Zack Snyder hints that he hasn’t even seen “Justice League”

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I love production nightmares in Hollywood movies. Those are the kind of stories that become the stuff of Hollywood lore and, my friends, the chaotic production of "Justice League" is surely a prime example of that.

Has Zack Snyder not seen "Justice League"? That's what some fans are speculating after a brunch joke from a "Justice League" scene confused Snyder during a recent Reddit chat. 

Snyder has never released a statement about his opinion on "Justice League" but the following exchange kinda makes you think that he's only seen his own cut of the movie:

For those unaware, the brunch joke had to do with Flash (Ezra Miller) complaining to Batman (Ben Affleck) about it when they recruit him into the group, then it came back later in the film's post-credits sequence when Superman (Henry Cavil) says, if he wins, Barry should take everyone to brunch.

Of course, Snyder might have just forgotten about both scenes but something tells me it's more than just that. If I were Snyder and Warner Bros. basically takes the movie I shot and hires a new director to interfere, I don't think I'd be able to watch the final product. It'd be too painful.

A petition by Snyder/DCEU fans demanding  that his director's cut be released is still online and has received close to 177,000 signatures.

Marvel: X-Men and Other Fox Characters Won’t Be Part Of MCU For A “Handful Of Years”



Hours after announcing its acquired 21st Century Fox, Disney CEO Bob Iger announced, via Deadline, that X-Men, Deadpool and Fantastic Four would all join the MCU:
“We have the opportunity to expand iconic franchises for new generations of fans just as we have done with Marvel and Star Wars. The obvious example is Avatar, which is still the single highest-grossing film in history. We’ve already worked with James Cameron to span the storytelling into a spectacular new land called Pandora: The World of Avatar, which opened in Orlando earlier this year and we’re very excited to continue that relationship, especially related to the series of Avatar films he’s currently working on. We’re also looking forward to expanding the Marvel cinematic universe to include X-Men, Fantastic Four and Deadpool and reuniting all of the Star Wars movies ever made under one roof, which opens new opportunities for that franchise."

Disney acquired 21st Century Fox for $52.4 billion. As far as I'm concerned, this is a direct threat to creatives everywhere. Disney can now add the X-Men, “Alien,” and “Avatar” franchises at their disposal, amongst many others, which adds a significant artillery of films to their upcoming streaming service, set to debut in 2019.

However, Feige is now clearing up what he meant  just a few months ago, in an interview with The Playlist, the Marvel head said don't expect teh X-Men or any other Fox entities to join the MCU for, at least, "a handful of years" after the deal is done:
“No, because any of that deal would take a while to get going and years from whenever and if ever it happens. So, certainly it won’t impact the five movies we’ve announced, and it probably wouldn’t impact anything for a handful of years after that. Because really, we’re not thinking about that. We’re thinking of delivering on what we promised. Any movie, especially for any characters we don’t have the rights to yet until someone tells us we do, would be even further after that.”

Why are A-List celebs already raving about Bradley Cooper’s upcoming “A Star Is Born”

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There seemed to have been a few private screenings of Bradley Cooper‘s upcoming remake of  "A Star Is Born" (only due for release in October). Three major celebs are already raving about it, trying to kickstart an Oscar campaign via word of mouth. Barbra Streisand, Sean Penn, and Robert De Niro — have spoken highly of it.

Streisand: “Oh, I can’t say too much…I haven’t seen too much, but it’s good…it’s very, very good.” Penn: “One of the most beautiful, fantastic, it’s the best, and most importantly commercial film I have seen in so many years” De Niro: “It’s terrific and Bradley is excellent in it…the movie is wonderful…I hope it gets the attention I feel it should when it opens…Bradley learned to sing…he really worked hard and it paid off…you see all the hard work he did, it’s special.”

What is really going on here? Do we have the second coming of Bob Fosse being released this October? Or is this just friends helping a friend? We have no trailer whatsoever, I, in fact, couldn't care less for the film on paper for, but this advanced buzz has surely piqued my interest.

The official synopsis reads "A movie star helps a young singer and actress find fame, even as age and alcoholism send his own career into a downward spiral." Cooper writes, directs and stars. The film also includes Lady Gaga, Sam Elliot, and Dave Chappelle.

