Film fans on Twitter have known for a few weeks now that Steven Soderbergh has what he calls “sort of a shadow name” where he’s “posted a few things” on the social networking site; over the past 24 hours, that feed got a lot busier, as Soderbergh (under the unverified handle @bitchuation) started tweeting a novella. Semi-anonymous or not (and even if confining his tweets to novellas and absurd observations), Soderbergh joins a growing body of terrific filmmakers using the medium for film conversation, self-promotion, and peeks behind the curtain. Flavorwire rounded up some favorites back in 2010, but three years is an eternity in Twitter time, so here are a few more recommendations to add to your “following” list. … Read More
2012’s finest films reflected ambition, risk, and advocacy. They boldly redrew the maps of genre, freshly examined the creative process, and dared us to contemplate our own mortality. And, in more traditional terms, they made us laugh, and cry, and feel alive. These are the best films of… Read More
What gets your attention first about Rian Johnson’s Looper is its speed — on a basic level, it’s just a very fast movie, the text, cuts, and exposition coming at the audience hard and sharp. That pace is established in its opening scene, in which its hero (Joseph Gordon-Levitt) stands in a field, checks his watch, takes out his earbuds, and waits. The second a hooded body magically appears in front of him, he blows the poor soul away. Boom, cut, next scene.
Looper is a movie that wears its jazzy, ebullient style on its sleeve. Writer/director Johnson, who previously crafted the smashing Brick and the enchanting Brothers Bloom, is one of our giddier filmmakers — he’s intoxicated with the sheer act of movie making, and his enthusiasm is infectious. But he’s also got a magician’s gift for diversion; in retrospect, one of the most remarkable things about Looper is how it starts as one movie, and then slyly transforms itself into something else entirely. … Read More