It's a shame when folks fixate on their own opinions regarding reality; oft forgetting that their own experiences and opinions are not the entirety of the real world. I point directly to this review author's assertion that no ten year old boy running around NYC is a believe tale. Yet, I did so myself and rarely found myself as alone as you might think. Yes, a lot of folks may tend to prefer to keep their kids locked away in NYC and for good reason. But, young people are not known for being overly cooperative and often do things they really should not, regardless of their parent’s attention. Secondly, does this child running all over NYC also address the notion the parent is in fact absent? Another assertion the reviewer made without regard to that being an overly obvious interpretation of the boy being unsupervised for such lengths of time. I suggest folks watch the movie and for the reviewer here to reconsider their own skill set as lacking.
For me the film was not at all about "mythologizing the mythical" - rather it was a portrait of our collective insecurities. Monroe's are well-known, disabling and inpenetrable. But everyone else's insecurities, from Olivier's to his wife's to the narrator's, get a moment in the spotlight making it clear to me how infected we all are and the only difference seems to be the degree to which we are hobbled.
Well done film all around. Clooney does a good job playing Hawaiian, and the tough crux moments of the film are well scripted, directed and acted. We get a good sense of Matt (Clooney) as a man who doesn't know what he will do with impossible questions until the moments come, and at each turn he follows the core of who he is and discovers a bit about himself. One is left with hope that through all the trials he may finally have discovered who he really is and be ready to be a real father to his daughters who previously were enigmas to him.
Really glad Meek's Cutoff got a mention! Reichardt is a burgeoning talent.
Tin Tin was probably the best animated movie in a long time
I think the bluntness and bombast in Melancholia becomes less simplistic when you consider that it's in the service of confronting nothingness.
I'm always up for a Lars von Trier film, but in general, I like my not-so-approachable filmmakers to be a little less pushy with their themes, along with their camerawork, editing and music choices.
There are certainly unforgettable images in Melancholia.
Yes, I did notice. He's not included in the BAH!
I admit it's not a terribly approachable movie, but then again neither is any Kiarostami movie I've ever seen.
Michael, my first excuse is that I hadn't seen it by deadline. But now that I have seen it, I'm still not sure I'm sold.
The person who saw it with me was *blown away*, though. And got the considerable humor in the film, too, which was mostly lost on me at the time.
I assume you noticed that Nathan Gelgud included Melancholia in his contribution to this article.
BAH to all of you who didn't put Melancholia your lists. I know it's overblown, and I know Lars von Trier made a total ass of himself in promoting it, but interleaving of emotional identification and the merger of (yes, overt and blatantly obvious) metaphorical depression with vivid depiction of actual mental illness has been resonating with me since I saw it.
find out more about real Scarlett by typing Scarlett Johansson clone in Google search bar and you would see much more then in The Island movie..
i enjoyed it. it was light and de-lightful. which proves that your critique is nothing more than...your opinion.
just back from cucalorus... it was GREAT!
Higher Ground was tremendously and subtly moving and I strongly recommend it!
I have an issue with the comment "Black men have been stealing their thunder as of late." Though I understand the point the writer was trying to make, I do believe it could have been said better. It is not black male against black female director in Hollywood, so let's be careful not to use divisive language. Hollywood was and is a male dominated industry and frankly doesn't give a damn about either black female or black male, it's about who is more marketable/profitable in the showbiz execs eyes. Spike and Tyler came to Hollywood with proven successes and THAT's what the mostly WHITE MEN running the show want to invest in.
And Kasi and Gina don't necessarily have SEVERAL films under their belt either. Two or 3 Hollywood films is hardly SEVERAL, but it's a start! The reality is in 2011 black Hollywood doesn't have to wait for Hollywood to get works seen. Look at Ava DuVernay with AFFRM and those using the internet and social media to find alternative means of distribution.
Hollywood As I Live & Work
Julie Dash is brilliant. I went to a one-day workshop of hers and was so inspired, I am now enrolled in film school. She will get more of us with which and through which to elevate the craft. Thankfully media is going the way of music and becoming directly accessible--they key is shoring up financing and retaining creative control.
This is Something to Talk about
Delete all those Petty Articles
Under the File Name: Black Women
Just read that it's coming out on DVD this month. Hope the meager bit of plot described here isn't lost; movie-makers are ignoring a HUGE vein of drama gold by not mining the impact of tobacco's death on agriculture in North Carolina. That, along with the double whammy of the fall of the cotton mill, has spawned an endless source of stories--if only the right writers would rise to the task of telling them!
Although some parts of the script could use some definite tweaking (Mortimer's character is so sweet and cliche it's sickening) I thought it was a simple, sort of funny film worth watching half-heatedly once.
September 2, The Chelsea Theater in Chapel Hill
Indy Week • 201 W. Main St., Suite 101, Durham, NC 27701 • phone 919-286-1972 • fax 919-286-4274
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