1. “100 best Chinese Mainland Films: the countdown.” Discover the best of Chinese cinema with the top 100 Mainland movies.
“Time Out presents the greatest Chinese Mainland films of all time. Working with our sister magazines in Beijing, we polled an auspicious 88 film experts from across the world to determine the the 100 best films of all time from 1930s silent classics, blockbuster wuxia epics and tiny independent documentaries. See the full list of judges, including Beijing Bicycle director Wang Xiaoshuai, to discover why they voted for each film. We also want to hear from you. Vote for your favourite Chinese Mainland film and tells which movies you think we missed out of the list in our online poll. Start the countdown below to see the top 100 Chinese Mainland films and discover which movie was voted the best film of all time and see our guide to what makes a Mainland Chinese film.”
2. “EW Lays Off Longtime Film Critic Owen Gleiberman in Staff Purge.” The magazine also recently parted ways with music critic Nick Catucci and staff writer Annie Barrett.
“Owen Gleiberman, the longtime film critic for Entertainment Weekly, has been let go as part of ongoing layoffs at the magazine as Time Inc restructures ahead of a spinoff from Time Warner. EW also let go music critic Nick Catucci and staff writer Annie Barrett. Additionally, deputy editor Jeff Giles left to complete a novel and executive editor Jason Adams exited the publication this week after making the decision months ago, EW publicity director Beth Jacobson confirmed to THR. Gleiberman is one of the magazine’s most widely known bylines, having written for the publication for more than two decades. The moves follow an editorial shuffle in January that saw Jess Cagle being named the editorial director of People and EW. Matt Bean was named editor of EW on Feb. 10.”
3. “The Most Powerful Piece of Film Criticism Ever Written.” James Baldwin’s The Devil Finds Work, a book-length essay on race and America and cinema, movingly demonstrates that analysis of art can be art itself.
“Published in 1976, the piece can’t be categorized. It’s a memoir of Baldwin’s life watching, or influenced by, or next to cinema. It’s a critique of the racial politics of American (and European) film. And it’s a work of film theory, with Baldwin illuminating issues of gaze and identification in brief, lucid bursts. The dangerous appeal of cinema, he writes, can be to escape—’surrendering to the corroboration of one’s fantasies as they are thrown back from the screen’ And ’no one,’ he acidly adds, ’makes his escape personality black.’”
4. “Interview: Thelma Schoonmaker.” Nick Pinkerton sits down with Martin Scorsese’s editor on the occasion of the Blu-ray/DVD release of The Wolf of Wall Street.
“There’s a great deal of mystery in film editing, and that’s because you’re not supposed to see a lot of it. You’re supposed to feel that a film has pace and rhythm and drama, but you’re not necessarily supposed to be worried about how that was accomplished. And because there is so little understanding of what really great editing is, a film that’s flashy, has a lot of quick cuts and explosions, gets particular attention. For example, with The Aviator, which I won an Oscar for—I’m sure that decision was based largely on the very elaborate plane crash that Howard Hughes had. That’s so dramatic, and you can really see the editing there, but for me, and for a lot of editors and directors, the more interesting editing is not so visible. It’s the decisions that go into building a character, a performance, for example, or how you rearrange scenes in a movie, if it’s not working properly, so that you can get a better dramatic build.”
5. “The Dollar-And-Cents Case Against Hollywood’s Exclusion of Women.” Despite Hollywood’s love for testosterone-dominated movies, a recent study has found that movies with a strong female component actually perform better at the box office and cost less to make.
“Using Bechdel test data, we analyzed 1,615 films released from 1990 to 2013 to examine the relationship between the prominence of women in a film and that film’s budget and gross profits. We found that the median budget of movies that passed the test—those that featured a conversation between two women about something other than a man—was substantially lower than the median budget of all films in the sample. What’s more, we found that the data doesn’t appear to support the persistent Hollywood belief that films featuring women do worse at the box office. Instead, we found evidence that films that feature meaningful interactions between women may in fact have a better return on investment, overall, than films that don’t.”
Video of the Day: The trailer for Luc Besson’s Lucy:
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