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Home » Articles » Entertainment »  Reel To Reel
 
Thursday, April 23,2015

A force big enough to swallow us all

‘Leviathan’ and the plight of the little man

By Michael J. Casey
Located on a Russian peninsula, high in the Arctic Circle, the small seaside village of Leviathan used to be a fishing town, but those days are gone and only the skeletal remains of aquatic beasts reference the prosperous time that has passed.
Thursday, April 16,2015

Not just a voice, a resounding roar

‘I Believe in Unicorns’ and Leah Meyerhoff

By Michael J. Casey
Meyerhoff achieves these moments by visualizing her story in three different forms, the first involving the cinematography and direction of the actors, which was shot over the course of three weeks on Super 16mm.
Thursday, April 9,2015

Changing the face of cinema

The birth of neo-realism and ‘Rome Open City’

By Michael J. Casey
Did this fakery bother audiences back then? Not in the slightest. Back in the 1920s, ’30s and even into the ’40s, movies were about beautiful people living in fabulous mid-city apartments, dressing glamorously, saying the right thing at the right time and always finding a parking space.
Thursday, April 2,2015

Requiem for a studio musician

Paying tribute to The Wrecking Crew

By Michael J. Casey
To be fair, Nancy Sinatra made “These Boots” famous, The Mamas and The Papas sang “California Dreamin’” and The Beach Boys (well, Brian Wilson) gave us “Good Vibrations,” but The Wrecking Crew played an integral part in every one of those records.
Thursday, April 2,2015

Think

This week the International Film Series is getting local with a screening of Losing the West. The documentary talks about the protection, or lack of thereof, for open space and agricultural lands. As the population and rate of development grow, ranchers and farmers struggle, which creates bigger problems for society.
Thursday, March 19,2015

Film-to-table

Mitch Dickman on localizing Colorado’s film scene

By Michael J. Casey
This might be a little na´ve,” director Mitch Dickman tells Boulder Weekly. “But I’ve been... talking about this film-to-table idea. I think the food community has done a tremendous job of capitalizing on the farm-to-table movement. I don’t think film is all that dissimilar.”
Thursday, March 12,2015

Diving into a sticky situation

‘Bethlehem’ stands out in the Boulder Jewish Film Festival lineup

By Michael J. Casey
Conflict is the heart of cinema. Conflict drives the plot and draws the audience and practically every movie revolves around it. Yet, only a select few have the audacity to dive into what fuels that conflict and, to borrow a line from The Rules of the Game, understand that “the awful thing about life is this: Everybody has their reasons.”
Thursday, March 5,2015

Calling all audiences

Deciding the fate of ‘Patrick’s Day’

By Michael J. Casey
As one who attends several film festivals a year can attest, many quality movies play once and then are never to be heard from again. Not for reasons of quality and artistry (although they factor), but because movie distributors decide to pass on these movies, and often they disappear into the ether.
Thursday, February 26,2015

Goodbye to all of that

Beyond the end with ‘Goodbye to Language’

By Michael J. Casey
In 1960, Jean-Luc Godard revolutionized cinema. Breathless wasn’t just a break from the old ways of filmmaking, it was as if cinema had cracked off and begun again. Seven years later, Godard concluded Weekend with the title card, “Fin... de cinema.” It was a cheeky moment, but for the French critic turned filmmaker, it had razor sharp teeth. Now the 84-yearold director is back with another entry into his ever-evolving theory of cinema and this time around he tackles the money-grubbing gimmick of 3-D. Only in the hands of Godard, it isn’t a gimmick, it’s just another arrow in his quiver.
Thursday, February 19,2015

To God, there is no zero

From the infinitesimal to the infinite in ‘The Incredible Shrinking Man’

By Michael J. Casey
They called them “B-Movies,” genre films (westerns, noir, horror, sci-fi, etc.) made on shoestring budgets with leads played by actors, not stars, and directors who were journeymen, not auteurs. The 1950s were their heyday and they played great on a rainy Saturday afternoon.
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