MCN Originals Archive for May, 2013

Wilmington on Movies: Now You See Me

This new cinematic magic show—in which four professional magicians join for a Las Vegas-style super-act that may also be a super-crime—is a movie so self-consciously clever, so intent on surprising the hell out of us, and so utterly, shamelessly, mind-numbingly preposterous that you may walk out of it feeling that your mental pockets have been picked.

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Wilmington on DVDs: Free Radicals, Side Effects

I’m not very find of abstract painting (which obviously helped inspire experimental filmmaking), so I can’t really explain my fondness for the movie avant-grade, ranging from the non-abstract surrealists Bunuel and Dali to largely non-narrative people like Hollis Frampton. to a splatter guy like Norman McLaren. Maybe I think, probably a superficial notion, that it’s too easy to fake an abstract painting, but to make an abstract film, even a bad one, you have to have at least some technical skill. Actually, you can fake a film too, or a film review. Maybe I‘m just still mad that my mother Edna, who was a brilliant realist artist, was treated like crap by the pretentious abstract artist/educators of her college and day.

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The DVD Wrapup

Beetlejuice, Lore, Shoot First, Dark Skies, Dorfman in Love, As Goes Janesville, Robert Mitchum Is Dead, Totoro, Longmire … and so much more.

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Routing Cannes 66: A Wrap

In an unprecedented move, the Steven Spielberg-led jury awarded the Palme d’Or to one film and three individuals: Blue is the Warmest Color, by director Abdellatif Kechiche with actresses Adèle Exarchopoulos and Lea Seydoux.

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Wilmington on Movies: The Hangover Part III

Movies, like people, can sometimes display disastrous judgment. But hey, it’s a movie. Who gives a shit?

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The Weekend Report: Memorial Day Wknd 3-Days

Fast & Furious 6 left the competition choking in the dust as it charged to an estimated $98.4 million for the three-day portion of the Memorial holiday frame. That proved to be bad news for the launch of The Hangover Part III that slotted second with $42.1 million during the record-breaking session. The third new wide release was the futuristic animated Epic that performed to expectations with a $33.8 million telling.

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Palme d’Or Winner Review: La Vie d’Adèle (Blue is the Warmest Color)

Blue is the Warmest Color is a staggering motion picture, so big and so important and so full of life. It represents a milestone in on-screen sexuality, putting another nail in the coffin of old-world ignorance and prudishness, but it’s also a cinematic achievement in acting. In short, it’s a true opus.

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Wilmington on Movies: Fast and Furious 6

If you’re looking for a slam-bang movie full of spectacular car chases and mindbending action, Fast & Furious 6—the latest installment in the tire-burning, dumbfounding Fast & Furious series—is obviously your pedal-to-the-metal hot ticket. It‘s the kind of movie where the only logical (or illogical) response from longtime fans may be ‘”Wowie,“ “yowie“ or “zowie.” But if you’re looking for a movie that makes a lick of sense, or has a line of dialogue worth repeating, or a character or situation that isn’t either a howling cliché or a howling absurdity—take your pick—you’ve come to the wrong pit stop.

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Cannes Out-Of-Competition Review: All Is Lost

All is Lost is less concerned with what this story is “about” and more with how it all goes down (to be sure, the picture could be summarized in a single sentence). Rather, the actions and subsequent emotions are the narrative here; the expressions on Redford’s face speaking volumes despite the film’s outright lack of dialogue.

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Wilmington on DVDs: Jubal, 3:10 to Yuma, Safe Haven, Parker

    Jubal (Also Blu-ray) (Three Stars) U.S.: Delmer Daves, 1956 (Criterion Collection) My grandma Marie Tulane, who was born in Sweden and died in Wisconsin, often said she liked Westerns because the scenery was so beautiful. I think she would have liked Delmer Daves’ 1956 Jubal, starring Glenn Ford, Ernest Borgnine and Rod Steiger…

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Wilmington on DVDs: Mrs. Miniver

Mrs. Miniver will probably never again look as good, or as inspiring, as it did in 1942, when it helped solidify the Anglo-American wartime bond. It’s a typically polished Wyler production, with pristine-looking black-and white cinematography by ace Joseph Ruttenberg.

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Cannes ’13: What Is This Thing Called Love?

One of the other great decisions—which I wondered about while watching the film—was that it doesn’t linger on the unaccepting voices in Adèle’s life. Nor are they dismissed. The character, it turns out, doesn’t sweat the small stuff. But when things matter to her, they matter quite deeply… no commitment-phobe she.

