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  • Hope for Film
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    Digital Hollywood NYC 2011 -- Part 1

    Conferences abound in the US Film Biz and sometimes seems like another example of industries that still financially prosper in a field that has regularly been headed downwards (18% drop in theatrical attendance this year anyone?).  Yet, as corporate focused as they often are, they do point to a tendency to continued education.  Perhaps most hopefully they point to a willingness for our industry to evolve and embrace some aspect of change.  We sent Filmmakers Alliance (link) founder and past HopeForFilm contributor (link) Jacques Thelemaque to Digital Hollywood NYC to get the perspective for the truly free film community. -- Ted

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  • Leonard Maltin
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    Hugo—movie review

    Leave it to Martin Scorsese to use 3-D not as a gimmick, but as a means of drawing us into a unique and magical environment. Other films may boast of flashy special effects, but Scorsese has created a world of wonder—which is much more unusual—in his elaborate adaptation of Brian Selznick’s illustrated book The Invention of Hugo Cabret.

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  • Leonard Maltin
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    The Muppets—movie review

    On my way to see this movie I kept saying to myself, “I hope they didn’t louse it up!” The Muppets mean too much to me to let Jason Segel, or anybody, for that matter, diminish them. The minute the picture started, I heaved a sigh of relief and broke out in a smile. This is a joyful movie, the kind the Muppets (and their many fans) deserve.

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  • Leonard Maltin
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    Arthur Christmas—movie review

    It’s rare for me to laugh out loud, repeatedly, during a movie these days, but 'Arthur Christmas' gave me that welcome opportunity. It is so ingenious, endearing, and downright funny that it instantly joins the ranks of first-class holiday movies, intended for viewers young and old. I even enjoyed the use of 3-D in this felicitous collaboration between Aardman Animations (the folks who brought us Wallace and Gromit) and Sony Imageworks.

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  • Press Play
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    LISA ROSMAN: MY WEEK WITH MARILYN pleases while it lasts

    These days, you can scarcely hit a Cineplex without tripping over at least one biopic, a phenomenon I chalk up to the same one that makes reality TV so proliferate: people tend to thrill over the idea that anything really happened, like, ever. But as thrilling as some human lives may be conceptually, rarely do any produce a satisfying narrative arc.

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  • Press Play
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    SIMON SAYS: Géla Babluani’s 13 is pure, bone-headed bliss

    Géla Babluani’s 13, a remake of his own 13 Tzameti, is arty, self-serious macho bullshit, and it’s also a lot of fun. The director still takes his original premise too seriously, but it’s a problem that only really becomes apparent during 13’s last 20 minutes, so until then, you easily get lost watching Babluani cover the same ground again, only this time with a mesmeric ensemble cast.

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  • Press Play
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    PICTURES OF LOSS: RUNNING ON EMPTY, directed by Sidney Lumet

    If I told you I was writing about movies that have meant something to me after my father died, you probably wouldn’t blink if I said that Hereafter and The Darjeeling Limited were among my choices. You might have even thought of them yourself. But Running on Empty? Don’t humor me—you wouldn’t have thought of it in a million years. After all, no one dies (on screen) in Running on Empty. The film does not take bereavement as its subject as the other two do. And yet every time I watch it now it reminds me of my father.

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  • Leonard Maltin
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    A Dangerous Method—movie review

    Can a play about personal conflicts in the nascent world of psychiatry at the turn of the 20th century be translated into an effective film? In the hands of playwright/screenwriter Christopher Hampton, director David Cronenberg, and three exceptional actors, the answer is yes. It takes some getting used to, as we don’t often see films that are so dependent on dialogue to express relationships. But if you avoid it because you don’t like “talky” dramas you will miss some of the finest performances of the year.

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  • Press Play
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    MATT ZOLLER SEITZ: The frustrating sci-fi drama “Terra Nova” finally shows signs of life

    Stephen Lang and the dinosaurs: Those are the only two reasons to watch Terra Nova. And that’s depressing when you consider that the Steven Spielberg-produced science fiction series is the most expensive show on TV right now, and that it’s still considered a long shot for renewal even though more worthy network shows — including NBC’s Community and ABC’s Pan Am — have effectively been canceled.

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  • Press Play
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    MATT ZOLLER SEITZ: Will HOMELAND turn into another THE KILLING?

    It was probably only a matter of time before the executive producers of Homeland, Howard Gordon and Alex Gansa, reverted to their roots on Fox’s “24,” eroding a lot of the goodwill that this show has built up. I’ve described last week’s episode, “The Weekend,” as the most perfect hour of TV drama I’ve seen since the Mad Men episode “The Suitcase,” and I stand by that rave. Unfortunately, a viewer’s endorsement can be undone by problematic twists, and I have a sinking feeling that’s what just happened on Homeland.

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