After 1966’s “How the Grinch Stole Christmas,” and 2000’s “Dr. Seuss’ How the Grinch Stole Christmas,” we now have 2018’s “The Grinch” (I assume the next reboot will be titled “Gri”). Illumination Studios continues being the C grade Disney Strudios, adapting the Dr. Seuss tale if, for no other reason, than to have their own holiday title out for the market and appeal to a younger audience. There’s not a lot of reason for this adaptation, as Illumination doesn’t offer a new twist on The Grinch. Except for obviously omitting “Christmas” from the title, “The Grinch” is an amalgam of Ron Howard’s live action movie, and the original Chuck Jones short movie–except bland.
Orson Welles’ “The Other Side of the Wind” was, for many years, the second most infamous unfinished film of all time. (A certain Jerry Lewis film earned the top spot within incomplete cinema.) As everyone knows by now, the film was posthumously stitched together 42 years after principal photography was finished and is now being made available via Netflix. To be blunt, it would have been better if Welles’ unedited work was left in oblivion.
Most of the time we get such a backlog of short films and feature length indie films that we work hard to take them all on and review them before the year is up. In what we hope will become a new feature, “Shorts Round Up of the Week” is a column where we’ll be reviewing a round up of short films of varying quality.
If you’d like to submit your short film for review consideration, submissions are always opened to filmmakers and producers.
BOOTLEG FILES 661: “Murder in the Blue Room” (1944 mystery-musical flick).
LAST SEEN: On YouTube.
AMERICAN HOME VIDEO: None.
REASON FOR BOOTLEG STATUS: It fell through the cracks.
CHANCES OF SEEING A COMMERCIAL DVD RELEASE: Not likely at this time.
During the 1940s, Universal Pictures arguably produced the most entertaining films playing in American theaters. This is not to say that Universal had the most artistically extravagant or intellectually provocative output. But for sheer pleasure viewing, this scrappy little studio was aces when it came to noir, Westerns, jukebox musicals, cheesy horror and lowbrow comedies. Back in the day, nobody ever left a Universal film feeling bored.
It’s that time of year already, where the holidays have finally crept up on us; it seems like time just flies and we’re back to trying to figure out what to get the movie lover in our life, or what to treat ourselves with. Whether you celebrate Christmas, Hanukkah, Kwanzaa, Festivus, or just love the deals, this is our annual holiday gift guide with some suggestions for the respective movie lover, and pop culture fanatic.
Included in the guide are links to the products, and always remember, if you’re interested in helping us out, buy directly through us, and earn our eternal admiration.
Director Michael Mort has been working in stop motion animation for most of his cinematic career, working with studios such as Aardman Animations and his own studio Animortal Productions, and is a clear fan of old school action films and their over-the-top styles.
Welcome to Mercy is your second feature as a director, what attracted you to it?
I’m still figuring out what sort of filmmaker I am. Telling stories for a living is such a broad and nebulous job — Your work is this delicate combination of deeply personal ideas, natural instincts, collaborative partnerships, and practical opportunities. How you balance and navigate those ends up defining what you put out in the world… and I think in a very real way it also ends up defining who you are.
I’ve come to terms with “Teen Titans Go!” and I’ve especially come to accept it thanks to the shockingly good feature film. If there was ever a time where the superhero movie genre was ripe for parody and satire it’s 2018, and “Teen Titans Go! to the Movies” manages to do it better than anyone else. For everyone that’s come before, attempting to mock the whole appeal of the sub-genre, “Teen Titans Go!” captures the whole appeal and absurdity of the superhero movie and the superhero mythology as a whole. It also manages to cater to the hardcore comic book buffs in the audience, inspiring some great laughs from obscure references.