MCN Originals

Rotten Tomatoes, Movie Openings & Reality

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There have been 131 wide-release summer movies in from 2014 until now.

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The DVD Wrapup: Marseille Trilogy, Life, Bird With Crystal Plumage, Lawnmower Man, Car Wash and more

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Way back in the Pleistocene Age, when all film students and cineastes had to rely on for evidence of a film’s virtues were barely-watchable 16mm prints of vintage movies, it was sometimes difficult to appreciate what differentiated true classics from run-of-the-mill entertainments. Poorly maintained projectors occasionally caused the film stock to melt, while scratches and other defects turned dialogue into garble. That all changed with laserdiscs, DVDs and the concerted efforts of preservationists, who benefitted mightily from advanced digital technology. In his introduction to the Criterion Collection release of Marcel Pagnol’s “The Marseille Trilogy,” Bertrand Tavernier (‘Round Midnight) describes how his opinions about Marius (1931), Fanny (1932) and César (1936) changed after watching the 2015 restoration, conducted by Compagnie Méditerranénne de Film and the Cinémathèque Française. In short, the experience was revelatory.

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WTF? Lord/Miller Latest Disney Victims?

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Thing about Young Han is… Wonder Woman. Guardians of the Galaxy. Dr. Strange. Ant-Man.

IP Machine Shops are figuring out that the way to keep the engine running is to have some bits that aren’t 100% canon. Loosen up, people.

Star Wars is a mature bit of IP. It’s power is remarkable. But everything can be killed by misguided, well-intended management.

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The Weekend Report

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The Gronvall Report: Director Aisling Walsh On MAUDIE

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Friday Box Office Estimates

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Review-ish: Rough Night

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Form Meets Function As Bilge Ebiri Reviews Transformers

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“I’m a brown woman immigrant, my family escaped the Iranian Revolution, I grew up on two continents, English wasn’t the first language in my home. I know what it is to be the ‘other’ very, very well. My film and my filmmaking is all about asking questions about how the system pits us against each other. If anything, this movie is about how we are eating each other. It’s fine, I get it, some people don’t see those things or ask those questions. Cinema is a private, personal experience for individual. But this felt personal against me…What is art? I find myself asking that question all day these past few weeks. I’m thinking, you shouldn’t be able to answer that. That’s the fucking problem. People think they can.”
Ana Lily Amirpour Replies

“A play is not a tweet. It can’t be compressed and embedded and it definitely can’t be delivered apologetically. The very act of saying anything more nuanced than ‘us good, them bad’ is under attack, and I’m proud to stand with artists who do.”
Corey Stoll On Playing Brutus In The Park

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“I don’t think there’s going to be a winner. There may be a dominant platform, and I don’t think it’s going to be big screen movies.”
Young Han Solo Director Ron Howard On The Future Of Movies

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“Warm Cheddar Drop Biscuits… Roasted Veggie Kabobs…Veggie Cheeseburg” 
Netflix Enforcing Vegetarian-Only Dinner Menu During iPic Booking Of Okja

LA Times

“People want to see a world that looks like theirs.”
CAA Study: Diverse Casts Rake More Cash

hollywoodreporter.com

“Outside the silos, there has been a big waste of money on projects that don’t make sense. They’re not going to make a movie like The Judge with Robert Downey Jr. for $60 million. For $35 million — maybe.”
What Will Warner Under Emmerich (And AT&T) Look Like?

“From the beginning of cinema, models of production and distribution have changed almost every 10 years. I mean, filmmakers thought the end of the world was happening when sound was invented because there had been this whole silent movie thing, which made a lot of people millionaires and certainly famous. And then sound came along and this whole silent thing just fell off the edge of the earth.”
Hal Hartley Accepts Change

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“I really hate it. Being the producer is just not interesting. Being a director of a movie would be fun, being a writer on a movie would be fun, being an actor, being an editor. When you’re the producer, you’re herding people to do stuff. You’re organizing money. You’re dealing with people’s feelings. It’s a horrible job! I don’t understand why Scott Rudin would want to have that job. It seems like an awful job. God bless him for doing it.”
Ira Glass Hates Producing Movies

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“When Bay keeps these absurd plot-gears spinning, he’s displaying his skill as a slick, professional entertainer. But then there are the images of motion—I hesitate to say, of things in motion, because it’s not clear how many things there are in the movie, instead of mere digital simulations of things. It doesn’t matter. What matters is that there’s a car chase through London, seen from the level of tires, that could have gone on for an hour, um, tirelessly. What matters is that the defenestrated Cade saves himself by leaping from drone to drone in midair like a frog skipping among lotus pads; that he and Vivian slide along the colossal, polished expanses of sharply tilting age-old fields of metal like luge Olympians. What matters is that, when this heroic duo find themselves thrust out into the void of inner space from a collapsing planet, it has a terrifyingly vast emptiness that Bay doesn’t dare hold for more than an instant lest he become the nightmare-master. What matters is that the enormous thing hurtling toward Earth is composed in a fanatical detail that would repay slow-motion viewing with near-geological patience. Bay has an authentic sense of the gigantic; beside the playful enormity of his Transformerized universe, the ostensibly heroic dimensions of Ridley Scott’s and Christopher Nolan’s massive visions seem like petulant vanities.”
~ Michael Bay Gives Richard Brody A Tingle

How do you see film evolving in this age of Netflix?

I thought the swing would be quicker and more violent. There have been two landmark moments in the history of French film. First in 1946, with the creation of the CNC under the aegis of Malraux. He saved French cinema by establishing the advance on receipts and support fund mechanisms. We’re all children of this political invention. Americans think that the State gives money to French films, but they’re wrong. Through this system, films fund themselves!

The other great turning point came by the hand of Jack Lang in the 1980s, after the creation of Canal+. While television was getting ready to become the nemesis of film, he created the decoder, and a specific broadcasting space between film and television, using new investments for film. That once again saved French film.

These political decisions are important. We’re once again facing big change. If our political masters don’t take control of the situation and new stakeholders like Netflix, Google and Amazon, we’re headed for disaster. We need to create obligations for Internet service providers. They can’t always be against film. They used to allow piracy, but now that they’ve become producers themselves, they’re starting to see things in a different light. This is a moment of transition, a strong political act needs to be put forward. And it can’t just be at national level, it has to happen at European level.

Filmmaker Cédric Klapisch