Glengarry Glen Ross endures mainly as a spectacular display of verbal warfare and alpha-male gamesmanship. There’s a musical quality to it, with a great composer and a great chorus hitting the complicated runs of broken dialogue and solos that weave into profane poetry and nuggets of philosophical wisdom. Perhaps the greatest sign of the movie’s success, owed equally to Mamet’s script and this cast, is that it does a great sales job in itself, convincing us that there’s nobility to men who lie for a living — a bill of goods we’re all too happy to buy. [more inside]
posted by Trurl
on Sep 29, 2011 -
67 comments
For Roger Ebert,
it's a prayer that made him "more alert to the awe of existence." For Rober Koehler,
it's a kitschy New Age con. For Richard Brody, it perfectly captures the essence of a generation by depicting a character thinking
"back to the musings and fantasies of childhood, which are the product of a wondrous and fantastic view of science formed by popular-science books for children and by the commercial artists whose illustrations adorned them." For Stephanie Zacharek, it's
"a gargantuan work of pretension." For Ignatiy Vishnevetsky, it's
"a creation myth in the guise of a crypto-autobiography" that invents a universe of its own only to destroy it. For J. Hoberman, it's lifeless and dull,
"essentially a religious work and, as such, may please the director's devotees, cultists, and apologists." It spent thirty years in development,
three in editing and, yes,
it contains dinosaurs.
The Tree of Life, written and directed by
famously reclusive Zoolander fan and
"JD Salinger of American movies" Terrence Malick , won the
Palme d'Or at this year's Cannes Film Festival. Tomorrow,
it comes out in the United States.
[more inside]
posted by alexoscar
on May 26, 2011 -
64 comments
He told me his gorilla suit had been taken by his landlady in Pensacola, Florida because he could not pay his back rent. She kept his trunk with all his possessions as well. So his movie days were over...
A brief, thoughtful recollection of the last days of the elusive
Emil Van Horn, who, with pioneers like
Charles Gemora,
Ray "Crash" Corrigan,
Steve Calvert,
George Barrows,
Janos Prohaska, and
Bob Burns, established the
golden age of
Hollywood gorilla men.
posted by Chinese Jet Pilot
on May 19, 2011 -
7 comments
The
benshi of Japan were live narrators of silent films.
"To many 'silent' cinema fans in Japan,
benshi were a major attraction. It was usually the film that drew people to the theater, but it was often the
benshi which determined which theater a person would attend.
Benshi were huge cultural stars of the time, with
benshi earning as much, if not more, than many actors."
[more inside]
posted by Paragon
on Feb 27, 2011 -
17 comments
Despite my absolute fidelity to Sade's text, I have however introduced an absolutely new element: the action instead of taking place in eighteenth-century France, takes place practically in our own time, in Salò, around 1944, to be exact. (some links extremely NSFW)
posted by Joe Beese
on Feb 14, 2010 -
95 comments
He invented or popularized a startling array of the fundamental elements of film: the dissolve, the fade-in and fade-out, slow motion, fast motion, stop motion, double exposures and multiple exposures, miniatures, the in-camera matte, time-lapse photography, color film (albeit hand-painted), artificial film lighting, production sketches and storyboards, and the whole idea of narrative film.
By 1897, in a studio of his own design and construction – the first complete movie studio – his hand forged virtually everything on his screen. Norman McLaren writes, "He was not only his own producer, ideas man, script writer, but he was his own set-builder, scene painter, choreographer, deviser of mechanical contrivances, special effects man, costume designer, model maker, actor, multiple actor, editor and distributor." Also, his own cinematographer, and the inventor of cameras to suit his special conceptions. Not even auteur directors such as Charles Chaplin, Orson Welles, John Cassavetes, and Stanley Kubrick would personally author so many aspects of their films."
Inside: 57 films by Georges Méliès, the
Grandfather of Visual Effects.
[more inside]
posted by Paragon
on Feb 3, 2010 -
31 comments
Here's to
Ray Dennis Steckler, the independent filmmaker who
wrote, starred (as Cash Flagg) and directed influential films including
The Thrill Killers,
Rat Pfink a Boo Boo, and his masterpice
The Incredibly Strange Creatures Who Stopped Living and Became Mixed-Up Zombies. A visionary artist whose influnce is clearly seen in contemporary cinema, Steckler was prolific (producing movies from 1963 until last year), economical (his films were self-produced, shot on 16mm film and later Hi-8 video), and brilliant (as clearly evidenced in this
dance sequence from Creatures, "The First Monster Musical"). It hasn't been widely reported yet, but fans are mourning his passing. He died in his sleep yesterday, January 7th, aged 70.
