What is Movie News After Dark? It’s a nightly movie news column that would like to lend apologies to those who despise brevity. Tonight’s just not a quantity kind of night. It is, however, a quality kind of night. Quentin Tarantino is now officially on a casting binge for Django Unchained, reportedly signing up Sacha Baron Cohen to play a gambler who buys Kerry Washington as his companion, thus angering the titular slave played by Jamie Foxx. I love it when he plays the villain.

John Ford did Westerns the way Michael Bay does explosions. With a remarkable amount of power and skill. The Man Who Shot Liberty Valance unites John Wayne, Jimmy Stewart, Vera Miles and Lee Marvin all under the directing prowess of the master, and the result is a hell of a ride through a dry gulch with one bullet left in the chamber. Is it a fantastic movie? Yes. But it’s also notable for being the first time that John Wayne ever calls someone “Pilgrim,” on screen, and that’s reason enough to celebrate right there.

Every Sunday, Film School Rejects presents a film that was made before you were born and tells you why you should like it. This week, Old Ass Movies presents the story of the most iconic big band leader of all time from his early days of struggle, through his meteoric rise in the charts, all the way to his involvement with the USO in WWII. It’s a (slightly) fictional take on a true story full of trumpet blasts, crisp high hats, and thundering toe taps from a crowd that just can’t get enough of the stuff. Glenn Miller’s story, like maybe all great musicians, starts in a pawn shop.

Will the young festival’s move to a ski resort in the dead of winter be counter to its celebration of small, independent film?

To movie critics (including myself): yer doin’ it wrong.

Literally. The entire film will be Steven Spielberg wrestling an invisible rabbit in his living room.

Every Sunday, Film School Rejects presents a movie that was made before you were born and tells you why you should like it. This week, Old Ass Movies presents: No Time for Comedy (1940).

Modern film geeks seem to complain a lot about remakes. Whether they are needless, obvious commercialism for commercialism’s sake, or flat out assaulting childhoods, it’s a safe bet to rail on any film that’s been done before. Would we have felt the same way in 1956 when Alfred Hitchcock redid his own film, The Man Who Knew Too Much?

It’s Christmas Eve. A desperate man is suicidal, certain that his entire life has been worthless, and he’s facing a ruinous scandal. But heaven has better things in store for George Bailey.