Archive for November, 2011

  • Have a look at Daniel Day-Lewis with his Lincoln beard.

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    It has been quite some time since Spielberg has excited audiences – by my calculations, the last time was with his 2005 masterpiece Munich. Lately, it seems he is more interested in the producing side of filmmaking than the directing – although he now has The Adventures of Tintin and War Horse, neither of which excite me in the least, being released by year’s end.

    Today though, I stumbled across a photograph that had me all excited. The photo, snapped by an onlooker, is simple: Daniel Day-Lewis eating out for lunch. But as you have already put together from the photo and the title of this post, this snapped picture has Day-Lewis sporting his best Abraham Lincoln beard – and boy, he looks awesome.

    The long in the works Lincoln has evolved quite a bit over the past decade in which Spielberg said he was going to film it. Focusing on the last four months of President Lincoln’s life, it looks like the wait will be well worth it. Just to name a few of the other stars in the absolutely monster cast, the movie will include: Joseph Gordon-Levitt, Tommy Lee Jones, James Spader, Lee Pace, Sally Field, Jackie Earle Haley (Little Children, Watchmen), John Hawkes (Winter’s Bone, “Deadwood”), Jared Harris (“Mad Men”), David Strathairn (Good Night and Good Luck), Walton Goggins (“Justified,” “The Shield”), Hal Holbrook (Into the Wild, Water for Elephants), Tim Blake Nelson (O Brother, Where Art Thou?), Bruce McGill, and Joseph Cross.

    What do think? Will you miss the original idea of Liam Neeson as Lincoln or is Daniel Day-Lewis going to crush this performance? Will this be Spielberg back in top form or should we hold onto our britches before getting too excited?

  • Mamo #229: Mugo Mamo Muppet Mo

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    Yanksgiving and Black Friday are squarely behind us, and the tripartite battle between November’s family films (and Breaking Dawn) is done! Let’s look at The Muppets, and Hugo, in an all-new podtacular Mamo.

    To download this episode, use this URL: http://rowthree.com/audio/mamo/mamo229.mp3

  • Cinecast Episode 236 – Ocular Coitus

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    While our friend Matt Gamble is still on the mend (not from a boating accident), Kurt and Andrew grew a bit tired of executing these shows together all alone and reached towards the heavens above for this episodes guest host: Aaron Hartung (aka the dude who lives upstairs). Aaron also happens to work for the best cinema chain in town, Landmark Theaters; not only does he seem to know his movie stuff, he’s got a voice for radio to boot.

    We missed last week’s episode due to other obligations and illness, there is a LOT to get to this week. From Lars von Trier’s visually rich disaster/depression epic to the long awaited new Alexander Payne film (it has indeed been six years) we cover your auteur cinema-making-guys. But wait, there’s more: Fifties sex icons, furry-little-singing-nostalgia-engines(tm) and a whole lot of early cinema history enshrined in a Martin Scorsese ‘kids film.’ Enjoy this double-digest episode of the show: It’s time to start the music, it’s time to light the lights, it’s time to talk death, depression and the urgent need for knowing our history on the Cinecast tonight.

    As always, please join the conversation by leaving your own thoughts in the comment section below and again, thanks for listening!


     
     

     

    To download the show directly, paste the following URL into your favorite downloader:
    http://rowthree.com/audio/cinecast_11/episode_236.mp3

     
     
    Full show notes are under the seats…
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  • 2011 Independent Spirit Award Nominees

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    Here we go again. The award season is upon us. Love them or hate them, movie awards season is just a part of a cinema-blogger’s life. You can take them seriously or take them with a grain of salt. Either way, you gotta take ‘em. Probably taking things as least seriously as possible are the annual Spirit Awards. For the most part, these are the films that you didn’t see in the multi-plex, ergo probably worth taking note of.

    Myself, I’m a big fan of many of the films on this year’s nominations list (Another Earth, Yay!). So it will be fun to see all these stars make their way down the very casual and sometimes drunken, red carpet in late February (the 25th, the day before the Oscars) to see who will make the biggest fool of themselves on stage.

