MCN Weekend Reviews Archive for December, 2011

Wilmington on DVDs. Co-Pick of the Week: Classic. Tokyo Drifter

   Tokyo Drifter (Three and a Half Stars) Japan: Seijun Suzuki, 1966 (Criterion Collection) Off the wall and over the edge from its first scene to its last, Tokyo Drifter is one of the outrageous crime melodramas and outlandish neo-noirs made in the ‘60s for Nikkatsu Studio by super-cult Japanese director Seijun Suzuki. It’s a classic…

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Wilmington on Movies: War Horse

   War Horse (Four Stars) U.S.: Steven Spielberg, 2011   Steven Spielberg’s War Horse is the kind of open-hearted, expensively made, somewhat predictable movie that critic-cynics like to make fun of :  “a noble steed!“ sneered one of my wittier colleagues as we rode an elevator down after the screening. But I’ve got to confess…

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Wilmington on Movies. Mission Impossible: Ghost Protocol

      Mission Impossible: Ghost Protocol U.S.: Brad Bird, 2011   If you have even a little fear of heights — and I have a lot myself — there’s a scene in Mission Impossible: Ghost Protocol, that should leave you, maybe literally, breathless. It’s the scene, already famous, where producer-star Tom Cruise, playing the Mission…

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Wilmington on Movies. Sherlock Holmes: A Game of Shadows (Two and a Half Stars)

                Sherlock Holmes: A Game Of Shadows (Two and a Half Stars) U.K.-U.S.: Guy Ritchie, 2011 There’s a level of sheer frantic busy-ness and glibly manufactured chaos in director Guy Ritchie’s and star Robert Downey, Jr. second Sherlock Holmes movie — Sherlock Holmes: A Game of Shadows –that makes…

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Wilmington on Movies: Carnage (Three and a Half Stars)

    Carnage (Three and a Half Stars) U.S.-France: Roman Polanski, 2011 1. Last Exit to Brooklyn In Carnage, which was adopted by the French writer Yasmina Reza from her hit play “God of Carnage“ , director Roman Polanski once again demonstrates his mastery of the claustrophobia of anxiety (and vice versa) — even though…

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Wilmington on DVDs. Pick of the Week: New. The Rise of the Planet of the Apes (Three Stars)

 The Rise of the Planet of the Apes (Three Stars) U.S.: Rupert Wyatt, 2011 (20th Century Fox) 1. The Rise  Rise of the Planet of the Apes, latest chapter in an old franchise, shows us a story we too easily forget, or maybe one that we never really knew… …How it all began, how an imprisoned, persecuted and…

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Wilmington on Movies: Young Adult (Two and a Half Stars)

       Young Adult (Two and a Half Stars) U. S.: Jason Reitman, 2011 High School haunts us. It’s the great mystery we try futilely to solve afterwards, the great romance that often never happened, the paradise we imagine we lost but might regain, the great redemption that we dupe ourselves into believing can be earned…

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Wilmington on Movies: New Year’s Eve (One and a Half Stars)

  New Year’s Eve (One and a Half Stars) U.S.: Garry Marshall, 2011   New Year’s Eve may be the punishment audiences get for making director Garry Marshall and writer Katherine Fugate’s Valentine‘s Day such a big movie hit last year. That schmaltzy, heart-up-your-sleeve, all-star show, you’ll remember, strung together a lot of clichéd romantic comedy…

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Wilmington on Movies: The Sitter

  The Sitter (One and a Half Stars) U.S.; David Gordon Green, 2011 Well, I’ve had it. After defending David Gordon Green for making Pineapple Express, a controversially violent stoner comedy that I think is well-acted, well-directed and funny, and after sparing some kind words for Green’s and buddy Danny McBride’s medieval four-letter-fest Your Highness,…

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Wilmington on Movies: In Darkness

    In Darkness (Four Stars) Poland: Agnieszka Holland, 2011 Sometimes we let the horrors of the past recede into a comforting mist of melancholy and remembrance and well-meaning cliché. We shouldn’t. History is always with us. Agnieszka Holland’s In Darkness, one of the best films of the year, is a drama of the Holocaust,…

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Wilmington on DVDs. Pick of the Week: Classic. The Lady Vanishes; Crooks’s Tour; Design for Living (Hecht-Lubitsch or Coward); If I Had a Million .

In The Lady Vanishes, his marvelous 1938 classic of mystery and intrigue set aboard a train full of English and international travellers racing though the Balkans, Alfred Hitchcock pushes the form of the romantic-comedy-thriller to near perfection. It’s one of the most purely entertaining movies he ever made, and it can be watched over and over again with no diminution of pleasure.

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Wilmington on Movies: Hugo

      Hugo (Four Stars) U.S.: Martin Scorsese, 2011  Martin Scorsese’s Hugo — a movie masterpiece if there ever was one — is a film for film lovers to dream on.  It’s an incredibility entertaining show. But how could it not be? Scorsese has made it at the peak of his craft and art,…

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Wilmington on Movies: Shame

           Shame (Three and a Half Stars) U.S.-U.K.: Steve McQueen, 2011   There have always been lots of movies that show or exploit sex, but far fewer that try to explore it seriously, as a rich, meaningful subject, whether psychological or social. And there’s only a handful of that few that try to portray…

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MCN Weekend Reviews

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Richard on: DVD Geek: Batman v Superman: The Dawn of Justice Ultimate

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

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

Johanna Lynch on: Wilmington on DVDs: The File on Thelma Jordon; Adua and her Friends; Bullet to the Head

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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