Nothing else to say
I was a Junior in High School when the Terri Schiavo case made headlines.
From what I remember, it was brought up in at least one of my classes as a potential debate topic, and it also was something I thought could hurt the film Million Dollar Baby at that year’s Oscars (it didn’t). Being what introduced the world (or at least me) to the term “euthanasia”, the whole impact of the ordeal seems to have been lost to time.
Premise alone is not always the best way to intrigue me, but that is definitely what happen when I first saw the trailer for I.S.S.
There is not as much shame as there used to be when I would admit to going into a movie thinking it was bad and it ends up being good (or vice versa).
I had more of a “mistaken identity” when watching May December. I’m not sure where I read it (or where I thought I did) but I went into the film thinking that the two main actresses, Natalie Portman and Julianne Moore, were a married couple. Regardless of how I came to this false conclusion, it is not the case the new film by Todd Haynes, but that does not at all take away from the true film, with one of the more unique and admittedly disturbing premises in recent memory.
Try as I might, my prior knowledge of Napoleon Bonaparte heading into the latest movie based on him is considerably less than normal (I was going to make a height joke here, but couldn’t think of one).
Aside from knowing him as one of the greatest generals in history, being considered short, and having a complex named after him, I knew nothing more (unless you count him being a fan of water slides thanks to Bill & Ted’s Excellent Adventure). Even still, it seems to make sense that director Ridley Scott, equally as fearless as Bonaparte (and in his mid 80s, no less) would make a film about the historical figure, which results in the film Napoleon.
There is a strong argument that can be made that we have been undervaluing Paul Giamatti.
My earliest recollection of him must have been his small parts in 1998’s Dr. Dolittle with Eddie Murphy and the war classic Saving Private Ryan (the same year). It was then in 2003 he got deserved claim in American Splendor and then his big break a year later in Sideways (two movies I have needed to revisit for some time now).
For some baffling reason, the only Oscar nomination of his career came in 2005 with Cinderella Man. Of course, he has been in his bad share of movies, but (at least from the ones I have seen) has yet to give a bad performance.
It should be obvious, but it is nigh impossible to call oneself a cinephile and dislike the films of Martin Scorsese (or at least not appreciate them).
His name is on par with directing giants of the past: Hitchcock, Ford, Ozu, Welles, Kurosawa, Kubrick, Fellini. He has been in the twilight of his career for a little over a decade now, but has never lost his unique cinematic eye. For those like him working into his 80s (it should be noted before this film, I saw two trailers for up coming films from two octogenarian filmmakers: Michael Mann and Ridley Scott), it is not easy to bring about something fresh as well as ones old tricks.
I was allowed to see most R rated movies growing up in my pre-teen/teen years, with the sole exception of 1973’s The Exorcist. My mom was so convinced she could be possessed that she was against me seeing it until she would be able to watch it with me, and pause before every scary part.
Even after a half century of sequels and (truly) countless rip offs, The Exorcist has still retained it’s immortality on the Mt. Rushmore of horror films. It is hard to argue its impact. From that view point, it is easy to see why director David Gordon Green, who just finished a trilogy of Halloween sequels (which I have yet to see), would want to use the same approach and make a direct sequel to the late great William Friedkin directed masterpiece. The result, The Exorcist: Believer, is a true let down.
With the possible exception of Tom Cruise, no entity in Hollywood today cares more about the theatrical experience more than Christopher Nolan.
His name is the first to come to mind when thinking of directors of his generation, and few have been as successful. His is one of the very few names in Hollywood that can draw an audience just by his name alone. He is one who goes big with every ingredient that makes a movie, letting everyone from the actors to the replacement sound guy to shine. In Oppenheimer, he has gotten the closest he has gotten to outdoing himself in some time, as it is easily the best he has done in years.
It seemed I was always behind when it came to cellphones.
It wasn’t until the spring of my senior year of high school when my parents finally relented and got me one (after they realized I had to borrow my friends’ to call for a ride), albeit a hand me down.
“If the American Empire is calling us terrorists then we are doing something right.”
This quote from Michael (Forrest Goodluck) is one of the hidden elements of How to Blow a Pipeline that make it more than just a hard core conservative’s nightmare of a film (the title alone would make one queasy).
Nothing else to say