Saturday, February 11, 2017

‘Avengers: Infinity War’ Teaser Released by Marvel

Yay or Nay? Captain America: Civil War was the best Avengers movie we have gotten thus far in the Marvel: Cinematic Universe. Will be hard to top what the Russo brothers created with that film, but I'm all eyes and ears for Infinity War, which comes off the utter disappointment that was Age of Ultron. I had partially given up on The Avengers until I saw Civil War. My expectations are still fairly low for this next chapter. I do look forward to the next Captain America and Guardians of the Galaxy, but Thor? Give me a break. Why don't they give Robert Downey another shot at an Iron Man film. The third film was great and had a loose, eccentric vibe that is severely lacking in many of the Marvel movies these days. His paycheck must be too steep for billionaire Disney.

2Pac movie "All Eyez on Me" has eerie Tupac lookalike Demtrius Shipp Jr.

It's about time they made a film about Tupac Shakur. Notorious was a dud, but Straight Outta Compton was such fresh and vitally alive filmmaking experience that I have to say I'm quite excited for this. I know many Tupac songs, maybe not enough, but his life story should be told. It looks a gangster film through and through, but check out Tupac lookalike Demetrius Shipp Jr. Did they wait two decades to make this movie just to get a guy that looks EXACTLY like Shakur? Danny Boom directs and his directing credits include episodes of NCIS: Los Angeles, 90210, and 50 Cent: Special Edition - The Massacre. Yikes.

"Cloverfield" director Matt Reeves offered directing job for "The Batman"


Deadline has just broke the news that Matt Reeves has been ofered the gig to direct The Batman. Reeves is well known as a JJ. Abrams protege whose films (Cloverfield, Let Me In, Dawn of the Planet of the Apes) were well received critically and commercially. He has a keen directorial eye and a great flair at using visual effects, but keeping the human element of his story very present.

"EXCLUSIVE: I’ve heard Warner Bros has offered the directing job on its Batman franchise to Matt Reeves, the filmmaker who just finished War For The Planet Of The Apes for Fox. This comes weeks after Ben Affleck decided that directing and starring in such a massive undertaking was too much. The emergence of Reeves is hardly a surprise; it was known he was the filmmaker the studio engaged when Affleck made his decision after weeks of wavering."


Friday, February 10, 2017

‘Guardians Of The Galaxy Vol. 2’ Just Got The Highest Test Screening Score (100) In Marvel History

The Hollywood Reporter has just given us interesting insight into how the first ‘Guardians Of The Galaxy Vol. 2’ test screening went down in California: A perfect score of 100, besting "The Avengers" record score of 97. 

The hype-machine is in full-swing and this will surely be the second highest-grosing film of the year, behind, of course, Star Wars: Episode IX.

This is how these type of secretive test screenings usually work:

"All studios conduct audience test screenings of their movies, mostly through a process of recruiting people (sometimes at grocery stores or malls) in areas outside of Los Angeles. The audience is shown the movie and asked to rate in on a scale of 1 to 100."

The film opens May 5th, 2017.

20 Odds-on Favorites for Cannes '17 Official Competition

"Based on a True Story" (Roman Polanski)
"Happy End" (Michael Haneke)
"High Life" (Claire Denis)
"The Death and Life of John F Donovan" (Xavier Dolan)
"Mektoub is Mektoub" Abdelattif Kechiche)
"Ismael's Ghosts" (Arnaud Despechin)
"Thelma" (Joachim Trier)
"Where Life is Born" (Carlos Reygadas)
"The Square" (Ruben Ostlund)
"Loveless" (Andrey Zvyagintsev)
"Zama" (Lucrecia Martel)
"The Killing of a Sacred Deer" (Yorgos Lanthimos)
"You Were Never Really Here" (Lynn Ramsay)
"Wonderstruck" (Todd Haynes)
"Logan Lucky" (Steven Soderbergh)
"Downsizing" (Alexander Payne)
"Okja" (Jonn Ho Bong)
"Kings" (Deniz Gamze Erguven)
"The Waves Are Gone" (Lav Daz)
"Jeanette" (Bruno Dumont)

The 2017 Cannes Film Festival runs from the 17 to 28 May. 

Am I missing any here? Based on research these seem like the most set-in-stone. Of course, there's always surprises. Just look at last year with "Toni Erdmann." Anyways, I will be there again this year covering the fest.

