MCN Columnists
Mike Wilmington

Wilmington By Mike WilmingtonWilmington@moviecitynews.com

Wilmington on Movies: The BFG

Ttrust the tale and not the teller. Or trust the tittletattler. Maybe that’s why Spielberg and his collaborators gave his BFG the face of a Jewish angel, and cast Mark Rylance to play him. Delumptiously.

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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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Wilmington on Movies: Central Intelligence

Central Intelligence surprises you — or surprised me, at any rate.

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Wilmington on Movies: Genius

Thomas Wolfe was an American literary phenomenon: a North Carolina-born novelist and prodigy who hoped to write books of Shakespearean verbal grandeur, of Tolstoyan dramatic scope and Dickensian humanity, and to live a life to fit those vast ambitions. He’s also an artist who tends to be ignored or underrated these days. A pity, because whenever you read one of his huge novels (especially “Look Homeward Angel” and “Of Time and the River”), his talent and his mixed but munificent literary gifts flame right off the page at you.

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Wilmington on Movies: The Conjuring 2

People who like scary ghost horror movies, from Frankenstein to The Haunting, probably are partial, at least a little, to that awesome, icky sensation of being plunged into sucking swamps of cinematic dread, then rescued (maybe spuriously, maybe not) at the very last possible millisecond—a sensation you may feel quite a few times in The Conjuring 2.

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Wilmington on Movies: Alice Through the Looking Glass

This new movie’s flaws seem to me less ruinous, its strengths less negligible, and its effect more enjoyable than naysayers have allowed. That doesn’t mean that you should rush out and see it, simply that the people involved did a better job than they have been credited.

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Wilmington on Movies: Forbidden Games

Forbidden Gamesis one of the great black-and-white French films of the post-war, pre-New Wave cinema era. But it‘s also one of a group of initially admired French post-war films that were later radically underrated by the New Wave critic-directors, including Truffaut and Godard.

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Wilmington on Movies: Sinister 2; Sinister

Sinister 2, one of the creepier horror movies I’ve seen recently, is an attempt to make an even more sinister sequel to the 2012 horror-sleeper. That earlier Sinister was a found-footage horror show that scared some audiences and grossed some dough back in 2012, and also inspired a lukewarm, semi-horrified response from, as Orson Welles was wont to say, your obedient servant. But this new Sinister is, like many mediocre and derivative gorefests so unengagingly gory and so unentertainingly sicko that it seems extremely unlikely that we’ll ever see a “Sinister 3.” For which we should all be grateful.

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Wilmington on Movies: The Third Man

There’s nothing wrong with The Third Man even if the world it describes is wrong to the core and bad to the bone.

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Wilmington on Movies: Jurassic World

Ever since Jaws made his name and fortune in 1975 Steven Spielberg has been the king of the summer movie, and his production of this weekend’s nearly-record-breaking mega-hit Jurassic World simply continues that tradition. Where would we be if we didn’t have a shark, a dinosaur, a U.F.O., or an E. T. to run from or play with or queue up for? Even when his movies aren’t released in summer, they can feel like summery treats.

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Wilmington on Movies: San Andreas

That famous Fault we Angelenos dread cracks apart and sends much of Los Angeles and San Francisco crashing down into the streets, the freeways, and the ocean and tsunamis rise and skyscrapers topple…

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Wilmington on Movies: Entourage

I never caught any of TV’s “Entourage” — the hit Hollywood-set comedy-satire about a movie star from Queens and the three hometown buddies who get dragged along (like Elvis’ Memphis Mafia) in the wake of his rise to fame and riches. But it always struck me, from its rep and reviews, as a show I might enjoy, just as the movie that‘s now been inspired by that TV series, struck me as something that might hand me a laugh or two (or even three). Which just goes to show how gullible I can be.

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Wilmington on Movies: The Apu Trilogy

The film, as much as any that I’ve seen in decades of watching movies, becomes an overwhelming experience. It stays with you, always: a work of art in the same vein and genre and of the same high quality as John Ford’s Depression America masterpiece The Grapes of Wrath and Vittorio De Sica’s neorealist Italian classic Bicycle Thieves (both among Ray‘s inspirations for his own films). In some ways, it is superior to either of them.

