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.
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.
Oscar season kicks into high gear this week as two of the year’s most talked-about films finally open here: Gus Van Sant’s Milk and Danny Boyle’s Slumdog Millionaire.
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.
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.
Our largely uneventful summer movie season gets a kick in the ass this week with the arrival of not only one of the best films of 2009 — Kathryn Bigelow’s The Hurt Locker — but also the third annual Oxford International Film Festival (OIFF), which moves to Cincinnati this year.
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.
It seems the director behind such crass mainstream entertainments as The Rock, Armageddon, Pearl Harborand the Transformers films — the third of which, subtitled Dark of the Moon, opens today — has no shame when it comes to his particular brand of slam-bam cinema. Bay specializes in disaster movies, the kind of stories where nothing less than the entirety of civilization hangs in the balance. His CGI-driven, ADD-addled films revel in big explosions, big visual flourishes and big emotions. Subtle he is not.