It’s almost here. No, not the summer movie season; that’s still a good month and a highly anticipated Avengers sequel away. In this case, we are talking about the latest entry in the fluke franchise known as The Fast and the Furious. What started out as a celebration of all things racing, including an unnecessary diversion into “drifting”, has now become one of the biggest multi-cultural action series ever. We can thank the various creative forces behind the scenes for transporting said narrative away from the illegal street car challenges of the original movie to the dizzying heist drama of Fast Five and the international intrigue and spy games of Fast and Furious 6.
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During a Master Class at the Bari International Film Festival this past week, Sir Alan Parker, one of the most interesting directors of the ‘80s and ‘90s, dropped a bombshell on fans worldwide. “I won’t direct another film,” the 71-year-old Oscar nominee stated, adding, “Directors do not improve with age: they repeat themselves, and while there are exceptions, their work generally does not get any better. This is the reason why I have decided not to make any more films.”
And with that, one of the most intriguing creative canons of the late 20th century comes to an end. Parker came out of commercials, counting fellow ad men Ridley Scott, his brother Tony, and Adrian Lynne as up and coming visionaries who brought the Madison Avenue mindset to the big screen. Instead of attending university, he went right to work, climbing from the mailroom to marketing, finally finding a place behind the lens.
It’s back. The franchise few were asking for, now dubbed The Divergent Series, has returned with part two of its underwhelming narrative, a little something called Insurgent. Apparently, Hollywood has fixated on the idea that every up and coming starlet, be she an Oscar winner (Jennifer Lawrence) or mere nominee (Shailene Woodley) deserves a Young Adult vehicle of her very own. In the case of this failing attempt, the expectations met with actuality, and both agreed to call a truce.
He never won an Oscar. His only nomination came in 1974, for one of several films focusing on a notorious conceptual artist and his sometimes baffling works. Yet with his passing at age 88 last week, Albert Maysles leaves behind a legacy worthy of the artform’s founding. Embracing the French concept of cinéma vérité, the late great documentary director and his equally gifted brother developed their “direct cinema” technique, playing fly-on-the-wall as personalities and events played out before them.
There was no agenda, no voice-over narration to provide a specific point of view. The Maysles let their subjects speak for themselves, and in doing so they uncovered information a formal interview would never provide.
When she took the stage last Sunday evening to pick up her first ever Oscar trophy, Julianne Moore was beaming. It was a face that felt the entirety of the event, matched with a meaning for those who’ve followed her career since she was a Frannie and Sabrina Hughes on the CBS soap opera As the World Turns. After five nominations and several more defining roles, Moore had finally earned the highest honor in her craft. Everyone was happy. Most wondered why it took so damn long.
// Moving Pixels
"This week we discuss Owl Creek Games's follow up to Sepulchre, the triptych of tales called The Charnel House Trilogy.READ the article