How do you follow up on making a children’s movie classic? If you’re Tim Burton, you spin a tale of sex, murder and conceptual art.
On the heels of his feature debut Pee-Wee’s Big Adventure, Tim Burton adapted Ray Bradbury’s “The Jar” (1944) for an episode of the ‘80s reboot of Alfred Hitchcock Presents.
There’s no denying that train wrecks make great documentary subjects.
Not that Abraham Lincoln doesn’t, but watching someone come unglued is a whole ‘nother sort of compelling. Upsetting, even.
Docs in this genre usually require the subject to have left the building in order to reach a satisfying conclusion.
As a couple of generations of film students have shown us, you shouldn’t try to imitate David Lynch. You should, however, learn from David Lynch.[...]
How often does a film adaptation of a novel you love meet your expectations? Circle one: A) Always B) Often C) Rarely D) Never.
I’m guessing most people choose C, with a few falling solidly in the perennially disappointed D camp.
In his book, Abject Terrors: Surveying the Modern and Postmodern Horror Film, Tony Magistrale talks about Stanley Kubrick’s deep and abiding obsession with the color red.[...]
Image by José Cruz/ABr CC-BY-SA-3.0
Last year, independent film icon and NYU professor Spike Lee turned to the crowdsourcing site Kickstarter to raise $1.25 million dollars for his latest film. To drum up publicity, he published his list of 87 “essential” movies that he hands out in his graduate film classes.
Ruan Lingyu delivered one of the greatest performances in silent cinema, and yet to Western audiences, she is almost completely unknown.
Up until the Imperial Japanese Army invaded the city in 1937, Shanghai was the thriving, cosmopolitan cultural heart of China.
It didn’t take long, only 25 hours, for Griffin Dunne and Susanne Rostock to raise enough money on Kickstarter to complete a documentary on novelist and essayist Joan Didion. Initially hoping to raise $80,000, they’ve already received commitments exceeding $211,000, and they still have four days to go.[...]
“When it comes to ripe old frighteners — or to any other overheated genre — Scorsese is the most ardent of proselytizers,” writes the New Yorker‘s Anthony Lane in a review of that respected director’s ripe-old-frightener-flavored Shutter Island, “so much so that I would prefer to hear him enthuse about Hammer H[...]
René Clair’s 1924 avant-garde masterpiece Entr’Acte opens with a cannon firing into the audience and that’s pretty much a statement of purpose for the whole movie. Clair wanted to shake up the audience, throwing it into a disorienting world of visual bravado and narrative absurdity. You can watch it above.[...]