MCN Curated Headlines

“I write and film history; I don’t make it. One can be a good critic and a moral observer, but one remains professionally detached as a writer and a filmmaker.”
Interview Reprints Andrew Sarris‘ 1994 Interview With Jean-Luc Godard

indie wire

“Not one of the pictures we’ve made would ever get made at a studio today. I’m not interested in the kinds of pictures that they make. I never was.”
Sam Adams Says Rob Reiner’s Made A Good One Again, Sort Of

“There is no suspicion about love of cinema. They are good for cinema, Amazon and the people in charge of cinema at Amazon—the people who bought Woody Allen and Nicolas Winding Refn—they are movie buffs.”
Cannes Favors Amazon Studios Over Netflix

“You have three other museums, Soldier Field, and McCormick Place right there. So it’s not like it’s violating something that other buildings are not part of.”
Chicago Mayor Emanuel Comes Out Swinging Again For George Lucas Memorabilia Collection


“Owen is a rock star. When Owen loves a movie, his enthusiasm is contagious, and when he doesn’t, he’s liable to start a fiery debate, which is as it should be at Variety, where we take cinema as seriously as he does. I can’t wait to welcome him aboard.”
Owen Gleiberman Named Variety Co-Chief Film Critic

“I wouldn’t even say that Son of Saul is a fiction film. This division between documentary and fiction has to be changed. Son of Saul is a fiction in many respects, but the fiction is the truth. Shoah is a fiction film too.”
Shoah‘s Claude Lanzmann On Spielberg, Son Of Saul

NY Times

“Sick Of Popcorn Movies? Straub-Huillet Retrospective Offers An Antidote”
Surmise: J. Hoberman Didn’t Write The Headline

MCN Curated Headlines

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“The outstanding political film of the 2016 presidential season is about the 2013 New York City mayoral race. Like many of the best documentaries, it brings you so close to people in their unguarded moments that you marvel at the trust, or complicity, that grew between the filmmakers and their subjects. Unlike most, it shows some of these people wondering how the film has even come to exist—an inescapable question, given that the intrusion into its chosen candidate’s life is extreme, and the candidate’s urge to self-broadcast has led to his extremity. “Shit. This is the worst: doing a documentary on my scandal,” mutters An­thony Weiner—seven-time US congressman, two-time New York mayoral candidate, and twice-exposed enthusiast of cell-phone flirtation—­as seen at the beginning of Weiner. At the conclusion, after this second mayoral bid has ended in humiliation, an off-camera Josh Kriegman (who codirected with Elyse Steinberg) rounds out the theme by asking the obvious: “Why have you let me film this?”
~ Stuart Klawans Measures Weiner

“This very crowded, reasonably enjoyable installment in the Avengers cycle reveals, even more than its predecessors, an essential truth about the Marvel Cinematic Universe. It’s not so much a grand science-fiction saga, or even a series of action-adventure movies, as a very expensive, perpetually renewed workplace sitcom. New characters are added as the seasons wear on. Cast members are replaced. The thing gets a little baroque and tests the boundaries of coherence, but we keep showing up because it can be pleasant, in a no-pressure, low-key kind of way, to hang out with these people as they banter and squabble and get the job done. Sometimes you want to go where everybody knows both your street name and your nom de cape. (And yes, thank you, I’m perfectly aware that these Marvel superheroes don’t wear capes.)”
~ A. O. Scott’s Captain America Review Exemplifies What Variety Once Described As “Torpid Mitting”

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