Movie City News Archive for December, 2010

What’s Next For The Schwarzenator?

What’s Next For The Schwarzenator?

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Why Criticism Matters: The Book Review Turns Pages

Why Criticism Matters: The Book Review Turns Pages The Editors Intro The Package O’ Ponders With – Roiphe On The “Weight Of Authority” And – “Beyond The Critic As Cultural Arbiter” Plus – Mishra On Being “At Play In The Larger World” With – Kirsch On “The Will To Self-Understanding” And – Criticism Makes Art…

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Why Ken Loach Doesn’t Listen To Music Anymore

Why Ken Loach Doesn’t Listen To Music Anymore

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The Gold Standard In Movie Posters—Bill Gold

The Gold Standard In Movie Posters—Bill Gold At 90

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What 2010 Films Gained Most From “Screen Convergence”?

What 2010 Films Gained Most From “Screen Convergence”?

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Buschel Sez Sofia Fashions Swell Trailers

Buschel Sez Sofia Fashions Swell Trailers

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IMAX Dismisses Talk Of Sony Sale

IMAX Dismisses Talk Of Sony Sale

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Top 10 Documentaries of 2010

I had kind of a bad year for documentaries, which is too bad because I love docs. Maybe it’s partly because I missed Sundance, or because docs can be hit and miss and I just happened to fall on the wrong side of that equation this year. Whatever the case, I managed somehow to miss…

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Comedy Profits Peter Principato, Talent Manager To Tee-Hees

Comedy Profits Peter Principato, Talent Manager To Teething Tee-Hees

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Fotog David Strick On-Sets The Green Hornet

Fotog David Strick On-Sets The Green Hornet

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Wilmington: The Ten Best of 2010

So here’s my list of The Ten Best Movies of 2010, plus Honorable Mentions and a separate list of documentaries. I know it’s customary at this time to write about how awful a year it was, and how I had to struggle to find ten movies worthy of recognition, and how Hollywood is so bankrupt…

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In Case You Wanted To Watch Nine Oscar-Winning Shorts From The National Film Board Of Canada…

In Case You Wanted To Watch Nine Oscar-Winning Shorts From The National Film Board Of Canada…

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Top Tens: December 31, 2010

There were a couple of technical glitches as the new system settles in – but the lists are starting to add up now. Yes, Social Network stays on top, but Inception and The King’s Speech are moving up the charts.

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LA Times Editor Muses On “Unveiling” Of Resto Cricket And Why Two Stars Is “Very Good”

Editor Muses On “Unveiling” Of Resto Cricket And Why Two Stars Is “Very Good”

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Will Sony And Disney Absorb IMAX?

Will Sony And Disney Absorb IMAX?

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Tomorrow Is Public Domain Day… At Least Theoretically

“Not a single published work is entering the public domain this year. Or next year. Or the year after. Or the year after that. In fact, in the United States, no publication will enter the public domain until 2019.” Tomorrow Is Public Domain Day… At Least Theoretically

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Times Trio Try Out Alt-Oscar Picks

Times Trio Try Out Alt-Oscar Picks

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Meet Bristol’s Colin Needham: He Runs IMDB

Meet Bristol’s Colin Needham: He Runs The IMDB

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Pulitzer’d Food Writer Jonathan Gold Offers Two Cheers For A Critic’s Anonymity

Pulitzer’d Food Writer Jonathan Gold Offers Two Cheers For A Critic’s Anonymity

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Winklevii Say Continuing Lawsuit Against Facebook A Matter Of Principle

Winklevii Say Continuing Lawsuit Against Facebook A Matter Of Principle

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Movie City News

“When we add it all up, what is it costing the industry just to take care of its top-20 producers? What is that total price tag going to look like once all their shows are in production? With 7,000 shows sloshing around in the streaming jungle, all trying to get attention, what is the guarantee that the Next Giant Thing, or the Next 10 Giant Things, will come out of this group? TV breakthroughs, as often as not, don’t come from seasoned workshops, but from newish upstarts, breaking out with something no one thought of before. Who the hell were Benioff and Weiss before ‘GoT’? Would anyone have given them a $250 million overall deal?”

MZS on Indie Theaters

Harvey Has An Excuse

“I guess it’s talking about the fear of intimacy, you know? When I was young, and you’re a musician, it took me a long time to get to a certain place where I felt comfortable with family and loving somebody and being loved,” Bruce Springsteen says. “Really, that’s what’s the film is about. The film takes you on that journey. Like I say, there are two parts to the American character: one is very isolated and one is in search of community. So how do you make your peace with both of those things? That’s really what the picture is about.”

Jamie Leigh

Midwest FurFest Bars Rightwing Agitator Milo Yiannopoulos and His Newly-Doffed Snow Leopard Fursona

Saturday Night Live Rescinds Proffer To Shane Gillis As History of Racist And Homophobic Slurs Expand; Search On For A Replacement Reprobate?

TIFF Audience Award Goes Jojo Rabbit, With Marriage Story And Parasite Close Behind

“A New Era of the Strips, With Gary Larson Drawing, Is Returning”

James Murdoch Talks To Jane Mayer After Disney Buy

Quote Unquotesee all »

“Well, actually, of that whole group that I call the post-60s anti-authority auteurs, a lot of them came from television. Peckinpah’s the only one whose television work represents his feature work. I mean, like the only one. Mark Rydell can direct a really good episode of ‘Gunsmoke’ and Michael Ritchie can direct a really good episode of ‘The Big Valley,’ but they don’t necessarily look like The Candidate. But Peckinpah’s stuff, even the scripts he wrote that he didn’t even direct, have a Peckinpah feel – the way I think there’s a Corbucci West – suggest a Peckinpah West. That even in his random episodes that he wrote for ‘Gunsmoke’ – it’s right there.”
~ Quentin Tarantino

“The thought is interrupted by an odd interlude. We are speaking in the side room of Casita, a swish and fairly busy Italian bistro in Aoyama – a district of Tokyo usually so replete with celebrities that they spark minimal fuss. Kojima’s fame, however, exceeds normal limits and adoring staff have worked out who their guest is. He stops mid-sentence and points up towards the speakers, delighted. The soft jazz that had been playing discreetly across the restaurant’s dark, hardwood interior has suddenly been replaced with the theme music from some of Kojima’s hit games. Harry Gregson-Williams’ music is sublime in its context but ‘Metal Gear Solid 4: Guns of the Patriots’ is not, Kojima acknowledges, terribly restauranty. He pauses, adjusting a pair of large, blue-framed glasses of his own design, and returns to the way in which games have not only influenced films, but have also changed the way in which people watch them. “There are stories being told [in cinema] that my generation may find surprising but which the gamer generation doesn’t find weird at all,” he says.
~ Hideo Kojima