Saturday, 17 September 2016

Dennis Shryack, Screenwriter on Clint Eastwood's 'The Gauntlet' and 'Pale Rider,' Dies at 80

Dennis Shryack, Screenwriter on Clint Eastwood's 'The Gauntlet' and 'Pale Rider,' Dies at 80
By Mike Barnes, The Hollywood Reporter

The Minnesota native also penned the scripts for Tom Hanks' 'Turner & Hooch' and 'Code of Silence,' starring Chuck Norris.

Dennis Shryack, who wrote the screenplays for The Gauntlet and Pale Rider, two films with plenty of action directed by and starring Clint Eastwood, has died. He was 80.
Shryack, who helped attract $1 million for the script he worked on for the Tom Hanks crime comedy Turner & Hooch (1989) — at the time the most ever paid by Disney's Touchstone Pictures — died Wednesday of congestive heart failure in Duluth, Minn., his daughter Jennifer said.
Pale Rider (1985) was the highest-grossing Western at the box office to be released during the 1980s; it brought in $41 million (almost $92 million today).

In addition to The Gauntlet (1977), Shryack also wrote the Chuck Norris films Code of Silence (1985) and Hero and the Terror (1988); Flashpoint (1984), starring Kris Kristofferson and Treat Williams; Rent-a-Cop (1987), toplined by Burt Reynolds and Liza Minnelli; and Cadence (1990), directed by Martin Sheen and starring his son Charlie Scheen. Shryack's first produced screenplay was for The Good Guys and the Bad Guys (1969), a comic Western starring Robert Mitchum and George Kennedy, and he followed that with a script for the thriller The Car (1977), with James Brolin.


Born in Duluth, Shryack started his entertainment career as a singer in The Escorts. The quartet served as the opening act for such stars as Sophie Tucker and Sammy Davis Jr. Shryack landed a job in the mailroom at Universal Pictures and later became a literary agent. He wrote many of his scripts with Michael Butler (they teamed on seven films), Michael Blodgett (including Turner & Hooch) or Peter Bellwood (like 1991's Run, starring Patrick Dempsey).


In recent years, Shryack continued to write and spent long afternoons fishing on the shores of Lake Superior. Survivors also include his wife Kathy, his son Chris and Brothers Tom and Bill.  He was represented by Nick Mechanic at The Mechanic Co.



Thanks to Alwyn Peden and Davy Turner for informing me of this sad news. 

Tuesday, 13 September 2016

Sully UK Teaser Quad Poster

Here's a first look at the teaser design UK quad poster for Sully, opening in UK cinemas on 2nd December 2016.

Sunday, 11 September 2016

Sully NYC and LA premieres September 6th and 8th 2016

The Hollywood Reporter, SEPTEMBER 06, 2016 4:42pm PT by Ashley Lee

'Sully' Premiere: Clint Eastwood Defends Scenes of Planes Crashing Into Manhattan Skyscrapers
Tom Hanks, Aaron Eckhart, Frank Marshall and more hit the buzzy NYC premiere of the film — out, coincidentally, on the Sept. 11 anniversary weekend. 

Just blocks away from the Hudson River, Clint Eastwood, Tom Hanks and the cast of Sully touched down at Lincoln Center's Alice Tully Hall for the Warner Bros. and Village Roadshow docudrama's New York premiere.

In the film, Hanks portrays Chesley "Sully" Sullenberger, the American pilot who landed US Airways Flight 1549 in the Hudson in January 2009. "His reputation was at stake," the actor told The Hollywood Reporter. "This man had done his job perfectly for 4 million passengers, and, as he says in the movie, his entire career was going to be judged on 208 seconds, as opposed to the thousands and thousands of hours he did his job perfectly."

The big-screen retelling of the Miracle-on-the-Hudson includes sequences of planes crashing into Manhattan skyscrapers. "It's just a bad dream sequence, and what could have happened if he didn't make the right decision," explained Eastwood. "The spirit it gave back the city, even though it was a tragic loss of a plane, there was no tragic loss of life."

