Hugo
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“We Digitized Every Frame”: Andrew Sherburne on Saving Brinton and Film Preservation
“I like to save things,” Mike Zahs says in the opening seconds of Saving Brinton, “especially if they’re too far gone.” He’s referring, in the moment, to the stray animals that have hobbled onto his property over the years: a lost cat that birthed 11 kittens, a rotund dog named Tuesday. He’s also alluding to his great passion project, which originated at an estate sale in 1981. Zahs found a cache of mysterious boxes from the estate of Frank Brinton, a showman who traveled the country with his wife from 1895 to 1909 to project films and other pre-cinema entertainments […]
by Soheil Rezayazdi on Nov 14, 2017 -
SCORSESE’S “HUGO,” MASHED AND REMIXED
This video, apparently shot by an audience member watching Martin Scorsese’s Hugo at the Regal Union Square 14, is simply jaw dropping. For the last 20 minutes of the film, technological gremlins and an absent projectionist conspired to give the movie magic of Scorsese and Melies a 21st century twist. And this is after the film broke twice, making the entire run time three-and-a-half hours. Indeed, this is a viewing experience you won’t get at home. (For more, Gothamist has the story.)
by Scott Macaulay on Jan 17, 2012 -
2011 IN FILM: A DISASTER ODYSSEY
For many supposedly serious cinema folk, there is no secret pleasure more pleasurable than the disaster film. What makes the genre so familiar – predictable plotlines, one-dimensional characters and an ever-present threat that only kills the people who deserve it – is also what makes it so damn fun. In the late ’90s, people cheered when the alien spaceship blew up American monuments. A full decade after September 11th, it’s still hard to imagine that happening now. During the past decade, disaster films have become more serious, less The Towering Inferno and more District 9, but it is only in the […]
by Mary Anderson Casavant on Dec 20, 2011
