After 30 years of trying to bring the mystical surgeon Stephen Strange from the page to the screen, Doctor Strange is finally making his movie debut.
Interviews - Page 5
After over 40 years of working in film, Paul Schrader remains as challenging as he was when he first caught Martin Scorsese’s attention with his screenplay for Taxi Driver. They made three more films together, but Schrader established himself as the more unconventional of the two when he took control of the camera. Decades later, Schrader’s filmography is just as prolific with singular titles like Hardcore, Cat People, and Dog Eat Dog — the latter is his most recent effort, a delirious crime thriller starring Nicolas Cage and Willem Dafoe that is every bit as wild as that simple description implies, and the reason for our conversation with the veteran filmmaker.
The pleasures of Marvel’s Doctor Strange are, first and foremost, visual. Here is a movie of incredible images and bizarre sights. In comparison to its mind-boggling special-effects sequences, the movie’s characters sometimes feel a little flat and generic. I sometimes found myself wanting the characters to stop talking so they could take us on another wild trip through the multiverse.
Right after completing a new entry in one cinematic universe, screenwriter Jon Spaihts is hopping into another. The Doctor Strange scribe is jumping from the Marvel Cinematic Universe into Universal’s Monster Universe. That’s a lot of universes in one sentence, but it’s exactly what Hollywood is so obsessed with at the moment – making a bunch of movies under the umbrella of a shared world. And now we have some new details straight from Spaihts on how the new monster movies will connect.
How many interviews does it take to land a gig directing a Marvel movie?
My main takeaway from my interview with Inferno star Sidse Babett Knudsen: More people need to see The Duke of Burgundy.
From Shotgun Stories to Take Shelter to Mud, Jeff Nichols’ has made his name as an indie filmmaker who tells the types of stories he wants instead of yielding to mainstream expectations. Just look at Midnight Special, a sci-fi thriller that refuses to give audiences overt explanations, or his latest biopic Loving, which is more of a love story than a didactic political drama. Considering the originality of Nichols’ work, it might have been surprising to some that the director’s next project will be a remake of 1988 sci-fi movie Alien Nation. But even that film won’t be what you’d expect.
Barry Jenkins‘ Moonlight is already being called one of the best movies of the year, and not without reason. It’s a visual feast quaking with beauty and sadness, a hushed poem of pain and romance, and a piece of filmmaking that feels more alive . But most people will also be talking about Moonlight for its actors, and its triads of shattering, magnetic performances.
After making his English-language debut with Stoker, Park Chan-wook returned to his native South Korea for The Handmaiden, a sensual and gracefully twisted new film that is equal parts clever thriller and, surprisingly enough, romantic drama. To say that this is his best film to date is an astonishing suggestion — this is the man behind Oldboy, after all — but a second viewing validated my belief that it is his masterpiece. As a longtime fan, I was anxious to interview Director Park, who was far less intimidating than I had imagined. He is warm and gracious, and spent the duration slowly pacing around the room (in a great sweater, by the way), speaking his thoughts to a translator with the patient consideration of someone dictating a heartfelt letter.
The first thing I think of when I hear the name Edward Zwick is his Oscar-winning 1989 film Glory. Specifically, I think of the time my entire 7th grade class was assembled in Marlboro Middle School’s amphitheater to watch it. And when the same thing happened again in 8th grade. And then again in high school, where I was shown Glory two more times in history classes. My colleagues on the ScreenCrush staff all have similar stories. For a certain generation of American school kids, Glory was like a rite of passage.