Movie historian/author says Hollywood can’t make risky movies like “Children of Men”: “That’s the type of thing that won’t get made anymore by major studios”

The New Republic's Alex Shepard and Wall Street Journal reporter Ben Fritz, author of “The Big Picture,” had a fascinating chat about how it’s all turning to CG extravaganzas in theatres, but that if you looks closer at non-theatrical, we're actually in a golden age. Which I, of course, agree with 100%.

Date 4.9.18, “Will Hollywood Ever Make Another Children of Men?,” claims that movie theaters have now become CG overkill and that the best cinema is actually streaming.

In a 4.9 New Republic piece called Shepard: “2017 was an outstanding year for movies but it does seem like Oscar-bait movies are working on a smaller scale, for a smaller audience, in part because Hollywood has stopped investing in big budget Oscar-bait movies that aspire to a mass audience. In The Big Picture, you argue that three of my favorite recent movies — Michael Clayton, Captain Phillips and Children of Men — would have a much hard time getting made right now.”

Fritz: “That specialty market will certainly survive. If you live in a big enough city you’ll be able to see the next Ladybird in a few years. But most people won’t. They’ll see it on streaming or whatever. And that will be fine. But Children of Men, that’s a great example. I don’t know what it’s budget was — $80 million maybe. It’s not cheap to make that film. You’re making a film that’s really worth seeing on a big screen.

“But there’s no Children of Men cinematic universe. There’s no franchising. There are no tie-ins. There are no sequel possibilities. That’s a one-off film and that’s the type of thing that won’t get made anymore. It’s also the kind of thing that’s tough to replicate for a streaming service. It’s the kind of movie we’re losing and that’s a bummer.”

My colleague Jeffrey Wells over at Hollywood Elsewhere commented that the current state of cinema is "major cultural tragedy." 

My response: "It's more than that. It's a dumbing down of culture will likely have reverberating effects in the years to come. Mike Judge's "Idiocracy" wasn't far off in its depiction of a low-IQ futuristic America. A minor difference is that we don't have President Dwayne Elizondo Mountain Dew Herbert Camacho (as played by Terry Crews) living in the White House, but, close enough.

An excerpt of my "Children of Men" reviews from 12 years ago:

"Here's a movie miracle that grows on you and is the definition of great storytelling. Alfonso Cuaron has made a movie for our times and a movie that can rival almost any sci-fi of the past three decades. It is a film that has built up an audience since its release in December and has become one of the crowning achievements of the decade. With its handheld camera and its long takes, Children Of Men is a social message for a better future and a wakeup call for our government to stop the broken promises to its people. It is about the last child on earth and the first child on earth, the first sign of optimism and the last."

First Poster for Orson Welles’ Previously-Unfinished Final Film ‘The Other Side Of The Wind’

Last week, Orson Welles' daughter was pleading for Cannes and Netflix to come to a mutual agreement to show "The Other Side of the Wind" at the major film festival. 

The film, an abandoned project that was shot in the 1970s, was finally completed by Welles' protege, director, Peter Bogdanovich this year. Netflix jumped on-board at the opportunity to restore this "lost" film when every iother studio balked. 

Beatrice also sent an email to Cannes director Thierry Fremaux, who replied by saying ‘Wind’ is“an extraordinary film. Much more than a historical film. A message from Orson Welles to the world of cinema today.”

If Netflix could make an exception it would be for this film, which doesn't need to be in competition and could just play in the Cannes Classics sidebar.

In 2019 when Bond 25 comes out, Daniel Craig will be 13 years in the character of James Bond, surpassing Roger Moore, who was the greatest spy for 12 years (1973-1985)

Roger Moore had 7 Bond films, Craig only 5, but the time period between has Craig as the longest-lasting Bond ever. I do think Sean Connery will always be the ultimate 007, for purists' sake, but Craig has made a case as a major contender with two of the very best films in the franchise ("Casino Royale" and "Skyfall").

The amazing color palette / matching wardrobe in ‘The Umbrellas of Cherbourg’ (1964)

The most obvious influence on Damien Chazelle’s “La La Land,” and probably the greatest musical of all-time, in a three-way tie at least, with "All That Jazz,'" and "Singin' in the Rain."

Jacque Demy's "Umbrellas" is a number really, there isn't particularly a highlight showstopper or number, but the catchiest and loveliest recurring melody is the love theme. 