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Wilmington on Movies: Poltergeist / When Marnie Was There

One thing you can say in favor of the latest Poltergeist is that at least nobody in it gets tortured, hideously maimed, eviscerated, eaten, or chopped to screaming bits. Children may take their parents to this picture, without fear of nightmares.

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Wilmington on Movies: Tomorrowland

Watching Tomorrowlan—a great big film hunk of love and optimism and confusion from the Walt Disney Studio—you sometimes get the idea that director-writer Brad Bird and company are trying not just to create a new movie but maybe to found a new movement; Dianetics for Disneyphiles, or Pessimists Anonymous or Worldmakers. (Just kidding.)

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Wilmington on Movies: Pitch Perfect 2 / Pitch Perfect

Any movie sequel that starts out by having its costar moon the President of the United States and the First Lady at Lincoln Center obviously doesn’t suffer from a lack of self-confidence.

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Wilmington on Movies: Mad Max: Fury Road

Head-banging, car-crashing action movies with minimal dialogue and maximum carnage may make a lot of money, but they’ve also gotten (deservedly) a bad odor for some film-lovers, including, sometimes, me

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Wilmington On Movies: Maggie

Maggie (Two and a Half Stars) U.S.: Henry Hobson, 2015 Arnold Schwarzenegger hasn’t made many movies you could describe as art films, and that may be one of the reasons his new picture, Maggie, seems like such an anomaly. It’s at least half of an art film — an attempt at a sensitive genre piece that‘s…

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Wilmington on Movies: Hot Pursuit

Reese Witherspoon and Sofia Vergera play two gals on the run in South Texas in the new movie Hot Pursuit: Reese is a diminutive fussbudget blonde by-the-book cop named Cooper and Sofia is a statuesque sexpot drug cartel wife named Daniella Riva. And they’re so much better than the movie itself that you wonder if the two costars might be deliberately outshining their own vehicle. Watching this nitwit show (as Todd McCarthy accurately described it), I wouldn’t put it past them.

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Wilmington on Movies: Welcome to Me

Welcome to Me suffers from personality disorder too: an inability to tell all these potentially funny jokes with the joyous buffoonery that would make them ignite on screen—say, to explode with some of the wild devilish relish that an old-fashioned make-‘em-laugh comedian like Red Skelton put into his classic media satire: the ‘40s mock radio commercial for “Guzzler’s Gin.” (“Smooth! Smooth!”)

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Wilmington

Johanna Lynch on: Wilmington on DVDs: The File on Thelma Jordon; Adua and her Friends; Bullet to the Head

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best new dvd releases on: Wilmington on Movies and DVDs: Beauty and the Beast. Movie: Truesdale/Wise. DVD: Cocteau/Clement.

Quote Unquotesee all »

“Film criticism as a business operates like the film industry itself: The people in charge like to hire people who remind them of themselves, and those people at the top are by and large straight white dudes (baseball caps are an option). That’s not to say they can’t have wildly diverging opinions on a variety of topics, but privilege comes with blinders that are often hard to acknowledge and even tougher to remove. The past few months have seen some of the most prominent film publications taking on new writers who are for the most part white men: Rolling Stone, Film Comment, Indiewire, and of course, Owen Gleiberman at Variety. Many of them have championed underdog filmmakers, but you can’t get over the sense of gatekeeping going on. Film criticism often feels like the treehouse girls are banned from entering, and it’s not hard to assume the conversations we’re missing out on aren’t exactly centered on women in the business… Our world and our art suffers when we limit the number of perspectives allowed to not only tell the story but to discuss it. Women are no better or worse in their opinions than men, but the key differences we bring allow further dimensions in the narrative. Whether they’re conscious of it or not, the ingrained biases of white maleness will continue unchallenged without contrasting voices under the banner, and the commodification of women’s faces and bodies will exacerbate to increasingly damaging levels.”
~ Ceilidhann

DENNIS COOPER

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.

INTERVIEWER

What was the final ingredient?

DENNIS COOPER

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

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