The Grand Budapest Hotel
As much as "The Grand Budapest Hotel" takes on the aspect of a cinematic confection, it does so to grapple with the very raw and,…
* 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.
"War of the Arrows" is currently available on Netflix Instant, Vudu, iTunes and Blu-ray/DVD.
By Jana J. Monji
A sudden crush of movies is bringing the sport of archery back into the limelight, and the timing couldn't be better for the 2011 costume drama "War of the Arrows" from South Korea. This is like a Western movie damsel in distress scenario transported to 17th century Korea with archery instead of gun sharpshooting. The good guys don't wear white hats, but you'll easily be able to tell the good guys from the bad guys in this morality tale.
European tradition has William Tell and Robin Hood to tantalize young boys into archery. In America, if children still play cowboys and injuns, then one supposes that the Native Americans still use bows, but that's usually just the braves according to old stereotypes that places the squaws in the wigwams. More recently, we've had "The Avengers" with Clinton Barton's Hawkeye.
For girls, "The Hunger Games" have given us an alternative reality with arrow-slinging Katniss who like Annie Oakley learned to shoot in order to feed her family. Disney's newest princess, Merida in "Brave," performs archery on horseback. Has there ever been a better time for archery?
As the quaintly anachronistic title suggests, "The Imaginarium of Dr. Parnassus" is as whimsical and rickety as any Terry Gilliam contraption -- an apparent labor of love, and not just for its star Heath Ledger, who died during production, but for the smoke-and-mirrors tomfoolery that goes into the construction of illusions. Another of Gilliam's charmingly antiquated, hand-crafted thingamadoodles, this one gets off to a bit of a slow start -- trying to set up too many stories... but spinning too many stories, and keeping track of them all, is also a good part of its subject.
Ledger's untimely death unavoidably became another element, since he hadn't finished filming his central role at the time of his demise. Gilliam, as you probably know, figured out a way to complete the film with three other actors -- Johnny Depp, Jude Law and Colin Farrell -- stepping in to complete the part. Once you're watching the movie, that no longer seems like such a strange or desperate move, but I'm not going to tell you how or why it works. (Remember that Natalie Wood died during the filming of "Brainstorm" and Brandon Lee in a production accident on the set of "The Crow," but those two pictures were completed, for better or worse. David Lynch's "Mulholland Dr." was a failed TV series pilot that wasn't released theatrically until Lynch said he dreamed an ending for it.) A title card at the end announces it as a presentation of "Heath Ledger and Friends."
Q. So, how coincidental is this? “2001: A Space Odyssey” includes a character named Dr. Heywood Floyd. The new movie “Moon” evokes “2001” powerfully for you and is directed by someone whose birth name is Duncan Zowie Heywood Jones. Heywood isn’t exactly a common name. Maybe he was born to direct this movie.
Above: That gritty Hollywood literalism and/or naturalism: "Off-putting to the contemporary sensibility."
I was wrong. Last night, just before going to bed, I read Stephen Metcalf's "Dilettante" column, "The Worst Best Movie: Why on earth did 'The Searchers' get canonized?". This did not make it easy for me to get to sleep, so I dashed off a preliminary response in which I harshly characterized Metcalf's piece as an "inexcusably stupid essay... about a classic John Ford Western." But now, re-reading the column in the light of day, I realize that Metcalf was hardly writing about "The Searchers" at all. And nearly every observation he does make about the film itself is cribbed from something Pauline Kael wrote (see more below). He'll just fling out an irresponsible, non sequitur comment like, "Even its adherents regard 'The Searchers' as something of an excruciating necessity," and let it lie there, flat on the screen, unexplained and unsupported. So, while I stand by my claim that what Metcalf has written is stupid and inexcusable (for the reasons I will delineate below), I don't think it has much to do with "The Searchers."
Instead, Metcalf is reacting to his own perception of the film's reputation (and in part to A.O. Scott's recent New York Times piece admiring "The Searchers"), using the movie to snidely deride people Mecalf labels "film geeks," "nerd cultists" and: ... critics whose careers emerged out of the rise of "film studies" as a discrete and self-respecting academic discipline, and the first generation of filmmakers -- Scorsese and Schrader, but also Francis Ford Coppola, John Milius, and George Lucas -- whose careers began in film school. (The latter are later characterized as "well-credentialed nerds.") The fault, then, in Metcalf's mind, is not so much in the film as in those who brazenly take film seriously as an art form. Using "The Searchers" as an anecdotal, ideological bludgeon, Metcalf attempts to attack the impudent and insidious notion that movies are worthy of serious study and artistic interpretation. Holy flashback to Clive James!
The seventh annual Outdoor Film Festival in Grant Park will open with James Dean as a rebel without a cause, and end with Ferris Bueller as a rebel with one. The series of seven free Tuesday evening screenings, which draw crowds upward of 14,000, unspools starting July 18 at Butler Field, Monroe and South Lake Shore. The schedule of this year's festival, which is presented by the Mayor's Office of Special Events, Commonwealth Edison, the Chicago Park District and the Chicago Film Office, was released today.
TORONTO, Canada - There is a time when a film festival looks just like a convention of hardware dealers, and that time is at 2 in the morning in the hotel hospitality suite when everyone has collapsed exhausted onto the couches and started to contemplate the possibility of dawn. Into the gloom that was enveloping him, the film director Paul Schrader poured a glass of Canadian whiskey. He was scheduled to have breakfast with me at 8:30 a.m., but now he thought it over and said it might be better if we just went ahead and talked now, because he doubted that he would make any sense in the morning.
A Chinese restaurant on Second Avenue in New York. One of those places where all the right demographic groups are seen eating dim sum with their Significant Others. In a corner by the window, three young people are studying the menu.