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MCN Columnists
Mike Wilmington

Wilmington By Mike WilmingtonWilmington@moviecitynews.com

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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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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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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Wilmington

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Aloha is the movie equivalent of a man in a donkey suit with a tree branch growing out of his forehead. I don’t know what the fuck this movie is. It feels like Cameron Crowe tried to make some Pynchonesque contemporary riff on Casablanca, then either or he or the studio chickened out halfway through and tried to turn it back into Jerry Maguire. But don’t confuse Aloha with hackwork. It’s more like a mad scientist had 10 beakers bubbling, and instead of unlocking cold fusion, he blew up his lab and melted an ear. I swear, this movie is like some bastard offspring of Casablanca, Inherent Vice, ‘Goosebumps,’ and ‘Baywatch Hawaii.’ My takeaway? Making movies is hard, yo.”
~ Vince Mancini

“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

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