    For those of you keeping count, Take Shelter and The Artist were the two leaders in these nominations with 5 nods each. The Descendants came out with 4 (all three films up for best feature). But here are all of the nominees for this year’s awards. The “big” ones are up top, hit the jump to look under the seats and see the rest of the nominees. Then sound off in the comment section. Anything you’re particularly happy to see? Something you’re oh so happy did not make the cut? Something or someone that got snubbed (The Skin I Live In!!!?!??!)? I’m curious…

    Best Feature:
    50/50
    Beginners
    Drive
    Take Shelter
    The Artist
    The Descendants

    Best Director:
    Mike Mills, Beginners
    Nicolas Winding Refn, Drive
    Jeff Nichols, Take Shelter
    Michel Hazanavicius, The Artist
    Alexander Payne, The Descendants

    Best First Feature:
    Another Earth
    In The Family
    Margin Call
    Martha Marcy May Marlene
    Natural Selection

    Best Male Lead:
    Demian Bichir, A Better Life
    Jean Dujardin, The Artist
    Ryan Gosling, Drive
    Woody Harrelson, Rampart
    Michael Shannon, Take Shelter

    Best Female Lead:
    Lauren Ambrose, Think of Me
    Rachel Harris, Natural Selection
    Adepero Oduye, Pariah
    Elizabeth Olsen, Martha Marcy May Marlene
    Michelle Williams, My Week With Marilyn

    » Read the rest of the entry..

  • Finite Focus: How to Smoke a Joint (Taking Off)

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    Before Milos Forman was the Oscar-winning director of Amadeus and One Flew Over the Cuckoo’s Nest, he was one of the foremost directors of the Czechoslovak New Wave, bringing French New Wave sensibilities to a Czechoslovak setting (but calling on universal themes) in films like Black Peter, Loves of a Blonde, and The Fireman’s Ball. In between those two career phases, he made his Hollywood debut with Taking Off (1971), made while he was still struggling with English and having to rely on writer/actor Buck Henry to help him with the line readings. But that doesn’t seem to matter too much, and the film, though something of an oddity, is more compelling than you might imagine.

    Generally, it’s the story of a young girl who wants to be free from her parents’ loving but old-fashioned home and joins up with a group of free-loving hippies. But the film doesn’t focus on her, aside from a few sequences where we’re privy to a sort of impromptu concert from future stars like Carly Simon and a young Kathy Bates (billed as Bobo Bates), who provide a sort of wistful soundtrack. The rest of the time, we’re with her parents, searching for her fruitlessly, not really knowing where to turn until they stumble upon some other parents in the same situation and discover there’s a whole support group – the Society for the Parents of Lost Children, or SPLC for short. At one of the meetings of the SPLC, the leader suggests that everybody try marijuana – you know, to understand what their children are experiencing.

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  • This Thing I Need to Say about Film & Then I am Done

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     - Falconetti in La Passione de Jeanne d’Arc

    When it comes to jazz I am hopelessly tone-deaf, I understand it only as an absence of sensation.  Were I to rigorously devote myself perhaps I could, given enough time, feel it in my bones the way it is intended.  Or maybe it is a hardware issue beyond me to remedy, I don’t know.  I can accept that we may not all be wired the same way, and when it comes to aesthetics there are inevitable impasses.

    I wish to write about a fugitive aspect of cinema that goes mostly unspoken in reviews and reduced to verbiage in academic papers.  It is sort of formless, messy, and brings with it nothing but shame and feelings of inadequacy to those who try to naïvely ensnare it with words; it seems unspoken for a reason, because it bears out its meaning like a zen koan: to point at it is not to capture it.  However, I am stubborn and frustrated with conversations I have had regarding the virtues of cinema that I shall go through with this stupid task.  The tone-deaf may read on blankly or click away.

    In the final minutes of the behind-the-scenes documentary of the Criterion version of Soderbergh’s Che, the director laments the state of the modern day cinema-going experience: “There is no illumination anymore, people see a film and five minutes later they are preoccupied with where they are going to eat”. The issue lies squarely with the audience, not the product. The jazz is there, I just can’t hear it, and likewise the illuminations are there, but some of us can’t adequately experience them. I agree with this sentiment.  Differences of taste occur, and I am not here to deny them, but there is something to be said for a mutual foundational understanding of what modes of experience may be read within the frame, whether you like them or not. Taste ought not to trump experience, it shouldn’t blind one of the modes of experience available to a particular captured moment. I am not so clever that I can erase what Che involves in its presentation by writing a particular nasty review opposed to it; its resistance to conventions of biographical storytelling and its languid preoccupation with the lived-in moments of the protagonist’s life is not up to a matter of taste but palpable to anyone who has the faintest grasp of what came before. The stimuli for illumination is there just like the jazz notes are there, it is not a lack of examples, and therefore not a lacking in cinema, but of the character of those who gravitate to it.

