Like Ficarra and Requa’s 2011 comedy Crazy Stupid Love, Focus begins promisingly and bops along enjoyably for a while, only to run out of steam…
* This filmography is not intended to be a comprehensive list of this artist’s work. Instead it reflects the films this person has been involved with that have been reviewed on this site.
An interview with Michel Gondry, director of "Mood Indigo."
Marie writes: The West Coast is currently experiencing a heat wave and I have no air conditioning. That said, and despite it currently being 80F inside my apartment, at least the humidity is low. Although not so low, that I don't have a fan on my desk and big glass of ice tea at the ready. My apartment thankfully faces East and thus enjoys the shade after the sun has crossed the mid-point overhead. And albeit perverse in its irony, it's because it has been so hot lately that I've been in the mood to watch the following film again and which I highly recommend to anyone with taste and a discerning eye.
Barbara Scharres reports on the winners at the Cannes Film Festival.
Marie writes: Intrepid club member Sandy Khan has sent us the following awesome find, courtesy of a pal in Belgium who'd first shared it with her. "Got Muck?" was filmed by diver Khaled Sultani (Emirates Diving Association's (EDA) in the Lembeh Strait, off the island coast of Sulawesi in Indonesia. Camera: Sony Cx550 using Light & Motion housing and sola lights. Song: "man with the movie camera" by cinematic orchestra.
Marie writes: It's no secret there's no love lost between myself and what I regard as London's newest blight; The Shard. That said, I also love a great view. Go here to visit a 360-degree augmented-reality panorama from the building's public observation deck while listening to the sounds of city, including wind, traffic, birds and even Big Ben.
Marie writes: Kudos to fellow art buddy Siri Arnet for sharing the following; a truly unique hotel just outside Nairobi, Kenya: welcome to Giraffe Manor.
The 65th Cannes Film Festival's eleven days of prediction, wild speculation and gossip, some of it centering on the notoriously cranky personality of this year's jury president Nanni Moretti, came to an end Sunday evening in festival's business-like awards ceremony (or Soiree de Palmares, as the French call it) that traditionally lacks the extended let's-put-on-a-show aspect of the Oscars. The jury was seated onstage in a solemn group, and the awards given with a modest amount of fancy-dress formality, a bit of unrehearsed fumbling, and acceptance speeches that were short, dignified and to the point.
The foul weather that has marred the usually sunny festival continued to the end, and elite guests and movie stars alike walked a red carpet tented by a plastic roof as the rain fell on the multi-colored umbrellas of the surrounding crowds. Festival director Thierry Fremoux personally held an umbrella for Audrey Tautou, star of Claude Miller's closing night film, "Therese Desqueyroux," as she headed up the famous steps in a calf-length ivory lace gown with a bodice heavily embroidered in gold.
Actress Berenice Bejo, an international sensation since her starring role and subsequent Oscar nomination for "The Artist," performed mistress of ceremonies duties in a white, bridal-looking strapless sheath with long train, her only jewel an enormous heart-shaped emerald ring. Just about the only prediction this year that turned out to be accurate was the one that advised that all was unpredictable under the jurisdiction of the pensive and often-scowling Moretti.
by Barbara Scharres
Cannes has become hot and uncomfortably muggy in a way that has me thinking longingly of the blankets and socks of earlier in the week. As the festival closes in on the final days, I'm hoping for some big excitement on the screen.
When the stiff, futuristic Brandon Cronenberg film "Antiviral" played a few days ago, it gave me cause to look forward even more to today's premiere of "Cosmopolis" by his father David Cronenberg, anticipating that the contrast between generations would also point up the difference between a wannabe and a seasoned master. Boy, was I wrong. I'm sorry to say that they're both among the worst films I've seen here this year. I've never been this disappointed in a David Cronenberg film.
"Cosmopolis" opens with a shot of a row of white stretch limos parked on a city street. The interior of one of them will become a primary location in this film, functioning as the office away from the office for mega-millionaire money manager Eric Packer (Robert Pattinson), an arrogant and powerful 28-year-old. Seemingly inspired by the Occupy movement in the U. S., the story is set in New York in the near future (although what we see of the urban landscape never looks like anything but Toronto; even the CN Tower is seen in the background). The president of the United States is due at any moment, a situation tying up the streets with blockades and large-scale protests.
Look at it this way. We have the chance to see virtually every American film that's released, and many of the English language films in general. But with the crisis in U.S. distribution, the only foreign-language films are those someone paid hard cash for, and risked opening here. "You always like those foreign films," I'm told, often by someone making it sound like a failing. Not always, but often. They tend to involve characters of intelligence and complexity. If
I always try to find at least one film at Toronto that's way off the beaten track. I rarely stray further afield than I did Tuesday night, when I found myself watching "Wake in Fright," a film made in Australia in 1971 and almost lost forever. It's not dated. It is powerful, genuinely shocking, and rather amazing. It comes billed as a "horror film," and contains a great deal of horror, but all of the horror is human and brutally realistic.
Donald Pleasence in "Wake in Fright"
The story involves a young school teacher in the middle of the desolate wilderness of the Outback. The opening overhead shot shows a shabby building beside a railroad track, the camera pans 360 degrees and finds only the distant horizon. and then returns to find a second building on the other side of the tracks. One building is the school. The other is the hotel. To get to either, people must have to travel a great distance.
CANNES, France - On second thought, maybe it was not such a great idea to hold the world premiere of "The Da Vinci Code" at the Cannes Film Festival. The critical reception here was negative, but what would you expect? As someone who enjoyed the film (good, not great, better than the book) I am possibly typical of many of the people who will pay to see it. But when you open at Cannes, those are not the people in your audience.
TELLURIDE, Colo. -- There is a scene in Francois Truffaut's "Fahrenheit 451" where a colony of book lovers pace slowly through the snow around a pond, reciting the books they have committed to memory. This is in a future where the printed word has been banned. At Telluride sometimes I feel that movie lovers are in the same position, now that the pressures of the marketplace have marginalized all but the most palatable of films.