MCN Columnists
Mike Wilmington

Wilmington By Mike WilmingtonWilmington@moviecitynews.com

Wilmington on Movies: Noah

Will Russell Crowe ever again get a part that so suits his special screen persona and gifts — that natural genius he seems to have for projecting awesome tormented heroics and mad obsessions — as the one he plays in his new film: Noah, the Lord’s visionary servant in Darren Aronofsky’s sometimes crazy and often wonderful version of the biblical story of The Great Flood? Or a film that so stupendously sets those gifts off ?

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Wilmington on DVDs: Nebraska; Foreign Correspondent; 2 Guns

Nebraska is a great funny-sad road movie full of all-American offbeat lives, oddball comedy and bleak black-and-white landscape beauty

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Wilmington on Movies: Muppets Most Wanted

There was never a TV puppet show quite like “The Muppet Show” — or a romantic couple of any kind quite like Kermit the Frog and Miss Piggy the hamme fatale — or a supporting troupe like Fozzie the Bear, Gonzo, Animal, the Two Old Curmudgeons, and all their funny, fuzzy friends. And I’m happy to say that the new Walt Disney movie Muppets Most Wanted continues that splendid renaissance of Muppetry we saw in the 2011 Disney picture The Muppets. It’s not necessarily as good, because it doesn’t have the built-in emotional charge of being a Muppet revival movie about the revival of the Muppets — a storyline which, for those of us who’ve been familiar for years with the handmade troupe of the great late muppeteer Jim Henson (and Frank Oz and the rest) quickly became hilarious and touching and something to cheer for.

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Wilmington on Movies: Divergent

Despite the best efforts of Burger and of his cast and crew, this is an often-dull cliche-fest with unoriginal scenes and terse, unexciting dialogue, embedded in huge gray spaces of predictable plotting and flat dramaturgy. The book, by contrast, is smooth, fast, crisply written and emotional — and it benefits greatly from the fact that it’s dominated by Tris’ voice as the narrator. The story isn’t very original, and it’s basically the same in both book and movie (it may even be the same dialogue). But, in the picture, the moviemakers try to convey Tris’ inner life by focusing on close shots of Shailene Woodley’s face, as she tries to adjust to Dauntlessness, or gets a crush on Four, or jumps off or climbs up another building or reacts to all the dystopian stereotypes. I don’t think it worked — for the often minimally emoting Ms. Woodley or for the movie, which could really use a lot more voiceover.

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Wilmington on Movies: Catherine Deneuve — The Umbrellas of Cherbourg; On My Way

I met her finally at Cannes, as part of a roundtable discussion interview, and I sat next to her, and, for an hour, the beggared the college fantasies instilled by that face in the poster. At the end, I talked to her for a few more moments, and she smiled her smile, the one I never saw on my wall, and I left, happy for that brief moment. God, what a lovely smile!

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Wilmington on Movies: Need for Speed

Need for Speed—a movie based on a popular video game about outlaw street-and-highway racing—is a big, bad, flashy, terminally dopey muscle car of a movie, which tries to be a Fast and Furious-style actioner and ends up being Rushed and Ridiculous instead. Not that I’m filing any briefs for the Fast and the Furious movie franchise, an overwrought high-octane saga in which scowling, fiercely intent super-drivers whiz and careen and roar past each other in unlikely and dangerous racing locales and outrageous CGI-enhanced stunts. Smash hit as it may be, that is a movie series which has given me no pleasure at all despite its vast expenditures of cash, blistering road action, and apparently well-satisfied audiences.

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Wilmington on Movies: The Grand Budapest Hotel

The Grand Budapest Hotel is about trying to be a human being in a world that turns people into puppets and prisoners and corpses. It’s about trying to survive in a world teetering on oblivion and the brink of apocalypse. It’s about how all we admire most can be destroyed or lost, and how we may survive despite it all. And it’s about little pink and green pastries with saws inside, and how to keep the customers happy and how to remember your friends. It’s about how books and movies can preserve what we love.

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Wilmington on Movies: 300: Rise of an Empire

It may be preposterous–hell, it is preposterous–but it’s never boring.

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Wilmington on DVDs: Breathless; The Hunger Games: Catching Fire

A guy named Michel Poiccard steals a car, drives from Marseilles to Paris, ecstatically sings of a girl named Patricia (“Pa-Pa-Pa-Patricia!“), finds a gun, shoots and kills a cop on the road, tries to cash an uncashable check, stares at and mimics a Bogart still in front of a cinema, finds Patricia hawking New York Herald Tribunes on the street, goes to her room, bandies with her about love, art, philosophy and William Faulkner (“Between grief and nothing I will take grief“)…

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Wilmington on Movies: Non-Stop

If you’d like to fly but you’re not in the mood for the aeronautical poetry of Hayao Miyazaki’s The Wind Rises, if that’s just too arty and ambitious for you, there’s another airplane movie around now that, compared to Miyazaki‘s, is so non-artsy, so action-packed, so super-clichéd and so mind-bogglingly illogical, that it‘s almost entertaining.

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Wilmington

Quote Unquotesee all »

“Let me try and be as direct as I possibly can with you on this. There was no relationship to repair. I didn’t intend for Harvey to buy and release The Immigrant – I thought it was a terrible idea. And I didn’t think he would want the film, and I didn’t think he would like the film. He bought the film without me knowing! He bought it from the equity people who raised the money for me in the States. And I told them it was a terrible idea, but I had no say over the matter. So they sold it to him without my say-so, and with me thinking it was a terrible idea. I was completely correct, but I couldn’t do anything about it. It was not my preference, it was not my choice, I did not want that to happen, I have no relationship with Harvey. So, it’s not like I repaired some relationship, then he screwed me again, and I’m an idiot for trusting him twice! Like I say, you try to distance yourself as much as possible from the immediate response to a movie. With The Immigrant I had final cut. So he knew he couldn’t make me change it. But he applied all the pressure he could, including shelving the film.”
James Gray

“I’m an unusual producer because I control the destiny of a lot of the films I’ve done. Most of them are in perfect states of restoration and preservation and distribution, and I aim to keep them in distribution. HanWay Films, which is my sales company, has a 500-film catalogue, which is looked after and tended like a garden. I’m still looking after my films in the catalogue and trying to get other people to look after their films, which we represent intellectually, to try to keep them alive. A film has to be run through a projector to be alive, unfortunately, and those electric shadows are few and far between now. It’s very hard to go and see films in a movie house. I was always involved with the sales and marketing of my films, right up from The Shout onwards. I’ve had good periods, but I also had a best period because the film business was in its best period then. You couldn’t make The Last Emperor today. You couldn’t make The Sheltering Sky today. You couldn’t make those films anymore as independent films. There are neither the resources nor the vision within the studios to go to them and say, “I want to make a film about China with no stars in it.”Then, twenty years ago, I thought, “OK, I’m going to sell my own films but I don’t want to make it my own sales company.” I wanted it to be for me but I wanted to make it open for every other producer, so they don’t feel that they make a film but I get the focus. So, it’s a company that is my business and I’m involved with running it in a certain way, but I’m not seen as a competitor with other people that use it. It’s used by lots of different producers apart from me. When I want to use it, however, it’s there for me and I suppose I’m planning to continue making all my films to be sold by HanWay. I don’t have to, but I do because it’s in my building and the marketing’s here, and I can do it like that. Often, it sounds like I’m being easy about things, but it’s much more difficult than it sounds. It’s just that I’ve been at it for a long time and there’s lots of fat and security around my business. I know how to make films, but it’s not easy—it’s become a very exacting life.”
~ Producer Jeremy Thomas