On New Year’s Day it’s customary to make a ritual sacrifice to the all-powerful List Gods, the extradimensional appetites of which demand that all things — like, say, the best (and worst) movies of 2018 — be ordered and numbered before the new year can commence. For some reason, the List Gods also demand that “Top Ten” items be ranked in reverse sequential order so that everyone has to read the whole damn article to see what came in first.
Editor’s note: in cooperation with scary net neutrality stuff, Motion State’s Top Ten this year was subject to audit and review before publication to ensure that none of this news is deemed fake. As such, the views expressed in this commentary are actually 100% correct, factually speaking. These ones are just the best.
Continue reading Best of 2018
- Brad Bird has announced (sort of) that The Incredibles 2 will be his next feature film. Any day Bird announces a new project is a good day, but it’s particularly sweet for him to be returning to The Incredibles. We’re eagerly awaiting his latest feature Tomorrowland (debuts May 22) and also eagerly awaiting any and all arguments about Incredibles being the best Pixar movie. Yeah, we said it.
- Fall television season will mark the cancellation of the likes of Constantine, The Following and The Mentalist and the happy renewal of Better Call Saul and American Crime. Between the renewed series, the new series (Legends of Tomorrow, Supergirl), the revival series (X-Files, Twin Peaks, Heroes Reborn) and all those shows we’ve been meaning to watch for years — [head explodes].
- In casting news, Daniel Radcliffe and Dane DeHaan have reunited with Kill Your Darlings director John Krokidas for Young Americans, in which they’ll play Lee Atwater and Karl Rove, respectively. Darlings was only okay, but come on — DeHaan as ’70s-era pip-squeak Rove? That’s cool.
Continue reading Film & TV News: May 11
- David Lynch stated that season 3 of Twin Peaks may still be “up in the air” despite some series regulars already signing on. We wait with bated breath.
- Meanwhile, The X-Files‘ limited season seems to be getting closer to a green light at Fox. Don’t expect any more than ten episodes, though, since David Duchovny claims everyone is “too old.” I think Gillian Anderson would beg to differ!
- Bridge of Spies will be the first of 27 Steven Spielberg films not to feature a John Williams score. This time the honor goes to Thomas Newman, though Williams will return for The BFG.
- Annapurna Pictures, champion of compelling artistic cinema, has filled out Ana Lily Armipour’s mysterious The Bad Batch with some fascinating names: Keanu Reeves, Jim Carrey, Jason Momoa, and Diego Luna.
Continue reading Film & TV News: March 23
How badly can two brothers mess up a supposedly simple robbery? Apparently, very, very badly. This is what we learn in Sidney Lumet’s Before the Devil Knows You’re Dead when Hank and Andy try to rob their parents’ jewelry store to cure some financial woes and, well, it doesn’t go according to plan, which is to say their plan did not involve botching the actual robbery and leading to six deaths, including their own mother, in just a few days. Definitely not good.
At the very least, I can say that the movie is done much more pristinely than the brothers’ plan, but, like the attempted robbery, it certainly could have been executed better. Before I get to any of my problems with the film, I must first admit that the acting is superb. The late Phillip Seymour Hoffman is fantastic as Andy, the older brother pushing for the robbery. Then there’s Ethan Hawke (who just loves being in movies that start with “Before”, as he’s been in four such movies) who plays Andy’s younger brother Hank, a loyal, but non-custodial parent (Boyhood, anyone?), behind on child support. Hawke, as he has been known to do, truly captures the role.
Continue reading Before the Devil Knows You’re Dead (2007)
The first installment in Richard Linklater’s acclaimed “Before” trilogy, Before Sunrise is one of the most uniquely structured films in recent memory. Entirely dialogue based, the film discusses important social issues with great depth while examining the nature of a newly formed romantic relationship. Although Before Sunrise is masterfully written, acted and shot, there is no real plot; nothing really happens. Both Ethan Hawke and Julie Delpy turn in exceptional performances that demand close attention, and yet all their characters do throughout the film is walk around Vienna and talk about life. Linklater’s aim here is not to make greatest film ever made, as one might assume is the aim of many directors embarking upon a new project. It is meant to be a simple film, a small film with a small scope. It is short and it is brilliant in its own right.
The only two real characters in the film, Jesse (Hawke) and Celine (Delpy) are total strangers that meet on a train and subsequently fall in love. The film is somewhat inspiring as a result. This detail of the film speaks to the spontaneity of love, the romance of romance, so to speak. Once the two get to talking, the film takes off. Their discussion covers the innate differences between men and women and the good and bad aspects of American and French society and everything in between. The dialogue is serious and provocative at times and humorous at others, and Hawke and Delpy’s performances are smooth and keep it realistic, despite the remarkable intelligence and obvious care put into the writing. A fantastic, stand-out moment comes in Jesse and Celine’s pretend phone calls to their friends back home, in which they reveal their thoughts about and feelings toward each other. Another comes when Jesse asks Celine to get off the train with him. This moment almost becomes a cheesy, cliche rom-com-esque scene, but Jesse’s actually quite intelligent reasoning for why Celine should oblige him makes it truly enjoyable to watch.
Continue reading Before Sunrise (1995)
This is Boyhood. This is right now. This is no ancient Greek tragedy; there is no intricate or precise or necessarily coherent plot structure. What this film is all about is in the title: Boyhood is the narrative of a young man growing up in a difficult and harsh world. This film will make you laugh hysterically, and it will make you cry. Watch this film alone for the first time. That way, you can let yourself truly feel it. That’s important, because this is more than a movie. This is a therapeutic exercise.
It is possible that I am partial to Richard Linklater’s film because: one, I am a boy; two, I share some of the same experiences that Mason (Ellar Coltrane) has had. I know what it is like to have divorced parents, and I know what it is like to see my mom cry. I know what it is like to be bullied and I, too, have often wondered why the world has to suck so much. Many of us have. Many more will. That is why this film is so truthfully beautiful. It captures such incredible, emotional aspects of human life and brings you back in time to the moments in your own life that are relatable to what is going on in the film. I cannot even begin to think of another film that has brought me so close to tears so many times. Boyhood is able to give its audience that inexplicable Dead Poets Society vibe. Just that feeling that makes the film relevant to life in such an actual and immediate way. This is the type of film that leaves you unsure what there is to do next. When you decide to sit down and watch this film, you effectively decide to spend the next three hours completely and totally immersed in and consumed by the universe of Boyhood.
Continue reading Boyhood (2014)
The New York Film Festival opened last week with David Fincher’s Gone Girl and continues until the New York premiere of Birdman to close the festival. In between those films fall a massive spectrum of features, short films, documentaries and retrospective screenings that include entries from some of the biggest names in the entertainment industry.
Whiplash isn’t one of those big huge premieres held up by the strength of name recognition and pre-release buzz. Technically the NYFF screening wasn’t even a premiere at all, as Whiplash first popped up at Sundance last winter. But if any “small” flick can surge through festivals like this and have a strong opening later this month, it’s this one. Less tangentially: Whiplash is one of the leanest and most intense films you’re likely to see this year.
Continue reading Whiplash (2014)