4 Shots From 4 Films: Special Carl Theodor Dreyer Edition


4 Shots From 4 Films is just what it says it is, 4 shots from 4 of our favorite films. As opposed to the reviews and recaps that we usually post, 4 Shots From 4 Films lets the visuals do the talking!

Today, we honor the great Danish filmmaker, Carl Theodor Dreyer, born 134 year ago today.  He directed his first film in 1919 and made his final one in 1964.  It’s time for…

4 Shots From 4 Carl Theodor Dreyer Films

The President (1919, dir by Carl Theodor Dreyer)

The Passion of Joan of Arc (1928, dir by Carl Theodor Dreyer, DP: Rudolph Mate)

Vampyr (1932, dir by Carl Theodor Dreyer, DP: Rudolph Mate)

Gertrud (1964, dir by Carl Thedor Dreyer, DP: Henning Bendtsen)

 

Here’s The Conspiracy-Filled Trailer For 88


Here’s the trailer for 88, which cases a slight stir at the Tribeca Film Festival last year.

This, to be honest, looks like the type of film that I’m going to get excited about while everyone else kind of ignores it.  What can I say?  I love political conspiracy movies.  That said, I do have to wonder why political conspiracies always leave behind such obvious clues.  It’s like they’re not even trying to keep things secret!

Here’s The Trailer For Big George Foreman


The Covenant is not the only film coming out in April!

On April 28th, Big George Foreman will be released.  As you can probably guess from the title, this is a biopic about the boxer, preacher, and grill inventor George Foreman.  Foreman, it should be said, has led a very interesting life and I think it’s justifiable to wonder just how exactly they’re going to be able to fit everything into one feature-length film.  Just looking at the production companies involved, it looks like the film is going to mostly focus on Foreman as a man of faith.  Myself, I hope the film takes the time to acknowledge that he was one of the best guest stars to provide his voice to King of the Hill.  (“Novelty grill!?  The fight’s on!”)

Big George Forman is directed by  George Tillman, Jr.  Tillman’s directorial career has been a bit uneven but, as of right now, he should be riding high on the acclaim that greeted his 2018 film, The Hate U Give.  Personally, I hope this is a good film because, from what little I know about boxing, George Foreman has an amazing story to tell.

Here’s the trailer for Big George Forman!

Here’s The Trailer For The Covenant


Here’s the trailer for Guy Ritchie’s latest film, The Covenant.

In this film, Jake Gyllenhaal plays a veteran who returns to Afghanistan to rescue his interpreter from the Taliban.  This seems like the type of film that critics are going to hate but which will be better appreciated by audiences.  Considering the number of allies that the U.S. abandoned in Afghanistan and the fact that everyone knows that the chaotic withdrawal from Afghanistan was hardly our greatest hour, I have a feeling that we’re going to see a lot more films like The Covenant.  Just as how the 80s and the 90s were full of films about vets who returned to Vietnam to “finish the job” and rescue POWS, there’s undoubtedly going to be a lot of films about vets returning to Afghanistan and saving those who helped them from the Taliban.  For many people, the movies are going to provide the second chance that we’ll never get in a real life.

The Covenant will be released on April 21st, 2023.

Film Review: Shotgun Wedding (dir by Jason Moore)


A mildly amusing mix of romance, comedy, and action, Shotgun Wedding tells the story of Tom (Josh Duhamel) and Darcy (Jennifer Lopez).

Tom is a washed-up baseball player.  Darcy is …. well, I’m not sure if the film ever really made clear what exactly Darcy does for a living.  She comes from a wealthy family and she previously worked with the Peace Corps in Bali.  After dating for four years, Tom and Darcy are finally getting married.  Darcy wanted to have a simple wedding.  Tom, however, becomes a groomzilla and plans an elaborate ceremony on a remote island resort.  Sure, the island has occasionally been targeted by pirates but the owners of resort assure Tom that it probably won’t happen again.

