The film breathes exhilarating life into its tired premise, thanks to some dazzling action choreography, stylish visuals and–most importantly–a vintage anti-hero performance from Keanu Reeves.
* 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.
Susan Wloszczyna wonders if women at the helm might be just the thing to revitalize the foundering, repetitive comic-book movie genre.
"The Moth Diaries" is now available via IFC On Demand, Sundance Now, iTunes and other outlets. It opens in theaters April 20th.
A secret co-star of "The Moth Diaries" is cinematographer Declan Quinn. He brings to this tale of supernatural incidents at a girl's boarding school a palette of navy, teal and black to match the school uniforms, and pale flesh tones out of Vermeer. No great innovation there, but quite striking in the service of the story. Director Mary Harron makes sure these images don't overwhelm the drama by casting young ladies with powerful presences.
Model-actress Lily Cole's broad face and wide set eyes are terrifyingly beautiful, or maybe just terrifying. Either way, her turn as Ernessa, the mysterious new girl on campus, gives the "The Moth Diaries" a more solid reason for being than its familiar, "Twilight"-tinged plot. She's a head taller than the rest of the girls, striking an improbable balance between willowy and robust. Her famously red hair is dyed a deep brown (or covered in a masterfully applied wig), providing a stark frame for that porcelain doll face. In one scene, without the aid of special effects, her fleshy yet spindly arms seem to stretch out of proportion, like some Tim Burton creation. (It's easy to imagine Burton tripping over himself to add her to his gallery of living 19th century humanoids, alongside Lisa Marie, Christina Ricci and Helena Bonham-Carter.) The mystery: Is Ernessa some kind of vampire, witch, ghost or... what?
Marie writes: I received the following from intrepid club member Sandy Kahn and my eyes widened at the sight of it. It's not every day you discover a treasure trove of lost Hollywood jewelry!
Grace Kelly is wearing "Joseff of Hollywood"chandelier earrings in the film "High Society" (1965)(click image to enlarge.)
I love a black comedy. Always have. You know, all those tragic mishaps that seem to befall Alec Guinness in the English countryside when no one is looking? But then who doesn't love an Ealing comedy. I also like "Dexter" and for similar reasons; it too, has an air of subversive glee about it, albeit darker and more graphic in nature. The appeal is never about seeing people die, though (where's the fun in that?). Nor in watching mindless torture porn like Hostel; a genre increasingly viewed as the favorite pastime of failed experiments in parenting, moreover, and thus to be avoided at all costs. I loathe the entire genre aka "Women in Danger" films as Gene and Roger once termed them. American Psycho however, is anything but a slasher film.
Marie writes: my friend Cheryl sent me the photo below, taken by an ex-coworker (Cheryl used to work for a Veterinarian.) The wolf's name is Alpha; one guess why. He's from the Grouse Mountain Wildlife Refuge in North Vancouver; not a zoo. The veterinary clinic is also located in North Vancouver and Alpha is having his regular dental check up and cleaning. (Click to enlarge.)
Marie writes: Having recently seen a stage play, I was reminded again of how much I enjoy them. And the buildings they're often performed in. Which sent me off looking for old ones and hopefully Theatres you never hear about - as then it's like stumbling upon a secret known only to a lucky few. And thus how I found "Minack Theatre Portcurno Cornwall" with a view over-looking the Cornish sea...
It's a wrap for the 2010 Muriel Awards, but although the winners have been announced, there's still plenty of great stuff to read about the many winners and runners-up. ('Cause, as we all know, there's so much more to life than "winning.") I was pleased to be asked to write the mini-essay about "The Social Network" because, no, I'm not done with it. (Coming soon: a piece about the Winkelvii at the Henley Gregatta section -- which came in 11th among Muriel voters for the year's Best Cinematic Moment.)
You might recall that last summer I compared the editorial, directorial and storytelling challenges of a modest character-based comedy ("The Kids Are All Right") to a large-scale science-fiction spectacular based on the concept of shifting between various levels of reality/unreality -- whether in actual time and space or in consciousness and imagination. (The latter came in at No. 13 in the Muriels balloting; the former in a tie for No. 22.) My point was that, as far as narrative filmmaking is concerned, there isn't much difference. To illustrate a similar comparison this time, I've used a one-minute segment out of "The Social Network" (Multiple levels of storytelling in The Social Network). You might like one picture better than the other for any number of reasons, but I find their similarities more illuminating than their differences:
From the Grand Poobah: After much planning with festival director Nate Kohn, here is the schedule for Ebertfest 2011, which Ebert Club members are of course the first to learn about. This schedule is tentative; several guests may be added.Wednesday April 275:00 pm Reception at University President's House (VIP passholders only)7:00 pm METROPOLIS Restored, with the Alloy Orchestra.-----------------Thursday April 289:00 am For Ebert Club members: Meet & Greet coffee and pastries, hosted by Chaz and Roger Ebert at the Illini Union.10:30 am Panel Discussion 1 (Nate Kohn moderates festival guests), Illini Union1:00 pm UMBERTO D, by Vittorio De Sica.3:30 pm MY DOG TULIP, with directors Paul and Sandra Fierlinger in person.8:00 pm TINY FURNITURE (98 min). In person: Kyle Martin, producer; David Call, actor; Alex Karposky, actor.------------------Friday April 299:00 am Panel Discussion 2, (Eric Pierson, moderator), Illini Union10:30 am Panel Discussion 3 (Far Flung Correspondents, Omer Mozaffer, moderator), Illini Union1:00 pm "45365," with directors Turner Ross and Bill Ross in person4:00 pm ME AND ORSON WELLES, with director Richard Linklater in person8:30 pm ONLY YOU, with director Norman Jewison in person-----------------Saturday April 3011:00 am A SMALL ACT. In person: Patti Lee, producer; Jennifer Arnold, director; Hilde Back.2:00 pm World Premiere: LIFE, ABOVE ALL. In person: Oliver Stoltz, producer; Khomotso Manyaka, actor; Michael Barker, distributor.6:30pm LEAVES OF GRASS. In person: Tim Blake Nelson.9:30pm I AM LOVE. In person: Tilda Swinton.---------------Sunday May 1Noon: LOUDER THAN A BOMB. In person: Jon Siskel and Greg Jacobs, directors; Kevin Coval, artistic director and founder; five poets will perform.For additional information and to purchase tickets, visit EBERFEST 2011Metropolis Restored (1927) Directed by Fritz Lang
A series of connections:
Director Mary Harron, on working with Christian Bale to develop the character of Patrick Bateman in "American Psycho":
"We talked about how Martian-like Patrick Bateman was, how he was looking at the world like somebody from another planet, watching what people did and trying to work out the right way to behave. And then one day he called me and he had been watching Tom Cruise on David Letterman, and he just had this very intense friendliness with nothing behind the eyes, and he was really taken with this energy."
(Also see: "Dexter" for a similar sociopathic study.)
Miles Fisher as Tom Cruise in "Superhero Movie":
Warning: What you are about to read may thrill you, may shock you, it may even… horrify you.
PARK CITY, Utah I've seen 10 movies so far at this year's Sundance Film Festival, some of them, I fear, destined to play nowhere else. I'll comment on some of them in later articles, but here's one for today: Stanley Tucci's "Joe Gould's Secret," about the strange and strained long-term friendship between New Yorker staff writer Joseph Mitchell (Tucci) and a brilliant, charming bum named Joe Gould (Ian Holm).