The enticement of big studio backing, larger budgets, and
wider distribution must be great to successful indie filmmakers. Jeff Nichols
had a string of well-received films that did well on the festival circuit and
then got a lot more money for his fourth feature, Midnight Special. Unlike what often happens with directors who
display talent on the small scale, Nichols didn’t move on to the latest
superhero movie or some other blockbuster. Instead he took the money to make
his own story and make it without the limitations he surely faced in the past
due to budget constraints.
A blog mostly dedicated to cinema (including both new and old film reviews; commentary; and as the URL suggests - movie lists, although it has been lacking in this area to be honest), but on occasion touching on other areas of personal interest to me.
Showing posts with label Kirsten Dunst. Show all posts
Showing posts with label Kirsten Dunst. Show all posts
Thursday, July 21, 2016
Wednesday, September 10, 2014
Wag the Dog Movie Review
In 1997 there was no YouTube, no Facebook, no Twitter.
There were message boards, email, websites, maybe some very early blogs, but
the dissemination of information and access to reports, accounts, and
testimonials, for all that we thought at the time was lightning fast, was
nothing compared to today. This thought occurred to me while revisiting Wag the Dog, Barry Levinson’s
seventeen-year old film about an invented war fed to the media to distract the
public from a Presidential sex scandal two weeks before he hopes to be
reelected. In it, Robert De Niro plays Conrad Brean, a kind of independently
contracted fixer brought into the White House by Winifred Ames (Anne Heche) to
help clean up the mess and potential fallout once the story breaks. So Conrad
enlists the help of Stanly Motss (Dustin Hoffman), a big Hollywood producer, to
put the pieces in place to sell not just a war, but a whole package and all the
emotions and patriotic fervor that come with it, to the public.
Friday, December 2, 2011
Melancholia Movie Review
Leave it Lars von Trier to start a film with the
apocalypse. As a mysterious planet roughly the size of Jupiter hurtles towards
Earth in the opening montage of Melancholia,
scenes on the ground involving Justine and Claire are almost frozen in time
using super slow motion photography to create an otherworldly effect as if
we’re watching paintings in motion. Then we see our beautiful blue planet
swallowed up by the massive celestial object looming over it. The world ceases
to exist in that moment.
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