Highly anticipated titles like Knives Out, Harriet, Jojo Rabbit, and A Hidden Life will be coming to the Chicago International Film Festival next month.
If we said there was a clear throughline from "Bonnie and Clyde" and Richard Donner's "Superman: The Movie," you'd say we were crazy, right? Get ready to eat your words as we prove once again that showbiz works in mysterious ways.
This will be the year that revenue from streaming passes revenue from DVD sales, according to a recent article in the Hollywood Reporter.
How do we feel about this? I ask as a movie-watcher who subscribes to Netflix, Hulu and Fandor, and also rents online from Amazon and Vudu. iTunes gets none of my business because the iTunes Store has been misbehaving on my computer. I average three streaming movies a week and three or four on DVD. I'm not an average consumer, because a lot of my viewing is for work. But often of an evening I'll stream for pleasure. All of my streaming happens through a Roku Player on HDTV.
There's nothing quite like the movies if you want to learn what people's hopes and dreams were during the period in which they were made. Take for instance the recent "Up in the Air". In the present when air travel has turned into something to be endured, George Clooney's Ryan Bingham showed us how it can become an enticing way of life. The same subject was also portrayed extensively, under a very different light, some forty years as the "Airport" movies dealt with our fears of dying in new and horrible ways, while glamorizing our dreams of flying first-class, surrounded by a movie star in every seat. As the trailer for one of these features once put it: "on board, a collection of the rich and the beautiful!" They also marked the advent of a new genre (the Disaster Film) as well as the "Ark movie" which Ebert's Little Movie Glossary defines as "mixed bag of characters trapped in a colorful mode of transportation". How many films can claim to this kind of impact?
From the revolutionary visual strategies of his first film, "Breathless" (1960), to his recent experiments with video, the French director Jean-Luc Godard has been on the cutting edge of cinema. The Music Box revival of a restored version of his "Contempt" (1963) is an occasion to review some of the landmarks in his career.
Q. You have stated that "Braveheart" is the most violent film to ever win the Oscar as best picture. That ignores cinema history: See "Silence of the Lambs," "Unforgiven," "Godfather 1 and 2," and "Platoon." Mel Gibson reacted with stunned aplomb to your question on TV, and rightly so. (James Buchanan, Antioch, Calif.)
MALIBU, 1970 -- The door flew open from inside, revealing Lee Marvin in a torrid embrace, bent over Michelle Triola, a fond hand on her rump. "Love!" he said. "It's all love in this house. Nothing but love. All you need is love . . ."