Weekly Rushes: Remembering "Ali," Cronenberg's "Total Recall," Trailers Galore, the Great Sammo Hung

• A great trailer for Morris from America, Chad Hartigan's Sundance-winning follow-up to This Is Martin Bonner (2013).

• After Hou Hsiao-hsien, Hong Sang-soo and Tsai Ming-liang all made movies in France, our wish list of favorite Asian filmmakers we'd love to shoot in the land of cinephilia has considerable shortened. But there's at least one name we're excited about: Japanese horror maestro Kiyoshi Kurosawa's eerily titled The Woman in the Silver Plate will be his French debut (starring Olivier Gourmet, Mathieu Amalric and Tahar Rahim), following up this year's terrific Creepy.

• We're super stoked for Anna Biller's new film, The Love Witch. It'll be showing at BAMcinemafest this month, with a U.S. theatrical release later in the fall.

• We missed Ken Loach's I, Daniel Blake at the Cannes Film Festival...so of course it went on to win the Palme d'Or! The U.K. trailer gives us more than a hint of what it will be like.

• Finally, Variety has the teaser trailer for The Young Pope, Paolo Sorrentino's follow-up to Youth, starring Jude Law as...a young pope.

• Director Michael Mann has written a tribute to Mohammad Ali for Variety. Mann's biopic of the boxer, Ali, will see a re-release in American cinemas. 

In the early days, in one of my meetings with Ali, he said one of the most important concerns to him was that there be no idolatry. No sugarcoating.  He made mistakes and he wanted all of them included. His life was his life, and he was proud of the totality of it and would not want it diminished by hagiography. 

• Hollywood's once great history of building magnificent (and often egregiously inaccurate) physical sets is eulogized at The Baffler in our current era of computer generated infinite possibilities: 

I suspect only prigs are completely immune to the delights of whole foreign environments—whether antique, exotically international, familiar but exaggerated, or just plain fantastical—that have been erected, populated, and photographed for no better reason than to knock our socks off. For my money, Intolerance is where fake movie architecture began its complicated dance with the real thing, affecting how audiences perceive the past, reconfigure their present, and anticipate the future

• "Sammo Hung is often called the greatest action director in the world. Why?" Grady Hendrix has the answer in his latest Kaiju Shakedown column at Film Comment, exploring in text and clips the Hong Kong actor and director's magnificence.
• You may be familiar with (and downright love) Fritz Lang's classic noir Scarlet Street, but you may not have seen the 1931 film by Jean Renoir which it is a remake of. At The New Yorker, Richard Brody waxes lyrical about La chienne, now on home video from The Criterion Collection:

“La Chienne” is a ferocious, bitterly ironic drama, a diabolical satire on bourgeois hypocrisy that replaces complicitous laughter with accusatory roars of derision. 

• Our favorite way of finding out what films are playing in New York, the website Screen Slate, has just gone through an impressive re-design.

• We love Paul Verhoeven and so, of course, are fans of his adaptation of Philip K. Dick's Total Recall, but the concept art for a version directed by David Cronenberg, re-posted at Dangerous Minds, has us fantasizing about what might have been.