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  1. Today
  2. I've done a 10 Years Later piece on No Country, which debuted (is that a word) at Cannes in 2007.
  3. I wouldn't quite put this on par with Summer Hours or Clouds of Sils Maria, but I thought Assayas still did a pretty great job, and Stewart is phenomenal. Marginally spoilerish first impressions.
  4. Yesterday
  5. Here's hoping we get some kind of Green Lantern cameo maybe in the credits. I know they're doing a Green Lantern Corps film (which I am freaking excited for since Green Lantern Corps is some of my most favorite comics) eventually so maybe the one who will end up in the Justice League will be in that.
  6. "It may be temporary." "This is why Superman works alone" was funnier.
  7. Amy Schumer Drops Out of ‘Barbie’ Movie (EXCLUSIVE) Amy Schumer has parted ways with Sony’s live-action “Barbie” over a scheduling conflict, Variety has learned. “Sadly, I’m no longer able to commit to Barbie due to scheduling conflicts,” the actress said in a statement to Variety. “The film has so much promise, and Sony and Mattel have been great partners. I’m bummed, but look forward to seeing Barbie on the big screen.” The big screen adaptation of Mattel’s iconic toy line was expected to start production this summer on June 23, but Schumer’s busy schedule includes a lengthy promotional tour for her new Fox comedy “Snatched,” which opens in May, as well as an upcoming shoot for Rebecca Miller’s “She Came to Me” opposite Steve Carell. Sony needed to stick to its June 29, 2018 release date since Mattel already has merchandise and product cycles in motion–shifting the production to accommodate Schumer would have put on a strain on other partners on the film, according to insiders. . . . Variety, March 23
  8. Amazingly, it is possible to make a Christian film called Champion that does *not* star Carman.
  9. Last week
  10. Just a heads up if you have a Hulu subscription, there is a English close captioned version of the anime on there (the 25th anniversary edition, and also the remastered one, as well as a couple of the sequels). Also have Akira, another very famous one I've never seen.
  11. I'll have to think about it more before I give a full review--it's been haunting my thoughts all day, like a ghost--but I really found it to be rather prescient in its exploration of technology, globalized culture, the Internet, and even formal filmic elements, such as the very subtle slowing down of time to linger in particular scenes and frames. I simply wrote the word "visionary" for my Letterboxd review. I did find the ending to be rather abrupt, and expected more backstory to Major, which seems like it'll be explored further in this live-action version. I haven't read the manga, so I don't know how faithful the animated film is to the source material, but I was impressed with the characterizations and ideas presented. And why didn't this film make our A&F list about memory?!
  12. It's hard to tell whether he's speaking solely about Bv.S's financial success, or if he's speaking to artistic merit (which would still make him an idiot). FWIW, I put about as much stock in the ratings system of RT and Netflix as I do the ratings (and Top 250 list) I've seen for a decade or more over at IMDb, which isn't much stock at all. And, truth be told, I'm do not miss the forums on IMDb. Good riddance.
  13. Embedding the clips:
  14. Ratner's an idiot if he thinks Batman v Superman was "incredibly successful". It had a huge opening weekend, but that's no credit to the film; that's to do with marketing and audience interest in pre-sold franchises as much as anything else. A more telling metric is the fact that Batman v Superman was one of a very few wide releases last year that failed to double its first-weekend gross. In fact, among the top 130 films of 2016 (i.e. all the films that grossed at least $11.5 million in North America), the only other films that failed to double their first weekend were Warcraft (the #70 film of the year) and Fifty Shades of Black (the #129 film of the year).
  15. Entertainment Weekly has details. Not many, but there's a glimpse at the photoshoot for the print issue and a taste of what will be in it. Here's EW's 40-minute reunion special. I'm gonna get them on Amazon, even if it means subscribing to Showtime. I'm that excited.
  16. Right, subtitled for this one. Sounds like you have watched it by now, what did you think?
  17. First listen. It's very much of a piece with the other two albums. "These Foolish Things" is especially good.
  18. I answered this elsewhere, but for the record I watched the original dubbed and was extremely unimpressed with the quality of the voice acting.
  19. I just rented the original from the library, and hope to watch it this week before seeing the new version. I posted this question on social media, but I'll do it here too: should I go with subtitled or dubbed?
