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Everything posted by kenmorefield

  1. Sorry that doesn't work for you. I'm assuming that you saw, but Filmfest 919 will be 1/2 at an outdoor venue and 1/2 at a new drive-in venue. I'm awaiting more details, but this looks promising to me.
  2. Putting out a last call for blurbs before I close the security loop of having so many people with editing permissions for the lists. Here are the films from the 2020 Top 100 without a blurb. If there is an asterisk (*) that means no blurb at all: Silence* Diary of a Country Priest* The First Reformed blurb is unsigned -- does anyone remember who wrote it? 2001 blurb is unsigned...don't know if it is new or not. Night and Fog* Monsieur Vincent* To Sleep With Anger* Tree of Wooden Clogs* Frisco Jenny* Amazing Grace* The Best Years of Our Lives* The Music Room* Dead Man Walking* Cameraperson* The Mill and the Cross* Secret Sunshine* In Praise of Love* The Act of Killing* Witness* Timbuktu* Nazarin* What Time is it There?* Uncle Boonmee review is unsigned....anyone want to claim it? There are many others that have an old(er) blurb. If you want to write a new blurb for any of these, let me know...whoever wrote the previous blurb had ample time to update it or indicate that he/she was happy to let it stand. I'm not averse to keeping some of the old(er) blurbs, but if anyone wants to blurb one of these films, he/she should feel free to do so.
  3. This was in NYT Today: https://www.nytimes.com/2020/09/15/business/media/tenet-movie-theaters-coronavirus.html?auth=linked-facebook&campaign_id=9&emc=edit_nn_20200916&instance_id=22233&nl=the-morning&regi_id=66845518&section_index=4&section_name=play_watch_eat_cube&segment_id=38240&te=1&user_id=0c6043332b82de93c9e6bacec2c2e437
  4. I suppose some exist, but I haven't met too many. If it is a studio film, they usually don't care about the individual critic...they just want word of mouth. If it is a smaller film, I'll sometimes give a publicist a head's up and ask if they prefer I don't review the film at all (as opposed to a negative review). That's not to lose a junket or anything but just because I sometimes want the smaller films to have an opportunity to find their market, even if it isn't me. Conversely, though, (this doesn't speak to Jeremy's question) I've known more than one critic who will be more inclined to write a negative review to "punish" the studio for not having a critic's screening or not sending an FYC screener or something like that. That's one reason (among several) that i'm not a big fan of critics' "boycotts." I haven't seen Mulan yet though I think Disney did offer screenings (or links) to *some* critics. In this particular case I wonder if the politics of China and the lead actresses comments are more of a factor in terms of people not wanting to write a positive/negative review. The more a film gets politicized in *any* way, the more I find some critics wanting to review the issue rather than the film. (I am far from being a Michael Medved fan, but I think, for example, of his claim that he heard a well-known critic [that he refused to name] trashing The Last Temptation of Christ only to give it a glowing review in print. Medved claims when he confronted the critic that critic said everyone knew the film was a dog but that he (the critic) didn't want to be associated with the Christian fundamentalists. A lot of people dismissed that story precisely because Medved wouldn't out the critic, but I've seen enough of that sort of mindset to make me believe it happens from time to time.)
  5. I switched a setting in the dashboard. See if that fixes it.
  6. Hi Mary, that's a very nice note. Just a head's up that Justin has not posted at this site in about 2 1/2 years, so if you don't get a response, that may be why.
  7. Perhaps one or more of the following? 1) Rotten Tomatoes has been really expanded. There are a *lot* more critics on it. That tends to reduce things to a more populist vote. 2) Pandemic makes people starved for content... (doesn't explain Star Wars).
  8. Some discussion of this in the Top 100 and Top 25 pages thread. The software upgrade disabled the app. They should be back now, here: http://artsandfaith.com/index.php?/films/ I feel like some of this discussion is circular...as far as the way the lists are posted (or archived) here, people want...something else. But I haven't really gotten any sense of what specifically they want as far the publication and promotion of the list. I'm certainly open to anyone who has suggestions for how/where the lists should be published. The thing I like about the app is: 1) Continuity of formatting. 2) Makes it easier to copy previous entries when there is a new list. Things people don't appear to like about it: 1) The entire list doesn't appear on one page. 2) Some may not realize that clicking on the film in the list brings up window with blurbs and what not? If someone wanted to design a separate web page for lists that was all one format, I'd be happy to store them here as a subdomain, but that's a lot of work (as is transferring past lists into new format), and I don't have a magazine staff to do it.
  9. I was able to find the option in the admin dashboard to put the app back in..the update disabled it. Lists are now here: http://artsandfaith.com/index.php?/films/
  10. Thank you for the head's up, Michael. There was indeed a software update yesterday. I'll look at this tomorrow and see if I can fix it myself (I think I can). If not, I'll talk to our tech guy. Sigh. One think I don't much care for in Invision...it's upgrades are clunky if (as we have over the years) one has tweaked the site beyond the basic board. But, on the flip side, it's got fifteen years of tweaks and apps and extensions and pages, so....
