Summary of “Samuel L. Jackson Discusses Captain Marvel, Donald Trump, Quentin Tarantino and How Long He’ll Act”

He has found his way into megafranchises like Star Wars and The Incredibles, and as former SHIELD director Nick Fury, Jackson has shot eleven different Marvel movies, including four Avengers films.
The Jackson-led M. Night Shyamalan sequel Glass opened the year atop the box office for multiple weeks, and between that and his Marvel commitments, the actor could spend the first year of his seventies with more weeks at number one than any other working actor in 2019-a remarkable feat for a man who is already the highest-grossing film actor of all time, with his movies accounting for an estimated $13 billion combined.
A scant thirty years and more than a hundred movies later, we are sitting in that country-club dining room and he is saying things like “Engage your core.” Glass, the much-awaited sequel to 2000’s gritty superhero epic Unbreakable, hit theaters in January; he is reprising his role as Nick Fury in the upcoming films Captain Marvel and Spider- Man: Far from Home; and the Brie Larson-directed Unicorn Store is slated for Netflix in April.
As a kid, did you look at movies and think, I want to do that!?We looked at movies and went home and redid the movies.
Quality movies are movies that make me happy, a movie I would’ve gone to see.
It’s a very different movie from the movie that I went there to do.
What do you think about all the controversy surrounding Quentin Tarantino’s use of the n-word in that movie? It’s some bullshit.
“I’m never going to see a Sam Jackson movie again.” Fuck I care? If you never went to another movie I did in my life, I’m not going to lose any money.

The orginal article.

Summary of “An Oral History of ‘Office Space'”

Pitts: Office Space was my first movie, so you don’t know if something is funny if you went off script and tried your own thing until after they yell “Cut.” I think [Mike] told me one of the women on the crew fell out of her seat when they screened that scene.
Part VI: “It Looked Like a Big Bird Movie.” With a mostly unknown cast and subtle, specific humor, Office Space wasn’t the easiest sell.
Part VII: “Are People Coming Up to You About This Movie?” After a swift exit from theaters, Office Space started finding its audience on VHS and, eventually, on DVD. It became a staple rerun on Comedy Central two years later, as the network aired the movie more than 30 times over the next couple of years.
Eshelman: I worked with Ed McAvoy on a movie later that took place in a college, and he said it was so funny because he was doing a scout going down a hallway and people were playing Office Space in their rooms.
I remember one of the people at Fox high up who didn’t really understand Office Space, he saw Mike on the lot and said, “Mike! Office Space. Who knew?!” Well, we did!
Rappaport: I think anybody who has ever worked in an office identifies with this movie.
It didn’t help that the packet they sent to me [was] the review of the British Office saying “The Office succeeds where movies like Office Space failed.”
Dave Grohl: All over the world, every band I know, their favorite tour-bus movie is Office Space.

The orginal article.

Summary of “The Best Movies to Win an Oscar, Ranked”

The film also played a special role in Oscars history: It received three nominations for Best Actor, which led to the creation of the Best Supporting Actor category the next year.
BraveheartWho says Oscar movies don’t come out during the summer? Mel Gibson’s three-hour popcorn period war film depicts how William Wallace rallied the Scottish people against the English in the 13th century.
The only film ever to win Best Picture without being nominated in any other category, that might be because every movie star from the era is in it, from John Barrymore to Joan Crawford to Jean Hersholt to Wallace Beery to Greta Garbo, who utters her famous “I want to be alone” line.
The trivia footnote about Midnight Cowboy – that it’s the only X-rated film to ever win Best Picture – says more about the weirdness of the ratings board at the time than the film itself, but Midnight Cowboy is still pretty edgy for an Oscar winner.
It’s unfair to limit the film to its point in history: The film is fair and smart and unwaveringly mature to all parties involved, and it’s well-acted across the board, most notably by Dustin Hoffman and Meryl Streep, who overcame Hoffman’s reported boorishness on set to win her first Oscar.
How Green Was My ValleyLike Oliver!, this film will forever be known less for its Best Picture win and more for the film it unjustly defeated, a small movie called Citizen Kane.
We don’t know if we’d consider this Billy Wilder’s best film – this and The Apartment both earned Best Picture – and an argument could be made that this is a happier ending for our hero than maybe he deserves but seriously, what a lunatic run Billy Wilder went on for two decades, right?
You wouldn’t find very many people who would call this anything close to Martin Scorsese’s best film, even though it is the one that finally got him his Oscar.

