“Innovation is not always embraced and art is to be interpreted… I’ve had a career of making classic movies that weren’t critically received…”
– “Him” actor Marlon Wayans, comparing its critical disparity to the ‘cult’ status of 2004’s frequently-cited ‘worst movie ever’ “White Chicks”
[cont’d]
“…there is a fear among studio executives…about some of the subject matter [of modern independent movies]. …everyone is going to films based on IP or something that’s very familiar, and that is the absolute antithesis of filmmaking…”
– Director Chris Columbus (“Home Alone”; “The Thursday Murder Club”), who was fired as producer on 2005’s “Fantastic Four”
[cont’d]
What’s your take? Any thoughts on Waters’ album? Leave us a comment below!
“It is dangerous to assume, because you might make an ‘ass’ out of ‘u’ and ‘me’.”
Sometimes, a great performance can elevate an under or over-written character in a film (Hilary Swank in “Ordinary Angels”). Other times, a well-written role – or interpretive slate – is botched by a performer’s over/under-acting, or good suggestions potentially vetoed (Michelle Dockery in “Flight Risk”). And, once in a while, the wrong actor gives a misguided turn as a bland character.
Playing Black Widow may have connoted Scarlett Johansson as the perfect choice for “Jurassic World Rebirth’s” Lara Croft-esque heroine, but she’s ultimately miscast.
[cont’d]
“Kissed” is a bizarre but on-brand Canadian film, with Molly Parker (from Global TV’s “Doc”) in her first major appearance. It’s a drama that skews closer to video art, with a striking premise that eventually plays second-fiddle to a middling obsession plot.
But damned if it exists at all: a straight-faced movie about necrophilia. Jörg Buttgereit’s “Nekromantik” this is not – though both films share the same fleeting duration of just over an hour: an unheard-of runtime in today’s feature market. Plenty for director Lynne Stopkewich to poke her head in, make her points, and leave, in – fingers-crossed – the most memorable way possible.
The prologue is laudable: a snapshot of heroine Sandra’s youth & learned Wiccanness, growing from a respect for the dead into intimacy. Getting these details about the protagonist so early made me emotionally invested in the unorthodox subject matter – as did Parker’s fearless, Genie award winning performance as the adult Sandra (Genies are the Canadian Oscars, now called the “Canadian Screen Awards”).
[cont’d]
theory of a daskeman 