Something feels off about James Ponsoldt's "The Circle"

Something feels off with James Ponsoldt's "The Circle." Watch the trailer and tell me you're not disappointed that this is Ponsoldt's follow-up to his first two impressive films ("The Spectacular Now," and "The End of the Tour.") The story feels too facile and by-the-books for Ponsoldt.  Principal photography wrapped-up in 2015. It was rumored to come out last year, but then reshoots happened this January. So "The Circle" is coming out only 4 months after the reshoots. Yikes.

The film is set for release April 28th, 2017. Don't expect the reviews to be kind. I'm already confident that this movie will be a disaster.

Thursday, February 9, 2017

Superman is Still Dead In Newly Released Synopsis ‘Justice League’ Movie

"In the wake of Clark Kent/Superman’s (Cavill) death at the hands of Doomsday in BvS, vigilante Bruce Wayne/Batman (Affleck) reevaluates his extreme methods and begins reaching out to extraordinary heroes to assemble a team of crime-fighters to defend earth from all kinds of threats. Together with Diana Prince/Wonder Woman (Gadot), Batman seeks out cybernetically enhanced former college football star Vic Stone/Cyborg (Fisher), speedster Barry Allen/The Flash (Miller) and Atlantean warrior king Arthur Curry/Aquaman (Momoa). They face off against Steppenwolf (Hinds), the herald and second-in-command to alien warlord Darkseld, who is charged by Darkseid with hunting down three artefacts hidden on earth."

[Comic Book]

Robert Altman

Ben Affleck's script for "The Batman" will not be used, featured Deathstroke and The Joker

We all know Ben Affleck "left" the director's chair for "The Batman," but, now, we can also report that the entire screenplay has been scrapped. Will Affleck still accept to play the Caped Crusader when all is said and done? The film has a 2019 release date. 

Details have emerged about Affleck's script which included more than a few classic Batman villains:

"The story for The Batman originally included the assassin Deathstroke as a main villain, with Joe Manganiello cast in the role, as well as a few other likely villainous appearances by characters including the Joker, according to sources familiar with the project. Jared Leto, who portrayed the Joker in Suicide Squad, has for months expressed his displeasure about the removal of substantial portions of his performance from the final cut of the film, raising questions about whether he would return to the role in future movies. He seems to have softened his stance lately and appears interested in a possible return, but whether he will ultimately be part of The Batman or Gotham City Sirens remains to be seen."


Wednesday, February 8, 2017

Five questions for Anna Biller, director of THE LOVE WITCH

The most awesome synopsis for Nicolas Winding Refn's next project

A new Amazon series.
“Too Old To Die Young” explores the criminal underbelly of Los Angeles. The series is described as being in a similar vein to Refn’s Pusher trilogy, which looked at Danish criminals caught up in the drug trade. It explores various characters’ existential journeys from being killers to becoming samurai’s in the city of angels." [Variety]

After receiving a 12-minute standing ovation, Charlie Chaplin blows a kiss to the crowd while accepting an honorary Oscar for "the incalculable effect he has had in making motion pictures the art form of this century." (circa 1972)

"John Wick 2" is better than the original. Startling, action-poetry in motion

John Wick gif comp. John Wick came out last year. A simple revenge story action flick starring Keanu Reeves that's executed with such a style and grace... and for all those wick lovers out there you can play as him in payday 2 and get kicked from 80% of in game lobbies because people hate fun.

"John Wick" was a visceral, well-made B-movie. It is very hard NOT to enjoy what Keanu Reeves and the directing duo of Chad Stahelski/David Leich did in 2014 with the action genre. The story itself was simple: A low-key, but lethal hitman gets brutally beaten up by gangsters and, more importantly, his dog gets killed, which flicks off a switch in his head to exact the ultimate revenge. On a $20 Million budget it made $86 Million at the Box-Office, but, more importantly, it became an enormous hit on streaming services and home video. 

Who doesn't love a movie about revenge? What Liam Neeson did in "Taken" was clearly an influence, in fact it's turning into the most influential action movie of the last 15 or so years.  This "Chapter Two" is actually a better movie than the original "John Wick" and doesn't run into the same problems the "Taken" sequels had at their disposal. the sheer sense of repetitiveness. Everyting in "John Wick 2" is done more ambitiously, but more importantly, better.

The two most important qualities an action movie must have at its disposal, safe for a great, visually gifted dirrector which this film does have, are a) a protagonist you care about and b) an antagonist you despise. "John Wick 2" has both.

