#hollywood multiplex

[filmnoirfoundation]

TCMFF Day One

Opening night of TCMFF includes a healthy dose of crime. The gala event will be PULP FICTION (1994), 6:30 PM at Grauman’s Chinese Theatre, with John Travolta, Uma Thurman, Samuel L. Jackson, and Harvey Keitel in conversation. FNF prez Eddie Muller will introduce Raoul Walsh’s WHITE HEAT (1949) at American Cinematheque's Egyptian Theatre, 7:00 PM. On the lighter side, CLUE will play poolside at The Hollywood Roosevelt , 7:30 PM with Lesley Ann Warren in attendance.

The second round of screenings include Richard Brooks IN COLD BLOOD (1967), introduced by producer Michael Uslan, 9:30 at the TCL Chinese Theatres Multiplex, House 1 and the world premiere restoration of GAMBIT (1966), introduced by writer and film historian Sloan DeForrest.

WHITE HEAT

(1949): “Top of the world, Ma!” A G-man (Edmond O'Brien) infiltrates a gang run by a mother-fixated psychotic, James Cagney in a standout performance. This film marks the cinematic movement away from the traditional Warner Brothers’ portrayal of the gangster to the more cynical and psychological film noir interpretation. Virginia Kellogg garnered an Oscar nomination for Best Writing, Motion Picture Story for the film. Pointless trivia: Naked Gun 33 1/3 borrowed the plot. Dir. Raoul Walsh

IN COLD BLOOD

(1967) Bleak adaptation of Truman Capote’s groundbreaking true crime book. Two men (Robert Blake and Scott Wilson) brutally murder a small-town Kansas family, thinking that ten thousand dollars is hidden in the house. They flee with the forty-three dollars that they actually found, and the FBI hunts them. Dir. Richard Brooks

[theburialofstrawberries]

"1987’s Fatal Attraction is generally credited with kicking off the erotic thriller craze proper, though the format had been germinating in mainstream cinema since the start of the decade via Brian de Palma’s Hitchcockian 1980 thriller Dressed to Kill and Lawrence Kasdan’s 1981 steamfest Body Heat. In her 2008 memoir Send Yourself Roses, Body Heat star Kathleen Turner argues that it was precisely because they were working in an old-Hollywood framework that they were able to get away with the sexual explicitness that would set the tone for the ensuing decade: “Film noir has a formality and shape to it. Its very familiar form allowed people to accept more readily the daring content that we were presenting.”

Williams writes that erotic thrillers “operate with a constant awareness of masturbation as a prime audience response and index of the film’s success,” and it only follows that they thrived on home video. A 1993 USA Today article called the erotic thriller “one of the fastest-growing genres in video stores,” reporting that these “dressed-up and sexed-up B-movies,” could be made cheaply and quickly. But while the direct-to-video market was an important part of the overall narrative of the erotic thriller, I’m much more interested in what Hollywood got away with in the light of day (which is to say, the glow of the multiplex’s silver screen).

“The best thing to me about the erotic thriller is it takes everything that is usually sort of treated in ellipses and film and just looks at it directly for as long as it takes,” Dr. Veronica Fitzpatrick told me recently by phone. Fitzpatrick is a Mellon postdoctoral fellow in modern culture and media at Brown University, an erotic thrillers enthusiast, and a contributor to the online magazine Bright Wall/Dark Room, whose July issue focuses on the erotic thriller. Fitzpatrick recalled being “blown away” by the camera lingering on the sex between Kim Basinger and Mickey Rourke during a recent viewing of 9 1/2 Weeks. “It just goes on so much past the duration of what it takes for you to understand, OK, they’re having sex now,” she said."

[world-of-celebs]

Kate Beckinsale attends the Los Angeles red carpet premiere of Roadside Attractions & Lionsgate's "Fool's Paradise", A Charlie Day Film at TCL Multiplex on May 09, 2023 in Hollywood, California.

[mariacallous]

Forty-seven years ago today, everything changed. True believers might already know what it was: On May 25, 1977, Star Wars hit movie theaters and irrevocably altered nearly everything pertaining to the act of moviegoing. Lines around the block, overly excited nerds, an appetite for action figures. Star Wars taught Hollywood that certain genres—sci-fi, fantasy, anything that percolated in the offbeat TV shows, books, and comics of the 1950s and ’60s—had fans, and those fandoms would show up. Star Wars made a meager $1.6 million in the US in its opening weekend. But people kept coming back, and by the end of its initial run it had made more than $300 million. Hollywood’s Next Big Thing had arrived.

Common wisdom dictates that Jaws, which came out in 1975 and made some $260 million, was the first summer blockbuster. That’s true, but it was Star Wars that shifted the idea of what kind of film future popcorn flicks tried to be. In the years after its release, a trove of sci-fi and genre films landed in theaters: Blade Runner, Alien, E.T., the Mad Max sequel The Road Warrior. By the ’90s, the summer movie energy had shifted to action fare—Twister, Speed, Jurassic Park, Independence Day—but nerd stuff still ruled. For every Forrest Gump there was a Batman Returns or Terminator 2: Judgment Day.

Then came a little juggernaut called Marvel. By the time Sam Raimi’s Spider-Man movies started clearing nine-figure opening weekends in the aughts, it was obvious that comic book heroes’ true superpowers involved making your money disappear. The Avengers opened in early May 2012 and nearly recouped its $200-million-plus production budget in three days. Suddenly, there were at least two superhero movies every year, if not every summer, and some new Star Wars flicks at the holidays.

The one-two punch of Covid-19 theater closures and streaming pretty much kneecapped this entire process. The summer of 2020 had virtually no blockbusters, and by the time moviegoers returned to multiplexes in 2021 and 2022, there had been a vibe shift. Movies like Black Widow and Doctor Strange in the Multiverse of Madness did well, but they weren’t events. Rushing to Fandango for tickets didn’t feel as urgent as it once did. Last summer, Barbenheimer was the buzziest thing in movies. Spider-Man: Across the Spider-Verse and Guardians of the Galaxy Vol. 3 made money, but they still got beat by Barbie’s might.

Overall, this year could be a wake-up call for studios that superhero fatigue has fully set in, says Chris Nashawaty, author of The Future Was Now, a new book out in July about how the movies of 1982—Blade Runner, E.T., Star Trek: The Wrath of Khan, among others—ushered in the current blockbuster era. That epoch, he says, “was always going to be something that couldn’t last forever; I’m frankly surprised that it lasted as long as it did.”

