Most Wanted
Email here for additions & corrections.

Ishtar
(May, 1987)
The Seven-Per-Cent Solution (OOP)
(Ross, 1976)
The Devils
(Russell, 1974)
The Pirates of Penzance
(Papp/Leach, 1983)
The Fortune
(Nichols, 1975)
-30-
(Webb, 1959)
Betrayal
(Jones, 1983)
Play It As It Lays
(Perry, 1972)
The Outfit
(Flynn, 1973)
Alex in Wonderland
(Mazursky, 1969)
The Legend of Lylah Clare
(Aldrich, 1968)
In The Cool of the Day
(Stevens, 1963)
That Cold Day in the Park
(Altman, 1969)
Thumb Trippin'
(Masters, 1972)
Midas Run
(Kjellin, 1969)
At Long Last Love
(Bogdanovich, 1973)
Brewster McCloud
(Altman, 1972)
Outcast of the Islands
(Reed, 1951)

Reader Submissions

1930's-1950's
The Moon's Our Home
(Seiter, 1936)
Sh! The Octopus
(McGann, 1937)
The Mating Season
(Leisen, 1951)
Bad for Each Other
(Rapper, 1953)
The Phenix City Story
(Karlson, 1955)
Run of the Arrow
(Fuller, 1956)
House of Secrets
(Green, 1956)
Saint Joan
(Preminger, 1957)
Macabre
(Castle, 1958)
The Fiend Who Walked the West
(G. Douglas, 1958
Five Gates to Hell
(Clavell, 1959)
1960's
Key Witness
(Karlson, 1960)
Summer and Smoke
(Glenville, 1961)
The Chapman Report
(Cukor,1962)
Bachelor Flat
(Tashlin, 1962) [on Hulu]
The L Shaped Room
(Forbes, 1963)
The Chalk Garden
(Neame, 1964)
A Thousand Clowns
(Coe, 1965)
You're a Big Boy Now
(Coppola, 1966)
The Whisperers
(Forbes, 1967)
Dark of the Sun
(Cardiff, 1968)
Skidoo
(Preminger, 1968)
Last Summer
(Perry, 1969)
The Comic
(C. Reiner, 1969)
1970-1974
The Revolutionary
(Williams, 1970)
The Landlord
(Ashby, 1970)
Diary of a Mad Housewife
(Perry, 1970)
Tropic of Cancer
(Strick, 1970)
I Never Sang for My Father
(Cates, 1970)
Sometimes a Great Notion
(Newman, 1971)
Marriage of a Young Stockbroker
(Turman, 1971)
The Music Lovers
(Russell, 1971)
Drive, He Said
(Nicholson, 1971)
The Steagle
(Sylbert, 1971)
The Last Movie
(Hopper, 1971)
Made For Each Other
(Bean, 1971)
The Day the Clown Cried
(Lewis, 1972)
Hickey & Boggs (OOP)
(Culp, 1972)
The Carey Treatment
(Edwards, 1972)
Pete 'n' Tillie
(Ritt, 1972)
Slither
(Zieff, 1973)
Man on a Swing
(Perry, 1974)
Open Season
(Collinson, 1974)
The Tamarind Seed
(Edwards, 1974)
Law and Disorder
(Passer, 1974)
Homebodies
(Yust, 1974)
Stardust
(Apted, 1974)
Celine and Julie Go Boating
(Rivette, 1974)
1975-1979
Rafferty and the Gold Dust Twins
(Richards, 1975
At Long Last Love
(Bogdanovich, 1975)
Hearts of the West
(Zieff, 1975)
Welcome to L.A.
(Rudolph, 1976)
W.C. Fields and Me
(Hiller, 1976)
Citizens Band
(Demme, 1977)
Twilight's Last Gleaming
(Aldrich, 1977)
Looking for Mr. Goodbar
(Brooks, 1977)
Girlfriends
(Weill, 1978)
Movie Movie
(Donen, 1978)
The Medusa Touch
(Gold, 1978)
American Hot Wax
(Mutrux, 1978)
Hot Stuff
(DeLuise, 1979)
Scavenger Hunt
(Schultz , 1979)
Players
(Harvey, 1979)
Rich Kids
(Young, 1979)
Nightwing
(Hiller, 1979)
Screams of a Winter's Night
(Wilson, 1979
When You Comin' Back Red Ryder?
(Katselas, 1979
1980's
Resurrection
(Petrie, 1980)
The Awakening
(Newell, 1980)
Simon
(Brickman, 1980)
God's Angry Man
(Herzog, 1980)
Fast-Walking
(Harris, 1982)
Twice Upon a Time
(Korty & Swenson, 1983)
Trouble in Mind
(Rudolph, 1985)
When the Wind Blows
(Murikami, 1986)
Housekeeping
(Forsyth, 1987)
The Glass Menagerie
(Newman, 1987)
Patty Hearst
(Schrader, 1988)
Drowning by Numbers
(Greenaway, 1988)
Haunted Summer
(Passer, 1988)
The Decline of Western Civilization Part II: The Metal Years
(Spheeris, 1988)
1990's
Old Times
(Curtis, 1991)
Prospero's Books
(Greenaway, 1991)
City of Hope
(Sayles, 1991)
The Baby of Macon
(Greenaway, 1993)
King of the Hill
(Soderbergh, 1993)
Dadetown
(Hexter, 1995)
SubUrbia
(Linklater, 1997)