The orginal article.

Summary of “The 50 Best Sports Movies of All Time”

The best sports movies are independent of the sport they’re depicting, with universal stories that should appeal to anyone whether they love the sport or not.
This is to say: Our favorite sports movies tend to avoid the traditional “Meet hero, see hero overcome adversity, see hero win big game” sports movie structure, or at least deconstruct it enough to justify themselves.
For some reason, many sports movies insist on being predictable, adhering to the formula.
Those are not the sort of sports movies you will find on our list of the 50 best sports movies of all time.
The best sports surprise us: These great sports movies do the same.
At the same time Rush isn’t a sports movie where we’re meant to admire both men equally – these competitive, closed-off men both seem to be striving for something bigger than victory, and both seem incapable of finding it.
Tin Cup suggested that Shelton would make various versions of wonderfully grown-up, sexy sports movies for years to come.
Many sports movies are sad or touching, but few are as profoundly pathetic as Foxcatcher, which finds director Bennett Miller further exploring the role that sports has in people’s lives.

The orginal article.

Summary of “The Oscars’ ‘Green Book’ and ‘Bohemian Rhapsody’ Controversy”

A musical love letter to classic Hollywood, a dark comedy about a woman’s rage, a civil-rights road movie, and a VH1-style rock biopic are not four films that you would immediately lump together – unless you follow the Oscars, in which case you know that La La Land, Three Billboards Outside Ebbing, Missouri, Green Book, and Bohemian Rhapsody all hold the dubious distinction of becoming their respective seasons’ official villains to a certain segment of the awards-watching public.
Obviously, we won’t know if Green Book and Bohemian Rhapsody will follow in those same footsteps for a few more weeks.
With First Man floundering, Green Book became Universal’s lead horse in the Oscars race, and Variety and The Hollywood Reporter in particular have given plenty of column inches over to its defense.
Team Green Book has been working hard to combat allegations that it’s a film for white people: Producer Octavia Spencer introduced the film at the Globes, and icons like Kareem Abdul-Jabbar, Quincy Jones, and Harry Belafonte have publicly co-signed Vallelonga’s efforts.
At the Golden Globes, the movie’s team, all of whom were perfectly fine making a movie with Bryan Singer as recently as a year-and-a-half ago, embraced the polite fiction that the movie was directed by no one.
All they want to do is enjoy a movie about an interracial friendship, or the band they loved as a teenager, and now people are saying that, as good-hearted progressives, they aren’t supposed to like them? It’s not as if Green Book and Bohemian Rhapsody are the works of Richard Wagner; these are big mainstream movies about how being gay is okay, and how lifelong friendships can result if we throw away our biases.
As with the president, all this controversy may have the unintended effect of pulling the movies’ fans in closer.
What the two disparate reactions to Green Book and Bohemian Rhapsody are really about is a dispute over the utility of pop-culture comfort food.

The orginal article.

Summary of “How Samuel L. Jackson Became Hollywood’s Most Bankable Star”

