Reviews Archive for May, 2015

The DVD Wrapup: Magician: Orson Welles, The Confession and more

In the stage and cinema works of Rainer Werner Fassbinder, it wasn’t always easy for postwar German audiences to differentiate between social satire, parody and provocation. The same holds true for his legacy on film, outside Germany. In a career that lasted 16 years, he was responsible for writing, directing and acting in nearly 50 movies, shorts and TV mini-series, as well as continuing to create Brechtian theater pieces. After beginning his career in the late 1960s making films that ranged from experimental to difficult, Fassbinder would turn to the Hollywood melodramas of German émigré Douglas Sirk for creative inspiration.

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Wilmington on Movies: Poltergeist / When Marnie Was There

One thing you can say in favor of the latest Poltergeist is that at least nobody in it gets tortured, hideously maimed, eviscerated, eaten, or chopped to screaming bits. Children may take their parents to this picture, without fear of nightmares.

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Wilmington on Movies: Tomorrowland

Watching Tomorrowlan—a great big film hunk of love and optimism and confusion from the Walt Disney Studio—you sometimes get the idea that director-writer Brad Bird and company are trying not just to create a new movie but maybe to found a new movement; Dianetics for Disneyphiles, or Pessimists Anonymous or Worldmakers. (Just kidding.)

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The DVD Wrapup: Leviathan, Lovesick, Before I Disappear, Blue Room and more

Instead of being iron-fisted by Communist Party functionaries, however, the populace is ruled by an increasingly militaristic government and bullied by plutocrats, gangsters, small-minded politicians and conservative leaders of the ascendant Russian Orthodox Church. That much, at least, can be inferred in Andrey Zvyagintsev’s overtly allegorical drama, Leviathan, which ironically was inspired by the story of a Colorado man whose beef with city officials eventually led him to armor-plate a bulldozer and use it as a battering ram against bureaucratic intransigence.

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Wilmington on Movies: Pitch Perfect 2 / Pitch Perfect

Any movie sequel that starts out by having its costar moon the President of the United States and the First Lady at Lincoln Center obviously doesn’t suffer from a lack of self-confidence.

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Wilmington on Movies: Mad Max: Fury Road

Head-banging, car-crashing action movies with minimal dialogue and maximum carnage may make a lot of money, but they’ve also gotten (deservedly) a bad odor for some film-lovers, including, sometimes, me

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Wilmington On Movies: Maggie

Maggie (Two and a Half Stars) U.S.: Henry Hobson, 2015 Arnold Schwarzenegger hasn’t made many movies you could describe as art films, and that may be one of the reasons his new picture, Maggie, seems like such an anomaly. It’s at least half of an art film — an attempt at a sensitive genre piece that‘s…

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Wilmington on Movies: Hot Pursuit

Reese Witherspoon and Sofia Vergera play two gals on the run in South Texas in the new movie Hot Pursuit: Reese is a diminutive fussbudget blonde by-the-book cop named Cooper and Sofia is a statuesque sexpot drug cartel wife named Daniella Riva. And they’re so much better than the movie itself that you wonder if the two costars might be deliberately outshining their own vehicle. Watching this nitwit show (as Todd McCarthy accurately described it), I wouldn’t put it past them.

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The DVD Wrapup: 50 Shades, Selma, Mr. Turner, The Nun, Snuff and more

Although some of the lovemaking is inarguably sensual, the contract-negotiating scene is the only one that rivals the best passages choreographed by Adrian Lyne in 9½ Weeks or in such classics of the sub-genre as Belle du Jour, Secretary, Crash, The Story of O or The Image. As difficult as it is to take potshots at a picture that’s made more than a half-billion dollars in worldwide distribution or might match that in DVD/VOD/Blu-ray revenues, I still think we have a long way to go before mainstream audiences are allowed a real taste of non-generic eroticism,

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Wilmington on Movies: Welcome to Me

Welcome to Me suffers from personality disorder too: an inability to tell all these potentially funny jokes with the joyous buffoonery that would make them ignite on screen—say, to explode with some of the wild devilish relish that an old-fashioned make-‘em-laugh comedian like Red Skelton put into his classic media satire: the ‘40s mock radio commercial for “Guzzler’s Gin.” (“Smooth! Smooth!”)

