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Hubert Vigilla

Hellboy reboot art photo
Hellboy reboot art

Hellboy reboot releases Mike Mignola promo art, aims at a 2018 release


Mignola/del Toro split is apparent
May 18
// Hubert Vigilla
By now you've probably heard that Hellboy 3 from Guillermo del Toro is dead, but there's an R-rated Hellboy reboot in the works titled Hellboy: Rise of the Blood Queen. Director Neil Marshall (The Descent) is in talks to dire...
Miike's 100th movie photo
Miike's 100th movie

Blade Of The Immortal trailer: Takashi Miike's 100th film is bloody samurai mayhem


Way to celebrate #100
May 18
// Hubert Vigilla
Takashi Miike is one prolific guy. At 56 years old, he's about to screen his 100th movie (!) at the Cannes Film Festival. He's like the Robert Pollard of cinema: wakes up in the morning, makes a movie before he gets the coffe...

Trailer: Bong Joon Ho's Okja looks like a gorgeous, Spielbergian eco-terror adventure

May 18 // Hubert Vigilla
As The Playlist notes, Bong decided to partner with Netflix for his newest film to avoid the distribution and release headaches he experienced working with the Weinsteins on Snowpiercer. (Ugh, ol' Harvey Scissorhands.) Okja's international cast includes An Seo Hyun, Tilda Swinton, Paul Dano, Steven Yeun, and Jake Gyllenhaal.  Okja will be out on Netflix and in select theaters on June 28th. Let us know how you think and what that cuddly super-pig creature might taste like in the comments. (I mean, yeah, bacon, but with notes of what, exactly?) [via The Playlist]
Trailer: Okja photo
Tastes f**king good
Bong Joon Ho is one of Korea's most acclaimed and beloved filmmakers, and one of the most respected directors in the world. He made an international name for himself with 2003's Memories of a Murder, and went on to craft The ...

Review: Abacus: Small Enough to Jail

May 17 // Hubert Vigilla
[embed]220905:43129:0[/embed] Abacus: Small Enough to JailDirector: Steve JamesRating: NRRelease Date: May 17, 2017 Thomas Sung seems like a model for the Asian-American immigrant experience. He helped found the Abacus Federal Savings Bank in Chinatown during the 80s to serve the local community. He knows his customers, he does right by them, and the bank has given his kids opportunities for success. His two eldest daughters, Vera and Jill, help run the bank and will eventually take over. Here's a healthy slice of promising Americana served in Chinatown. But then, Murphy's Law: a handful of Abacus employees commit loan fraud, and then the housing crisis strikes, and then the great recession. Rather than go after Chase, the Manhattan District Attorney's Office throws the book at Abacus. Even though Abacus cooperated fully with authorities for a loan fraud investigation and did everything ethically and by the books in the aftermath, they were considered easy prey. At the beginning of the documentary, Thomas and his wife, Hwei Lin, are watching Frank Capra's It's a Wonderful Life. James returns to that yuletide staple again and again, finding parallels between George Bailey's savings and loan and the Thomas Sung's Abacus. Similarly, the Sungs come across as Capraesque heroes--the set-upon optimists, the embattled idealists, everymen and everywomen always trying. This might be why the film doesn't feel like most other Frontline documentaries. Abacus is in many ways a character-driven film. I feel odd thinking about real people in documentaries as characters, but the Sung family is comprised of memorable personalities. Thomas, Hwei Lin, and their daughters are strong in their own ways. They're admirably resilient, to put it politely. (At a certain point, the resilience turns into take-no-shit toughness, especially from the Sung daughters.) James films the family alone and in conversation with one another. The interactions can get nervy and uncomfortable as so many family interactions can, but they're all well-picked given how well they reveal the family's dynamic. James offers another compelling thread in his exploration NYC's Chinese community. Chinatown residents (Abacus' primary clientele) tend to be tight-knit and insular, which goes back to the formation of family-based support groups. The representatives from the DA's office interviewed in the film are baffled by what goes on there. Jurors on the case similarly don't understand how Chinatown operates. I worried that this confusion from non-Chinese people would affect the case. There's such a fascinating contradiction at play. The closeness of the Chinese community gives them a collective strength that they wouldn't have otherwise as a minority group, but the foreign nature of these cultural practices and their minority status make the residents of Chinatown more vulnerable. I mentioned that a sense of Capraesque optimism pervades the film, and yet I couldn't help but read a larger brand of pessimism into the proceedings. The little guy can always get picked on. While it's nice to see the little guy fight, there's a knowledge that this won't be the last time it happens. What about the major banks, who really should have been held accountable somehow for what they've done? But the world isn't so kind to those that are easily trampled. And yet. This reminds me of one the great lines about disillusionment in film: "Forget it, Jake; it's Chinatown."
Review: Abacus photo
Mr. Capra Goes to Chinatown
Steve James may be incapable of directing a bad documentary. His films includes Hoop Dreams, The Interrupters, and Life Itself. With Abacus: Small Enough to Jail, James continues his record as one of America's most relia...


Thom Yorke Suspiria photo
Thom Yorke Suspiria

Radiohead's Thom Yorke will compose the score for Luca Guadagnino's Suspiria remake


BAH GAWD! THAT'S THOM YORKE'S MUSIC!
May 10
// Hubert Vigilla
Dario Argento's Suspiria is one of the great Italian horror films. Released in 1977, it plays out like a colorful, strange, dreamlike supernatural fairy tale. I've never found it scary, but its visual style and bright color p...
8-bit Last Jedi photo
8-bit Last Jedi

8-bit Trailer for The Last Jedi recreates the feel of SNES Star Wars games


16-bit trailer, but oh well
May 10
// Hubert Vigilla
The first trailer for Star Wars: The Last Jedi was pretty darn great. It teased some of the action to come, but thankfully didn't seem to give away any of the story. To put it another way, the trailer whet the appetite withou...

