Tag: harvey's hellhole

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

This month marks Oscar Wilde’s 170th birthday (and next month marks the 124th anniversary of his death) so let’s go back to that brief time when Miramax was in the Oscar Wilde-adapting business. 

The 30th anniversary of Quentin Tarantino’s revolutionary ‘Pulp Fiction’ is fast approaching, but let’s give special attention to a less-than revolutionary movie that came out twenty years ago — on home video! — that QT slapped his name on.

The recently-departed actress’s four films for Miramax in the mid-to-late 1990s weren’t among her crowning achievements, but they also showed that she never phoned it in.

Our look back at the Miramax castoffs of summer ’99 continues with this Colin Firth-fronted coming-of-age comedy/drama.

This nuanced story of a liberal father and his fundamentalist son was one of several films Miramax unceremoniously dumped in theaters in the summer of ’99.

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.