See What You Want to See: Five Minutes with Hour of the Wolf

'Hour of the Wolf': Keeping the darkness at bay, one match at a timeThe deaths last week of movie writers and directors Ingmar Bergman and Michelangelo Antonioni have incited all sorts of commentary about the “art” films of yesteryear and the people who made them. Tied up in these discussions is one key assumption: that everyday people think these movies are boring, whether they’ve actually seen them or not.

Selling It: The Moulin Rouge Drunken Commentary Track

Chwistian! Ewan McGregor Works It in 'Moulin Rouge'I’ll keep this brief: If you’ve seen it, chances are excellent that you either love or loathe Moulin Rouge. But have you ever spent the time to really figure out why? In this Drunken Commentary Track, Culture Snob and River Cities’ Reader film critic Mike Schulz argue about Baz Luhrmann’s paean to love.

Smells Like Teen Spirit: Five Minutes with Perfume

'Perfume': The nose knowsThe contradictions of director/co-writer/composer Tom Tykwer’s Perfume: The Story of a Murderer start in the title, with the onomatopoeic softness and ether of a single word paired with a morbid, blunt descriptive subtitle. Both components are drawn from the novel by Patrick Süskind, but the associations that pile up and pull at each other during the movie’s opening scenes are equally Tykwer’s, cinematic and lovingly ambiguous.

Box Office Power Rankings: July 27-29, 2007

I’m a big enough person to admit that I was wrong, particularly when I was wrong in such a public fashion. So: I was wrong. My prediction that The Simpsons Movie would tank was woefully off the mark, and two bottles of wine have been delivered to Mike, per our bet. I shan’t even mention the fact that Mike bought 5,632,229 tickets to The Simpsons Movie last weekend.

Snuffing Out and Getting Off

'Hostel: Part II': Are we having fun yet?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.