Review: Manifesto

May 10 // Hubert Vigilla
[embed]221523:43554:0[/embed] ManifestoDirector: Julian RosefeldtRating: NRRelease Date: May 10, 2017 The art installation version of Manifesto takes just over two hours to complete if you were to watch every screen. As a film, Manifesto is only 90 minutes long. Rosefeldt chops up many of the monologues, and only a handful of them get to play out on screen in their entirety. There's only one moment of synchronized harmony at the very end of the film, which probably doesn't make much sense to people who haven't seen the art installation. I couldn't stop comparing the film to the art installation. Yet I think that's a fair comparison since Manifesto was an art installation first and its strengths as an art object are unique to that medium. As a film, Manifesto brings the texts of the manifestos and the brilliance of Blanchett's multiple performances to the forefront. Blanchett leaps from persona to persona seamlessly, playing a Russian vagrant, a garbage crane operator, a punk nihilist, and so on. During a funeral, a veiled Blanchett delivers a stirring eulogy by way of the Dada Manifesto. In a class full of children, Blanchett warmly instructs the minds of future through the words of Werner Herzog, Jim Jarmusch, and the Dogme 95 Manifesto. One of the standouts is her dual performance as a cable news host and a field reporter. Blanchett nails the cadence and rhythms of news, which is all false gravitas, falser sincerity, and manufactured conviviality. Both the installation and the film reminded me a lot of Cindy Sherman's work and how she portrays herself through shifting personas. Rosefeldt's able to do a few fun things with editing that simply couldn't be done with the art installation. One segment features Blanchett as a God-lovin' housewife leading her family in grace before supper. She goes on and on about the ideal art she wants in her life and the lives of others. The film cuts away and returns to this domestic tableau multiple times, drawing out all the laughs it can from the interminable prayer and the bored looks on the faces of her family. And yet while the text and the performances are important, I couldn't help but feel Manifesto is also a work about time, space, and the way its audience organizes and interprets the experience of the installation in their heads. People who see the art installation can wander if they want, and divert their attention to other screens, or to other people, or even to the potential synchronicities of different manifestos being recited simultaneously on separate screens. For instance, standing in the center of the Park Avenue Armory during the harmonious synchronization of all the screens, I noticed a lone voice at the end of the harmony. Cutting through the silence was Blanchett the Dada Manifesto mourner. She said, "Nothing, nothing, nothing" into the void of space. That's an experience that felt so personal and even so secret--as if only I noticed it, and as if Rosefeldt set that moment up just for those people who happened to be there and I was momentarily a co-conspirator, a member of this clandestine treehouse art club. I loved the way that armory space and my own ideological hobby horses played a role in my attention to Manifesto as an art installation. That's impossible to recreate as a film. Rosefeldt's is bound to guide his audience down a set path rather than giving the audience the ability to get lost in the experience of the various screens. Thinking about it in terms of game design and video games, if Manifesto the art installation is an aesthetic and intellectual sandbox, Manifesto the art film is an ideological rail shooter. Given what's lost in the translation, there were times that I felt like Manifesto the film was a supplement to the art installation rather than a fully realized art object in its own right. And yet maybe that's where the dimension of time and space comes back into play. I think what I think about Manifesto because I saw the art installation before the film. A work by an artist and an actress in conversation with another work by the same artist and the same actress. Manifesto the film might be considered a response to Manifesto the art installation. In other words, a 14th screen. Even when I thought Manifesto the film loses the unique aspects of time and space that made the art installation work so well, I am now forced to consider new dimensions of time (the order in which I saw the different iterations of Manifesto, the runtime of each) and space (the venues in which I saw each work, the strengths of the two different mediums). I may have a strong preference for one version of Manifesto over the other, but I'm glad to have been engaged and enthralled by each in their own way.
Review: Manifesto photo
Art installation becomes an art movie
When a work is adapted to another medium, it almost always loses something in translation. Julian Rosefeldt's Manifesto started its life as a multi-screen art installation. I had an opportunity to see it here in New York at t...

R-rated Hellboy reboot photo
R-rated Hellboy reboot

Hellboy reboot in the works from director Neil Marshall and Stranger Things' David Harbour


No Del Toro or Perlman involvement
May 09
// Hubert Vigilla
Hellboy may be coming back to the big screen, but it's going to be without director Guillermo del Toro and star Ron Perlman. A Hellboy reboot is in the works from director Neil Marshall (The Descent, Game of Thrones), wi...
Edge of Tomorrow photo
Edge of Tomorrow

Edge of Tomorrow sequel has a title, sadly it's not Groundhog Die


Edge of 2morrow
May 09
// Hubert Vigilla
Edge of Tomorrow was much better than most people expected. Sure, the movie got a little conventional in the finale, but the first three-quarters of the movie used the respawning conceit brilliantly. When the film was release...

Final trailer for Wonder Woman brings the warrior spirit

May 07 // Hubert Vigilla
I'm old, so I now have that song by Scandal stuck in my head. BANG! BANG! What do you think? You excited? You optimistic that this may be the DC movie to pull off some critical acclaim and box office success? Let us know in the comments below. Wonder Woman comes out June 2nd. [via Wonder Woman on Twitter] [embed]221521:43552:0[/embed]
Wonder Woman trailer photo
Shooting at the walls of heartache...
Wonder Woman is less than a month away. While there have been a few pieces asking why there isn't that much promotion for the film lately, it seems like the Warner Bros. hype train is pulling out of the station this weekend. ...

