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December 12, 1998
Given my nasty habit of liking practically every film that Kenneth Turan pans (which, come to think of it, is practically every film he reviews), I found myself flabbergasted when I agreed with his review of "Psycho" ("Unfortunately, All Wet," Dec. 7). Could it actually be that he finds this incredible waste of celluloid as reprehensible as I do? I never had any intention of seeing the film, and after reading Turan's review, I have even less. If director Gus Van Sant, who has made such original films as "To Die For," felt the overwhelming need to remake a cinematic masterpiece like Alfred Hitchcock's "Psycho," why couldn't he have remade it in his own unique style?
May 1, 2011
May 6 The Beaver A once-successful toy executive and family man suffering from depression begins communicating through a beaver hand puppet. With Mel Gibson, Jodie Foster and Anton Yelchin. Written by Kyle Killen. Directed by Foster. Summit Entertainment Jumping the Broom Two very different African American families -- one posh, one down-home -- come together for a wedding on Martha's Vineyard. With Angela Bassett, Paula Patton, Laz Alonso and Loretta Devine. Written by Elizabeth Hunter and Arlene Gibbs.
December 5, 1998 | JAN STUART, FOR THE TIMES
Times have changed. Film adaptations of plays were once an inevitability, but for three new screen adaptations, the road to celluloid has been long and winding. "Little Voice," which opened Friday, based on Jim Cartwright's London hit "The Rise and Fall of Little Voice," took six years to make the leap. "Dancing at Lughnasa," director Pat O'Connor's powerful rendering of Brian Friel's Tony Award-winning drama, took seven.
February 1, 2011 | By Rebecca Keegan, Los Angeles Times
A woman is more likely to hold a seat on a Fortune 500 company board (15%), serve as a member of the clergy (15%) or work as an aerospace engineer (10%) than she is to direct a Hollywood movie (7%). A year after Kathryn Bigelow became the first woman to win an Oscar for best director for "The Hurt Locker," a new study indicates that the share of top behind-the-scenes positions held by women in Hollywood remains stagnant at low levels. Women held 16% of key jobs such as director and producer on the top 250 films of 2010 (as measured by domestic box-office receipts)
July 23, 1988
Re "Evangelicals Intensify Struggle to Stop Film" (July 12) and "Temptation: Who Said What?" (July 20): Critics of "The Last Temptation of Christ" seem to be worrying that 2,000 years of good press will collapse like a house of cards should this celluloid vision find its way to the local Bijou. If anyone doesn't care to see it, take a tip from the First Lady and "just say no." KEVIN GILLOGLY Santa Monica
January 12, 1986
Thanks to writer Smith and composers Elmer Bernstein and Jerry Goldsmith for their views on the current film music scene. The above-named gentlemen obviously subscribe to the statement by Smith's future "biographee," Bernard Herrmann: that film music can and should be "the connecting link between celluloid and audience." Shall we ever again be the beneficiaries of a like attitude on the part of producers and directors, most of whom have taken the stance of "One pop beat fits every dramatic situation?"
April 30, 1994
Congratulations to the Rams for conducting a shrewd 1994 draft. Instead of taking a future franchise quarterback to lead them over the next 10-15 years, the Ram brain trust concurred that any quarterback, even Chris Miller on crutches, can hand off to Jerome Bettis in the Ground Chuck offense. GARY PATTERSON Whittier After watching several segments of Sunday's draft, it struck me that I saw no evidence of any on-line computer support. No PCs, no terminals, just worried-looking guys in their "war rooms" sifting through clipboards full of paper.
September 7, 2003
Tony Macklin (Letters, Aug 31) accuses Manohla Dargis of "snide, easy posturing" for having the temerity to question the apparently sacred notion that the '70s were a "Golden Age" of filmmaking. After making sure to plug his book dealing with that era, he informs us that "No one who wasn't involved can understand it." Well, I wasn't "involved" in filmmaking back in those glorious days, but I certainly saw a lot of movies then. And a lot of celluloid garbage came out, too. (Along, to be sure, with some genuine classics.
June 2, 1985
I am glad to hear that most theaters do not enforce the movie ratings system all too consistently because the system is much too general. What is it about the magic age of 17 that makes kids all of a sudden ready to see R-rated movies? The fact is that most of us can handle these movies (without being corrupted) long before then, because our parents have taught us the difference between real life and celluloid. I do not believe that a movie theater should decide who can and cannot see a certain film according to a person's age. One more thing: Why do theaters that enforce the ratings system still charge adult rates to children who can't see adult movies?
August 10, 1986
Michael Wilmington is amusing, yet inaccurate, when he claims "screenwriting in American movies (in the Easy '80s) . . . just isn't there." When was it there? In the '30s? '40s? '50s? Were the pre-'80s devoid of "burped out" sequels celluloid? The 1932 Boris Karloff classic "The Mummy" was followed by at least a dozen sequels. The "Easy '80s" also do not have a monopoly on "hilarious, madcap movies about daffy, goofy, sex-crazed guys." Just go to any beach and yell "Surf's up!"
October 1, 2009 | Patrick Kevin Day
In order to make 54-year-old Bruce Willis' surrogate robot look like a man in his mid-30s in the sci-fi film "Surrogates," Oscar-winning visual effects supervisor Mark Stetson oversaw some work worthy of a Beverly Hills plastic surgeon. "We started out with makeup," Stetson said. Makeup supervisor Jeff Dawn oversaw the application of straightforward cosmetic makeup, which was enhanced by cinematographer Oliver Wood's lighting. Then the digital-effects artists went in to the roughly 200 shots of Willis' surrogate and removed the creases of the actor's face frame by frame.
April 12, 2009 | Noel Murray
The '80s in Hollywood might officially be remembered as the age of Steven Spielberg and John Hughes, but there are plenty of people out there who'll say that their fondest movie memories involve lounging in their den with friends and relations, watching some halfhearted plugger like the 1987 Jon Cryer teen comedy "Morgan Stewart's Coming Home."
January 31, 2007 | Elena Howe, Susan King and Tom Tapp
PEAKING OPEN SEASON: With the death of front-runner "Dreamgirls," the best picture race is wide open. CLIMBING TOWERING: With four Golden Globes parties in seven days, the Sunset Tower Hotel has become the place for award season fetes such as those thrown by CAA, Showtime, Premiere magazine and AMC. In fact, Diddy was turned away from the door at CAA's soiree.
June 1, 2003
Science fiction has been exploring the hard-to-define border between the human and the nonhuman for some time now ("Rooting for the Robot," by Reed Johnson, May 25). Early works include the remarkable "D'Alembert's Dream" (1769) by the great thinker of the French Enlightenment, Denis Diderot, and Mary Wollstonecraft Shelley's "Frankenstein" (1818), probably the first masterpiece of science-fiction writing. Johnson alludes to Fritz Lang's "Metropolis" (1926), but the first treatments of this theme on celluloid go back much earlier, to Paul Wegener's first version of "The Golem" (1914)
June 2, 1986
George Will's column (Editorial Pages, May 22), "Panicky American Tourists Signal Success of Terrorists," upset me. He fails to appreciate the true value of the American tourist's decision to stop overseas travel. He appears to be basking in some ill-conceived idea we Americans have some kind of bravado image to live up to if we are to maintain our self-respect. That's nonsense. Foreigners have never envisioned us as a land of Sylvester Stallones or Rambos. The American celluloid hero is not our overseas image.
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