With what is likely to be the summer’s biggest box-office splash (Michael Bay’s latest Transformers outing), high-profile drama (Michael Mann’s Johnny Depp-led Public Enemies) and satirical (and likely controversial) comedy (Sacha Baron Cohen’s Bruno) looming in the near future, we actually have a solid collection of new releases this week, led by a pair of art-house gems and what looks to be a surprisingly effective romantic comedy.
There's no denying that the Guild had a tough job in narrowing the field — it was another stellar year for the ever-evolving genre — but only two of the final five would have made my list: Inside Job (read my interview with Ferguson here) and Client 9, both of which appeared on my top 10 list of 2010 films.
The final episode of At the Movies aired last weekend, marking the end of an era that began more than 30 years ago.
Featuring a pair of geeky Chicago-based film critics — Roger Ebert from The Sun-Times and The Tribune's Gene Siskel — the long-running show debuted as Sneak Previews in 1975 before switching to At the Movies in 1977. The premise was simple: two people talking about that week's releases with passion, intelligence, wit and personality.
I know we’re in the midst of an economic recession not seen since before The Wizard of Oz — but we only have one Hollywood studio release this week? And the one is 2012, the latest effects-driven, apocalyptic nonsense from Roland Emmerich?
In an obvious stroke of marketing synchronicity, it’s no coincidence that James Franco’s and Anne Hathaway’s recent films are being released on DVD/Blu-ray this week, just a few days after the duo hosted Hollywood’s biggest yearly extravaganza of pomp and self-congratulation.
By now I typically unveil my favorite movies from the first half of the year. Yet looking back on the first six months of 2010, only two films —Lee Unkrich's Toy Story 3 and Banksy's Exit Through the Gift Shop —have discerned themselves as unqualified contenders to make my year-end list.
The Tournees Festival of New French Films returns to Northern Kentucky University each Wednesday (at 3:30 p.m.) and Thursday (at 7 p.m.) through April 28. Sponsored by the French American Cultural Exchange and nurtured to the area by Dr. John Alberti, director of NKU's cinema studies program, the fest opens this week with Philippe Lioret's Welcome, which is described as “both a study of budding friendship and a compassionate look at the perils faced by illegal immigrants.”
Peter Biskind — a former Premiere magazine editor and longtime journalist who wrote the fascinating, endlessly entertaining book about the 1970s American movie scene, Easy Riders, Raging Bulls — recently published a biography called Star: How Warren Beatty Seduced America.
I’ve yet to read the book, which, among other things, apparently tells us that Beatty might have slept with more than 12,775 woman — a number that doesn’t include “daytime quickies, drive-by blowjobs, casual gropings, stolen kisses and so on.”
A pair of new books centering on film critic Pauline Kael — The Library of America's lavishly rendered The Age of Movies: Selected Writings of Pauline Kael and Brian Kellow's incisive biography Pauline Kael: A Life in the Dark — have resulted in an avalanche of recent Kael appraisals and reminiscences a decade after her death in 2001 and 20 years after her retirement from writing in 1991.
I can't quite remember when I became aware of Kael, but it had to be in my late teens, which is when I began to move beyond the Hollywood blockbusters of my youth and into deeper, more adventurous cinematic waters. I do know that my initial Kael exposure occurred after she had retired from The New Yorker, where she rather famously wrote film essays and reviews for nearly 25 years.