Screenwriter Todd Komarnicki further echoed that Sully's feat is "the inverted story of 9/11," and adding the sequences allows Americans "to reclaim that narrative. That narrative was laid on us by people who are enemies of our country; this is a story of heroism in New York City."

As far as the coincidental release of the film of the 15th anniversary of the Sept. 11 attacks, Komarnicki attributes it to box-office logistics. "It's totally coincidental because of limited Imax screens ... didn't have room in the summer and Christmas is all Star Wars. Very ironic."

Aaron Eckhart, Mike O'Malley, Frank Marshall and more celebrated the evening at Tavern on the Green with Rita Wilson, Alison Williams, Katie Couric and the plane's real-life crew, plus Sullenberger himself — sans white mustache, a look Wilson embraced on Hanks, her husband. "I considered him a blonde, and he was definitely having more fun!" she laughed.
Family affair! Clint Eastwood is every bit the proud papa as he is joined by children Scott and Francesca at LA premiere of Sully

He is an Oscar winning director and actor. But it looks like Clint Eastwood's favourite accomplishment is being a father. The 86-year-old Hollywood legend was joined by his son Scott and daughter Francesca at the Los Angeles premiere of Sully on Thursday night.  Clint, who directed the film, looked overjoyed to be joined by his 30-year-old son and 23-year-old daughter at the Directors Guild of America.

The Unforgiven actor even put his arm around his youngest child and flashed a smile at her as they posed for snaps on the red carpet. No doubt the proud father was happy to see his daughter as they greeted each other with a hug and a kiss upon her arrival. Clint looked dapper in a black suit over a light blue dress shirt and blue and silver striped tie. Francesca looked good in a silky black dress and an on-trend burgundy choker. Her raven-coloured tresses were worn down flowing over her shoulders as she sported natural, complimentary make-up on her face.

Scott looked handsome in a denim button-down top with black jeans as his locks were combed to the side and had a bit of scruff on his face. The Suicide Squad actor recently gushed about his legendary father for their September cover of Esquire magazine. Scott said: 'My father’s definitely old-school. And he raised me with integrity—to be places on time, show up and work hard.'

As Clint has had a successful transition from actor to director, Scott has expressed interest in doing the same thing as he said: 'Like he says, its feast or famine for an actor. 'If you’re not creating your own material, then you’re just fighting for whatever’s out there. I definitely have the desire to go to the other side.'

In Clint's most recent project, he takes on the true-to-life story of pilot Chesley Sullenberger who became an instant hero after gliding a commercial plane into the Hudson River therefore saving over 150 crew and passengers. Tom Hanks is the lead actor in the flick as he takes on the role of the pilot nicknamed Sully with Aaron Eckhart playing co-pilot Jeff Skiles.
Sully is set for release in the US on Friday with a UK release on 2 December.

Monday, 5 September 2016

Sully (2016) Media Material Trailers, TV Spots, Featurettes

Below you will find the latest Trailers, TV Spots, Featurettes, Interviews, B Rolls and more.

Sully Official Trailer 1 (2016) - Tom Hanks Movie 2.03
SULLY Movie TRAILER # 2 (Tom Hanks, Clint Eastwood - 2016) 5.27
Sully - TV Spot 1 [HD] .30

Sully - TV Spot 2 [HD] .30

Sully - TV Spot 3 [HD] .30

Sully - TV Spot 4 [HD] .15

Sully TV Spot #4 [HD] Tom Hanks, Clint Eastwood .30

Sully "Dream Team" Featurette [HD] Tom Hanks, Clint Eastwood 1.24

Sully: Director Clint Eastwood Behind the Scenes Movie Interview 2.22

Sully: Tom Hanks "Chesley ’Sully’ Sullenberger" Behind the Scenes Movie Interview 3.47