Review: Chuck

May 05 // Hubert Vigilla
[embed]221422:43548:0[/embed] ChuckDirector: Philippe FalardeauRating: RRelease Date: May 5, 2017 Chuck has an endearing center in its star Liev Schreiber, whose ease and affability keep the film watchable even when it's sluggish or middling. I was reminded how good and versatile Schreiber can be and how underrated he is as an actor. As Chuck Wepner, he's both pathetic and sympathetic, a legitimate hometown hero and a fame-chasing clown. I'm not sure how true to life these contradictions are to the real-life Wepner, but as a character in a film, there's promise there. One minute he's quoting Anthony Quinn from Requiem for a Heavyweight, the next minute he's trying to hump anything with boobs by mentioning Rocky. Many of Schreiber's co-stars also elevate the material. Jim Gaffigan's solid as Wepner's brother, a guy who loves to be a hanger-on so long as there's coke or women involved (and as long as he doesn't have to pay). Schreiber's former real-life partner Naomi Watts appears mid-film as Linda, who would eventually become Wepner's third wife. Watts isn't given much to do but flirt and support the pathetic palooka, but the genuine fondness she and Schreiber shared comes through on screen. Elizabeth Moss is especially good as Wepner's second wife, Phyllis, even though she mostly just has to put up with his BS. Despite that cast, Chuck falters because of its writing, and by extension its production. Writers often use the term "connective tissue" to describe the moments between the big scenes. In Chuck, the connective tissue feels more like biopic filler. The film is stitched together with on-and-off voiceover narration. It's too hand-holdy and on-the-nose. The movie also rushes itself, breezing along with its flutey, wah-wah kinda-disco stock score, which cheapens the overall feel. Some of the scenes may have been written too big for the budget or without much consideration for lighting and texture. Take the opening scene in which Chuck fights a grizzly bear in the ring. That's a godd set up, but it's lit like a coke-fueled disco party later in the film; it may have been shot in the exact same location. It feels small, but in a "Yeah, we couldn't quite afford all this" way rather than a seedy, "My god, what's become of my life" way. The parts of Chuck that work are the scenes in which the movie slows down, builds out a scene, and allows the awkward moments of these characters lives to unfold. When Wepner tries to hassle Sylvester Stallone about Rocky, there's something there. The same goes for a bad audition or a crummy parent teacher conference. These scenes are when Chuck feel less like a movie from "biopic trope land" and more like a movie about flawed people trying to screw up a little less (or a little more). So much of the movie feels like it's just checking off shaggy story beats rather than letting the moments come like they would but given a deliberate shape. Oddly, Chuck might have taken more cues from the original Rocky to be a better film. Rocky is a quiet, quirky, thoughtful love story about discarded people finding hope in each other. There's also boxing, but the connection between two misfits is so strong that it doesn't matter if Rocky wins or loses in the end, just that he endures. In Chuck, the whole arc of someone's rise, fall, and redemption feels like it's missing that human core. There are scenes that have it, but like fame or pseudo-celebrity, they're fleeting.
Review: Chuck photo
This coulda been a contender
Certain movies have the seeds of a much better movie sown through them. Usually these movies are a little bit of a mess, with a jumble of tones and scenes and characters, some working better than others. The stuff that works ...

Review: The Circle

Apr 28 // Hubert Vigilla
[embed]221468:43538:0[/embed] The CircleDirector: John PonsoldtRating: PG-13Release Date: April 28, 2017 Mae Holland (Emma Watson) lucks into a customer support job at The Circle, a Bay Area tech giant. The company has a sprawling campus full of cush employee amenities, much like the many corporate-capitalist Xanadus that dot the Silicon Valley. They're so flush with cash and a belief in work-as-play that they hire Beck to play a show on campus, which really does make this feel like a technological thriller from 2006. Jeez, guys, was Haim busy or something? ("They also have cooks for their employees, Hubert!" "Yeah, I know. More gravy, Uncle Bill?") Silicon Valley did it better. The company's co-founder, Eamon Bailey (Tom Hanks), is a mix of Mark Zuckerberg, Steve Jobs, and a benevolent dictator. He uses utopian-sounding names to introduce dystopian technological innovations. While the dialogue may be wooden, the screenplay at least has an ear for the grammar of corporate-ese. The new Circle innovation is SeeChange, which basically means putting GoPros on everything. Mae buys into the corporate culture quickly, becomes a model employee, and some other stuff happens that leads to a pseudo Truman Show redux (Truman Show Vista) with live tweets. Black Mirror did it better. The Circle's a bit all over the place, with ludicrous stuff happening just because. For instance, Mae goes kayaking without a life jacket in the middle of the night in San Francisco Bay to... I honestly don't know. To clear her head? Beats me. Most seasoned kayakers would choose a less foggy place to go at night if they wanted to clear their heads. Kayakers would probably just go for a walk, come to think of it. John Boyega's character seems like Mae's love interest. Well, no. He's only got ten lines in the entire movie and doesn't really do anything except offer a bottle of white wine, show Mae some servers, and help obtain some info for the final act. The end. The film seems to set him up as a Circle employee gone rogue, a square peg who doesn't buy into the corporate speak and who stands outside the system possibly to undermine it. The higher ups are smart enough to keep tabs on everyone else in the company except for the guy who doesn't really hang out with everyone else in the company. It's like if The Village from The Prisoner decided to leave Number Six alone. ("Oh, that's a reference I get!" "Yeah, Uncle Bill. I thought you would." "Pass the asparagus.") Director and co-writer James Ponsoldt (The Spectacular Now, The End of the Tour) feels oddly out of his depth with this film. He can't pin down the tone or build out a sustained mood, with scenes unfolding flatly, one after another as if joined by a series of monotonous and-then's. For a paranoid thriller, the film seems almost chipper about being monitored at all times. Scenes breeze by to convey exposition, carry the plot forward, and nothing more. The Circle feels so weightless and rushed and empty, peopled with vessels for plot and decade-old critiques of the modern world. Ellar Coltrane from Boyhood fumbles through a role as one of Mae's old friends. An unplugged luddite, he's angry that she buys into the Circle culture wholeheartedly. She used to do fun things and real stuff, like, man! He comes back in a pivotal scene later in the film that would be a nightmarish indictment of our loss of privacy if it wasn't also an absurd slapstick pursuit in the Benny Hill mode. ("I love Benny Hill." "I know you do, Uncle Bill.") I can't really blame the cast for this debacle. Not even Hanks can elevate this material. He was affable enough in last year's middling Dave Eggers adaptation A Hologram for the King (aka Eat, Pray, Love, Sell IT Solutions), but that only gets a movie so far. I'm not sure I bought America's Dad as Big Brotherberg. Watson can't carry a film with a flimsy character written like she just fell off the turnip truck; in a lot of ways Karen Gillan's overworked supporting character Annie makes for a more compelling protagonist. ("Turnips! We left your Aunt Sandra's turnip green salad on the kitchen counter!" "Oh, we sure did, Uncle Bill. Gosh. Let me get that in a sec, I'm almost done here.") The Circle is like a bad tech startup. There's talent behind it, a pitch with potential, but there's nothing there except buzzwords and BS. Behold: Cinematic Juicero.
Review: The Circle photo
A mobile-ready platform for Dreck 2.0
The Circle is the paranoid techno-dystopian thriller of 2006 released in 2017 and based on a Dave Eggers novel published in 2013. The film's concerns about technology and social media are so dated and quaint, like the stuff a...