There is so much going on in every action-fueled frame of this film that it deserves repeated viewings. Stahelski has stuffed his film with the kind of jolt I didn't expect. The action fees like poetry in motion, a ballet of bullet-riddled choreography that has to be seen to be believed. It has actually achieved the impossible: Made me look forward to the next film.

Beautifully designed Korean posters for Barry Jenkins' MOONLIGHT


Trailer for Sofia Coppola's THE BEGUILED!

Oh Sofia, you had me at hello. I mean, has there been a more misunderstood auteur in American cinema than Sofia Coppola? Ever since she got the critical acclaim for "Lost in Translation" her career has become th kind of perplexing mix of films, but watch "Marie Antoinette" and its colorful, eye-popping visuals and tell me that isn't the work of a confident and brilliant filmmaker.

"The Beguiled" is a remake of that highly entertaining Clint Eastwood film from the 1970s. This "remake" looks like it's only loosely based on the original. Timely, feminist issues are sure to be tackled. I'm looking at the summer movie slate at the moment and this seems to be right at the top of my must-see list.

Tuesday, February 7, 2017

James Franco shares a picture of him as Tommy Wiseau for upcoming movie

The Room, a film funded by "entrepeneur" Tommy Wiseau for $6 million, was supposed to be a serious movie, but what turned out instead was, what many consider, one of the very worst movies of all-time. 

Wiseau wrote, directed and financed "The Room" back in 2003, a film so bad that it has transcended genres and is now known as a "cult comedy." The film was so fascinatingly inept that it seemed too good to be true. Were Wiseau's intentions genuine? Did he really set out to make a good movie? The answer, we found out, was, quite certainly, yes.

The dialogue was the stuff a third grader would write, the performances wooden and the sex scenes some of the most howlingly funny in cinematic history. Little did we think that Wiseau would ever want to make another film after his first catastrophic effort, but if there is anything that sets Wiseau apart from the rest it's his undying and overtly relentless passion for moviemaking.
Its incomprehensible narrative, terribly disjointed script, and hilarious non-intentional acting has been the joke for of many since its 2003 debut.
It has become such a cult classic that there are countless nationwide screenings out there of the movie. If there is one in the area I do recommend you experience a sold-out showing of the film, the hoots and hollers alone are worth the price of admission.

"The Masterpiece" could become a cult classic of its own as it is a behind-the-scenes look at the making of Tommy Wiseau's 2003 abomination.  The film stars James Franco, Dave Franco, Seth Rogen, Alison Brie, Zach Efron, Sharon Stone, Melanie Griffith and, yes, Bryan Cranston as himself.

James Franco just Instagramed a picture of himself as Wiseau [Source]

Jack Nicholson coming out of "retirement" to star in Hollywood remake of "Toni Erdmann" alongside Kristen Wiig

Jack Nickelson Kristin Wiig Tony Erdmann

Can I get an Amen?! Jack Nicholson, up there with De Niro, Day-Lewis and Pacino in my books as far as  thegreatest actors of the last 40+ years of American cinema goes, is not retiring after all. Thank the cinematic Gods for that, there was rumor that he gave up on acting because he couldn't remember his lines anymore. That seems to have not detered Jack one bit in choosing his next film: A remake of Maren Ade's "Toni Erdmann."

I actually would have loved another actress to take the role of the daughter, um Michelle Williams anyone, but hopefully Kristen Wiig won't fuck the entire thing up.

Source: Variety

"Jack Nicholson, who hasn’t appeared in a feature film since 2010, will star opposite Kristen Wiig in the English-language remake of “Toni Erdmann.”

"Sources tell Variety Paramount Pictures has acquired remake rights to the Oscar-nominated film with Nicholson and Wiig attached to star."

I am an unabashed, hardcore Jack Nicholson fan. The man is living legend and he basically owned the 70s and 80s with his charsimatic, loosely stylized acting. In many of his movies he was the sardonic drifter, the eternal outsider, a man that always rebelled against societal structure. 

Favorite Nicholson? It's too hard for me to choose one, but I'll give you guys some of his greatest performances: "Easy Rider,"  "Five Easy Pieces," "The Last Detail," "Chinatown," The Passenger," "One Flew Over the Cuckoo's Nest," "The Shining," "Terms of Endearment," "Prizzi's Honor," "Batman," "A Few Good Men," "As Good As It Gets," "The Pledge," "About Schmidt" and "The Departed."

