Tag: harvey's hellhole

Director Wayne Wang and writer Paul Auster had such a great time making their Brooklyn indie, they got Miramax to finance another one.

For this month’s rundown of the cinematic misdeeds of Harvey Weinstein, we look back at a 1989 historical drama that Miramax worked overtime to turn into a cause célèbre.

With Kevin Spacey trying to make a comeback with his new film ‘Peter Five Eight,’ this month’s Harvey’s Hellhole revisits his 1996 directorial debut, a familiar, quietly chaotic bit of real-time pulp that’s the least embarrassing thing he’s done in his career.

Jean-Pierre Jeunet prevented Harvey Weinstein from recutting “Amelie,” which eventually became an Oscar-nominated, worldwide hit. As it’s re-released in theaters this week, Craig D. Lindsey looks back at the too-damn-whimiscal French movie that was also “a soothing bit of hope and happiness during a very dire time in 21st-century history.”

Thirty Sundances ago, the Weinsteins picked up the shared winners of the Dramatic Filmmakers Trophy and launched two contrasting careers.

The 1988 coming-of-age tale ‘Cinema Paradiso’ was practically patient zero when it came to Miramax taking a middlebrow foreign film and turning it into a much-adored, Oscar-winning hit.

As ‘Farewell My Concubine’ gets an uncut, 30th-anniversary re-release this weekend, we look back at the Cannes-winning, politically charged melodrama that was trimmed by Chinese sensors AND Harvey Weinstein.

Welcome to Harvey’s Hellhole, a monthly column devoted to spotlighting the movies that were poorly marketed, mishandled, reshaped, neglected or just […]

Once upon a time, Miramax tried to go epic, distributing (and, of course, demanding cuts to) Bernardo Bertolucci’s post-“Last Emperor” opus.

With the Oscars around the corner, let’s go back twenty years, when Miramax basically ruled the Academy Awards – and Harvey was determined to get another Best Picture win.

Since Sundance Film Festival season is upon us, this month’s “Harvey’s Hellhole” recalls one of the many times Miramax forked over a lot of money for a Sundance hit they eventually and unceremoniously dumped into theaters.