All Dressed Up and No Place to Go
Sadly, M. Night Shyamalan’s Unbreakable hasn’t held up well, suffering from an inability to transcend its conceit.
Sadly, M. Night Shyamalan’s Unbreakable hasn’t held up well, suffering from an inability to transcend its conceit.
Marnie is narratively and technically artless – literal and obvious and shrill and nearly naked in its themes and concerns, a story clumsily built around Freudian repression. Yet Marnie is not the travesty many people think.
In an interview, pedal-steel guitarist Robert Randolph once suggested that somebody would come along and be the instrument’s Jeff Beck or Jimi Hendrix.
When I asked him recently where that put him in the pedal steel’s development, the singer/songwriter/guitarist appeared to backtrack a little. “Somebody has to put me there,” he said of the class of guitar revolutionaries that includes Hendrix. “I wouldn’t put myself there.”
But based on his own criteria, that class is probably where Randolph belongs.
You hear it and you cringe immediately. Who the fuck thought of that stupid-ass name? So Culture Snob here introduces a regular feature, offering free band names to whoever wants them.
When I think about Sin City, the memory is of watching a cartoon. Not merely a striking approximation of the graphic novel on celluloid, but animation; it seems as if what I saw involved no live actors.
When the seventh episode of Hulu’s Castle Rock – titled “The Queen” – immediately felt very familiar, we shouldn’t have been too surprised that it drew not from Stephen King but from a famously excellent episode of another TV show whose DNA had been plainly evident in this one. And then from a great movie.
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When Spoon was finishing its 2001 album Girls Can Tell, the band didn’t know what to do with “Chicago at Night,” which would close the record. In an interview last week, drummer and co-founder Jim Eno told this story about what he and guitarist, singer, and chief songwriter Britt Daniel decided to do: “I never would have tried this, but Britt and I were so young, and we were just like, ‘Oh yeah, let’s do it.’ We had to turn all the mixes in for mastering. … We have these two versions, and we like different things about each version … . So Britt says, ‘Why don’t we use the left side of this mix and the right side of this mix?'”
A few months ago, I promised that I’d try to use the basic Box Office Power Rankings formula to predict a Best Picture winner. The hypothesis is that Best Picture winners tend to have a blend of prestige and popularity, and that a quantitative measure of those qualities might have predictive value.
Who in his right mind would place Stuart Saves His Family, a movie based on a regularly awful Saturday Night Live skit, among his favorites? Well … me.