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On April 14, 1933, Today We Live, a star-studded adaptation of a William Faulkner story, "Turnabout," hit theaters, featuring a cast of Joan Crawford, Gary Cooper and Franchot Tone. The Hollywood Reporter's original review is below.

When Today We Live is cut down to exhibition length it should prove very good entertainment. With Joan Crawford and Gary Cooper for the draw, it should sell about all the tickets there are to be sold in your zone.

The story by William Faulkner, with the screen play by Edith Fitzgerald and Dwight Taylor, is swell writing from beginning to end, but it...

<em>On April 14, 1933, Today We Live, a star-studded adaptation of a William Faulkner story, "Turnabout," hit theaters, featuring a cast of Joan Crawford, Gary Cooper and Franchot Tone. The Hollywood Reporter's original review is below.</em>

When <em>Today We Live</em> is cut down to exhibition length it should prove very good entertainment. With Joan Crawford and Gary Cooper for the draw, it should sell about all the tickets there are to be sold in your zone.

The story by William Faulkner, with the screen play by Edith Fitzgerald and Dwight Taylor, is swell writing from beginning to end,...

Even at 81 years young, Woody Allen’s work rate continues to be the stuff of legend. For generations, the prolific filmmaker has operated at a remarkably brisk clip, churning out one quirky feature after another, and culminating with the release of last year’s somewhat forgettable romantic dramedy Café Society.

But a mixed reception has never stopped Allen before and sure enough, the director is behind the lens once again for Wonder Wheel, a 1950s-set period drama in which Justin Timberlake takes point as a lifeguard. Seen above alongside Juno Temple and the Oscar-winning Kate Winslet, Timberlake’s character will reportedly have some sort of romantic dalliance with Winslet’s, while Tony Sirico’s mysterious character is the one threatening to throw a spanner in the works.

Set under the grand shadow of Coney Island’s iconic Ferris wheel – known locally as the ‘Eiffel Tower of Brooklyn’ – Wonder Wheel also stars Jim Belushi,...

In cooperation with Berlinale Panorama, Berlinale Special and dffb: A conversation between Raoul Peck and Ben Gibson.Raoul Peck and Ben Gibson

Acclaimed Haitian filmmaker Raoul Peck has created a body of work in documentary and fiction distinguished by its critical engagement and intellectual courage. Taking on such specters of postcolonial injustice as underdevelopment, racism and communal violence, Peck’s films illuminate the personal stories and contradictory experiences of those individuals often treated by history and cinema as faceless, invisible, silent. This year’s Berlinale features two new Peck films: the fictional “The Young Karl Marx” in Berlinale Special and the Academy Award-nominated “I Am Not Your Negro,” a documentary based on an unfinished manuscript by James Baldwin in Panorama. In the 50th year of the dffb, Peck, a graduate of the Berlin film school, reflects on his cinematic journey with Ben Gibson dffb’s first non-German director of the school.

New projects revealed from I, Anna director Barnaby Southcombe, When Animals Dream filmmaker Jonas Alexander Arnby and actor/director Hiam Abbass.Scroll down for full line-up

The Les Arcs Coproduction Village (Dec 12-15), held as part of the Les Arcs European Film Festival (Dec 12-19), has unveiled the projects for its 7th edition.

A total of 25 projects have been selected for the three-day development and financing platform, which has previously showcased festival hits including Lazlo Nemes’ Son Of Saul, Alice Rohrwacher’s The Wonders, Grimur Hakonarson’s Rams and Runar Runarsson’s Sparrows.

This year’s line-up includes projects from 13 countries and five from Norway, selected as part of this year’s Norwegian Focus. Eight debut features are included in the selection.

Representatives of the projects will have one-to-one pre-scheduled meetings with producers, sales agents and distributors.

Two conferences will also be held during the Coproduction Village: one about the production of Joachim Trier’s Cannes competition...

Gary Cooper movies on TCM: Cooper at his best and at his weakest Gary Cooper is Turner Classic Movies' “Summer Under the Stars” star today, Aug. 30, '15. Unfortunately, TCM isn't showing any Cooper movie premiere – despite the fact that most of his Paramount movies of the '20s and '30s remain unavailable. This evening's features are Mr. Deeds Goes to Town (1936), Sergeant York (1941), and Love in the Afternoon (1957). Mr. Deeds Goes to Town solidified Gary Cooper's stardom and helped to make Jean Arthur Columbia's top female star. The film is a tad overlong and, like every Frank Capra movie, it's also highly sentimental. What saves it from the Hell of Good Intentions is the acting of the two leads – Cooper and Arthur are both excellent – and of several supporting players. Directed by Howard Hawks, the jingoistic, pro-war Sergeant York was a huge box office hit, eventually earning Academy Award nominations in several categories,...

