MCN Originals Archive for April, 2013

The Weekend Report

Audiences were feeling the pain without any sense of gain as Pain & Gain managed to take the top spot in weekend charts with an estimated $19.7 million. The frame’s other new national release, The Big Wedding, underperformed as well with fourth place ranking of $7.5 million.

Read the full article » 1 Comment »

Countdown To Cannes: Paolo Sorrentino

The seventh snapshot of one of the twenty filmmakers in Competition for the Palme d’Or at the sixty-sixth Festival de Cannes.

Read the full article » No Comments »

Countdown to Cannes: Nicolas Winding Refn

The sixth snapshot of one of the twenty filmmakers in Competition for the Palme d’Or at the sixty-sixth Festival de Cannes.

Read the full article » No Comments »

Countdown to Cannes: Takashi Miike

The fifth in a series of snapshots of the twenty filmmakers in Competition for the Palme d’Or at the sixty-sixth Festival de Cannes.

Read the full article » 1 Comment »

The DVD Wrapup

Gangster Squad, Django, Pawn, In the Blood, Central Park 5, G-Dog, Mr. Selfridge, Cold Prey, Electric Button and even more.

Read the full article » No Comments »

Countdown To Cannes: Alex Van Warmerdam

The fourth in a series of snapshots of the twenty filmmakers in Competition for the Palme d’Or at the sixty-sixth Festival de Cannes.

Read the full article » No Comments »

Countdown To Cannes: Arnaud Desplechin

The third in a series of snapshots of the twenty filmmakers in Competition for the Palme d’Or at the sixty-sixth Festival de Cannes.

Read the full article » 1 Comment »

Wilmington on DVDs: The Red Menace; Jack Reacher; Gangster Squad

Is The Red Menace really “The Reefer Madness of anti-Communist movies? Or is that flattering it? Too earnest to be funny, too serious to be camp, too boring to be effective propaganda, this Herbert Yates-produced doozy from Republic (for which it stands) is probably one of the worst of the post-war anti-Commie thrillers, entertainment-wise. It isn’t even dumb enough be dumb fun, since writers Albert Demond and Gerald Geraghty know something about their subject. They have dialogue about Hegel, and a Red temptress has a bookcase full of tomes by Marx and Engels.

Read the full article » No Comments »

Countdown To Cannes: François Ozon

The second in a series of snapshots of the twenty filmmakers in Competition for the Palme d’Or at the sixty-sixth Festival de Cannes.

Read the full article » 1 Comment »

Countdown to Cannes: Joel Coen, Ethan Coen

The first in a series of snapshots of the twenty filmmakers in Competition for the Palme d’Or at the sixty-sixth Festival de Cannes.

Read the full article » 4 Comments »

The Weekend Report

Sci-fi adventure Oblivion took a clear path and glided to the top of weekend box office with an estimated $38.1 million debut. While there were no other national debuts, several entries swung for the niches.

Read the full article » No Comments »

Wilmington on Movies: To the Wonder

A strange, poetic, puzzling. stunningly visualized, and defiantly personal piece of spiritual autobiography on celluloid, an ambitious, pictorially stunning creation by an artist who makes movies as it the art form had just been invented, and he was free to do anything, try anything, but also by a man who’s hip to cinema technology and aware of other arts and literature as well—and finally, by a man who sees the world (in his films) with something like the newly opened eyes of a child (as a gorgeous, enrapturing place) and comprehends it with a child’s relatively fresh, unspoiled heart and soul. All of these seemingly contradictory artists are Malick, who, like Walt Whitman (another naïve and sophisticated earthy giant of a poet) is large and contains multitudes and loves the way the sun pours down on leaves of grass.

Read the full article » 5 Comments »

Wilmington on Movies: Oblivion

There aren‘t many movies around as beautiful to look at as the first part of Oblivion, and since pieces of that beauty survive into the more conventional slam-bang second part, it‘s worth a look — though I would definitely suggest that you see Oblivion not on a normal screen, but in IMAX. Kosinski displayed a strong visual imagination in the critically-bashed Tron LegacyBut this is his show — adapted from a story and graphic novel he wrote, to try to sell (successfully) this movie, and it’s clear he has more emotion invested in it.

