MCN Columnists
Ray Pride

Pride By Ray PridePride@moviecitynews.com

FIFTY-PLUS FILMS FOR 2016

In 2016, I saw as many movies as most years (even if when I couldn’t review them all on first release), and I took an additional month to catch up and make room for some second and third look-sees. May the coming year reveal distribution and exhibition creativity to match the grand diversity of movies in 2016.

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Pride, Unprejudiced: Sunset Song, Weiner, The Invitation

A high point among so many, flawed only by a small, smoothing cut, is in the Weiner-Abedin kitchen one morning, when Abedin is asked how she’s doing. She pauses, there’s a cut, she says flatly, “It’s like living in a nightmare.” She smiles, all poise and resolve and red lipstick and white teeth and hightails it out of the frame. Second only to that is Weiner turning to his interrogators in the back of his car, “Isn’t the fly on the wall technique, doesn’t that have a little to do with the notion of not being seen or heard, you just kind of pick up what goes on around you?”

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Pride, Unprejudiced: LOUDER THAN BOMBS With Joachim Trier

“Gabriel Byrne gave him credit by saying that he had never worked with a cinematographer that was so involved, which means he’s there, he knows the blocking, he’s emoting, Jacob Ihre, I’ve seen in our collaboration both start laughing and start crying during scenes we shot, because he’s very engaged with what’s going on. Which I think he doesn’t laugh too loud or weep too loud But that matters. There is a tradition, you know, this tradition, this kind of close-up esthetic in Scandinavian cinema, from Dreyer through Bergman. On some level, I love being serious about that.”

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Pride, Unprejudiced: A Brighter Summer Day; Hail, Caesar!

Its multitude of astonishments include a sure, novelistic mastery of accruing details in an expansive shape that is built upon observation of the smallest moments, gestures, blood-boiling fixations, fetish objects, mortal desires, moral frustrations.

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Thirty Favored Features For 2015 (And Twenty More)

Fifty features, a few films out of time and a fistful of shorts.

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Fifteen Feature Documentaries For 2015

The Look Of Silence, Amy, Heart of a Dog and twelve more highlights of the 2015 year in documentary.

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Pride’s Friday 5: The Walk, Manglehorn, Results, A Brilliant Young Mind, Wenders On Wyeth

When Philippe Petit became Le Pétomane. Two new movies, two new Blu-rays, Wim Wenders capably describing a great painting.

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Sundance Seen Part 2: The Cooled Take

Sundance 2015, I told myself, would be a festival of no quick takes, some tweets, lots of movies, interviews, conversations, unforeseen run-ins and path-crossings, hundreds of photographs, and a few more movies. A noble experiment. Time to consider, reflect. Of course, afterwards, I was quickly reminded that there’s good reason for buckling down in the midst of all the sensory input of a film festival and churning copy and burning digital files. What happens once you’re back on the ground? Sure, plant your ass in the chair and type-type-type until all is tidy and done. But not so fast.

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Sundance Seen Part 1

The whispering of powder from a dull quiet sky. Snowflakes fall between the screenings. Then the sun is bright and powder dusts off the slopes.

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Best of 2014: A Top 40

Against the odds, good and great movies are made. And shown. And seen. And listed numerically, if not wholly ranked. Here’s one critic’s enhanced top forty for 2014.

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A Story Of Deep Delight: Talking BOYHOOD With Richard Linklater

A conversation about time, duration, contracts, some parallels between Boyhood and poetry, making a period film in the present tense, and why film “improvisation” doesn’t exist.

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Interview: Jonathan Glazer On The Birth Of UNDER THE SKIN

In a rangy interview, we talk to Jonathan Glazer about themes in Under The Skin, sight, the eye, Mica Levi’s inventive score and artistic productivity. (He admires Fassbinder’s output.) There are spoilers.

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Interview: Talking JOE And The South With David Gordon Green

The world of David Gordon Green’s Joe is all I ever knew and feared of my upbringing. Not my family, no, but some of my extended-extended family, cousins second- and third-removed, and certainly in the lanes and miles that radiated outward from this small blot on the countryside. I did not come from those people in Kentucky but they lived down the road only a piece.

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Picturing Sundance 14: Awards Night

Middle of the week, familiar faces aren’t recurring so often, Sundance theaters are mostly full, but not completely. But the traffic. The traffic never stops. Sundance 2014 was the first festival I’ve been to where what would once have been a workable schedule of screenings went to hell repeatedly because of traffic standstills all around Park City. The good thing about that is three or four films I would never have seen, but saw because they were the next option, half an hour forward, an hour forward, and they were good. I Pollyanna’ed that idea day and night long. Sundance: wherever you are, you’re where you were meant to be.

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Picturing Sundance 2014: 7 Looks

Seven first-looks along the streets of sunny Sundance.

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Sundance 2014 Review: Locke

“I’m just driving, that’s it,” he says in one way, another, and another. It’s a journey to the end of his soul. “I’m driving,” he says, and the BMW is his cranium, and the voices the voices rocketing within, the car less infernal cage than fevered skull. But it’s not a stunt, no, no, no: all the confinement, the inspired technical legerdemain, it’s all a means to an end, and that end is Locke.

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Sundance 2014 Review: Stranger By The Lake

Classically constructed, as rigid in its construction of suspense as any recent thriller, Alain Guiraudie’s Stranger by the Lake (L’inconnu du lac), is a masterful work, uncluttered yet lush, formally regimented, yet always surprising. (Call it full-frontal Hitchcock.) It also takes its location, its construction of sexuality, as commonplace. Guiraudie’s movie is assuredly part and parcel of queer cinema, but also of the cinema of the quotidian, of the everyday.

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Best Of 2013: Nonfiction Features

A list of ten (with some ties), followed by an alphabetical list of another fourteen, from an exceptionally fine year for nonfiction features. I’m equally awestruck by the top three, The Act Of Killing, The Square and Stories We Tell, especially after multiple viewings.

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Pride’s Friday 5, 20 September 2013

Prisoners, After Tiller, Out 1: Noli me Tangere, Simon Killer and Gimme the Loot.

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Pride’s Friday 5

At TIFF, To The Wolf; in NYC/LA, 99% The Occupy Wall Street Collaborative Film and Salinger; and on video, Shadow Dancer and The Company You Keep.

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Pride

Quote Unquotesee all »

“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