"DISCLAIMER TIME! 50 is a very small number. I make no claims to any of these lists being either comprehensive or some sort of objective analysis of the 'best' films directed by women. I make selections based on on what I've seen, what I like, and the position of the stars. One film per director. Ready? Let's go." [more inside]
"But The Shining speaks to what makes Kubrick such an interesting and, for a lot of people, troublesome filmmaker, because he does not give you what you want. At all. He does not give you a Vietnam movie set in the jungle, and he does not give you a horror movie that is just like Stephen King’s The Shining. He doesn’t even give you scares for a long time, [just] ominous foreboding. And it takes people a while to figure out, “Oh, maybe I don’t know what I want. Maybe this is better.” - Mefi's Own Jon Hodgman talks about Full Metal Jacket with Scott Tobias for "The Last Great Movie I Saw."
"Japanese cinema’s preeminent taboo buster, Nagisa Oshima directed, between 1959 and 1999, more than twenty groundbreaking features. For Oshima, film was a form of activism, a way of shaking up the status quo. Uninterested in the traditional Japanese cinema of such popular filmmakers as Kurosawa, Ozu, and Naruse, Oshima focused not on classical themes of good and evil or domesticity but on outcasts, gangsters, murderers, rapists, sexual deviants, and the politically marginalized." The great Japanese director Nagisa Oshima passed away at the age of 80 last week. Appreciations from the Guardian, Slate, Fandor, Telegraph, NY Times, AV Club, and a few in-depth articles over at Senses of Cinema and Film Comment.
Sight & Sound's prestigious Greatest Films of All Time poll is conducted only once per decade. The latest edition polled 846 film critics (up from 144 in the 2002 edition) and 358 directors. The results were revealed earlier today and, for the first time since 1962, Citizen Kane has not topped either the critics' or the directors' poll. It has been unseated as the Greatest Film of All Time by Vertigo and Tokyo Story. The magazine has also revealed the Critics' Top 50. [more inside]
Louis C.K. on eating pressure and providing an alternative to The Man - "I ask him to think about what he really needs; when he tells me, I give him a little more. It buys me goodwill with this person; I feel good about what I'm paying them. I like to give people a little more than they want, and I like to ask people for a little less than they're willing to give." [more inside]
A visitor to the Rotten Tomatoes site can check out the data for individual Hollywood careers—that's how Tabarrok came up with the Shyamalan graph—but there's no easy way for users to measure industrywide trends or to compare different actors and directors side-by-side. To that end, Rotten Tomatoes kindly let Slate analyze the scores in its enormous database and create an interactive tool so our readers might do the same.
Pauline Kael called it "a huge, jerry-built, crumbling ruin of a movie". Roger Ebert called it "such a silly and stupid movie... our immediate reaction is pity". Few directors of Michelangelo Antonioni's stature have followed a film as acclaimed as Blowup (1966) with one as reviled as Zabriskie Point (1970). [more inside]
Trailers From Hell. Cult directors (and other industry types) introduce and comment on trailers for cult films. For instance, Allison Anders on Peeping Tom, Rick Baker on The Man Of A Thousand Faces, Joe Dante on Attack Of The 50 Foot Woman, Jack Hill on White Heat, Dan Ireland on The Haunting, Mary Lambert on The Masque Of The Red Death and Edgar Wright on Carnage. (Flash menu and intro unfortunately)
Three new ways of thinking about David Cronenberg (director of Videodrome, Dead Ringers, etc.). A documentary filmmaker, an avant-garde filmmaker, or maybe just a guy who looks at couples and probably wonders what they look like having sex. Kind of par for the course.
Toshio Matsumoto's (J) first film (E), Ginrin (or "Silver Ring"), once believed lost has been found! Ginrin was an English Language, "relatively avant garde" PR film that had perhaps the first use of Musique Concrete in a Japanese film -- in this case, the first score by Toru Takemitsu. The film was discovered to be lost (as a result of the firm it was made for going under) in the 1980s when it was desired for a retrospective on the 1950's Japanese Avant-Garde at the Pompidou Center. [More Inside]