"Don’t mind the cameras till you to talk to them."
“I read this article that said all the Italian workers at Cinecitta are saying, like, ‘He’s the Maestro, he’s Fellini, come back to life!’”
I have begun to suspect that boys who grew up with mothers like mine—or responsible grown men who have made their way through a world inhabited by mothers like mine—have started making movies reflective of that experience.
That old Joan Didion aphorism—“We tell ourselves stories in order to live”—has never felt more real to me than it did this year.
As a child of the nineties, the first movie I remember seeing that involved Vietnam was—what else—Forrest Gump (1994).
I’m interested in something deeper, something that may seem silly or overwrought to people who don’t have animals in their lives. I’m talking silver screen love stories between human beings and their dogs.
Let everyone perish. Let no one live.
Silence and sentiment. Emotion and fear. The haggard, inconstant flashes of beauty. —The Great Beauty (Paolo Sorrentino, 2013) When Christopher Nolan mapped the future of film earlier this year, he thought of format and presentation, new technologies and special features, but he said little about the types of films we’d cherish,...
Movies in 2014 were a disappointment to me. Guardians of the Galaxy, Gone Girl,and Maleficent all showed up in fussy packaging that seemed empty inside; visually impressive but in the end, unfulfilling. Muppets Most Wanted and The Grand Budapest Hotel were fun but unsurprising, nothing I hadn’t seen before. Even my girl Veronica Mars...
It’s hard to think of two filmmakers less alike than Wes Anderson and Paul Thomas Anderson. Right?
You adjust the bowtie on your tuxedo. I’m at Cannes, a fucking dream come true.
Add a little eggnog to that rum. Settle in to your corner of the couch. Turn on the flatscreen. Refer to this guide to made-for-television holiday films.
