Tag: movies

This article appeared in the December 8, 2022 edition of The Film Comment Letter, our free weekly newsletter featuring original film criticism and writing. Sign up for the Letter here.

The Fabelmans (Steven Spielberg, 2022)

In the beginning, there was light. Steven Spielberg’s earliest memory, he has said, is of the brilliant red glow of the Torah ark at a synagogue his parents took him to when he was just six months old. The Fabelmans, Spielberg’s new film à clef, also begins with light, though not of faith. In the film’s dazzle of opening scenes, the menorah comes later; first, it’s the beam of the projector that irrevocably sears the saucer eyes of 6-year-old Sammy Fabelman (Mateo Zoryon Francis-DeFord), Spielberg’s screen surrogate. Despite the cooing reassurances of his mother, Mitzi (Michelle Williams), that movies are just “dreams,” and the clinical explanations of his father, Burt (Paul Dano),

Based on the best-selling book series by Bernard Waber, Lyle, Lyle, Crocodile, starring Academy Award-winner Javier Bardem, Constance Wu and Shawn Mendes, is a live-action/CGI family comedy adventure that brings this beloved character to a new, global audience.

When the Primm family (Constance Wu, Scoot McNairy, Winslow Fegley) moves to New York City, their young son Josh struggles to adapt to his new school and new friends.

All of that changes when he discovers Lyle – a singing crocodile (voiced by Shawn Mendes) who loves baths, caviar and great music – living in the attic of his new home. The two become fast friends, but when Lyle’s existence is threatened by evil neighbour Mr. Grumps (Brett Gelman), the Primms must band together with Lyle’s charismatic owner, Hector P. Valenti (Javier Bardem), to show the world that family can come from the most unexpected places and there’s nothing wrong with

Goddess is the Melbourne Winter Masterpiece exhibition

ACMI is set to pay tribute to the formidable women of the screen in next year’s blockbuster: Goddess. Never-before-seen costumes, cinematic treasures, interactive experiences and large-scale projections will unveil, examine and celebrate the changing representation of femininity across film history through provocative on-screen moments.

Presenting the daring, disruptive and defiant characters that have shaped our screen culture, the exhibition invites audiences to celebrate the power and complexity of the goddess on screen.

Goddess will premiere in Melbourne, opening 5 April 2023, before the exhibition tours internationally.

Goddess is a powerful portrait of on-screen personas who have come to define and disrupt the feminine ideal. Going behind the lens, Goddess will also examine the off-screen conversations – and even social rebellions – these portrayals often ignited, from the gender redefining sartorial statements of Marlene Dietrich’s tuxedo in Morocco (1930) and Tilda Swinton’s gender

The singer songwriter’s songs have always been cinematic, but can she call action?

“Taylor is a once in a generation artist and storyteller. It is a genuine joy and privilege to collaborate with her as she embarks on this exciting and new creative journey,” said Searchlight Pictures’ Presidents David Greenbaum and Matthew Greenfield.

Taylor Swift has written an original screenplay, the title or subject matter as yet unannounced. Disney-owned Searchlight Pictures will finance the making of the feature film, with Swift in the director’s chair.

This follows Swift’s two previous short films that she has made for her songs:

ALL TOO WELL (reportedly in the running for an Academy Award)

and …

THE MAN

Swift has famously dated a lot of actors, then written songs about them, which must mean that her casting options are somewhat limited … but not really.

Will Swift do a Madonna or a Rob Zombie?

If movies about America’s shameful history of slavery tend to be dramas, then Antoine Fuqua – best known for high octane thrillers like Training Day, The Equalizer and The Magnificent Seven – then Emancipation plays more like a chase film, as Will Smith’s Peter, a slave, goes on the run after escaping his captors.

Filmed on location last year in the treacherous swamps of Louisiana, the complicated US$120 million shoot involved scenes with horses, snakes, dogs and alligators, while production was beset by COVID, a hurricane and a tornado.

Fuqua allowed himself a pat on the back, having survived the whole thing, busy in postproduction when he was dealt the toughest blow of all. His star, the usually likable Will Smith, slapped comedian Chris Rock across the face on the stage of the Oscars in front of a stunned audience of millions around the world, before going on to