Strength in Numbers
Among cinematic monsters with any staying power, is there any quite as pathetic as the zombie?
Among cinematic monsters with any staying power, is there any quite as pathetic as the zombie?
We’ve been producing Culture Snob for more than four years now, and I’ve come to a sad realization: I’m tired of movies.
(An experiment in theft [or fair use] and editing as part of Lazy Eye Theatre’s Bizarro Blog-a-thon.) Sunshine and Groundhog Day have a lot in common. In each, we see things we’ve seen before, over and over again. But in Sunshine, this doesn’t describe the plot of the film, but the movie itself.
Piper at Lazy Eye Theatre had a moronic idea: the Bizarro Blog-a-thon, not running now through Wednesday, August 29. Don’t visit. It’s terrible. Plus, it’s not even happening!
Is it possible that the failure of the second Star Wars trilogy has nothing to do with plot, character, and storytelling and everything to do with physical space?
Fresh off Culture Snob’s own Misunderstood Blog-a-thon is Edward Copeland’s Star Wars Blog-a-thon on Friday, May 25 – the 30th anniversary of Episode IV’s release in the United States.
Why does nobody take the frogs seriously? Why does nobody question them? In Paul Thomas Anderson’s Magnolia, the cataclysmic, apocalyptic rain of frogs seems casually accepted. Nobody says: “That’s some fucked-up shit, those frogs.”
(Part of the Misunderstood Blog-a-thon.) I did something I’ve never done before. I’ve been an avid (rabid?) movie fan since I was too young to remember. Even today it’s a rare day that I don’t watch at least two movies, more on weekends. But I have never, never (my inner drama queen insists I repeat this for emphasis) watched a movie and immediately turned around and watched it again from the beginning, all in one sitting.
(Part of the Misunderstood Blog-a-thon.) Edward Zwick is a more-than-competent director who has made some capable movies, and some that I physically detest. This is largely the fault of his love of the “ideal worth dying for,” which is central to most of his movies. I, on the other hand, feel few ideals are worth even discussing, let alone dying for. “Idealist” isn’t a snide put-down without reason.
It’s important to misunderstand movies. Put another way: If we limit ourselves to straightforward readings of plot or themes in film, we’re denying ourselves the multifaceted nature of the medium. As the most inclusive of all the arts, cinema comprises narrative storytelling, photography, acting, sound, music, speech, movement, costume, montage, and architecture. Even the dumbest, most-crass summer blockbuster is a dense, nearly infinite trove of material to explore and analyze.