Cut the Cheese, Please!
While holding his nose, Daniel Neman dares not call that which offends by its proper name. Instead, he dubs it a “flatulence joke.” And he is not amused.
Tagged: Bodily Emissions, Critics, Daniel Neman, Farts
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Box Office Power Rankings: May 29-July 5, 2009
You have to feel a little sorry for the poor bastards of The Hangover. With all the trials they endured, in our Box Office Power Rankings they end up sniffing the ass of an old man. For a month. And when they finally get their shot at Culture Snob glory, Public Enemies sneaks in with numbers that are only across-the-board good – third place in each of our four categories.
Tagged: Box Office, Box Office Power Rankings, The Hangover, Up
Dead Dreams
My dictionary says a requiem is a musical composition or somber chant in honor of the dead, but Darren Aronofsky’s Requiem for a Dream is more like a howl of pain that builds slowly over 100 minutes to an intensity that’s nearly impossible to bear.
Mr. Bean and the Destruction of the Hierarchical Economies of the Film Industry
My distate for the stone-faced British comedian Rowan Atkinson is well-documented, as is my loathing for his signature creation, Mr. Bean. I like subtle, sophisticated verbal comedy as much as the next guy, but Atkinson takes it too far; I’ve been with people who stare at his almost subliminal act without a hint of a smile, unaware that the turkey-on-the-head routine is a joke.
Bizarro Box Office Power Rankings: 2008, 22-13 June
Fuck off from Bizarro Box Office Power Rankings. You won’t notice any changes here. Our rankings for these two weeks were won by two brand-new movies: What Happens in Vegas and The Strangers. Critics love them, and audiences are willing to have sex with animals to get into the packed auditoriums.
Tagged: Blog-a-thons, Box Office
Ebertfest (Part I): The Experience
Errol Morris and Werner Herzog sat together in the back of the auditorium, watching Morris’ first movie, Gates of Heaven, with 1,600 other people. Al Pacino joined us by phone, the day before his 64th birthday. American Movie’s lovably clueless protagonists, Mark Borchardt and Mike Schank, were introduced just minutes before Herzog. This was our April 24 immersion in the sixth annual Ebertfest, also known as Roger Ebert’s Overlooked Film Festival.
Monster Mash
Instead of generating yet another list of 20 or 50 or 100 great horror movies for Halloween-viewing consideration, I tried to approach the task a little differently. My original plan was to present many movies in various horror subgenres with different labels (“under the radar,” “fashionable but worthy,” “classic,” and “could do without”), but I realized I was mostly repeating myself. So instead, I offer one movie in each of 10 horror divisions, with some effort to avoid the obvious, everybody’s-seen-them choices. A director can only appear once on the list.
Box Office Power Rankings: October 16-25, 2009
Should we consider Spike Jonze’s and Dave Eggers’ adaptation of Where the Wild Things Are a disappointment? It is certainly not a miserable failure. It received good reviews, won the box office when it debuted, and also topped the Box Office Power Rankings in its opening weekend. But its gross dropped 57 percent its second weekend. Thirty-five movies have opened in wide release atop the box-office top 10 this year, and 20 lost a lower percentage of revenue than Wild Things.
The Spirituality of Lars von Trier?
The Arts & Faith Web site last month posted its list of the “Top 100 Spiritually Significant Films.” Some of the more interesting choices: Abel Ferrara’s The Addiction and Bad Lieutenant; Lars von Trier’s Breaking the Waves and Dogville; Kevin Smith’s Dogma; David Fincher’s Fight Club; Monty Python’s Life of Brian; and Clint Eastwood’s Unforgiven.
Tagged: God
Snuffing Out and Getting Off
With its dismal first-weekend performance at the box office, Captivity offers an opportunity to bemoan (or cheer) the diminished commercial prospects for that genre we’re no longer allowed to call “torture porn.” At The Exploding Kinetoscope, Chris Stangl recently argued (in the context of Hostel: Part II) that pinning that label on something “is a non-position that allows a critic not to engage the work.” There are some interesting arguments here, but I reject the assertion that “torture porn” isn’t an appropriate and meaningful tag for the genre. And I don’t think the phrase is a dismissive put-down.
Tagged: Horror, Torture, Ways of Watching