Screw CGI

In a 6.23 Wired piece, Scott Brown has portrayed -- emphasized -- director Chris Nolan's commitment to keeping the hard-drive special effects down to a minimum in The Dark Knight. "For Nolan, reality beats the hell out of gee-whiz special effects," Brown writes. And to this goal, Nolan has "a cogent Theory of Applied Batmatics," which means an "insist[ance] on reality -- no effects, no tricks -- up to the point where insisting on reality becomes unrealistic.


"Then, in post-production, make what is necessarily unreal as real as possible. 'Anything you notice as technology reminds you that you're in a movie theater,' Nolan explains. 'Even if you're trying to portray something fantastical and otherworldly, it's always about trying to achieve invisible manipulation.' Especially, he adds, with Batman, 'the most real of all the superheroes, who has no superpowers.'

"How 'real' are we talking here? When Nolan unveiled a six-minute Knight prologue on Imax screens last December (a twisty bank heist with a jarring Joker reveal), it was clear that his cinematic vision owes more to director Sidney Lumet than golden-age DC comics. You can feel the tension of Lumet's 1975 Dog Day Afternoon and Michael Mann's 1995 drama, Heat."

Posted by Jeffrey Wells on June 27, 2008 at 10:42 AM

comment #1

Richardson Author Profile Page says ...

This, in a nutshell, was a big part of why I preferred 'The Prestige' to 'The Illusionist'. The CGI magic tricks in 'Illusionist' (even tricks which had been done at the time) took me right out of it.

Oh, wait, I'm supposed to be the buzzkill, right?

Posted by Richardson Author Profile Page at June 27, 2008 11:02 AM

comment #2

Mgmax Author Profile Page says ...

So I guess it's now official that everyone has to namecheck Heat as well as Dog Day Afternoon, when making a summer superhero blockbuster that's totally antithetical to those movies.

Posted by Mgmax Author Profile Page at June 27, 2008 11:04 AM

comment #3

Richardson Author Profile Page says ...

Max - I assume "Heat" is in the press packet; possibly "The Godfather, Part II' as well, since that one comes up a whole lot.

Posted by Richardson Author Profile Page at June 27, 2008 11:14 AM

comment #4

corey3rd Author Profile Page says ...

Heat had tension? Really? The Wild Bunch had tension.

Posted by corey3rd Author Profile Page at June 27, 2008 11:19 AM

comment #5

Mark Author Profile Page says ...

