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.
As we head into the post-awards, pre-summer period known as The Dead Zone (see Legion, The Spy Next Door, The Tooth Fairy, as well as a dumpster-load of upcoming titles), the 2010 Jewish & Israeli Film Festival should be an oasis for filmgoers seeking fare that strays from Hollywood formula. And while the festival obviously centers on films that fall in line with its namesake, viewers of any faith or nationality are likely to appreciate and enjoy its humanist-leaning, character-driven offerings.
The New York Times published a story Aug. 21 that attempted to dissect why so many established movie stars have failed generate their once-golden numbers at the box office this summer.
Among those mentioned were Denzel Washington (The Taking of Pelham 1 2 3), Eddie Murphy (Imagine That), Will Ferrell (Land of the Lost) and Tom Hanks (Angels and Demons).
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.)
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.
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.
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 Harry Potter movie series comes to a close this week with the release of Harry Potter and the Deathly Hallows: Part 2, which, if I'm not mistaken, represents the eighth movie adaptation of J.K. Rowling's wildly successful book series.
I confess: I've never watched a Harry Potter movie. I've caught a few minutes here and there on HBO or at a friend's or family member's house, but for some reason I've never been compelled enough to sit down and take in the entirety of even one of the series' movies.
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.”