A heretical question about Paul Thomas Anderson’s There Will Be Blood: Is Daniel Plainview a good person? The inquiry is an overstatement, because the answer is obvious: Of course not. But contrary to the assessments of many critics, I don’t think Plainview is evil, and more than that I’m not convinced he’s much different from most of us. Plus: Michael Clayton.
To mark the fifth birthday of Culture Snob (and the second day of the Self-Involvement Blog-a-thon), some raw data and some calculations: In five years, Culture Snob has produced 514 entries, 36 polls, and 17 commentary tracks – nine full-movie commentaries and eight of the five-minute variety. I have written roughly 450,000 words for the site – an average of about 250 a day, or enough to fill 1,800 double-spaced typed pages over the site’s life.
Sadly, M. Night Shyamalan’s Unbreakable hasn’t held up well, suffering from an inability to transcend its conceit.
My 2008 album begins in Utah and ends in (or near) hell. Whether you think the distance between the starting point and the destination is a lot of territory or not much, we do get to travel pretty far afield. There’s sunny California with the Botticellis, lovely inner-city Baltimore with DoMaJe, Iraq with the estimable Danny Elfman, and someplace sublimely absurd with Flight of the Conchords.
Werner Herzog once ate his shoe, so why wouldn’t he chase the Loch Ness monster? What’s a little harder to swallow is that the famously idiosyncratic German director – who pulled a boat over a mountain for 1982’s Fitzcarraldo – would team up with Zak Penn, a Hollywood hack who has written such gems as PCU, Inspector Gadget, and Elektra. Yet that’s what happens in Incident at Loch Ness, a 2004 movie that documents their collaboration.
Writer/director Rian Johnson gives Star Wars fans just about everything they could want in The Last Jedi, assuming they didn’t require it to follow the story beats, narrative cleanliness, and relatively consistent tone of The Empire Strikes Back. That, of course, means that Johnson has given a large number of fans what they didn’t want.
Neil Marshall’s The Descent approaches being a perfect terror movie. And because terror is unique to cinema among art forms – it doesn’t translate well to the page because the narrative has to slow down for the reader, and it doesn’t translate at all to any other medium – The Descent approaches being a perfect movie, period.
Up to six times the resolution of DVD! Perfect picture and sound! Sparkling high definition! The marketing push for Blu-ray players and discs has been full of these and similar pronouncements, trying in a shitty economy to get you to upgrade your DVD player and (ideally) replace your current movie collection with this relatively new format. Concurrent with that has been the debate about whether Blu-ray will “survive” after winning the “format war” with HD DVD in February 2008. Concurrent with that have been silly partisan arguments using adoption rates and sales figures to show that Blu-ray reigns victorious! or that Blu-ray is already dead!
The blog “Notes from Classy’s Kitchen” recently cited my essay on Stone Reader.
You could not write this story any better, and if you tried to pass it off as fiction, you’d get buried in rejection slips. The tale of the 2004 Boston Red Sox – who won the World Series (and the team’s first championship since 1918) on October 27 – is among many other things a beautifully constructed narrative.
