Zitat des Tages von Elvis Mitchell:
The stoic drama 'A Somewhat Gentle Man' is photographed in a palate of steel gray tones that match Stellan Skarsgard's complexion. It's a low-blood-pressure version of the kind of thing James M. Cain used to do in his sleep, and its filmmaking accomplishment is as minimalist as its narrative ambition is minimal.
Like his countryman, Kiefer Sutherland, Seth Rogen has a voice that's 10 years older than he is - a combination of world-weariness and exuberance, an instrument that he's mastered for specific comic shadings.
When Bruce Lee gets his cameo in 'The Green Hornet' - as one of the drawings in Kato's notebook - it clarifies what the film is: an unrealized sketch. A sketch can afford to allude to a point of view. Moviemakers need to show their point of view, something this shrug of a movie never gets around to doing.
The idea of Seth Rogen as the Green Hornet so inflaming the fanboy community is amusing, since that group's 20/50 vision also had it tsking its disapproval about Michael Keaton as Batman and Robert Downey Jr. as Iron Man.
Inarritu's films focus on the repercussions of a single act that draws people together and simultaneously throws their lives into chaos.
We do want to be diverted and be interested and be provoked by popular culture - by art, if we're lucky. And it's amazing how often people have lost sight of this.
The Comedy of Emasculation that Judd Apatow and his disciples have made into a separate economy was invented by the Farrelly brothers, 'Kingpin' being the strongest version of that.
Performance art is really more of a command than an invitation.
For years, Ono's work - musical and otherwise - was, in large part, dismissed and derided; at best, it was often misunderstood.
I'm honored to be asked by Stephanie Allain - whom I've long admired - to add to the scope of my programming purview at Film Independent. I salute David Ansen for his work with the festival and look forward to continuing to follow his example.
'The Third Man,' directed by Carol Reed and written by Graham Greene, is, quite simply, one of the finest movies ever made.
I dress well. I travel; I seem to be relatively glamorous for a film guy - which, to me, is like being the fastest midget in the circus.
Tina Fey, a performer and head writer for 'Saturday Night Live,' has deftly adapted Rosalind Wiseman's nonfiction dissection of teenage girl societal interaction, 'Queen Bees and Wannabes: Helping Your Daughter Survive Cliques, Gossip, Boyfriends and Other Realities of Adolescence.'
'Man is an endangered species,' announces one of the titles at the beginning of the sci-fi lump 'Battlefield Earth.' And after about 20 minutes of this amateurish picture, extinction doesn't seem like such a bad idea.
Music is a big part of the director's life; Ms. Coppola's previous feature, a screen adaptation of 'The Virgin Suicides,' was informed more substantially by the score by the group Air than by the narrative.
I want to expand and not ignore the late 20th-century additions to filmed entertainment.
'Eight-Legged Freaks' runs out of gas scarily fast - its one-joke premise lends itself more to a short than a feature.
The film's star, Eminem, doesn't appear to have a great deal of range, but he can play himself. Even though the protagonist is named Jimmy Smith, the thoughtful '8 Mile' is a raw version of the rapper's own story.
Some people bring their work home with them. You might suppose that Sid Mashburn is one of those guys - the man was born with a name so brand-ready he basically had to become an entrepreneur.
Stewart's interest in serious acting gives her something in common with Theron - and, like Theron, some of her most provocative work has come through working with women.
In his very first film, Mr. Gonzalez Inarritu makes the kind of journey some directors don't - or can't - travel in an entire career.
The Ebert thing just didn't work out. We just couldn't, like, come to an agreement. And 'Movieline', they obviously didn't want me, because they fired me.
One of the best things Gwyneth Paltrow has done in years was her mesmerized, good-sport cameo in a 'Pootie' sketch, when she was melted over him like butter on an English muffin.
You know what? As a black person, you see so much racism. Films are no different than the government, politics - it's everywhere. It's not exclusively film. It's infuriating to see it in film. But my being in film changes things.
The documentary 'Certifiably Jonathan' has engrossing moments in it. How can it not? It's got a great subject - the extraordinarily voluble comedian Jonathan Winters, whose constant rush of words can be like a blizzard: beautiful, maddening, exhausting, and finally beautiful again. But it's not a great film.
The road back from degradation begins with self-awareness - and sometimes, as in 'Phone Booth,' change can begin with a single phone call.
It's true that a smile can take years off a person - not that such a thing matters in Yoko Ono's case.
In 'Training Day,' Mr. Washington's dry-ice grandeur - the predator's reflexes contrasting with a pensive mouth - deserves regard, and his powerhouse virtuosity will almost guarantee him an Oscar nomination.
In period films, it always helps to have someone built to carry a sword, and Channing Tatum clearly hasn't missed a workout for the past two years, so he fits the bill in that regard.
LACMA has the imprimatur of art, and that's a big leg up.
With his compulsively slamming lyrics and king-of-the-world delivery, DMX intuitively echoes the existentialism of the projects of the novelist Donald Goines.
If Mr. Chan ever makes another movie like 'The Tuxedo,' it's American audiences that will see him in court. With 'Shanghai Knights,' he has come through with one of his best. This time, it's personable.
My first paying job in Los Angeles was taking tickets at the Bing under Ron Haver.
I love the Museum of the Moving Image, and I like the idea of bringing artifacts of the cinema into a museum.
If somebody wants to attack my work, that's one thing - that, I'll respond to.
The action comedy 'Pirates of the Caribbean: Curse of the Black Pearl' raises one of the most overlooked and important cinematic questions of our time: Can a movie maintain the dramatic integrity of a theme park ride?
