Reviews Archive for March, 2010

Wilmington on Movies: How to Train Your Dragon, Hot Tub Time Machine, Chloe, and The Eclipse

How to Train Your Dragon (Three Stars) U.S.; Dean De Blois/Chris Sanders, 2010 The visual flash and dash that the new Dreamworks animated saga How to Train Your Dragon pours into its panoramic 3D scenes of ferocious Medieval battle and Viking sea quests — and especially this movie’s Avatar-like flying sequences, with

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The Informant!

An appealing bait-and-switch tale, pretty much based upon true events, Steven Soderbergh’s The Informant!, has been released by Warner Home Video. Channeling William H. Macy, Matt Damonstars as an executive in a large food conglomerate who confesses to the FBI that he has been involved in a worldwide price fixing scam when he is called in on the…

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Paris, Texas

Wim Wenders relaxed and off-center 1984 road movie, Paris, Texas, has been released in a two-platter set by the Criterion Collection. The transfer is outstanding. The picture is presented in letterboxed format only, with an aspect ratio of about 1.78:1 and an accommodation for enhanced 16:9 playback. The image is vividly crisp and colors are precise…

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Wilmington on Movies: Green Zone, Remember Me, She’s Out of My League, and Our Family Wedding

Green Zone (Three Stars) U.S.; Paul Greengrass, 2010 Green Zone is a sometimes hellishly exciting political war thriller about the

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Wilmington on Movies: Alice in Wonderland, Brooklyn’s Finest and Terribly Happy

Alice in Wonderland (Three and a Half Stars) U.S.; Tim Burton, 2010 Curiouser and curiouser. Tim Burton has made another of his goofy-giddy visual marvels out of Lewis Carroll‘s oft-filmed classic Alice in Wonderland. And while

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Wilmington on DVDs: Ponyo, Where the Wild Things are, Beaches of Agnes, King Lear and more…

Ponyo (Also Blu-Ray) (Three and a Half Stars) Japan-U.S.; Hayao Miyazaki, 2009 (Disney) Hayao Miyazaki‘s devotion to old-fashioned animation, in an age of computerized cartoon virtuosity of all sorts, gives his movies a charmingly personal, beguilingly hand-crafted feel

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Reviews

Roy Atkinson on: DVD Wrapup: Commuter, Oscar, A Taxi Driver, Humor Me, Prince, Doris Day, Shakespeare Wallah, Pomegranates and more

gary j dretzka on: The DVD Wrapup: Ballad of Lefty Brown, Wonder, Blades, Seijun Suzuki, Fellini, Hellraiser, Paradise and more

Yvan Prime on: The DVD Wrapup: Ballad of Lefty Brown, Wonder, Blades, Seijun Suzuki, Fellini, Hellraiser, Paradise and more

Antoine Ratliff on: The DVD Wrapup: Letter From An Unknown Woman, Despicable Me 3, Crucifixion, Maurizio Cattelan, A New Leaf, Silent Night and more

Fernando on: The DVD Wrapup: King George, Cars 3, Overdrive, Afterimage, Glass Castle, Whisky Galore, The Journey, Into the Night, Sissi, Stay Hungry and more

Woody on: The DVD Wrapup: ET, Vietnam, Big Sick, Glory, Certain Women, The Hero, Hana-Bi, By the Time It Gets Dark, The Prison, The Flesh, Moderns … More

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Ray Pride on: The DVD Wrapup: Founder, Punching Henry, Paris 05:59, Apocalypse Child, Donnie Darko, Woman of the Year, Tampopo, Handmaid’s Tale and more

Quote Unquotesee all »

“Ten years ago at Telluride, I said on a panel that theatrical distribution was dying. It seemed obvious to me. I was surprised how many in the audience violently objected: ‘People will always want to go to the movies!’ That’s true, but it’s also true that theatrical cinema as we once knew it has died. Theatrical cinema is now Event Cinema, just as theatrical plays and musical performances are Events. No one just goes to a movie. It’s a planned occasion. Four types of Event Cinema remain.
1. Spectacle (IMAX-style blockbusters)
2. Family (cartoon like features)
3. Horror (teen-driven), and
4. Film Club (formerly arthouse but now anything serious).

There are isolated pockets like black cinema, romcom, girl’s-night-out, seniors, teen gross-outs, but it’s primarily those four. Everything else is TV. Now I have to go back to episode five of ‘Looming Tower.'”
~ Paul Schrader

“Because of my relative candor on Twitter regarding why I quit my day job, my DMs have overflowed with similar stories from colleagues around the globe. These peeks behind the curtains of film festivals, venues, distributors and funding bodies weren’t pretty. Certain dismal patterns recurred (and resonated): Boards who don’t engage with or even understand their organization’s artistic mission and are insensitive to the diverse neighborhood in which their organization’s venue is located; incompetent founders and/or presidents who create only obstacles, never solutions; unduly empowered, Trumpian bean counters who chip away at the taste and experiences that make organizations’ cultural offerings special; expensive PR teams that don’t bring to the table a bare-minimum familiarity with the rich subcultural art form they’re half-heartedly peddling as “product”; nonprofit arts organizations for whom art now ranks as a distant-second goal behind profit.”
~ Eric Allen Hatch