Demy’s adorable, sweet-sad film is deceptively meticulous in everything from its staging to the sherbet-fountain palette he uses throughout. It bears more in common with an opera than a regular musical in that even the most casual of conversational lines are sung,  a devious idea that could have easily backfired and has in other films that have attempted this. The lightness of the melodies and the voices (all dubbed) keep it fresh as opposed to heavy or overly classical. This is also Catherine Deneuve at her most dazzlingly beautiful as the daughter of an umbrella-shop owner whose lover is drafted and unknowingly leaves her pregnant with his child, don't expect "Belle de Jour," style eroitcism from the French actress, this is asurprisingly sweet-natured performance from her.  it is a slip of a plot really, but somehow it feels like life, and though it is always unassuming and intimate, the fate of these two separated lovers feels like the most tragic and epic love story ever to have mostly unfolded in gas stations and railroad cafes. Just completely gorgeous.

Kubrick’s “2001" was saved because audiences liked watching it while high, the studio even added “The Ultimate Trip” to posters.

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A New Yorker piece by Dan Chiasson entitled “2001: A Space Odyssey”: What It Means, and How It Was Made" (4.23.18) basically explains how hipsters in 1968 saved the Kubrick masterpiece from box-office infamy. I've heard stories of how the peace and love movement took Kubrick's film as their own ("Dig that time-warp, man") but Chiasson really goes in-depth with the hysteria that was occurring in '68, just a year after the "summer of love" happened, and a year before Charles Manson would doom the movement. 

"Hippies may have saved “2001.” “Stoned audiences” flocked to the movie. David Bowie took a few drops of cannabis tincture before watching, and countless others dropped acid. According to one report, a young man at a showing in Los Angeles plunged through the movie screen, shouting, “It’s God! It’s God!” John Lennon said he saw the film “every week.”

"In Harper’s, Pauline Kael wrote, “The ponderous blurry appeal of the picture may be that it takes its stoned audience out of this world to a consoling vision of a graceful world of space.” Onscreen it was 2001, but in the theatres, it was still 1968, after all. Kubrick’s gleeful machinery, waltzing in time to Strauss, had bounded past an abundance of human misery on the ground."

I wrote in 4.5.18, in a post called "2001: A Space Odyssey" is 50 years old today":

"A big studio film such a "2001 A Space Odyssey" could only be made in 1968, no other year, or decade, would have had a studio bank on this kind of big-budgeted, ambitious, and bold artistic statement. It redefined the way we saw cinema in a way that easily makes it the best, and most important American film of the last 50 years. It was filmed in 1967, during the "Summer of Love." Counterculture and LSD were at the forefront of mainstream art. Kubrick took this opportunity, the open-mindedness of a changing America, to make a movie that stood the chance of being accepted on its own unique terms. There is no other year where this could happen again."

“In other words, Kubrick’s film fit perfectly with the avant-garde movement of the period, the counter-cultural movement took it as its own, with even John Lennon uttering, “‘2001’? I see it every week.” And so, much to the surprise of the studio and the entire industry, “2001" became a movie event and the top grossing film at the box-office that year.”

LISTS

The Rock threatened to quit ‘Rampage' unless the ending was changed

In an interview with Rolling Stone magazine, Dwayne 'The Rock" Johnson alluded to the fact that he wasn't happy with the ending of "Rampage" and actually convinced the studio, producer, writer and director to change it on his behalf. 

 "I don't like a sad ending," he says. "Life brings that shit – I don't want it in my movies. When the credits roll, I want to feel great. We had a big meeting where they gave me all the reasons they thought George should die," he says. "He sacrifices himself saving the world. Killing these animals who had ill intentions to harm mankind. He sacrifices himself like a brave soldier. OK. But this is a movie! There's a crocodile the size of a football stadium – we're not making Saving Private Ryan."

 According to Johnson, it was about more than just George. "My problem is I have a relationship with an audience around the world," he says. "For years I've built a trust with them that they're gonna come to my movies and feel good. So every once in a while, you have to drop this card, which is: You're gonna have to find another actor. We need to figure something out, otherwise I'm not gonna do the movie."

 In the end, they landed on a compromise that made both sides happy. But everyone agrees that Johnson had the right instinct. "He understands the audience and his relationship with the audience better than anyone," Peyton says.

