Movie City News Archive for August, 2017

Here Comes Everybody’s “Transcendental Style In Film,” With Extensive New Introduction

Here Comes Everybody’s “Transcendental Style In Film,” With Schrader’s Extensive New Introduction And – Fresh Air Rebroadcasts Its 1988 Interview With The Director Of First Reformed

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Richard Anderson Of “Six Million Dollar Man” And “Bionic Woman” Was 91

Richard Anderson Of “Six Million Dollar Man” And “Bionic Woman” Was 91

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Toronto Int’l Asks, “What Can Straight White Guys Do To Help Women In Film?”

Toronto Int’l Asks, “What Can Straight White Guys Do To Help Women In Film?”

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GdT’s The Shape Of Water

“There is unmistakable, idiosyncratic care poured into every frame, saturated with del Toro’s offbeat compassion and looping, pattern-recognition intelligence.” “A ravishing 60s-set romance, sweet, sad and sexy.” GdT’s The Shape Of Water

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“The greatest of The Shape of Water’s many surprises is how extravagantly romantic it is, driven throughout by an all-conquering belief in soulmates as lifelines. This is del Toro’s second straight film to smuggle a swooning, lovestruck heart beneath pulpier genre clothing, though this time, there’s nothing arch about its romanticism: It’s as purehearted and simple a girl-meets-Amazonian-water-creature-who-might-just-be-a-god story as any ever made.”

“The greatest of The Shape of Water’s many surprises is how extravagantly romantic it is, driven throughout by an all-conquering belief in soulmates as lifelines. This is del Toro’s second straight film to smuggle a swooning, lovestruck heart beneath pulpier genre clothing, though this time, there’s nothing arch about its romanticism: It’s as purehearted and…

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“Elisa is the kind of role that comes along just once a lifetime. Hawkins meets it with the performance of one. The London-born actress’s keen observational eye, technical control and puckish comic touch have been evident in films from Happy-Go-Lucky to Maudie. But here they’re wed to an emotional intensity and shivery eroticism that make you wriggle with delight.”

“Elisa is the kind of role that comes along just once a lifetime. Hawkins meets it with the performance of one. The London-born actress’s keen observational eye, technical control and puckish comic touch have been evident in films from Happy-Go-Lucky to Maudie. But here they’re wed to an emotional intensity and shivery eroticism that make…

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Close Encounters Reissue Is Re-Edit Of The “Final 1997 Director’s Cut”

“When Metrocolor closed, we were collecting our material and I came across some of the original missing footage. That was really fortunate. We printed it in a different section and put it together to get the director’s cut. We scanned the disparate parts in 4K resolution and put it back together — the original negative and…

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Alex Cox Talks Walker

“The studios blacklisted me for making Walker. Roger Ebert and his fellow creep critics working for the man, as usual. I won’t feel the least vindicated until Universal and MGM and Fox pay me all the money they owe me for Repo Man, Sid and Nancy and Walker.” Alex Cox Talks Walker

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Gillian Wallace Horvat On The “Nightmarish Meanings Of David Lynch’s Hw’d Star Casting”

Gillian Wallace Horvat On The “Nightmarish Meanings Of David Lynch’s Hw’d Star Casting”

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Sam Roberts On Former Variety Owner Syd Silverman’s Final Ankling At 85

Sam Roberts On Former Variety Heir-Owner-Publisher Syd Silverman’s Final Ankling At 85

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Village Voice To Fire 13 Of 17 Union Employees

“It’s really turning into a wake. To throw out almost all of the union members goes against the grain of the Voice we love and cherish.” Village Voice To Fire 13 Of 17 Union Employees After Final Print Edition Third Week Of September

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An Oral History Of Superbad Ten Years Along

An Oral History Of Superbad Ten Years Along

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Colin Geddes Farewells TIFF’s Midnight Madness

Colin Geddes Farewells TIFF’s Midnight Madness

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A Clutch Of Theories About Dancing Audrey Horne

A Clutch Of Theories About Dancing Audrey Horne

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“Try to count the instances of deformity in David Lynch’s work, or of people being deformed on camera, and you’ll lose count pretty quickly.”

“Try to count the instances of deformity in David Lynch’s work, or of people being deformed on camera, and you’ll lose count pretty quickly.”

