Tag Archives: anton-corbijn

The American and 6 Other Mis-Marketed Movies of 2010

Whether or not you were down for George Clooney’s somber and nearly-silent turn as a hitman looking to retire in The American (out today from Universal Studios Home Entertainment), it’s easy to understand why so many opening-weekend moviegoers felt like they’d been duped. Anton Corbijn’s film is quiet and cold and precise and so subtle that it felt like an arthouse movie. But Focus Features sold The American like it was another action-packed George Clooney shoot-em-up . But selling the sizzle and not the tofu is something that Hollywood has done since the nickelodeon days. And they certainly did it this year. Ahead, the most mis-marketed films of 2010.

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The American and 6 Other Mis-Marketed Movies of 2010

10 Great Movies of 2010 That Will Not Be Recognized by the Academy

As this week’s influx of critics group awards and Golden Globe nominations can confirm, there are really only a handful of films that will be up for Academy Awards in February. (See: The King’s Speech , The Social Network , The Fighter , The Kids Are All Right and Black Swan .) Every year, though, the Academy not only overlooks great performances , but also a number of great films as well; some are too small, some are too broad, and in the case of documentaries, some just didn’t make the first shortlist . With that in mind, let’s step outside the fog of Oscar buzz for a second and take a look at 10 deserving films of 2010.

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10 Great Movies of 2010 That Will Not Be Recognized by the Academy

Screenwriter Rowan Joffe on the American He Wrote — and the One You Saw

Rowan Joffe may be in Toronto to premiere (and hopefully sell) his directing debut Brighton Rock , but the awkward afterglow of this month’s box-office triumph The American — which Joffe adapted from Martin Booth’s novel A Very Private Gentleman — followed the screenwriter north to TIFF. That’s where I caught up with him to talk over the film’s box-office success, the split personality of its moodiness and its marketing, and what Tony Gilroy’s DVD extras taught him about writing for George Clooney.

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Screenwriter Rowan Joffe on the American He Wrote — and the One You Saw

REVIEW: George Clooney, The American Prove They Do Make Movies Like They Used To

Anton Corbijn’s The American looks and feels like a movie made by a filmmaker who hasn’t been to the movies since the ’70s — and I mean that as the highest compliment. This is Corbijn’s second feature: His first was the elegiac and gorgeously shot (by Martin Ruhe) Control, based on the life story of Ian Curtis, lead singer of the influential and much-loved Manchester band Joy Division, who committed suicide at age 23 in 1980. Before Corbijn was a filmmaker, or even a director of videos for the likes of U2 and Depeche Mode, he was a photographer specializing in rock ‘n’ roll types as subjects; he had photographed Curtis and the other members of Joy Division early in his career, having left his native Holland for England because, as he’s said in interviews, he wanted “to be where that music comes from.”

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REVIEW: George Clooney, The American Prove They Do Make Movies Like They Used To