the Blogs
Variety Takes a Hatchet to Warner Bros.
Greta's New Wave: 'Frances Ha'
Cannes Review: 'The Congress'
Cannes: Critics to Follow on Twitter
Marvel Phase 3 Updates
10 Movies Booed At Cannesrecent Posts
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Thompson on Hollywood0 comments
Top Ten Trailers of the Week
Visible Measures tracks the most-watched online film trailers each week. They chart unreleased films that are within ten weeks of general release. More often than not, the most-watched trailers measure audience interest in movies most likely to succeed.
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Thompson on Hollywood0 comments
Penn and Teller Go to the Bees
Horrifying YouTube clip of Penn and Teller unleashing hordes of stinging, real bees. The cameraman is protected. They are not.
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THE BACK ROW MANIFESTO by Tom Hall0 comments
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Thompson on Hollywood0 comments
Ortenberg Leaving Weinsteins
Tom Ortenberg has left the Weinstein Co. eight months after he joined them. The Weinsteins gave the story to Deadline Hollywood Daily.
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Jared Moshé's Blog0 comments
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Enzian Theater0 comments
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REVERSEBLOG: the reverse shot blog0 comments
NYFF: Wild Grass
In a time of much-discussed uncertainty and change within American independent film, the New York Film Festival—an annual showcase of, more often than not, the greatest works of the previous year stemming from industries abroad—arrives, government subsidies and cultural support organizations in tow, like a two-week finger in the eye of its hometown scene. As usual, when the schedule was announced, the rising class of New York film insiders decried the program’s highbrow Cannes-heavy slant, ignoring entirely the obvious fact that most New Yorkers don’t actually go to France to see movies, and, further, that they might actually enjoy the opportunity to watch not just any movies (see: the Tribeca Film Festival) but a group of works intensely curated by a respected cultural institution with a, yes, ideologically Cannes-heavy slant. I won’t go so far as to label any showcase that provides a ready, regular stomping ground for Manoel de Oliveira blockbusters a populist give-back, but in a perverse way, for a certain set, it may well act as such.
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REVERSEBLOG: the reverse shot blog0 comments
Lazy Like a Fox: "Jennifer's Body"
If nothing else, Karyn Kusama’s Jennifer’s Body brings Megan Fox to the logical endpoint of her screen persona—just as her career is beginning. Leaving aside rumors of on-set bitchiness (though Michael Bay sure is an odd one to be throwing stones), it should be said that the 22-year-old has at least been smart enough to work within a narrow and so far relatively flattering set of parameters. She was, for instance, perfectly fine essaying a sloe-eyed Eve Baxter type in Robert Weide’s unwieldy screen adaptation of the Hollywood tell-all How to Lose Friends and Alienate People. Cast as an abstraction of starlet-dom, complete with a La Dolce Vita–style swimming pool vamp, Fox proved dimly alluring—especially in counterpoint to Kirsten Dunst’s caricatured professional-woman head case— and convincingly opaque.
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mikejones0 comments
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ReelPolitik0 comments