Sully: Aaron Eckhart "Jeff Skiles" Behind the Scenes 3.32

Tom Hanks on Playing 'Sully' 3.01

Sully B-ROLL 1 (2016) 4.27

Sully B-ROLL 2 (2016) 4.35

Sully (2016) Miracle on the Hudson Featurette [HD] 5.01

Sunday, 4 September 2016

Sully Official Reviews

Here I will be posting the latest reviews for Clint's movie Sully (2016) Starring Tom Hanks
‘Sully’ Review: Tom Hanks and Clint Eastwood Land a Vivid Drama About a Real-Life Hero

The Hollywood Reporter September 3rd, 2016 by Todd McCarthy

A vigorous and involving salute to professionalism and being good at your job, Sully vividly portrays the physical realities and human elements in the dramatic safe landing of a crippled US Airways jet on the Hudson River on January 15, 2009. An elegant and eloquent docudrama, Clint Eastwood’s 35th feature as a director is also, at 96 minutes, the shortest of all his films, which well serves this to-the-point account of a potential tragedy with a happy ending. With a white-haired and mustachioed Tom Hanks in the title role, this taut, upbeat drama looks to play well with a wide general audience.
“It’s been a while since New York had news this good, especially with an airplane in it,” one character remarks, which neatly sums up the appeal of a yarn that offered all the seeds of tragedy. When a freak encounter with a large flock of birds shut down both engines of an A320 with 155 people on board two minutes after taking off from La Guardia Airport, pilot Chesley “Sully” Sullenberger quickly decided that the now-descending plane didn’t have the power to make it back to La Guardia or another airport. He therefore determined to make a water landing, which happened less than four minutes later.
The incident is repeated, in variations, several times over the course of the time-jumping script by Todd Komarnicki, because what looked like an act of logic, wisdom and heroism to those whose lives were saved instead was severely questioned by the National Transportation Safety Board, which initially argued that the plane could have turned back. This results in some tense and sleepless nights for Sully but, dramatically speaking, the story is the inverse of that of the 2012 aviation drama Flight, in which Denzel Washington’s pilot may have saved the day but had some personal issues eminently worthy of the inquiry board’s attention.

An alarming opening sequence illustrates what probably would have happened had Sully and his co-pilot, Jeff Skiles (Aaron Eckhart), decided to try to make it back to where they took off — a fiery crash into Manhattan buildings. Such images haunt Sully and send him out to jog through the nocturnal city streets and along the river where his plane came to rest. Reporters hound him, his wife (Laura Linney) remains in high-stress mode back home and Sully, notwithstanding all the personal and public adulation he’s received, can’t help rethinking the whole incident and fearing that the investigators will somehow show that one of the engines retained sufficient thrust to allow the jet to keep flying. Some TV commentators are already suggesting that Sully is a fraud who made a blundering decision that could result in his suspension and no pension.

A 42-year veteran, Sully is the kind of decent, upright, right-minded fellow who used to figure in movies all the time from the 1930s-1950s, a reliable Jimmy Stewart, Henry Fonda or Gregory Peck type of guy you could always count on to do the right thing. The last man like this to anchor a film onscreen was probably in Steven Spielberg’s Bridge of Spies, in which the character was played by — who else? — Hanks. When Sully says, “I don’t feel like a hero. I was just a man doing a job,” you might feel like you’re watching a Howard Hawks film of more than half a century ago.
But while this feels like an old-fashioned sentiment, perhaps it shouldn’t, and it’s easy to surmise that it also fits squarely with Eastwood’s philosophical view of things. Even now, in his mid-80s, he’s a man who, like Spielberg, rarely lets a year go by without making a new film and does it his own way, with little fuss. He is, at his core, a professional, and it’s clearly on this basis that he strongly connects with Sully, a man whose character is defined by how he does his job.

