Great film by directors under 25 are hard to come by. That’s why we found just nine.Read More
“Which films inspired him, growing up? “I wasn’t really inspired by film,” he says, “but I admired Spike Lee’s movies because they just felt very, very, very black. I remember watching School Daze and thinking, ‘What the hell is this?’ There were colleges for black people that just black people go to? And those colleges had all this shit going on? This is so energizing!
“Otherwise, it was the really big Hollywood stuff – The Color Purple, Aliens, Die Hard, Coming To America. I would catch the bus to go to the AMC theatre downtown. But I never thought, ‘Hey, maybe one day I might like to do that.’ It just didn’t seem possible.”
Alfonso Cuaron has won the DGA for “Roma.” This doesn’t necessarily mean his film is now the one to beat in terms of Best Picture odds, but it does position it quite well in the grander scheme of things, and as a natural adversary of current frontrunner “Green Book.” Cuaron beat out "A Star Is Born‘s Bradley Cooper, Green Book‘s Peter Farrelly, BlacKkKlansman‘s Spike Lee and Vice‘s Adam McKay. The latter is a film that has been unfairly shunned by critics, despite the industry’s liking of it. I believe McKay’s film will age like fine wine. McKay did get the award for Television directing for his excellent work in one of last year’s very best shows HBO’s “Succession.”
In other news, Bo Burnham won best first feature for “Eighth Grade” actually beating out Bradley Cooper and “A Star is Born.” INSANE.
Christopher Nolan’s next movie will be an IMAX event movie scheduled for summer 2020, July 17, 2020 to be exact. That’s according to a press release by the filmmaker earlier on Friday.
We know NOTHING else about the title or plot of the project. We don’t even know the genre he will be tackling, especially since Nolan went out of his comfort zone with his last film, 2017’s ‘Dunkirk,” which earned $526.9 million worldwide, and received Oscar nominations for Best Picture and Nolan’s first Best Director nod.
We all knew it was going to happen. The Best director race this year was not going to be female-centric. Yes, Chloé Zhao’s “The Rider,” Debra Granik’s “Leave No Trace,” Lynne Ramsay’s “You Were Never Really Here,” Marielle Heller’s “Can You Ever Forgive Me?” and Tamara Jenkins’ “Private Life,” to name just a few.Read More
Charles Burnett is one of the great, unsung directors of the last 40 years. The fact that “Killer of Sheep” and “To Sleep With Anger” are two of the finest films ever directed by an African-American director is enough reason to celebrate this latest news.Read More
I had initially heard about director Lee Unkrich when he was hired as director for "Toy Story 3." Little did I know that he had also worked behind the scenes as an editor on "Toy Story," and has had co-director credits on "Finding Nemo," "Toy Story 2," and "Monsters Inc." Anyway, "Toy Story 3" was his own creation and it was such a success that he then was tasked to helm "Coco“ which ended up making close $800 Million worldwide.Read More
Here's an undisputed fact: The studio and independent system is white-male dominated, all of this hoopla that a bunch of black and female filmmakers deserve their fair share of 2018 awards is quite simply overreaching and a form of virtue signaling on the part of film critics. The odds are heavily stacked for white male directors making the best films of the year.Read More
An interesting observation: The '80s and '90s saw a slew of brilliant American filmmakers making their debut. For example, we saw the likes of Spike Lee, Steven Soderbergh, Jim Jarmusch, Oliver Stone, Jonathan Demme, Michael Mann, John Sayles, Gus Van Sant, Tim Burton, Sam Raimi, Joel and Ethan Coen and Kathryn Bigelow, John Hughes andBarry Levinson. The 1990s were even better, due to the indie film movement blossoming into its peak, with the likes of Quentin Tarantino, Richard Linklater, Kevin Smith, Darren Aronofsky, Spike Jonze, Todd Solondz, Todd Haynes, Alexander Payne, David O Russell, Paul Thomas Anderson, David Fincher, Kelly Reichardt, and Brad Bird,among many others who made their first films that decade.Read More
Earlier today, IFC announced that Lars von Trier's "The House That Jack Built" will be getting a special release later this year. Two versions of the film will be screened — the “director’s cut” that was shown at Cannes and the “R-rated cut” that is supposed to be 'tamer,' at least by Lars von Trier standards. Both will be available on VOD and in select theaters. However, what most people are talking about today is not the IFC release announcement but rather a promotional campaign that had film journalists being robocalled at random by a creepy voice. This was most definitely a prank call and the victims are none too pleased about it, describing it as “creepy,” “aggressive,” “terrible,” and “twisted.”Read More
It is thrilling to see all these great directors make the switch from movies to TV. Legendary directors such as Martin Scorsese, David Lynch, David Fincher, Woody Allen, Steven Soderbergh, Spike Lee, Todd Haynes, Joel Coen and Ridley Scott are all giving us their own serialized statements on the small-screen, but don't expect Steve McQueen to make the jump any time soon.Read More
TV shows tend to rarely have the same director directing every episode. Even the very best shows we've had, like "Breaking Bad," have had dozens of filmmakers take a crack at episodes.