Kevin Smith thinks Affleck didn't want to direct "The Batman" because it's impossible to make a better Batman movie than "The Dark Knight"

"A Cure For Wellness" or how in the living hell did this get greenlit?

Gore Verbinski's "A Cure For Wellness" is the kind of film that the less said the more you will "enjoy" it. I think it's a messy, at times entertaining, but convoluted romp that leaves you with a what-in-the-flying-fuck-was-that kind of feeling. I don't think I can reccomend the film , but there are enough abnormalities here that could satisfy curiosity seekers. First off, this a 145 minute movie. I can't recall the last time I saw a big studio film released in February that was stretching well over the two and a half hour mark. That lengthy running time is a box-office kiss of death for most films that are not sequels or superhero fare. Second of all, the budget seems to be well over $50 Million dollars, although my research has yet to pinpoint an exact number, and it could even be closer to $100 Million. A budget that high for an R-rated February release is abnormal, which tells me that Verbinski, not just a succesful director, but a succesful producer, probably put forth some of his own money to make this film. Thirdly, the story is not at all audience-friendly. It's strange, goes places that even I found extremely odd and out of place.

How did this film get greenlit? It is the defintion of a non-starter, a film that doesn't really fit any kind of demographic. It takes risks that most big-studio productions would duck under, but fails more than succeeds in its artistic intentions. It is bound to lose a lot of money.

Natalie Portman's strange accent in "Jackie" was spot on, according to linguists

Well, that settles it.

"Merely reading that line doesn’t do justice to the voice Portman adopted for the role. If you’re not aware of how Jackie Kennedy spoke, listening to Portman’s Jackie is like the tingle of soda in your throat. It often feels familiar, but in certain spots it pops and jumps. The way she lops off the end of “bitter,” the funny hop in “artifact,” the way she rolls through “remembered” — it’s like she’s invented her own unique way of speaking English"

"But Portman’s delivery is accurate in the way it captures the former first lady’s affect. And that might be the most impressive element of her Oscar-nominated performance." 
"Merely reading that line doesn’t do justice to the voice Portman adopted for the role. If you’re not aware of how Jackie Kennedy spoke, listening to Portman’s Jackie is like the tingle of soda in your throat. It often feels familiar, but in certain spots it pops and jumps. The way she lops off the end of “bitter,” the funny hop in “artifact,” the way she rolls through “remembered” — it’s like she’s invented her own unique way of speaking English

"When Portman was asked how she learned Kennedy’s accent, the actress told the Los Angeles Times that she looked up every interview with Kennedy that she could find on YouTube and watched the first lady’s 1962 White House Tour over and over."
Source: Vox
Earlier last year I wrote this about Pablo Larrain's incredible film:
"Natalie Portman’s performance as Jaqueline Bouvier Kennedy is masterful. If you thought there was nothing else that could be said about that fateful day when JFK was shot and killed in Dallas then you were wrong. Director Pablo LarraĆ­n (Neruda) dissects the incident through Jackie’s own eyes. The film takes place in the hours following JFK’s death as the First Lady tries to comprehend the magnitude of the event. Through the use of finely crafted flashbacks, Larrain strips the cinematic conventions that come with bio-pics and gets to the core of Jackie’s psyche at the time. Portman’s performance is a high-wire act of intrigue. She never fully reveals the exact reasons for some of Jackie’s behavior and  though we can never truly know if there was manipulation involved with her grief, this is hinted at. In a way Larrain and Portman are playing with the audience with an immaculate mix of enigma, grief and cynicism. It’s an artfully crafted thing, this “Jackie.”

Monday, February 6, 2017

A foreshadowing of MOONLIGHT

On 2.23.16 I wrote the following:

