"The pre-1915 era of silent filmmaking offered unique opportunities to the artists and craftspeople who worked in it. It was a time of flux, in which the traditions of the stage coexisted, or did battle with, the emerging grammar of filmmaking. In these early silents you can still see a push and pull between the old art form and the new—of which histrionic acting and immobile camerawork are but the most obvious examples. Just as important, and perhaps more interesting, is their mixture of realism and obvious stage fakery. This is something later directors—even later silent-film directors—did away with.
But it can be intriguing."
" it time for American actors to take a hard look in the mirror? Earlier this year Michael Douglas mused darkly to a magazine interviewer, “I think we have a little crisis going on amongst our young actors at this point,” and Spike Lee, commenting on the “invasion” of black British actors, had some pithy observations on the subject, too: “You want talented people,” he said, and British actors’ “training is very proper, whereas some of these other brothers and sisters, you know, they come in here, and they don’t got that training.” Douglas and Lee, just like the rest of us who go to the movies, are a tad puzzled about why so many good American roles have been going to English, Irish, Welsh, Scottish, Australian, and Canadian actors. The phenomenon may have reached its unignorable peak in last year’s docudrama Selma: the parts of Dr. Martin Luther King Jr., Coretta Scott King, Governor George Wallace, and President Lyndon B. Johnson were all played by Brits."
Every post-Matrix movie in the filmography of the Wachowskis is the same. We'll prove it.
The Wachowskis used to make movies about revolutionaries. Now, they're arguing that the meek will inherit the earth -- and do nothing for anyone else.
Has there ever been a movie as sugary as the live-action Cinderella? It's like stuffing your face with cake, until cake is all up inside your nostrils and you have a frosting-beard. And yet, this movie also has moments of actual emotion and believable characterization here and there, which make it surprisingly great.
Kazuo Ishiguro takes literary fantasy and his readers in a new direction with The Buried Giant
Kindness can be a radical, affirming force. But Disney's live-action "Cinderella" doesn't have the courage or the goodness that it advocates at such great length.