 What does this say about Johnson's ambitions as an "artist"? It says that he tries to adhere to the lowest common denominating audience for maximal box-office potential, it says that, as if we didn't already know, he has no intention of stretching his acting chops further than they already are, and, most importantly, it says that to achieve top-tier status as the highest-paid, most profitable actor in Hollywood, you most likely have to sell your soul to the devil and compromise a film's ending for your betterment. Yikes.

 [Rolling Stone]

‘2001: A Spacey Odyssey’ 50th Anniversary Trailer



I wrote extensively about Stanley Kubrick's magnum opus earlier this month in an op-ed titled "2001: A Space Odyssey" is 50 years old today. Suffice to say, "2001" has aged like fine wine over the years. 

 I have never seen the film in 70mm, and so the temptation is surely there to attend the restoration screening at this year's Cannes Film Festival, which will no less be presented by Christopher Nolan. My attendance would mostly depend on it not colliding with any competition titles screening en parallel.  

 "For the first time since the original release, this 70mm print was struck from new printing elements made from the original camera negative. This is a true photochemical film recreation. There are no digital tricks, remastered effects, or revisionist edits. This is the unrestored film - that recreates the cinematic event that audiences experienced fifty years ago." - Christopher Nolan

“2001: A Space Odyssey” is set for re-release in 70mm on May 18th.

Javier Bardem Defends Woody Allen: “Judgments in the states of New York and Connecticut found him innocent"



I have covered the Woody Allen saga left and right ever since Dylan Farrow's sexual abuse allegations against her 82-year-old father were reignited, courtesy of the #TimesUp and #MeToo movements, late last year. Mia Farrow and her kids Ronan and Dylan have vehemently stayed true to their convictions, even as Alec Baldwin was condemning them as liars last month. This has no doubt raised a spark akin to a domino effect in the industry with Ellen Page, Greta Gerwig, Rebecca Hall, and Timothée Chalamet all expressing remorse in having worked with the director in the past. Allen's reputation has taken a major hit that will no doubt have Amazon wondering what their next move should be in regards to that nice, big contract Allen signed with them a few years back. Will they change their tune on the director? Who knows.

 Someone that won't change his tune on the celebrated director is Javier Bardem, who worked with Allen on 2007's "Vicky Cristina Barcelona.", In an interview with Paris Match‘s Dany Jucaud, Bardem stood up for Allen! After he was asked by Jucaud if he was “ashamed” of having worked with Allen, Bardem replied: “Absolutely not. I am very shocked by this sudden treatment. Judgments in the states of New York and Connecticut found him innocent. The legal situation today is the same as in 2007. If there was evidence that Woody Allen was guilty, then yes, I would have stopped working with him, but I have doubts.”

 Bardem's defense of the director comes after celebrities such as Cate Blanchett, Diane Keaton and Alec Baldwin refused to adhere to mob-fandom and condemn Allen, a director they've all worked with in past films. I assume they have read enough about the case to raise their own conspicuous doubts.  If you are the kind of person that is open-minded and would rather inform his or herself rather than be lazy and just trust fake news, then, please, by all means, read Robert Weide's excellent dissections of Allen vs Farrow which were posted on 12.13.17, 5.30.16, and, most recently, 1.14.18.

Lars Von Trier, Yann Gonzalez, Nuri Bilge Ceylan, “Fahrenheit 451," and Whitney Houston documentary added to official selection

Cannes just made their lineup a lot more intriguing in a matter of minutes as they announced the additions of major auteurs to their lineups this morning.

Turkish director Nuri Bilge Ceylan’s "The Wild Pear Tree" has been added to competition. Ceylan is a top-tier art-house filmmaker that won the Palme d’or in 2014 for "Winter Sleep," Best Director in 2008 for "Three Monkeys," the Grand Jury prize in 2002 for "Distant," and that same prize again for  2011's masterful "Once Upon A Time In Anatolia,"  the latter of which is still his best movie. 

Also added to competition, and upgraded from the Un Certain Regard section, was "Knife + Heart"  by French filmmaker Yann Gonzalez and starring Vanessa Paradis and also "Ayka" by Kazakh Sergey Dvortsevoy, director of  the excellent "Tulpan" which won Un Certain Regard Prize in 2008.

The Competition should now be complete and will have 21 films, for those interested in such stats, only three of those films are by women filmmakers.

