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The Humbling, Greta Gerwig


The Humbling, Al Pacino

MCN Originals

The DVD Wrapup: Into the Storm, Automata, Wind Rises, Summer’s Tale, Brazilian Western, Alive Within, I Am Ali, Worricker, Monkey Shines and more


Ever since Western film critics and animation buffs helped convince Walt Disney Company to showcase the work of Hayao Miyazaki, by distributing titles from Studio Ghibli outside Japan, niche audiences here have applauded his takes on mankind’s struggle to balance nature and technology, the strength and wisdom of his female characters, and maintaining a pacifist stance in world enamored of war. They also have admired the ways fantasy and supernatural themes are integrated into manga-influenced stories of almost breathtaking visual beauty. Knowing Americans’ genetic predisposition to not reward movies that carry subtitles, Disney has arranged for casts of prominent voice actors to mute any objections to them.

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Gurus o’ Gold: A Week From Thanksgiving, aka Screener Time


There’s been a march on the Top Ten and the man leading the charge has moved up the Actors list as well. The field narrows as the holiday gets closer.

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20 Weeks To Oscar – The Ides Of November


It’s still early. And it’s so late! There are a few titles floating out there, waiting for their moment in the spotlight. But it’s getting awfully late to make a first impression.

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Wilmington on Movies: Foxcatcher

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The Weekend Report

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Gurus o Gold: Just After Selma & American Sniper

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Friday Box Office Estimates

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“The heart of great filmmaking is editing, and Jerry was a great editor. He also had another gift, which was to form relationships with the subjects of our films. He could connect. He was able to balance his great sense of humor with an ability to listen to what people have to say.”
Rick Kogan On Late Kartemquin Films Co-Founder Jerry Blumenthal

“I fell in with some bad people. It happens. Every time something like that happens, you swear it’s not going to happen again. But the problem is, they always come up with new ways to —- you. You think, ‘OK, they’re never going to —- you that way again.’ Well, they’re probably not, but they’re going to find a new way. It’s hard to protect yourself completely.”
Paul Schrader Doesn’t Disparage Dying Of The Light

“The pubic hand-wringing going on right now makes sense. If you acknowledge even the faintest role Cosby has had in sculpting your perception of blackness, class, jazz, jazziness, Ray Charles, Shakespeare, the living legacy of the civil rights movement—how would you begin to reject that? This is where, for me, the crux of the situation —this Cosby shit, to quote a disgusted colleague— differs from the case of a Roman Polanski or Woody Allen or R. Kelly. Polanski, Allen, and Kelly have given us art. Cosby gave America a vivid new way to see itself.”
Rembert Brown And Wesley Morris Go Long On “The Bill Cosby Issue”


“It hardly seems possible that Mike Nichols is dead—not just because he lived so long and productive a life, but because the work continued to pour out of him all the way to the finish line.”
Terry Teachout‘s Sharp Summation With A Sweet Personal Tale

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Six rules for filmmaking from Mike Nichols
1. The careful application of terror is an important form of communication.
2. Anything worth fighting for is worth fighting dirty for.
3. There’s absolutely no substitute for genuine lack of preparation.
4. If you think there’s good in everybody, you haven’t met everybody.
5. Friends may come and go but enemies will certainly become studio heads.
6. No one ever lost anything by asking for more money.
~ Via Larry Karaszewski and Howard A. Rodman On Facebook

“I expected ‘Salesman’ to take the step backward every day that Chekhov and Beckett did — but no, it was there to help all the time. The circumstances are like a brick shithouse, they are so solid. You can’t really be satisfied, but I am pretty close to it because the cast took it and ran. They get better every day. I’ve never seen anything like that before, and I don’t know if I’ll ever see it again. Is my ambition sated? I don’t know. To get something right, it can’t be sated because you can’t ever get enough of it right—and even if it is right, it won’t stay right. That’s the thing about a play. But with ‘Salesman,’ it’s different. I don’t know how, but they just keep getting better each night. I really don’t think I’ll direct another play. This is as good a time as I’ve ever had, and I don’t want to fuck it up.”
~ Mike Nichols To Stephen Galloway At The Time Of “Death Of A Salesman”