3 items from 2015
Quick…name a favorable film where the landscape is run by (or at least partially include) the demographic of little people as part of the instrumental storyline? C’mon…it should not be that difficult, okay? If you want to mention say Darby O’Gill and the Little People then that would fine. How about Bad Santa or Poltergeist for that matter?
In That’s Good Enough, Short Stuff: Top Ten Films Featuring Little People we will take a look at some of the mini megastars that inhabited these movies and contributed their fair share of entertainment value to the on-screen proceedings. The debate as to whether some of these selected films featuring these pint-sized performers are considered positive, exploitative or dismissive are not up for discussion (although one of these considerations could apply in the minds of a few folks). Instead, we want to celebrate the inclusion of »
- Frank Ochieng
Time Bandits (1981) is often called Terry Gilliam's most accessible film, which has always seemed like a back-handed compliment to me. Is there a more neutral term than accessible? Gilliam's work is characterized by anything but neutrality. It's a narrative resume full of strong points of view and a nose-thumbing, even middle-fingering, disregard for authority. His films are often the epitome of high concept, a term that's always made Hollywood bean counters cower. Thematically, especially, Gilliam doesn't settle for challenging adult authority. He demolishes it, rebuilds it and sends it back out into the world with a whack on the bottom. Least neutral of all is his absolute dedication to a singular, if visually sprawling sense, of innocence trapped in the land of evil. In Brazil (1985)...
[Read the whole post on twitchfilm.com...]
Any occasion where we see the union of two talents like Sally Hawkins and Jim Broadbent is reason for celebration. Hawkins absolutely blew me away in “Blue Jasmine,” giving that film’s most un-affected, resolutely human performance, and dutifully managed to tread through the veritable sea of bad dialogue and questionable character motivation inherent in the script for Gareth Edwards’ not-entirely-terrible “Godzilla” reboot. Broadbent, meanwhile, is a man who needs no introduction. He’s one of our finest living actors, having lent his chameleonic quality to varying films like Terry Gilliam’s “Time Bandits,” Mike Leigh’s “Topsy-Turvy,” Martin Scorsese’s “Gangs of New York,” and Edgar Wright’s “Hot Fuzz.” They are two of our most considerable working actors and in this new short film—an emotionally brutal piece of minimalist storytelling called “The Phone Call”—we get to see them square off against each other, even if Broadbent »
- Nicholas Laskin
3 items from 2015
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