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BYOB: Super Bowl 50…

A selection of ads that are coming… don’t watch if you don’t want them spoiled. Use the space to discuss whatever… Meet Kadar Prince… Conceived on acid…

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Weekend Estimates by Carolina by 12 On A Late Pick 6 Klady

There is not much here to chew on. Only two films are estimated to do over $5350 per screen and those films are on just four screens each (and still not reaching $10k per). There are 5 Best Picture nominees still charting, but every one of them is in the downslope of their runs, on…

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Friday Estimates by RePo Klady

It’s Super Bowl Weekend and the 3-day numbers will be hurt… on Sunday. But that’s no excuse for a poor showing Friday or today. That said, what a Poo Show… or it’s a Po show, if you prefer. 19% off the 2nd Friday of Panda 2 and 35% the total gross after 8 days. $105…

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Film Essent

Wilmington on Movies: Tomorrowland

Watching Tomorrowlan—a great big film hunk of love and optimism and confusion from the Walt Disney Studio—you sometimes get the idea that director-writer Brad Bird and company are trying not just to create a new movie but maybe to found a new movement; Dianetics for Disneyphiles, or Pessimists Anonymous or Worldmakers. (Just kidding.)

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Sundance 2015 Review: The Forbidden Room

Known for making trippy, weird stories that are both deeply personal explorations of philosophical ideas, Maddin works in layers of abstract visual poetry. Recline in your seat, breathe in, breathe out, and allow the imagery to flow into you as you try to take it all in; you’re peering directly into Maddin’s brain through the lens of his camera, and given the recurrence of the idea of “brain” throughout his work, that’s about as meta as you can get.

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Sundance 2015 Review: Advantageous

In Phang’s imaginary future, it’s pretty much the same-old, same-old: As men grow older and wiser, they morph into handsome “silver foxes” without losing stride on the career or social desirability fronts. As women grow older and wiser, though, their perceived worth diminishes while those aging men chase after younger, newer versions to upgrade to. Phang’s tale imagines a reality where a woman could choose to “upgrade” herself to a younger and thereby more desirable version. You don’t have to be a woman working in the film industry to relate to (or fear) such a thing, though Hollywood is perhaps closer to the future we see here than anywhere else and, sadly, populated by a lot of women who would quite likely line up around the block to take advantage of it.

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Frenzy On Blog

SNL Recap – Helen Mirren and Foo Fighters

If you’ve ever seen an interview with Helen Mirren, then you’d know that in addition to being a world-class actress, she also has a wicked sense of humor.  She has the twin traits of being both regal enough to play Queen Elizabeth II (The Queen) and versatile enough to play the proprietor of a Nevada…

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Come Back, Warren Beatty!

So I just finished reading Peter Biskind’s biography about Warren Beatty, “Star,” and I found it as enjoyable as all of Biskind’s other books about Hollywood.  He has a knack for finding people that are willing to speak their minds about subjects that are usually taboo and off-limits according to the modern-day PR machine.  Even…

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SNL Recap – Elton John

I mean, we all know that Elton John is a world-class singer/pianist and he’s crafted some of the greatest songs of all-time, but I’m curious to see if he’ll be able to entertain us when he’s not singing on SNL.  My guess is that there will probably be a lot of skits revolving around John…

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MCN Blogs

Quote Unquotesee all »

“Jonas Mekas spoke a lot about ‘necessity’ last night at the Film Society. “Why do anything if it’s not needed,” he asked at one point. Mekas said that he created a publication, wrote for the Village Voice, founded an archive, because it was necessary.

“Somebody had to do it,” the 93 year old Mekas said, standing during the entire hourlong Q&A. He also spoke to the notion of curation: “If I see something I like, I don’t really enjoy it unless I can share it with others.”
~ Jonas Mekas, via Eugene Hernandez

“There are critics who see their job as to be on the side of the artist, or in a state of imaginative sympathy or alliance with the artist. I think it’s important for a critic to be populist in the sense that we’re on the side of the public. I think one of the reasons is, frankly, capitalism. Whether you’re talking about restaurants or you’re talking about movies, you’re talking about large-scale commercial enterprises that are trying to sell themselves and market themselves and publicize themselves. A critic is, in a way, offering consumer advice. I think it’s very, very important in a time where everything is commercialized, commodified, and branded, where advertising is constantly bleeding into other forms of discourse, for there to be an independent voice kind of speaking to—and to some extent on behalf of—the public.”
~ A. O. Scott On One Role Of The Critic