Review: LA 92

Apr 27 // Hubert Vigilla
[embed]221425:43497:0[/embed] LA 92Directors: Daniel Lindsay and T.J. MartinRating: RRelease Date: April 28, 2019 (NYC, LA); April 30, 2019 (National Geographic Channel)  Lindsay and Martin start not with the LA riots of 1992, but instead the Watts riots of 1965. Another case of police brutality and violence, another instance of outrage and destruction. Riots might be viewed as a type of self-harm. When a community is helpless to redress a wrong, they wound themselves. It makes sense that the specter of Watts lingers through the film, suggesting an inescapable inevitability of violence in the face of cyclical, systemic, and maybe even perpetual racism. These are decades and decades of oppression manifested in a grandiose act of self-mutilation. Tensions ratchet up following the beating of Rodney King. LA 92 notes the death of Latasha Harlins as part of the fomenting rage, which would lead to a lot of Korean businesses getting targeted during the riots themselves. Harlins was allegedly trying to shoplift orange juice at a convenience store. She got into a struggle with store owner Soon Ja Du, who shot Harlins dead at the register. Harlins was just 15 years old. The verdict in the murder case implies a lot of unsavory things about how the minority status of blacks and Asians are so different in the eyes of white America. (This goes beyond the purview of this review, but I couldn't help but think of the myth of the model minority that seems to pit blacks and Asians against one another, as if the American experience for these ethnic groups are commensurate simply by dint of minority status.) The build to the riots themselves on the day of the Rodney King verdict is so ominous. It's played out through a series of escalations; an argument over donuts, shoutdowns in the courthouse parking lot, feet on the ground, gatherings in churches. The anger has been shut in so long, it can't be contained. The cops are evacuated out of fear for their safety. The social order breaks down. Then the riot happens. The riot on screen is an unrelenting cinematic assault for at least an hour. The rage is palpable, as are the confusion and sadness. There's also a lot of sadistic happiness, the type of manic glee that comes with vengeance and feelings of dominance. A man's face gets caved in on camera, and people laugh at him in triumph. One scene I can't get out of my head. A man gets beaten, and his genitals are exposed. His attackers spray paint his face and and his private parts black. He quivers on the ground in the way that people in movies quiver when they're about to die. And then a preacher approaches the man slowly, fire and rubble around him; there's a Bible in one hand and his arms are outstretched like Christ. That's end times imagery; it happened in my own lifetime. Occasionally it feels like the gyre of a score by Danny Bensi and Saunder Jurriaans will completely overtake the madness on screen. Yet the imagery is so potently organized and the emotions are so raw; the music felt like perfect symphonic accompaniment. There is nothing subtle or subdued about what's happening or what anyone is feeling in those moments. That score also enhances the unfolding chaos of what happened. As businesses in Koreatown are targeted, Korean men with guns fire at passing cars. One guy unloads a whole clip from his handgun with abandon and a psychotic determination on his face. It's no surprise that LA 92 refuses to provide a conciliatory conclusion. Rodney King's "Can we all get along?" was such a punchline of a quote even in 1992, but to see the full press conference is another matter. King's so overwhelmed saying those words. There's nothing to laugh about. It's one of the most earnest expressions of empathy he could offer, tinged by an awareness of how meek and helpless it might sound. So many images and moments of LA 92 will haunt me, but the new context of King's question chills me when I think of it. The answer seems like, "I'm not sure."
Review: LA 92 photo
Chilling, apocalyptic, and timely
It's been 25 years since the LA riots, and there are a number of films coming out that revisit this harrowing moment in the country's history. The most high-profile might be Let It Fall: LA from 1982-1992 from John Ridley, sc...

David Fincher WWZII photo
aka The World War Z-quel
According to a report tonight from Variety, David Fincher is close to a deal to direct World War Z 2, the sequel to the 2013 Brad Pitt zombie film loosely adapted from the book by Max Brooks. While Fincher is apparently wary ...

Tribeca Capsule Review: Gilbert

Apr 26 // Hubert Vigilla
GilbertDirector: Neil BerkeleyRating: TBDRelease Date: TBD The fact that Gilbert Gottfried is happily married, has two great kids, and leads a relatively idyllic domestic life is so bizarre. He admits as much, comparing it to an episode of The Twilight Zone. His wife, Dara, is so supportive; at one point we watch Gottfried pack school lunches for his kids, complete with notes that say "I love you". Several times he appears on camera wearing a white bathrobe. His voice is a much finer grain of sand paper. His eyes, the squint relaxed, are soft and compassionate. He visits his sister in New York City often, and is there for her whenever he can be. So much vulnerability is disarming, especially all in a feature film and particularly when it's Gilbert freakin' Gottfried. And then Dara calls during an interview. He tells her to go fuck herself, gently, caring. He hangs up and laughs that Gilbert Gottfried laugh. Berkeley doesn't linger too long on the particulars Gottfried's life at home. He follows the comedian on the road, which reveals the many eccentricities a stable marriage can't erase. It's a hustle and a slog, and it's a major part of who Gottfried is. The guy in the bathrobe and the cheapskate at the hotel and the filthy joke maestro are all the same person. He also happens to be Iago in Aladdin. Somehow it all fits. Eventually, because it's necessary to understand Gottfried, they talk about his "too soon" 9/11 joke and the Japanese tsunami jokes that led to the loss of his AFLAC duck gig. I mentioned earlier that Gottfried elevates bad taste to an art form, though his brand of bad taste is an acquired one. People in Gilbert mention time and again that offensive jokes can sometimes serve as a defense mechanism. When kindness alone can't alleviate pain or sadness, irreverence might help people get beyond their hurt. A willingness to bomb on stage and to offend and to persevere with perversity--those might be Gottfried's most admirable human qualities.
Review: Gilbert photo
The kindness of dick joke artists
Before sitting down to watch Gilbert, I was afraid the documentary would take away from Gilbert Gottfried's mystique. I always loved his impersonations and appearances on Howard Stern, and his dirty jokes have such craft behi...

Official Cars 3 trailer looks like the Rocky III and IV of the franchise

Apr 26 // Hubert Vigilla
Despite the promising teases, this looks like a pretty run-of-the-mill Cars movie. I just hope the movie ends with Lightning McQueen, winded and bloodied, saying the following lines: If I can change gears... and you can change gears... EVERYBODY CAN CHANGE GEARS! Cars 3 arrives in theaters June 16th.
Cars 3 trailer photo
If I can change gears...
The first teaser for Cars 3 from last year suggested some dark tragedy for Lightning McQueen--possibly even death. An extended look at Cars 3 from earlier this year suggested the movie would be like Rocky III. Now we hav...

RIP Jonathan Demme (1944-2017)

Apr 26 // Hubert Vigilla
RIP Jonathan Demme photo
The director was 73 years old
Director Jonathan Demme passed away this morning in New York at the age of 73. According to Demme's family, the director died of esophageal cancer and complications related to heart disease. Demme is best known for directing ...