In 1935 director Howard Hawks had a reputation for directing fast action films that were shot like screwball comedies. Before the Hays code, he directed Paul Muni as an Al Capone persona for the “most violent picture” of the time, Scarface (1932). Films about violent sports and vehicles and the men in control of them also got the Hawks treatment with The Dawn Patrol (1930), The Crowd Roars (1932), and The Prizefighter and the Lady (1933). The tagline for that last one’s poster reads: “Girls! There’S A New Passion In Your Life!” Hawks’ strengths lie in that spectacle of unfettered action for the boys, star power for the girls. His marketing image had stepped out of genre pictures before with more straightforward dramas Tiger Shark (1932)and Today We Live (1933). In Twentieth Century (1934), Hawks even ventured into full screwball territory (I’d wager that the Code taking away his violent sensibilities may have something to do with this,...

Today we live in an interesting age of Hollywood. Each year we get a plethora of original films to feast on…we also seem to get more and more sequels and remakes. And reboots. And adaptations. It’s something you’ve no doubt heard before. Or you’ve at least considered it: Hollywood often seems to make it look like there are no original ideas left in the world. While I’ve adored many of these films, I’ve also found myself wondering, am I part of a bigger problem here?

A quick look over the major films listed on IMDb for 2013 reveals that this year we will receive 30 sequels, 3 prequels, 2 reboots, 4 remakes, 1 spin-off and 7 major adaptations. And that’s just what I found in the 250 most popular titles for 2013. Imagine what we would find if we went through the entire year’s output! Some generous maths will tell us...

Depending on how you slice it, this weeks Tgtt is either early or late, but either way hombre – it’s here. Moany Rl-commitment-excuses aside, there’s definitely been enough going on this week to warrant a quick catch up.

I’m Jim Cross, this is video games. Enjoy.

A grubby handful of releases big and small out this week, here’s a quick glance.

Rage (Xbox 360/PS3/PC/Mac)

So id Software finally releases ‘Rage’, the highly anticipated shooter that debuts a shiny new ‘id Tech 5′ engine and is id’s first game since the somewhat underwhelming release of ‘Doom 3′ in 2004. ‘Rage’ is an Fps with a bit of car combat, set in a post-apocalyptic world.

Hmmmm.

“But pray? What sort of stock, uninspired post-apocalyptic world could they possibly have chosen for this modern opus?” You cry.

‘Well dear reader, only the gut-churningly-obvious favouring of a desolate wasteland, peppered with...

Criterion releases Kiss Me Deadly on DVD and Blu-ray today and, for the occasion, they're running an essay by J Hoberman adapted from his book, An Army of Phantoms: American Movies and the Making of the Cold War: "Genres collide in the great Hollywood movies of the mid fifties cold-war thaw. With the truce in Korea and the red scare on the wane, ambitious directors seemed freer to mix and match and even ponder the new situation. The western goes south in The Searchers; the cartoon merges with the musical in The Girl Can't Help It. Science fiction becomes pop sociology in Invasion of the Body Snatchers. And noir veers into apocalyptic sci-fi in Robert Aldrich's 1955 masterpiece Kiss Me Deadly, which, briefly described, tracks one of the sleaziest, stupidest, most bru tal detectives in American movies through a nocturnal, inexplicably violent labyrinth to a white-hot vision of cosmic annihilation.

The Superman Motion Picture Anthology

Blu-ray, Warner Home Video

Today we live in a world where even relatively "also ran" comic-book characters such as Thor and The Green Lantern get their own megabucks movies, but it wasn't so long ago when superheroes were considered only good for Saturday morning serials, cartoons or campy spoofs like the Adam West Batman TV show.

In 1978 that all changed with Superman: The Movie, a bold, epic origins tale with big names such as Marlon Brando and Gene Hackman attached to show just how serious the superhero business could be. It was a massive gamble that paid off, becoming one of the biggest-grossing hits of the decade along with Star Wars and Close Encounters Of The Third Kind, and remaining hugely influential on any comic-to-film adaptation. Then-unknown actor Christopher Reeve gave us one of the best performances in any superhero flick. Even in the sequels with increased corny comedy content,...

Nan A. Talese

In some universe warp the literary stars of New York’s brilliant 1950’s and 60’s may still be drinking and smoking and casting about for available young bodies and jostling each other seeking to dominate, to charm, to out drink, to dazzle. Their minds may be racing to find the words that might end an argument or begin one.

Today we live in the rehab world of Hazeldon and Betty Ford and family interventions, of nicotine patches...