Festivals

Ken Loach Calls British Censors Hypocritical

“We were allowed seven c—s… but only two of them could be aggressive c—s.” Ken Loach Calls British Censors Hypocritical

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“A risibly overheated, not unenjoyable slab of late-’60s Southern pulp trash, marked by a sticky, sweaty atmosphere of delirium and sexual frustration that only partly excuses the woozy ineptitude of the filmmaking.”

“A risibly overheated, not unenjoyable slab of late-’60s Southern pulp trash, marked by a sticky, sweaty atmosphere of delirium and sexual frustration that only partly excuses the woozy ineptitude of the filmmaking.”

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Clipping On The Road: Kirsten Dances; Kristen Drives

Clipping On The Road: Kirsten Dances; Kristen Drives And - The Sexual Remaking of Kristen Stewart at Cannes

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Salles On The Road On On The Road

Salles On The Road On On The Road

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“Bertolucci explores the strange, subterranean realm of these enfants terribles with characteristic visual flair: décor, costumes, colour and camera movements combine to create a faintly feverish atmosphere.”

“Bertolucci explores the strange, subterranean realm of these enfants terribles with characteristic visual flair: décor, costumes, colour and camera movements combine to create a faintly feverish atmosphere.”

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Mr. Pitt Opines At Cannes

“We live in such a violent world. I grew up hunting, which is a very violent act. If you ever had a hamburger, have you seen how they butcher a cow? It’s barbaric. it’s horrendous. This is the world we live in. I don’t see a world without violence.” Mr. Pitt Opines At Cannes

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Cannes Reviews: The Hunt, Room 237

“The Hunt” is narratively similar to “Festen” in its theme of child molestation. Whereas “Festen”’s was all too real, “The Hunt”’s pedophilia is entirely fabricated: the child abuse is a lie propagated by 5-year-old Klara, who doesn’t understand the power of her words. … “Room 237″’s main theme is authorial intent, because the film is informed by people (read: fans) who have read into Stanley Kubrick’s directorial mind to see what they want to see in “The Shining.”

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IFC Films Picks Up Wheatley’s Sightseers From Director’s Fortnight

IFC Films Picks Up Wheatley’s Sightseers From Director’s Fortnight

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Chang On Cannes’ Tumultuous Response To Holy Motors: “You Ain’t Seen Nothin’ Yet”

Chang On Cannes’ Tumultuous Response To Holy Motors: “You Ain’t Seen Nothin’ Yet”

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“Bill Murray’s Camera At Cannes Is Awesome”

“Bill Murray’s Camera At Cannes Is Awesome”

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Zeitchik Calls Killing Them Softly “Anti-Capitalist Screed”

Zeitchik Calls Killing Them Softly “Anti-Capitalist Screed”

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9 Images, Trailer, Video, Press Kit Extracts From Cannes’ Sudden Smash Sensaysh, Leos Carax’s Holy Motors

Nine Images, Video, Press Kit Extracts From Cannes’ Sudden Smash Sensaysh, Leos Carax’s Holy Motors

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Weighing Tom Hardy

“I can’t tell you anything about Batman. You know the score, you know the score. Don’t f— with it.” Weighing Tom Hardy

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John And Katrine Boorman On Their Doc, 1970s Filmmaking, Excalibur And A Never-Made “Lord Of The Rings”

“Get off the f—ing grass, Katrine!” John And Katrine Boorman On Their Doc, 1970s Filmmaking, Excalibur And A Never-Made “Lord Of The Rings”

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Dupont Arrays Factoids About On The Road

Dupont Arrays Factoids About On The Road

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From Cannes, Rodney Ascher Talks Shining Doc Room 237 5’49″

From Cannes, Rodney Ascher Talks Shining Doc Room 237 5’49″

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At Cannes, Taubin Favors Death Over Patriarchy

At Cannes, Taubin Favors Death Over Patriarchy

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“Ken Loach Saved My Life”

“Ken Loach Saved My Life”

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Cinematic Americana Now Coming From Other Countries

Cinematic Americana Now Coming From Other Countries

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Gael Garcia Bernal On Cannes And Democracy

Gael Garcia Bernal On Cannes And Democracy

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“Just got back from Dark Shadows at the Lincoln Square IMAX (102′ wide screen, over 50 sears per row). I loved almost every second of it. What a shock. I can see why people under 49 hate it, and it’s not just because of its ’60s TV roots–it’s a very traditional, classic-style horror film: leisurely-paced, character-driven, beautifully designed (mostly real sets, not CGI), music used as a humorous or ironic underline, not particularly violent (there’s more blood in the 1970 version), perfectly cast with superb actors, and of course a nice sense of humor to balance the horror. No jump scenes, no teens sliced to pieces by some mask-wearing non-entity, just good old-fashioned story-telling. It’s more like Hugo than Hostel, and not just because it shares cast members and underperformed. And as for the much-derided third act: the complaints are horseshit. Everything that takes place in the climax is logically built up to in what precedes it. Yes, the werewolf is a surprise, but it shouldn’t be given the family history and that character’s behavior, and the explanation is eminently reasonable. In an era where Bridesmaids is considered award-worthy writing, it’s no surprise that many people have forgotten what a well-made script can be like. So fuck all the haters. Dark Shadows lived up to my expectations (no small feat), and should be seen by everyone who still appreciates quality, grown-up, Old Hollywood-style filmmaking. Cadavra has spoken.”
~ Cadavra on Dark Shadows

‘This grooming and styling thing? It’s fucking poodles. Human poodles. I feel sorry for a poodle because he’s a dog. You know, a dog is a fucking great creature. They would do anything for you. And the poodle gets a haircut. No one asks if the poodle wants his hair cut like that. Do they? They just fucking cut his hair like that. And he just walks around. And everyone is like, “Why is that poodle so snarky?” Fuck you. Style, I think, is panache. Who are you? What did you do today? And what are you worth to me? What do you have to offer the world? How did you spend your time today on this planet? How are you spending your time every second? What are you doing now? Are you alive, or are you somnambulant? If you are somnambulant, then you are a fucking prick. Style is your ability to be awake. But who the fuck am I to judge? I’m starting to get really arrogant.”
GQ: Whose tuxedo did you wear on the red carpet here in Cannes?
“J.Lindeberg. Because I really love his suits.”
~ Stylin’ Tom Hardy

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