    So what is this alternative way through which cinema may be experienced?  Simply put: patiently, one frame at a time.  As viewers we have grown into the habit of privileging the aggregate meanings of a film over, and to the disregard of, the immediate.  We scarcely have a terminology for the micro-bursts of illumination, but we have libraries full of tomes written on their ciphers.

    » Read the rest of the entry..

  • DVD Review: Our Idiot Brother

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    Our Idiot Brother DVD Cover

    Director: Jesse Peretz
    Screenplay: David Schisgall, Evgenia Peretz
    Producers: Anthony Bregman, Peter Saraf, Marc Turtletaub
    Starring: Paul Rudd, Elizabeth Banks, Zooey Deschanel, Emily Mortimer, Emily Mortimer, Rashida Jones, Steve Coogan, Hugh Dancy
    MPAA Rating: R (14A in Canada)
    Running time: 90 min.

    (2/5)

    Every family has one. A guy or gal who doesn’t fit in and that, if you didn’t know any better, you would swear didn’t belong to the family. In the case of the tight knit family at the centre of Our Idiot Brother, that person is Ned. Though the film’s title, Our Idiot Brother, bluntly states that suggests Ned an idiot, he’s really not. He’s just a bit of a hippie, a guy who doesn’t put much stock on money and whose joys in life are small: his dog, his girlfriend and his family. He’s also a bit too trustworthy and this trait gets him into a bit of hot water.

    Our Idiot Brother StillWhile selling his wares at the local farmer’s market, Ned is approached by the local cop who gives Ned a sap story about a bad week that he needs unwinding from. He’s looking for a bit of pot and after some haggling, Ned gives in and offers the guy a bag-o-weed. The cop forces $20 on Ned before arresting him for the sale of narcotics. Oops. Ned heads off to jail where he spends eight glorious months working and making new friends. Upon his release he returns to the farm he shared with his girlfriend, a cookie cutter modern hippy who calls everyone “Dude,” to find that he’s been replaced by a guy even more clueless than he is. With his meagre belongings in tow, he heads to the city to bunk with his mother and to find some way to raise the $1,000 he needs to rent the chicken barn at the back of the farm all so he can be closer to his dog Willy Nelson who his girlfriend has, essentially, taken hostage.
    » Read the rest of the entry..

  • Mondays Suck Less in the Third Row

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    1001 Movies to See Before You Die:
    The full list with links to all titles available on NETFLIX or YOUTUBE!

     


     

    Top 10 Lost Horror Films:

     


     

    » Read the rest of the entry..

  • Ken Russell passes on at 84

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    Just as a quality edition of The Devil’s was announced on DVD in the UK, controversial and unique filmmaker Ken Russell has passed on. The man still recently doing the festival circuit (stops in 2010 in Toronto and Montreal), before a gentle passing in his sleep at 84. The above image is from one of his most famous films, The Lair of the White Worm; a VHS box that haunted my dreams when I saw it in the store at a very tender age.

    The BBC has more.

  • Film on TV: Nov 28 – Dec 4

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    Koyaanisqatsi.jpg
    Koyaanisqatsi, playing Sunday on MGM

    Fairly low on newly featured ones this week, but TCM does have a John Carpenter double feature late Friday/early Saturday with They Live and The Fog, and are also showing Busby Berkeley extravaganza Dames on Tuesday and MGM has the mesmerizing visual tone poem Koyaanisqatsi on Sunday.

    Monday, November 28

    11:00am – Fox Movie – I Wake Up Screaming
    Better known for bright and sunny musicals, Betty Grable took a turn for the noir in this crime film, playing the sister of a recently-murdered model with a rising career. It’s a slight noir, but fun nonetheless, especially for the chance to see Grable in a role unusual for her.
    1942 USA. Director: H. Bruce Humberstone. Starring: Betty Grable, Victor Mature, Carole Landis.

