Greetings “ROGUE warriors.” As the end of the year is fast approaching, it’s time to announce IAR’s Top Ten Films of 2014.
The following is a look back at my ten favorite movies of 2014. In order to qualify for this list, the film either had to be released in theaters or digitally before December 31st. It’s important to note that at the time of this publication, I have seen almost every movie released in 2014 with the exception of American Sniper, Still Alice, Cake, Begin Again, Get On Up, and The Fault in Our Stars.
That being said, the list compiled below is based on the movies that I did see this year, and which of those were my favorites. Criteria considered for nomination includes: overall enjoyment, rewatchability, and artistic merit. Honorable mention goes to Gone Girl, Dom Hemingway, Snowpeircer, The Lego Movie, The Theory of Everything, Wild, Foxcatcher, Boyhood, Bad Words and Obvious Child, all of which came very close to making the final cut.
The final weekend of 2014 was a very, very busy one at the domestic box office.
In fact, it was the busiest post-Christmas stretch in history, with moviegoers dropping about $208 million at theaters in North America. That's enough to unseat the just-after-Christmas frame from 2009, back when Avatar and Sherlock Holmes made hay around the holiday.
This landmark weekend was led by The Hobbit: The Battle of the Five Armies in its second consecutive first-place showing, but new releases Unbroken and Into the Woods proved potent as well.
The poster for January's Americons is right up our alley.
Around here at IAR, we love a striking, simple poster, the kind of one-sheet that doesn't rely on cliches like floating heads, sparks around the edges, bad Photoshop, or heroes holding guns awkwardly.
So we're every shade of pleased to bring you an exclusive first look at the poster for Americons, an incendiary dramatic thriller about an ugly patch in recent history and, by extension, about the way we live now.
And that's not all: we also have a bumper crop of stills showing off the film's slick style.
Spoiler alert: Vinny's gonna do the movie.
Because America – nay, the world – demanded it, the first teaser trailer for the Entourage feature film has arrived online just in time for Christmas.
It's almost 2015, but don't pop that cork just yet, ladies and gentlemen.
Santa hasn't dropped down any chimneys yet and that big ball is more than a week away from descending in Times Square, but the end of another year is still very much nigh. As our humble little home planet completes yet another orbit of the sun, you may have noticed a deluge of lists running down the best, worst, and most notable moments of 2014.
Well, iamROGUE is getting in on that end-of-year listing action.
Now, like any devastatingly handsome individual, IAR is look in the mirror and saying, "Damn, I looked good this year." Not quite, actually, but we are showcasing the cream of our interview crop over the last year.
IAR Managing Editor Jami Philbrick is an interviewing whirlwind, a dynamo of an interviewer who coaxes unique and wonderful things out of your favorite stars, from Robert Downey Jr. and the rest of Marvel's superheroes to straight-up cinema legends like Mel Brooks, Martin Scorsese, Oprah Winfrey, and Robert Redford.
For our latest ROGUE 10, we've compiled some of Jami's most memorable interviews of 2014. It's all highlights, and it's the perfect way to close out this strange, wonderful year.
When a black-clad figure ignited a broadsword lightsaber in the first trailer for Star Wars: The Force Awakens last month, everybody who wasn't griping about his elegant weapon wondered "Who the hell is that guy?"
So thanks to those official glimpses, we know what to call this dude and what his back looks like. Now, thanks to a thoroughly unofficial bit of leaked concept art, we know what his face looks like.
Mere days after completely kiboshing the release of The Interview, Sony Pictures has delivered an upper-cut to the glass-jawed threat of terrorism in movie theaters.
The beleaguered studio has formally announced that Seth Rogen and Evan Goldberg's silly, incendiary comedy is hitting select theaters as scheduled on Christmas Day, with a VOD release being arranged for anybody else who wants to enjoy The Interview.
A new theatrical trailer for February's Focus tangos between comedy and intensity, between smirking jokery and duplicitious con-man thrills.
One thing that stays consistent the whole way through is the slow-burn sexual tension between Will Smith and Margot Robbie as expert grafters who are either adversaries or partners.
Netflix is fast becoming the home of long-dormant properties making improbable comebacks.
The streaming service is putting on a red bow-tie and spit-shining its white shoes in order to bring Pee-Wee Herman's next feature film adaptation to an eager world.
Magician: The Astonishing Life and Work of Orson Welles is the documentary Orson Welles deserves.
Welles was and is a titan, a filmmaker and creative dynamo who continues to cast a long, long shadow of cinema and entertainment itself, even almost three decades after his death. He was directing Shakespearean plays by the time he was a teenager, and his feature directorial debut at the young age of 26 is widely considered one of the finest – if not the single flat-out best – films ever made.
From Citizen Kane, he continued as a writer-director-actor-producer for more than forty years, defying easy categorization and following his wholly unique vision, creating classics including Touch of Evil and The Magnificent Ambersons.
In Magician: The Astonishing Life and Work of Orson Welles, Academy Award-winning documentarian Chuck Workman largely lets his subject speak for himself, extensively and entertainingly utilizing archival footage of Welles and his films.
Since Workman's biography of Welles spends so much time with the legendary figure, IAR Managing Editor Jami Philbrick was happy to spend some time with Chuck Workman. In their conversation, Workman discussed the contradictions of Welles, shaping his life into a functional narrative, the impact of Citizen Kane, his later years, and his influence on generations of filmmakers.