Nashawaty says the success of Barbenheimer—both movies—indicates that audiences are hungry for smart films, but Hollywood’s risk aversion likely means studios will greenlight more projects based on toys and games like Monopoly rather than movies about physicists. “This is a real existential moment in Hollywood right now,” he adds, and studios need to be bold to stay relevant.

Summer 2024, which unofficially begins this weekend, promises a move away from the formula that has been in play for decades. There are only a handful of big popcorn-ready movies coming, and they’re decidedly less family-friendly than the blockbusters of yore. Furiosa: A Mad Max Saga, which dropped on Friday, is a teeth-chatteringly gritty prequel about a kidnapped woman (Anya Taylor-Joy playing the younger version of Charlize Theron’s character from Mad Max: Fury Road) who ends up in a war between two overlords and has to fight her way out. Deadpool & Wolverine is a Marvel movie, yes, but it’s apparently a paean to pegging and cocaine so hard-R that Ryan Reynolds won’t shut up about it.

The series of weird indies coming in the next few months—the thriller Cuckoo, Ti West’s latest horror flick MaXXXine, a new collab from Poor Things pals Emma Stone and Yorgos Lanthimos called Kinds of Kindness—finally have some room to get into the summer movie conversation.

Make no mistake: I am typing these things with glee and admiration. Glossy family movies have their place, but they’ve grown awfully predictable. Safe—not necessarily in their plots, but in their substance. No matter how fun last year’s barn-burner The Super Mario Bros. Movie was, you can’t say anything about it was surprising, much less new. No one walked into the theater for Guardians of the Galaxy Vol. 3 and walked out as gobsmacked as they were when they saw Star Wars, or even Speed.

This is not a “Hollywood is so homogenized” argument. Rather, it’s a reminder that Tinseltown wasn’t always this way. Its influence used to introduce people to the future. What’s happening now has the potential to mark a return to the kind of startlingly original movies that used to be hits. Between the pandemic, streaming, and the Hollywood strikes of last summer, a lot of old habits got broken, and there’s a sense that a renaissance is afoot.

This revitalization won’t come easy, if it comes at all. Summer 2024 still has its share of redos and sequels—a new Inside Out movie, reboots of ’90s summer staples The Crow and Twister. (The latter is the aptly-named Twisters; there are more tornadoes this time, apparently.) But even those movies at least feel like they’re grasping for the prefranchise days, even if they’re birthing franchises in the process.

Furiosa is currently projected to bring in more than $40 million at the US box office this weekend, a figure that would bring it close to Fury Road’s tally but may not convince Hollywood execs that it should bankroll more R-rated, original shockbusters. It would, presumably, best The Garfield Movie, which is also out this weekend and has the makings of a more surefire hit: well-known IP, animated, PG-rated. (For the record, though: Critics seem to think it sucks.) Early ticket sales for Deadpool & Wolverine are already breaking records for an R-rated movie. Should it dominate the conversation for a couple weeks while also raking in money, that embrace of a very not-Disney Disney movie—coupled with Furiosa and Hot Barbenheimer Summer—could signal a tipping point.

Look, nothing will ever completely derail Hollywood’s reliance on sure things. Video game adaptations remain poised to take the crown long held by superhero flicks. (Borderlands, starring Cate Blanchett, is coming to theaters this August.) But if this summer’s ever-sprawling slate turns up just enough weird hits, maybe we’ll once again know the feeling of walking out of Star Wars for the first time.

[denimbex1986]

At this point it’s clear that we’re all going to be in our 70s and 80s, with our grandchildren at the foot of our armchairs, regaling them with hokey tales of the great 2023 summer blockbuster season. That doesn’t even seem particularly hyperbolic – the past few months have irrevocably changed the trajectory of modern cinema. The combined might of Barbie and Oppenheimer has shown that audiences have had enough of bland blockbuster sludge like The Flash or moribund franchises like Indiana Jones, sticky with formaldehyde. Oppenheimer and Barbie’s ideas are box-fresh and they’re assembled with care — for the first time in a long time, blockbusters have vision again.

...Barbie and Oppenheimer have soared because there’s a robustness to them. Both Greta Gerwig and Christopher Nolan insisted on using practical effects and audiences have responded positively. Marvel has had an atrocious year at the box office and this fall of grace has coincided with its worsening VFX. Simply: no one wants to see ugly crap at the cinema anymore. No one is parting with their hard-earned cash to see Corey Stoll’s gigantic head in a jar or uncanny valley twunk Harrison Ford. These films’ once loyal audience have finally mutinied and sought their kicks elsewhere. Good for them, frankly.

The summer’s major takeaway is that moviegoers are no longer as willing to leave their brain at the door. If you’re going to present big, dumb fun, it needs to have some kind of serious underpinning to it - it’s clear that a lot of Barbie’s audience simply followed the intriguing hot-pink marketing into the multiplex and came away charmed by its unexpectedly thoughtful premise. And crucially, it needs to look good. Meg 2: The Trench’s dreary CGI and Indiana Jones and the Dial of Destiny’s muddy colour palette didn’t stand a chance against the appealingly contradictory night-and-day aesthetic of Barbenheimer. It feels ridiculous typing it but how a film looks actually matters.

...with the rise of Barbenheimer to the exclusion of all others – even the King of Cinema himself, Tom Cruise, whose precious baby, Mission: Impossible – Dead Reckoning Part One, failed to reproduce Top Gun: Maverick’s success - it feels like audiences are sending Hollywood a clear message. When Hollywood finally decides to pay their actors and writers, they had better heed it.'

[follow-up-news]

In a groundbreaking moment, Sony Pictures Entertainment has acquired Alamo Drafthouse Cinema in a deal that puts a major Hollywood studio back in the business of owning a movie theater for the first time in more than 75 years with certain exceptions. From 1948 until 2020, the U.S. Department of Justice prohibited film distributors from owning an exhibition company under what was known as the Paramount Consent Decrees, which arose from a 1948 U.S. Supreme Court ruling. The decrees essentially dismantled the old Hollywood studio system by forcing the majors to divest of their theater holdings. At that time, the majors essentially controlled all aspects of filmmaking, from the talent to the productions to the theaters. The decrees forced exhibitors to stop practices like “block booking” (bundling multiple films into one theater license) and “circuit dealing” (entering into one license that covered all theaters in a theater circuit). The landscape was radically different then, however. There were no multiplexes, but rather one-screen theaters that could play one movie for months; a scenario that played into favoritism. Sony is the first major Hollywood studio to step forward and test the waters since the Paramount Decrees were officially rescinded in 2020.

