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Mike Wilmington

Wilmington By Mike WilmingtonWilmington@moviecitynews.com

Wilmington on Movies: Act of Valor

With its cast of real-life Navy Seals playing characters based on themselves, in a script partly drawn from real life, in scenes that the Seals actors helped design and choreograph, Act of Valor should really be the last word in Seals combat realism.

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Wilmington on DVDs. Pick of the Week: Classic. The Conformist

The Conformist (Four Stars) Italian: Bernado Bertolucci, 1970 (Arrow Video) Bernardo Bertolucci‘s 1970 The Conformist is an art film classic regarded by many cinematographers as the most beautifully photographed movie of its era. Vittorio Storaro, at his best, did the brilliant cinematography and the film’s main visual/stylistic influences include the American romantic/cynic Josef von Sternberg…

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Wilmington on DVDs: Tower Heist

Tower Heist. Wheww! That was one hell of a movie. Hell of a movie! Brett Ratner: Rush Hour! Rush Hour 2!!. Rush Hour 3!!! He‘s one moviemaker who can really make a movie move. Didn’t ya think?

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Wilmington on DVDs. J. Edgar

This is a movie you should see both for its storytelling skills and the intense interest of the story it tells. So the hell what if it’s not constructed like the usual movie. Who wants it to be?

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Wilmington on Movies: Ghost Rider

No screenings for critics here on Ghost Rider: Spirit of Vengeance — for reasons that become quickly apparent when you watch it — so I decided to fork over coin of the realm anyway and catch it at a multiplex. After all, I thought, how bad could it be? I mean really: How bad?

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Wilmington on Movies: The Secret World of Arrietty

Who, I pondered, were the craftsmen who made all the wonderful furniture and clothes and hand-crafted-looking household items that graced the Clocks’ house? Did these objects come from dollhouses? Are Pod and Homily master artisans as well as brilliant borrowers? As I said, I thought about it, but not much.

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Wilmington on DVDs. Mozart’s Sister

The movie begins lyrically, with a scene that recalls the openings of both Bergman’s The Magician and Max Ophuls’ Lola Montes: the Mozart family traveling to an engagement in a nearly broken down coach through the woods. When it does break down, we’re made painfully aware of how vulnerable their existence really is, the dilemma of many artists.

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Wilmington on DVDs: The Twilight Saga: Breaking Dawn; A Fish Called Wanda

The movie, despite its hollow dialogue and sometimes punishing slow pace, does look sort of good. But it seems odd at times that this movie was directed by a man who made a movie about the Kinsey Report.

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Wilmington on Movies: Safe House

I didn’t dislike it. But I didn’t like it much (except for Washington), and I kept feeling that I should like it — that there was so much fuss being taken over Safe House, and so much obvious talent involved, that I was being somehow ungrateful in remaining unmoved — or in wishing that two or three of the action or chase set-pieces (say, the soccer stadium scene) had been replaced with a few more scenes devoted to character and dialogue and human interaction.

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Wilmington on Movies. Journey 2: The Mysterious Island

Along the way to the credits, The Artist Formerly Known as the Rock treats us to a performance of the Louis Armstrong favorite “What a Wonderful World,” with his own ukulele accompaniment; advises Sean on his love life, smiles constantly, and tops it off by bouncing berries off his popping pectorals, making for an unprecedented 3D experience.

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Wilmington on DVDs. The Rest: The Rum Diary, Harold & Kumar Christmas

This sort-of cinematic roman a clef, changed by writer-director Bruce Robinson—considerably, but that’s all right—is a good nasty show pulsing and snapping and exploding with the witty chaos, counter-culture venom and inspired invective that were the Good Doctor’s mock-shock-and-awe stock in trade. Second-hand Gonzo, it’s true, but even diluted Thompson packs a wallop, since the raw unfiltered original blows the back of your head off.

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Wilmington on DVDs. Pick of the Week: New. Project Nim

Oh Nim. Humans sorry. Forgive us.

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Wilmington on Movies: The Woman in Black: Happy Birthday, Charles Dickens

So, at least we can go to a horror movie where we don’t have to watch more mock home movie or surveillance camera photography of monstrous stuff, or kibitz on teen/20 actors being slaughtered in another artificial holocaust for sale.

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Wilmington on DVDs: The Big Year; Winged Migration; Life of Birds, Transformers and more

Bay and his crew (and a lot of the actors and voice actors) are still able to pump enough wild invention, heavy film technique, weirdo energy and Wowie-Kazowie-Blam-Blam-Blam-Kaboom-Vavoom-Wacka-Wacka-Wacka-Kerboom!!!!!!! into the show to impress the hell out of you at times.

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Wilmington on DVD. Pick of the Week: New. Drive

Neo-noir is this picture’s middle name, and its forebears are The Driver (of course) and John Boorman’s Point Blank, with Lee Marvin, and Peter Yates’ Bullitt, with Steve McQueen, and William Friedkin’s The French Connection and Michael Mann‘s outlaw movies Thief and Heat—and even perhaps Jean-Pierre Melville‘s Le Samourai, which has a hero hit man (played by Alain Delon) who’s just as cool, just as silent, murderous and secretly romantic as Gosling’s Driver is here.

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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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【着後レビューで送料無料】 エアージェイ 充電スタンド ホワイト SJS-2PWH 【RC on: Wilmington on DVDs: House of Wax (1953); After Earth; The Purge

Quote Unquotesee all »

“To be a critic is to be a workaholic. Workaholism is socially conditioned: viewed favourably by exploiters, it’s generally ruinous to a worker’s mental health. When T.S. Eliot said criticism was as inevitable as breathing, he failed to mention that, respiratory problems notwithstanding, breathing is easy. Criticism is reflexive before reflective: to formalise/industrialise an involuntary instinct requires time, effort and discipline. The reason we seek remuneration, as opposed to the self-hatred of being a scab, is because all labour should be waged…

“Criticism, so the cliché by now goes, is dying. None of the panel discussions on its death agony, however—including those in which I’ve formally participated—come at it from the wider perspective that the problem surely needs. They defend the ways in which criticism functions in relation to the industry and to the public, but they fail to contextualise these relationships as defined by ultimately rotten and self-harming imperatives.

“Criticism was a noble profession so long as only a few could practice it for money; when the field expands, as it has with a so-called ‘democratisation’ of our practice, those few lose their political power. Competition grows and markets are undercut: publications are naturally going to start paying less. Precarity is both cause and effect of a surplus workforce: the reason you’re only as good as your last article is because there are plenty of other folks who can write the next one in your place. The daily grind is: pitch, or perish.

B”ut criticism, so a counter-cliché goes, is not dying. An irony: this is an elite sport that is no longer elite in terms of who is able to practice it, but in economic terms it’s clutching to a perverse and outmoded hierarchical structure. It’s more meritocratic than ever, now: which is to say it isn’t meritocratic at all. That’s a paradox in bad need of a resolution…”

~ Michael Pattison Manifestoes Film Criticism

“It’s easy to forget when you’re reading a critic every single week or multiple times a week, that most of us who do this job, and have been doing it for a long time, understand that this is basically a parasitic profession. I don’t mean in the sense that we’re evil bloodsucking creatures, but we couldn’t exist if we didn’t have something to analyze. And I’m always conscious of that. So whether I like or don’t like a particular thing you do, my point of view is always that of an appreciator. I just like to be in the world that you create.”
~ Matt Zoller Seitz To Sam Esmail

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