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 »

“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