[mermaidinthecity]

Fool’s Paradise Premiere at the TCL Chinese Multiplex Theatre in Hollywood, California - May 9, 2023.

[florasletter]

Spider-Man actor Tom Holland was just cast in the next film by Oscar-winning filmmaker Christopher Nolan and while no one is exactly sure what that movie is about yet, we just heard a super exciting, juicy rumor about it.

Since Universal announced it was reteaming with Nolan, fans everywhere have been speculating about the nature of the film. One rumor is that it’s a horror movie. Another is that it’s a helicopter action movie like 1983’s Blue Thunder. And the Hollywood Reporter story about Holland’s casting writes that “the setting is not present day (although it’s unclear whether it’s set in the past or the future).” Well, we heard two of those could potentially be true. io9 got word from a reliable source that Nolan’s film is a vampire movie set in the 1920s.

We know what you’re thinking: “Isn’t Ryan Coogler already making that movie?” Yes, he is. It’s called Sinners and it’s out in March. But that doesn’t mean there isn’t room for two visionary filmmakers to tackle the same topic, especially when the releases are so far apart. Don’t forget, not only was Nolan one of many directors to tackle Batman, he did a magic movie—The Prestige—around the same time as a rival studio was doing a magic movie, The Illusionist. He’s not beholden to what other people are doing. Plus, it’s not like period horror movies are all over the nation’s multiplexes these days or ever. There’s plenty of room for two or maybe even more of these.

io9 reached out to Universal for confirmation or denial of the rumor and didn’t hear back as of publication. We’ll update the post if or when we do.

So is Nolan’s latest a period vampire movie? Probably, but we can’t say for sure. What we can say for sure is it’s Nolan’s first movie since winning Oscars for Best Picture and Best Director for Oppenheimer. It stars Matt Damon and, now, Tom Holland—who’ll reportedly shoot the film alongside Spider-Man 4 and Avengers: Doomsday. We also know it’s being released by Universal, in IMAX, on July 17, 2026.

Let’s be honest though. We all want this rumor to be true, right? We want to see Matt Damon and Tom Holland in long, flowing coats ripping out people’s throats in 70mm IMAX with your seat shaking from the huge Hans Zimmer score. That sounds like the perfect night at the movies. Let’s cross our fingers… but don’t show the vampires.

[viral9ja]

The 4:30 Movie (Hollywood Movie)2024

Download Hollywood movie The 4:30 Movie free now   Synopsis In the summer of 1986, three sixteen year old friends spend their Saturdays sneaking into movies at the local multiplex. But when one of the guys also invites the girl of his dreams to see the latest comedy, each of the teens learn more about life and love. Download SizeThis Video is 268 MB Download links for The 4:30 Movie…

[pritishsblog]

BEST DIRECTORS IN CINEMA-5

Hi everyone! This blog is going to be the 5th part of my 8 part series of who I think is the Best Director Cinema has ever seen

And today I will be talking about

CHRISTOPHER NOLAN

Christopher Nolan (born July 30, 1970, London, England) is a British film director and writer acclaimed for his noirish visual aesthetic and unconventional, often highly conceptual narratives. His notable films include Inception (2010), Interstellar (2014), Dunkirk (2017), and several Batman movies. In 2024 Nolan won an Academy Award for best director for Oppenheimer (2023), which was also named best picture.

(Early Life)

Nolan was raised by an American mother and a British father, and his family spent time in both Chicago and London. As a child, he attended Haileybury, a boarding school just outside London. From a young age Nolan was interested in moviemaking and would use his father’s Super-8 camera to make shorts. He was influenced by George Lucas’s Star Wars trilogy and by the immersive dystopian films of Ridley Scott.After attending University College London, where he studied English literature, Nolan began directing corporate and industrial training videos. At the same time he was working on his first full-length release, Following (1998). The film centers on a writer going to dangerous lengths to find inspiration; it took Nolan 14 months to complete. On the strength of its success on the festival circuit, he and his producer wife, Emma Thomas, moved to Hollywood.

(His Famous Works)

Nolan gained international recognition with his second film, Memento (2000), and transitioned into studio filmmaking with Insomnia (2002). He became a high-profile director with The Dark Knight trilogy (2005–2012), and found further success with The Prestige (2006), Inception (2010), Interstellar (2014), and Dunkirk (2017). After the release of Tenet (2020), Nolan parted ways with longtime distributor Warner Bros. Pictures, and signed with Universal Pictures for the biographical thriller Oppenheimer (2023), which won him Academy Awards for Best Director and Best Picture.

(Filmmaking Style)

His Filmmaking Style

Nolan's films are largely centred in metaphysical themes, exploring the concepts of time, memory and personal identity. His work is characterised by mathematically inspired ideas and images, unconventional narrative structures, materialistic perspectives, and evocative use of music and sound.Joseph Bevan wrote, "His films allow arthouse regulars to enjoy superhero flicks and multiplex crowds to engage with labyrinthine plot conceits. Nolan views himself as "an indie filmmaker working inside the studio system"

(His Filmography)

Nolan made his directorial debut in 1998 with a movie named Following (1998). He made many other films such as Memento in 2000,Insomnia in 2002. He also made the Batman Trilogy which included Bataman Begins (2005),The Dark Knight (2008) and The Dark Knight Rises (2012). In between the Batman Trilogy he directed movies like Prestige (2006) and Inception (2010). After this Nolan directed movies such as Interstellar (2014),Dunkirk (2017),Tenet (2020) and Oppenheimer (2023).

Nolan's hand and shoe prints in front of the Grauman's Chinese Theatre

(Awards & Honors)

Nolan has won 2 Academy Awards out of the 8 nominations, 2 BAFTA's out of the 8 nominations and he has 1 Golden Globe Award out of 6 nominations.

(Sources)

And that's it for this part folks, I'll meet you with another blog about some of the Greatest Directors Cinema has ever seen. Until then

CIAO

[seph7]

J.T. Walsh (1999)

I like Oliver Stone movies, but I stayed away from his Nixon when it was in the theaters in 1995, and never rented it on video. As the child of good California Democrats, I grew up hating Nixon. When I was in my twenties and he was president, he gave me more reason to hate him than I ever wanted. When he died I didn’t want to think about him anymore.