Off tangent, if Heat were made today, any doubt that Legder, if alive, would have played Chris? In fact he probably would have become Val Kilmer, with Jake becoming Cruise, and Brokeback being considered the decade's Top Gun in retrospect.

Posted by Mark Author Profile Page at June 27, 2008 11:20 AM

comment #6

Jason Author Profile Page says ...

Apologies for the YouTube-caliber comment, but WTF.

Off tangent, but if the Godfather Part II were made today, Bruno Kirby would smell really bad.

Posted by Jason Author Profile Page at June 27, 2008 11:33 AM

comment #7

corey3rd Author Profile Page says ...

didn't we get sold this "I hate CGI" spew from the director of Indiana Jones and the Kingdom of CGI?

Posted by corey3rd Author Profile Page at June 27, 2008 11:36 AM

comment #8

Jay T. Author Profile Page says ...

Totally agree with The Prestige vs. The Illusionist.

Posted by Jay T. Author Profile Page at June 27, 2008 11:46 AM

comment #9

p.Vice Author Profile Page says ...

Wow... what an apt comparison between Nolan and Lumet, considering the latter is one of the most overpraised, visually retarded filmmakers in the history of the medium.

Michael Mann... not so much.

Posted by p.Vice Author Profile Page at June 27, 2008 11:57 AM

comment #10

LFF Author Profile Page says ...

Heat and Dog Day are both Warner titles. He's just givin a shout out to the company.

Posted by LFF Author Profile Page at June 27, 2008 12:17 PM

comment #11

hollyman Author Profile Page says ...

Comparing Nolan to Lumet, not so fast. When Nolan makes movies that we will talk about in 50 years like 12 Angry Men, Network, etc. I'll be the first one yelling that out. (not to say that Nolan can't do it) He has handled the Batman Material better than any other director could)

I saw the movie last night at the Bridge.

It's a great movie! Like I said in an earlier post IMAX is the way to go to see it! Amazing! The only thing the movie is a bit long

Posted by hollyman Author Profile Page at June 27, 2008 12:49 PM

comment #12

Edward Author Profile Page says ...

hollyman: I thought IMAX films could only be 2 hours, has this changed?

Posted by Edward Author Profile Page at June 27, 2008 1:53 PM

comment #13

hollyman Author Profile Page says ...

Edward:

Yeah it changed I think its been like that for about 2 years ago.... Amazing what they can do with IMAX now....

Posted by hollyman Author Profile Page at June 27, 2008 2:14 PM

comment #14

Rich S. Author Profile Page says ...

See these films now before IMAX converts completely to digital. (I personally don't see how they're going to do it, but they say it's in the works.)

http://www.newsoxy.com/imax/to_convert_amc_to_digital_systems/article11058.htm

Posted by Rich S. Author Profile Page at June 27, 2008 2:17 PM

comment #15

Josh Massey Author Profile Page says ...

There's been a misunderstanding.

The inspiration for The Dark Knight was actually 1987's Heat, with Burt Reynolds and Howard Hesseman. So temper your expectations.

Posted by Josh Massey Author Profile Page at June 27, 2008 5:33 PM

comment #16

Roman Author Profile Page says ...

As much as I liked "The Prestige" I enjoyed "The Illusionist" quite a bit more. Not to mention it was a much more handsome movie with an unbelivable score.

Posted by Roman Author Profile Page at June 27, 2008 7:21 PM

comment #17

JckNapier2 Author Profile Page says ...

I liked both magic movies quite a bit, but I did prefer The Prestige. It's slightly smarter, far more complicated story was truly about the craft of magic, rather than just using magic as a backdrop for a (very good) romantic thriller. My wife much prefers The Illusionist and I imagine this will be a Coke or Pepsi contest for years to come. All I know, is that when she's old enough (in about ten years), my daughter better like The Prestige better!

Posted by JckNapier2 Author Profile Page at June 28, 2008 9:10 AM

Post a comment