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Dude, Where’s My Midnight in Paris Blu Ray?

I own a blu ray player. I still like to buy my blu ray and DVDs, even if I accept that Netflix might render that a thing of the past. However, I can’t help but feel that some of the distributors are shooting themselves in the foot in how they are handling the medium. I mean, Criterion have suddenly decided to region-lock their blu ray releases, making the highest-quality home media releases less accessible than the DVD editions of the same films. Last week, I went to pick up a copy of Woody Allen’s Midnight in Paris from HMV, making my weekly trip and, while the DVD was present, there was no blu ray to be found.

A long, dark midnight of the format...

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Is It Just Me Or Does The Artist Backlash Seem a Little Half-Hearted?

The annual Oscar race is a process so predictable that it could be a movie formula all of its own. You have your initial race to nominations, with various films falling at certain hurdles, leaving you with a fairly well-spaced field. You have the frontrunner surging ahead, but a dark horse waiting in the wings. And, every year, you have a very eager publicity industry ready to launch a very vehement attack on that frontrunner simply because it has the tenacity of pulling ahead. This year is no different, and The Artist seems to be seeing its share of controversies. However, these seem to be unfolding simply because it’s expected at this point in the race. I can’t help but feel like any of the attacks on The Artist are anything more than half-hearted.

Barking up the wrong tree?

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My Best of 2011: The Artist, Tempering Nostalgia & Truly Accessible “True Art”…

It’s that time of the year. To celebrate 2011, and the countdown to 2012, I’m going to count down my own twelve favourite films of the year, one a day until New Year’s Eve. I’m also going to talk a bit about how or why I chose them, and perhaps what makes this list “my” best of 2011, rather than any list claiming to be objective.

The Artist is number three. Check out my original review here.

Spend a bit of time discussing film with people, and you’ll discover that a lot of prejudices exist about certain types of films and their audiences. For example, you’ll discover that some people cling to the believe that any film made on a budget of over six figures and released in the middle of summer is a brain-dead offense to the senses. On the other end of the scale, you’ll find those who protest that any narratively challenging or otherwise unconventional film is “pretentious” or “inaccessible.” These views don’t represent the majority opinion, but you’ll stumble across them if you converse about film enough. Thankfully, at least, The Artist puts paid to the idea that a black-and-white silent film is inherently “inaccessible.”

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My Best of 2011: Midnight in Paris & “Diet” Woody Allen…

It’s that time of the year. To celebrate 2011, and the countdown to 2012, I’m going to count down my own twelve favourite films of the year, one a day until New Year’s Eve. I’m also going to talk a bit about how or why I chose them, and perhaps what makes this list “my” best of 2011, rather than any list claiming to be objective.

Midnight in Paris is number four. Check out my original review here.

I’ve been mulling this over since I had the chance to see the film back in August. I think that Midnight in Paris might (just might) be my own favourite Woody Allen film, without any of the usual qualifiers attached. It is my favourite Woody Allen film of the decade, and my favourite one set in Europe, but I’m growing increasingly comfortable just stating that as an absolute. I, personally, prefer it to Manhattan or Annie Hall. I can’t explain it. As I noted in my piece covering True Grit as my eighth favourite film of year, perhaps it’s just that my internal “quality Woody Allen film detector” is broken. After all, I liked – rather than lovedVicky Christina Barcelona, so what do I know of Woody Allen?

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Fresh Perspectives: Classic Directors and Not-so-Classic Films…

I caught Mel Brooks’ High Anxiety at the weekend, and I have to admit, I liked it. I’d only heard the movie mentioned in passing from time to time, never discussed with the same reverence as Space Balls or Blazing Saddles or Young Frankenstein, but never with the same bitterness as Dracula: Dead and Loving It. It never really made it on to any conscious “to see” list with any of the great works from iconic directors. However, I really enjoyed it. Don’t get me wrong – I don’t consider it a forgotten classic, or a misunderstood gem overlooked in Brooks’ impressive filmography. It has its flaws and problems, but I enjoyed it. In fact, while I wouldn’t consider on par with some of his stronger films, I dare say that I actually enjoyed it more than some of them, despite the fact I hadn’t heard that much about it. In fact, I can’t help but wonder if I enjoyed it more because I hadn’t heard that much about it.

