MCN Columnists
Mike Wilmington

Wilmington By Mike WilmingtonWilmington@moviecitynews.com

Wilmington on Movies: The Shallows

The Shallows is a genuinely scary movie thriller that spooks you because, in a way, it seems so real — this tense, taut movie manage to get by without ghosts, monsters, supernatural maniacs or The Devil, indeed without almost anything that absolutely couldn’t happen (maybe) in the real world. Like Jaws, it’s the white-knuckle, full-throttle story of a battle between human vs. shark: a visually voluptuous thriller, set in a mostly deserted stretch of Australian coast, about a great white shark that traps a young surfer and medical student on an ocean-bound rock and buoy only about 200 yards from shore — a deserted beach near an ocean that is mostly empty except for that trapped girl and that toothy shark and one other creature we‘ll introduce later. (You’ll like him.)

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Wilmington on Movies: Central Intelligence

Central Intelligence surprises you — or surprised me, at any rate.

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Wilmington on Movies: Genius

Thomas Wolfe was an American literary phenomenon: a North Carolina-born novelist and prodigy who hoped to write books of Shakespearean verbal grandeur, of Tolstoyan dramatic scope and Dickensian humanity, and to live a life to fit those vast ambitions. He’s also an artist who tends to be ignored or underrated these days. A pity, because whenever you read one of his huge novels (especially “Look Homeward Angel” and “Of Time and the River”), his talent and his mixed but munificent literary gifts flame right off the page at you.

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Wilmington on Movies: The Conjuring 2

People who like scary ghost horror movies, from Frankenstein to The Haunting, probably are partial, at least a little, to that awesome, icky sensation of being plunged into sucking swamps of cinematic dread, then rescued (maybe spuriously, maybe not) at the very last possible millisecond—a sensation you may feel quite a few times in The Conjuring 2.

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Wilmington

Quote Unquotesee all »

“On behalf of all nominees, we would like to express our unanimous and emphatic disapproval of the climate of fanaticism and nationalism we see today in the U.S. and in so many other countries, in parts of the population and, most unfortunately of all, among leading politicians.

“The fear generated by dividing us into genders, colors, religions and sexualities as a means to justify violence destroys the things that we depend on – not only as artists but as humans: the diversity of cultures, the chance to be enriched by something seemingly ‘foreign’ and the belief that human encounters can change us for the better. These divisive walls prevent people from experiencing something simple but fundamental: from discovering that we are all not so different.

“So we’ve asked ourselves: What can cinema do? Although we don`t want to overestimate the power of movies, we do believe that no other medium can offer such deep insight into other people’s circumstances and transform feelings of unfamiliarity into curiosity, empathy and compassion – even for those we have been told are our enemies.

“Regardless of who wins the Academy Award for Best Foreign Language Film on Sunday, we refuse to think in terms of borders. We believe there is no best country, best gender, best religion or best color. We want this award to stand as a symbol of the unity between nations and the freedom of the arts.

“Human rights are not something you have to apply for. They simply exist – for everybody. For this reason, we dedicate this award to all the people, artists, journalists and activists who are working to foster unity and understanding, and who uphold freedom of expression and human dignity – values whose protection is now more important than ever. By dedicating the Oscar to them, we wish to express to them our deep respect and solidarity.”

Martin Zandvliet – Land of Mine (Denmark)
Hannes Holm – A Man Called Ove (Sweden )
Asghar Farhadi – The Salesman (Iran)
Maren Ade – Toni Erdmann (Germany)
Martin Butler, Bentley Dean – Tanna (Australia)

“I don’t really believe in guilty pleasures. I like to subscribe to Susan Sontag’s thought of no highs and lows. I think dismissing popular culture and popular films can be really dangerous because they may seem innocuous, but some are works of art and even when they’re not they can say so much about the culture that they’re reflecting. This also gets into the idea of canon. What is good and isn’t good? Lately, I’ve been thinking a lot about that. Specifically, who writes these canons? Mainly, straight white guys — which basically rigs the system. So, if you have a knowledge of female filmmakers, queer filmmakers, African or Asian filmmakers, some people won’t give them the same culture capital. They’ll say, “Oh, that’s nice niche knowledge.” No, it’s not. You’re just seeing it through the prism of something white and male. Like Shonda Rhimes’ ‘Scandal.’ I love that show, but is it a guilty pleasure because it’s a soap on TV? No. I think it has incredible writing, incredible thought and characters, so we should take it seriously. That’s a long-winded answer to say, “Yes, I love Titanic.” I was 10 years old when it came out and my mom took me to see it three times. I was so obsessed with it. A big thanks to my mom who’ll never get those nine hours of her life back.”
~ Toronto Int’l Programmer and Critic Kiva Reardon