The problem is that cinema, as I define it and as something that inspired me, is under assault by the studios and, from what I can tell, with the full support of the audience. The reasons for this, in my opinion, are more economic than philosophical, but when you add an ample amount of fear and lack of vision and a lack of leadership you’ve got a trajectory that is pretty difficult to reverse. - "Retired" director
Steven Soderbergh speaks to the San Francisco International Film Festival about
the state of cinema - (
summary, full audio at bottom of
page 2)
posted by Artw
on Apr 29, 2013 -
49 comments
Mondo picks it's alternative movie posters of the year:
1,
2,
3.
posted by Artw
on Jan 4, 2013 -
19 comments
Between Peter Jackson’s penchant for cartoonish unserious gore and Bob McCarron’s off-screen makeup effects manipulations, Braindead
achieves something that approaches inspired genius in the heretofore unknown artform of human carnage. The film is filled with moments of joyous slapstick tableaux... And then there is that moment where Braindead
finally breaks through to achieve a transcendentally surreal glory of excess where Tim Balme wades into battle against the zombies armed with a lawnmower, drenching an entire room in showers of blood. (Braindead
holds the record for the greatest amount of artificial blood ever used in a film). The film is a work of perverse genius. -
Richard Scheib
posted by Egg Shen
on Dec 8, 2012 -
41 comments
During the Golden Age of Hollywood and until 1967, mainstream movie studios were
banned by the Production Code from depicting taboo topics like drug addiction, explicit murder and venereal disease, or even showing explicit nudity. But in the 1930's and 1940's, films marketed as "educational" could and did fly under the radar, and three of the best known 'educational' propaganda exploitation films are:
Sex Madness (1935),
Reefer Madness (1936) and
The Cocaine Fiends (1938).
[more inside]
posted by zarq
on Oct 15, 2012 -
30 comments
I EXPLAIN CYBERPUNK TO THE MASSES by writer/film critic Anne Billson "Believe it or not, there was a time when people didn't know what "cyberpunk" was, and indeed had probably never even heard the word before this three-minute clip, in which I explain it to them. Sort of. Don't blame me if I got it wrong - you're looking at this with the benefit of hindsight, while I was making it up as I went along..."
[Via: Multiglom - The Anne Billson Blog]
posted by Fizz
on Oct 5, 2012 -
29 comments
[all links may contain SPOILERS] Antonioni's unique style works beautifully in The Passenger
. The dream-like long takes, especially the final seven minute one where the dusty town square is seen through the barred window of Locke's hotel room—evokes a world that he is barred from. There is nothing romantic or sentimental about the space that we see, but it conveys a sense of an ongoing life that Locke has chosen to retreat from. There is also Antonioni's eye for aesthetic detail-for whitewashed walls of buildings, and vividly colored backgrounds like yellow doors and red car seats. He is a director of great formal rigor and beauty, whose style effortlessly suits his vision. The slow rhythm of the film may put off some viewers, but it forces them to be more observant, and understand there is nothing accidental in the images that Antonioni constructs. -
Leonard Quart [more inside]
posted by Egg Shen
on Sep 9, 2012 -
8 comments
Once Upon A Time In America [auto-play audio] is the last of a string of films about the past and future of a country [Sergio Leone] knew first and best from the B-movies and yellowing paperbacks America sent abroad. For this 1984 swan song, Leone broke a directing hiatus that stretched back a decade, and turned away from Westerns toward another quintessentially American genre. His fantasia of gangland themes and images barely works by the standards of a gangster film, but succeeds brilliantly by those of epic poetry. -
Keith Phipps [all links may contain spoilers] [more inside]
posted by Egg Shen
on Aug 25, 2012 -
19 comments
...
Buckaroo Banzai is paradoxically decades ahead of its time and yet completely of its time; it’s profoundly a movie by, for, and of geeks and nerds at a time before geek/nerd culture was mainstreamed, and a movie whose pre-CG special effects and pre-Computer Age production design were an essential part of its good-natured enthusiasm. What at the time was a hip, modern take on classic SF is now, almost thirty years later, almost indistinguishable from the SF cinema that inspired it in terms of the appeal to modern viewers: the charmingly old-fashioned special effects, and the comparatively innocent earnestness of its tone. -
Danny Bowes [more inside]
posted by Egg Shen
on Aug 19, 2012 -
119 comments
35 full-length Viennese Actionist films 1957-1969. *NSFW* (Extreme graphic & scatological situations.) "The term
Viennese Actionism describes a short and violent movement in 20th century art that can be regarded as part of the many independent efforts of the 1960s to develop 'action art' (Fluxus, Happening, Performance, Body Art, etc.)." Previously:
1,
2. [more inside]
posted by Skygazer
on Jul 14, 2012 -
29 comments
Classic movies in miniature style. It all started 2 years ago with an experiment to blend traditional ‘oriental’ (Ottoman) motifs and contemporary ‘western’ cinema. After a positive response to "Ottoman Star Wars", I decided to take the theme further, and developed more film posters using the same technique.
