MCN Columnists
Mike Wilmington

Wilmington By Mike WilmingtonWilmington@moviecitynews.com

Wilmington: The Ten Best of 2010

So here’s my list of The Ten Best Movies of 2010, plus Honorable Mentions and a separate list of documentaries. I know it’s customary at this time to write about how awful a year it was, and how I had to struggle to find ten movies worthy of recognition, and how Hollywood is so bankrupt…

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MW on Movies: Little Fockers, Casino Jack, How Do You Know, and Gulliver’s Travels

This movie is not even vaguely funny. If this movie and its representatives claim they are doing anything funny, they should apologize. And if your friends disagree with me, if they insist that I‘m a pompous snob, and that you yourself will attend the local showings of Little Fockers with lots of real people convulsed with real laughter and slapping real knees, you should get them to sign notarized affidavits explaining where all the jokes are.

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MW on DVDs: The American, Cronos, I am Love … and more

PICK OF THE WEEK: NEW The American (Three Stars) U.S.; Anton Corbijn, 2010 (Universal) I like George Clooney. No off-color psychological speculations, please. What I like about him is the easy-going “good guy” way he plays the Hollywood game. I like his politics, his philanthropy, his unpretentious smarts, his good-natured jock style, his taste in…

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MW on Movies: True Grit

True Grit (Four Stars) U.S.: Ethan and Joel Coen (The Coen Brothers), 2010 Mattie Ross, the 14-year-old heroine of the new Coen Brothers movie, True Grit, — the Coens’ remake of the 1969 classic with John Wayne — is the kind of spunky, indomitable little kid we’d have all liked to have known, or to…

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MW on DVDs: Wall Street: Money Never Sleeps, Romeo and Juliet, Salt, Easy A … and more

Oliver Stone’s Wall Street: Money Never Sleeps returns us to one of Stone’s great subjects of the 1980s: the glamour and corruption of the American financial markets. A sequel to Stone‘s 1987 Wall Street, this show plunges us back into the seductions and pitfalls of the casino mentality on the trading floors and the stock market, of inside guys making huge, quick profits and the dangerous games and ruinous consequences of playing with other people‘s money, other people‘s lives — and not giving a damn about it.

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MW on Movies: The King’s Speech and Yogi Bear

The King’s Speech (Four Stars) U. K.: Tom Hooper, 2010 The King’s Speech — which tells the story of King George VI’s chronic speech impediment, and of how he overcame it with the help of a boisterous Australian actor/therapist just in time to help Britain win World War II — is being touted as this…

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The DVD Wrap: Despicable Me, The Town, Cyrus,The A-Team, Micmacs, Joan Rivers: A Piece of Work … and more

Despicable Me: Blu-ray 3D Legend of the Guardians: Owls of Ga’hoole: Blu-ray 3D Anyone old enough to remember such ancient cartoon evil-doers as Snidely Wipelash, Boris Badenov, Dishonest John and Crabby Appleton probably will enjoy Despicable Me as much as their kids and grandkids. For Boomers, especially, it will recall a time when villains didn’t…

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MW on DVDs: The Town, Mother and Child, Despicable Me, The Other Guys, Nanny McPhee Returns … and more

The Boston, Massachusetts, of Ben Affleck‘s new movie The Town – and of The Departed, Mystic River, Gone Baby Gone and other recent thrillers, Dennis Lehane-derived or not — is decades away from the morally bent city of that great under-seen 1973 neo-noir The Friends of Eddie Coyle. But it has a similarly chilly temperature, the same clipped sense of smart-ass New England doom and Kennedy-accented cynicism welling up from the mean, sullen streets.

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MW on Movies: The Tourist, The Chronicles of Narnia: Voyage of the Dawn Treader, and The Fighter

This is a city we’d probably all like to visit, and it’s shot here by director-co-writer Florian Henckel von Donnersmarck and cinematographer John Seale, with all the color and the luster they can, uh, muster. (Without fluster). A huge advantage, that.

Which The Tourist then sort of squanders.

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MW on DVDs: Restrepo, Inception, The Grapes of Wrath, Shrek Forever After … and more

PICK OF THE WEEK: BLU-RAY Restrepo (Three and a Half Stars) U.S.; Sebastian Junger/Tim Hetherington, 2010 (Virgil) Restrepo is a documentary about the war in Afghanistan that’s beautifully shot and terrifyingly convincing. The color photography is crisp and clear. The subjects, a platoon of American soldiers in the mountains, are amazingly candid. The directors —…

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MW on Movies: Black Swan and I Love You Phillip Morris

Black Swan
Who makes crazier art movies — about more agonized characters, trapped in more nightmarish fixes — than Darren Aronofsky? David Lynch, Bong Joon-ho and Roman Polanski, maybe — but precious few others. A specialist in tales of the brilliantly sick and the sickishly brilliant, Aronofsky has spun, with disorienting intensity, barmy movie stories…

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Quote Unquotesee all »

“We now have a situation where audiences very often prefer commercial trash to Bergman’s Persona or Bresson’s L’Argent. Professionals find themselves shrugging, and predicting that serious, significant works will have no success with the general public. What is the explanation? Decline of taste or impoverishment of repertoire? Neither and both. It is simply that cinema now exists, and is evolving, under new conditions. That total, enthralling impression which once overwhelmed the audiences of the 1930s was explained by the universal delight of those who were witnessing and rejoicing over the birth of a new art form, which furthermore had recently acquired sound. By the very fact of its existence this new art, which displayed a new kind of wholeness, a new kind of image, and revealed hitherto unexplored areas of reality, could not but astound its audiences and turn them into passionate enthusiasts.

Less than twenty years now separate us from the twenty-first century. In the course of its existence, through its peaks and troughs, cinema has travelled a long and tortuous path. The relationship that has grown up between artistic films and the commercial cinema is not an easy one, and the gulf between the two becomes wider every day. Nonetheless, films are being made all the time that are undoubtedly landmarks in the history of cinema. Audiences have become more discerning in their attitude to films. Cinema as such long ago ceased to amaze them as a new and original phenomenon; and at the same time it is expected to answer a far wider range of individual needs. Audiences have developed their likes and dislikes. That means that the filmmaker in turn has an audience that is constant, his own circle. Divergence of taste on the part of audiences can be extreme, and this is in no way regrettable or alarming; the fact that people have their own aesthetic criteria indicates a growth of self-awareness.

Directors are going deeper into the areas which concern them. There are faithful audiences and favorite directors, so that there is no question of thinking in terms of unqualified success with the public—that is, if one is talking about cinema not as commercial entertainment but as art. Indeed, mass popularity suggests what is known as mass culture, and not art.”
~ Andrei Tarkovsky, “Sculpting In Time”

“People seem to be watching [fewer] movies, which I think is a mistake on people’s parts, and they seem to be making more of them, which I think is okay. Some of these movies are very good. When you look at the quality of Sundance movies right now, they are a lot better than they were when I was a kid. I do think that there have been improvements artistically, but it’s tough. We’ve got a system that’s built for less movies in terms of how many curatorial standard-bearers we have in the states. It’s time for us to expand our ideas of where we find our great films in America, but that said, it’s a real hustle. I’m so happy that Factory 25 exists. If it didn’t exist, there would be so many movies that wouldn’t ever get distributed because Matt Grady is the only person who has seen the commercial potential in them. He’s preserving a very special moment in independent film history that the commercial system is not going to be preserving. He’s figuring out how to make enough money on it to save these films and get them onto people’s shelves.”
~ Homemakers‘ Colin Healey On Indie Distribution