Tribeca Capsule Review: Shadowman

Apr 26 // Hubert Vigilla
ShadowmanDirector: Oren JacobyRating: TBDRelease Date:  TBD Hambleton's best known works were his fake murder outlines and his black shadow figures, each preying on fears of violence and urban decay that were endemic during the 1970s and early 1980s. Director Oren Jacoby uses the sinister nature of Hambleton's street art to explore the rough, dangerous art/punk scene of New York City, a creative explosion amid the junk heaps and rubble. Hambleton, seen in old footage, conceals a bucket of paint in his coat as he climbs atop a dumpster and quickly brushes out a shadowy murderer before skulking away. There's a Television guitar riff that comes up a fair amount in the film--it's either "Glory" or a song that sounds a lot like it--which notes the glory days of that particular art/music scene while dismantling some of the romance that surrounds it. Then again, "dismantling" might be the wrong word. The legend and the bent reality can co-exist, much like Hambleton the artist and Hambleton the man. As we see him age and somehow survive through poverty and heroin and a life in freefall, the man is a mix of aesthetic hero and selfish junkie prick. Whether they're art dealers, old girlfriends, or fellow artists, the people interviewed in Shadowman care about Hambleton and his art, though there's a palpable sense of betrayal in their voice. The man can make some exquisite art--the change in his aesthetic at his lowest point is remarkable--but he's just as good at ruining friendships and his own health. At one point in Shadowman, they bring up the importance of death in an artist's life. Death is where the big bucks are, and the same goes for apotheosis. One art dealer says people ask her if Richard Hambleton is still alive, not out of concern but because the price of his art will skyrocket once he kicks the bucket. In a heroic narrative about Richard Hambleton, he'd still be alive just to piss those people off like he's pissed off everyone else in his life. In the real world, though, he's alive only somehow and just because.
Review: Shadowman photo
Portrait of the artist as a total prick
There's a familiar narrative about the self-destructive artist, or maybe it's one that we want to see borne out in real life and in narratives about artists as characters. The brilliant artist is ignored but persists in their...

Tribeca Capsule Review: King of Peking

Apr 26 // Hubert Vigilla
[embed]221478:43532:0[/embed] King of PekingDirector: Sam VoutasRating: TBDRelease Date:  TBDCountry: China/Australia  Big Wong and Little Wong used to tour the countryside screening movies in small towns. A projection mishap forces them to come up with a new way to make money. Big Wong also needs to come up with child support to hold on to his son despite his abject poverty. Big Wong takes a job at a rundown cinema as a janitor; the whole movie house operation has a bizarre militancy about it. There, in that crumbling theater, Big Wong figures out how to bootleg movies and turn that into a meager subsistence. At its core, King of Peking feels like a mix of buddy movie and father-and-son bonding movie. Here are two people who care for each other and who come closer through their love of movies. Yet we rarely see the movies themselves on screen save for a few clips here and there. Probably a practical clearance rights issue, which just adds to the charm. The score also nods to famous film music, either using well-known classical compositions made famous in the movies or offering knock-off nods to famous cinematic melodies. Like Big Wong and Little Wong's bootleg operation, the film has an endearing handmade, small scale quality about it. The tension in Big Wong and Little Wong's relationship--like the tension in other buddy movies and father/son movies--comes when one person feels ignored or used, or both. Voutas adds some pathos to the feel-good surface of the film in the closing acts. It gives King of Peking a sense of fond nostalgia, like looking back at a time and a place that mattered in someone's life many years ago.
Review: King of Peking photo
Be Kind, Sell Bootleg DVDs
There's something undeniably charming about Sam Voutas' King of Peking. I smiled my way through a lot of the film, and snippets of its feel-good score (AM radio easy listening, in a good way) have been stuck in my head t...

Tribeca Capsule Review: The Death and Life of Marsha P. Johnson

Apr 25 // Hubert Vigilla
The Death and Life of Marsha P. JohnsonDirector: David FranceRating: TBDRelease Date: TBD  Gay rights have come a long way in 50 years, but trans rights have lagged behind. The film looks back to the Stonewall riots to offer context for the LGBT struggle while also considering how members of the trans community felt excluded from the mainstream part of the struggle. Speaking at a gay rights rally in Washington Square Park during the 1970s, Sylvia Rivera is booed while she delivers an impassioned and derisive rant. She felt excluded from the movement; she had to fight just to get on stage to voice her exclusion. So much about The Death and Life of Marsha P. Johnson is about supporting communities, building communities, and looking out for the marginalized among us. The rejection Rivera faced is just one of many hardships the film deals with in frank terms, and the solution tends to be about forming groups of support that resemble different kinds of families. As the documentary weaves the present with the past to flesh out Marsha, Sylvia, Victoria, and the LGBT culture of New York, the film also considered the future of trans rights via the murder of Islan Nettles. Nettles was a trans woman beaten to death in Harlem in 2013. James Dixon, the man who killed her, became enraged when he learned he had been flirting with a trans woman. While so much of the film is about history and seeking resolution for a 20 year old case, the Dixon trial is a reminder that the struggle for justice and trans rights is far from over. People say that the arc of the moral universe bends toward justice, but it's so gradual most times, and it's never a guarantee of justice in all cases; people tell themselves a lot of things when trying to make sense of an unjust, amoral universe. I wonder if there's another title for the documentary that can more accurately encapsulate its scope and its focus. It seems like a quibble. The scope of what France is doing here--braiding different stories about different women together through NYC history--is built around the death and life of Marsha P. Johnson while going far beyond that. This is a film about the value and worth of all trans lives, and why the fight must go on together.
Marsha P. Johnson photo
A brief history of trans rights
The Death and Life of Marsha P. Johnson is an engrossing watch that works on different levels and through different modes. At the outset, it seems like the documentary will take the form of an obsessive detective story/murder...