posted by shakespeherian
on Jul 11, 2012 -
19 comments
Jack Foley was the first
Foley Artist. A
Foley Artist's
job is to
physically create the subtler
sound effects for
most of the action in a film — usually,
everything but the dialogue. Sometimes that involves
smearing peanut butter on someone's face and recording the sound of a cow licking it off. • Here's the split-screen classic short,
Track Stars: The Unseen Heroes of Movie Sound, and its
Doppleganger, plus a similar tribute,
replacing the sounds on a 1962 public domain film. •
A couple of Porn Foley parodies [NSFW of course] and a murder-filled parody • Here's the process in detail for marking, recording, and editing Foley for 35mm film: Part 1 (excerpted), Part 2 • Technically, Foley only covers sounds you can tailor-make in the recording studio; other sounds (engines, explosions, etc) are the domain of the Sound FX person. If you don't have your own means, though, Sounddogs.com has an extensive collection of samples.
posted by not_on_display
on Jun 14, 2012 -
47 comments
And so I descend once more into the mysterious depths of 3 Women, a film that was imagined in a dream. Robert Altman's 1977 masterpiece tells the story of three women whose identities blur, shift and merge until finally, in an enigmatic last scene, they have formed a family, or perhaps have become one person. I have seen it many times, been through it twice in shot-by-shot analysis, and yet it always seems to be happening as I watch it. -
Roger Ebert [more inside]
posted by Trurl
on May 20, 2012 -
21 comments
Many films are called “classic,” but few qualify as turning points in the evolution of cinematic language, films that opened the way to a more mature art form. Michelangelo Antonioni’s L’Avventura is such a work. It divided film history into that which came before and that which was possible after its epochal appearance. It expanded our knowledge of what a film could be and do. It is more than a classic, it’s an historical milestone. ... Antonioni’s great achievement was to put the burden of narration almost entirely on the image itself, that is, on the characters’ actions and on the visual surface of their environment. He uses natural or manmade settings to evoke his characters’ state of mind, their emotions, their life circumstances. We learn more about them by watching what they do than by hearing what they say. We follow the story more by reading images than we do by listening to dialogue. The settings are not symbolic or metaphoric—they are extensions, manifestations, of the characters’ psyches. Physical landscape and mental landscape become one. -
Gene Youngblood
posted by Trurl
on Apr 29, 2012 -
20 comments
What you see here is a prime example of what happens to film that is neglected and improperly stored.
This is an original reel from It's a Mad, Mad, Mad, Mad World that is now untouchable. The film has turned acidic, sporting the strongest and most foul vinegar-like odor I have ever smelled. In fact,
Robert Harris told me a story of how his contact lenses were singed by the fumes the film produced, causing temporary retinal damage to his eye. [more inside]
posted by Trurl
on Apr 27, 2012 -
37 comments
We shrugged when friends told us Prince's Sign "O" the Times was the greatest rock concert movie ever. There are limits to how great a rock concert movie can be, and we figured Jonathan Demme's--and Talking Heads'--Stop Making Sense had stretched them as far as they were liable to go. But even though Sign "O" the Times was directed by the artiste, whose previous cinematic exploits haven't exactly put him in Demme's class, Prince has come up with a contender. Where Demme goes for a sinuous, almost elegant clarity, Prince's movie is all murk, scuzz, steam, and, oh yeah, sex. With all due respect, which one sounds more like a real rock concert to you? -
Robert Christgau [more inside]
posted by Trurl
on Apr 20, 2012 -
31 comments
Those Americans who are familiar with the name Claude Lanzmann most likely know him as the director of “Shoah,” his monumental 1985 documentary about the extermination of the European Jews in the Nazi gas chambers. As it turns out, though, the story of Lanzmann’s eventful life would have been well worth telling even if he had never come to direct “Shoah.” In addition to film director, Lanzmann’s roles have included those of journalist, editor, public intellectual, member of the French Resistance, long-term lover of Simone de Beauvoir and close friend of Jean-Paul Sartre, world traveler, political activist, ghostwriter for Jacques Cousteau — I could go on, but it’s a good deal more entertaining to hear Lanzmann himself go on, and thanks to the publication in English of his memoir, “The Patagonian Hare,” we now have the opportunity to do so. (previously)
posted by Trurl
on Apr 16, 2012 -
6 comments
As brutally stylish as it is when the fists and baseball bats are flying, the underlying themes of family and perseverance are what make The Warriors stand out from the rest of the "grim future" epics of the period. -
Celluloid Dreams
posted by Trurl
on Apr 10, 2012 -
49 comments
