Few directors this side of Joseph Mankiewicz are as attentive to the clear, crisp presentation of dialogue as Quentin Tarantino, giving the always important role of production sound mixer even more weight on his sets. Since Jackie Brown in 1997, Tarantino has relied on Academy Award winner (for Titanic) Mark Ulano to capture his production sound. Tarantino’s latest, The Hateful Eight, represents some of Ulano’s finest work to date – which is saying something considering that he has over a hundred credits to his name, including The Master, Iron Man and Inglourious Basterds (for which he was nominated for another Oscar). […]
I’m talking to a young director at a film festival who hasn’t seen any movies in the festival’s program, except several in the retrospective slate. He doesn’t like to watch many contemporary films, he explains, because he’d rather be influenced only by the classic greats. Sort of pretentious, I think, not to support the work of his peers. Also, a little sneaky, to excuse himself from typical film festival banter, dodging the obligatory ego-stroking or untimely bad-mouthing that everyone else endures. But the director’s resistance to new festival favorites is not a personal judgment on their quality, he insists, but a […]
Adapted by Charles Randolph and Adam McKay from The Big Short: Inside the Doomsday Machine, Michael Lewis’s behind-the-scenes book about the 2008 housing market crash, McKay’s star-stuffed The Big Short is a brilliant demystification. Two scenes, hilarious in completely opposite ways, take place in the middle of an otherwise enervating securitization session at the American Securities Forum in Las Vegas. Hold on: hilarious and securitization jammed into the same sentence? Most people don’t even know what the latter word means. When a term completely sidesteps consciousness, it is probably unavailable to the unconscious—site of the split-second manufacture of humor. To […]
From 1986 to 1995, writer-director Oliver Stone directed ten films in ten years which, taken together, comprise the most complex, provocative, and illuminating cinematic inquiry into American values since John Ford. The magnitude of his achievement seems virtually impossible in today’s Hollywood and was probably nearly as unlikely then. After a pair of powerful independent films exploring American foreign policy in Latin America (Salvador) and Vietnam (Platoon), Stone used the commercial success of the latter to harness studio resources at the service of a series of massively ambitious works, including an epic answer to and repudiation of the postwar mythology […]
In loving memory of Richard Corliss, who early on championed low and high art in Asian cinema In Lewis Carroll’s Alice in Wonderland, the sheltered titular character exposes her pre-adolescent consciousness. Willing to navigate uncharted waters, she follows a dapper rabbit, even allowing herself to fall into the hole he’s entered. Jefferson Airplane sticks with this plot point in the ‘60s acid-anthem “White Rabbit,” adding au courant psychedelics to scramble the child’s perception: Tell ‘em a hookah-smoking caterpillar/Has given you the call. In book and song, Alice is in her element: She basks in unexpected encounters with extraordinary characters and […]
Damaged by a personal tragedy and bludgeoned by 10 years of marriage, a blocked, alcoholic writer and his former dancer wife wallow in ennui at a remote seaside hotel in France circa 1970. It’s relatively heavy fare for movie stars the wattage of Brad Pitt and Angelina Jolie-Pitt, who also wrote and directed. But for By the Sea’s cinematographer Christian Berger, it’s practically a lighthearted romp compared to the subject matter of his many collaborations with director Michael Haneke, including Benny’s Video, Cache, and Berger’s Oscar-nominated work on The White Ribbon. There are certain perks that come with the Pitts’ […]
For the past few years I’ve been bemoaning the decline of the mid-range genre film, the action movie or horror flick that is neither a contained micro-budget opus straining against its resources nor an oppressive studio behemoth in which all sense of character, theme, and nuance is suffocated under the weight of its own scale and CGI. That mid-range has always been the source of many of America’s best, most enduring films; it’s the arena where masters like Don Siegel, Nicholas Ray, and Anthony Mann plied their trade under the classical studio system, and in more recent decades auteurs like […]
A crushing scene in the intense Mediterranea, the first feature by New York City native Jonas Carpignano, exemplifies the nearly unbridgeable chasm that separates recent black African migrants from their reluctant white hosts in contemporary Italy, where the filmmaker has lived for the past five years. Ayiva (Koudous Seihan, an immigrant himself and currently an advocate for migrants’ rights), the single father of a seven-year-old daughter and a recent arrival from Burkina Faso, rides in a truck driven by his boss, Rocco (Davide Schipilliti), on whose estate in the Calabrian town of Rosarno — near the toe of the geographical […]
I first became aware of director Bethany Rooney’s work via her episodes of two of the most visually arresting series on network television, Arrow and The Originals. On each of these series – specifically, the “State vs Queen” episode of Arrow and the “When the Levee Breaks” episode of The Originals – Rooney exhibited a sophisticated sense of composition, lighting, and color surpassed only by her deft hand with actors. As I dug further into Rooney’s oeuvre while catching up on several other series this fall, I learned that those two shows were the rule, not the exception — performers […]
In Living in Oblivion, Tom DiCillo’s 1995 triptych of the agony and ecstasy of indie film production, Murphy’s cinematic law is in full effect. Prima donna actors. Uncooperative smoke machines. Blown lines. Soft focus. Booms in the frame. However, the film’s most soul-crushing moment comes when the camera isn’t even rolling. It arrives when the faux film’s director, played by Steve Buscemi, takes a moment to run lines with his two lead actresses. And of course — with the camera sitting idle and the cinematographer off set vomiting out-of-date milk from the meager craft services table — the scene comes […]