Emilio Estevez has been making movies nearly as far back as I can remember going to movies.
My first memories of Estevez date back to 1983's The Outsiders, in which he was but one of many young actor dudes (including but not limited toTom Cruise, Patrick Swayze, Rob Lowe and Matt Dillon) to grace Francis Ford Coppola's slick, black-and-white adaptation of S.E. Hinton's novel. That was followed by Alex Cox's Repo Man, which I wouldn't see until several years after its 1984 theatrical release (when I was old enough to rent it for myself) and which probably stands, at this late date, as the best film with which Estevez has ever been associated.
Joaquin Phoenix told an E! reporter at a recent red-carpet Hollywood event, “This will be my last performance as an actor. I’m not doing films anymore … I’m going to play music.
New Cincinnati Film Festival (CFF) Director of Programming Brandon Harris isn't shy about pimping the quality of his choices for this year's fest: “This represents the most ambitious and internationally acclaimed program of films ever screened in Cincinnati.”
Spike Jonze is a curious case.
Born into the Spiegel mail-order catalog fortune (his given name is Adam Spiegel), the teenage Jonze found solace in the skateboard/BMX bike culture of the 1980s. A DIY-bred autodidact with an oddball sense of humor, Jonze’s filmmaking “career” kick-started with a series of crafty skateboard videos that caught the attention of the Beastie Boys, who eventually recruited him to direct their playful, refreshingly lo-fi video for 1994’s “Sabotage.”
A series of inventive music videos followed, all of which were informed by Jonze’s boundless imagination and complete indifference to the flashy, jump-cut-laden techniques that flooded other MTV fare.
The 2009 Independent Spirit Awards were unveiled yesterday. And while the Academy Awards' more adventurous little brother has been leaning toward higher-profile specialty films in recent years (like Juno and Little Miss Sunshine), the ’09 batch hearkens back to the awards’ early days when ultra-low-budget indies ruled the scene.
What’s up with this supposedly scary movie called Paranormal Activity?
Paramount Pictures, the film’s distributor, has been sending me e-mail press releases with big, bold-faced titles like “More Than 230,000 Fans “Demand” Paranormal Activity" and "Fans Spur the Film’s Opening in Twenty Additional Cities Across the Country” and “Paranormal Activity Sells Out Midnight Screenings Across the Country.”
Did anyone else see baby-faced Facebook founder/CEO Mark Zuckerberg on 60 Minutes the other night? The 26-year-old multi-billionaire told interviewer Leslie Stahl that, after initially vowing that he would never see David Fincher's Facebook origin story, The Social Network, he took the entire company to check out the film the day it opened in theaters.
I guess there’s nothing wrong with wishful thinking.
I bought my ticket for the 6:30 p.m. Friday film Official Rejection at Oxford International Film Festival — being held on short notice at the Esquire Theatre in Clifton — 90 minutes early because the volunteer at the information booth warned me it would be one of the better-attended movies. I then watched the clock as a friend and I had dinner nearby, wanting to be sure we got there in time for a good seat.
It's already November? It seems like it just yesterday that The Hurt Locker took home a surprising (and much deserved) Best Picture win. We're now entering the stretch drive of the fall movie season, a period laden with the big studios' “prestige” films — those they believe have the best chance to grab awards love (thus bigger box-office numbers and the media attention that follows), none more important than that shown by the Academy.
A fine last-minute option for the movie buff on your Christmas list, the fifth edition of David Thomson’s The New Biographical Dictionary of Film was published in late October. I finally got around to cracking it open this week … and I’ve yet to close it. Thomson’s 1,076-page tome is as addictive as ever, bound to keep one engrossed as they move from entries that have appeared in every edition since the first, in 1975, to new and/or updated capsules on those who’ve emerged since his most recent edition in 2004.