In honor of Halloween, the Indiewire critics discuss the non-horror movies that scared them most. There are some great choices on the list, including Julianne Moore in “Safe,” about a woman who is being poisoned — or thinks she is — by the toxic, synthetic chemicals in everyday products. And there are scary documentaries about terrifying real-life events like “Deliver Us from Evil,” about child abuse and cover-up by the Catholic church, and
“Fed Up,” about what is in our food that is not good for us. Someone even mentioned the wonderful “Up” series that documents the lives of a group of children from London as they grow up, now in late middle age. And of course nothing is as scary to an adult as a movie like “Bambi” or “Pinocchio” is to a child.
For those who would enjoy something a little spooky but not too scary, the wonderful Legion of Leia as The Top 15 Halloween Movies for Those of Us Who Don’t Like Scary Movies.” Legion of Leia’s Jenna Busch includes some of the films on my list, like “It’s the Great Pumpkin, Charlie Brown,” and “Hocus Pocus,” along with some of Tim Burton’s best, “Frankenweenie,” “The Nightmare Before Christmas,” and “The Corpse Bride.” Enjoy!
Interview: Leonard Maltin on His New Classic Movie Guide
Posted on October 25, 2015 at 3:10 pm
The third edition of Leonard Maltin’s indispensible guide to older movies is now called Turner Classic Movies Presents Leonard Maltin’s Classic Movie Guide: From the Silent Era Through 1965. It is even more important than ever in the era of universal accessibility to the classics (and the enjoyable non-classics) via cable and Netflix, and it is easier to use than ever if you have a Kindle. It was a thrill to get a chance to interview Maltin, not only one of the most knowledgeable and thoughtful film historians of all time, but the very essence of a gentleman, gracious and considerate. His Maltin on Movies podcast is a pleasure to listen to, especially when his daughter Jessie is included.
Copyright TCM 2015
When you and I were young, the quest to find classic old movies and neglected gems was, well, like something out of a movie. Did you take any extraordinary measures or have any adventures in tracking down movies you wanted to see?
When I was a kid, I sometimes forced myself to go to sleep early, set the alarm for 2am, and woke up to watch a film on the late, late show. I had to keep the volume down so I wouldn’t wake the rest of the household. Then I had to try to get back to sleep so I could function in school the next day—which wasn’t easy. I never could have foreseen that there would be a day when thousands of movies were easily and instantly accessible on video or through streaming. The question is whether or not today’s young people are curious to see, or seek out, older films.
How has the broad availability of movies on DVD, cable, and streaming changed the questions you get about movies? How as it changed the way people think about movies?
I worry that people accept the availability of movies at home as an adequate way to watch them and don’t value the opportunity to see vintage films on a big screen—the way they were meant to be seen. But I think the biggest change is that people can now obsess about movies they like and watch them over and over again. They’ve memorized some films and know them much more intimately than I do. I don’t have the luxury of doing that because I try to keep up with the latest releases and also enjoy diving into films of the past.
How has the style of acting changed since the classic era covered in your book? Which actors do you think come across more as relics of their eras and which do you think still seem timeless?
Some actors of the 1930s and 40s used a declamatory style of acting that came from the stage, while others had a more naturalistic approach and delivery. I don’t think Humphrey Bogart or Spencer Tracy are dated at all.
You have very limited space to write about each film. Once you have indicated the plot and quality, what are some of the elements you like to point out to readers? Cinematography? A great performance in a supporting role?
The answer is: whatever stands out to us. If the cinematography is exceptional, we like to point that out, but the same is true of a great music score, or a scene-stealing performance in a supporting role.
You have from the beginning been a stickler for getting the movie’s running time right. How do you get the definitive number?
Nowadays it’s easy with access to DVDs and downloads. In the past it was a great challenge, because no two sources seem to agree. I once asked a guy at United Artists how they determined accurate running times for films in their library and he said, “Uh… we used your book.” It was flattering, of course, but not terribly useful.
I enjoyed your podcast discussion with your daughter about “comfort movies.” What are some of your favorites and what makes them so comforting?
Often, it’s movies I saw while growing up. They’re like old friends, in a way. When I revisit Singin’ in the Rain or Yankee Doodle Dandy or any number of others, I’m not just enjoying the films all over again but recapturing my youth, I suppose.
Copyright 20th Century Fox 1940
Sherlock Holmes has been portrayed more times on screen than any other fictional character. Who is your favorite?
I grew up on Basil Rathbone as Holmes with that wonderful character actor Nigel Bruce as Dr. Watson and retain a special fondness for them. But I enjoy and appreciate many other Holmses over the years—the latest being Ian McKellen in Mr. Holmes.
Abraham Lincoln has been portrayed on screen more times than any other historical character. Who is your favorite?
That’s another one that’s hard to choose. Daniel Day-Lewis was magnificent in Steven Spielberg’s recent film, but that doesn’t prevent me from still enjoying Henry Fonda in John Ford’s Young Mr. Lincoln.
One thing I especially enjoy in your write-ups is your mention of unexpected appearances, sometimes by directors but usually by actors who were not yet famous. Do you have a favorite example?
It’s always fun to spot an up-and-coming actor in an early role. I can’t pinpoint a favorite off the top of my head.
When you and the brain trust that works with you on this book disagree about the quality of a film, how do you decide the rating?
That’s the benefit of being editor-in-chief: I have the final say.
The Hollywood Reporter quotes Meryl Streep on the disproportionate number of male film critics on Rotten Tomatoes: “The word isn’t ‘disheartening,’ it’s ‘infuriating,’” she said. “I submit to you that men and women are not the same. They like different things. Sometimes they like the same things, but their tastes diverge. If the Tomatometer is slided so completely to one set of tastes, that drives box office in the U.S., absolutely.”
Streep made these comments in London, where she is appearing at the premiere of her new film, “Suffragette,” about the women who fought for the vote in the UK.
In a related story, The Equal Employment Opportunity Commission has launched an investigation of gender disparities in the film and television industry, following a request made by the American Civil Liberties Union in May.
John Hanlon Interviews Beth Kushnick on Designing for “The Good Wife”
Posted on October 5, 2015 at 2:58 pm
“The Good Wife” has one of the best production design teams on television, so I was especially interested to read the interview my friend John Hanlon did with Beth Kushnick, set designer Beth Kushnick for The Credits. I loved the way she described the home and office environments as giving a backstory to the characters and the care she says viewers show in noticing the tiniest details. And her description of her favorite sets for the show:
got the big corner office. I like the concept that she’s not laden with paperwork and files. That her work gets done in a highly managed and she just doesn’t have that mess around her and it’s all kind of beautiful things. I love the colors of Alicia’s apartment. Her bedroom was a color that I had at my old house in my bedroom and so that’s one of my favorite rooms of her house. I actually really like Grace’s room. I like that kind of mirroring my experience with my daughter and looking for things for her.
. It is even more important than ever in the era of universal accessibility to the classics (and the enjoyable non-classics) via cable and Netflix, and it is easier to use than ever if you have a Kindle. It was a thrill to get a chance to interview Maltin, not only one of the most knowledgeable and thoughtful film historians of all time, but the very essence of a gentleman, gracious and considerate. His 
