Movie City Indie Archive for September, 2011

ONE BIG SOUL: An Oral Biography Of Terrence Malick

Coming in the next few weeks from Paul J. Maher, Jr.

DRIVE “The Getaway” 2’15”

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Nicolas Winding Refn’s “Don’t Talk” For Alamo Drafthouse

Cinema Scope Roundtables TIFF

Canadian cineaste quarterly Cinema Scope roundtables TIFF11 with publisher Mark Peranson and contributors Robert Koehler, Jason Anderson, Adam Nayman and John Semley. Opinions and imperial pints stand tall. Four more parts below the fold.

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A near-fatal miscalculation in reformed film critic Rod Lurie’s sixth feature as writer and director is James Marsden’s performance as David Sumner, a screenwriter immersed in completing a sprawling Hollywood epic about the Siege of Stalingrad, who brandishes a Harvard Lacrosse t-shirt as if it were the sheepskin itself. Marsden’s dancing eyes practically patronize his leaping cheekbones and protruding eyeteeth. Uptight and unsympathetic, the character is intractable as a middlebrow wannabe-hipster who is valiantly, decisively uncool and unfunny. What does it mean to him to “be a man”? The question is more, what does it mean to come across as even human?  Kate Bosworth is another matter as his wife Amy, the local cheerleader come back South, her lightly freckled features and markedly mismatched eyes gentle until the steel behind her perkiness rises urgently to the surface. Physically, Bosworth’s is an impressive performance, where consensual teasing that’s kittenish congeals at repeated rebuffs from her increasingly indifferent husband. With native instinct, Amy dresses in tops and shorts for the swelter, best described as “rompers,” as if she shopped at Lolita-on-the-Square. Still, Bosworth’s quirky delivery of lines like, “Honey, you know a lot, but you don’t know shit about southern daddies and their daughters,” hits unexpectedly telling notes. [See the rest of my review at Newcity.]



[Via IMP Awards.]

The BLADE RUNNER Convention Reel Resurfaces

“One of the Blade Runner Convention Reels featuring interviews with Ridley Scott, Syd Mead and Douglas Trumbull about making [the] Blade Runner universe. This 16mm featurette, made by M. K. Productions in 1982, is specifically designed to circulate through the country’s various horror, fantasy and science fiction conventions.”


Glistening, gorgeous: the crystalline light in the nine-minute trailer for David Fincher‘s Girl With The Dragon Tattoo was the consistent aspect that kept me gawping after Wednesday night’s Chicago all-media of Straw Dogs. And Lisbeth Salander’s “FUCK YOU FUCKING FUCK” t-shirt, sported as soiled sleepwear is as immediately iconic as the stray cardboard carton with an IKEA logo. Whatever combination of digital formats Fincher and cinematographer Jeff Cronenweth are wielding, hurrah. Swedish eggshell-to-matte-gray light allows color and dimension to pop in almost every image in the product reel. (There’s a gray-black-orange-pale red sunset over a vista of Stockholm’s Soldermalm neighborhood like part of a slow dusk that would take hours to fall.) While it’s intended to introduce audiences who know neither Stieg Larsson‘s three books or the Swedish trilogy to the teeming dramatis personae, it’s comforting in a different way if you know the material: ah, this. Ah, that. (Unembarrassed grin in half-darkness.) A detail-fixated film director takes on a surly Aspergian protagonist with ample, similar skills? Ah, that. Here’s a streaming 7’26” of Trent Reznor and Atticus Ross‘ score. Twitter account @mouthtapedshut solicited those with a free Thursday evening in seventeen cities to retweet for the chance to be invited to…most  likely a sneak of Straw Dogs brandishing the same nine minutes. [Images via the film’s “viral” Tumblr MTS.]


Drinking with Jaaaack

Apparent GIRL WITH THE DRAGON Twitter Sneaks Quickly Fill Up

Sneaky-sneak sneaks…

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The John Calley Tribute Reel For Thalberg Award (4’36”)

RIP Richard Hamilton

“Just what is it that makes today’s homes so different, so appealing?”

Postering DRIVE на русском языке

[Via IMP Awards.]


[Via IMP Awards.]

Movie City Indie

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“Ten years ago at Telluride, I said on a panel that theatrical distribution was dying. It seemed obvious to me. I was surprised how many in the audience violently objected: ‘People will always want to go to the movies!’ That’s true, but it’s also true that theatrical cinema as we once knew it has died. Theatrical cinema is now Event Cinema, just as theatrical plays and musical performances are Events. No one just goes to a movie. It’s a planned occasion. Four types of Event Cinema remain.
1. Spectacle (IMAX-style blockbusters)
2. Family (cartoon like features)
3. Horror (teen-driven), and
4. Film Club (formerly arthouse but now anything serious).

There are isolated pockets like black cinema, romcom, girl’s-night-out, seniors, teen gross-outs, but it’s primarily those four. Everything else is TV. Now I have to go back to episode five of ‘Looming Tower.'”
~ Paul Schrader

“Because of my relative candor on Twitter regarding why I quit my day job, my DMs have overflowed with similar stories from colleagues around the globe. These peeks behind the curtains of film festivals, venues, distributors and funding bodies weren’t pretty. Certain dismal patterns recurred (and resonated): Boards who don’t engage with or even understand their organization’s artistic mission and are insensitive to the diverse neighborhood in which their organization’s venue is located; incompetent founders and/or presidents who create only obstacles, never solutions; unduly empowered, Trumpian bean counters who chip away at the taste and experiences that make organizations’ cultural offerings special; expensive PR teams that don’t bring to the table a bare-minimum familiarity with the rich subcultural art form they’re half-heartedly peddling as “product”; nonprofit arts organizations for whom art now ranks as a distant-second goal behind profit.”
~ Eric Allen Hatch