Schrader has had a long and often tumultuous career in movies. The 67-year-old
Michigan native began his obsession with cinema as a critic in the early 1970s,
one of the most creatively fertile periods in American movie history.
A few times each year, certain films
challenge me on a deeper, primal level. They rattle the critical cage,
issuing a call that necessitates a response from more than the safe
sanctity of the intellect. They demand a blood offering from the heart.
With certain directors, every new release
takes us back to the first time we experienced their work. We remember
the visceral thrills, the powerful sensuality or the intellectual
austerity that captivated us and we want relive those sensations, which
means we set the bar at a level so high that only a talented few can
The Way, Way Back starts right off
with that signature scene from the trailers. Duncan (Liam James), a
slightly awkward 14-year-old, sits in the back of an old station wagon
that belongs to Trent (Steve Carell), the new boyfriend of his mother
Pam (Toni Collette).
Director Lee Daniels (Precious)
finds himself in a most curious position less than two months from the
release of his new film, a historic drama detailing the life of Eugene
Allen (here known as Cecil Gaines and played by Academy Award winner
Forest Whitaker), a quiet Everyman who served eight presidents during
his time as a butler in the White House
There is much drama at the heart of
biblical relationships, but most modern translations resort to soap
melodrama, the absurd and tasteless that has now become commonplace in
our reality-based culture.
Pumpkin Productions, the moniker chosen by CityBeat
contributing arts editor Steven Rosen, has teamed up with co-sponsor
Cincinnati Film Society to present a three-day Mindbenders series, which
will screen at the Art Academy of Cincinnati.
If the apocalypse is nigh, then it would
seem that there’s no better place to be than James Franco’s house, where
everybody parties like it’s 1999 (and I wish they had actually dropped
that track into the mix). By everybody, I mean Seth Rogen, Jay Baruchel,
Jonah Hill, Danny McBride, Craig Robinson and, of course, Franco
playing alternate versions of themselves.
Something didn’t feel right. After taking in a recent screening of Baz Luhrmann’s The Great Gatsby, I walked out of the theater feeling … off. I was simultaneously anxious, depressed, energized and a little jittery.
The Contemporary Arts Center, through its 2013 Summer Performance Series in “The Living Room” of The Living Room exhibition, kicks off the season with a fascinating performance, Screenage Wasteland,
from Jim Swill, an artist known for his spoken word riffs, short films
and collage work.
The story of Richard Kuklinski (portrayed
here by Michael Shannon) is one of those true crime tales that you
simply can’t believe. It’s too crazy to be true, but it also has that
“made for the movies” vibe.
The year is 1915 and France is caught up
in World War I. Young men are on the front lines where injuries and
death abound, but a sense of duty and responsibility inspires more to
join the ranks and, those who can convalesce quickly, to return to the
front as soon as possible.
You’ve got to say this for Eli Roth: Like
his filmmaking brother-in-arms Quentin Tarantino, he’s got spools of
film instead of veins with blood keeping his heart a-beating, and he’s a
genre geek deep in the marrow of his bones.