One night, though, flipping channels after the late news had closed down, I happened onto Nixon running on HBO, and I didn’t turn it off. I was pulled in, played like a fish through all the fictions and flashbacks, dreaming the movie’s dream: waiting for Watergate.

It came into focus with a strategy session in the Oval Office. Anthony Hopkins’s Nixon is hunching his shoulders and look­ing for help. James Woods’s impossibly reptilian H. R. Halde­man is stamping his feet like Rumpelstiltskin and fulminating about “Jew York City.” Others raise their voices here and there—and off to the side is J. T. Walsh, the canniest and most invisible actor of the 1990s, doodling.

As almost always, Walsh was playing a sleaze, a masked thug, here a corrupt government official, White House adviser and Watergate conspirator John Ehrlichman—as elsewhere he has played a slick Hollywood producer, a college-basketball fixer, the head of a crew of aluminum siding salesmen, a porn king who makes home sex videos with his own daughter, a slew of cops (Internal Affairs bureaucrat on the take in Chicago, leader of a secret society of white fascists in the LAPD), and a whole gallery of con artists, confidence men who seem to live less to take your money than for the satisfaction of getting you to trust them first.

Walsh in the Oval Office is physically indistinct; he usually was. At fifty-two in 1995 he looked younger, just as he looked older than his age when, after eight years as a stage actor—most notably as the frothing sales boss in David Mamet’s Glengarry Glen Ross—he began getting movie roles in 1986. Except near the end of his life, when his weight went badly out of control, his characters would have been hard to pick out of a lineup. Like Bill Clinton he was fleshy, vaguely overweight, with an open, florid, unlined face, a manner of surpassing reasonableness, blond in a way that on a beige couch would all but let him fade into the cushions. He had nothing in common with even the cooler, more sarcastic heavies of the forties or the fifties—Victor Buono’s police chief in To Have and Have Not, say, or the coroner in Kiss Me Deadly, their words dripping from their mouths like syrup with flies in it. He had nothing to say to the heavies appearing alongside of him in the multiplexes—Dennis Hopper’s psychokillers, Robert Dalvi’s scum-suckers, Mickey Rourke, with slime oozing through his pores, the undead Christopher Walken, his soul cannibalized long ago, nothing left but a waxy shell.

Walsh’s characters are extreme only on the inside, if he allows you to believe they are extreme at all; as he moves through a film, regardless of how much or how little formal authority his character might wield, Walsh is ordinary. You’ve seen this guy a million times. You’ll see him for the rest of your life. “What I enjoy most as an actor,” he said in December 1997, two months before his death from a heart attack, “is just disappearing. Most bad people I’ve known in my life have been transparent. Not gaunt expressions—they’re Milquetoasts. It’s Jeffrey Dahmer arguing with cops in the streets about a kid he’s about to eat—and he convinces them to let him keep him. And takes him back up and eats him. What is the nature of evil that we get so fascinated by it? It’s buried in charm, it’s not buried in horror.”

Walsh’s charm—what made you believe him, whether you were another character standing next to him in a two-shot, or watching in the audience—was a disarming, everyday realism, often contrived in small, edge-of-the-plot roles, his work with a single expression or a line staying with you long after any memory of the plot crumbled. As a lawyer happily tossing Linda Fiorentino criminal advice while an American flag waves in the breeze outside his window, Walsh taps into a profane quickness that for the few moments he’s on-screen dissolves the all-atmosphere-all-the-time film noir gloom of John Dahl’s The Last Seduction. In The Grifters, as Cole Langley, master of the long con, he radiates an all-American salesman’s glee (“Laws will be broken!” he promises a mark) that makes the hustlers holding the screen in the film—Anjelica Huston, John Cusack, Annette Bening—seem like literary conceits. Yet it all comes through a haze of blandness, as it does even when Walsh plays a sex killer, a crime boss, a rapist, a racist murderer, as if at any moment any terrible impression can be smoothed away: How could you imagine that’s what I meant?

In the Oval Office his Ehrlichman, whom America would encounter as the snarling pit bull lashing back at Senator Sam Ervin’s Watergate investigations committee, retains only the blandness, occasionally offering no more than “I don’t know if that’s such a good idea” before returning to his doodles. It was this blandness that allowed Walsh to flit through history—in Nixon playing White House fixer Ehrlichman; in Hoffa Team­ster president Frank Fitzsimmons, locked into power by a deal that Ehrlichman helped broker; in Wired reporter Bob Woodward, who helped bring Ehrlichman down—but as Walsh sits with Nixon and Haldeman and the rest you can imagine him absenting himself from the action as it happens, instead contemplating all the roles in all the movies that have brought him to the point where he can take part in a plot to con an entire nation.

What makes Walsh such an uncanny presence on-screen—to the degree that, as the trucker in the first scenes of Breakdown, or Fitzsimmons as a drunken Teamster yes-man early in Hoffa, he seems to fade off the screen and out of the movie, back into everyday life—is that while the blandness of his characters may be a disguise, it can be far more believable than whatever evil it is apparently meant to hide. Even as it is committed, the evil act of a Walsh character can seem unreal, a trick to be taken back at the last moment, even long after that moment has passed—and that is because his characters, the real people he is playing, can appear to have no true identity at all. You can’t pick them out of the lineups of their own lives.

At the very beginning of his film career, in 1987, in David Mamet’s House of Games, Walsh is the dumb businessman victim of a gang of con men running a bait-and-switch, then a cop setting them up for a bust, then a dead cop, then one of the con men himself, alive and complaining, “Why do I always have to play the straight man?” The straight man? you ask him back. In Breakdown, in a rare role in which he dominates a film from beginning to end, he first appears as a gruffly helpful trucker giving a woman a ride into town while her husband waits with their broken-down car. She disappears, and when the husband finally confronts the trucker, with a cop at his side, Walsh’s irritated denial that he’s ever seen his man before in his life seems perfectly justifiable—even if, as Walsh saw it, that scene “had a residual effect on the audience. ‘Don’t catch me acting’—when I lied, deadpan, on the road, you hear people in the audience: ‘He’s lying!'”The moment came loose from the plot, as if, Walsh said, “I’m not just acting”—and that, he said, was where all the cheers in the theaters came from when in the final scene he dies. He had fooled the audience as much as the other characters in the movie; that’s why the audience wanted him dead.