The night before the wedding is fraught with drama.  Darcy’s mother (Sonia Braga) is not happy that her ex-husband (Cheech Marin) has brought his new agey girlfriend (D’Arcy Carden) to the wedding.  Tom’s mother (Jennifer Coolidge) insists that Tom and Darcy not sleep together the night before the ceremony.  Meanwhile, Tom’s father (Steve Coulter, a genuinely funny actor) wanders about with an old school camcorder, recording everything.  Darcy’s sister (Callie Hernandez) hooks up with one of Tom’s friends (Desmin Borges).  Finally, Sean Hawkins (Lenny Kravitz) makes a dramatic entrance, even though he wasn’t exactly invited to the wedding.  Sean was Darcy’s ex-fiancé, the man that she nearly married before she met Tom.  Everyone loves Sean.  When morning comes around, Tom and Darcy aren’t even sure they still want to get married.

That’s when the pirates show up.

Because Tom and Darcy were busy arguing, they weren’t present when the pirates took the rest of the wedding party hostage.  Now, Tom and Darcy have to make their way through the jungle so that they can defeat the pirates, save the hostages, and work on their relationship problems.  Along the way, both Tom and Darcy will discover that they’re capable of doing things that they never would have thought possible, like killing pirates.

Shotgun Wedding feels a bit like a throw back.  It’s very easy to imagine Cameron Diaz or Jennifer Aniston or Sandra Bullock (or maybe even Jennifer Lopez) starring in this film in 2003, playing Darcy opposite someone like Ron Livingston, Owen Wilson, or Greg Kinnear.  That’s not meant to be a complaint.  There’s actually something rather pleasant about the film’s somewhat quaint approach to its story.  Much like last year’s Marry Me, it feels like a throw back to a simpler time when everyone was willing to accept that there was no need for ambiguity when it came to portraying gun-toting pirates as being the bad guys.

Unlike Marry Me, in which Owen Wilson was able to hold his own opposite his glamourous co-star, Shotgun Wedding is pretty much dominated by Jennifer Lopez.  Josh Duhamel has his moments as the not terribly bright Tom but significantly, those moments almost all occur while Darcy and Tom are separated.  Indeed, much as how the studios used to pair Golden Age divas with forgettable leading men, it sometimes feel as if Duhamel was specifically cast because there was no danger of him taking the attention away from the movie’s main star.  This is a film that was pretty much designed to show off Jennifer Lopez.  With every scene, one can hear the movie whispering, “Isn’t she still funny?  Doesn’t she still look good?”  Fortunately, Jennifer Lopez is still funny and yes, she does still look good.  Even more importantly, she’s more than capable of carrying a film like this and she delivers her lines with just the right amount of comedic exasperation.  A running joke about how much she hates her wedding dress pays off in an unexpected way and the scenes in which Darcy confronts her fear of the sight of blood are enjoyably over-the-top.  For someone who was once frequently been portrayed as being a diva in the tabloids. Lopez has always had a down-to-Earth screen presence and a talent for physical comedy.  At their best, both this film and Jennifer Lopez are enjoyably silly.

Unfortunately, the film itself starts drag after the first hour and the film’s humor starts to wear thin.  There’s only so many times you can listen to someone say something stupid while a pirate points a gun in their face before the joke starts to get stale.  I still laughed at quite a few of the lines.  Don’t get me wrong, it’s an amusing film.  But it’s not a particularly memorable one.  It’s the type of movie that mildly entertains you for 100 minutes and then it quickly leaves your mind afterwards.  In many ways, it’s ideal for the streaming era.  If you left the house and paid money to sit in a theater and watch the film with a bunch of strangers, you might be more likely to get annoyed at how slight the film is.  But, when watched in the safety of your own home, it’s a perfectly pleasant experience.

Scenes I Love: “Print The Legend” From The Man Who Shot Liberty Valance


The legendary director John Ford was born 129 years ago today, in Maine.  As I sit here writing this, you can go see The Fabelmans, which ends with a scene in which a young Steven Spielberg (or Sammy Fabelman, whatever) meets John Ford (played by David Lynch).  The meeting is based on a meeting that a young Spielberg actually had with Ford shortly before Ford’s death in 1971.

However, long before John Ford met Steven Spielberg, he directed one of my favorite films, The Man Who Shot Liberty Valance.  Today’s scene that I love comes from the end of that 1962 film and it features a line that would become a classic.  “Print the legend.”  That was a line that Ford understood and I imagine it’s one that Spielberg eventually came to understand as well.

