The Penske Media purchase of Indiewire has resulted in an expansion of my role as crafts and awards season contributor. Beginning this week, I begin Emmy coverage of below-the-line contenders along with my usual Oscar season crafts reporting, working closely
The WB Archive Collection gets Hitch and Bogie on Blu-ray and they've never looked better for home viewing.
In Kent Jones' indispensable doc, Hitchcock/Truffaut, he reminds us that Truffaut was on a mission to correct misconceptions about Hitch as a lightweight
For the first time, the complete writings of film critic Manny Farber is available from Library of America, edited by Robert Polito (Savage Art: A Biography of Jim Thompson).
Manny Farber (1917-2008) was the first modernist film critic to write like a modernist.
Steven Soderberg’s Contagion gets under your skin immediately, which is exactly its purpose. Using the Red camera, the director achieves a gritty look to this cautionary tale about mass hysteria stemming from a mysterious pandemic that baffles the scientific community and sweeps the globe like the Black Plague. At the same time, flashbacks of Hong Kong and other locales have a naturalistic beauty, heightened in IMAX, that allow us to appreciate life and the world around us.
It’s a gripping procedural with scattered emotional beats from a fine ensemble cast (Gwyneth Paltrow, Matt Damon, Laurence Fishburne, Jude Law, Marion Cotillard, Kate Winslet, Jennifer Ehle, and Elliott Gould), and the perfect film to commemorate the 10th anniversary of 9/11. What have we learned besides blogging at its worst is “graffiti with punctuation”?
Soderbergh’s cinematography stands out along with Howard Cummings’ production design, Stephen Mirrione’s editing, and VFX by onset supervisor Tom Smith of Method Studios (the creepy CG bat is particularly effective).
Warrior (Sept. 9) has been cultivating great word of mouth as a stirring, brutal, Rocky-like boxing picture. And, given the success of last year’s The Fighter, might have Oscar potential. Directed by Gavin O’Connor (Pride and Glory, Miracle), the film concerns two estranged brothers, Tommy (Tom Hardy) and Brendan (Joel Edgerton), on a collision course with each other in the ring. The brothers have their own reasons for getting into the ring: Tommy’s a former wrestling champion, who enlists his father (Nick Nolte), a recovering alcoholic, to help train him. By contrast, Brendan’s motivation is more desperate: he needs to become a fighter to pay for his daughter’s medical bills and to keep the bank from foreclosing on his house.
In this first clip, Tommy plans his return to the ring; in the second, Brendan argues with his wife (Jennifer Morrison) in the bathroom that he’s not going back to an impoverished life, despite the physical dangers of entering the ring. As they say, the sins of the father are visited on the sons. Dan Leigh is the production designer (Pride and Glory); Masanobu Takayanagi (Babel) the cinematographer; the editors are Sean Albertson, Matt Chesse, John Gilroy, and Aaron Marshall; and Mark Isham composed the score.