Thus was born the concept to promote and celebrate certain films beyond the blockbusters.Ĭurated by a selection of AMC’s film team, AMC Artisan Films can be found online at, highlighted by the AMC Artisan Films designation. Director Jon Avnet suggested that it is vital for major theater operators to embrace small and mid-size films. The origin of AMC Artisan Films came from a meeting earlier this year between AMC CEO Adam Aron and Frank with the Director’s Guild of America. And we plan to increase consumer access to these special films by seeking earlier runs in platform releases and holding longer in theater to give audiences time to learn about them from other passionate guests.” “With the launch of AMC Artisan Films, we aim to expose more movie-goers to specialized films and increase their theatrical success. “Many consumers don’t realize that we play more elevated and celebrated films than anyone else in North America,” said Elizabeth Frank, EVP of worldwide programming and chief content officer, AMC Theatres. The AMC Artisan Films seal will be granted to artist-driven films, the company claims, and will showcase expertise in writing, directing, acting and other components. He’s still made a folly which somehow achieves serious success.AMC Increases Footprint In Connecticut, NY & Maryland With Acquisition Of Seven Bow Tie Cinemas In cinema form at least, the raw material really isn’t much cop. Hooper’s uncompromised flights never quite escape the hoary staginess of Webber’s original property, and songs which though buzzing with energy and humour remain patchy and old-fashioned. Her homelessness makes her plight cut inescapably home, tying Cats to Hooper’s previous hiding-to-nothing gamble of a musical, Les Miserables.
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Jennifer Hudson’s tremulous Grizabella, the shabby outcast who was once “the Windmill’s greatest dancer”, meanwhile keeps her voice’s full soul power sheathed till a final, shattering “Memory”. Aiming for Weimar cabaret decadent, she stays American pop wholesome. Taylor Swift’s new Webber co-write, “Beautiful Ghosts” works better, though, than her attempted barnstorming as Macavity’s catnip-spreading accomplice ( pictured above).
Rebel Wilson recovers the comic poise she mislaid in The Hustle as a lewd and incompetent housecat, spreading her legs with feline indifference, and stalking dancing kitchen mice (“Dinner and a show,” she purrs). Idris Elba manages a pinch of true brimstone as Macavity, the cats’ Mack the Knife, though this eldritch quality quickly runs thin. Royal Ballet principal ballerina Francesca Heywood has a fascinating, airy lightness as naive heroine Victoria, an outsider to the Jellicles tribe, screen inexperience fuelling an enigmatic, reactive performance suiting her reliance on the kindness of strangers.
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Instead of any real kind of narrative, this is a series of theatrical star turns: rousingly so for Ian McKellen as rheumy, vain theatre cat Gus, and Judi Dench ( pictured above) as queenly Old Deuteronomy, her blond hair thick with age, like a cat who’s settled comfortably by a living room fire for a century or two. Sets and script evoke Eliot’s London between the wars, even as disco struts and Eighties synths erupt. This exists somewhere in the vague direction of London’s Russell Square, not so far from the West End theatres the cats have to themselves for the night’s events. It struggles to string together the musical set-pieces as the Jellicles tribe of cats convene to compete for elevation to their heaven. Hooper and Lee Hall’s script stays hobbled by an episodic, barely there story. Choreography and CGI give feline fluidity to every movement, and a deep sexiness to interactions in which every animal seems on heat. Among the faces which were wisely reemphasised as Hooper digitally finessed those derided trailer effects, Robbie Fairchild’s Munkustrap especially shows tautly strung sensitivity. Instead, the excellent cast ache with palpable yearning, as if longing to be something or someone else, but remaining stuck between states. Putting plainly human faces and bodies into digitally created cat costumes could be an absurd throwback. Eliot’s poems, this is an extreme fantasy vision blooming from the composer’s resolutely mainstream world. Doubling down on the bizarre unlikelihood of Andrew Lloyd Webber’s original adaptation of T.S.
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