitchen sink.

This new tidbit comes our way via an interview with Vogt-Roberts over at JoBlo, where the Kings of Summer director explained that it was important for each of the Kong Skull Island monsters to radiate both horror and awe:

The creatures are a big thing. Jurassic World obviously owns the dinosaur thing right now. If Kong is the God of this island, we wanted each of the creatures to feel like they’re individual gods of their own domain. Miyazaki and Princess Mononoke was actually a big reference in the way that the spirit creatures sort of have their own domains and fit within that. A big thing was trying to design creatures that felt realistic and could exist in an ecosystem that feels sort of wild and out there, and then also design things that simultaneously felt beautiful and horrifying at the same time. Where if you look at this giant spider or water buffalo, you stare at, a part of you says, ‘that’s the most amazing thing I’ve ever seen’ and ‘oh my god, that’s going to kill me right now, I need to run for my life!

This has always been one of my favorite elements of Miyazaki’s work – he recognizes the beauty of the worlds he creates while never forgetting that nature (whether it be real or fictitious) is harsh, unforgiving, and often indifferent to your mere human feelings. For every Totoro, there’s a number of less fluffy and far less less friendly creatures waiting to chomp your bones. Princess Mononoke, which was released in 1997 and is a full-stop masterpiece, is one of his toughest, gnarliest movies, a fantasy adventure enraptured by the glorious beauty and equally glorious ugliness of nature.

I find this point of comparison for Kong: Skull Island to be fascinating, reflecting the wide range of influences Vogt-Roberts seems to be bringing to the film. Hell, any filmmaker making a King Kong movie who pauses to think about Princess Mononke is a filmmaker I’d like to follow. For his first big studio outing, Vogt-Roberts seems to be going all-in and making the kind of crazy, personal film that some filmmakers wait a lifetime to make. I can’t wait to see if it all comes together when the film opens on March 10, 2017.

The post The ‘Kong: Skull Island’ Monsters Were Inspired by ‘Princess Mononoke’ appeared first on /Film.


Slamdance Audience Award Winner ‘Dave Made a Maze’ Was Inspired by an Epic Pillow Fort

“If you don’t have hot glue gun scars on your hands, you didn’t work on this movie with us.”

After years of frustration as filmmakers and actors, Bill Watterson and Steven Sears decided to take matters into their own hands. Inspired by a story from Watterson’s youth, Sears started writing the first draft of a script they would eventually co-write, and Watterson would direct, to become this year’s Slamdance Audience Award winner: Dave Made a Maze.

The film tells the story of Dave, who never finishes anything yet somehow builds an epic labyrinth out of cardboard in his apartment, then gets lost inside of it. When his girlfriend Annie comes home, she urges Dave to come out of the maze, but he can’t. Despite Dave’s protests, a group of their friends (including a documentary filmmaker and some complete strangers) show up at their apartment and venture inside his crazy creation to rescue him. Unfortunately for them, Dave may have set some booby traps along the way.

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‘Newness’: Why Anton Yelchin’s Death Inspired Drake Doremus to Make a Film in 4 Months

Drake Doremus rushed to make his Sundance premiere ‘Newness,’ about millennial relationships, for the actor who passed away in June.

Perhaps no one thinks about modern love more than Drake Doremus. The director has made a career of exploring the travails of relationships, most successfully with his 2011 Sundance Grand Jury Prize-winning Like Crazy, which followed a long-distance relationship from inception to ambiguous defeat. He’s at Sundance once again with Newness, a chronicle of millennial love characterized by ubiquitous cell phones and the restless desire that results from unbridled options. How can one settle down, asks Doremus, when there is always someone new—and perhaps “better”—at your fingertips?

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