High expectations can lead to monstrous results...

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Best Indecision Ever! Movie Reviewers & Fear of Absolutes…

I had the pleasure of catching Midnight in Paris at the weekend, and I liked it. I really liked it. I confessed in my review that I thought it was Woody Allen’s best film of the past decade, and – as I left the cinema – I found myself wondering if perhaps it was the best of Allen’s films that I’ve seen. I’ll freely concede that I have yet to work my way through the director’s extensive filmography, but I have been a lot of his more famous and celebrated films like Annie Hall or Manhattan. Still, I feel reluctant to say that, which is admittedly quite strange. I am a movie reviewer (or, if you’ll allow me a hint of pretension, a “critic”) why am I so scared of superlatives?

Simply the best?

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Non-Review Review: Midnight in Paris

A special thanks to the IFI for sneaking us into an advance screening. If you’re interested, they’re hosting a season of actors-turned-directors through October, with Woody Allen’s Purple Rose of Cairo among those screening.

“You inhabit two worlds. So far, I see nothing strange.”

“Of course, you’re a Surrealist.”

– Man Ray takes Gil’s time-traveling confession quite well

Woody Allen has, to a greater or lesser extent, been heavily influenced by Europe in the past few years. Ignoring Whatever Works, he’s clearly been inspired by the great European cities. Vicky Christina Barcelona is perhaps the most obvious, if only because it was perhaps the most critically and commercially successful, but London has also produced works as diverse as Match Point and You Will Meet A Tall Dark Stranger. Still, if you’re going to work with the major European cities, it seems pointless to avoid Paris, the city of lights and lovers, home to generations of artists for decades upon decades, it has earned a reputation as one of the most powerful and inspiring locations on the face of the planet. Allen does his subject proud, producing what is certainly his best film since his trip to Barcelona, and one I’d rank considerably higher in my own estimation. It seems that even the cynical Woody Allen can become something of a romantic in Paris.

The importance of being Ernest...

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Non-Review Review: Phone Booth

Phone Booth is proof that the high-concept thriller isn’t quite dead yet. A concept that had been floating around Hollywood for decades (with the master of suspense himself, Alfred Hitchcock, lined up to direct at one point), it seemed that – with the decline of the phone booth and the rise of mobile phones – perhaps the window in which to tell the tale might be closing. Of all the directors to bring the tale to the screen, I don’t think I ever would have expected Joel Schumacher to make one of the most intense and superbly intimate little thrillers ever written to the screen.

There's a lot on the line...

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Non-Review Review: Ringu

There are a handful of movies I will forever associate with a particular viewing experience – and some with the first time I had seen a given movie. I remember, for instance, seeing Star Wars: The Empire Strikes Back for the first time with my father in the local cinema during its nineties re-release. When I think of Bram Stoker’s Dracula, I recall the time I had to sit in the hall while the grown-ups watched it. Anytime I see The Shining, I think back to watching it in the wee hours of the morning with gran and granddad. The Japanese cult horror Ringu is something of a similar experience.

All's well that ends well...

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Non-Review Review: Celebrity

As I was watching Celebrity, one of Woody Allen’s mid-nineties efforts, two things ran through my head. The first was that the movie was clearly intended to explain why the director had given up on his life in America and moved overseas (sparking his creative rebirth with films like Match Point and Vicky Christina Barcelona). The second, and much more pressing, was the observation that it’s not really fair to write a character with yourself in mind and then expect Kenneth Branagh to step in and play that avatar as you. Not to diminish Branagh’s Woody Allen impression (it’s much better than one might expect), but it tends to draw attention away from the rest of the film.

Woody clearly thinks this Hollywood malarkey is bananas...

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