  11. I'm doing something similar on my screened in porch. Main issues so far have been having to start later for darkness, sound of cicadas. I tried a bigger screen for a yard showing but it wasn't stable.
  12. Looks like I never posted my review, so here's a link: http://1morefilmblog.com/2019/12/07/richard-jewell-eastwood-2019/
  13. I am waffling between a minimal review of an upcoming film and a longer essay on why Christian movies can't do comedy. So I'm asking if anyone is aware of movies in the Christian movie genre that are comedies. To be clear, I am not thinking Divine Comedies...I am defining "Christian Movies" as a genre much as I always have, meeting two of the following: By Christians (production company/talent/producers, not just necessarily with people who identify as Christians participating; conceived and led by Christians), for Christians (marketed to a niche audience); about Christians (content/theme). Off the topic of my head, I can think of five movies in the Christian movie genre that are tying to be comedies: Mom's Night Out Christian Mingle Selfie Daad Small Group (forthcoming) The Virgins Am I missing anything? Since my thesis is that Christian movies can't do comedy because they don't want to do either or the things that comedy is built on (scorn/self-examination), I am wondering if I am missing any obvious examples of Christian comedies that are successful (artistically even if not financially). When I Googled this, I got a lot of hits for some stand up by someone named "Chondra Pierce" -- has anyone seen any of these?
  14. This historical drama about female spies is conventional, but it still worked for me. I wished it was bigger...each of the three women could have filled their own movie. Still, it's nice to be reminded that of the sacrifices made by those who aren't always recognized and lauded by the culture they sacrificed for. Also, IFC is releasing in On Demand and in theaters, so if your theaters still aren't open (mine aren't), you can still see the film. My review: http://1morefilmblog.com/2020/09/07/a-call-to-spy-pilcher-2019/
  15. Time Magazine argues that transmission is more aerosols than droplets: https://time.com/5883081/covid-19-transmitted-aerosols/ The smoking analogy is very helpful for conceptualizing. This would also explain why theaters are problematic since aerosols can linger, though this article seems to indicate that proximity is a bigger issue.
  16. Here's a link for Kino Marquee with a list of Kino Lorber films and the local cinema they support: https://kinomarquee.com/ I follow Alamo on Demand because there is an Alamo Drafthouse in Raleigh: https://ondemand.drafthouse.com/
  17. I've been trying in my reviews to post a "where can you see it" hyperlink at the end since most of my reviews come from private links sent by publicist or studio.Generally, I try to steer people to the local theater since they sometimes get a cut, though there are a few services where the studio offers direct download or where a theater has an exclusive. I had one film (I forget which -- I think it was the Hilda af Klimpt documentary??) where the first week you could only rent it through the web site of the Met or Laemelle (NY/LA) and I was either asked to or decided to wait a week to post reviews so that local readers at least would be more likely to rent from one of the local theaters. (I've had one theater rep in NC tell me that ticket sales via virtual have been pretty flat at 10% of what they normally would see for same film/time of year.
  18. Yep. We've talked about that some over the years. I'd add that for Marvel, I always feel a center-less circularity. The individual movies are teasers for the next movie. The Avengers movies are important as culminations of arcs -- I've invested this much time already, I should see it through to the end. But which movies (if any) stand on their own as good, complete, satisfying stories. I realize that there is a serial tradition, but Raiders of the Lost Ark pays homage to that while managing to be satisfying on its own. That, to me, is the big difference between the first three Star Wars movies and the last six. Star Wars, Empire, and (to a lesser extend) Return of the Jedi work as self-contained films even if they advance an arc.
  19. Janus has announced a re-release in honor of a "4k restoration," whatever that is. Anyway, coming to virtual theaters in September. presents BEAU TRAVAIL Directed by Claire Denis "MY FAVORITE FILM BY MY FAVORITE FILMMAKER." - Barry Jenkins "NEVER FOR ONE MOMENT DOES THIS SHIMMERING, SIMMERING EMOTIONAL DESERT STORM OF A FILM RELAX ITS GRIP ON YOUR SENSES." - Peter Bradshaw, The Guardian NEW 4K RESTORATION OPENS FRIDAY IN VIRTUAL CINEMAS AT FILM AT LINCOLN CENTER IN NEW YORK, LAEMMLE THEATRES IN LOS ANGELES, ROXIE THEATER IN SAN FRANCISCO, THE MUSIC BOX THEATRE IIN CHICAGO, COOLIDGE CORNER IN BOSTON, AND MORE WATCH THE TRAILER HERE DOWNLOAD THE POSTER HERE With her ravishingly sensual take on Herman Melville's Billy Budd, Sailor, Claire Denis firmly established herself as one of the great visual tone poets of our time. Amid the azure waters and sunbaked desert landscapes of Djibouti, a French Foreign Legion sergeant (Denis Lavant) sows the seeds of his own ruin as his obsession with a striking young recruit (Grégoire Colin) plays out to the thunderous, operatic strains of Benjamin Britten. Denis and cinematographer Agnès Godard fold military and masculine codes of honor, colonialism's legacy, destructive jealousy, and repressed desire into shimmering, hypnotic images that ultimately explode in one of the most startling and unforgettable endings in all of modern cinema. Janus Films will release the film in virtual theatrical release at Film at Lincoln Center in New York, Laemmle Theatres in Los Angeles, the Roxie Theater in San Francisco, Violet Crown in Austin, Coolidge Corner in Boston, the Music Box Theatre in Chicago, the Salt Lake Film Society in Salt Lake City, the Belcourt Theatre in Nashville, and more. A full list of participating theaters and playdates is available here. New 4K digital restoration, supervised by director of photography Agnès Godard and approved by director Claire Denis.