Tribeca Capsule Review: Mr. Long

Apr 25 // Hubert Vigilla
Mr. Long (Ryu San)Director: SABURating: TBDRelease Date: TBDCountry: Japan  While recovering from his injuries, our hero befriends a boy named Jun (Runyin Bai) and his mother Lily (Yiti Yao) in an abandoned slum. Lily is a former prostitute turned junkie, and her story is where so much of the melodrama stems from. There's an extended flashback that shows her tragic fall. The scene initially seems to be dropped in randomly, but thinking about the whole film in retrospect, Lily's backstory comes after a period of slowness and inertness to increase its emotional impact. It's a mood swing done with purpose. The initial outbursts of violence we see in Long's life are eventually followed by cooking and a series of hesitant gestures toward domesticity. The pendulum can only always overcorrect. I don't think Mr. Long would work as well without these dull, silent stretches, and yet while watching the movie I felt bored in these moments. That's the point. What happens in those boring scenes implies a welcome tranquility in these tumultuous lives. To the outside observer, it's boring, but for the characters, a game or ping pong or a simple day making food or giggling with mom is a reprieve from past misery. For once, the present has some sort of order. The boredom can only last so long--maybe it lasts too long in the early going--before it runs the risk of interruption. There's a lot to discuss about the film's overall cruelty and fatalism, and whether or not SABU has contempt for his characters like a vengeful god, but that would be getting into major spoiler territory. If you're patient with Mr. Long and follow the film on its own terms, the reward is peaceful boredom for lives defined by pain and heartbreak. I'm not sure what to make of that exactly, but I keep thinking about the soporific/histrionic style of Mr. Long and how it deepens my appreciation for both its quiet and brutal moments.
Review: Mr. Long photo
Nihilistic Tampopo/Slapstick Unforgiven
Juzo Itami's Tampopo was a quirky blend of western tropes and epicurean delight. SABU's Mr. Long is sort of like a nihilistic Tampopo. We follow a skilled assassin from Taiwan named Long (a brooding Chen Chang) who gets wayla...

Tribeca Capsule Review: November

Apr 25 // Hubert Vigilla
[embed]221420:43534:0[/embed] NovemberDirector: Rainer SarnetRating: TBDRelease Date: TBDCountry: Estonia/Poland November is an adaptation of various Estonian folktales which are mashed together yet don't quite cohere. There's a werewolf girl in love with a peasant boy, but the peasant boy is in love with a sleepwalking girl who's part of the gentry. There's the threat of the coming plague, which leads villagers to resort to foolish remedies. The Devil wanders the woods at night, and for a little bit of blood he can give your kratt at soul. Somewhere and somehow these different threads might have braided together, but they instead feel too discrete. Even though I loved how strange these disparate tales were (though some of them didn't have any sense of an ending), strangeness alone isn't always sufficient. I longed for something more to care about than just weirdness--plot, character, a sense of direction, some basic set-ups and payoffs. Admittedly, my disconnect from November may be cultural. There are probably aspects of Polish and Estonian history and the national character that would have informed my viewing of the film. Instead I watched in a kind of baffled awe, wondering where it was going, just going with it, and not knowing what to make of things once I arrived at the end of the film. If anything, November is so exquisitely shot that I wasn't necessarily bored by it. There's always something beautiful or strange to look at. The kratts (which sadly don't play a major part in the story) are works of brilliant tool shed/junk pile puppetry. There's a procession of ghosts in the woods at night that only really comes up once, but it's so hauntingly beautiful, with figures in white moving past torches and trees with an elegiac grace. The sumptuous black and white imagery plays with shadow and fog so well that even when my mind check out of the story by the halfway point, my eyes were transfixed from beginning to end.
Review: November photo
At least it looks really good
I want to describe the opening scene of Rainer Sarnet's November because it's absolutely bonkers. There's a sentient creature comprised of three scythes and a cow skull. It moves in a herky-jerky fashion using its scythe...

Tribeca Capsule Review: The Reagan Show

Apr 25 // Hubert Vigilla
The Reagan ShowDirectors: Pacho Velez and Sierra PettengillRating: TBDRelease Date: June 30, 2017 We're told at the outset that the Reagan administration was expert at video documentation. It was part of their political strategy. I was struck by a few minutes of footage of President Reagan pretending to be a cowboy. Velez and Pettengill show scenes from some of a younger Reagan's westerns, and later show footage of President Reagan on the ranch with his wife Nancy, moseying around and looking rugged. There's the narrative of his persona carried forward into the real world--America didn't elect the real Ronald Reagan but the idea of Ronald Reagan/the hyperreal Ronald Reagan, as if there was any actual continuity between a character someone plays and the office they occupy later in life. While on horseback, Nancy Reagan gives the camera a terrified look, though she composes herself for the usable footage that perpetuates the cowboy myth. Reagan boyishly improvs while he and Nancy are photographed watering a sapling. They're playing cowboy POTUS and cowgirl FLOTUS for the American public. These funny moments are scattered throughout, though much of The Reagan Show focuses on the wind down of the Cold War. Reagan delivers a policy speech on TV to Soviet general secretary Mikhail Gorbachev in a measured, statesmanlike cadence. Once the TV feed cuts, he snipes at the Soviet leader with a goofy insult, which makes Reagan giggle--part tough guy, part school boy who saw a tough guy say something like that on TV or a movie once. Again, he's playing a part. I felt myself wanting more of what The Reagan Show did well applied to other aspects of Reagan's presidency. The Iran-Contra scandal is only alluded to once as an aside, and I wondered if any footage existed following the Challenger tragedy or John Hinckley Jr.'s assassination attempt. And then again, Reagan's team was probably smart enough to know when to put the cameras away or to ask the videographers to stop recording. It leaves me wondering just how much more footage there may be and if it's of a similar character to what this doc has to show. In other words, more play and more acting.
Review: The Reagan Show photo
Telegenic and well rehearsed
Given how the Republican Party speaks of Ronald Reagan, he feels more like some cowboy legend than an American president. This speaks to Reagan's image consciousness as a politician, with a carefully cultivated persona that f...

