MCN Columnists

Pride

FIFTY-PLUS FILMS FOR 2016

In 2016, I saw as many movies as most years (even if when I couldn’t review them all on first release), and I took an additional month to catch up and make room for some second and third look-sees. May the coming year reveal distribution and exhibition creativity to match the grand diversity of movies in 2016.

Read the full article »

Pride, Unprejudiced: Sunset Song, Weiner, The Invitation

A high point among so many, flawed only by a small, smoothing cut, is in the Weiner-Abedin kitchen one morning, when Abedin is asked how she’s doing. She pauses, there’s a cut, she says flatly, “It’s like living in a nightmare.” She smiles, all poise and resolve and red lipstick and white teeth and hightails it out of the frame. Second only to that is Weiner turning to his interrogators in the back of his car, “Isn’t the fly on the wall technique, doesn’t that have a little to do with the notion of not being seen or heard, you just kind of pick up what goes on around you?”

Read the full article »

Pride, Unprejudiced: LOUDER THAN BOMBS With Joachim Trier

“Gabriel Byrne gave him credit by saying that he had never worked with a cinematographer that was so involved, which means he’s there, he knows the blocking, he’s emoting, Jacob Ihre, I’ve seen in our collaboration both start laughing and start crying during scenes we shot, because he’s very engaged with what’s going on. Which I think he doesn’t laugh too loud or weep too loud But that matters. There is a tradition, you know, this tradition, this kind of close-up esthetic in Scandinavian cinema, from Dreyer through Bergman. On some level, I love being serious about that.”

Read the full article »

Quote Unquotesee all »

“I don’t really believe in guilty pleasures. I like to subscribe to Susan Sontag’s thought of no highs and lows. I think dismissing popular culture and popular films can be really dangerous because they may seem innocuous, but some are works of art and even when they’re not they can say so much about the culture that they’re reflecting. This also gets into the idea of canon. What is good and isn’t good? Lately, I’ve been thinking a lot about that. Specifically, who writes these canons? Mainly, straight white guys — which basically rigs the system. So, if you have a knowledge of female filmmakers, queer filmmakers, African or Asian filmmakers, some people won’t give them the same culture capital. They’ll say, “Oh, that’s nice niche knowledge.” No, it’s not. You’re just seeing it through the prism of something white and male. Like Shonda Rhimes’ ‘Scandal.’ I love that show, but is it a guilty pleasure because it’s a soap on TV? No. I think it has incredible writing, incredible thought and characters, so we should take it seriously. That’s a long-winded answer to say, “Yes, I love Titanic.” I was 10 years old when it came out and my mom took me to see it three times. I was so obsessed with it. A big thanks to my mom who’ll never get those nine hours of her life back.”
~ Toronto Int’l Programmer and Critic Kiva Reardon

“A lot of us felt blindsided,” Van Vliet told me. In the seventies, Van Vliet was drafted out of film school by Industrial Light & Magic, where he worked on The Empire Strikes Back and Raiders of the Lost Ark. Now 62 and semi-retired, he said, “Once you get into your fifties, you’re pretty disposable.” Van Vliet was in the middle of reviewing DVD screeners before casting his Oscar votes, a process he estimated would take a hundred and twenty hours. “The Academy is essentially asking us to give them three weeks of labor, and then they’re going to take our results, put them into a ceremony, and sell it,” he said, referring to the seventy-five million dollars that the organization earns from the television broadcast. “Then they’re turning around and kicking us in the teeth.”
~ “Shakeup At The Oscars”