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  • iW NOW
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    "Let the Right One In" Remake Coming in October

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  • Thompson on Hollywood
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    Oscar Watch: Visual Effects List of Seven Led by Avatar

    Seven movies have made the short list of the Academy Visual Effects branch. They will vote for the final three nominated films on January 21 at the annual bake-off, where 15-minute reels of each film are screened for the VFX voters. I'm always at Sundance for this; I'd love to go one day.

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  • eugonline
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    sneak peek: ready for "cold weather"

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    More: movies
  • Thompson on Hollywood
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    Chinese Pull Two Films from Palm Springs Fest

    Chinese Pull Two Films from Palm Springs Fest

    According to the Palm Springs International Film festival, the reason why the China Film Group has pulled two films from the fest (which got under way Tuesday) is to protest the showing of Ritu Sarin and Tenzing Sonam's pro-Tibet doc The Sun Behind the Clouds: Tibet's Struggle for Freedom (trailer on jump). So China pulled the horrific Nanking film The City of Life and Death, which scored with audiences and critics at September's Toronto Film Fest; National Geographic Films is set to release it in March. The film's director, Lu Chuan, told the Hollywood Reporter that China is protesting the fest's inclusion of a film about the Dalai Lama.

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  • Eric Kohn
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    Avatar en 3D.

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  • Eric Kohn
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  • Thompson on Hollywood
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    Avatar's Script: Derivative?

    Avatar's Script: Derivative?

    Just to prevent James Cameron's head from swelling too much from the astonishing global Avatar phenomenon, folks keep reminding him of how derivative and clunky his script is. It's been compared to everything from Pocahontas, The New World, The Last Samurai and Dances with Wolves to Ferngully. Truth to tell, most screenplays are derivative, and this one's more "original" than all the knock-offs, remakes and sequels everyone makes now.

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  • Eric Kohn
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  • REVERSEBLOG: the reverse shot blog
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    Seen and Herd: Ilisa Barbash and Lucien Castaing-Taylor's "Sweetgrass"

    For a good 20 minutes or so, Ilisa Barbash and Lucien Castaing-Taylor’s experiential documentary Sweetgrass appears to be predominantly about sheep. As if a dark, barnyard version of Maya Deren and Alexander Hammid's The Private Life of a Cat (in which we witness the rich day-to-day life of an average housecat from its perspective), Sweetgrass at first presents a “sheep’s eye view” of the milestones in a sheep’s life, from shearing to childbirth. The empathy we feel for these animals is extraordinary, immediate, and somewhat difficult to pinpoint the source of, as no obvious cinematic trick is employed in order to conjure it. In one scene, a farmhand moves a newly born lamb into a pen, and when she turns back to collect its mother, the sheep has disappeared amongst the flock, leaving the farmhand blinking blankly at the hundreds of identical eyes staring back at her. The effect is inexplicably ominous: through the sequence the viewer is kept anxious until the mother finally emerges to join its child. While Sweetgrass is ultimately not solely about sheep but the ecosystem of the American West—from the sheep to the dogs to the people to the mountains—this initial focus is not misleading so much as indicative of the many surprises this grand documentary Western holds in store. Read Farihah Zaman's review of Sweetgrass.

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  • Matt Dentler's Blog
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    Tide and Texas

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