In September, Box Office Mojo did its own calculation, naming Jackson Hollywood’s most bankable star.
When Trump responded that he and Jackson had never teed off together, Jackson posted the receipt from their game.
Jackson had watched over a number of years as members of his circle of actor friends – first Morgan Freeman, then Denzel Washington, then Snipes, then Laurence Fishburne – would jet off to Hollywood to make names for themselves.
“I’d call my agent and say, ‘Hollywood call?’ And she’d always go, ‘No.'” But when Jungle Fever premiered at Cannes in 1991 – Lee did not fly Jackson to the festival, explaining that there was only budget to bring “The stars” – Jackson’s performance as Gator caused such a sensation that the jury honored it with the festival’s first, and only, best supporting actor award.
“That day I’m out at some audition,” Jackson recalls, “And I called my agent, and said, ‘Did Hollywood call?’ And she’s like, ‘As a matter of fact, they kind of did.'” Lee has never apologized to Jackson for leaving his breakout star back in the U.S. “Not only that,” Jackson says, “When he came back, he didn’t actually give me my goddamn award for, like, eight months!”.
Jackson and Bruce Willis didn’t have many scenes together, but the two actors forged a friendship that carried over to the set of Die Hard With a Vengeance, in which Jackson played the sidekick role of Zeus Carver.
For years following Unbreakable’s release, they’d sporadically run into each other – typically driving past each other on a studio lot – and Jackson would shout out, “Yo! When we making that sequel, motherfucker?” It took 18 years – and the surprise success of 2017’s Split, which was itself a sort of stealth sequel to Unbreakable – for Jackson to get the answer he wanted.
That, serendipitously, is how Jackson ended up landing the linchpin role that ties together the most profitable superhero franchise in Hollywood history.

The orginal article.

Summary of “Cultural criticism matters”

The two years since the 2016 election have been disastrous for the continued employment of cultural critics and journalists The last two years have not been particularly great for cultural criticism and culture writing more generally.
If you look beyond publications that have intentionally reduced the number of culture writers on their staffs, you’ll find many that have curtailed hiring around culture writing – often in favor of expanding political coverage.
Kracauer’s methods can be applied to our current pop culture – and the most astute cultural critics often do so Kracauer, of course, was writing his book after the end of World War II. Nazism had been defeated, and German cinema was knocked back by the end of the war as much as everything else in the country.
Culture writing can help better explain a vast, sometimes contradictory society When I make the above argument in favor of cultural criticism to journalistic colleagues who deal in what might be dubbed the “Hard sciences” of journalism – data-driven, boots-on-the-ground reporting – I am always aware that it sounds just a little fantastical.
Few critics looked at the pop culture of the early 2010s and said, “Yep, a culture war’s brewing,” even if it seems blindingly obvious in hindsight.
7 great pieces of culture writing from 2018 If you’re excited to explore some great culture writing from the past year, here are seven of my favorite pieces digging into pop culture in all its forms.
“CBS’s toxic culture isn’t just behind the scenes. It’s in the shows that it makes,” Kathryn VanArendonk for Vulture VanArendonk uses deep knowledge of CBS crime procedurals to point to how a culture of sexual harassment was allowed to flourish not just at the company but in the shows it put on the air.
Correction: The writers who left Buzzfeed, though culture writers, weren’t primarily focused on writing criticism.

The orginal article.

Summary of “The Bird Box Effect: How Memes Drive Users to Netflix”

People referred to tertiary Bird Box characters by their first names, the same way that Stranger Things fans toss around the name “Barb.” In an effort to promote the film earlier in December, Netflix presented a handful of well-known Twitch gamers with a Bird Box “Challenge,” asking them to play their favorite game while blindfolded.
White’s journey to the play button is likely one of the reasons that more than 45 million Netflix accounts viewed Bird Box within the first week of its release, a statistic that the company touted as its best-ever debut for an original film.
Amid the height of the Bird Box fervor, one suspicious Twitter user hatched a theory that the company was using bots to spread memes about the movie online, citing a large amount of engagement from recently started Twitter accounts that had very few followers and tweets.
“I feel like I’m being conned into watching it by some unseen force that’s funneling Bird Box memes onto my timeline,” Nora Hastings, a 25-year-old graphic designer, told me via direct message.
“I want to see Bird Box and understand the memes fully but I also really, really, really don’t want to give Netflix the satisfaction, despite the very obvious fact that they don’t know who I am or even care about what I watch.”
On Wednesday, Netflix tweeted a warning to its followers to be careful: “PLEASE DO NOT HURT YOURSELVES WITH THIS BIRD BOX CHALLENGE. We don’t know how this started, and we appreciate the love, but Boy and Girl have just one wish for 2019 and it is that you not end up in the hospital due to memes,” the company wrote.
Even if it’s not clear whether Bird Box meme makers and challenge participants enjoyed its film, Netflix appears to be right at home in the world of memes and challenges.
“Is it the amount of people who saw it, or is it the amount of people who discussed it? After the holidays, people come back to work on January 2. How many people were saying: ‘Oh, did you see Bird Box?’ Did they say: ‘Have you done the Bird Box challenge?’ In any case, it’s mentioning a movie that Netflix is behind, and Sandra Bullock is getting that exposure.” For Netflix, the creation of a massive online movement is worth far more than a few positive reviews.