Walsh’s richest role came in John Dahl’s Red Rock West. The mistaken-identity plot—with good guy Nicolas Cage mis­taken for hit man Dennis Hopper—centers on Walsh’s Wayne Brown, a Wyoming bar owner who’s hired one Lyle from Texas to murder his wife. As Brown, Walsh is also the Red Rock sheriff—and he is also Kevin McCord, a former steelworks bookkeeper from Illinois who along with his wife stole $1.9 million and was last seen on the Ten Most Wanted list. Walsh plays every role—or every self—with a kind of terrorized assurance that breaks out as calm, certain reason or calm, reasoned rage. He’s cool, efficient, panicky, dazed, quick, confused. You realize his character no longer has any idea who he is, and that he doesn’t care—and that it’s in the fact that they don’t care that the real terror of Walsh’s characters resides. You realize, too, watching this movie, that in all of his best roles Walsh is a center of nervous gravity. His acting, its subject, is all about absolute certainty in the face of utter doubt. Yes, you’re fooled, and the characters around Walsh’s might be; you can’t tell if Walsh’s character is fooled or not.

At the final facedown in Red Rock West, all the characters are assembled and Dennis Hopper’s Lyle is holding the gun. “Hey, Wayne, let me ask you something,” he says. “How’d you ever get to be sheriff?” “I was elected,” Walsh says with pride. “Yeah, he bought every voter in the county a drink,” his wife sneers—but so what? Isn’t that the American way? Get Walsh out of ‘this fix and it wouldn’t have been the last election he won.

Watching this odd, deadly scene in 1998, I thought of Bill Clinton again, as of course one never would have in 1992, when Red Rock West was released and Clinton was someone the country had yet to really meet. In the moment, looking back, seeing a face and a demeanor coming together out of bits and pieces of films made over the last dozen years, it was as if—in the blandness, the disarming charm, the inscrutability, the menace, the blondness, moving with big, careful gestures inside a haze of sincerity—Walsh had been playing Clinton all along. He was not, but the spirit of the times finds its own vessels, and, really, the feeling was far more queer: it was as if, all along, Bill Clinton had been playing J. T. Walsh.

[xtruss]

The Comic-Book Aesthetic Comes of Age in “Across the Spider-Verse”

The Spider-Man sequel might be the first superhero film to take full advantage of what comic-book art can achieve onscreen.

— By Stephanie Burt | June 14, 2023

Each of the Spiders in “Spider-Man: Across the Spider-Verse” brings not just an art style but a personality and a backstory.Art work by Aymeric Kevin / Courtesy Sony Pictures

The latest comic-book movie associated with the Marvel Cinematic Universe, “Spider-Man: Across the Spider-Verse,” certainly knows what kind of film it is. Most of the movie follows Miles Morales and Gwen Stacy, two animated teen-aged Spider-People, but, for the sake of the fandom, live actors from live-action blockbusters make surprise cameos. Gwen quips at one point that Doctor Strange—last seen in the M.C.U.’s “Doctor Strange in the Multiverse of Madness”—should not practice medicine. Miles’s high-school roommate references another audience favorite, “Spider-Man: Homecoming” (2017), when he tells Miles, “I’m not your guy in the chair.” Inevitably, there is a meme-inspired scene of Spider-Man pointing at Spider-Man. This is the kind of self-aware fan fodder that, in lesser films, might feel tired.

And yet “Across the Spider-Verse,” which came out on June 2nd, does something that no live-action superhero movie has done before—or can do. It leans hard into, and emulates onscreen, the storytelling devices and the visual flair that make comic books special. Even more than its predecessor, “Into the Spider-Verse” (2018), the film feels designed to show young people, many of whom were raised on superhero movies, why they might care about the comics that launched these characters. It does this so well that, at a time when some Marvel movies haven’t been doing so hot at the box office, “Across the Spider-Verse” has already raked in nearly four hundred million dollars. At 7 p.m. on a Wednesday night, with local schools still in session, my seventh grader and I found most of the seats in our suburban multiplex full.

The first scene in the movie reintroduces us to Miles’s long-distance best friend, Gwen Stacy of Earth-65, a.k.a. Spider-Gwen (voiced by Hailee Steinfeld). Her world looks painterly, as if rendered by brushes and pastels; she often appears in Expressionist shades of blue and pink. That’s how the rest of the film will roll: each Spider-Man, Spider-Woman, or Spider-Villain, and each new Earth on which they live, has its own eye-popping art style. Miles (voiced by Shameik Moore), a Black Puerto Rican physics star who draws in all his notebooks, inhabits a world that evokes hip-hop album covers and graffiti. Miguel O’Hara, or Spider-Man 2099, comes with clean lines, techno details, and RoboCop vibes. Spider-Byte appears as a glowing avatar like the nineteen-eighties film “Tron.” Pavitr Prabhakar, a.k.a. Spider-Man India, swings through his home city of Mumbattan, all tropical colors and curvy architecture. (When characters move between dimensions, they pass through a portal made of hexagons—a basic geometric unit of Hollywood animation.)

Almost all of these characters existed in comic books before they hit the screen, and, crucially, all of them have what the scholar Hillary Chute identifies as the core property of comics: they look like somebody chose to draw them. They bear the mark of their creators’ hands. The Spot, a villain who sets the movie’s main plot in motion, looks like a blank page splattered with ink; each of his splotches opens up a little wormhole, in the same way that the pen stroke of a comic can open up another world. The animators of the film owe a lot to Marvel’s comic artists: the credits thank a “Black Panther” illustrator, Brian Stelfreeze; a co-creator of Miguel O’Hara, Rick Leonardi; and the nineteen-eighties titan Bill Sienkiewicz. All three have contributed to the making of “Across the Spider-Verse.”

The film’s version of Miguel O’Hara (voiced by Oscar Isaac) behaves like a stern, bad Spider-Dad. He resolves to stop Miles from disrupting something called a Canon Event—a plot development so important that it has to happen in every parallel world, lest the entire universe be at risk. “You break enough canons,” Miguel warns, “and we could lose everything.” He sounds almost like a Marvel Comics editor, telling writers that they can’t go too far. (One writer, Grant Morrison, called their longest project at Marvel “more like a prison than a playground.”) In the tradition of print comics, the film offers explanatory notes in 2-D colored boxes; some of them, in an homage to the comics of the nineteen-seventies, are even signed “--Ed.,” for editor.

