MCN Columnists
Mike Wilmington

Wilmington By Mike WilmingtonWilmington@moviecitynews.com

Wilmington on Movies: Dinner for Schmucks, Cats & Dogs: The Revenge of Kitty Galore, Charlie St. Cloud, The Concert, 8 1/2

Dinner for Schmucks (Two and a Half Stars) U.S.; Jay Roach, 2010 There are plenty of primo American comedy actors around right now; all we really need is the movies to put them in. Dinner for Schmucks, with its story courtesy  of French buddy-comedy master Francis Veber, and its showcase roles for Paul Rudd, Zach…

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Wilmington on DVDs: Vincere, The Red Shoes, Black Narcissus, Elvis: That’s the Way it Is, Cop Out … and more

Vincere (Four Stars) Italy; Marco Bellocchio, 2009 Marco Bellocchio’s Vincere (Victory) is grandly ambitious and often stunningly beautiful: a lush, brilliantly stylish operatic bio-drama about an edgy, difficult subject, the unlikely tragedy of Benito Mussolini‘s spurned lover/maybe wife Ida Dalzer, his rejected son, Benito Albino Mussolini and the brutal Il Duce‘s barbarous neglect and mistreatment…

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Wilmington on Movies: Inception

Inception (Four Stars) U.S.; Christopher Nolan, 2010 It begins with a man washed up on the beach, awaking as if from a dream, waves crashing around him. What happens next? Christopher Nolan’s Inception, — with Leonardo DiCaprio as a tortured guy who shoves dreams into your head — is obviously some kind of masterpiece. It’s…

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Wilmington on DVDs: Terribly Happy, Ride with the Devil, Chloe, Film Noir Classic Collection Vol. 5, The Bounty Hunter … and more

PICK OF THE WEEK: NEW Terribly Happy (Three Stars) Denmark; Henrik Ruben Genz, 2008 (Oscilloscope) A troubled cop with a dark secret named Robert Hansen (Jakob Cedergren) travels from Copenhagen to a small Danish town, where the citizens at the local bar tend to be sarcastic and vaguely menacing and the local drunken doctor, Zerleng…

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Predators, Despicable Me and The Law (La Loi)

Predators (One and a Half Stars) U.S.; Nimrod Antal, 2010 I‘d be less than honest if I didn’t inform you that Predators — a horror movie about a Dirty Half-Dozen or so of mercenaries parachuted down onto a planetful of monsters — is a piece of god-awful shit. I would however be borrowing, and maybe…

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Wilmington

Quote Unquotesee all »

DEADLINE: How does a visualist feel about people watching your films on a phone or VOD?
REFN: It depends on what kind of movie you make. We had great success with Only God Forgives on multiple platforms in the U.S. Young people will decide how they see it, when they want to see it. Don’t try to fight it. Embrace it. That’s a wonderful opportunity. We’re at the most exciting time since the invention of the wheel, in terms of creativity because distribution and accessibility have changed everything. A camera is still a camera whether it’s digital or not; there’s still sound; an actor is an actor. Ninety-nine percent of what you do is going to be seen on a smart phone – I know this is the greatest thing ever made because it allows people to choose, watching what you do on this format or go into a theater and see it on a screen. That means more people than ever will see what I do, which is personally satisfying in terms of vanity. But you have to be able to adapt, to accept things in different order and length than we’re used to. We are in a very, very exciting time.
~ Nic Refn to Jen Yamato

DEADLINE: You mention Tarantino, who with Christopher Nolan and a few other giants, saved film stock from extinction. To him, showing a digital film in a theater is the equivalent of watching TV in public. Make an argument for why digital is a good film making canvas.
REFN: Costwise, it’s a very effective way for young people to start making movies. You can make your movie on an iPhone. It’s wonderful seeing how my own children use technology to enhance creativity. For me it’s a wonderful canvas. Sure, I love grain in film. I love celluloid. But I also like creativity. I like crayons, I like pencils, I like paint. It’s all relative. Technology is more inclusive. A hundred years ago when film was invented, it was an elitist club. Very few people got to make it, very few people controlled it and very few people owned it. A hundred years later, storytelling through images is everyone’s domain. It’s ultimate capitalism. There are no rules, and no barriers and no Hays Code. Where does this go in another hundred years? I don’t know but I would love to see it.
~ Nic Refn To Jen Yamato