Ode to an Anachronism
It’s not hard to figure out why Robert Altman was the center of attention with last summer’s A Prairie Home Companion – even though we didn’t know at the time of its release that it would be his final movie.
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Short-Film Week: A Sweet, Whimsical, Dirty Movie About Rape or Regression
An object within an object of the same type – the novel within a novel, the film within a film – is rarely considered out of its context. Its meanings, and its narrative or thematic roles, are derived from its conversation with the larger work. But if the object is nearly whole – that is, if it’s not just a fragment, if we have a reasonably full sense of its shape, structure, and content – looking at it in isolation can bear fruit and is an act of respect.
Christmas Is Coming!
As filmmaking goes, Nick Broomfield’s Monster in a Box doesn’t have much to offer. It’s basically Spalding Gray sitting at a desk talking, with some lighting effects and unobtrusive but effective mood music by Laurie Anderson. So, naturally, it’s one of my favorite movies.
Flesh and Blood Out of Thin Air
Wes Anderson’s movies are magic acts, in the sense that he creates resonance out of broad comedy, eccentricity, and the ridiculous. I mean that both as compliment and criticism.
Tagged: Reviews, Rushmore, Wes Anderson
Apple of My I
She dreams of them. She fills her computer screen with digital drawings of them. One is left on a swing at her house. Snow White is poisoned by one in her daughter’s play just before the abduction. In her kitchen are dozens of them that she chucks into the kitchen sink, which then explodes with brown muck. She cannot escape them, but she also surrounds herself with them. Claire is torturing herself with the fucking apples. Overripe and finally fetid, Neil Jordan’s In Dreams goes very, very wrong as a thriller in its final act (and even wronger in its epilogue), but if you fall asleep the first time you see Robert Downey Jr.’s face, you might think you’ve seen something weirdly special. Actually, it is pretty special, but you need to dive below the silly surface.
Tagged: Annette Bening, Folklore, Horror, In Dreams, Neil Jordan, Psychoanalysis, Psychology, Reviews
Why Screenwriting Is a Bad Career Choice from a Labor-Negotiation Standpoint
I am admittedly writing mostly from ignorance, but I can’t see any way that the strike by the Writers Guild of America will succeed unequivocally. Yes, the writers that generate talk-show monologues, awards-show banter, and television and movie scripts will likely get some concessions from Hollywood, and will end up in a better place financially. But it will be virtually impossible for them to get their fair share – what they deserve.
Majority Rules: How Oscar Got It Right
Regardless of which film takes home Best Picture on Sunday night, the Academy Awards finally got it right. I don’t mean that the best movie of 2009 will have won, even if one only considers the 10 nominees. Rather, the Oscars have chosen a sound voting system – an instant-runoff election – that nearly guarantees that every ballot will help determine whether Avatar or The Hurt Locker nabs the prize.
Tagged: Academy Awards, Avatar, Oscars, The Hurt Locker
Mental Illness, Not Movies
So now we get to the inevitable hand-wringing about violence in the media, in this case trying to tie the Virginia Tech massacre to Oldboy: “The inspiration for perhaps the most inexplicable image in the set that Cho Seung-Hui mailed to NBC news on Monday may be a movie from South Korea that won the Gran [sic] Prix prize at Cannes Film Festival in 2004.” The link is tenuous, and the assertion is utterly ridiculous.
The Critics Versus Oscar
When people talk about Oscar snubs, they’re usually speaking emotionally. But we can quantify snubs, at least when it comes to Best Picture. You’ll need to accept one major assumption: that critics in the aggregate are good arbiters of the quality of films. Here is a list of movies – the Best Picture nominees, other serious contenders, and a few never-weres – ranked by their combined scores from Rotten Tomatoes and Metacritic.
Tagged: Academy Awards, Oscars
Devil’s Rejects
Sidney Lumet’s Before the Devil Knows You’re Dead starts with a sex scene that’s important for being so out-of-place. In movie shorthand, it suggests a prostitute and a john: The man is paunchy, she is lithe, and he’s taking her from behind. Surely, one of them will awaken in the morning and find the other dead. Isn’t that nearly always the aftermath? It turns out they’re married, and on vacation. They’re briefly happy, and they’re as surprised by that as the audience should be that they both survive the sexual encounter.