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Wilmington on Movies: Avengers: Age of Ultron

What should I say about Avengers: Age of Ultron? Is it too much of a good thing? Maybe. But consider the possibilities that stretched before it, as well as all the doors that were already closed when all the deals were struck.

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The DVD Wrapup: The Gambler, Wedding Ringer, Boy Next Door, Paddington, Eddie Coyle, Wolf Hall and more

Bennett isn’t as much a degenerate gambler as one who refuses to win, even when he’s holding a pat hand. No matter how much he’s up, everyone from the pit bosses to viewers knows he’s going to give it all back and borrow even more money to keep losing. When he convinces his beleaguered mother (Jessica Lange) to give him a small fortune in cash to pay off the debts, everyone, including Mom, knows he’s going to piss it away.

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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

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

Carrie Mulligan on: Wilmington on DVDs: The Great Gatsby

estes1963 on: The DVD Wrapup: Drive Angry, Once Upon a Time in the West, Adua & Her Friends, A Clockwork Orange, Undertow, The Joke, Passion Play, Kaboom, Harvest ...

isa50 on: Wilmington on DVDs: Gladiator; Hell's Half Acre; The Incredible Burt Wonderstone

Rory on: Wilmington on Movies: Snow White and the Huntsman

gurley1986 on: The DVD Wrapup: Blood Simple, Cat People, Shallows, Neon Demon, Sirk X 2, Warcraft, Kamikaze '89 and more

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Dear Irene Cho, I will miss your energy and passion; your optimism and joy; your kindness towards friends, colleagues, strangers, struggling filmmakers, or anyone who randomly crossed your path and needed a hand. My brothers and I have long considered you another sibling in our family. Our holiday photos – both western and eastern – have you among all the cousins, in-laws, and kids… in the snow, sun, opening presents, at large dinner gatherings, playing Monopoly, breaking out pomegranate seeds and teaching us all how to dance Gangnam style. Your friendship and loyalty meant a great deal to me: you were the loudest cheerleader when I experienced victories and you were always ready with sushi when I had disappointments. You had endless crazy ideas which always seemed impossible but you would will them into existence. (Like that time you called me and suggested that we host a brunch for newly elected mayor of LA, Eric Garcetti because “he is going to president one day.” We didn’t have enough time or funding, of course, only your desire to do it. So you did, and I followed.) You created The Daily Buzz from nothing and it survived on your steam in spite of many setbacks because you believed in a platform for emerging filmmakers from all nations. Most of all, you were a wonderful mother to your son, Ethan, a devoted wife to your husband, and a wonderful sibling and daughter to your family. We will all miss how your wonderful smile and energy lit up the room and our lives. Rest in peace, Irene.
~ Rose Kuo Remembers Irene Cho on Facebook

“You know, I was never a critic. I never considered myself as a film critic. I started doing short films, writing screenplays and then for awhile, for a few years I wrote some film theory, including some film criticism because I had to, but I was never… I never had the desire to be a film critic. I never envisioned myself as a film critic, but I did that at a period of my life when I thought I kind of needed to understand things about cinema, understand things about film theory, understand the world map of cinema, and writing about movies gave me that, and also the opportunity to meet filmmakers I admired.

“To me, it was the best possible film school. The way it changed my perspective I suppose is that I believe in this connection between theory and practice. I think that you also make movies with ideas and you need to have ideas about filmmaking to achieve whatever you’re trying to achieve through your movies, but then I started making features in 1986 — a while ago — and I left all that behind.

“For the last three decades I’ve been making movies, I’ve been living, I’ve been observing the world. You become a different person, so basically my perspective on the world in general is very different and I hope that with every movie I make a step forward. I kind of hope I’m a better person, and hopefully a better filmmaker and hopefully try to… It’s very hard for me to go back to a different time when I would have different values in my relationship to filmmaking. I had a stiffer notion of cinema.”
~ Olivier Assayas