Speaking at the Rome Film Festival (via THR), Martin Scorsese showed regret in not directing every episode of his misbegotten HBO series “Vinyl."Read More
In a recent New Yorker interview with director Luca Guadagnino ("Call Me by Your Name"), it was revealed that a film adaptation of Bob Dylan’s 1975 album "Blood on the Tracks" is being worked on, with Guadagnino set to direct and Richard LaGravenese writing the screenplay. Digging up for more information I stumbled upon a source telling SPIN that the film will tell “a multiyear story, set in the seventies, that [LaGravenese] and Guadagnino had invented, drawing on the album’s central themes.” LaGravenese tells the New Yorker about the characters: “When they’re repressing, we dramatize the repression, and what that does to them. And we dramatize what happens when you let your passions take over too much.”
It looks like they're going for a "I'm Not There" type of narrative. A risky endeavor, if you ask me, but well worth a shot. "Blood on the Tracks" is an incredible work of art.
Maggie Gyllenhaal is a Staten Island early-childhood educator lacking something meaningful in her life who starts obsessing over a gifted student, which leads to problems too good to reveal. Suffice to say, when you watch “The Kindergarten Teacher,” Sara Colangelo’s American remake of the similarly-titled Israeli drama, you are transported into what Gyllenhaal described to me as the psyche of a “starving, vibrant woman’s mind.”
Colangelo, who stunned more than a few moviegoers with her 2014 feature directing debut “Little Accidents,” creates a film with its own unique identity, the fleshing out of a woman who desperately needs to find meaning in her life. However, the movie belongs to Gyllenhaal, in an awards-worthy performance, who, along with Colangelo’s patient camera, keeps playing with our heads throughout the proceedings. The fact that she maintains a sort of sympathetic nature to her character makes this brilliant film all the more mysterious to the eyes.
I spoke to Colangelo and Gyllenhaal about the film, which premiered on Netflix this past Friday.
THR is reporting that Ryan Coogler will write and direct a sequel to this year's uber-successful "Black Panther."
Coogler is set to make mega bucks for "Black Panther 2." Good for him. Such a great timeline for him. His career got started with the little indie "Fruitvale Station," which I thought wasn't all that impressive, despite the important political context and friendly reviews. What really turned heads, including mine, was the way he shot those boxing scenes in "Creed 2," Wowza! That really led me to believe this guy had something special, but then he had to go and waste those talents on the most mass-marketed, safe entertainment imaginable over at Marvel. Oh, well. Money talks, but I do hope Coogler eventually goes back into making original statements post-Panther. Which is not to say "Black Panther 2" will disappoint by any means, although I had a generally mixed reaction with the original, but, man, Marvel and Disney are really stealing all these young up and coming talents for the most mainstream fare imaginable.
Michael B. Jordan is also set to star in the 'Panther' sequel. And so, you might ask, if Jordan's character died in the first one, how is he going to star in this movie as well? My answer is rather simple: this is Marvel, nobody ever really dies forever.