When you get right down to it, there’s not a whole lot of story in Komarnicki’s screenplay, only a central incident that can be examined from multiple perspectives and a main character whose core values are put to the test and found valid. A half-hour in, the film serves up a comprehensive account of the flight up to the point of impact then, a bit later, reveals the rather more complex details of what happened when the passengers had to be quickly evacuated in winter conditions.
A couple of panicky passengers end up in the 36-degree water; most of them tensely don life-jackets, file out the emergency exits and stand on the two main wings. Of course, the crew and captain are the last to leave, although Sully has no way to know at this point whether everyone made it out or not.
Crisply shot by Tom Stern in great part with IMAX cameras and seen to impressive advantage in this format, the film is distinguished by essentially seamless visual effects that make all aspects of the highly photogenic near-catastrophe riveting to watch; the film is supremely well-crafted in all regards.

One striking difference between this and most of Eastwood’s previous work, however, is the pacing. After working for four decades with master editor Joel Cox and making very few films that came in at under two hours, Eastwood took this occasion to promote Blu Murray from assistant editor, a position she had filled under Cox since 2006. The result is swift, fleet-footed cutting that imparts a noticeably different feel from most of the director’s more measured work, a snappy momentum that perfectly suits the nature of the material.

Made up to look older than his years, Hanks confidently carries the film as a man of undoubted decency and judgment who is nonetheless made to question, however incorrectly and briefly, actions prudently made under conditions of great stress. Secondary characters are strictly one-dimensional, with Eckhart’s less experienced co-pilot staunchly backing the old pro in the left-hand seat and Linney confined to pouring out concern long-distance over the phone.
Warner Bros. Production: Malpaso, Flashlight Films, Kennedy/Marshall, Director: Clint Eastwood Screenwriter: Todd Komarnicki, based on the book “Highest Duty” by Capt. Chesley 'Sully’ Sullenberger with Jeffrey Zaslow
Cast: Tom Hanks, Aaron Eckhart, Laura Linney, Mike O'Malley, Anna Gunn, Jamey Sheridan, Ann Cusack, Jane Gabbert, Molly Hagan, Holt McCallany, Chris Bauer, Patch Darragh
Producers: Clint Eastwood, Frank Marshall, Allyn Stewart, Tim Moore Executive producers: Steve Mnuchin, Kipp Nelson, Bruce Berman Director of photography: Tom Stern Production designer: James J. Murakami Costume designer: Deborah Hopper Editor: Blu Murray Music: Christian Jacob and the Tierney Sutton Band Visual effects: Michael Owens Casting: Geoffrey Miclat PG-13, 96 minutes
Sully review: Clint Eastwood and Tom Hanks turn a mile-high miracle into middling drama.
Eastwood vividly depicts the 2009 harrowing landing of a major aircraft on the Hudson river multiple times in his otherwise perfunctory drama centred on the embattled pilot who saved 155 lives
The Guardian - Nigel M Smith

In person, Clint Eastwood recently has the tendency to come across as brash and combative (in an August interview he derided much of America as a “pussy generation” while telling people to “just fucking get over” Donald Trump’s many controversial remarks). As a film-maker, however, the 86-year-old is the antithesis. His best work – Letters From Iwo Jima, Million Dollar Baby, Mystic River, Unforgiven – all share an understated quality that means the emotional impact of his stories rings authentic. Eastwood’s most recent, Sully, squarely fits that bill.

Starring Tom Hanks as Captain Chesley “Sully” Sullenberger, the pilot responsible for the extraordinary landing of a plane on the Hudson river in 2008, with no casualties, Sully is an unabashed crowdpleaser about a hero fighting to maintain that title when corporate greed threatens to tarnish his image. There’s little crass audience manipulation in Eastwood’s depiction of the harrowing plane landing and the surprising investigation that followed – he’s the type of director who just gives it to you plain and simple.
For audiences, the chance to see an IMAX-shot recreation of the shocking landing of US Airways Flight 1549 in the middle of the river is no doubt a big selling point. In that sense, Sully delivers tenfold.

