The Sundance Film Festival announced its 2011 lineup today. The festival, which invades the small ski-resort town of Park City, Utah, Jan. 20-30, will include 115 films from 28 different countries. Befitting a fest known for its nurturing of fresh talent (40 of the 115 are from first-time filmmakers), the 32 films in the U.S. Dramatic and Documentary (16 in each category) include a bunch of new names as well as a few familiar faces.
Back in August of last year, Paramount Pictures announced that it was moving Martin Scorsese’s Shutter Island, the anticipated follow-up to the director’s Oscar-winning The Departed, from an Oct. 2 release date to February 2010. The move was perplexing for a variety of reasons, the most obvious of which was the presence of an Oscar-bait director like Scorsese and an equally lauded A-list actor like Leonardo DiCaprio. Such a shift — especially one that moves a film from the fall awards season to the Land of Misfit Movies known as February — is typically a sign that it’s expected to disappoint for one reason or another.
Underneath Cincinnati has undergone a number of behind-the-scenes changes in its 10 years of existence (members of the Southern Ohio Film Association now guide it), but its mission has largely remained the same — to showcase and support area independent filmmakers.
What's up with all the 1980s love currently spilling out of multiplexes?
Sure, Hollywood and marketers of all sorts have long mined nostalgia as a powerful enticement tool in the marketplace. But is 20 years enough time to generate sufficient yearning for a period whose mainstream culture is best represented by the rise of stupid action movies and/or creatively bankrupt sequels (see the career of Sylvester Stallone for examples of both), acutely disposable Pop music (see everything from Hair Metal to Milli Vanilli), ludicrous clothes (see Miami Vice) and the presence of a two-term president whose nefarious policies laid the groundwork for our current economic meltdown?
The amusing, curiously lo-fi comedic diversion known as Hot Tub Time Machine revisits a moment in time not known for its significant cultural contributions (especially on a mainstream level). Who better, then, to appear in a movie that looks back with a nostalgic eye to the 1980s than Crispin Glover, one of the great, under-appreciated oddballs of that or any era?
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.
In 2008 there was Definitely, Maybe. Last year, there were Confessions of a Shopoholic. And now, with only six days left before Valentine’s Day is actually upon us, a movie baring the same name is set to hit theaters.
Valentine’s Day, this year’s most blatant bid for romantically charged girls to drag their boyfriends down to the theater, and spend gobs of money to found out whether or not Ashton Kutcher, Julia Roberts, and a fistful of other stars will live happily ever after. For anyone with a remotely decent sense of cinematic taste, this would be something to avoid. And yet, in the deep recesses of my otherwise logical brain, there lives a tiny little blob of girly power that screams, “Go see this movie!”
A teaser trailer of Quentin Tarantino’s Inglourious Basterds, which is still in production, has made its way to cyberspace. It’s being billed as his ensemble war flick/spaghetti western, and if the tone of this teaser is any indication, look for Basterds to lean toward the genre-pillaging frivolity of Death Proof and the Kill Bill films. (Personally, I was hoping for a return to Tarantino’s more emotionally satisfying heyday, especially the underrated Jackie Brown.)
The post-holiday/awards season dumping ground is upon us — just two films hit theaters this week, neither of which are likely to pique the interest of more discerning moviegoers.
What does it say when Golden Globes’ host Ricky Gervais is getting more post-show attention than the night’s winners (or January Jones’ gravity-defying dress)? Sure, Gervais’ sharp-tongued shots at various targets — from the easy (Charlie Sheen, Robert Downey Jr. and Mel Gibson) to the slightly less so (Steve Carell, Tim Allen and God) — were often insensitive and sometimes crass, but none of them were necessarily untruthful or even far from what most viewers would say about each recipient.