  20. New interview at Dylan's site about his new triple album of covers: Pleased to see that "Stardust," one of my favorite of the standards (and possibly one of my favorite songs ever), will be on the album:
  21. And series 4. Which...eh, I know lots of people hated it but I was more or less just uninspired by it. The second episode is solid, and Cumberbatch and Freeman confirm that they've ascended from good to great in terms of Holmes-Watson portrayals, but the rest of the series was far below the standard set by the second and third seasons (which are, for my money, the greatest the show has gotten). The last episode, in particular, was a mess--reaching for emotional impact that isn't really earned and playing a heightened version of the Moriarty game without the clean plotting. The coda, though--that was some good stuff and served, I think, as an effective end of the series, if they choose not to continue it.
  22. I still enjoy thoughtful film criticism, partly because I want to read what other folks have to say and also as a way to hone my analytic and writing skills. Like Justin, with Ebert's passing I don't have a favorite popular film critic, but I'll sift through RT's top critics and read what interests me. (I also just subscribed to Film Comment, figuring it was time to do so, instead of paging through it at the local bookshop every couple of months.) It's interesting to see the comments here about film ratings, too. If I had to guess, most of my reviews probably fall into the 3.5 to 4 star range, for a couple of reasons: 1) I'm very selective about what I view on the big screen and write about anymore (I like for my weekly written review to be about a film that I really give a damn about); and 2) like Ebert in his last several years, I'd rather err on the side of generosity and praise what is praiseworthy. And yeah, I think the "end of criticism" is a load of hoohah, just like the "end of ---" shtick almost always is.
  23. Before Rottentomatoes my main way of choosing if a movie was worth seeing was first *if my friends/family said so, then *trailers and whether *actors I liked were in it or its a Studio Ghibli film, and more recently if it had a good review on the DVD jacket by Roger Ebert (or Peter Travers used to be, which now I feel somewhat embarrassed by), but Rotten Tomatoes has made it a whole lot easier, and I do often read through the review blurbs, seeing why people gave a Rotten or Fresh score. Sometimes I've still chosen to go see a movie even if it was a low score and sometimes it turns out just as bad a said, or my own low expectations help me enjoy it more. I'm probably more of the average joe, I don't have favorite film reviewers since Ebert died (other than some of you like Steven Greydanus and Jeffrey Overstreet who I often google their thoughts on a movie if I'm up in the air about it), and I do tend to use review aggregates as a litmus test. Even on Netflix for a time I just picked a movie if it looked interesting, and then I started noticing that I had been watching a string of really bad movies and noticed that most of the ones I did like had higher star ratings (with some exceptions), so I just started picking what to add to my list based on star ratings and if it looked interesting to me. I still follow some of my old rules too, and it all works out usually. but that's what works for me. I don't expect it to for everyone.
  24. I think the suggestion that this is "the end of movie criticism" is akin to the various thinkpieces which arrive each year suggesting we're nearing "the end of cinema," usually because of the new era of television, streaming platforms, etc. Film writing continues to evolve and branch out into new territory, with interdisciplinary academic writing, long-form essays, podcasts, and various independent websites and magazines exploring new ways to engage with the form (my current favorite is Bright Wall/Dark Room, which is publishing some of the best criticism I've seen from a wide variety of authors and perspectives). Film criticism might be changing with different mediums and ways of propagating the writing, but unless we enter into an apocalyptic dystopia, I imagine writing about art and its impact is not going away any time soon. Maybe this is why Darren doesn't follow me on Letterboxd . My ratings average tend to peak at 4-stars, mainly because I've learned to discern which films I probably wouldn't like, and I don't have a publication or press responsibilities forcing me to watch and review films I assume I wouldn't enjoy.
  25. I am very out of the loop when it comes to film conversation right now. I fear it is because after things filter through Twitter and Letterboxd, not much makes it to forums any more - and I do not have extra time to spend on either of those platforms. So I am stuck with journals mainly. Though there is still a lot of terrific film writing out there. Much more than there seemed to be 10 years ago.
  26. One can now see the first five minutes: https://www.dailydot.com/parsec/ghost-shell-first-five-minutes-clip/ It is pretty disappointing, in that it all feels a bit flat despite the ornate CGI. Parts of it are frame for frame copies of the original, but something is just not translating into the live version (at least these five minutes). And I hope I am wrong, but I wager the 1 Cor 13 references scattered throughout the film are absent in this script. This would be a shame, given that this interplay between Paul's theology and post-humanity in the original made for one of the best pop culture biblical references in the 20th century.
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