All My Sins Remembered

The intermingling of the real and unreal as the representation of a mortal battle for the body and/or soul recalls dozens of movies, some of them great or nearly so: Psycho, Carnival of Souls, Jacob’s Ladder, Fight Club, Memento, Mulholland Drive. Clearly in that tradition, The Machinist is frequently fascinating, particularly in detail and in the margins, but at heart it lacks inspiration and has little to say.

(What’s So Funny ’Bout) Grief, Strife, and Vigilantism?

In Batman Begins, Christopher Nolan uses the superhero mythology to create an epic study of ethics, evil, fear, and justice. It’s a bracing, dark, provocative, and serious work that at last transcends the juvenile roots of the comic-book genre. It’s not just the best superhero movie ever made, but likely also the best mainstream film of 2005.

Box Office Power Rankings: November 28-30, 2008

milk.jpgNo movie has ever won the Box Office Power Rankings with a 10th-place finish in overall ticket sales. It’s certainly possible, but a film has to be perfect or nearly so in every other category to pull it off. In just 36 venues, Gus Van Sant’s Milk actually was perfect in every other category – tops in per-theater average and in both critical measures. And the bio-pic about gay-rights icon Harvey Milk still lost. Put simply, when you start by losing nine points off the maximum 40 at the outset, you need some help to come out on top, and Milk didn’t get much. —–
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Box Office Power Rankings: November 28-30, 2008

When Good Isn’t Good Enough

If the co-directors of the documentary Paradise Lost had made a more forceful movie – one that ripped apart this case they clearly think is so flimsy – they might have actually freed the accused. Instead, they crafted a portrait of a community with its innards exposed. It seems obvious enough that when it’s a matter of freedom, decades in prison, and death, one shouldn’t fuck around, but they do.

Beyond Sacred Steel

Robert RandolphIn 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.