The following article was first published by APNEWS (Associated Press)
Christopher Nolan has never been one to take the easy or straightforward route while making a movie. He shoots on large-format film with large, cumbersome cameras to get the best possible cinematic image. He prefers practical effects over computer-generated ones and real locations over soundstages — even when that means recreating an atomic explosion in the harsh winds of the New Mexico desert in the middle of the night for “Oppenheimer,” out July 21. Though, despite internet rumors, they did not detonate an actual nuclear weapon…
(Reprinted from Virginian-Pilot) For nearly two decades, Mal Vincent stood in front of crowds each summer at Norfolk’s Naro Expanded Cinema just before the lights dimmed and classic films rolled onto the screen. The Virginian-Pilot’s movie critic introduced each movie as part of his film festival, “Mal’s Movies,” in an inimitable and rich Southern accent.
There are some interesting back stories behind the surprise smash Everything Everywhere All at Once. It seems that iconic martial arts start Jackie Chan was going to be in the lead role, but the feeling of the directors to pay homage to the strong women in their lives won out, and Michelle Yeoh was casted as the everywoman thrust into a dazzling multiverse of parallel lives.
The following is an open letter to movie-goers from filmmaker Ti West, the writer, director, editor and producer of X, currently playing at The Naro. In it he discusses his inspiration for and general thoughts about this unusual film. It is reprinted in its entirety from distributor A24’s website. For more about Ti West’s background, see his Wikipedia entry here.
The 50th anniversary of The Godfather recalls to us that the double-feature of Godfathers I and II were the very first films presented by the new Naro Expanded Cinema in 1977. (45 years ago.) Arguably one of cinema’s most iconic works, we’re pleased to participate in its re-release for a new generation to enjoy on the big screen with the latest in digital projection and sound. (We naturally expect many fellow old-timers to come out too!)
The late great film critic for The New Yorker Pauline Kael reviewed the film back in 1972 and her piece retains its brilliance for its superlative writing and in-depth analysis of various aspects of the film – music, cinematography, themes, and even some of the underlying sociological messages it contains – now more relevant than ever: