Night Moves

MCN Curated Headlines

“Yping-adult fiction: what a peculiar product it is, sold and consumed as avidly as the misery memoir and the self-help book, and borrowing sneakily from both. One can see the gap in the market. What are literate kids meant to do with themselves, or with their itchy brains, as they wander the no man’s land between Narnia and Philip Roth?”
Anthony Lane Is Really Really Sort Of Into Chloë Grace Moretz’s Latest

“As the novel’s cultural centrality dims, so storytelling—J. K. Rowling’s magical Owl of Minerva, equipped for a thousand tricks and turns—flies up and fills the air. Meaning is a bit of a bore, but storytelling is alive. The novel form can be difficult, cumbrously serious; storytelling is all pleasure, fantastical in its fertility, its ceaseless inventiveness. The novel now aspires to the regality of the boxed DVD set: the throne is a game of them.”
James Wood Remains Unimpressed With Cloud Atlas‘ David Mitchell

NY Times

“Film festivals don’t really have themes, even though deadline-stressed journalists sometimes suggest otherwise. But seeing a lot of movies over a short stretch of time can lead you to notice patterns, trivial—like a fox showing up on screen in two consecutive movies, a horse in three—and less so.”
A. O. Scott Tallies Telluride

NY Times

Edge of Tomorrow, for instance, looked like a hit—and that was exactly its problem. The title was too similar to The Day After Tomorrow, released in summer 2004. The barren landscape too closely resembled Mr. Cruise’s 2013  Oblivion. Characters walking around in robot exoskeletons? Been there (Pacific Rim), done that (Real Steel).”
Brooks Barnes Sez This Is The Worst Summer For Movies Since 1997

“No matter how discreet and clothed its depictions, Love Is Strange is apparently just too gay for a PG-13.”
M. Phillips Takes On A Couple Of “M———er”s That Got Love Is Strange Its “R” Rating; He Means The Word, Not The Raters

Annnnddddd we seem to be back

daily beast

“I’m really loving painting these days. So there’s nothin’ on the burner right now.”
David Lynch? He Still Says “I Prefer Not To.”

NY Times

“Telluride may not have Toronto’s red-carpet galas, but at a time when reactions to a movie can be instantly shared with the world, the distinction between a big and a small festival hardly matters.”
A. O. Scott Anticipates The Opening Of “Interfestival Skirmishing” Season

NY Times

“I loved my time at the academy. The building was almost black. All of Philadelphia had a kind of coal-dust patina and a mood that was just spectacular. There was violence and fear and corruption, insanity, despair, sadness, just in the atmosphere in that city. I loved the people there. All these things, whatever way it was, was my biggest influence.”
David Lynch On His Art Show That’s Coming To Los Angeles

And… We’re Back!

MCN Curated Headlines

Quote Unquotesee all »

A statement from David Chase’s representative, Leslee Dart:

A journalist for Vox misconstrued what David Chase said in their interview. To simply quote David as saying,“ Tony Soprano is not dead,” is inaccurate. There is a much larger context for that statement and as such, it is not true. As David Chase has said numerous times on the record, “Whether Tony Soprano is alive or dead is not the point.” To continue to search for this answer is fruitless. The final scene of THE SOPRANOS raises a spiritual question that has no right or wrong answer.
~ David Chase Refutes Vox Writer

“By the time the sounds of the Von Trapp children warbling ‘Silent Night’ drift through The Giver, you may find yourself wondering what fresh movie hell this is. In truth, the enervating hash of dystopian dread, vague religiosity and commercial advertising-style uplift is nothing if not stale. Adapted from Lois Lowry’s book for young readers, the story involves an isolated society that, with its cubistic dwellings, mindless smiles, monochromatic environs and nebulous communitarianism, seem modeled on a Scandinavian country or an old Mentos commercial.”
~ Manohla Dargis’ Deadly Lede For Review Of The Giver