MCN Originals Archive for September, 2012

Wilmington on Movies: The Words

I have a confession to make. I didn’t write this review.I tried, God knows, but after several hours of pecking away at the keyboard of my Toshiba Satellite computer, and then reading back only dull, empty words on a white screen, I realized that I would never be the writer I once dreamed of becoming.

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The Torontonian: The People’s Festival

Readers from another country may not understand the feeling, but growing up Canadian usually involves a national inferiority complex: Canada is the USA’s younger brother, the little cousin, the friendly bumpkin to the North. TIFF has played a major role in changing that. The city is energized. It’s prepped and swept; cleaned and preened. It’s ready to go.

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TIFF12 Preview: Gala Presentations

Thursday the Toronto International Film Festival will kick off, and cinephiles, film critics and industry folks will be running amok all over downtown Toronto, rushing to get to screenings and holding court late nights on the patios of bars and restaurants near the Lightbox and Scotiabank, passionately dissecting the latest Malick or PT Anderson or…

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TIFF12: Confessions Of A Film Fest Junkie

For the uninitiated, the Toronto International Film Festival began some three decades-plus ago as the aforementioned F of F. The aspiration of this fledgling event was to cull great films from Cannes, Berlin and the like and put on a show for the local gentry and cinephiles. It kinda worked out… or worked too well.

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Gross Behavior: Summer on Low Simmer

The preliminary numbers are in and summer season 2012 clocks in at approximately $4.04 billion at the box office. The figure represents roughly a 5% gross decline in gross revenues and an 8% decline in actual tickets bought during the period running from early May through the conclusion of Labor Day weekend.

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TIFF12: Special Presentations, Part Two

Anders Thomas Jensen co-wrote the screenplays for my two favorite Susanne Bier films, After the Wedding and In a Better World, and I’m hoping that bodes well for her latest ensemble drama. Paprika Steen’s presence in the cast along with that makes this one of the films I’m hoping to catch at TIFF.

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TV-to-DVD Wrapup: Revenge, Homeland, 2 Girls, Walking Dead, Sons of Anarchy … More

Now that the flow of TV-to-DVD compilations has grown from a trickle to a flood, it’s time for those titles to escape ghetto-status in DVD Wrapup, if only occasionally, and find their own place in the MCN world. Normally, there aren’t enough to fill a standalone column, but, rather than wait for the shows to enter the syndication market, the networks hope to boost interest in returning series and keep newcomers and fans, alike, up to date. Collections of episodes from vintage series, including next week’s “Kojak: Season Five,” make wonderful gifts for those convinced that everything has gotten worse since they turned 30. There’s even a market for shows that were canceled before completing a full season.

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TIFF12 Preview: Special Presentations, Part One

There are 70 films this year in my favorite TIFF block, Special Presentations—meaning I could easily build a fest schedule out of nothing but this slate and still not see everything I’d like to catch. Here are the films from the Special Presentations section of the Festival that are at the top of my “want to see these” list.

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The Weekend Report (3-Day)

While tracking clearly put The Possession ahead of Lawless few anticipated that the film dubbed “The Kosher Exorcist” would generate more than $15 million in its opening three days. The Lawless conversely fell short of $10 million-to-$12 million estimates. Polling for Ooogieloves suggested scant interest but its financier insisted youngsters weren’t polled and that it would surprise pundits. The surprise would be a second adventure.

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TIFF12 Preview: TIFF Docs

Which docs I actually end up seeing this year at TIFF will depend upon my interest in the subject matter or director, and how the schedule I’m putting together on paper actually ends up working out in reality once I’m on the ground at TIFF. I usually end up catching at least of couple of docs at TIFF that end up being among my favorites of the year, and missing more that I end up wishing I’d seen, and probably that will be the case again this year. Hopefully the really good ones I end up not catching will roll over to Sundance or SIFF and I’ll get another chance at those I don’t catch at Toronto.

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Reviewing The Master

I don’t think of this as a movie that can really be spoiled. It is demanding of the viewer and each person will linger in the experience in their way. But if you want to go in clean, stop reading this now. I’m not going to offer up a blow-by-blow of the story, but a discussion of the ideas an techniques of the film.

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TIFF12 Preview: Contemporary World Cinema

This year I thought I’d dive right into the deep end of my TIFF Preview with the category I tend to find most challenging: Contemporary World Cinema. I’ve seen some gems in this category and I’ve seen some real duds, and it’s a tough category to get a read on; there’s just not a lot to go on, other than fest catalog descriptions

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Friday Estimates

The big indies are showing the majors how it’s done this weekend, with Lionsgate doing what it does best, releasing a horror movie and the Weinsteins releasing Oscar bait. These two films should do about the same business as the three new releases in this slot last year. Still, the weekend is missing what it had last Labor Day weekend, a strong holdover like The Help.

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Wilmington on Movies: The Possession; (The Dybbuk)

Starting in The Possession’s very first scene, bad things happen. Minor characters get killed, major characters get threatened, houses are vandalized, moths crawl out of everywhere, and little girls named Emily go crazy and attack their classmates, stab their daddy with a fork, and start talking like Mercedes McCambridge.

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Wilmington on Movies: For a Good Time, Call…

Lauren and Katie start off as reunited old enemies who fell out early in early college years over a bad Farrellyesque joke involving a urine sample, and who are bought together now by their mutual friend Jesse the gay comic.

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Wilmington on Movies: The Apparition

  THE APPARITION (Also Blu-ray)  (One Star) U.S.: Todd Lincoln, 2012 (Warner Bros.)  Dull, dreary, pointless and bad, sporting shock scenes that don’t shock, a grisly premise that doesn’t make sense, and a meager cast of mostly uninterested-looking Hollywood lookers (headed by Ashley Greene of Twilight) struggling with a meager, dialogue-challenged script, here is another horror…

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MCN Originals

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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