Oscar nominations for the yearly industry wankfest known as Academy Awards were announced on Feb. 2. As expected, James Cameron’s Avatar and Kathryn Bigelow’s The Hurt Locker did well: Each yielded nine nominations, including nods for Best Picture and Best Director. (Curious side-note: Bigelow and Cameron were once married; for the record, she made the better film.)
A pair of worthwhile documentaries that got criminally brief local theatrical runs hit the street this week via DVD/Blu-ray. Each is a nice stay-at-home viewing option on a crappy, rain-infested day like today.
Enter John Cooper, who took over as director in 2010, and who is intent on moving the festival back to its artist-driven roots. Cooper's efforts seem to be paying off, as Sundance 2011 unveiled a diverse, interesting crop of films, some of which are actually getting distribution and coming to a theater near you.
What's up with the rush of interesting documentaries in recent weeks? On second thought, make the years.
Many have called this the golden age of documentaries ever since Errol Morris and, to a larger extent, Michael Moore broke through and had relatively robust box-office and critical success in the late 1980s, cresting with the unprecedented frenzy that surrounded Moore's Fahrenheit 9/11 and continuing with Davis Guggenheim's An Inconvenient Truth, March of the Penguins and a flood of other unique contributions to the genre.
More recently, the last few weeks alone have given us such diverse docs as Catfish, Restrepo, I'm Still Here, Guggenheim's Waiting for Superman and even Jackass 3D, all of which are presented via different perspectives and techniques that challenge what a documentary is and should do.
After several days of technological dissonance, I've finally gained access to our blog. The logistical reasons for said dissonance are far too tedious to recount here, so I'll get right to it: I've seen 10 films over the last 60 hours, some good, some OK and none less than interesting.
Oscar nominations were announced this morning. At first glance, I have to admit that this year’s batch seems uncommonly competent.
The 10 Best Picture nominees are all worthwhile in one way or another, and four of them actually made my top 10 of 2010: The Social Network, Toy Story 3, True Grit and Winter’s Bone. See, I told you they were competent.
The screen fills with a close-up of a military-issued boot marching along. Its owner, a grizzled and scarred commander, bellows, “You ain't in Kansas anymore.” So begins the preview footage of Avatar, the long-awaited and much ballyhooed sci-fi epic from James Cameron.
It's the filmmaker's first full-length feature project since Titanic made him the self-proclaimed “King of the World.”
In advance of Tuesday's DVD release of All Together Now, a documentary about how Cirque du Soleil collaborated with The Beatles and their surviving families to create the hit Las Vegas show Love, there will be a one-night-only national theatrical screening on Monday, Oct. 20.
The film features new interviews with Paul McCartney, Ringo Starr, Yoko Ono and Olivia Harrison as it chronicles the creation of the show. It presents the re-worked Beatles songs in an advanced stereo sound mix, as well as Cirque du Soleil performances.
All Together Now will screen at 5, 7 and 9 p.m. at Pierce Point Cinema 10, 1255 West Ohio Pike in Amelia, and at 7:30 p.m. at the Rave Motion Picture Theater, 9415 Civic Center Blvd., West Chester.
As is the case every year, the big studios use the first quarter as a dumping ground for its duds, movies that for one reason or another they think are unlikely to generate much interest in an audience whose expectations are already diminished. Still, this year's list of dumpster dwellers seems even more robust than usual. On the other end of the spectrum, I can think of only two studio films to this point that have transcended the mediocre: Paul Feig's Bridesmaids and Duncan Jones' Source Code, both of which tweak genre conventions in slightly unexpected ways.