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David Poland

By David Poland poland@moviecitynews.com

50 Shades Of BYOBlog

teenage grey

7 Responses to “50 Shades Of BYOBlog”

  1. Pete B. says:

    “You keep what you kill.”

  2. Glamourboy says:

    I never miss a Judi Dench action film.

  3. Ray Pride says:

    Bond hasn’t been the same since Dame Judi scampered off.

  4. EtGuild2 says:

    Finally caught “20th Century Women,” which I don’t recall being discussed much on the blog. It really snuck up on me. At first the disorganized, anecdotal approach didn’t work for me, but it sure as hell did once it got rolling. Funny, melodramatic and poignant. Mike Mills gets more interesting to me with every movie.

  5. Movieman says:

    Agree re/ “Women,” Ethan.
    It’s the sort of movie that takes awhile to “unpack” (the “disorganized, anecdotal approach” you referenced) and coalesce, but once it does it’s extraordinarily powerful. I was surprised at how moved I was by the ending.
    Disgraceful that Annette Bening and Greta Gerwig weren’t nominated.

  6. EtGuild2 says:

    Agreed.

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“All of the security, all of the waiters, all of the musicians … that’s 3,000 people!” The shopping required fifty tractor trailers. The are thirty gallons of cocktail sauce; 350 pounds of smoked salmon; 200 pounds of brussels sprouts, 250 pounds parmesan cheese; 3,600 eggs; 6,000 mini-brioche buns; five gallons of hot fudge; 20 pounds pickled ginger; 30 pounds edible gold dust; 7,000 miniature chocolate Oscars. There are 1,400 bottles of Piper-Heidsieck champagne and 2,200 bottles from Francis Ford Coppola’s winery. This will be served in and upon 13,000 glasses, 4,500 bamboo skewers, 4,800 ramekins and 6,000 cocktail forks.”
~ Wolfgang Puck Goes Oscar Dinner Shopping

“While these images seem to reveal all, they disclose nothing beneath the surface. All that we know is what we see onscreen and that Seberg’s face is delicate and lightly creased. She’s rarely shown smiling, although there are instances when she laughs emphatically, moments that feel uncomfortable and artificial, as if she were trying out an emotion she had forgotten. We know the texture of her skin; the patterns on the walls; the depth of field; the quality of the light; the contrast of the black-and-white film; the level of grain; the dowdiness of her clothes. She’s partial to granny dresses, or maybe they’re nightgowns, and when she stands in front of a window, the sunlight glows softly, creating a kind of ravishing halo effect: Saint Jean.”
~ Manohla Dargis On Philippe Garrel’s Les Hautes Solitudes