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

Rory on: Wilmington on Movies: Snow White and the Huntsman

Andrew Coyle on: Wilmington On Movies: Paterson

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

【最安値に挑戦!】 ダイキン SSRN112BD4馬力相当 天井埋込カセット形 マルチフロ on: Wilmington on DVDs: House of Wax (1953); After Earth; The Purge

alain mikli アランミクリ メガネSTARCK EYES (スタルクアイズ) SH0001D カラー0053(正規品)【楽 on: Wilmington on DVDs: House of Wax (1953); After Earth; The Purge

Quote Unquotesee all »

“I was 15 when I first watched Sally Hardesty escape into the back of a pickup truck, covered in blood and cackling like a goddamn witch. All of her friends were dead. She had been kidnapped, tortured and even forced to feed her own blood to her cannibalistic captors’ impossibly shriveled patriarch. Being new to the horror genre, I was sure she was going to die. It had been a few months since I survived a violent sexual assault, where I subsequently ran from my assailant, tripped, fell and fought like hell. I crawled home with bloody knees, makeup-stained cheeks and a new void in both my mind and heart. My sense of safety, my ability to trust others, my willingness to form new relationships and my love of spending time with people I cared about were all taken from me. It wasn’t until I found the original The Texas Chain Saw Massacre that something clicked. It was Sally’s strength, and her resilience. It was watching her survive blows to the head from a hammer. It was watching her break free from her bonds and burst through a glass window. It was watching her get back up after she’d been stabbed. It was watching her crawl into the back of a truck, laughing as it drove away from Leatherface. She was the last one to confront the killer, and live. I remember sitting in front of the TV and thinking, There I am. That’s me.”
~ Lauren Milici On “The Final Girl”

“‘Thriller’ enforced its own reality principle; it was there, part of the every commute, a serenade to every errand, a referent to every purchase, a fact of every life. You didn’t have to like it, you only had to acknowledge it. By July 6, 1984, when the Jacksons played the first show of their ‘Victory’ tour, in Kansas City, Missouri, Jacksonism had produced a system of commodification so complete that whatever and whoever was admitted to it instantly became a new commodity. People were no longer comsuming commodities as such things are conventionally understood (records, videos, posters, books, magazines, key rings, earrings necklaces pins buttons wigs voice-altering devices Pepsis t-shirts underwear hats scarves gloves jackets – and why were there no jeans called Bille Jeans?); they were consuming their own gestures of consumption. That is, they were consuming not a Tayloristic Michael Jackson, or any licensed facsimile, but themselves. Riding a Mobius strip of pure capitalism, that was the transubstantiation.”
~ Greil Marcus On Michael Jackson