If anything, the Out of Competition titles announced today might interest a more mainstream-oriented attendee of the fest, such as Lars Von Trier’s "The House That Jack Built" starring Matt Dillon and Uma Thurman, Kevin Macdonald's documentary "Whitney" about the life of singer Whitney Houston, and HBO's sci-fi adaptation of "Fahrenheit 451" by the excellent Ramin Bahrani, part of the cast for the latter includes Michael B. Jordan and Michael Shannon. 

Looks like Amy Schumer's “I Feel Pretty" is another nail in the coffin for her career

Amy Schumer‘s I Feel Pretty will be released this Friday, but early reviews aren't so kind. Rotten Tomatoes (30%) and Metacritic (44%), are hinting at a potential box-office bomb for Schumer, who last effort was "Snatched," her buddy comedy with Goldie Hawn tanked last summer. As it stands, Schumer is a one-hit wonder in Hollywood with 2015's excellent Judd Apatow-directed "Trainwreck" being the sole redeeming performance she's given that felt humane, honest and funny. I missed last night's press screening of "I Feel Pretty," because, to be quite honest with you, I just couldn't fathom taking the 15-minute train ride to the Boston Common to watch the darn thing. The trailers looked horrible, and just for the mere fact that I think Schumer has lost her mojo ever since "Trainwreck," which is starting to feel more and more like a lightning-in-a-bottle kind of moment for the 36-year-old actress.


IndieWire's Kohn: “Does America Need Its Own Cannes Competition?"

IndieWire's Eric Kohn just posted a op-ed about how, he believes, the U.S. might need a Cannes-like competition festival among major filmmakers. 
This line of thinking has, of course, started because of the dispute between the prestigious festival and Netflix, over streaming laws that prevent movies from being streamed in France 36 months after initial theatrical release. 
Titled “Does America Need Its Own Cannes Competition?“, Kohn’s piece is sub-headlined “with so few American films in the world’s most prestigious festival competition, U.S. programmers explain why there’s no equivalent in North America.”
Of course, I like the idea but Kohn tends to neglect the fact that Telluride and TIFF more than make up for it in the fall. They just need to add an actual competition for awards and et voila!
I don't think NYFF would work since 85% of their lineup is Cannes-oriented and they most probably want it to stay that way. 

Telluride could, technically, work, if they stop charging press for badges and turn their lineup into an awards competition, but fat chance that happens.

I think the best bet would actually be Toronto. Choose 20-30 films for competition and just run with it. You can program the rest of the 150 or so movies in non-competitive sections. This would most definitely re-energize the fest and wash away the Post-Telluride/Venice staleness that has inflicted TIFF in recent years.

In the writeup, Kohn speaks to Sundance head John Cooper, South by Southwest co-founder Janet Pierson and Tribeca Film Festival director of programming Cara Cusumato, all three of which tell him that they have no interest in doing such a festival since their respective brands have found the right niche, identity if you will, in terms of representation for American Independent cinema.

Cannes head Femaux has repeatedly stated that no selection will ” be governed or influenced by “positive discrimination,” which clearly means that he will not be influenced by the sudden forceful rush to represent "woke" and "feminist" cinema, which has quickly become a mainstay at film festivals such as Sundance.

Cooper makes mention of the Fremaux quote and says “What is ‘positive discrimination’?” Oh, man. He goes on to say that Sundance “discuss diversity as one factor in the competition selection process”, and adds, “It comes into play, during the eleventh hour, [but] we don’t let it drive the selection. I have a very diverse staff, so I know that helps. But we let the film drive things.” 

After reading Kohn's op-ed, Jeff Wells sent the following email to Cooper:

"Excuse me but Cooper knows exactly what “positive discrimination” is. Adhering to a woke feminist, LGBTQ and diverse agenda (which has resulted in that annual Park City gathering becoming a “socialist summer camp in the snow”) is what Sundance seems to be transitioning into these days."

"It was certainly what Sundance ‘18 was about. That festival was so progressively programmed and politically “instructive” that I began to feel a vague sense of suffocation after three or four days. After five or six days I began to feel lethargic and irritable. It was almost like being in China during the Great Cultural Revolution of the mid ‘60s."

"In the ‘90s and early aughts and even until recently, Sundance was about edgy provocations, discoveries and major breakouts, and occasional grand slams that travelled all the way into Oscar season. Now it’s basically for wokers in the same way that SXSW is mainly for fantasy-genre geeks and cutting-edge defiers of cultural norms."

