Tuesday, June 18, 2013
Saturday, June 15, 2013
I was fortunate enough to speak with Troy last week, in which we spoke about breaking into the film business, having the fortitude to stick with it, the harsh realities of 9/11, and the power of making people laugh.
Friday, June 14, 2013
Wednesday, June 12, 2013
Tuesday, June 11, 2013
When I was a newspaper beat reporter, one of my first big assignments was covering a murder trial. The case: A mother and her daughter had killed their mother/grandmother while she slept. Stabbed her 57 times. Planned it for two months. Sounds compelling, right? While the crime was sensational, the five days in court were not. This murder trial was tedious, dull, and not at all like the movies.
The funny thing is, I have yet to see a film that accurately portrays what it’s like inside a real courtroom. Yet we let these movies get away with it. Why? Because when done right, few things are more compelling than a solidly written courtroom drama.
View the full list at Movie Mezzanine
Monday, June 10, 2013
But then I got to thinking: Frances Ha isn’t fashionably recycling Girls (or anything else, for that matter) – it’s simply complimenting it. Dunham has cited Baumbach as a major influence over her style, and Frances Ha is clear evidence as to why. Baumbach isn’t a recycler, he’s a pioneer.
America, 2022. Unemployment is at an all time low, crime rates are even lower. Why? Because as part of America’s restructuring, for 12 hours once a year, all crime is legal. Rape, maim, murder, steal – anything is fair game. The theory is that, if everyone is allowed to “purge” for 12 hours, they will get it out of the system and be squeaky clean for the rest of the year. And it’s working. For the other 8,753 hours of the year, people behave. The Purge works, and those who don’t take part in it better damn well support it.
Saturday, June 8, 2013
Thursday, June 6, 2013
Now, just nine months after the release of the first film, the producers have issued a follow up, V/H/S/2. (Actually, V/H/S/2 premiered at Sundance in January, which is just three months after mainstream audiences got to see the first flick). I was impressed with the ingenuity in getting the sequel made, hoping it would live up to the original.
Wednesday, June 5, 2013
Noah Emmerich is the perfect everyman. His career is full of characters that you know and grew up with: the loyal friend, the drinking buddy, the dedicated family man, the all around good guy. And while Emmerich has made a name for himself playing such men, he’s proved that he’s capable of far more. Humility, rage, deceit, all aspects of Emmerich’s craft that he can play effectively.
A few years ago, I was genuinely apathetic about the impending release of J.J. Abrams’ Super 8. Then I watched the trailer, and there he was, Noah Emmerich as a military Colonel. I figured his role would be small, but it didn’t matter, I was sold. I’m always sold when he’s on screen.
Tuesday, June 4, 2013
Note of distinction: Because the Oscars are for film, I’m concerned only with the movie careers of these actors. Whether they went on to find success as musicians or painters or reality TV stars is not of issue.
Read the full post at Movie Mezzanine
Monday, June 3, 2013
There are a few signature names thrown around when describing the emergence of American independent film. Spike Lee, Quentin Tarantino, Steven Soderbergh, Kevin Smith – all responsible for iconic films that forever redefined not only what movies can be about, but how they can be made. Pertaining to this movement, Richard Linklater deserves recognition as much as anyone. The man is responsible for more bold, daring experiments that most directors could ever hope to create.
The best Linklater films are documents of a time. Whether now or then, these movies represent a career fitting for a time capsule. Often equipped with similar characters discussing similar themes of identity, existentialism, philosophy, and corporate injustice, Linklater’s films are remarkable testaments that continue to impress. He’s one of my favorite American filmmakers, one that will always, thankfully, challenge me.
A few months ago, upon learning that Richard Linklater, Ethan Hawke, and Julie Delpy had trekked off to Greece to shoot Before Midnight in relative secret, my first thought was “Why?” Why do this? Why risk tarnishing something so pure? And then I realized that was my exact thought upon hearing of Linklater’s Before Sunset nine years ago. Before Sunrise, the first film in this unlikely franchise, released in 1995, is as heartwarming a film of love as I’ve ever seen. Nine years later, Linklater and his stars made Before Sunset, and why? “Why take the risk of ruining it,” I thought then.
Needless to say, I was not let down by Before Sunset. It improved upon an already perfect cinematic love, and it did it with one 80 minute long conversation. Fade to black. Bliss.