After 25 years I revisited To Live and Die In L.A. (1985), William Friedkin's cynical, fatalistic, hardboiled and high-energy crime noir about corruption and survival in the city of no angels. The script is literate, the characters are believable, the performances are brutally honest, the unpredictable twists keep coming, the action never stops, and the car chase is shot for real without any fake process. (spoilers)
posted by Trurl
on Nov 4, 2011 -
60 comments
The Formula for Complete and Utter
BAYHEM or, How Michael Bay has Made Billions in Box Offices Worldwide. SLInfographic (the last graph is particularly depressing)
posted by fearfulsymmetry
on Nov 2, 2011 -
110 comments
Alex Cox:
REPO MAN was made as a "negative pickup" by Universal at the time when Bob Rehme was head of the studio. At the time, the big deal over there was STREETS OF FIRE, and nobody really noticed our film [8 MB PDF] at all. Which was lucky for us, since Bob Rehme had "green-lighted" a film which was quite unusual by studio standards. (previously)
posted by Trurl
on Oct 31, 2011 -
92 comments
The familiar '70s query, "Is it art or porn?," took on a whole new dimension with The Night Porter (NSFW), a stylish and astoundingly seamy fusion of erotica and stark concentration camp trauma. While many subsequent films, mostly Italian, took the Nazi sexploitation route to unbelievably tastless levels, Liliana Cavani's treatment remains more problematic. More concerned with mood and characterization than cheap thrills, the film is nevertheless extremely kinky and shocking enough to prove that its R rating is the product of a ratings system far different than the one we have now. [more inside]
posted by Trurl
on Oct 19, 2011 -
17 comments
In 2000, acclaimed playwright and screenwriter Kenneth Lonergan directed his first film, the critically acclaimed
You Can Count on Me, which among other things kickstarted the career of
Mark Ruffalo. In 2006, Lonergan got $12 million to film his follow-up, called
Margaret, and starring Ruffalo, Anna Paquin, Jeannie Berlin, Matt Damon, Matthew Broderick, Jean Reno, Allison Janney, and Kieran Culkin.
Then things got ugly. [more inside]
posted by eugenen
on Oct 12, 2011 -
37 comments
Horror movie blog
Arbogast on Film is counting down the days of October with studies of
31 cinematic screams. Considered thus far: shrieks from
The Tingler,
The Pit and the Pendulum,
Two on a Guillotine,
Macchie Solari,
The Black Cat,
Monster House,
The Silence of the Lambs,
She Demons,
The Thing,
L'Amante del Vampiro,
The Nesting, and
Witchcraft.
[more inside]
posted by Iridic
on Oct 12, 2011 -
17 comments
"Storytelling is inherently dangerous. Consider a traumatic event in your life. Think about how you experienced it. Now think about how you told it to someone a year later. Now think about how you told it for the hundredth time. It's not the same thing. Most people think perspective is a good thing: you can figure out characters arcs, you can apply a moral, you can tell it with understanding and context. But this perspective is a misrepresentation: it's a reconstruction with meaning, and as such bears little resemblance to the event."
Charlie Kaufman: Why I Wrote Being John Malkovich. [more inside]
posted by codacorolla
on Oct 7, 2011 -
47 comments
[Arthur Penn's
Night Moves]
does belong to a traditional, indeed obsolescent genre, but the distance it keeps from it (not an ironic or critical distance, just a distance) is such that genre-related expectations become irrelevant. Most of the time, the story line seems to meander aimlessly, taking in extraneous material, doubling back, going round in circles (the aimless is deceptive, a smoke screen obfuscating the complex, rigorous organization of an exceptionally well-structured script). The "mystery" aspect of the plot is dealt with in the most peculiar, topsy-turvy manner, withholding not the solution of the problem but the problem itself until the very end, when, in a dazzling visual tour de force, both are conjured up almost simultaneously. - Jean Pierre Coursodon
[more inside]
posted by Trurl
on Oct 1, 2011 -
19 comments
To paraphrase a character in the film, The Black Hole walks "a tightrope;" if not between "genius" and "insanity," then certainly between "genius" and "banality". If you're looking at this movie as a Manichean exercise between darkness and light, then you can -- for at least a few hours -- entertain the "genius" part of that equation.
posted by Trurl
on Sep 25, 2011 -
106 comments
From the start of Bill Lancaster writing the original script to the final edited cut of the film, The Thing underwent some serious changes. A lot of footage ended up littering the cutting room floor. The Collector's Edition DVD gives us a look at some of the Outtakes and Deleted Scenes, but it falls shy of showing us what really was cut. -
Deleted Scenes from
The Thing and other assorted goodies at
Outpost 31.
There is also a prequel of some kind.
posted by Artw
on Sep 20, 2011 -
38 comments
The French romantic thriller “Diva” dashes along with a pellmell gracefulness, and it doesn’t take long to see that the images and visual gags and homages all fit together and reverberate back and forth. It’s a glittering toy of a movie... This one is by a new director, Jean-Jacques Beineix... who understands the pleasures to be had from a picture that doesn’t take itself very seriously. Every shot seems designed to delight the audience. - Pauline Kael, 1982
[more inside]
posted by Trurl
on Sep 16, 2011 -
33 comments
Leonard Michaels' "The Zipper":
Rita Hayworth is never seen disrobed in the movie, though it is threatened more than once. The atmosphere of dark repression and mysterious forces – the mood or feeling of the movie – might be destroyed by the revelation of her body. It scared me as she began her striptease dance in the nightclub. I didn’t want everybody to see her body, or even to see that Rita Hayworth had a body. [more inside]
posted by Trurl
on Sep 5, 2011 -
14 comments
Hidden away in vaults and out of distribution for over forty years, Herostratus was in its own time largely misunderstood. After only a handful of initial screenings it virtually disappeared from public view altogether, remaining all but forgotten to this day. Yet while admittedly flawed, the film does offer a compelling critique of the failure of 1960s postwar idealism in Britain, an ideal portrayed as having degenerated into neurotic self-gratification. It is also of note as
Dame Commander Helen Mirren's first credited screen role.
(not safe for those sexually aroused by Helen Mirren) [more inside]
posted by Trurl
on Aug 30, 2011 -
18 comments
From 1935 to 1951, Time Magazine bridged the gap between print & radio news reporting and the new visual medium of film, with
March of Time: award-winning newsreel reports that were a combination of objective documentary, dramatized fiction and pro-American, anti-totalitarian propaganda. They “often
tackled subjects and themes that audiences weren’t used to seeing —
foreign affairs,
social trends, public-health issues — and did so with a combination of panache and subterfuge that today seems either absurd or visionary.”
(Previous two links have autoplaying video.) By 1937, the short films were being seen by as many as 26 million people every month and
may have helped steer public opinion on numerous issues,
including (
eventually) America’s
entry to WWII. Video samples are available at
Time.com, the
March of Time Facebook page and the entire collection is available online,
(free registration required) at
HBO Archives. [more inside]
posted by zarq
on Aug 22, 2011 -
8 comments