Oblivion (1994, directed by Sam Irvin)


In the far, far future, Earth has set up colonies all across the universe.  One of those colonies is the dusty town of Oblivion, which looks just like an old west town except the deputy is a cyborg and there’s an ATM outside the saloon.  A humanoid lizard named Red Eye (Andrew Divoff, covered in green scales) comes to town and kills the marshal.  Red Eye and his gang take over Oblivion, planning to turn it into their own personal pleasure palace.

The marshal’s son, Zack (Richard Joseph Paul), comes to town for the old man’s funeral.  Everyone thinks that Zack is a coward because he refuses to avenge his father’s death.  Zack, however, is no coward.  He’s just an empath who can’t handle the negative emotion that are generated by violence.  But seeing as how his father is dead, his best friend Buteo (Jimmie F. Skaggs) is being tortured in the town square, and lovely Mattie Chase (Jackie Swanson) wants Red Eye and his gang to get out of town, Zack knows that he’s going to have to do the right thing and conquer his empathy.

Oblivion is a haphazard mix of comedy, science fiction, and the western genre.  Some of the ideas come close to being clever but it never makes sense why an Earth colony in 3031 would resemble a one-horse town from a singing cowboy movie.  (The film probably would have worked better if it had been about Red Eye invading an actual Old West town in the 1800s instead of a colony designed to look like one.)  Andrew Divoff is entertaining as he hams it up as the main desperado but, as far Old West charisma is concerned, Richard Joseph Paul is no John Wayne or Henry Fonda.  Quite a few familiar names were somehow roped into appearing in this low-budget space oater, though most of them only appear for a few minutes and don’t contribute much to the overall story.  George Takei plays the alcoholic town doctor.  Julie Newmar is Miss Kitty, the owner of Oblivion’s “social” club.  In a nod to her most famous role, Newmar hisses at Red Eye and his gang but that’s all she gets to do.  It feels like a waste of a cameo.  Isaac Hayes and Meg Foster also make appearances, though again neither really gets to do anything interesting.

The idea of a space western isn’t a bad one and there actually have been a few good ones.  (Outland, for example.)  But Oblivion can never escape the drag of its low budget and its bland lead.

Here Are The 2022 Eddie Nominations!


The American Cinema Editors have announced their nominations for the Eddie Awards, which will celebrate the best in film editing for 2022. The winners will be announced March 5th, 2023.

I’m not really sure why any organization would wait until after the Oscar nominations to announce their own nominations but whatever.  There’s no need to be judgey, right?  Here are the nominees!

BEST EDITED FEATURE FILM (Drama, Theatrical)
All Quiet on the Western Front – Sven Budelmann, BFS
Elvis – Matt Villa, ACE ASE & Jonathan Redmond
Tár – Monika Willi
Top Gun: Maverick – Eddie Hamilton, ACE
The Woman King – Terilyn A. Shropshire, ACE

BEST EDITED FEATURE FILM (Comedy, Theatrical)
The Banshees of Inisherin – Mikkel E.G. Nielsen, ACE
Everything Everywhere All at Once – Paul Rogers
Glass Onion: A Knives Out Mystery – Bob Ducsay, ACE
The Menu – Christopher Tellefsen, ACE
Triangle of Sadness – Ruben Östlund & Mikel Cee Karlsson

BEST EDITED ANIMATED FEATURE FILM (Theatrical or Non-Theatrical)
The Bad Guys – John Venzon, ACE
Guillermo del Toro’s Pinocchio – Ken Schretzmann, ACE & Holly Klein
Marcel the Shell with Shoes On – Dean Fleischer-Camp & Nick Paley
Puss in Boots: The Last Wish – James Ryan, ACE
Turning Red – Nicholas C. Smith, ACE

BEST EDITED DOCUMENTARY (Theatrical)
All the Beauty and the Bloodshed – Amy Foote, Joe Bini & Brian A. Kates, ACE
Fire of Love – Erin Casper & Jocelyne Chaput
Good Night Oppy – Helen Kearns, ACE & Rejh Cabrera
Moonage Daydream – Brett Morgen
Navalny – Langdon Page & Maya Hawke