I wrote back to Wells and said:
"Right before Cannes announced their slate, there was so much speculation, only stateside of course, as to whether or not Fremaux would adhere to current political wokeness and feminism for his Cannes lineup. When he didn't IndieWire and co. were all up in arms about it. You can bet your bottom dollar that Telluride will adhere to the pressure with this year's lineup, lots of female and African-American filmmakers expected, just like Sundance. A "politically instructive" program as you mentioned."

Film Academy Board Member Resigns But Not Without Releasing A Scathing Letter: “We Have Failed”

Bill Mechanic

John Bailey
President, AMPAS

Dear John:

There’s a moment when if you fail to make an impact, the right thing to do is make for the exits. After Saturday’s meeting, I’m at that moment and I respectfully must resign from the Board of Governors.

I have great love and respect for the Academy. I grew up loving movies and watching the Academy Awards, never dreaming of being a nominee, producing the show, and certainly not becoming a Governor. Eventually all of these things actually came to pass and it was exciting when I was originally elected to the Board, serving with so many distinguished legends side-by-side in a non-hierarchical environment.

I left the Board after one term, but decided to run again a couple of years ago when many of the decisions of the Board seemed to me to be reactive rather than considered. I felt I could help provide some perspective and guidance.

But it’s exceedingly clear to me since returning to the Board that things have changed and there is now a fractured environment which does not allow for a unified, strategically sound, vision. I haven’t had any real impact, so now it’s time to leave.

I feel I have failed the organization. I feel we have failed the organization.
We have settled on numeric answers to the problem of inclusion, barely recognizing that this is the Industry’s problem far, far more than it is the Academy’s. Instead we react to pressure. One Governor even went as far as suggesting we don’t admit a single white male to the Academy, regardless of merit!

We have failed to move the Oscars into the modern age, despite decades of increased competition and declining ratings. Instead, we have kept to the same number of awards, which inherently means a long and boring show, and over the past decade we have nominated so many smaller independent films that the Oscars feel like they should be handed out in a tent. Big is not inherently bad and small is not inherently good. Moving into the modern age does not mean competing with the Emmys for non-theatrical features.

We have failed to solve the problems of the Museum, which is ridiculously over its initial budget and way past its original opening date. Despite having the best of the best inside the Academy membership, we have ignored the input of our Governors and our members.
We have failed our employees. Over the past seven years, we have watched dedicated employees of the Academy be driven out or leave out of frustration. Certainly, some freshening of an organization is a good thing, but that doesn’t seem the case here; this seems more like a “purge” to stifle debate and support management as opposed to the needs of the Academy.

We have failed to provide leadership. Yes, that includes the Presidency, which with a one year term creates instability, but moreover the CEO role has become much broader and far reaching, and the results are erratic at best. It also includes 54 Board of Governors, which is so large it makes decision-making difficult and makes it way too easy for the silent majority to stay silent.

Many of the problems I’m talking about come not from malfeasance but rather from the silence of too many Governors. A vocal few people are insistent that the problems are not really problems or would be too damaging to the Academy to admit. Not facing your problems means you are not addressing those issues and, guess what, problems don’t go away — they simmer under the surface and, if anything, get worse.

You can’t hide the drainage of employees, the cataclysmic decline in the Oscar ratings, the fact that no popular film has won in over a decade; that we decided to play Moral Police and most probably someone inside the Academy leaked confidential information in order to compromise the President; that the Board doesn’t feel their voice is being heard with regard to the Museum; that we have allowed the Academy to be blamed for things way beyond our control and then try to do things which are not in our purview (sexual harassment, discrimination in the Industry).

Perhaps I’m wrong about all of this and if so my resignation will simply make things better. If that’s the case, so be it. If it’s not, then I truly hope the majority of Governors will take action. Check in with our membership and get their input. If they respond as many have with me, then change the leadership of the Academy and put the Academy’s interests above any personal likes or dislikes.
Respectfully,

Tribeca Film Festival Preview: 22 Must-See Titles

The lovey Ally Johnson and I wrote a Tribeca Film Festival preview for The Playlist. The Robert Deniro-created film festival has been a major fixture of the New York movie scene since its inception in 2002. If you haven’t attended it before, please do, not just for the movies but for the beauty of the Tribeca neighborhood of upper east-side Manhattan. The festival now draws over three million people each year, according to Wikipedia, I'm not sure how it accommodates that amount of traffic, but I'll take Wiki's word for it.