MCN Originals Archive for May, 2019

Friday Movies: ROCKETMAN, THE SOUVENIR, LAST YEAR AT MARIENBAD,THE BRINK

Joanna Hogg’s The Souvenir is as mysterious as it is specific, tracing the drift of Julie, an intensely ambitious film student who is distracted by a first true love affair, with a man who appears to take her seriously indeed. Set in the 1980s artistic era in which the writer-director grew up, Hogg’s fourth feature describes how a film narrative can flow around the range of thoughts and emotions that a shy young woman holds as she hopes to make art. Places and faces are equally expressive realms. Can imagination be mere delusion? What are her dreams? Hogg dreamt them, dreams them, again, as distanced onscreen memoir, and the dream is furthered by Byrne’s mesmerizing, fleeting performance.

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The DVD Wrapup: Eleven, Genesis 2.0, Climax, Sweet Murder, Let Sunshine In, One Sings, Eugenie, JCVDx2, Boom!, Velvet … More

Someone had to be the last one to die and typically it was because of a mistake made by an overzealous officer or a soldier who wasn’t on the need-to-know list.

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The DVD Wrapup: Big Brother, Iceman, Upside, White Chamber, Trading Paint, Dark Place, Ruben Brandt, Lords of Chaos, Earthquake, Seduction, Les Miz … More

I can’t recall whether Chen has a degree or was trained as a teacher, but he’s committed to using unconventional methods to reach the dead-enders.

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On Video: LET THE SUNSHINE IN, Voilà l’enchaînement and GLORIA BELL

Two of our greatest actresses at their boldest and warmest and most open.

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The DVD Wrapup: Cold Pursuit, Valentine, Bosch, Nina, Shape of Now, Big Clock, Yakuza Law, Donna Reed, Unforgotten, Moses, Korea … More

The grieving father tips over the first domino, by killing a few small-time dealers, who, before they die, give up the names of their suppliers. At the top of the ladders are “Viking” and White Bull, who suspect each other of ordering the hits.

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Arms And The Man: A Review Of JOHN WICK 3

Tossed, torn, noosed, dragged, stabbed, shot, shot, crotch-bit, machine-gunned, hand-axed, saber-sliced, face-crushed, shot, burnt, bullied, horse-kicked, catapulted, subjected to sustained knife fracas and shot.

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Friday Movies: LONG DAY’S JOURNEY INTO NIGHT, SHADOW, MEETING GORBACHEV, BLAZE

Worlds of wonder, in ancient China, today’s China, Russia and Nashville.

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The DVD Wrapup: What Men Want, Blaze, Banjos, Bauhaus, Scientology, Lily Chou-Chou, Glass, Grand Duel, George Carlin, Agatha Raison … More

The daughter of a boxer (Richard Roundtree), who named her after a great champion, Ali expects to be handed the promotion that goes to a white agent, whose head is stuck up the ass of their boss (Brian Bosworth).

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The DVD Wrapup: Jackie Chan, Dragged Across Concrete, Miyazaki, Khrustalyov, Tarantula!, Bigger, Wire in Blood, Finding Joy

Police Story was a huge hit in Asian markets, where audiences were more attuned to Chan’s trademark blend of action, comedy and sentimentality. It took another decade, at least, for American critics to recognize the genius it took to create such monumental set pieces as the opening chase, which ended with the destruction of a hillside shantytown.

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MCN Originals

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