BEST EDITED DOCUMENTARY (Non-Theatrical)
The Andy Warhol Diaries: “Collab: Andy & Basquiat” – Steve Ross
George Carlin’s American Dream – Joe Beshenkovsky, ACE
The Last Movie Stars: “Luck is an Art” – Barry Poltermann
Lucy and Desi – Robert A. Martinez
Pelosi in the House – Geof Bartz, ACE

BEST EDITED MULTI-CAMERA COMEDY SERIES
The Conners: “Of Missing Minds and Missing Fries” – Brian Schnuckel, ACE
How I Met Your Father: “Timing Is Everything” – Susan Federman, ACE
The Neighborhood: “Welcome to the Art of Negotiation” – Chris Poulos

BEST EDITED SINGLE CAMERA COMEDY SERIES
Atlanta: “Andrew Wyeth. Alfred’s World.” – Kyle Reiter, ACE & Isaac Hagy, ACE
Barry: “710N” – Franky Guttman
Barry: “Starting Now” – Ali Greer
The Bear: “System” – Joanna Naugle
Only Murders in the Building: “I Know Who Did It” – Shelly Westerman, ACE & Payton Koch

BEST EDITED DRAMA SERIES
Andor: “One Way Out” – Simon Smith
Euphoria: “Stand Still Like the Hummingbird” – Aaron I. Butler, ACE & Julio Perez IV, ACE
Euphoria: “The Theater and Its Double” – Laura Zempel, Julio Perez IV, ACE & Nikola Boyanov
Severance: “In Perpetuity” – Geoffrey Richman, ACE & Erica Freed Marker, ACE
Severance: “The We We Are” – Geoffrey Richman, ACE

BEST EDITED FEATURE FILM (NON-THEATRICAL)
Fire Island – Brian A. Kates, ACE
Hocus Pocus 2 – Julia Wong, ACE
A Jazzman’s Blues – Maysie Hoy, ACE
Prey – Angela M. Catanzaro, ACE & Claudia Castello
Weird: The Al Yankovic Story – Jamie Kennedy

BEST EDITED LIMITED SERIES
Gaslit: “Year of the Rat” – Joe Leonard, ACE
Obi-Wan Kenobi: “Part VI” – Kelley Dixon, ACE & Josh Earl, ACE
Station Eleven: “Unbroken Circle” – Anna Hauger, ACE, David Eisenberg, Yoni Reiss & Anthony McAfee
The White Lotus: “Abduction” – Heather Persons, ACE
The White Lotus: “Arrivederci” – John M. Valerio ACE

BEST EDITED NON-SCRIPTED SERIES
Deadliest Catch: “Sailor’s Delight” – Isaiah Camp, ACE, Joe Mikan, ACE & Alexander Rubinow, ACE
Formula 1: Drive to Survive: “Hard Racing” – Cassie Bennitt, Matt Rudge, Duncan Moir, Nic Zimmermann, Jack Foxton & Neil Clarkson
Vice: “Killing for Success & Marcos Returns” – Paula Salhany, Brandon Kieffer, Andrew Pattison. Catherine Lee & Victoria Lesiw

BEST EDITED VARIETY TALK/SKETCH SHOW OR SPECIAL
A Black Lady Sketch Show: “Save My Edges, I’m A Donor!” – Stephanie Filo, ACE, Bradinn French, Taylor Mason & S. Robyn Wilson
Last Week Tonight with John Oliver: “Police Interrogations” – Anthony Miale, ACE & Ryan Barger
My Next Guest Needs No Introduction with David Letterman: “Volodymyr Zelenskyy Special” – Cori Wapnowska & Jon Higgins

BEST EDITED ANIMATED SERIES
Big Mouth: “Dadda Dia!” – Felipe Salazar
Bob’s Burgers: “Some Like It Bot Part 1: Eighth Grade Runner” – Jeremy Reuben, ACE
Love, Death & Robots: “Bad Travelling” – Kirk Baxter, ACE

ANNE V. COATES AWARD FOR STUDENT EDITING
Adriana Guevara – New York University
Jazmin Jamias – American Film Institute
Tianze Sun – American Film Institute