Like all the best teen superhero comics, “Across the Spider-Verse” hints, or more than hints, at real-life dual identities. The colors that tend to accompany Gwen, blue and pink, are the colors of the transgender flag. A poster in her bedroom says “protect trans kids,” and her father, a police officer who initially has no idea that she is Spider-Gwen, sports a trans-flag pin on his uniform. Gwen tells Miles that her parents “only know half of who I am.” She also wears her hair in an asymmetrical undercut—which, my seventh grader told me, is often a sign of trans or nonbinary identity among Gen Z. (It should not be confused with a half-and-half, my seventh grader added.)

Miles and Gwen both have well-intentioned cops for dads, who try hard but can’t seem to stop enforcing rules. In one scene, Miles tells his father, “Men of your generation ignore their mental health too long.” In part for this reason, Miles and Gwen feel the kind of solidarity that young people can share only with one another. When they finally get some tender alone time above a twilit Brooklyn, Gwen asks Miles, “How many people can you talk to about this stuff?” He tells her, “You don’t even know.” That’s what happens when trans people meet one another, too—something that the Internet pointed out right away. (This isn’t the sole Spider-Man film to be interpreted as an L.G.B.T.Q.+ allegory; some viewers saw Tom Holland’s Spidey as transmasculine, too.)

“Across the Spider-Verse” is a sequel, but it’s arguably the first superhero film to take such full advantage of what comic-book art can achieve. At the Guggenheim Museum, Gwen has to fight a version of an old Spidey villain, the Vulture, who looks, in her words, like a “big flying turkey from the Renaissance.” He’s drawn in the style of ink on parchment, with the scratchy, busy lines you’d expect from a goose-quill pen. He’s not just from another Earth but from a different artistic universe. Elsewhere, several Spider-People chase Miles across the body of a rocket and up what appears to be a space elevator. Theoretically, C.G.I. could help live actors imitate some of these stunts—but not in such colors, and not with such dynamism and glee. In another sequence, Miles races a moving subway train while he fights a pangolin-esque villain, who rolls up in an armored ball. In a live-action film, the scene would cost a ton and still look cheesy. With animation this artful, it’s all part of the fun.

Comics are at their core a visual medium. “Everyone’s first response to your work will be to the visual aspect,” Brian Michael Bendis, the co-creator of Miles Morales, wrote, in his 2014 book about creating comics, “Words for Pictures.” In a comic, the script has to serve the art, which in turn has to serve the characters. And this script does. Each of the Spiders brings not just an art style but a personality and a backstory: tragedy for Miguel, teen heartbreak for Gwen, dad jokes for Peter B. Parker, that lovable sad sack from “Into the Spider-Verse.” (There’s even a Spider-Baby.) Each character and each gadget—one is called a Go-Home Machine—says something about generational change. Today’s kids may feel that they can’t live up to adult expectations and still be themselves. Where, if anywhere, can they find heroes?

Maybe Gen Z could find them in superhero comics, but it’s not clear that they’re reading many. The best-selling U.S. single-issue comic book of all time remains “X-Men No. 1,” published in 1991, which moved more than eight million units; in the past ten years, the best-selling superhero comics have tallied half a million instead. “The captive audiences of the pandemic era are out doing other things,” the comics journalist Heidi MacDonald wrote this year. When Zoomers read comics, it’s often via online platforms such as Tapas and Webtoon, which span genres from high fantasy to romance, or else in all-ages, slice-of-life graphic novels. (“Guts,” by Raina Telgemeier, was America’s most-purchased book—not comic book, book—one week in September, 2019.) “Across the Spider-Verse” could help to boost printed comics. Marvel has leaned hard on movies to promote Spider- titles, including the made-for-mobile online comic “Spider-Verse Unlimited.” Viewers who want to read stories that look like the Spider-Verse might also check out recent issues of “New Mutants,” by Vita Ayala and Rod Reis, in which feelings are more important than fisticuffs, and the expressive art fits the strong emotions.

“Across the Spider-Verse” is full of astonishing action, but a quiet scene midway through, when Miles and Gwen finally get a moment together above Brooklyn, might be the most affecting in the film. It lets viewers—including my rapt seventh grader—contemplate what young people want from one another, what they can never get from adults. Perhaps it’s a budding romance. Perhaps it’s trans bonding. These moments set up the conflict that comes later, when Miguel O’Hara tells Miles what he must do for the multiverse, and Miles, facing a superhero-level trolley problem, just says no. And the whole thing takes place, beautifully, with Brooklyn inverted: Miles and Gwen, using their tenderness, and also their powers, conduct the whole conversation upside down. ♦

[warningsine]

Officially, the Barbie movie isn't showing in Russia.

But unofficially…

I'm in a Moscow shopping centre. A giant pink house has been erected next to the food court. Inside: pink furniture, pink popcorn and life-size cardboard cut-outs of Barbie and Ken who are beaming from ear to ear.

No wonder they're smiling: the Barbie film is pulling in the crowds at the multiplex opposite, despite Western sanctions. After Russia's full-scale invasion of Ukraine, a string of Hollywood studios stopped releasing their movies in Russia. But unauthorised copies are getting through and being dubbed into Russian.

Over at the cinema it's a bit cloak and dagger. When I ask one visitor which movie he's come to watch he names an obscure 15-minute Russian film and smiles.

To avoid licensing issues, some cinemas in Russia have been selling tickets to Russian-made shorts and showing the Barbie feature film as the preview.

Russia's culture ministry is not amused. Last month it concluded that the Barbie movie was "not in line with the aims and goals laid out by our president for preserving and strengthening traditional Russian moral and spiritual values."

Mind you, the cinemagoers I speak to are tickled pink that Barbie's hit the big screen here.

"People should have the right to choose what they want to watch," Karina says. "I think it's good that Russian cinemas are able to show these films for us."

"It's about being open-minded about other people's cultures," says Alyona. "Even if you don't agree with other people's standards, it's still great if you can watch it."

But Russian MP Maria Butina believes there's nothing great about Barbie: the doll or the film.

"I have issues with Barbie as a female form," she tells me. "Some girls - especially in their teens - try to be like a Barbie girl, and they exhaust their bodies."