Eastwood and his screenwriter Todd Komarnicki (working off of Sullenberger’s book Highest Duty: My Search for What Really Matters) make the surprising decision to revisit the event multiple times throughout the lean 98 minutes runtime, to offer the perspectives of Sullenberger and his co-pilot Jeff Skiles (Aaron Eckhart), the flight’s passengers and attendants, the air-traffic controllers, and even the emergency-response crew. The reenactments are all equally compelling, although one tracking the experience of the passengers gets marred a bit by overt sentimentalism.
Even more horrifying are the nightmare scenarios Eastwood conjures up, during which Sullenberger imagines a fatal outcome had he followed through on the contested strategy of returning to LaGuardia Airport with the plane’s engines failing. Watching an aircraft smash into New York skyscrapers might prove too unsettling for some, recalling in blunt terms the horrors of 9/11. The terrifying sequences do however go a long way to sell that Sullenberger’s actions saved not only the 155 lives aboard, but also countless more.

That factor comes into play during the aftermath of the incident, when the National Transportation Safety Board keep Sullenbeger and Skiles hostage in a sterile New York hotel to accost the pair with a barrage of specific questions, ascertaining whether they in fact did the right thing. The interrogations are fittingly infuriating (at one point, Sullenberger is asked if he has troubles at home), albeit a little silly. Mike O’Malley plays one of the lead investigators as broadly evil, smirking his way through the inquisition like a Disney villain. Anna Gunn fares better, lending a needed dose of humanity to her committee member.

Sporting white hair to resemble Sullenberger, Hanks delivers an internal and sympathetic performance. Eastwood doesn’t burrow too deeply into his protagonist’s psyche, other than to visibly demonstrate that he’s haunted by the landing. Still, Hanks, who’s uncommonly, well, sullen, for much of the film, goes a long way to convey Sullenberger’s conflicted anguish. As his worried at-home wife, Laura Linney does some admirable phone acting, emoting believably with only a prop to interact with. But it all never quite takes off.
Variety Film Review: ‘Sully’ by Chief Film Critic Peter Debruge
Tom Hanks stars in the story of a hero pilot who refused to view himself as such after landing US Airways Flight 1549 on New York's Hudson River.

