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MCN Columnists
Leonard Klady

Columns By Leonard KladyKlady@moviecitynews.com

Still Crazies (After All These Years)

February 28, 2010 The tremor continued in the marketplace as Shutter Island prevailed over two incoming missiles with an estimated $22.3 million weekend. Still the freshmen entries were close behind with buddy flics in Cop Out entering (but not breaking) the scene with $18.4 million and the redo of the 1972 apocalyptic thriller The Crazies…

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Wilmington on Movies: Cop Out, The Crazies, A Prophet, North Face and The Ghost Writer (revisited)

Cop Out (One and a Half Stars) U. S.; Kevin Smith, 2010 Cop Out is one movie where you can tell what went wrong just by looking at the trailer. The

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Whiteout

Nothing like a good snowbound suspense thriller for a cozy mid-winter evening’s entertainment, and Warner Home Video has provided just thing with the 2009 production, Whiteout, which has nothing to do with secretaries trying to fix mistakes on requisition orders and everything to do with triple homicides and inclement weather in Antarctica. Kate Beckinsale is a United…

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Marty, You Can Do Better

Last week, I spoke of the virtues of Martin Scorsese and why all film geeks everywhere should be excited to see his newest film, Shutter Island.  The opening of a new Scorsese film was something that I felt was a cinematic event more exciting than the first weekend of any blockbuster.  So, just know that when I…

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Shutter … the Thought

February 22, 2010 Paranoia reached new heights of popularity as Shutter Island topped weekend charts with an estimated $40.3 million. It was the sole new national release but reflecting the twisty thriller’s appeal was the exclusive bow of The Ghost Writer that rang up an impressive $43,200 from four reveals. Other niche and limited debuts…

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Wilmington on Movies: Shutter Island, The Ghost Writer and Ajami

Shutter Island (Four Stars) U.S.; Martin Scorsese, 2010 Shutter Island, Martin Scorsese’s new film, is a horror movie for aficionados, who like to be scared and not have to check their brains in the lobby. It‘s for moviegoers who’ve had their fill of the current

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A Scorsese Love Poem and Unmade Movies

Scorsese the Underdog I haven’t seen Shutter Island yet, although it seems like the rest of the film community has.  That’s fine by me since I wouldn’t want to see it any other way than on Friday afternoon with a crowd full of film fans, rather than a screening room full of critics.  Seeing The Departed on…

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I Heart Presidents

February 15, 2010 It was candy and roses for Valentine’s Day as it ascended to the top of long weekend viewing with an estimated four-day box office of $66.2 million. In a bountiful frame two other freshmen entries followed. The youth targeted Percy Jackson and the Olympians bowed to $38.9 million and the revived The…

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The Weekend Report: February 14, 2010

February 14, 2010 Weekend Estimates Domestic Market Share Weekend Estimates: February 12-14, 2010 Title Distributor Gross (average) % change * Theaters Cume Valentine’s Day WB 51.8 (14,140) New 3665 51.8 Percy Jackson & the Olympians Fox 31.4 (9,370) New 3356 31.4 The Wolfman Uni 30.5 (9,460) New 3222 34.7 Avatar Fox 22.2 (8,260) -3% 2685…

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The Care and Feeding of Your Indie Film on the Fest Circuit

When I was at the Oxford Film Festival last weekend, one of the things I was asked to do was moderate a panel called “Speed Pitch,” in which filmmakers had the opportunity to sign up to pitch their ideas (either the film they had in the fest, or other projects they have in the works)…

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Wilmington on Movies: Valentine’s Day and Percy Jackson and the Olympians: The Lightning Thief

Valentine‘s Day (One and a Half Stars) U.S.; Garry Marshall, 2009 Lonely on Valentine’s Day? Hollywood has your number. They’re holding tickets (or at least one ticket) to director Garry Marshall’s appropriately titled Feb-12-14 weekend release Valentine’s Day — an all-star Angeleno big-movie box of flavorless

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So Many Monkeys Jumping on the Bed

Published under 1,000 Monkeys. When people I interact with in my professional life learn that I have five children (and a grandchild, even!) they are often astonished. These days, the idea of someone having a large family is (at least outside of homeschooling or Amish circles) a bit out-of-fashion. I get asked a lot of…

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Red Riding: Better than The Godfather?

Some films are so dense that it’s impossible to truly appreciate them while you’re watching them for the first time. The Red Riding trilogy is one of those films. Although, calling it a “trilogy” isn’t really appropriate because although it is three separate films by three separate directors using three very techniques, they are all…

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Love Letters

February 7, 2010 Romance trumped visceral thrills as the three-hanky Dear John debuted at the top of weekend viewing charts with an estimated $32.7 million. The session’s other new national premiere From Paris with Love settled into position three with $8.1 million. Regional openers saw a solid bow of $232,000 for Les Sept jours du…

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Oscar, Schmoscar

I haven’t been able to get that excited about the Oscars this year. Probably it’s partly because I was pretty much out of the movie loop for five or so months dealing with illness, but partly, to be honest, it’s this whole idea of ten best picture nominees that has me feeling decidedly “meh” about…

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Criterion Collection: Che

Steven Soderbergh’s two-part 2008 sequel to The Motorcycle Diaries has been released by The Criterion Collection as a three-platter set, Che. Soderbergh gave the films a slightly different look, although on a video screen, the change is modest. ChePart One, about Ernesto Guevera’s participation in the Cuban Revolution, is in classic widescreen, letterboxed with an aspect ratio of…

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If I Had a Ballot

I have to be honest; I really haven’t been following the Oscars as closely as I usually do. I’m not sure why that is, but if I had to venture a guess, I’d say it’s because of two big factors: 1) 2009 was one of the worst years for movies in recent history and 2)…

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“We don’t defy the laws of physics: There are no flying men or cars in this movie. So it made sense to do it old-school: real vehicles and real human beings in the desert. We shot the movie more or less in continuity, because the cars and the characters get really banged up along the way. The biggest benefit of digital technology for me was that the cameras were smaller and much more agile, so you could put them anywhere. We also spent a huge amount of time on spatial awareness—making sure the viewer could follow the action and understand what was happening. There has to be a strong causal connection from one shot to the next, just the same way that in music, there has to be a connection from one note to the next. Otherwise it’s just noise. Too often, if you just cram a lot of stuff into the frame, you get the illusion of a fast pace. But there’s no coherence. It doesn’t flow. It comes off as headbanging music, and it can be exhausting. We storyboarded the movie before we had a script: We had 3,500 boards, which helps the cast and crew understand how everything is going to fit together. Movies are getting faster and faster. The Road Warrior had 1,200 cuts. This one has 2,700 cuts. You have to treat it like a symphony.”
~ George Miller

“I was having issues with my script for It’s All About Love, so I called Ingmar Bergman and we ended up talking about everything but the script. He said, “Well, Festen is a masterpiece, so what are you going to do now?” At that point, I had not decided if I was going to make It’s All About Love, so I answered, “Hmmm, I don’t know. Maybe this, maybe that.” There was just a long pause, and then he said, “You’re fucked.” I said, “Well, how can you know?” “Well, Thomas, you always have to decide your next movie before the movie you’re doing presently opens.” And I said, “Why is that?” “Well, two things can happen. One thing is that you fail, and then you’ll feel scared and humiliated. It’ll get into your head. Second, and even worse, you have success, and then you’ll want more of it, or you’ll want to maintain it. But if you decide on your next film while you’re in the middle of editing, it becomes a very nonchalant choice. And then it’s shorter from the heart to the hand.”
~ Thomas Vinterberg

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