Word: auteurism
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Dates: during 2000-2009
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...oldster passes a stand where auteur Honey is doling out autographs and promoting Ben Dover-branded merchandise. Honey explains that he has diversified since people started giving away porn for free on the Internet, rendering his filmmaking economically unviable. He has even developed a one-man show: Ben Dover - Innocent Until Proven Filthy, in which he pokes fun at "porno-land vs. reality. In porno-land, pizza delivery is a great job." The erotica show may draw the crowds, but there's no danger that Britain will ever be the natural home of eroticism. There's also no danger that...
...like Lars Von Trier. A self-styled radical better known for narrative transgression and the outmoded Dogme 95 manifesto than any one particular film, Von Trier reveals himself finally and totally in “Antichrist” as the spoiled child of the art house: an auteur who insists that his films merely stand as pieces around which he himself can be discussed. In so blatantly passing off exploitation as art, the lesson that “Antichrist” teaches filmmakers is that bombastic garbage is still garbage...
...previous two features, Being John Malkovich and Adaptation, earned in their entire runs. (Mind you, Wild Things cost a lot more: at least $80 million.) Law Abiding Citizen had the highest per-screen average of any film directed by F. Gary Gray. Oren Peli is a first-time auteur, but since he made Paranormal Activity in 2006 for a laughably low $11,000, he could boast that his movie made back more than twice its budget in each theater that showed it. Peli's homegrown horror movie also made the other new fright film in wide release, The Stepfather...
...fled the U.S. in 1978, had been "thrown to the lions"; Martin Scorsese, David Lynch and Woody Allen, among others, signed a petition calling for his immediate release. Polanski had been railroaded by a biased judge, sympathizers argued; even his victim no longer wanted him imprisoned. The great auteur had suffered enough. And besides, it was a long time...
Director Marc Webb (a vide-auteur making his first feature) gives every scene a bang for comic or emotional effect; as he cuts away you can hear the rim shot. The songs that spray-paint the sound track, as well as the myriad movie references, are mostly antique (1960s to '80s); Webb wants old people to like this young-lovers film. Wants everyone...