MCN Columnists
Mike Wilmington

Wilmington By Mike WilmingtonWilmington@moviecitynews.com

Wilmington on Movies: Hop

“I still hadn’t wised up when E.B. decamped to Hollywood, where he hooks up with Fred, and starts pooping jellybeans and trying to come up with so-called humor (lame zingers and amazingly laugh-challenged wisecracks), and where the movie definitively revealed its true agenda: bad jokes and L. A. clichés, mixed with elaborate animation, TV trendiness and loud, bright icky-poo cutes.”

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Wilmington on Movies: The Afterlight

“I liked the movie very much, and when some of its early festival admirers compared it to Michelangelo and Ingmar Bergman, they had some justification. The Afterlight is obviously made by filmmakers who know and admire Antonioni and Bergman, and who would probably be pleased by the comparison — and the images, scenes and emotions often suggest those two masters.”

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Wilmington on Movies: Sucker Punch, Diary of a Wimpy Kid: Rodrick Rules, Monogamy

“Snyder has a very classy cast, but nevertheless, he dresses and photographs them most of the time like hookers and action-cuties, even in the thick of battle.”

“Let’s hope these kids stay happy and don’t start feuding, like Martin and Lewis.”

“This movie is too often reminiscent of other, much better films.”

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Wilmington on DVD: Harry Potter and the Half-Blood Prince, The Tourist, The Twilight Zone Season Two, The Clowns, Exit Throught the Gift Shop, Artists Under the Big Top: Perplexed.

Appropriately bracketed as a classic pick this week with Fellini’s I Clowns Alexander Kluge’s Artists at the Top of the Big Top: Perplexed is also a European art film about circuses and circus people. But this is a film in black-and-white, where the filmmakers would have answered the question Fellini dodged in The Clowns about symbolism, and then done something symbolic to illustrate the answer, and had an illustrated lecture on symbolism and the history of art, and the politics of circuses.

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Wilmington on Movies: The Lincoln Lawyer, Paul

“It’s a tough story, hard-nosed and audience-savvy: a neo-noir in settings both glamorous and salty, and a movie that gives you a tingling shot of L. A. style.”

“Suppose you were to rethink E. T. as a combination 70s road movie and Three Days of the Condor-style paranoid anti-C.I.A. thriller.”

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Wilmington on DVD: The Fighter, Hereafter, Last Tango in Paris, TCM Greatest Classic Legend John Ford Westerns

“Bale looks and acts something like a Dead End Kid on crack, an elongated mix of Huntz Hall and the younger Mean Streets De Niro, oscillating frantically between the goony and the near-tragically self-destructive.”

“What’s most impressive about Hereafter is, first of all, that Eastwood had the guts to do it.”

“The torrid memento of a time — post-Sexual Revolution, pre-herpes outbreak, pre-Aids plague — when quick anonymous sex between partners who barely knew each other.”

“He was John Ford. He made Westerns.”

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Wilmington on DVD: Inside Job, Senso, TCM Greatest Classic Legends: Jean Harlow & more…

“Inside Job is an essential movie. It shows, pretty conclusively I think, why documentaries are such an important cinematic and journalistic form these days. After you see this picture, you won’t be able to say you weren’t informed, won’t be able to see you weren‘t warned. You’ll know, if not the whole story, a big important part of it.”

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WILMINGTON ON DVD: 127 Hours, Bambi, Pirates of the Caribbean Trilogy, Burlesque, Faster

“Watching Franco here, as he plunges himself into a part so taxing physically, psychologically and even spiritually, and does it so brilliantly, you tend to forgive him for that awful, howlingly embarrassing turn he gave as co-host at the last Oscar Show.”

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Wilmington on Movies: Battle: Los Angeles, Mars Needs Moms, Red Riding Hood, Certified Copy, Uncle Boonmee…

“I can’t say some audiences won’t enjoy this — some people will enjoy anything, including staring into the toilet, maybe waiting for little green men to pop up and start water-skiing.”

“Maybe if the villagers had gotten together, and somebody had shown Tex Avery‘s cartoon Red Hot Riding Hood in the town square.”

“Fogler, whom I had ignorantly sort of dismissed as a mini-Jack Black, has the stuff, totally. Gribble is a great job.”

“A jewel of that director‘s special brand of stylized cinema realism”

“As we watch, a world opens up. This is life, this is cinema.”

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WILMINGTON ON MOVIES: Rango, The Adjustment Bureau, Take Me Home Tonight

“Up until Rango, I can’t think of many great cartoon Westerns, other than the Czech puppet animator Jiri Trnka‘s little masterpiece Song of the Prairie (1949)”

“While this script is a perfectly nice, competent, good-hearted job, and I would probably be happy to vote for Nolfi for the U.S. Congress, this movie just doesn’t say Dick to me.”

“One problem about nostalgia for the ’80s. The ’80s sucked. The ‘80s blew. The ‘80s were horrible.”

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Wilmington

tamzap on: Wilmington on DVDs: The Magnificent Seven, Date Night, Little Women, Chicago and more …

rdecker5 on: Wilmington on DVDs: Ivan's Childhood

Ray Pride on: Wilmington on Movies: The Purge: Election Year

Movieman on: Wilmington on Movies: The Purge: Election Year

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

【14時までのご注文は即日発送】04-0017 03 48サイズ JILL STUART NEW YORK (ジルスチュアート ニュ on: Wilmington on DVDs: House of Wax (1953); After Earth; The Purge

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“I’m an ardent consumer of Fassbinder. Years ago, when I heard that he was a big admirer of Douglas Sirk, I went straight to the source — to the buffet Fassbinder dined out on — and found that there was plenty more. And what palettes! I love the look of Fassbinder movies. Some of them are also hideous in a way that’s really exciting. When you go to Sirk, it’s more standardized. The movies produced by Ross Hunter — those really lush, Technicolor ones. I know Sirk was a painter and considered himself a painter first for a long time. He really knew how to work his palettes and worked closely with whatever art director he had. I was a guest speaker for the Technicolor series at TIFF Bell Lightbox and we screened Magnificent Obsession. To prepare for that, I watched the movie with a pen and paper. I wroteto down the names of the palettes. Soon, I realized those general color terms weren’t good enough. I used to be a house painter and I remembered the great names of the 10,000 different colors you could get in a paint chip book. So, I started to try to name the colors. Sirk used 100 different off-whites, especially in the surgery scenes in Magnificent Obsession!”
~ Guy Maddin On Sirk And Fassbinder

“I’ve never been lumped in with other female directors. If anything, I’ve been compared way too much to male filmmakers whom I have little to nothing in common with except visual style. It’s true that women’s filmmaking is incredibly diverse, but I am personally interested in how female consciousness might shape artwork differently, especially in the way female characters are constructed. So I actually would encourage people to try to group women’s films together to see if there are any threads that connect them, and to try to create a sort of canon of women’s films that critics can talk about as women’s films. One reason I want to be thought of as a female filmmaker is that my work can only be understood in that context. So many critics want to see my work as a pastiche of films that men have created. When they do that, they deny the fact that I am creating my own world, something completely original. Women are so often thought of as being unable to make meaning. So they are allowed to copy what men make—to make a pastiche out of what men have created—but not to create original work. My work comes from a place of being female, and rewrites film genres from that place. So it’s essential for me to be placed into a history of female-feminist art-making practice, otherwise it’s taking the work completely out of context.”
~ Love Witch Writer-Designer-Director Anna Biller