MCN Columnists
Mike Wilmington

Wilmington By Mike WilmingtonWilmington@moviecitynews.com

Wilmington on DVDs: RIP Elmore Leonard; 3:10 TO YUMA

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Wilmington on Movies: Lee Daniels’ The Butler

The Butler is a stretch, and a sentimental exaggeration of course.

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Wilmington on Movies: Kick-Ass 2; Kick-Ass (DVD)

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Wilmington on DVDs: To the Wonder

To the Wonder is one of those pictures that either knocks you out or irritates you—or maybe does a little of both.

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Wilmington on DVDs: Ran; Kagemusha

Akira Kurosawa’s lavish and violent epic Ran, inspired by “King Lear,” is one of the most famous and admired of all Shakespearean films. Most aficionados rank it at or near the top of the Bard’s film canon, even though Ran dispenses with the main element that makes Shakespeare so great and imperishable, jettisoning all of the bard’s British poetry (substituting a spare Japanese translation), along with a good deal of the play’s brilliant plot and unforgettable characters.

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Wilmington on Movies: Elysium

We are shown a future world where things have gone to hell and are about to get worse (maybe), due to the devastating consequences of greed, violence, brutality, authoritarian government, social and racial prejudice, and the insane selfishness of that era‘s one-percenters. It’s our world, of course, taken to extremes, Philip K. Dick or Robert Heinlein style.

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Wilmington on Movies: We’re the Millers

The disrobing of the legendary Rachel isn’t the epic sex fantasy scene one might imagine, but just another misjudged scene in a somewhat daring but basically lousy movie comedy—a forced, crude, often senseless show about a group of misfits or outsiders (played by Jennifer Aniston, Jason Sudeikis, Emma Roberts and Will Poulter), pretending to be a typical American suburban bourgeois family (called the Millers), while smuggling dope across the border from Mexico,

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Wilmington on Movies: Planes

In movies, especially movies intended for kids, originality isn’t everything. Adults are sometimes another story.

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Wilmington on DVDs: Guys and Dolls

If there was ever a part Frank Sinatra was born to play—and sing—it was Sky Masterson, the lady-killing, dice-rolling, high-living gambler who is the main man and big shooter of the classic New York-Broadway musical (and the Hollywood movie made from it) Guys and Dolls.

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Wilmington on DVDs: Oblivion

Dunes out of Lawrence of Arabia, those cloud castles out of Up, those moody dreamy interiors out of Solaris: The way Oblivion looks is one of its main attractions.

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Wilmington on Movies: Heaven’s Gate (Director’s Cut)

The restored director’s cut of Heaven’s Gate has been released theatrically in the U.K.

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Wilmington on Movies: Blue Jasmine

Perhaps that’s because the performance is a kind of culmination of Allen’s attitudes toward the moneyed white culture Jasmine represents. Jasmine lives what seems a charmed life as a member of the Manhattan financial social elite whose vagaries Allen loves to have fun with — but then finds herself hurled into the chaos of the 2008 financial collapse, and turning into Woody’s version of Blanche DuBois, Tennessee Williams’ lady on the edge, wandering, desperate, talking to herself, at the end of the line.

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Wilmington on Movies: 2 Guns

It’s at the service of one of those stories that begins to crumble and fall apart when you start thinking about it. That’s okay if you‘re up for the ride. You can turn off your brain for most of the show, and have a fairly good time—even if, when you walk out afterwards, the story has gone up in flames.

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Wilmington on DVDs: Tristana; Mamma Mia! The Movie; Trance

Tristana is a masterpiece, but it’s also a grimmer, sadder, more psychologically wounding film than Belle de Jour, which was regarded as a great art film turn-on of the 1960s, during the somewhat frenzied romps of Sexual Revolution. But, if audiences thrilled to the whorehouse fear, desire and wayward beauty of Belle de Jour, what were they to make of Tristana, in which the most memorable erotic encounter occurs when a one-legged woman exposes herself to the lustful deaf-mute son of her guardian-husband’s house servant?

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Wilmington

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Carrie Mulligan on: Wilmington on DVDs: The Great Gatsby

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

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

Andrew Coyle on: Wilmington On Movies: Paterson

tamzap on: Wilmington on DVDs: The Magnificent Seven, Date Night, Little Women, Chicago and more …

rdecker5 on: Wilmington on DVDs: Ivan's Childhood

Ray Pride on: Wilmington on Movies: The Purge: Election Year

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It shows how out of it I was in trying to be in it, acknowledging that I was out of it to myself, and then thinking, “Okay, how do I stop being out of it? Well, I get some legitimate illogical narrative ideas” — some novel, you know?

So I decided on three writers that I might be able to option their material and get some producer, or myself as producer, and then get some writer to do a screenplay on it, and maybe make a movie.

And so the three projects were “Do Androids Dream of Electric Sheep,” “Naked Lunch” and a collection of Bukowski. Which, in 1975, forget it — I mean, that was nuts. Hollywood would not touch any of that, but I was looking for something commercial, and I thought that all of these things were coming.

There would be no Blade Runner if there was no Ray Bradbury. I couldn’t find Philip K. Dick. His agent didn’t even know where he was. And so I gave up.

I was walking down the street and I ran into Bradbury — he directed a play that I was going to do as an actor, so we know each other, but he yelled “hi” — and I’d forgot who he was.

So at my girlfriend Barbara Hershey’s urging — I was with her at that moment — she said, “Talk to him! That guy really wants to talk to you,” and I said “No, fuck him,” and keep walking.

But then I did, and then I realized who it was, and I thought, “Wait, he’s in that realm, maybe he knows Philip K. Dick.” I said, “You know a guy named—” “Yeah, sure — you want his phone number?”

My friend paid my rent for a year while I wrote, because it turned out we couldn’t get a writer. My friends kept on me about, well, if you can’t get a writer, then you write.”
~ Hampton Fancher

“That was the most disappointing thing to me in how this thing was played. Is that I’m on the phone with you now, after all that’s been said, and the fundamental distinction between what James is dealing with in these other cases is not actually brought to the fore. The fundamental difference is that James Franco didn’t seek to use his position to have sex with anyone. There’s not a case of that. He wasn’t using his position or status to try to solicit a sexual favor from anyone. If he had — if that were what the accusation involved — the show would not have gone on. We would have folded up shop and we would have not completed the show. Because then it would have been the same as Harvey Weinstein, or Les Moonves, or any of these cases that are fundamental to this new paradigm. Did you not notice that? Why did you not notice that? Is that not something notable to say, journalistically? Because nobody could find the voice to say it. I’m not just being rhetorical. Why is it that you and the other critics, none of you could find the voice to say, “You know, it’s not this, it’s that”? Because — let me go on and speak further to this. If you go back to the L.A. Times piece, that’s what it lacked. That’s what they were not able to deliver. The one example in the five that involved an issue of a sexual act was between James and a woman he was dating, who he was not working with. There was no professional dynamic in any capacity.

~ David Simon