When is a Steven Soderbergh movie not a Steven Soderbergh movie? That’s the question asked by Magic Mike XXL, the new sequel to Soderbergh’s 2012 hit and the first film in which he’s been a major player since his “retirement” the following year.
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This Friday, just like the first weekend of every May since 2007, a new movie based on a Marvel comic book will open in thousands of theaters across the country, will make all the money, and will serve as the official starter pistol for summer movie season. And for many a seasoned moviegoer, that’s a cue for despair; after all, summer has become synonymous with big, bloated, stupid blockbusters of the Transformers school. And make no mistake, there’s plenty of those on the runway this season (how ya doin’, Terminator Genisys, it’s pretty funny that you’re actually going with that spelling). But don’t go into cinematic hibernation just yet; there’s also a steady stream of first-rate indie-flick counterprogramming on the runway, and some of the big movies actually sound pretty good. So, as a public service to you, the discerning moviegoer, we’ve assembled a month-by-month look at what might actually be worth your time and… Read More
Flavorwire Interview: Ava DuVernay on ‘Selma,’ ‘The Interview’ Controversy, and Her Addiction to ‘The Knick’
Considering that she just put the finishing touches on the year’s best film, is busy preparing for its Christmas Day release, and is gearing up for an Oscar campaign, I’m a little stunned Ava DuVernay, director of Selma, has time to eat or sleep, much less put aside 20 minutes to talk about movies and geek out about TV. But the brilliant filmmaker — who started in the film business as a publicist before breaking out as a director with the marvelous 2012 indie Middle of Nowhere — carved out some time for this lively discussion of Selma, Ferguson, Dr. King, diversity in Hollywood, the holiday season’s other hot-topic political movie, and why she’s doing TV next.
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Earlier this year, John Waters — whose last movie, A Dirty Shame, was released a full decade ago — finally got the offer he’d been waiting for all this time. According to his hitchhiking chronicle Carsick, his very first driver was “Harris,” “an art school type” with a sideline in weed dealing who called himself a fan. They talked for a bit about movies before Harris asked the (five) million-dollar question: “How come you aren’t making a movie?”
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Amazon’s latest crowd-sourced pilot season has come to a near-close, and customer reviews decided that coming-of-age show Red Oaks and drama Hand… Read More
As you may have heard, David Fincher’s terrific adaptation of Gillian Flynn’s bestseller Gone Girl premiered last weekend at the New York Film Festival. So your film editor was perusing some of the coverage of that premiere, like ya do, when I came upon Anne Thompson’s analysis of the “Three Reasons to Worry About Gone Girl.” She mostly examines the film’s chances at box office success and Oscar gold (ugh), but this is the line that jumped out at me: “Fincher was being typically controlling during the press conference, exhorting the press to hide Gone Girl plot spoilers — while the bestseller is still flying off bookshelves — and refusing to allow anyone to record the NYFF press conference.” It’s not often that you see three consecutive inaccuracies in the same sentence, but that’s what happens when you have to conform your facts to a preexisting narrative — in this case, that Fincher is some sort of cruel, demented control freak. It’s a narrative that’s been floating around for a while now, and the more you think about it, the sillier it is.
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