Ian Delaney Interview
The theory was--or is--that creating borders, or writing ourselves into a corner, facilitates creativity.
Author: kenmorefield
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Don Jon (Gordon-Levitt, 2013)
Kenneth R. Morefield reviews Don Jon at 1More Film Blog.
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Gravity (Cuarón, 2013)
Any good political pollster can tell you that the answer is influenced by the way the question is framed. Film critics usually think the question they are answering is, "Was it any good?" The question I get asked the most, however, is, "Did you like it?"
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Under the Skin (Glazer, 2013)
The director himself opined that he thought the second half of the film was about "the drift towards moral intuition [and ...] the stuff that makes us human."
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Riddick (Towhy, David)
After the first seven minutes, I was worried, but then I realized the first seven minutes were actually a preview for a Metallica concert film.
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The Ultimate Life (Landon, Jr., 2013)
When we stop asking our films to save the lost while entertaining the justified and just let them do one or the other, I expect we'll all be a lot happier.
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The Bourne Identity (Liman, 2002)
One of the more interesting moments in The Bourne Identity comes about a quarter of the way through the film. Franka Potente plays Marie Kreutz, a woman who has agreed to drive a stranger to Paris in exchange for $10,000
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Taxi Driver (Scorsese, 1976)
Given that admission, there's no real upside to admitting that Taxi Driver doesn't float my boat.
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You’re Next (Wingard, 2013)
Making a horror movie must be a little like writing a sonnet. The form is so familiar that even non-fans have been exposed to a lot of them. The (relative) simplicity of the form in conjunction with that exposure makes it attractive to creators: I can do that! It also makes it a challenge for creators and consumers alike: We've seen that!
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The Great Gatsby (Luhrmann, 2013)
About thirty-five to forty minutes into The Great Gatsby, I started wondering if I was going crazy, or if the film did have more cuts than usual.