Ms Butina adds that the film has not been licensed to appear in Russian cinemas.

"Do not break the law. Is this a question for our movie theatres? Absolutely. I filed several requests to cinemas asking on what basis they are showing the film," she says.

"You talk about the importance of following the law," I say, "but Russia invaded Ukraine. The United Nations says that was a complete violation of international law."

"Russia is saving Ukraine," she replies, "and saving the Donbas."

You hear this often from those in power in Russia. They paint Moscow as peacemaker, not warmonger. They argue that it is America, Nato, the West, that are using Ukraine to wage war on Russia. It is an alternative reality designed to rally Russians around the flag.

Amid growing confrontation with Europe and America, the Russian authorities seem determined to turn Russians against the West.

From morning till night state TV here tells viewers that Western leaders are out to destroy Russia. The brand-new modern history textbook for Russian high-school students (obligatory for use) claims that the aim of the West is "to dismember Russia and take control of her natural resources."

It asserts that "in the 1990s, in place of our traditional cultural values such as good, justice, collectivism, charity and self-sacrifice, under the influence of Western propaganda a sense of individualism was forced on Russia, along with the idea that people bear no responsibility for society."

The text book encourages Russian 11th graders to "multiply the glory and strength of the Motherland."

In other words, Your Motherland (not Barbie Land) needs you!

At the Moscow multiplex I'd found many people still open to experiencing Western culture and ideas. But what's the situation away from the Russian capital?

I drive to the town of Shchekino, 140 miles from Moscow. There's a concert on at the local culture centre. Up on stage four Russian soldiers in military fatigues are playing electric guitars and singing their hearts out about patriotism and Russian invincibility.

One of the songs is about Russia's war in Ukraine.

"We will serve the Motherland and crush the enemy!" they croon.

The audience (it's almost a full house) is a mixture of young and old, including school children, military cadets, and senior citizens. For the up-tempo numbers they're waving Russian tricolours that have been handed to them.

As the paratrooper pop stars sing their patriotic repertoire, film is being projected onto the screen behind them. No Barbie or Ken here. There are images of Russian tanks, soldiers marching and shooting and, at one point, of President Vladimir Putin in the Kremlin.

Patriotic messaging is effective. Barbie mania isn't a thing on the streets of Shchekino.

"Right now it's important to make patriotic Russian films to raise morale," Andrei tells me. "And we need to cut out Western habits from our lives. How can we do that? Through film. Cinema can influence the masses."

"In Western films they talk a lot about sexual orientation. We don't support that," Ekaterina tells me. "Russian cinema is about family values, love and friendship."

But Diana is reluctant to divide cinema into Russian films and foreign movies.

"Art is for everyone. It doesn't matter where you're from," Diana tells me. "And we shouldn't restrict ourselves to art from one nation. To become a more cultured, sociable and a more interesting person, you need to watch films and read books from other countries, too."

[strongerwu]

Korean Film Industry

SOUTH KOREAN FILM INDUSTRY & TOP BEST KOREAN FILMS

One salient feature over the past decade has been the increasing success of Korean films on the screens, where they have proved capable of attracting new spectators - a phenomenon similar to that witnessed in some European countries, according to what emerged during MEDIA Salles' Focus on Europe event at Cinema Expo International 2002, in Amsterdam.

Considering all these points, the following two reflections on the Korean film industry, especially from the 90s up to the present, may be offered to European movie concerns.

Increasing market share of Korean movies

From 15.9% to 45.2% within 9 years, the Korean film market share increased..Until 1993, the Korean movie had a very small market share, because of its low quality, due to the limited budget for production and the lack of a well-developed system compared to the mighty Hollywood majors, which had been present on the Korean market since 1988. Accordingly, the market share of Korean movies had been steadily decreasing for the above mentioned period, finally dropping to 15% and threatening its very existence.

However, in 1999 the film Shiri brought a positive turning. It was the first Korean blockbuster movie, recording around 5 million spectators: it catapulted to the top of the South Korean box office and ended up toppling the record previously held by Titanic. This exceptional event was enough to initiate large-scale fund-raising and the creation of a production system by SEG (Samsung Entertainment Group). Shiri's success, representing the opportunity for the market share to soar to 39.7%, inspired many Korean film-makers and convinced them that Korean productions could be successful if they were based on a good financial support and a selected, quality background.

Subsequently other Korean movies, like Joint Security Area and Friend were of great impact in the Korean film market, so that in 2002 the market share settled at 45.2% in terms of admissions and at a higher 46.7% in terms of box office. It should be remembered that, at the end of the nineties, the number of foreign movies released in Korea was six times higher than for domestic movies.

Apart from the development of the Korean movie in itself, the spread of multiplexes, mainly belonging to the Orion Group and CJ, and the legislation on the "five-day working week" have tempted the Korean people to visit theatres more during their longer weekends. As a result the Korean film market has continued to expand by 17% to 18% each year and total audiences in 2002 amounted to over 100 million.

In addition, major distributors of Hollywood movies, such as Warner Brothers, MGM, and Dreamworks began to obtain the copyright for remakes of several movies that had been big hits on the Korean market. Fox, Walt Disney and other direct-distribution companies also started to take Korean movies on board their global distribution runs. Most recently, Columbia signed a contract on world distribution and investment with a local production company.

[denimbex1986]

'Next week comes the strangest pairing at the multiplex we've seen in years. We're talking, of course, about Greta Gerwig's Barbie and Christopher Nolan's Oppenheimer — together dubbed Barbenheimer — set to go toe-to-toe for box office dominance on 21 July. The former is a hot pink franchise comedy inspired by the iconic line of Mattel dolls, the latter a stylistically austere biopic about the invention of the atomic bomb. Such is the striking contrast at play, of course the internet (read: Twitter) was going to do what the internet does and meme the shit out of it: now, all anyone can talk about online is Barbenheimer, sucking attention away from other major summer releases like Mission: Impossible 7 and Indiana Jones and the Dial of Destiny.

Though this clash of cinematic titans might've been elevated to event prominence by the internet's collective love of ironic memedom, it's hardly the first example of diametrically opposed movies dropping on the same day. Fifteen years ago in the US, on 18 July 2008, cinemas were similarly split into two queues: the Batman enthusiasts on one side, clamouring to get into The Dark Knight and usher in a new superhero movie age; on the other, ABBA stans awaited a trip to the sunny isles of a fictional Greek island in Mamma Mia!. Had the internet grown beyond its cringey 9gag nascency by then, it might've been the original Barbenheimer. The Dark Mamma, if you will.