    2:00pm – Fox Movie – Call Northside 777
    One of Jimmy Stewart’s first films after spending the war as a fighter pilot; he plays a reporter compelled to reopen an eleven-year-old murder case, coming to believe the wrong man was sentenced to life in prison. A good combo of film noir and mystery.
    1948 USA. Director: Henry Hathaway. Starring: James Stewart, Richard Conte, Lee J. Cobb.

    4:00pm – TCM – Stage Fright
    An actress helps a friend try to defend his innocence when he’s accused of murder – but is she doing the right thing? This is one of the earliest examples I know of in film of an unreliable cinematic rendering of events; doesn’t follow through on it quite as well as Rashomon does (which was released the same year), but very interesting nonetheless.
    1950 USA. Director: Alfred Hitchcock. Starring: Jane Wyman, Michael Wilding, Marlene Dietrich.

    8:00pm – TCM – Doctor Zhivago
    Idealistic Zhivago experiences the Bolshevik Revolution while also dealing with his conflicting feelings for his wife Tonya and young nurse Lara. There are a few things about the romance side of the story that bother me, mostly the fact that I liked Tonya way more than Lara, but I have to admit Lean knows how to make epic films, and Maurice Jarre’s score is unforgettable.
    1965 UK/USA. Director: David Lean. Starring: Omar Sharif, Julie Christie, Geraldine Chaplin, Rod Steiger, Alec Guinness.

    8:00pm – IFC – Sweeney Todd: The Demon Barber of Fleet Street
    Not everyone liked Tim Burton’s take on the macabre Sondheim musical, and I’ll admit the singing is, well, not that good. But the production design is among Burton’s best, and that’s saying a lot. I don’t love the film, either, but I enjoyed watching it.
    2007 USA. Director: Tim Burton. Starring: Johnny Depp, Helena Bonham Carter, Alan Rickman.
    (repeats at 12:30am on the 29th)

    » Read the rest of the entry..

  • After the Credits Episode 105: December Preview

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    And we’re back! It’s been a particularly busy few months but the crew, Dale (Digital Doodles), Colleen (Mary Ostler Wood Butchery & Other Stuff) and I have finally found the time to gather at the new Burnaby studio to record a show. December has much to offer, including a load of Oscar bait, but among the dramatic gems there are also a few mindless bits of entertainment and at least one title that left us scratching our heads. Spielberg… what are you thinking? Listen on for all of the juicy details and stay tuned for another show (it’s true, you can hold your breath if you like but it’s completely unnecessary) in the next few days. Did someone say Whistler?!?

    Direct Download

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    Show Notes:

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  • DVD/Blu-Ray Review: Guilty of Romance

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    Director: Sion Sono
    Screenplay: Sion Sono
    Starring: Megumi Kagurazaka, Miki Mizuno, Makoto Togashi
    Producers: Yoshinori Chiba & Nobuhiro Iizuka
    Country: Japan
    Running Time: 144/112 min (112 min version reviewed)
    Year: 2011
    BBFC Certificate: 18

    (3.5/5)

    Sion Sono draws his ‘hate trilogy’ to a close with Guilty of Romance. From what I’ve heard there is little in common between the three films (Love Exposure and Cold Fish are the first two – neither of which I’ve actually seen so I can’t comment), but nonetheless Guilty of Romance is clearly the work of the maverick Japanese director behind oddities such as Suicide Club and Exte. This is more serious in tone than those two films, but retains the dark, twisted and occasionally baffling take on it’s subject matter.

    Guilty of Romance opens with a female police detective arriving at the scene of a brutal murder where the body parts of a woman have been attached to those of mannequins to create two creepy human dolls, and neon pink paint has been splashed around the seedy surroundings. Body parts that could be used to identify the victim (head, hands and feet) as well as the sexual organs are missing though so the detective heads off to investigate. This classic murder mystery aspect is pretty much left there other than a few glimpses in the version I saw. The film has two cuts, the original 144 minute Japanese one and a shorter international version. This 112 minute cut pretty much removes the detective story whereas the longer one retains it. Both cuts have been endorsed by Sono, so I can’t see a need to get too worked up at the UK release being shorter. In fact what little we see of the detective story is bland and fairly unnecessary in my eyes anyway so I’m actually pleased I got to see the international version.

    » Read the rest of the entry..

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