The orginal article.

Summary of “The Superhero Movie as Secular Religion in “Aquaman,” “Bumblebee,” and “Spider-Man: Into the Spider-Verse””

That’s why fans’ reaction to criticism reaches a pitch of aggrieved dignity: if a movie has been admitted into the circle of canon, negative views of the movie are received as a rejection not merely of fans’ taste but of their belief system.
With their aura of the sacred, superhero movies have also acquired an air of the sanctimonious and a fixation on doctrinal purity.
The movie is about Atlantis, the mythical vanished undersea kingdom, which, for the purposes of the movie, not only existed but exists and, to this day, thrives.
The upside to the sacred dimension of superhero movies is the occasional attainment of awe, astonishment, sublimity.
The cosmic element has offered some of the best moments in recent superhero movies, as in Joss Whedon’s “Avengers” movies, Zack Snyder’s “Man of Steel,” Scott Derrickson’s “Doctor Strange,” and Peyton Reed’s “Ant-Man”-moments that stood out amid these movies’ many mandatory figures of quasi-scriptural mythology.
“Bumblebee” replaces the playthings with a message: where other superhero movies offer a mighty mythology of mind-stunning scale, “Bumblebee,” lacking mythology, offers a modest and local moralism.
The movie is a coming-of-age melodrama in the guise of a toy action film.
The movie’s sentiment gets occasional jolts of authentic heartiness from a handful of closely observed details, such as the gruff warmth of Charlie’s friendship with the junk-yard man and her blend of complicity and rivalry with her younger brother, as well as some bumptious comedy featuring John Cena, as a federal agent, and some nostalgic humor involving the voice-deprived robot’s communication with Charlie by way of the car radio within it.

The orginal article.

Summary of “The Reddit detectives are hard at work decoding Black Mirror: Bandersnatch”

Early in the morning on Friday, December 28th, Netflix slipped its viewers a late Christmas present: a new episode of Charlie Brooker’s technological-dystopia anthology series Black Mirror, in the form of an interactive movie called Bandersnatch.
Bandersnatch may not have been designed specifically for decoding in the same way as those puzzles, but it’s still exactly the kind of complicated project the Reddit secret-miners thrive on dissecting.
Just like a game with save points, or one of those CYOA books, Bandersnatch lets the audience jump back to those branch points and choose a different option than they chose the first time.
Reddit users are busy at work hunting down the answers.
Another thread is digging into the subtle Black Mirror episode crossovers, references, and Easter eggs hidden in Bandersnatch.
Like so many previous attempts at interactive movies, Bandersnatch borrows heavily from games’ story-tree methodologies, where many choices are meaningless, others lead back to the main path for the sake of story economy, and still others lead to abrupt endings.
The Reddit users’ maps are effectively just a collaborative game walkthrough, and “Let’s play Bandersnatch” videos on YouTube and Bandersnatch-watch videos on Twitch may be the logical next step.
Reddit has yet to turn up any cheat codes for the movie, but given the episode’s video game theme, its openly meta storyline, and the self-referential ouroboros of an interactive story about a man trying to design an interactive story, who knows? They may actually be in there.

The orginal article.