[more inside]
posted by Chinese Jet Pilot
on Jan 8, 2009 -
26 comments
"But, it's a post on film noir!" I told her. She jerked away from me like a startled fawn might, if I had a startled fawn and it jerked away from me. I knew that caving into my desires meant I might lose her. But I didn't care. I went out to the kitchen to make
coffee -- yards of coffee. Rich, strong, bitter, boiling hot, ruthless, depraved. I knew she'd be back.
[more inside]
posted by miss lynnster
on Jan 11, 2008 -
48 comments
The Room: The Movie. Triple-threat (actor/writer/director)
Tommy Wiseau made his cinematic debut in 2003 with the
The Room (see
trailer and
various scenes),
"a blend between a
softcore porn flick and a Tennessee Williams stageplay." Wiseau ("who's not just one of the most unusual
looking and
sounding-with
an unidentifiable Eastern European accent-leading men ever to
grace the screen, but a narcissist nonpareil whose movie makes
Vincent Gallo's "The Brown Bunny" seem
the apotheosis of cinematic self-restraint...may be something of a first: A movie that
prompts most of its viewers to ask for their money back-before even
30 minutes have passed." -
Variety),
allegedly raised $6 million outside Hollywood to cover production and marketing costs of the self-described "black comedy about love, passion, betrayal and lies" (see
various rough dress rehersals).
Audience members, including comedian
David Cross, have been
"marveling at the bizarre editing, bad bluescreen, uncomfortably explicit
sex scenes and, of course, the enigma of Wiseau himself" as the film
played monthly for years in Los Angeles. Available on
DVD, diehard "roomies"
swear by the
theatrical experience,
shout out their own commentary,
hurl spoons at the screen and singalong to the
soundtrack. Some call it
"The Rocky Horror of the New Millenium" and stage
"Room"
parties. If you look at the
marketing campaign or
survived a screening you might see The Room as
"a seminar on how
NOT to make a movie." [Inspired by
Boing Boing]
posted by boost ventilator
on Jun 1, 2006 -
28 comments
Never ever
borrow a friend's mobile, trust
hitch hikers or
strangers in furry costumes, never
get distracted, worry about
the first time or about
your young son not being manly enough, and most of all
never, ever forget stuff. Also, remember to always be nice to
your enemies, your
granny and
policemen, but don't be
too nice to your neighbours, and don't forget to
get the car washed. Lots more brilliant
short films viewable online from UK's Channel 4 Film (Real/WM streams).
posted by funambulist
on Mar 31, 2006 -
4 comments
I don't know what "independent film" means. At a time when the
Weinsteins are trying to extricate themselves from Disney, it seems an appropriate question to ask. There are Indie films (non-industry money) that are
supposed to imitate fancy hollywood films, there are new studios being opened outside of LA by Wealthy Christians in Denver hoping to convert through
CS Lewis movies and there are
Garden State,
Lost in Translation,
Eternal Sunshine etc. which are like other Hollywood films: have stars, and studio money but are marketed as "Independent Films." What makes these independent? Finally, and seemingly too infrequently, there are privately financed and self-distributed unusual films like
Assisted Living which despite their
obvious merits and the
critic's adoration are presumably ignored by the studios, blasted by the brain-numbing
EW and distributed instead by the two young first-time
filmmakers
Why can't we see more non-hollywood and non-hollywood espousing independent ART on the screen? Why do we let every other multi-million dollar romantic comedy be sold to us as "indy" just because it has a quirky soundtrack or aesthetic sensibility. What can we do about it? I'm going to the movies. You?
posted by tallbuildings
on Apr 15, 2005 -
30 comments
Better known for their modernist take on contemporary furniture design, Minneapolis furniture studio Blu Dot has just introduced a series of film shorts entitled
Blu Dot Shorts. Their first short film,
Seven Twenty (embedded Quicktime warning), was directed by
Christopher Arcella (Flash warning). While is is not earth shattering conceptually, it is a jaunty and fun little piece of cinema.
posted by ScottUltra
on Apr 6, 2005 -
15 comments
Is Jesse ever happy? You'd think he'd be happy with the #1 movie in the country for 2 weeks straight being a movie that is cast totally with black people. But nope, he's not. He's upset because there was a goof on Rosa Parks and MLK Jr. Wasn't this just a movie?
posted by the_0ne
on Sep 24, 2002 -
83 comments
I can't wait for the new version of Shaft to come out. It should be pretty cool. Richard Roundtree played a pretty good badass in the original, but other than that it was pretty comical. Rent it and listen to the lame dialouge the writers came up with.
posted by mathowie
on Sep 21, 1999 -
0 comments