Tribeca Capsule Review: The Departure

Apr 24 // Hubert Vigilla
The DepartureDirector: Lana WilsonRating: TBARelease Date: TBA  These sorts of punk-turned-monk contradictions are on display at the very outset of The Departure. Before we see Nemoto in his robes and with clients, we first encounter him in a dance club bathed in neon and strobe lights. He's lost in the music and the crowd, but Wilson's camera catches a glimmer of beatific happiness on his face. In retrospect, of course this man lost in the present moment in the club is a monk. Later in the film he seems less in control--drunk and belting out karaoke. Here's someone I'd like to talk to about mindfulness before heading out to a karaoke bar. At home he seems like a good but distant husband and father. His wife Yukiko is patient with him, devoted, and kindly reminds him to take things a little easier. But when dealing with the emotional and psychological needs of others, nothing is that easy. There is yet another contradiction in a life that seems so plain. By helping ease the suffering of others, Nemoto is suffering himself; and yet maybe the physical and psychological stress that this strain places on him is what gives his life meaning and makes it worth living. Maybe that last leap is a wholly western projection on my part. The Departure is such a quietly observed film anchored the entire time to the stable (or maybe wobbling) Nemoto as its center. While he comforts a man over lunch about suicidal thoughts or in the same man's apartment as he's struck by a wave of depression, Nemoto offers conciliatory hums of acknowledgement and the occasionally warm smile, remark, and laugh. They talk about the man's children, and Nemoto eventually opens up a bit about himself and mentions his son. It's just one sentence, but it feels so blunt and weighty when he says it. When someone so purposefully reserved shares something so vulnerable, it seems to speak to a larger yearning or anxiety or love within that is kept contained save for little spurts. The volume and quality of this inner life is emphasized by Wilson's ability to isolate such moments as part of a whole. They are beautiful in passing, as brief as they are, though there are many.
The Departure review photo
The long process of letting go
Almost everyone could benefit from a little bit of therapy, especially therapists themselves. I often wonder what sorts of anxieties therapists have to deal with after they've finished dealing with clients for the day. Empath...

Tribeca Capsule Review: Abundant Acreage Available

Apr 24 // Hubert Vigilla
Abundant Acreage AvailableDirector: Angus MacLachlanRating: TBDRelease Date: TBD  Tracy's dilemma--the whole drama of Abundant Acreage Available--is obligation. She feels obligated to these different men in such a way that she feels her own needs have to be set aside. Nevermind that the three interlopers on the land are basically trespassers trying to take the farm away. They could be con men, for all Tracy and Jesse know, but Tracy tolerates their presence on account of her upbringing. She even puts up with her brother's righteous belief that God is sending him signs of what's right to do to make things right. Rather than explode or assert herself, Tracy's dissatisfaction is expressed in small gestures and facial expressions. This is fine for a bit, but Tracy is denied agency throughout the film. She reacts more than she acts, which might not necessarily be bad, but Abundant Acreage Available is so one-note and one-mode as a story, and it always felt like Tracy was too passive in spite of all the duress she's facing. It doesn't help that the visuals are so flat and muted. The competing interests of a woman trying to appease these men doesn't go anywhere with lasting weight, and the film's story unfolds with a sense of passiveness and obviousness. It's as if MacLachlan's screenplay was obligated to go from A to B to C and, like Tracy, simply and begrudgingly assents. At least the performances are strong in a pretty standard, inert story. Kinney is great as an infuriatingly gullible but cocksure brother. Of the three invaders, Gail is the standout, equal parts folksy charm and sinister motives. Ryan's great as always, and it made me wish the material was half as good as her performance. For all its nods to subtle changes and restrained grief, and for all the work the actors do to elevate the material, it felt like there was just not enough in the film to move me like I sensed it wanted to move me.
Abundant Acreage photo
A passive aggressive home invasion
Like so many other underrated actresses, Amy Ryan is always good in whatever she's in. She's also so versatile when she's on screen, able to excel in oddball comedy as well as subtle character dramas. In Angus MacLachlan's Ab...

Tribeca Capsule Review: Flames

Apr 24 // Hubert Vigilla
FlamesDirectors: Josephine Decker and Zefrey ThrowellRating: TBDRelease Date:  TBD There's a moving 40 minutes scattered throughout this 86-minute film. The best bits for me involved Decker and Throwell talking about why things ended the way they did, and giving themselves time to be vulnerable and self-effacing on screen. Decker comes across better, at least to me, though maybe she's not always so forthcoming about why things ended. Throwell doesn't come across great, especially when he's being honest about what happened. There's a gleeful cruelty even when he's trying to be sweet to Decker, and I'm not sure how much of that was real or staged. Flames is an art doc and an artifice doc. But for that 40 strong minutes, there are plenty of boring moments in Flames that just sort of float there. The couple's doomed trip to Maldives feels like an inert home movie about art scene hipsters in love. And there are stretches of the movie that feel repetitive or too much like navel gazing. And there are also moments that feel a bit too precious, like when Decker and Throwell go to couples therapy. At that point, they're broken up and don't seem to be hanging out, so their time in therapy makes gestures at intimacy but also feels like a performance art piece without stakes beyond adding a scene to the film. That might be Flames as a whole for me--a blend of intimacy and performance art, each side vying for time and control, and I'm not sure what to make of it all since I don't necessarily know or feel connected to these people. Yet part of me wants to like the better-messy-business of Flames because the parts that worked well enough cast some of the film's jetsam in a different light. An act of public strip poker reveals a lot about who Decker and Throwell are as people and as participants in their relationship. And a bit of impromptu acupuncture in a naked puppet show offers some hints of the relationship that unfolds. But like relationships that don't end well and that don't feel like they're worth salvaging, it's best to just move on.
Review: Flames photo
Love burns itself down self-indulgently
Flames offers an intriguing premise. Part documentary and part art movie, co-directors Josephine Decker and Zefrey Throwell document their relationship as it falls apart. We start with the two of them in the best part of any ...

Tribeca Capsule Review: Rock'n Roll

Apr 24 // Hubert Vigilla
[embed]221472:43531:0[/embed] Rock'n RollDirector: Guillaume CanetRating: TBDRelease Date: February 15, 2017 (France)Country: France  While making a drama about a pastor and his daughter, Guillaume's younger co-star Camille Rowe mentions he's of an older generation of French actors that her friends no longer find sexy. He becomes extremely self-conscious about his age and how people think of him, and embarks on a journey of self-destructive narcissism in the quest to be younger and more rock n roll. Canet allows himself to be a hapless buffoon as this goes on, and he's completely oblivious to how silly he is. Such is the power of this celebrity vanity. In movies about the elderly acting like younger people, there's a sense of comic nobility. Look at that old man drive like a 25-year-old racecar driver; look at that old man lead a tango with a woman one-third his age. In movies about middle-aged people acting younger, filmmakers often treat their 40-something heroes as clowns. For the first half of Rock'n Roll, Canet sustains an industry satire that consistently bites at Guillaume's ego. He falls further and further into a pathetic spiral of vanity, and can't recognize how pitiful it makes him look to Marion and the French public at large. Rather than learn some life lesson about aging gracefully, Guillaume doesn't learn. Vanity can metastasize. At that point Rock'n Roll shifts from satire to an off-the-rails farce, and I'm not sure it works. Sure, it subverts the explicit and implicit moralizing common in mid-life crises narratives, but are the 40-something clowns that senseless? Or maybe that's the point, and the indictment is about the persistent cycle of oblivious buffoonery that so many stars fall into and never escape. I guess I'm of two minds on Rock'n Roll, and it at least leaves me curious about Canet's other movies he's directed and the tone they strike. I'm also curious about my own desire for moralizing in this movie. Would that have made a difference, or maybe I should I just sit back and try to laugh. But am I laughing with the caricature or at some pitiable analog for so many stars who fell?
Review: Rock'n Roll photo
Vanity in middle age is a bad look
I feel like I might have appreciated Rock'n Roll more if I was familiar with French pop culture and the country's film industry. Writer, director, and star Guillaume Canet packs his comedy with real-life French celebrities pl...