If there’s one Hollywood star you would trust to crash-land a commercial airliner without injuring a soul on board, it would surely be Tom Hanks. After risking his life in order to save his crew in “Captain Phillips,” the two-time Oscar-winner takes to the skies — and mere moments later, to the chilly waters of the Hudson River, after a flock of birds blows out both engines of US Airways Flight 1549 — in a remarkable true story that inspires confidence not only in its leading man, but in honest, hard-working Americans everywhere.
Directed by Clint Eastwood with the same kind of unpretentious professionalism, the film makes a point of celebrating in its protagonist. “Sully” retells the so-called “Miracle on the Hudson” through the eyes of Capt. Chesley Sullenberger, who pulled off the incredible landing — if “landing” is indeed the right word when a plane touches down on open water — based on his book, “Highest Duty.” For audiences, getting to witness the feat in question is far and away the film’s biggest selling point (and no doubt the reason why it will be opening simultaneously on Imax screens Sept. 9), but Eastwood and screenwriter Todd Komarnicki have opted for a counterintuitive approach, withholding the flight itself for as long as possible and focusing primarily on the aftermath of the accident, as Sully tortures himself with questions of what he might have done differently, and as a team of National Transportation Safety Board investigators attempt to ask him the same thing.
While that means more of the film is set in the hot seat of inquest chambers and courtrooms than in the cockpit itself, starting after the plane has safely landed is a shrewd storytelling strategy for multiple reasons. Not least of these is that it allows Eastwood to parcel out multiple impressions of the incident — from extended flashbacks to crude simulations — over the course of movie, effectively offering audiences six plane crashes for the price of one.
In fact, the film, which runs an efficient 96 minutes, in Eastwood’s typical no-fat style, holds back on what really happened until more than an hour in, and instead opens with a vivid nightmare in which Sully imagines a far different outcome had he followed through on his initial strategy of returning to LaGuardia Airport with practically no thrust in either engine, culminating in a fiery demise for all aboard as Flight 1549 crashes into a skyscraper. And then he wakes up.
The unsettling dream sequence is strangely less exciting than such airline-disaster openings as those in “Flight” and “Alive.” And yet, distasteful as it may be to watch a plane smash into the New York skyline, conjuring images of 9/11, it’s a reminder that Sullenberger’s actions potentially saved more than the lives of his 155 airline passengers.
This isn’t the first time Eastwood has opened a film with a major CG cataclysm: In the relatively heavy-handed “Hereafter,” he kicked off proceedings by demolishing the coast of Thailand with a dramatic recreation of the 2004 Indian Ocean tsunami. While only a dream sequence, “Sully’s” opening feels less like a stunt from a director who alternates between sober, seemingly timeless portraits of exceptional personalities (“American Sniper,” “Million Dollar Baby”), and corny, cardboard melodramas too old-fashioned in their approach (“Jersey Boys,” “Changeling”), occasionally landing somewhere in the middle (à la “Flags of Our Fathers”). “Sully” is an example of the last done right: a straightforward tribute to the extraordinary actions taken by an irreproachable character who refuses to see himself as a hero. It’s not a particularly great Clint Eastwood movie — it ranks perhaps ninth or 10th on a résumé of 35 features, two of them best picture winners — but it’s one that promises to resonate in a big way with Americans at this moment in time.
Ripped from the headlines, “Sully” offers a rare example of a movie inspired by good news — the best news, as one character points out, that New York has heard in a long time, “especially with an airplane in it.” And because most Americans already know the outcome, it makes sense to focus on the less-known “what happened next” of it all, after Flight 1549 had faded from the TV news cycle. (In the film, whenever there’s a television in a scene — whether in a bar or a hotel or back home at the Sullenberger residence — it’s covering the story.) What most people don’t know is the cruel irony that despite saving everyone’s lives, Sully still had to answer to the NTSB, which felt that his decision to effect a forced water landing had actually endangered everyone aboard. According to protocol, Sully should have returned to LaGuardia, or else tried to land at nearby Teterboro Airport, and both the airline’s insurance company and Sully himself are faced with the consequences of his decision — one that’s informed by the pilot having delivered nearly a million passengers over some 40 years.
Sullenberger may be haunted (visions of crashing planes become a recurring motif), but he’s not alone. His co-pilot, Jeff Skiles (Aaron Eckhart), sticks to Sully’s side like a faithful collie, while his wife, Lorrie (Laura Linney), offers encouragement from home via phone. But Sully’s network of support extends far beyond that, relying on all the other professionals who played a role that day, from the air-traffic controllers to the flight attendants to the emergency-response crew, and though viewers will shake their heads at the injustice of the fact that the authorities held Sully’s feet to the fire for what happened, Eastwood’s message is one of appreciation for those who responded to a crisis in which everyone survived, where the pilot did his job, and where people acted admirably across the board. As Skiles tells the NTSB investigating committee, “You’re not used to having answers to your guesses.” (He also gets the movie’s last laugh, an odd, “OK, I guess we can all go home now” chuckle.)
In terms of acting, there’s not a whole lot for the supporting cast to do other than support, and some of the extras (most notably the passengers) can be distractingly amateurish at times. This is Hanks’ show, and he delivers a typically strong performance, quickly allowing us to forget that we’re watching an actor. With his snowy white hair and mustache to match, Hanks conveys a man confident in his abilities, yet humble in his actions, which could also be said of Eastwood as a director. As unfussy as ever, Eastwood juggles the script’s odd chronology-bending structure, steering by his central character’s conscience throughout, while supplying another of his simple piano scores, which doubles as the melody for end-credits song “We’re All Flying Home” — though if ever there was a film that called for “The Wind Beneath My Wings,” this is it.

Hollywood Reporter SEPTEMBER 02, 2016 9:29pm PT by Scott Feinberg
Telluride: 'Sully' Lands as Tom Hanks Makes a Bid for an Oscar Nomination (Analysis)

The two-time Oscar winner gives a powerful performance in Clint Eastwood's latest drama.

