Steven Soderbergh's Comeback

Steven Soderbergh is retired no more. The director, who had previously announced Side Effects (2013) as his last feature film, is making two movies in the next year or so. It was just announced that he will be directing a feature film about The Panama Papers, the leaked documents which revealed how many of the super-rich employ legal, but dodgy accounting systems to avoid taxation. Even some luminaries in the film world (Emma Watson, Pedro Almodovar and the estate of Stanley Kubrick) were named in that scandal. The film will be based on Secrecy World, a to-be-published book by the Pulitzer prize-winning reporter Jake Bernstein. The adaptation will be written by frequent Soderbergh collaborator Scott Z Burns (Contagion, Side Effects, The Informant!).

Sounds like another Contagion, no? Taking a global incident and examining it from different points of view. Before that he will make Ocean’s Fourteen -- well not exactly, but Logan Lucky is a crime thriller with an all star cast set in one location. Sound familiar? This time there’s no Clooney or Pitt but we will get Channing Tatum, Daniel Craig, Adam Driver, Katherine Heigl, Hilary Swank, Riley Keough, Seth MacFarlane and Katherine Waterston and the NASCAR race in North Carolina as the heist location.

Soderbergh never really retired of course. He became prolific on TV, directing The Knick and gifting us with Behind the Candelabra. He recently produced The Girlfriend Experience which raised Riley Keough’s profile so it fits that she’ll be part of his new movie. And let's not forget that he was the cinematographer on Magic Mike XXL. But with these two projects announced he’s now a full time feature films director again. Are you excited for his return?

Visual Index: Working Girl's Best Shot(s)

Hit Me With Your Best Shot
Working Girl (1988)
Director: Mike Nichols
Cinematography: Michael Ballhaus

I wasn't fair to Working Girl in 1988. When it won the reader poll easily for coverage here on Best Shot, the old grudge flared up again. 'Why do people love this movie so much?' I thought. You see the Oscar race is often distorting. In 1988 Working Girl was a last minute disrupter with its Christmas bow, and I never forgave it for costing Bull Durham, Running on Empty, or Who Framed Roger Rabbit major nominations and prizes. There's no proof of course that it did -- but I believed it wholeheartedly.

But watching the film again, away from that distorting horse race, I could enjoy it fully without name-checking those films I held more dear. There's so much to enjoy all told. "It plays," as they say. It plays beautifully. Now don't get me wrong. I still wouldn't have nominated it for six Oscars. Six! But let's not return to the grudge and let's enjoy this mainstream bullseye and the cinematography by Michael Ballhaus, one of the cinema's greatest DPs. He's 80 now and still doesn't have an Oscar. He should be near the very top of Oscar's list for an Honorary.

See Nathaniel's 3 favorite shots and other Best Shot choices 'round the web after the jump...

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Interview: That Neon-Loving Demon, Nicolas Winding Refn

Nicolas Winding Refn. Photographed by Tom Hoops for Lab MagazineNicolas Winding Refn, the Danish auteur whose made a career of candy colored violent films after grimier movies at home, is both exactly what you'd expect and unexpected. The expected: he's a little bit eccentric pacing the room rather than sitting, a little intimidating, and a little impish -- it's difficult to know if he truly means what he says in some instances, or if he has just mastered the art of provocation. The unexpected: he's relatively friendly, surprisingly generous about his collaborators despite the auteur's ego, very tall, thin and surprisingly attractive, something you wouldn't necessarily think since he's so often been photographed with inhuman gods like Ryan Gosling who make everyone but other movie stars look crumpled and basic.

As we talk we find mutual ground in Christina Hendricks adoration ("the perfect woman," he says) but elsewhere it's like he's speaking a foreign language and I don't mean Danish. His films, though quite serious on the surface, betray a dark sense of humor, and yet it still surprises me to hear him drop "I think it would be fun to make a spy movie" as we're saying our goodbyes. Why is this surprising? I couldn't quite tell you but such is the fascination of meeting this singular director, whatever you make of his increasingly divisive movies.

Our interview follows....

NATHANIEL: Let's talk about your opening scene. It's such a bold tableau. Did you ever worry you were coming on too strong. Like 'how will I top that first image?'

NICOLAS WINDING REFN: I'm setting the stage knowing that, if you look through the film, you'll see the same dynamic in all the other scenes of death and beauty.

NATHANIEL: So you're laying the theme.

NWR: I'm laying the theme right on. Most films -- storytelling in mass media -- start slowly, introducing. Eventually it gets to some kind of dramatic point in the first act. That means the second act is how do we solve it and the third act is resolution. But i don't necessarily believe that's the right order...

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Review: Captain Fantastic

Here's Murtada with thoughts on an essential hero for these particular times, Viggo Mortensen as Captain Fantasic  (opening this weekend).

Captain Fantastic opens by immediately throwing the viewer into its physical world. Forests, mountains, people hunting and gathering. If I didn’t know the synopsis beforehand I’d have thought I was watching a update of Lord of the Flies. Instead the film is about a fiercely independent patriarch (Viggo Mortensen) raising his six children in forests of the Pacific Northwest, teaching them how to thrive while turning his back on a conventional contemporary life and what it means and may offer.

This particular fantasy felt extremely appealing in a post-Brexit, Trump world...

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Michael Cimino & the Best Director Oscar Since

Eric here with thinking about the past 40 years of Oscars Best Director category.

This past Saturday, director Michael Cimino passed away at age 77.  Cimino won the Best Director Oscar for 1978’s The Deer Hunter, beating Woody Allen (Interiors), Hal Ashby (Coming Home), Warren Beatty and Buck Henry (Heaven Can Wait), and Alan Parker (Midnight Express).  While those five actual films are of varying quality, the names behind them are all heavyweights and it was formidable company.

The Deer Hunter was a divisive film upon its release and remains so today (praised for its leisurely-paced first half and its capture of inexpressive male friendship; criticized for the Russian Roulette melodrama and its depiction of the Vietnamese). With The Deer Hunter, Cimino aimed to make something epic and classically Greek in its storytelling, and watching the film you can actually feel his young talent. Cimino next famously (infamously?) went on to direct 1980’s Heaven’s Gate, a film of disastrous proportions that has been covered ad nauseum as one of cinema’s biggest catastrophes.  He directed four more films after that, none to any significant acclaim, the last one released 20 years ago.   

It’s interesting to look over the list of the men (and one woman) who have won the Best Director Oscar since Cimino in 1978 to see where their careers have gone...

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