"The ubiquitous #Oscarssowhite controversy might bring more to the cinematic table than just Chris Rock taking a few jabs at the Academy come next Sunday's Oscar telecast. No, I am also referring to the cinematic spectrum switching gears and celebrating films for political reasons more than cinematic. I don't think people realize just how big this movement really is. It will stretch out and change the way many people perceive films, for the wrong reasons of course. We saw it just last month at Sundance when Nate Parker's "The Birth of a Nation," a mediocre film that was unjustly clebrated by critics, bloggers and audiences alike, stormed out of the gate and became a surefire Oscar contender for 2017. Why am I saying it is a surefire contender if I just said it is mediocre? Because it is a movie that feels needed more for political gain than for actual cinematic qualities. It is a movie that can turn the most knowledgable of film critics blind to its flaws just for the sake of celebrating a film that perfectly fits the current political agenda. What the rave reviews for "The Birth of a Nation" have taught us is that there's a storm coming and it won't let up. The Academy has to atone for its "sins" and critics feel just as guilty for the blame. We are headed towards a direction I have long feared for film criticism, that of blurring the lines between your political and societal beliefs than, you know, focusing on the actual merits of a movie. I would be shocked if 2017 did not produce a few more overpraised films like Parker's and I wouldn't be surprised either if one or all of them underservedly got critics praising them like the second coming for all the wrong reasons."

The Epistemology of Moonlight

By Sarah Foulkes

If mainstream cinema is upheld to the task of democratically representing its viewers than it often fails. So when a film comes out that represents marginalized figures it’s passed under the kind of scrutiny that a lot of other films evade. As if clinging to a lifeboat of fair representation, critics and audiences look for holes in the raft - sometimes discarding it entirely, or patching it up with forgiving praise. But Barry Jenkins’ film Moonlight has proven to be an indestructible raft (but not by any means “tear”-proof). As we are prone to do when talking about films depicting minorities, we compare it to the ones that came before it. Indeed, two of the most notable queer films from this century are Brokeback Mountain and Carol. They both take place in pre-Stonewall America. But  Moonlight is set in the present and the twenty odd years leading up to it. Though Moonlight couldn’t be more different from those two aforementioned films, all three share a significant similitude: none of these films stage a coming out scene. In the films set before the 1969 Stonewall riots, coming out is an unwise, if not unthinkable, decision. With characters forced out of the closet and their secret  used against them. Indeed, a lot of queer narratives play out like detective stories. Who will find out their secret and what will they do with that knowledge?  

Moonlight - set in Miami - exists in a world where coming out could ostensibly happen. Chiron is a black queer (or queer black?) boy - a visible and invisible minority. It is perfectly feasible that especially in light of President Obama’s recent legalization of marriage, Jenkins could’ve presented a scene in the final chapter in which Chiron tells his mother that he is gay.  Yet, his decision to not include a cathartic coming out scene reveals the intersectional disjunct within gay rights in contemporary America. Chiron, and many others like him, don’t have the kind of privilege that would ensure a safe coming out. The thought of coming out isn't even addressed. It's not about coming out and revealing his authentic self. That’s not his priority. It's about surviving.  

The closest the film comes to any form of coming out  is in the first chapter when Little asks Juan if he's “a faggot.” This heart-string-pulling scene unveils the disempowering feeling of being, as Eve Sedgwick refers to it, in a glass closet. What do they know about me that I don't? Chiron’s mother, the kids that bully him at school, they have read his queerness before Chiron has had a chance to understand it for himself. Whoever possesses the knowledge about his sexuality has the power.

If the scene on the beach with Kevin is a kind of unspoken coming out scene in so far as he attains his sexual desire, then Chiron does not experience a feeling of liberation. As soon as he walks out of one closet, dozens of others erect themselves in front of him. Chiron must constantly re-negotiate his sexuality with those around him. Indeed, with his very first intimate encounter, he is beaten up and upon retaliation is sent to jail. He learns too early the life-threatening dangers of  queer intimacy. In the final chapter, as Barbara Lewis coos ”Hello Stranger” on the jukebox, Chiron must even re-negotiate and re-introduce his queerness with Kevin, the only person he’s ever been truly intimate with. What happened on the sandy beach left a trace that can easily be brushed away by Kevin,  but not Chiron.

A liminal space between the ocean and the urban, the beach hosts a makeshift baptism with Juan, his sexual intimacy with Kevin, and his dream of Kevin having sex with a girl. The baptism also doubles as a lesson in survival and love. Floating means not drowning, but  also  letting go. The two scenes with Kevin on the beach add to the complexity of Chiron’s - and anyone’s for that matter - sexuality. We can see him working out his sexuality unconsciously.

In the first two chapters, Chiron does not perform his sexuality. In fact, it is his anti-performance, his shyness, that alerts others to his gayness. If this shyness is the outward manifestation of  shame, then we never see his shame recuperated as pride. Jenkins is offering a stinging reminder that amidst the gay pride parades and International Coming Out Days, shame has been left behind with underprivileged bodies of colour.

