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#369 | December 21-28, 2010 |
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For a filmmaker associated best with exploring gender and sexuality onscreen in such audacious, stylized films as Hedwig and the Angry Inch and Shortbus, John Cameron Mitchell seems an unlikely but inspired choice to helm David Lindsay-Abaire's pared-down adaptation of his own Pulitzer Prize-winning drama, Rabbit Hole (opening in limited release on December 17, nationwide January 14), for which Nicole Kidman is already considered an Oscar nomination shoo-in. Aaron Hills chatted with Mitchell for a new podcast >> |
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In This Dispatch:
- What's New: Easy A, The American, and more.
- What We're Watching: Liverpool, Exit Through the Gift Shop, Country Doctor.
- Explore: Tron: Legacy; Americanarama; Yogi Bear.
- Contest: Somewhere giveaway.
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After a little white lie about losing her virginity gets out, a clean cut high school girl sees her life paralleling "The Scarlet Letter," which she is currently studying in school until she decides to use the rumor mill to advance her social and financial standing. This ode to John Hughes is "a funny, engaging comedy that takes the familiar but underrated Emma Stone and makes her, I believe, a star," writes Roger Ebert. "Witty," writes the Guardian's Philip French, "cleverly developed and sharply observant of high-school life." |
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" Anton Corbijn's The American [out 12/28] looks and feels like a movie made by a filmmaker who hasn't been to the movies since the '70s," writes Stephanie Zacharek, "and I mean that as the highest compliment." Adds the Village Voice: "Despite its director's disinterest in letting people in, there is nevertheless something exciting about a movie this uncompromised, in which the big change from [Martin Booth's] book to the screen actually toughens up the story instead of watering it down."
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Doing away with conventional exposition is a tricky business but Lisandro Alonso gets away with it fairly well in his 2008 film Liverpool, just now making its DVD debut via Kino Home Video. It's one thing to ignore exposition when you have a main character who is relatively open and sociable. When you have an extreme loner, as is the case with Alonso's "hero" Farrel (played by Juan Fernandez, in real life a snowplow operator), this makes connecting with the movie much more difficult. And yet I believe the director/co-writer (with Salvador Roselli) manages even this challenge better than might be expected... Read more >>
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Whether you take it at face value or gradually get the feeing that you're watching an art-world answer to This Is Spinal Tap, the much yakked-about Exit Through the Gift Shop is a knowingly subversive commentary on subversive art - and one of the year's best screen comedies, intentional (which I fully believe it is) or otherwise (a little too good to be true). Pulling a meta-Warhol move, the pseudonymynous UK street artist Banksy, now an international art celebrity, introduces a putative documentary about his work by turning the tables. Banksy, a silhouette in a hoodie whose voice is altered by distortion, tells us about a Los Angeles-based, French filmmaker who proposed making a movie about him, but instead it's Banksy who has made a film about the other guy: Thierry Guetta... Read more >>
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