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Release date Distributor Gross Genre Rotten Tomatoes; 1980: Fatso: Anne Bancroft: February 1, 1980 20th Century Fox: $7,653,061: Romantic comedy: 40% [1] Loose Shoes: Ira Miller August 1, 1980 National American Films N/A Comedy: N/A The Elephant Man: David Lynch: October 10, 1980 Paramount Pictures: $26,010,864: Historical drama: 91% [2] 1981 ...
By 1980, Gene Siskel and Roger Ebert had referred to Mel Brooks and Woody Allen as "the two most successful comedy directors in the world today ... America's two funniest filmmakers". [ 66 ] Released that year was the dramatic film The Elephant Man directed by David Lynch and produced by Brooks.
Brooks receiving a star on the Hollywood Walk of Fame in 2010. Mel Brooks is an actor, comedian, and filmmaker of the stage, television, and screen. He started his work as a comedy writer, actor, and then director of 11 feature films including The Producers (1967), Young Frankenstein (1974), and Blazing Saddles (1974).
Mel Brooks’ life and career will be chronicled in a two-part documentary set up at HBO Documentary Films, with Judd Apatow and Michael Bonfiglio. ... New Movies Out Now in Theaters: What to See ...
Ike Barinholtz, Nick Kroll and Wanda Sykes address whether they'll reboot "Blazing Saddles" next.
Vincent Canby of The New York Times called the film "Mel Brooks' funniest, most cohesive comedy to date," adding, "It would be misleading to describe 'Young Frankenstein,' written by Mr. Wilder and Mr. Brooks, as astoundingly witty, but it's a great deal of low fun of the sort that Mr. Brooks specializes in." [25] Roger Ebert gave the film a ...
It's been a long time since Spaceballs first parodied Star Wars, but a sequel to Mel Brooks' sci-fi satire has plenty of new material to work with. In a rereleased episode of Let's Talk Off Camera ...
[11] Writing for The New York Observer, Rex Reed said it "gets to the core of the Automat's significance, cutting to the core of its social impact on New York and the changing world we live in." [12] The New Yorker ' s Richard Brody said the best part of the film was "its blend of social and intellectual history with its anecdotal history—its ...