Movie City News Archive for February, 2015

“All attempts at movie criticism inevitably involve an ‘impurification’ process that begins with us trying to express in words that which we never felt in words.”

“All attempts at movie criticism inevitably involve an ‘impurification’ process that begins with us trying to express in words that which we never felt in words.”

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“The Evolution of Magical Girls in Japanese Anime”

Sugawa Akiko On “The Evolution of Magical Girls in Japanese Anime”

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Investor John Malone To Increase Involvement In Lionsgate

Investor John Malone To Increase Involvement In Lionsgate

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Elisabeth Moss Is Never Happier Than When She’s Crying Onstage

Elisabeth Moss Is Never Happier Than When She’s Crying Onstage

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Successful Illinois Film Office Head Replaced By Republican Consultant With Little Or No Production Experience

Successful Illinois Film Office Head Replaced By Republican Consultant With Little Or No Production Experience

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Review: Focus (non-spoiler until marked)

Focus is the kind of movie that could drive a film critic mad. It’s like a feast of Soderbergh, both Thomas Crown Affairs, The Sting, The Lady Eve, Heist, The Grifters, and even some Tony Scott.

But it doesn’t quite work.

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One Billion Viewers A Month Don’t Add Up to Profit for YouTube

One Billion Viewers A Month Don’t Add Up to Profit for YouTube

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“Thirteen Ways Of Looking At A Black Film”

“Django is a black film. More than that, it is an exemplary black film. We would even go so far as to say that it is one of the most important black films of the century… which is where some of you will interrupt us to point out that Quentin Tarantino, the film’s director and screenwriter,…

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Bruce Weber’s Obit For Documentarian Bruce Sinofsky

“He and I talked about how I was the intellectual and he was the humanist. I would see the big picture and he would connect with people. Even in the darkest, most gruesome situations, Bruce projected a warmth and humor that really put people at ease.” Bruce Weber‘s Obit For Documentarian Bruce Sinofsky

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Eleven Hours Of Richard Linklater & Co. Talking About The 12 Years Of Boyhood, Including Four DP/30s

Eleven Hours Of Richard Linklater & Co. Talking About The 12 Years Of Boyhood, Including Four DP/30s

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Roman Polanski Testifies At Extradition Hearing In Krakow

Roman Polanski Testifies At Extradition Hearing In Krakow

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John Boorman Goes Long On Queen & Country As Well As His Earlier Career

John Boorman Goes Long On Queen & Country As Well As His Earlier Career

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Robert Alpert Situates Her Among Movies About Artificial Intelligence

Robert Alpert Situates Her Among Movies About Artificial Intelligence While – Jonathan Romney Goes Inside Your Head On “Visionary” Movies

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Tom Rothman Sez He Prizes “Stability”

Tom Rothman Sez He Prizes “Stability”

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Chris Kyle’s Killer Sentenced To Life In Prison

Chris Kyle’s Killer Sentenced To Life In Prison

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James Gunn’s Facebook Post Dissing The Superhero Movie-Dissers

James Gunn‘s Semi-Viral Facebook Post Dissing The Superhero Movie-Dissers

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Why “Let’s Get Out Of Here” Is So Common In Movie Dialogue

Why “Let’s Get Out Of Here” Is So Common In Movie Dialogue

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“The problem for legacy media is their inability to propose disruptive or scalable perspectives. Wherever we turn—The NYT, The Guardian, Le Monde—we see only a sad narrative based on incremental gains and cost-cutting. No game changing perspective, no compelling storytelling, no conquering posture. Instead, in most cases, the scenario is one of quietly managing an inevitable decline.”

“The problem for legacy media is their inability to propose disruptive or scalable perspectives. Wherever we turn—The NYT, The Guardian, Le Monde—we see only a sad narrative based on incremental gains and cost-cutting. No game changing perspective, no compelling storytelling, no conquering posture. Instead, in most cases, the scenario is one of quietly managing an inevitable…

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Variety Cover-Stories Iñárritu, Who Says He Wouldn’t Have Minded Losing

“Fear is the condom of life; it doesn’t allow you to enjoy things. I did it without, and this was the result; it was real. It was making love.” Variety Cover-Stories Iñárritu, Who Says He Wouldn’t Have Minded Losing

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Selma As Counterpoint 100 Years After Birth Of A Nation

Selma As Counterpoint 100 Years After Birth Of A Nation

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Movie City News

“I don’t think it’s cruel to say this, because John himself would undoubtedly have turned it into a gleeful anecdote: When he had the stroke that killed him, he was at a local dinner theater. Hell of a review.”

“I am inclined to aver that every activity needs its critics, from narcissists bloviating in Washington to exhibitors of knee holes in their blue jeans by way of following a fad. So, too, tennis players and others wearing their caps backward. There is, to be sure, only fairly innocuous folly in puncturing pants or reversing caps, but for political or artistic or religious twisting of thought or harboring holes in the head there is rather less excuse. I have always inveighed against the bleary journalism practiced by newspaper reviewers, as opposed to the real criticism performed by, well, critics.”

“I often felt a twinge of grief at the idea that John Simon had devoted his life to a method of work that could only make him increasingly unhappy. Here was a man, elegant, articulate, and vastly knowledgeable, fluent in at least half a dozen languages, whose gifts of mind gave nothing back to the arts he wrote about except a few unkind remarks that made fun of someone’s performance, ethnicity, physical attributes, or, with a pun, on his target’s name. (“If this is Norman Wisdom, I’ll take Saxon folly.”) Other theatre critics keep such darts in their rucksacks for occasional use; John lived by them.”

“One person’s critic is another person’s crackpot. That they are not united in their opinions is ascribable to the Latin saying: quot homines, tot sententiae. I myself prefer being considered a creep, but that is what you get for having what Vladimir Nabokov called ‘Strong Opinions.’ It is odd that in a country so wallowing in negativity, starting with mass shootings and climaxing with Trump, such an unimportant matter as theater criticism should generate so much hostility. The only target patently more important is lead in the drinking water.”

Review: Little Women (no spoilers)

The DVD Wrapup: Cold War, Betty Blue, Official Secrets, Demons, Olivia, American Dreamer, Land of Yik Yak

20 Weeks To Oscar: Cinema, Trump, and Oscar

E. Scott Weinberg On Youthful Fangoria Encounters

Rome Bookstore Closes

With a Grauniad-Alleged $300 Million Budget, Could The Yet-Unseen But Surely Weird Cats Pass A Billion Dollars at The Box Office?

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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