MCN Curated Headlines

“If his other films are historical fantasia, then the experience of The Boy Friend is about being high on movie-musical iconography; dream-factory fantasia in the highest form.”
Steve Lippman On Ken Russell’s The Boy Friend

“I don’t think I have a problem with happy endings. I’ve got a problem with the neatness of life. Because it’s never neat, is it? Cruelty and randomness just feels more honest to me. When I see stuff which has a really good resolution and everything is all right, I think: ‘What the fuck?’ Because a happy ending is only the point at which you choose to end the film. I mean, if you ended the story a few years later, it probably wouldn’t be so happy. They’d only have got themselves into still more trouble.”
Free Fire‘s Ben Wheatley

“What issue could there possibly be with casting her? The Major is a cyborg and her physical form is an entirely assumed one. The name ‘Motoko Kusanagi’ and her current body are not her original name and body, so there is no basis for saying that an Asian actress must portray her. Even if her original body (presuming such a thing existed) were a Japanese one, that would still apply.”
Original Director Mamoru Oshii On Ghost In The Shell

“The greatest nightmare of any filmmaking experience I’ve ever had.”
Taylor Hackford Remembers Rocking Good Times Filming Chuck Berry

indie wire

“They don’t make very many comedies anymore, if you look at the marketplace. Comedies are really the one thing that’s gone by the wayside. There’s only a few people that mean anything in the world of comedy nowadays. Mainly, it’s women, the Melissa McCarthys. And they’re hysterical.”
Bobby Farrelly Says Comedy Filmmakers Are “Too “Sensitive”

“A lot of filmmakers invest in a story for years, but they also have stories they want to tell quickly. We wanted to utilize that moment and that way of thinking to bring cinematic and artistic works to the internet.”
Behind The Field Of Vision Doc Strand

“From Lee Garmes, I learned simplicity. He had an eye for composition and good taste. Boris Kaufman was from a different generation; he was a master of hard light. Like Harry Stradling, he knew how to use one large source and make it do the work of many lamps.”
Cinematographer Sol Negrin Was 88

“The broadband privacy rules are not some kind of blitzkrieg attack on monetizing consumer data, but simply a recognition of the importance of consumer consent.”
Senate GOP Votes To Allow Internet Providers To Sell User Private Data, Including Browsing History, Without User Consent

“Quite who Warner Bros imagined their target audience was for this is a mystery on a par with the Zodiac killings: the material seems aimed at a hyperactive eight-year-old boy with the jaded sexual palate of a vengeful divorcé.”
Robbie Collin Boots CHiPS Reboot

LA Times

“Horror is like any other genre – there are bad horror movies and great horror movies – but I think the great part of horror movies is discounted by the coastal elites, and it shouldn’t be. Horror has been kind of a forgotten genre, but what I’m doing – and will continue to do – is to say let’s not forget about it because it can be really important and relevant.”
Jason Blum

MCN Curated Headlines

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“The worst thing that we have in today’s movie culture is Rotten Tomatoes. It’s the destruction of our business. I have such respect and admiration for film criticism. When I was growing up film criticism was a real art. And there was intellect that went into that. And you would read Pauline’s Kael’s reviews, or some others, and that doesn’t exist anymore. Now it’s about a number. A compounded number of how many positives vs. negatives. Now it’s about, ‘What’s your Rotten Tomatoes score?’ And that’s sad, because the Rotten Tomatoes score was so low on Batman v Superman I think it put a cloud over a movie that was incredibly successful. People don’t realize what goes into making a movie like that. It’s mind-blowing. It’s just insane, it’s hurting the business, it’s getting people to not see a movie. In Middle America it’s, ‘Oh, it’s a low Rotten Tomatoes score so I’m not going to go see it because it must suck.’ But that number is an aggregate and one that nobody can figure out exactly what it means, and it’s not always correct. I’ve seen some great movies with really abysmal Rotten Tomatoes scores. What’s sad is film criticism has disappeared. It’s really sad.”
~ Brett Ratner Has A Sad

“The loss of a local newspaper critic is a real loss. People who know the local audience and know the local cultural scene are very important resources. You can’t just substitute the stuff that comes in from nowhere through syndication or the wire. I think at the same time, some of the newer outlets have really beefed up and improved their coverage and made room for criticism. The real problem is in the more specialized art forms — fine arts, classical music, dance and jazz, say. There is a real slowing of critical voices, partly because those art forms have smaller audiences. Newspapers and magazines can say that doesn’t get enough traffic, so we don’t have room for that. To me, that’s especially worrisome. This is the opposite of what newspapers are supposed to do, which is not to try to figure out what people are already interested in and recite that back to them, but to hopefully guide them to something that they should be interested in, connecting potential audiences with more interesting work.

“Then again, not everyone needs a critic. People have been going to movies for more than 100 years now, and probably the vast majority of those people have not read movie reviews or cared what critics thought. But there has always been an important subset that wants to know more, that wants to think about what they’ve seen and what they’re going to see, and wants someone to think along with. I think critics are important, not just as dispensers of consumer advice — though that’s certainly part of it, too — but as trusted voices and companions for people to argue with in your head when you’re going to movies or afterwards.”
~ A. O. Scott