MCN Columnists
Mike Wilmington

Wilmington By Mike WilmingtonWilmington@moviecitynews.com

Wilmington on Movies: Bears

Three bears huddled on the snowy lopes of a vast white mountain as a raging avalanche crashes down alongside them. Fish fighting their way upstream in a glistening river, with one spunky salmon rising up from the spume and spray to nearly swat a waiting bear. A mama bear bravely standing between her two threatened cubs and a renegade clanless bear who circles and circles and wants to make a meal of them.

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Wilmington on Movies: 2014 COLCOA Film Festival — Truffaut, Lelouch

Here’s the bill of fare. The COLCOA Film Festival, a fixture in Los Angeles for 17 years, shows new and classic French films in two American movie theaters at the Directors’ Guild complex: plush theaters named for legendary French filmmakers, François Truffaut and Jean Renoir. They mean a lot to me — the filmmakers, the films, and especially those two directors (or cineastes), Renoir and Truffaut.

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Wilmington on Movies and DVDs: The TCM 2014 Classic Film Festival: How Green Was My Valley; Meet Me in St. Louis; Make Way for Tomorrow

Families, at their best, give us solace and they give us joy. At their worst, they tear us apart. Both extremes were visible on screen at this year’s TCM Classic Film Festival: often the best (How Green Was My Valley) and sometimes the worst (Whatever Happened to Baby Jane?), but always the crucial parts of a film to remember.

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Wilmington on DVDs: The Hidden Fortress; Blue Jasmine; August: Osage County; Saving Mr. Banks

Like all the best Kurosawas — which encompasses most of his output — this is a beautifully crafted, tremendously exciting movie, and it features some of Kurosawa’s best action scenes, shot and cut in his characteristic vigorous three-camera set-ups. It’s better than Star Wars.

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Wilmington on Movies — Captain America: The Winter Soldier

A super-hero picture with a great two-faced super-villain, a super-jittery action camera, super-CGI tricks, super-credit teasers, a shrewdly super-paranoid script, and a sort of a heart, Captain America: The Winter Soldier definitely belongs in the upper echelon of Marveldom.

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Wilmington

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Carrie Mulligan on: Wilmington on DVDs: The Great Gatsby

isa50 on: Wilmington on DVDs: Gladiator; Hell's Half Acre; The Incredible Burt Wonderstone

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

Quote Unquotesee all »

“When Bay keeps these absurd plot-gears spinning, he’s displaying his skill as a slick, professional entertainer. But then there are the images of motion—I hesitate to say, of things in motion, because it’s not clear how many things there are in the movie, instead of mere digital simulations of things. It doesn’t matter. What matters is that there’s a car chase through London, seen from the level of tires, that could have gone on for an hour, um, tirelessly. What matters is that the defenestrated Cade saves himself by leaping from drone to drone in midair like a frog skipping among lotus pads; that he and Vivian slide along the colossal, polished expanses of sharply tilting age-old fields of metal like luge Olympians. What matters is that, when this heroic duo find themselves thrust out into the void of inner space from a collapsing planet, it has a terrifyingly vast emptiness that Bay doesn’t dare hold for more than an instant lest he become the nightmare-master. What matters is that the enormous thing hurtling toward Earth is composed in a fanatical detail that would repay slow-motion viewing with near-geological patience. Bay has an authentic sense of the gigantic; beside the playful enormity of his Transformerized universe, the ostensibly heroic dimensions of Ridley Scott’s and Christopher Nolan’s massive visions seem like petulant vanities.”
~ Michael Bay Gives Richard Brody A Tingle

How do you see film evolving in this age of Netflix?

I thought the swing would be quicker and more violent. There have been two landmark moments in the history of French film. First in 1946, with the creation of the CNC under the aegis of Malraux. He saved French cinema by establishing the advance on receipts and support fund mechanisms. We’re all children of this political invention. Americans think that the State gives money to French films, but they’re wrong. Through this system, films fund themselves!

The other great turning point came by the hand of Jack Lang in the 1980s, after the creation of Canal+. While television was getting ready to become the nemesis of film, he created the decoder, and a specific broadcasting space between film and television, using new investments for film. That once again saved French film.

These political decisions are important. We’re once again facing big change. If our political masters don’t take control of the situation and new stakeholders like Netflix, Google and Amazon, we’re headed for disaster. We need to create obligations for Internet service providers. They can’t always be against film. They used to allow piracy, but now that they’ve become producers themselves, they’re starting to see things in a different light. This is a moment of transition, a strong political act needs to be put forward. And it can’t just be at national level, it has to happen at European level.

Filmmaker Cédric Klapisch