The latest on Blu-ray and DVD, including Bad Times at the El Royale, Fahrenheit 11/9, Venom, A Simple Favor, and The Predator.
Jessica Ritchey's poetic remembrance of the final months of her father's life, through the movies she saw.
Film Journalist Katherine Tulich interviews "Rush" director Ron Howard and the film's stars, Chris Hemsworth and Daniel Brühl.
The male bonding/rivalry and cars-go-vrooom of "Rush" leaves Susan Wloszczyna bored, but the Sandra Bullock and Dame Judi Dench save the day with great work in "Gravity" and "Philomena" respectively.
Marie writes: Ever intrepid, club member Sandy Kahn has submitted an intriguing quartet of finds involving a series of Hollywood auctions set to begin at the end of July 2013. Sandy has shared similar things in the past and as before, club members are invited to freely explore the wide variety of collectibles & memorabilia being auctioned LIVE by "Profiles in History". Note: founded in 1985 by Joseph Maddalena, Profiles in History is the nation’s leading dealer in guaranteed-authentic original historical autographs, letters, documents, vintage signed photographs and manuscripts.
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: Now this is something you don't see every day. Behold The Paragliding Circus! Acrobatic paragliding pilot Gill Schneider teamed up with his father’s circus class (he operates a school that trains circus performers) to mix and combine circus arts with paragliding - including taking a trapezist (Roxane Giliand) up for ride and without a net. Best original film in the 2012 Icare Cup. Video by Director/Filmmaker Shams Prod. To see more, visit Shams Prod.
Marie writes: When I first learned of "Royal de Luxe" I let out a squeal of pure delight and immediately began building giant puppets inside my head, trying to imagine how it would look to see a whale or dragon moving down the street..."Based in Nantes, France, the street theatre company Royal de Luxe performs around the world, primarily using gigantic, elaborate marionettes to tell stories that take place over several days and wind through entire cities. Puppeteers maneuver the huge marionettes - some as tall as 12 meters (40 ft) - through streets, parks, and waterways, performing their story along the way." - the Atlantic
(Click images to enlarge.)
Joss Whedon's "Marvel's The Avengers (Based on the Novel 'Push' by Sapphire)" would have had to have been an amazing colossal fiasco for it not to be a mega-hit in its opening week. I mean, what other picture has had a whole series of $100 million-plus blockbusters basically working as feature-length trailers for it over the course of the past three years? There's "Iron Man" (2008), "The Incredible Hulk" (2008), "Iron Man 2" (2010), "Thor" (2011), "Captain America: The First Avenger" (2011) -- all of which ("The Hulk" aside, for the moment at least) have their own sequels in the works as part of the "Marvel Cinematic Universe" production deal Marvel and Paramount set up in 2005. And you've got decades of comic books behind the Avengers, too. So, you might say the movie's superpower is that it was "critic proof."
I've always been amused by that term, which it seems to me is most frequently used to signify a movie that people want to see whether it's any good or not. I mean, they hope it's going to be good, but they're not going to take anybody else's word for it but the studio marketers until they see it for themselves. And why not? You can't have a professional taster sample that new Japadog cart for you. That's something you're going to want to wrap your tongue around for your own self: Either seaweed, mayo, fish flakes and miso sauce sound like tempting sausage condiments to you or they don't.
But the response to criticism I don't understand (and the one I wrote about recently in "Avenge me! AVENGE ME!") is the one that assumes every critic/reviewer is looking at a movie with the same set of values ("production values"? "entertainment values"? "aesthetic values"?) as the reader -- or that any differing perceptions amount to the critic/reviewer attempting to negate or spoil the reader's own experience. Yes, of course that's preposterously dumb, not to mention metaphysically absurd, man. ("How can I know what you hear?") But, as we know from perusing the Internet, a surprising number of people think that way, and don't even realize (or care) how imbecilic they're being. The rest of us can only shake our heads and chuckle mock-sadly.