Captain Marvel directors photo
Captain Marvel directors

Anna Boden and Ryan Fleck will co-direct Captain Marvel for the MCU


Indie directors going large again
Apr 19
// Hubert Vigilla
Continuing the trend of hiring indie directors to helm blockbuster films, Variety broke news today that Anna Boden and Ryan Fleck have been hired to co-direct Captain Marvel. The duo has been collaborating together since meet...
Awesome Mix Vol. 2 photo
Awesome Mix Vol. 2

Here's the full Awesome Mix tracklist for Guardians of the Galaxy Vol. 2


ELO, Parliment, and The 'Hoff
Apr 19
// Hubert Vigilla
The Awesome Mix from Guardians of the Galaxy was a nice in-story mix-tape that was loaded with good songs and emotional impact. Suicide Squad tried to copy the Awesome Mix formula with mixed results. Truly, Red Bone's "Come a...
SyFy's Krypton trailer photo
SyFy's Krypton trailer

Trailer for SyFy's Krypton follows the life of Superman's grandfather


Supergrandad
Apr 18
// Hubert Vigilla
A while ago we heard word that writer/director David Goyer (Batman Begins, Man of Steel) was working on a SyFy show about Krypton, the home planet of Superman. We now have a trailer for the show, which features Seg-El (Camero...
Carmen Sandiego Netflix photo
Carmen Sandiego Netflix

New Carmen Sandiego animated series coming to Netflix in 2019


Needs more Rockapella
Apr 18
// Hubert Vigilla
If you're a person of a certain age (i.e., you're old), you probably have some fond memories of Where in the World Is Carmen Sandiego? There were the computer games in the 80s and 90s, which spun off into a children's game sh...
Tribeca Film Festival photo
Get ready for some filmstuffs
It's that time of year again. This week, the 2017 Tribeca Film Festival kicks off in New York City. Running from April 19th through the 30th, the Tribeca Film Festival will feature countless narrative and documentary premiere...

Hans Zimmer live photo
Hans Zimmer live

Watch Hans Zimmer play the Inception soundtrack live at Coachella


BWAAAAAAMCHELLAWWWWWWWM
Apr 17
// Hubert Vigilla
As we reported last year, acclaimed film composer and BWAAMaster General Hans Zimmer is going on tour. The world tour included a stop at Coachella, because when I think of Coachella, I think of BWAAAAM. If you're wondering ho...
Gunn doing Guardians 3 photo
Gunn doing Guardians 3

James Gunn will write and direct Guardians of the Galaxy Vol. 3


Come and get your trilogy of love
Apr 17
// Hubert Vigilla
Guardians of the Galaxy Vol. 2 is one of our most anticipated movies of 2017. It comes out May 5, 2017, but there's already some information on the sequel. James Gunn previously confirmed there will be a Guardians of the Gala...
Carrie Fisher Star Wars 9 photo
Carrie Fisher Star Wars 9

Carrie Fisher will NOT appear in Star Wars IX says Lucasfilm president Kathleen Kennedy


Wonder what that means for The Last Jedi
Apr 16
// Hubert Vigilla
Last Monday we reported that Carrie Fisher will appear in Star Wars Episode IX without the use of CGI doubles. Todd Fisher, Carrie Fisher's brother, mentioned this during a TCM event. As it turns out, Todd Fisher seems to hav...
Last Jedi/Force Awakens photo
Last Jedi/Force Awakens

Watch the Last Jedi and Force Awakens trailers side by side for Star Wars teaser symmetry


It's like poetry, so that they rhyme
Apr 16
// Hubert Vigilla
The first trailer for Star Wars: The Last Jedi brought the hype. There's some beautiful imagery as Rey trains with Luke Skywalker; ditto when those landspeeders leave brilliant red smoke in their wake while racing across a de...
R-rated Watchmen cartoon photo
R-rated Watchmen cartoon

Warner Bros making R-rated animated Watchmen adaptation that no one wants


Milk that IP until it bleeds
Apr 15
// Hubert Vigilla
According to Comic Book Resources, Warner Bros. will release a cartoon adaptation of Watchmen that will likely be rated R. CBR obtained a screenshot from a WB "A-List Community" survey that describes the project as a faithful made-for-video adaptation of the Alan Moore/Dave Gibbons comic. Hurm. Here's the screenshot in question:
40 Years of Star Wars photo
40 Years of Star Wars

Watch the 40 Years of Star Wars panel from 2017's Star Wars Celebration


That's a lot of years, dude
Apr 14
// Hubert Vigilla
We're all expecting the first trailer for Rian Johnson's Star Wars: The Last Jedi today. Down at the Star Wars Celebration in Orlando, the panel for The Last Jedi starts at 11:00am EST. It truly is a good Friday. (I...
Carrie Fisher tribute photo
Carrie Fisher tribute

Watch a funny, moving tribute to Carrie Fisher from the 2017 Star Wars Celebration


I know
Apr 13
// Hubert Vigilla
Carrie Fisher's passing late last year was tragic and unexpected. It did, however, prompt an outpouring of love and praise for Fisher's work, not just in Star Wars but as a writer, a script doctor, a performer, a dog owner, a...
Mary and Witch's Flower photo
Mary and Witch's Flower

New Mary and the Witch's Flower trailer showcases magic from ex-Ghibli talent


From Hiromasa Yonebayashi
Apr 13
// Hubert Vigilla
Even though Hayao Miyazaki is no longer retired, Studio Ghibli is in a transition period. The venerable studio went on a hiatus in 2014. The following year, producer Yoshiaki Nishimura and other Ghibli members started their o...

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