Jason Bailey: Put Your Weight On It

  Originally published on Flavorwire, 3/28/13 It’s tricky to talk to Derek Cianfrance about his new film  The Place Beyond the Pines , due to a series of bold narrative turnabouts that would fall squarely into the realm of “spoilers.” I explained my hesitancy to him in a recent telephone interview. “It’s challenging for reviewers,” he grants. “You can’t just go and spend two-thirds of your review describing plot – unless you hate the movie. The reviewers that hate the movie have no problem… they’re excited to go out there and crush it for people.” I don’t hate the movie, and I don’t want to crush it for people. Suffice it to say that it starts as one thing, and then unexpectedly becomes another, and then something else entirely. That seems a safe way to put it — and for Cianfrance to explain how he arrived at the picture’s unique “triptych” structure. For the director, it goes back to a viewing of Abel Gance’s  Napoléon  when he was in film school, some 20 years ago....

PARK CITY, UTAH: I was standing in line for some movie or another at Sundance 2020 when I got a cryptic email from my editor at Vulture : "Are you by any chance a Contagion  fan?" It seemed there was an uptick in digital rentals and purchases for Steven Soderbergh's 2011 pandemic thriller, connected to the increasingly worrisome reports of a novel coronavirus that was sweeping through China. I was, luckily, a  Contagion fan, so I set aside some time at that year's festival to sit at the kitchen table of the condo I was sharing with several other film critics to re-visit and write about Contagion . I took care of her edits at the Salt Lake City airport, and it was published on January 30, 2020.   Six weeks passed, and, well... while I remain a fan of Contagion , I am not a fan of contagions. On the eve of SXSW 2020, its organizers pulled the plug, and the rest of 2020's festivals followed suit, going virtual. And then many of 2021's as well. Sundance was supp...

  Originally published on Flavorwire - June 8, 2017 When his moment came, Ernest R. Dickerson was ready. As cinematographer for Spike Lee’s first six movies – including  She’s Gotta Have It, Do the Right Thing,  and  Malcolm X  – he had helped usher in a movement of films in the late 1980s and early 1990s by and about people of color, a movement Roger Ebert  dubbed , at its height, “The Black New Wave.”  She’s Gotta Have It  proved the storytellers were there;  Do the Right Thing, New Jack City,  and  Boyz N The Hood  proved the audience was too. So Dickerson took advantage of a (sadly brief) moment in which studios and financiers were willing to fund his transition from one of the best cinematographers in the game to a director in his own right. The result was  Juice   , a gritty story of crime, friendship, and betrayal in Harlem, which was an immediate theatrical success in January of 1992, and found a long afterlif...