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

Quote Unquotesee all »

“The word I have fallen in love with lately is ‘Hellenic.’ Greek in its mythology. So while everyone is skewing towards the YouTube generation, here we are making two-and-a-half-hour movies and trying to buck the system. It’s become clear to me that we are never going to be a perfect fit with Hollywood; we will always be the renegade Texans running around trying to stir the pot. Really it’s not provocation for the sake of being provocative, but trying to make something that people fall in love with and has staying power. I think people are going to remember Dragged Across Concrete and these other movies decades from now. I do not believe that they will remember some of the stuff that big Hollywood has put out in the last couple of years. You’ve got to look at the independent space to find the movies that have been really special recently. Even though I don’t share the same world-view as some of my colleagues, I certainly respect the hell out of their movies which are way more fascinating than the stuff coming out of the studio system.”
~ Dallas Sonnier

“My first objective relationship in life was with the camera. I didn’t understand anything but then I realized the camera is my friend. It doesn’t lie to me. It doesn’t manipulate me. It only reports what I’m doing. And therefore, for me to work with a camera and the camera to be directed by an artist, a craftsman, someone who knows what he or she wants, I couldn’t ask for anything more.”
~ Elliot Gould