MCN Columnists
Mike Wilmington

Wilmington By Mike WilmingtonWilmington@moviecitynews.com

Wilmington on Movies: The Rite and Nora’s Will

The Rite (Two and a Half Stars) U.S.; Mikael Hafstrom, 2011 Exorcism movies are intended to scare the hell out of you, and The Rite is a classy, but forgettable example. Purporting to tell us a true story, about the devilish experiences of a Chicago priestly novitiate — the not-that-sure-of-his-vocation Michael Kovack (Colin O’Donoghue), who…

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Wilmington on DVDs: Lebanon, Shock Corridor, Dances with Wolves, Sherlock Jr. and more

We are inside an armored tank with four Israeli soldiers, in Beirut, in the throes of the Lebanon War. The battle is a raging hellfield punctuated with death, only barely comprehensible to the men or to us. Israelis battle Arabs battle Phalangists (Christian Arabs). The streets pop with gunfire. You can’t tell civilians from killers. The tank is hot and stinking and so small, the four can barely move around — tempers flaring, nerves frayed — as they roll though the streets, and peer through a periscope or gun sight seeking traps to avoid, enemies to kill.

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MW on Movies: The Green Hornet, The Dilemma, Another Year, The Illusionist, and Mon Oncle

The Green Hornet (Two Stars) U. S.: Michel Gondry, 2011 The Green Hornet is a comedy-action extravaganza done in a deliberate pop art/ironic style by director Michel Gondry — a pseudo-Marvel super-movie about a super-hero who’s also a rich little schmuck. It’s also about the schmuck’s super-talented Asian sidekick, their sexy Girl Friday, who has…

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MW on Movies: Army of Shadows, The Social Network, Hotel Terminus … and more

It doesn’t get your motor racing in the usual way. Army of Shadows transpires in a gray world, bleak, chilling, full of the shadows of the title, where night is often falling, or has already fallen. And it’s done in a manner that suggests men (and a woman) who know they will die, who are dead already, but still stubbornly refuse to submit.

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An Inside Look at the NSFC Awards 2011

The National Society of Film Critics — the most prestigious (dammit) of all the country’s numerous movie critic groups — met for their 45th annual voting meeting last Saturday at Sardi’s in New York City. And it was The Social Network all over again. (I write these awards stories every year in a kind of…

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MW on Movies: Season of the Witch and Country Strong

How are we supposed to handle the idea that Cardinal D’Ambroise, faced with a decision that he thinks might actually end the Black Plague, recruits as the witch’s main guards to her trial, two deserters who don’t believe in witches? And then backs them up with a swindler, a wispy priest and an altar boy who wants to be a knight?

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MW on DVDs: Howl, Doctor Zhivago, Gone with the Wind, Blade Runner: The Final Cut, The Quintessential Guy Maddin

The movie is about art and society, but also about how the American justice system is supposed to work — how it’s meant to protect the rights of all, and to balance opposing claims: in this case, the rights of the public not to be disturbed, against the rights of a great poet to disturb them. One leaves Howl inspired by both the spectacle of the trial of the poet and the uncommon poetry of the trial.

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Wilmington

Quote Unquotesee all »

“I am just grateful I am still around. I would love to be Steven Soderbergh, but I am lucky to be Joe Swanberg. Actors want to work with me, people want to give me money, and my nightmare scenario remains: Getting in bed with a studio, spending years on a movie, and it turns out horrible, but now I’m rich.”

Actually, by Hollywood standards, you’re right, I said. That is unambitious.

“It is, and yet, if you can go to bed happy at night, doing what you want, isn’t that ambition for a lifetime?”
~ Swanberg On Swanberg By Borelli

“In retrospect, nothing of that kind surprised me about Philip, because his intuition was luminous from the instant you met him. So was his intelligence. A lot of actors act intelligent, but Philip was the real thing: a shining, artistic polymath with an intelligence that came at you like a pair of headlights and enveloped you from the moment he grabbed your hand, put a huge arm round your neck and shoved a cheek against yours; or if the mood took him, hugged you to him like a big, pudgy schoolboy, then stood and beamed at you while he took stock of the effect.”
John le Carré on Philip Seymour Hoffman