Read the full article » 2 Comments »

Cannes 2013: A Slate Analysis

This summer:

19 films.

19 men.

One Bruni-Tedeschi.

Read the full article » No Comments »

Wilmington on DVDs: My Son John; The Woman on Pier 13 (I Married a Communist); Promised Land.

My Son John; The Woman on Pier 13; Promised Land

Read the full article » No Comments »

In “Oconomowoc,” living in the shadow of the ‘Wizard’ isn’t such a bad place to be

Seventy-four years ago, come this August 12, MGM executives beat a path to the Strand Theater in the tranquil lakeside town of Oconomowoc, Wisconsin, to stage the first publicized showing of the final, edited version of The Wizard of Oz. Although no one is quite sure why it was chosen for the honor – perhaps, because composer Herbert Stothart and Munchkin coroner Meinhardt Raabe were local lads — it’s still recognized as one of the most exciting events in Oconomowoc history.

Read the full article » No Comments »

Wilmington on DVDs: The Kid with a Bike

The setting is, once again the industrial, largely working class city of Seraing in Belgium: the Dardenne Brothers’ home city and the location for most of their films since La Promesse.

Read the full article » No Comments »

The DVD Wrapup

Future Weather, Save the Date, Kobayashi, Gate of the Ghost, Ringo, Dragon, One Day on Earth… And more.

Read the full article » No Comments »

Wilmington on DVDs: Django Unchained

Waltz is a good guy this time, Django’s mentor, but there’s some high-grade screen villainy by Leonardo Di Caprio and Samuel L. Jackson, both of whom would have stolen the movie if Waltz didn’t already have it stuffed in his back pocket.

Read the full article » No Comments »

Divining Cannes 2013: The Aggregating

Despite the Cannes Film Festival being only a very short month away (and the festival’s Competition slate to be announced in less than a week), I’m filled with impatience to know the Official Selection. Over the past month or so, there have been articles across the web predicting and wishing—and yes, simply guessing—at which directors Thierry Frémaux will send a golden ticket to. I took a leaf out of Nate Silver’s book (without any of the genius, mind you), and thought to aggregate ten of the most prominent Cannes predictions, tallying them afterwards.

Read the full article » No Comments »

MCN Originals

Quote Unquotesee all »

“We’ve talked about this before in the past, my obsession with the Shakespearean histories having the ideal combination of the sweet and the sour. In ‘Henry IV, Part II’ which we’ve discussed before, in the end of that story it’s very complex and haunting because Prince Hal becomes Henry the King, and he has transcended his hoodlum days and at the ceremony is Falstaff, his good friend with whom he has really fucked around and been a loser with, and Falstaff comes up to him and says, ‘Now that you’re king we can really party,’ and the king famously says, ‘I know thee not, old man.’ It becomes Henry IV’s anointment and Falstaff’s catastrophe. That’s life. I have experienced very little unfettered triumph. There are moments, such as when my children are born, but even that comes with new fears and anxieties. In a sense the better you can communicate that life is both at once, the more powerful over time something becomes. One strives for something where the threads are there because it lasts in way that is very palpable. The idea of a tragedy is powerful in literature and theater, but in cinema it doesn’t work, certainly not commercially, and less so critically. Why is that? I think it has to do with how movies are so close to us.”
~ James Gray

 

“Hollywood executives can rattle off the rules for getting a movie approved by Chinese censors: no sex (too unseemly); no ghosts (too spiritual). Among 10 prohibited plot elements are “disrupts the social order” and “jeopardizes social morality.” Time travel is frowned upon because of its premise that individuals can change history. U.S. filmmakers sometimes anticipate Chinese censors and alter movies before their release. The Oscar-winning alien-invasion drama “Arrival” was edited to make a Chinese general appear less antagonistic before the film’s debut in China this year. For “Passengers,” the space adventure starring Chris Pratt and Jennifer Lawrence, a scene showing Mr. Pratt’s bare backside was removed, and a scene of Mr. Pratt chatting in Mandarin with a robot bartender was added.”
~ “Hollywood’s New Script”