when i found out that jamey rodemeyer killed himself – i felt deeply troubled. but when i found out that jamey rodemeyer had made an it gets better video only months before taking his own life – i felt indescribable despair… in light of jamey’s death – it became clear to me in an instant that living a gay life without publicly acknowledging it – is simply not enough to make any significant contribution to the immense work that lies ahead on the road to complete equality… we are at the precipice of great transformation within our culture and government. i believe in the power of intention to change the landscape of our society – and it is my intention to live an authentic life of compassion and integrity and action. jamey rodemeyer’s life changed mine. and while his death only makes me wish that i had done this sooner – i am eternally grateful to him for being the catalyst for change within me. [abbreviated]
Since we don’t usually cover filmmakers’ off-screen lives unless the story is relevant to movies, I’ll take this opportunity to tie this news to the trailer for Weekend — it’s not a film starring Quinto, but one I feel he’d admire.
The Boston Globe says Weekend is “One of the truest, most beautiful movies ever made about two strangers.” It’s standing with a score of 81 on Metacritic. (More review quotes after the cut.) Out Cinema like this may be outside our usual awards-centric focus, but I’d be negligent in my responsibilities if this movie went unmentioned much longer.
The trades rave The Adventures of Tintin: The Secret of the Unicorn. Variety:
…Clearly rejuvenated by his collaboration with producer Peter Jackson, and blessed with a smart script and the best craftsmanship money can buy, Spielberg has fashioned a whiz-bang thrill ride that’s largely faithful to the wholesome spirit of his source but still appealing to younger, Tintin-challenged auds. Pic should do thundering typhoon biz globally, but will whirl especially fast in Europe.
…Early buzz on fan sites indicated that expectations weren’t high for Spielberg’s take on the material, given the arguably overused gimmicks of 3D and motion-capture. Working hand-in-hand with Jackson, however, the director and his team have deployed both technologies with subtle finesse throughout, exploiting 3D’s potential just enough to make the action scenes that much more effective without overdoing it; likewise, the motion-capture performances have been achieved with such exactitude they look effortless, to the point where the characters, with their exaggerated features, almost resemble flesh-and-blood thesps wearing prosthetic makeup.
Indeed, in the early going auds might wonder why the filmmakers bothered with motion-capture at all. But the choice starts to make sense once Snowy, Tintin’s faithful white terrier, performs antics not even the best-trained pooch could perform and the sets, stunts and action sequences become ever more lavish.
Empire’s 4-star review raves “Spielberg has brought a boy’s heart, an artist’s guile, and a movie-lover’s wit” to Tintin:
From the Nouvelle Vague flourish of the opening credits, featuring Tintin in silhouette dashing past giant typewriters and former foes, recalling the Saul Bass-themed curtain raiser of Catch Me If You Can, set off by John Williams’ fleet-fingered piano score, the mood is set. Here is a joyful play of opposites: the romance of old-school cinema, conjured by the slick synthesis of CG wizardry.
Vitally, as near as can be, here too is the ardent, moules-frites aroma of Hergé’s rainbow-lovely world of high adventure and colloquial antics. Spielberg’s first venture into animation (we’ll stick with that) expands the Belgian’s formal elegance into a wonderland of digital detail without ever losing sight of the bubbly charm of the books. Encompassing the shovel chins and bobbled noses of the Hergéian caricatures, Weta pursues a whimsical variation on photoreal. But it’s not just about the flour-fine textures of sand or gunpowder, the flicker of firelight across a blade or a breeze ruffling Tintin’s unbendable forelock. This is also an expansion of the Spielbergian dream (with a tincture of Jackson’s boldness). Like a boy set free from the schoolroom of reality, he lets fly.
Tintin had his London premiere a few hours ago. Duncan Jones (Moon) says:
So! Tintin. You know my worry from the trailer about the uncanny valley? Im full of shit. Works great. As for 3D… STILL not sold on it!
While we collect some other first impressions, take a look at this fanmade credit animation by James Curran, defiantly 2-D.
Thanks to Tero for the heads up. Full press release via MCN:
Michael Kutza, Founder and Artistic Director of the Chicago International Film Festival, Mimi Plauché, Head of Programming, and Programmers Penny Bartlett and Lee Ferdinand and Competitions Coordinator Alex Kopecky proudly announce the winners of the 47th Chicago International Film Festival Competitions. This year’s selection of more than 180 feature-length fiction films, documentaries and shorts was one of the strongest in the past decade.
International Feature Film Competition
Representing a wide variety of styles and genres, these works compete for the Festival’s highest honor, the Gold Hugo, a symbol of discovery, as well as awards for best actors, director and writer.
Gold Hugo to LE HAVRE (Finland/France) for the mastery of film director Aki Kaurismäki and his stylized yet very humane depiction of illegal immigration.
Silver Hugo for CAIRO 678 (Egypt) for addressing relevant social issues. It takes a strong stand on sexual harassment for women at home and work. It is a brave film for presenting women as an oppressor rather than a victim.
Silver Hugo for Best Actress to Olivia Colman in TYRANNOSAUR (UK) for an outstanding performance hitting every note showing her vulnerability, her power and her humor.
Silver Hugo for Best Actor to Maged El Kedwany in CAIRO 678 (Egypt) for his ability to bring balance to the story and light to a heavy tone. His presence draws you into every frame he is in.
I’ve been trying to write all morning about the second episode of FX’s Fargo which aired last night, but it’s like pulling teeth. I went into the first episode with a deep skepticism based on my unconditional love of Joel and Ethan Coen’s film. After a shaky start, I thought the whole thing went pretty well and, on balance, showed enough promise to look forward to future episodes. At the very least, the developments in the episode seemed to suggest showrunner Noah Hawley ...
Good news for people who don’t subscribe to HBO, but bad news for Netflix. Beginning May 21, Amazon Prime will start streaming a pant load of HBO shows, movies and specials. Every episode of The Sopranos, The Wire, Deadwood, Rome and Six Feet Under, Eastbound & Down, Enlightened, Flight of the Concords and Oz; selected seasons of current shows Boardwalk Empire, Treme and True Blood; HBO minis Angels in America, Band of Brothers, John Adams, The Pacific and Parade’s End; many HBO...
Right? I mean, right? That was the year to beat all others. We try to go there and talk about the individual films probably spending the most amount of time on Brokeback but 2005 overall turned out to be a great year for film with History of Violence, The Constant Gardener, Walk the Line all just missing Best Picture, though they might have gotten in if there were more than five. Have a listen! ...
Million Dollar Baby takes down Sideways and The Aviator. Probably the only film that really resonates from this year was Eternal Sunshine of the Spotless Mind, which just gets better with each viewing, as does Sideways. Okay, fine, so do the Aviator and Million Dollar Baby. Ultimately it was not the best year for film but not bad overall. Have a listen....