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Cannes Competition Review: Only God Forgives

Only God Forgives is essentially the nastiest highlights of Shakespeare’s “Titus Andronicus” and Sophocles’ “Oedipus Rex” wrapped around a revenge dance tête-à-tête, an equation that could have been more than the gratuitous, hyper-violent indulgence on show.

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Cannes Competition Review: Behind The Candelabra

Resembling the face of Liberace himself, Steven Soderbergh’s Behind the Candelabra is a dazzling albeit saggy film, made competently and with sincere respect to its topic despite losing steam in its second hour.

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The DVD Wrapup

Beautiful Creatures, Cloud Atlas, Nightfall, Common Man, Love Sick Love, Rolling Thunder, Bad-Ass Girl, Ecstacyand so much more

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The Weekend Report

Star Trek: Into Darkness zapped the competition as it launched an estimated $68.2 million in its maiden theatrical voyage. The Enterprise was the sole new wide national release.

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Wilmington on Movies: The Iceman

I tell you, Michael Shannon looks at you, or he looks at the camera, whatever, and the cold sweat just shoots right through you. I bet it spooks you almost as much as if you saw the real-life Iceman guy, the real Richie, ready to ice somebody

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Cannes Competition Review: Inside Llewyn Davis

The frosted, muted backdrops are captured by cinematographer Bruno Delbonnel (“Amélie,” “Dark Shadows”), who steeps the film in faded bloom. It’s a gorgeous, misty visualization sure to instill nostalgia for those too young to have haunted locales like the Caffe Reggio or the Gaslight Café. As for Oscar Isaac’s performance, it’s hard not to simply babble superlatives.

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Friday Estimates

Star Trek: Into Darkness goes mildly into space; Iron Man Three drops 52%; The Great Gatsby keeps its eye on the green light.

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Wilmington on Movies: Star Trek Into Darkness

In many ways, it’s a relief watching this picture. After a decade of Patrick Stewart and company, and then more than a decade of franchise silence, 2009’s Star Trek ingeniously brought the original seven Enterprise crew members back together—in the process, demonstrating a flair for matching the new younger actors playing the old characters with our memories of the original crew—and, as it turns out here, some others memories as well.

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MCN Originals

Quote Unquotesee all »

“BATTLE OF THE SEXES: Politics and queerness as spectacle/spectacle as politics and queerness. Pretty delightful, lovely, erotic. A-

“Not since EASY A and CABARET have I seen Emma Stone give a real sense of her range. Here, she has pathos and interiority and desire. I love the cinematography and the ways in which the images of the tennis icons are refracted and manipulated via various surfaces/mediators. Also, wild how a haircut is one of the most erotic scenes in cinema this year. Spine tinglingly tactile that feels refreshing. Proof that *cough* you don’t need to be ~graphic/explicit~ to be erotic *cough*. Also, it made me want to get into tennis. Watching it, at least.

“There are interesting touches and intimations as to the cinematic nature of sports, & unpacking the formal approach of broadcasting sports.Also, I was here for Sarah Silverman smoking. And also, hi Mickey Sumner!! It’s a really interesting film about the ways in which public spectacle is never apolitical, and how spectacle is prone to assignation.

“There’s this one other scene from BATTLE OF THE SEXES that I love, and it’s the one in the bar. You see Billie looking after Marilyn as she dances. Through a crowd. There’s a paradoxical closeness and distance between them. In the purple light, and the kitschy decor, everything is distorted. But Billie catches a glance and you can feel the nervous swell inside.”
~ Kyle Turner

“Our business is complicated because intimacy is part and parcel of our profession; as actors we are paid to do very intimate things in public. That’s why someone can have the audacity to invite you to their home or hotel and you show up. Precisely because of this we must stay vigilant and ensure that the professional intimacy is not abused. I hope we are in a pivotal moment where a sisterhood — and brotherhood of allies — is being formed in our industry. I hope we can form a community where a woman can speak up about abuse and not suffer another abuse by not being believed and instead being ridiculed. That’s why we don’t speak up — for fear of suffering twice, and for fear of being labeled and characterized by our moment of powerlessness. Though we may have endured powerlessness at the hands of Harvey Weinstein, by speaking up, speaking out and speaking together, we regain that power. And we hopefully ensure that this kind of rampant predatory behavior as an accepted feature of our industry dies here and now. Now that we are speaking, let us never shut up about this kind of thing. I speak up to make certain that this is not the kind of misconduct that deserves a second chance. I speak up to contribute to the end of the conspiracy of silence.”
Lupita Nyong’o