MCN Originals

Wilmington on Movies: The Shallows


The Shallows is a genuinely scary movie thriller that spooks you because, in a way, it seems so real — this tense, taut movie manage to get by without ghosts, monsters, supernatural maniacs or The Devil, indeed without almost anything that absolutely couldn’t happen (maybe) in the real world. Like Jaws, it’s the white-knuckle, full-throttle story of a battle between human vs. shark: a visually voluptuous thriller, set in a mostly deserted stretch of Australian coast, about a great white shark that traps a young surfer and medical student on an ocean-bound rock and buoy only about 200 yards from shore — a deserted beach near an ocean that is mostly empty except for that trapped girl and that toothy shark and one other creature we‘ll introduce later. (You’ll like him.)

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Pride, Unprejudiced: The Look Of Silence


“The films avoid a kind of journalistic or historical account. They provide only enough information as required for the viewer to understand the next scene. The film doesn’t become a primer about Indonesian history. I think the films avoid being about Indonesia as such, by focusing on the perpetrator and the men around him in The Act of Killing, and one family in The Look of Silence. Instead of becoming smaller, they grow, because they could be your brothers.”

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The Weekend Report

Weekend Estimates 2016-06-26 at 9.23.16 AM

The story was Dory as the Blue Tang clan of Finding Dory boop boop ditem whatem an estimated $73.2 million in its second weekend. That was bad news for Independence Day: Resurgence that settled into second with $41.6 million. The session’s other two national openers saw upbeat results for The Shallows , churning $16.2 million, while Civil War lesson Free State of Jones struggled to $7.5 million.

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Reviews: Free State of Jones and Hunt for the Wilderpeople

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Friday Box Office Estimates

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The DVD Wrapup: Knight of Cups, Greek Wedding 2, Wondrous Boccaccio, Anesthesia and more

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Wilmington on Movies: Central Intelligence

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“No-budget filmmaking is not a career. And at some point, 20-somethings become 30-somethings.”
A Slight Burst Of Pessimism About Filmmakers Having Careers

“Terry sometimes cuts the movie to the look of things — or even to the exposure — rather than directly to the story, because he’s looking for more of a feeling. With me doing the dailies, Terry could go in and start editing according to how things flow color-wise. So we were very conscious about it during production and Chivo and I talked daily. We would send stills back and forth every day just to make sure we were all on the same page.”
I Am The Colorist Of Terrence Malick

“It is very paradoxical. I am so shy, and, at the same time, I expose myself literally to thousands of people. I don’t really understand why I do that. I need to go through therapy!”
Cover Story-ing Eva Green

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Quote Unquotesee all »


The next thing that really changed my world and thoroughly influenced my writing were the films of Robert Bresson. When I discovered them in the late seventies, I felt I had found the final ingredient I needed to write the fiction I wanted to write.


What was the final ingredient?


Recognizing that the films were entirely about emotion and, to me, ­ profoundly moving while, at the same time, stylistically inexpressive and monotonic. On the surface, they were nothing but style, and the style was extremely rigorous to boot, but they seemed almost transparent and purely content driven. Bresson’s use of untrained nonactors influenced my concentration on characters who are amateurs or noncharacters or characters who are ill equipped to handle the job of manning a story line or holding the reader’s attention in a conventional way. Altogether, I think Bresson’s films had the greatest influence on my work of any art I’ve ever encountered. In fact, the first fiction of mine that was ever published was a chapbook called “Antoine Monnier,” which was a god-awful, incompetent attempt to rewrite Bresson’s film Le diable ­probablement as a pornographic novella. So I came to writing novels through a channel that included experimental fiction, poetry, and nonliterary influences pretty much exclusively. I never read normal novels with any real interest or close attention.
~ Dennis Cooper Discovers Bresson

The whole world within reach.
~ Filmmaker Peter Hutton

Z Weekend Report