Versatile special-effects maestro Shane Mahan knows his summer blockbusters — he's worked with everyone from Steven Spielberg and James Cameron to Tim Burton and Jon Favreau.
"They are the best communicators, and I think they’re also the best visionaries,” Mahan says.
Mahan is something of a visionary himself.
The Room —a low-budget indie melodrama about a love triangle between a “successful banker,” his “beautiful blonde fiance” and his “independent best friend” written, directed and starring aspiring filmmaker Tommy Wiseau — has been called everything from the worst film ever made to the Citizen Kaneof bad movies. I've yet to experience it, but the film’s trailer brings to mind an overripe episode of Guiding Lightwith the production values and acting prowess of a late-night Cinemax C movie. (Curious side note: On the film's poster, Wiseau looks strikingly similar to Gene Simmons. Coincidence, or kismet?)
Hearing the police knock on your door never gives anyone the warm fuzzies. It’s nerve-wracking. But imagine opening your door to a police officer who’s come to take away a member of your family. They’ll be locked in confinement until a) you can permanently relocate him or her, or b) time runs out and your loved one is killed.
That’s been the harsh reality for many pit bull owners in breed-discriminatory cities, as depicted in Beyond the Myth: A Film About Pit Bulls and Breed Discrimination by filmmaker Libby R. Sherrill.
The key word there is “good,” an adjective that doesn't often describe modern summer movies, most of which are lowest-common-denominator products laden with special effects instead of interesting characters. We're now lucky if one or two transcend mediocrity each summer — last year Toy Story 3 and Inception were the big exceptions.
Once upon a time people would go to grandiose, darkened theaters to watch images projected on large screens via illuminated strips of film.
Those days are all but over.
Initially altered by the late-’70s advent of platter projection — not to mention that same era's movie-magic-eroding advent of cable TV and home-video players — film culture is now going through a sea change as theaters of every stripe move to digital projection, a turnabout that has had more of an impact than might meet the eye.
Ever wonder what happened to the kid who played Chunk in The Goonies?
Wonder no more.
Terrence Malick's Tree of Life is coming. Or is it?
Like everything the acclaimed 68-year-old filmmaker does, Malick's latest — just his fifth film in 38 years — has gone through a mysterious gestation, changing release dates and distributors numerous times (it was originally slated for a Dec. 25, 2009, release) while simultaneously revealing little about its contents.
It looks like the wait is finally over: I received a package from its current distributor, Fox Searchlight, a few days ago that contained the film's poster and a brief, one-sheet press release announcing that Tree of Life will open in select theaters on May 27.
It's been 15 years since the original Scream bewitched audiences who grew up with decades of B-movie horror films on late-night TV, at drive-ins and via the then-still-burgeoning home-video market.
Just in time to align nicely with our annual Green Issue comes the Do Something Reel Film Festival, which is described as a “collection of six provocative, character-driven films focused on passionate people making a world of difference.” Presented by Whole Foods Market in conjunction with and in celebration of Earth Month, the traveling festival will hit more than 70 cities through April, including our own Esquire Theatre tomorrow through April 21.
In a cinematic turn of events akin to a cicada uprising (especially given our slim pickings in recent months), this week delivers no less than 10 new releases that span a number of genres, topics and stylistic approaches.
Better yet, several are actually (or look) worthwhile, headlined by a trio of smaller, character-driven films: Cary Fukunaga's Jane Eyre, Xavier Beauvios' Cannes-approved Of Gods and Men and Tom McCarthy's Win Win.