It's been interesting watching British critics dance around Danny Boyle's "Trance" (which opened in the UK last week, and hits US screens tomorrow), squaring the film's superficial genre pleasures with the director's unlikely new status as a national treasure. Boyle has, of course, been regarded with affection for some time now, both at home and abroad, but in the last five years, his career has taken a turn for the prestigious that wasn't easily seen coming.
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A review of tonight's "New Girl" coming up just as soon as I shoot up a bear with Hep C...
A quick review of tonight's "Community" coming up just as soon as I'm in an all-girl kazoo band...
A review of tonight's "Parks and Recreation" coming up just as soon as I know how many pounds of money I have...
Last night, I published my review of another terrific episode of "The Americans" that had a particularly memorable final shot (no spoilers). Then the commenters began expressing their confusion — and anger — because their DVR recordings had cut off at an earlier, more mild moment in the final scene.
When I first heard about the casting for Kimberly Pierce's "Carrie," I thought she was making a mistake.
Don't get me wrong. I think Chloe Grace Moretz is very talented. The problem seemed to me to be that Moretz is someone who projects a self-confidence and a natural strength that makes her a tough fit for Carrie White, who is so insecure she's practically transparent. In the movie "Let Me In," it is young Kodi Smit-McPhee who plays the weak one, and Moretz is the stronger friend who teaches him how to take some control over his life. As Hit Girl, Moretz is a deadly little whirling dervish, afraid of nothing.
When I was on the set of "Kick-Ass 2" in November of last year, Moretz had just come off of this experience, and she was still mulling over the experience. She is almost always accompanied by her brother Trevor, her acting coach, and her mother, and the two of them talked candidly with me about how hard a project "Carrie" turned out to be and what an emotional experience it was. They seemed to feel that it was a very difficult thing to get right, and that Kimberly Pierce had, at the very least, a clear idea of why she wanted to tell the story again and how that story might be relevant to kids dealing with a modern type of bullying.
Whether or not I believe Lorraine Warren is not the point.
This past weekend, I moderated a panel at WonderCon that previewed both "Pacific Rim" and "The Conjuring," and when I first spoke to Warner Bros. about doing that, they mention that there was a chance Lorraine Warren would be part of the panel. Growing up in the '70s, I was aware of her name because of her involvement with the investigation around "The Amityville Horror," and I remember hearing her name-checked as a partial inspiration for the Beatrice Straight character in "Poltergeist" as well.
Last year, I saw a documentary called "My Amityville Horror" that looks at the adult life of Daniel Lutz, the youngest kid from the family that was the focus of the famous story. He's grown up with people always knowing that about him, and it's obviously left a very deep mark on who he is as a man. Lutz struck me as a clenched fist, a guy who is angry and sad and frustrated and unable to fix himself, and part of the issues that define his life deal with the way people perceive him.
It seems like a good night for a Judges' Save, doesn't it?
I could be wrong, but I've got a feeling.
Otherwise, it's going to be a full hour just to watch Casey James [Remember him?] and bid farewell to Lazaro Arbos, which would almost be anti-climactic, wouldn't it?
Click through for the full "Idol" Thursday (April 4) adventure...
I always found that my taste tended to line up quite a bit with Roger Ebert's, particularly when it came to our favorite movies of all time. His list of 10 best ever overlapped with mine in three instances, while other films he loved -- such as "Aguirre, the Wrath of God" -- were certainly among those I held sacred.
With the unfortunate news of his passing this afternoon, I thought I'd go back and read his thoughts on the films that popped up on my list, which I published for the first time last May. Many of them were a part of his "Great Films" series and soaking up his insight seemed like the best way to remember him today. Check out blurbs on each, linked to his respective pieces, below.
When the news landed two days ago that a meeting of the entire AMPAS membership had been scheduled in May, with "the future of the Academy" as its theme, Kris speculated that it likely wasn't as dramatic as it sounds. "One should not expect major issues like the number of Best Picture nominees or the Academy's calendar to be on the table in any significant way," he reminded us. "Those decisions are left to the elected Board of Governors."
After threatening to pull out of Indio last year over raised fees, Coachella promoters Golden Voice have now agreed to a deal with the California city that could keep both Coachella and its sister festival Stagecoach on Indio’s Empire Polo Grounds through 2030.
As part of the deal, according to the Los Angeles Times, AEG subsidiary Golden Voice will more than double the city’s share of per-ticket revenue starting next year, when it will leap from $2.33 per ticket to $5.01 per ticket.
Goldenvoice’s proposal, which was unanimously accepted by Indio’s Planning Commission, includes the plan to expand the current three weekends of festivals (two Coachella and one for Stagecoach) to five if Goldenvoice wishes to. If they are added, the two additional festivals would happen in the fall.
Coachella has been held on the Empire Polo Grounds since it started in 1999. It expanded to two weekends last year. Stagecoach rolled into town in 2007.
The three festivals brought in $89.1 million in 2012 to the local economy according to the Direct Management Group,
Was it really eleven years ago?
I don't spend much time on jealousy when it comes to the world of film-related events because I am aware that I have been blessed with dozens of amazing experiences that other people would want to have. There's one particular experience that I have kept as a personal memory until now, and I feel like if there's ever going to be a "right" moment to share it, this is it.
I'm sure you'll read many pieces today about Roger Ebert and what he meant to film criticism. I know that he was one of the first two people who helped me understand that films were more than just stories but actual art worth engaging on a deeper level. I first saw "Sneak Previews," his old-school PBS show, when I was seven, and I remember watching clips from John Carpenter's "Halloween" as Gene and Roger discussed the film and being positively terrified just at that glimpse of Michael Myers. While Roger and Gene remained part of my critical diet as I grew more and more interested in film, they were not the only critics I listened to or liked, and as time passed and their show continued to change, it became less essential to me as a viewer. Part of that was because I started to realize how often I disagreed with the two of them, and at a certain point in my younger life, I thought you were supposed to read critics you agreed with, a belief I thankfully no longer hold.