After all, there are huge parallels between the duelling duos. The Dark Knight was the dark and dreary, terminally serious Christopher Nolan movie. Mamma Mia!, the fun-loving “chick flick”, a jukebox musical for the gays and girlies to let their hair down with campy, sun-kissed escapism. Say you did the double bill back then: you could spend two-and-a-half hours with Christian Bale growling gravely under the cape and cowl, then it'd be time for cocktails on the beach with Amanda Seyfried and Pierce Brosnan. With Barbenheimer, it's another pitch-black Nolan flick where its male lead does a lot of broody staring into the middle distance, contemplating the deep evils now ushered unto the world, paired against Barbie, where men are Just Ken. For both Mamma Mia! and Barbie, it's hard to think of more colourful chasers to stave off Post-Nolan Depression.

The Dark Mamma, alas, never took off as Barbenheimer has. Indeed most people online, anecdotally, simply forgot that the two released on the same day, such was the broad surprise when viral tweets prompted by Barbenheimer brought new attention to the OG. (Here in the UK, they came out eleven days apart.) Little media coverage at the time pointed to the contrast, the most prominent article available on Google search being a Vulture piece from the week of release, the headline of which jokingly announced Mamma Mia! and The Dark Knight as battling “for the very soul of America.” Strikingly similar contrasts were zeroed in on: “Are you a happy person, or a sad one? Do you see the glass as half-full, or half-empty? Do you prefer your toast with strawberry jam, or do you like it sprinkled with shards of broken glass?” All ring true of Barbenheimer, too, only the question now isn't which, so much as which first. Shard sarnies, nevertheless, remain ill-advised.

Hollywood studios know exactly what they're doing with such stark counter-programming: the lack of demographic crossover suggests, on paper, that the movies won't eat into each other's profits, giving audiences a variety of options. In 2003, for example, X-2 was released into US cinemas on the same day as The Lizzie McGuire Movie, and in 2015, Mad Max: Fury Road roared onto screens simultaneous to Pitch Perfect 2. Barbenheimer is distinct in that we seldom get such a major clash of two big-budget summer blockbusters, nor a meme-propelled online movement spawning Etsy merch and Twitter stan rivalries. But that's the key thing, and the true movie-loving spirit of Barbenheimer: while we might joke about Nolan nuking Barbie's Malibu Dreamhouse, these aren't warring parties battling for audience supremacy. Much like The Dark Knight and Mamma Mia! — which went on to be the first and fifth-highest grossing movies of 2008 — early projections suggest that both Barbie and Oppenheimer will both do pretty well for themselves. And there's only one winner when that happens: the movies.'

[abhiruchimall]

A Comprehensive Guide to Spending a Day at Abhiruchi Mall

Abhiruchi Mall in Pune offers an all-in-one destination for shopping, entertainment, dining, and leisure. Whether you’re planning a family outing, a date, or some quality “me time,” the mall provides a diverse range of experiences. Here’s a detailed guide to making the most of your day at Abhiruchi Mall.

Morning: Start with a Delicious Breakfast

Begin your day with a hearty breakfast at the mall’s food court or one of its specialty cafes.

Options for Early Birds: Try traditional Maharashtrian dishes or indulge in continental breakfasts available at select outlets.

Coffee Corners: Sip on a latte or cappuccino to fuel your energy for the day.

Mid-Morning: Explore Shopping Opportunities

With a vast array of stores, Abhiruchi Mall caters to all shopping preferences.

Fashion and Accessories: Browse collections from local and international brands for clothing, footwear, and accessories.

Electronics and Gadgets: Check out the latest smartphones, gadgets, and home appliances at premium outlets.

Unique Finds: Explore boutiques offering artisanal products, handicrafts, and home décor.

For a full list of stores, visit the Abhiruchi Mall website.

Lunch Break: Relish Culinary Delights

Abhiruchi Mall boasts a food court offering a mix of cuisines to suit every palate.

Indian Cuisine: Indulge in regional specialties like biryanis, thalis, or street food.

International Flavors: Try pizzas, burgers, sushi, or pasta from global chains and local restaurants.

Enjoy a satisfying meal at restaurants listed here.

Afternoon: Catch a Movie at City Pride Multiplex

Head to the mall’s renowned City Pride Multiplex for a cinematic treat.

Wide Range of Movies: Enjoy the latest Bollywood, Hollywood, and regional films.

Comfortable Seating: Relax in plush seats and immerse yourself in the ultimate movie-watching experience.

Book your tickets online through the multiplex’s website.

Evening: Fun and Entertainment at the Game Zone

Post-movie, spend time at the kids’ gaming zone or the arcade.

For Kids: Interactive games, rides, and play areas ensure fun for the little ones.

For Teens and Adults: Classic arcade games, virtual reality experiences, and more await thrill-seekers.

Shopping Part Two: Pick Up Essentials or Splurge

If you missed any stores earlier, take this time to finish your shopping.

Grocery Stores: Stock up on daily essentials at the hypermarket.

Luxury Goods: Treat yourself to fine jewelry, perfumes, or premium gadgets.

Dinner: Unwind with a Feast

End your day with a delicious dinner at one of the mall’s restaurants.

Casual Dining: Perfect for families or groups, with diverse menu options.

Fine Dining: Celebrate special occasions at upscale eateries offering gourmet meals.

Check the best dining spots on the Abhiruchi Mall dining page.

Late Evening: Soak in the Ambiance

Before heading home, take a leisurely stroll through the mall.

Seasonal Decorations: During festivals, enjoy the vibrant décor and themed installations.

Photo Opportunities: Capture memorable moments with family and friends at popular photo spots.

Tips for Visitors

Plan Ahead: Check the mall’s website for updates on events, sales, and offers.

Parking: Utilize the multi-level parking for hassle-free entry.

Family-Friendly: Make the most of facilities like stroller rentals and nursing rooms.

Why Abhiruchi Mall is Perfect for a Full Day Outing

Abhiruchi Mall’s comprehensive range of offerings ensures there’s something for everyone. Whether you’re shopping, watching movies, gaming, or dining, the mall provides a well-rounded experience in a convenient location.

Make your next visit memorable by exploring all that Abhiruchi Mall has to offer. For more details, visit their official website.