  20. This got the Criterion treatment and I picked it up during the July sale. It's a tough political moment to watch Irene Dunne in blackface. While Shana L. Redmond's excellent feature on the Criterion DVD helps to contextualize race in the show and film -- I'm not sure I could appreciate the film on its own terms. To the extent that I understand her carefully parsed argument, there were elements of Show Boat (the film) that were (or were meant to be) progressive for the time. (Example: Robeson insisting on changing the "N" word in 'Ole Man River' to the marginally less offensive 'Darkies'?) Yet she also acknowledges that some of the characters and relationships were themselves limitations. For me these issues are complicated by the face that the music isn't all that memorable aside from "Ole Man River." I was shocked when that number was played in full in the first act of the film. I assumed it was the showstopper/climax. I also never knew James Whale directed. I guess I just bought into the caricature of Whale that all he ever did was Frankenstein. If he was more sensitive to some of the subplots (such as Laura passing as white), I didn't necessarily see that. I'm glad it is preserved as a work of cultural history, but I didn't find it a particularly moving film nor one that reached me on a personal level.
  21. I think that is probably why she included it. Looking back over my review, I realize that the film itself is not necessarily non-editorial, but Kopple trusts the audience to pick up on these points rather than pushing back. That's maybe old school? Post 2016, I think journalist have had to learn to push back on self-serving answers or obvious lies. I remember Kopple doing a Q&A for Running from Crazy (one of my favorites of her films) and saying that when she met with Hemingway, she told her, the only way this works if if you are prepared to be 100% truthful. But she had in Hemingway someone who had the perspective and maturity to do that. By contrast, my two least favorite Kopple films are Gun Fight and Gigi Gorgeous. I think both really need someone to not just film the subjects but interrogate them...something Kopple maybe is less inclined to do? (I've seen her do at least a half dozen appearances, and she is a master at inclusion, sharing the stage, eliciting other people to speak. She strikes me as a sharer rather than a debater.) Regarding her choice of showing the charred remains and the celebrations over them, I can't speak for the family of the men themselves, but I'll say it didn't bother me, because I had seen that footage before. It was released at the time to traumatize and thus says something about the Iranians that contradicts the narrative they are trying to tell about themselves. If you've been around special forces (or even standard military) you understand how that engendered or solidified feelings towards the Iranians. This is a really bizarre non-sequitur, but what your question reminded me of was when my brother had been murdered four years earlier, my parents had an open casket at the funeral. (How the morticians managed to make the body presentable remains a mystery to this end.) I'm sure they were criticized for that decision, but I still remember vividly (it's one of my earliest memories) touching the body, feeling the rigor mortis. I don't know how to explain it, but I knew intellectually that he was dead, but seeing the body and touching it provided a kind of closure that I didn't understand until decades later when another person I loved died and was cremated before I ever saw the body. (I was reminded decades later by my best friend that he and his sister did not attend the funeral in part because of the open casket is not normal in Judaism.) One never knows because everyone is different, but as horrible as those scenes were in the movie, I think it is possible that seeing them helps in some ways those who are going through it to move towards closure. Or maybe it is just the case that our imagination can always conjure up things that are even more horrible than what we actually see. Or maybe I've just been inured by decades of TV and movie violence.
  22. My brother and I are doing a Q&A next week to help one of the local theaters screening the film. It's free: https://www.eventbrite.com/e/desert-one-film-qa-w-ken-morefield-son-of-iran-hostage-and-film-blogger-tickets-118483636747?utm-medium=discovery&utm-campaign=social&utm-content=attendeeshare&aff=escb&utm-source=cp&utm-term=listing
  23. Has anyone here used Kast? I think it would helpful for sharing content (viewing parties), but i haven't quite figured out, even after wading through their Q&A it is is legal to share content. (My understanding is, for example, that I could rent a movie from Amazon and invite someone to watch it with me by sharing my window.)
  24. The relationship with Image is friendly, but they no longer own the site. I offered them a write up for the 2020 list but they passed. It is conceivable that they may one day house more Arts & Faith content, but the impression I got when they sold the site is that they wanted to give the new editor and team time and space to develop their own vision for the magazine.
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