
Recently, Kevin Costner has vacated his role in Quentin Tarantino‘s forthcoming Western Django Unchained, due to an apparent scheduling conflict. Now, Kurt Russell is reportedly in talks to take over the role.
Russell would play Ace Woody, a henchman to villainous plantation owner Calvin Candie, played by Leonardo DiCaprio. Also set to star in Django Unchained are Christoph Waltz, Samuel L. Jackson and Jamie Foxx in the title role.
Russell previously worked with Tarantino in 2007‘s Death Proof.
Django Unchained is currently targeting a Christmas 2012 release date.
(via The Wrap)
What’s the greatest western ever made? More times than not, The Good, The Bad, and The Ugly will be near the top of that list. It is heralded as one of the greatest, if not the greatest western of all-time. So what happens when a Korean film-maker decides to remake the film and change some things around? We get The Good, The Bad, The Weird. Let us get our ringside seats and watch a shoot-out, knock-down, good ol’ western brawl.

Since last fall’s revamping of Flickchart‘s global ranking system (see the official announcement about that here), many films have found themselves moved around on the global charts. But one thing remains consistent: the Directors Who Dominate continue to do so. Previously covered in this series, Christopher Nolan and Quentin Tarantino remain at the top of the charts (with their highest-ranked films at #1 and #4, respectively.) But the biggest change is that their newest efforts (Inception and Inglourious Basterds) have a much stronger presence on the chart, where they now appear at #2 and #13. And this brings us to another director who continually dominates, the man who is widely regarded (for good or ill) as the father of the modern blockbuster: Steven Spielberg.
There are some films on my Flickchart that rank higher than they might have, simply because they contain just one scene that held me captivated. Overall, I may not have cared for the movie, but one particular scene or sequence just caught my attention, and I had to admit: I wish the whole movie could have been like that.
Here are a few films that find themselves pulled from the dregs at the bottom of my Flickchart, buoyed in the middling middle on the strength of one or two effective scenes. One is the first R-rated film to win the Best Picture Oscar. One is considered a modern-day masterpiece. One is a mediocre action flick from a director best known for mediocre action flicks. They all have one thing in common: I didn’t love them…but I loved something about them. (Caution to those who might not have seen the films discussed; there may be a few minor spoilers.)

Directors who dominate: No, I’m not talking about directors who demand complete control of everything happening on their set. Well, it’s possible I am talking about those types of directors, as the guy I’m talking about has written the screenplay for every film he’s ever directed (and has acted in most of them). Of course I am talking about the quintessentially awesome, Quentin Tarantino (Oh yes, you can bet I am going to be thinking of Q words for this entire article… are you already sick of my quips?).
When I use the phrase “directors who dominate”, I mean it in the sense of him (or her) dominating Flickchart. Tarantino is easily one of the most dominating directors on my personal Flickchart, and on Flickchart’s global rankings. Let’s take a look at where he stands:
Criterion Commentaries – “The Hit”
24, May 2011by Michael O'Mealy
What if there was a Tarantinoesque film made before Quentin Tarantino burst on the scene with Reservoir Dogs? Specifically: a film where the killers are amusing, ostentatiously violent, and converse about existential concerns; a cast that features a character actor at the top of his game, another actor making a comeback, and Tim Roth. Stephen Frears directed that film, 1984’s The Hit.
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