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Nicholas Rombes On Keywords In “Twin Peaks: The Return”

Nicholas Rombes On Keywords In “Twin Peaks: The Return”

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Andréa Picard On Programming TIFF’s Wavelengths Section

Andréa Picard On Programming TIFF’s Wavelengths Section

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Ben Fritz Surmises The Age Of A Thousand Streaming Services Is Gonna Get Ugly Quickly

Ben Fritz Surmises The Age Of A Thousand Streaming Services Is Gonna Get Ugly Quickly

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China Alibaba Pictures Dunks An Additional $84 Million In Past Six Months

China Alibaba Pictures Dunks An Additional $84 Million In Past Six Months

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Movie City News

The DVD Wrapup: After the Wedding, Buñuel in the Labyrinth, Bliss, Nuke ’Em High Redux, Tel Aviv on Fire, They Are We, Hitchhikers, Far Country, Popstar, Truth … More

Review: The Good Liar

“It is done his way. The script is shot in sequence and actors learn the story as they go along – all the better to surprise them. “I just want the performance to come straight from their stomach,” he says. At lunchtime, everyone piles into a minibus to go to a church hall. Loach remembers shooting Bread and Roses in Los Angeles, and an actor asking: “Where are the chairs?” Loach said: “What chairs? There are a few around. Find one.” “We always have chairs with our name on.” Loach: “How old are you?” “Sixty.” “Well I’m fucking 75. When you see me sit down, you sit down.” Loach laughs then says: “We keep going because we’re so inexpensive.”

OH, NO HUMANITY

“The first day subscription numbers are impressive, but not surprising, this being the greatest family brand, the one must-have brand in familydom. There’s been grumbling online, particularly from middle-aged critics, about how much is missing and how there is nothing for them to watch. D+ is failing to serve the all-important ‘Mad Men’ audience of media professionals!”

“Howard Hawks was a wonderful director, but he was not the greatest director Hollywood ever knew. The guys with the cigarette ashes on them ignored our greatest directors and humiliated George Stevens, Willie Wyler, Billy Wilder,” Mike Nichols once said of the film giants whose critical stock crashed when New Hollywood arrived. “The tragedy of Willie and Stevens and Fred Zinnemann, these were great men, but they just weren’t part of the froggy conspiracy.” Welles and Ford agreed the director was the driving creative force of their films, but to what end? What was it about?”

Lawrence G. Paull Was 81

The Rise And Rise Of Queen & Slim’s Melina Matsoukas

Joker First Billion-Grossing R-Rated Pic

Louis C.K. for part of his comeback tour “What’s mostly absent now though is the appearance that he’s at least trying to be decent,”

Quote Unquotesee all »

It shows how out of it I was in trying to be in it, acknowledging that I was out of it to myself, and then thinking, “Okay, how do I stop being out of it? Well, I get some legitimate illogical narrative ideas” — some novel, you know?

So I decided on three writers that I might be able to option their material and get some producer, or myself as producer, and then get some writer to do a screenplay on it, and maybe make a movie.

And so the three projects were “Do Androids Dream of Electric Sheep,” “Naked Lunch” and a collection of Bukowski. Which, in 1975, forget it — I mean, that was nuts. Hollywood would not touch any of that, but I was looking for something commercial, and I thought that all of these things were coming.

There would be no Blade Runner if there was no Ray Bradbury. I couldn’t find Philip K. Dick. His agent didn’t even know where he was. And so I gave up.

I was walking down the street and I ran into Bradbury — he directed a play that I was going to do as an actor, so we know each other, but he yelled “hi” — and I’d forgot who he was.

So at my girlfriend Barbara Hershey’s urging — I was with her at that moment — she said, “Talk to him! That guy really wants to talk to you,” and I said “No, fuck him,” and keep walking.

But then I did, and then I realized who it was, and I thought, “Wait, he’s in that realm, maybe he knows Philip K. Dick.” I said, “You know a guy named—” “Yeah, sure — you want his phone number?”

My friend paid my rent for a year while I wrote, because it turned out we couldn’t get a writer. My friends kept on me about, well, if you can’t get a writer, then you write.”
~ Hampton Fancher

“That was the most disappointing thing to me in how this thing was played. Is that I’m on the phone with you now, after all that’s been said, and the fundamental distinction between what James is dealing with in these other cases is not actually brought to the fore. The fundamental difference is that James Franco didn’t seek to use his position to have sex with anyone. There’s not a case of that. He wasn’t using his position or status to try to solicit a sexual favor from anyone. If he had — if that were what the accusation involved — the show would not have gone on. We would have folded up shop and we would have not completed the show. Because then it would have been the same as Harvey Weinstein, or Les Moonves, or any of these cases that are fundamental to this new paradigm. Did you not notice that? Why did you not notice that? Is that not something notable to say, journalistically? Because nobody could find the voice to say it. I’m not just being rhetorical. Why is it that you and the other critics, none of you could find the voice to say, “You know, it’s not this, it’s that”? Because — let me go on and speak further to this. If you go back to the L.A. Times piece, that’s what it lacked. That’s what they were not able to deliver. The one example in the five that involved an issue of a sexual act was between James and a woman he was dating, who he was not working with. There was no professional dynamic in any capacity.

~ David Simon