The first-anywhere screening of Sully — Clint Eastwood's drama starring Tom Hanks as US Airways pilot Chesley "Sully" Sullenberger — was the marquee attraction of night one of the 43rd Telluride Film Festival. The reaction of festgoers (polite applause and respectful post-screening chatter) wasn't as exuberant as the reaction earlier in the day to fest-opener La La Land, but then again, Sully's story is quite different, to say the least.

One might assume that Sully — like many other recent movies, from 2012's Argo and Zero Dark Thirty to another film about a flight gone wrong, 2006's United 93 — is a film where audiences know the ending before it begins. However, it turns out that it does not belong in that category at all. In fact, the story we all know — "The Miracle on the Hudson," wherein a plane lost both of its engines to a bird strike but none of the 155 souls on board died thanks to the brilliance of its experienced pilot — is just the beginning of the tale.

Instead, the film focuses on the aftermath of the near-crash — the successful water landing — which left Sully feeling less like the hero he was portrayed as in the media than maybe the cause of the crash itself. The pic itself feels like a nightmare, from a powerful first scene through numerous revisitations of the flight itself (which will give anyone pause before flying again). In that sense, it evokes 2012's Flight, but unlike the character that Denzel Washington played in that film en route to a best actor Oscar nom, Hanks' Sully ultimately doesn't believe he did anything wrong.

What makes this somber film palatable is Hanks' deeply moving performance. We're used to seeing the actor play either an all-American everyman or a hero. In this case, he plays someone who is both — like the main characters in many of Howard Hawks' films, and many of Eastwood's, too, Hanks' Sully is just a man committed to doing his job well and getting home to his family. Grey-haired and mustached, with little dialogue apart from some monologues at the end, the actor is anything but showy. But it's hard to imagine anyone playing the part better.


It's been 16 years since Hanks, a two-time Academy Award winner, was last nominated for an Oscar. Partly, that's because he often has played understated parts, and partly, it's because many audiences take him for granted. For those same reasons, I'm afraid he may be left out again this year. But if, like Meryl Streep in the year of The Iron Lady, he offers indications that the recognition of the Hollywood community still means something to him, he might just get it.


Sully New Posters released

Here are a couple of examples of the new release style posters for Sully. The first is the U.S One sheet and below that is the Japanese release version which also incorporates the Tom Hanks image. It will be interesting to see if there is a further variation when it comes to the UK Quad design.



Tuesday, 26 July 2016

Rare Eastwood Book for Fans

I was happy to receive a rather rare book from America this morning. With approx. 60 books on Eastwood in my collection, ‘Directed by Clint Eastwood: Eighteen Films Analyzed’ (Hardcover) by professor of film studies Laurence F. Knapp is a very hard book to find at a reasonable price. Published by McFarland & Co Inc (20 Feb. 1997) and at 216 pages, the book is now long out of print. However, Amazon (U.S.) does currently have 3 used copies (all in ‘Good’ condition) listed, but prices for these do range from £47.30 to £79.95 and are more likely to be withdrawn library copies. If anyone is interested, it might be worth keeping a check on this title, as I was lucky enough to pick this particular copy up for an incredible 47p!

I wasn’t expecting too much for that price of course, but I have to say, it’s all very clean with pages white, crisp and still tightly bound. I couldn’t believe it actually. It was an ex library book, as there were a few stickers on the back and front, all of which came off cleanly when handled with a bit of TLC. As far as I’m aware, I don’t believe this book ever came with a dust cover or illustrated jacket, I certainly have never been able to find an image for it anywhere on the internet (and believe me I’ve looked high and low) – it is always represented by a generic or standard book icon. The book itself is written in a scholarly style consisting of formal study and analytical research, so it’s not particularly heavy on photographic material – so just be aware. Nevertheless, I’m glad to have finally found one and looking forward to giving it a full read. So if interesting to anyone – take a tip and keep em peeled…