Thus, in the final chapter, it comes as no surprise that in an attempt to mask his queerness, he overtly performs his masculinity and his blackness. Replacing the now-deceased Juan, he is a drug dealer. This hardly surprising development has an interesting relationship to forbidden queerness, for what does drug-dealing deal in, if not the unspoken and all things work masquerading as loitering? And the do-rag that he wears to bed and gold fronts are his uniform. The scintillating fronts  act as a barrier between Chiron and Kevin, between his performed hetero-masculinity and his gay desire. They are quite literally a front.

Another singular decision that Moonlight makes is in its cinematography. Jenkins avoids the trappings of voyeurism and ‘trauma porn’ by directly implicating the spectator through direct address and point of view shots. The viewer is directly confronted with the crazed screams of Chiron’s mother. Moreover, Moonlight is an exquisitely beautiful film with important social and political themes more applicable than ever. Whilst Tangerine - a film about black trans-sexworkers in Los Angeles - employeda very grimy and gritty aesthetic to illustrate the atmosphere and characters, Moonlight suggests that being black and gay in Miami doesn’t have to be defined by grittiness. Rather, the cinematography exquisitely renders the characters’ inner lives. Black, queer bodies that deserve to be captured in beautiful light, and not just moonlight.

"Guardians" of the mixtape

Sunday, February 5, 2017

SPLIT threepeats at week-end box-office

M Night Shyamalan's comeback has been official since opening weekend of his latest mindbender "Split." The fact that it has held the top spot at the box-office for the past 3 weekends is really astonishing. It has practically made $100 million in those three weeks and will likely increase that tally to 150+ million in the coming weeks. An all out smash for Blumhouse and Universal. "Split" has a budget of $9 million. 

I though it was a silly, but well-orchestrated film that benefited from James McAvoy's incredible split personallity performance. An insider for The Wrap had this to say about the performance: “He’s captivating and magnetic and you can’t take your eyes off him. I absolutely feel without equivocation it’s an Oscar-worthy performance.” Of course, like all January releases, this performance will likely be forgotten as the calendar year goes along. The script is clunky, but is raised by the artistry of Shyamalan's camera and, again, the performances. 

"The Twist." I have to mention the reveal at the end, you should stop reading this instant if you haven't seen the film ...

Bruce Willis' superhero from "Unbreakable" shows up to reveal what will likely be a melding of both films for a future sequel. I have been an avid admirer of Shyamalan's "Unbreakable," which I believe is his best film. There have always been rumors of a sequel happening and I always looked forward to that, but I don't know if I want it to go in the direction the film seems to be hinting it is going. One reason why "Unbreakable" was so good was that it deconstructed the superhero genre to its core and didn't reveal itself as being a superhero movie until its very last frame. This next movie would likely go full on creature vs superhero .... unless Shyamalan will,again. surprise us and give us something more subtle. With all that being said, I do love the fact that people that have never seen "Unbreakable" are now going to discover it. All thanks to "Split."

Damien Chazelle just won DGA, on his way to becoming youngest winner of Best Director Oscar

Damien Chazelle just won the DGA directing award. For all those wishing for Barry Jenkins to pull off an upset, it just became a little harder based on this latest Chazelle victory. He's on his way to becoming the youngest director to win the Best Director Oscar. Was William Friedkin not far off in his claim that Chazelle is, in fact, the future of cinema? Time will tell, but "Whiplash," and "La La Land," despite the flaws, make a good case for a prodigous talent.

And no, 25 year-old Orson Welles didn't win for "Citizen Kane" back in 1941, instead the award went to John Ford and his underwhelming "How Green Was My Valley." Good God. What made his "Citizen Kane" debut even more impressive was the fact that it was Welles' first feature. Then again, Welles loved Ford so much that he watched "Stagecoach" over and over again to study and prepare for the shoot of "Citizen Kane."

The stats are as follows:

Damien Chazelle "La La Land" (31 Years old)
Norman Taurog "Skippy" (32 Years old)
Lewis Milestone "Two Arabian Knights" (33 Years old)
Sam Mendes "American Beauty" (34 Years old)
Frank Borzage  "A Farewell to Arms" (35 Years old)
Lewis Milestone "All Quiet on the Western Front" (35 Years old) 
Tony Richardson "Tom Jones" (35 Years old)
Francis Ford Coppola "The Godfather" (36 Years old)

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