Watch for my upcoming review of Australian director Geoffrey Wright's Macbeth in Yerp Magazine!
Thursday, June 28, 2007
Macbeth - 2007 - Film
Tuesday, June 26, 2007
Watch for my upcoming review of Australian director Geoffrey Wright's Macbeth in Yerp Magazine!
Watch for my upcoming review of Australian director Geoffrey Wright's Macbeth in Yerp Magazine!
Ocean's Twelve - 2004 - DVD
Sunday, June 24, 2007
In preparation for Ocean's Thirteen and in utter tardiness to stay up to date on Steven Soderbergh's men-gone-glam trilogy, I was indulgently overjoyed to watch Ocean's Twelve recently. A reiteration of the first Ocean's film, George Clooney remains sexy, Brad Pitt continues to swallow gulps of food between cool sentences--eating has never been so cool--and though this list could continue to describe the rest of the characters, including Matt Damon's freshman gangster tendencies, his eager yearning to talk tough like his un-emasculated compatriots, it will stop here, because you already know these guys. And that is what makes Twelve endlessly entertaining: Clever, debonair men looking great and succeeding because of it.
These next few posts will be a short few sentences in order to catch up quickly on my film notebook. Time is also scarce these days since I began a project as a research assistant to a visiting documentary filmmaker. Her name is Judith Helfand, and you can read all about her here. More on this in the coming days…
In preparation for Ocean's Thirteen and in utter tardiness to stay up to date on Steven Soderbergh's men-gone-glam trilogy, I was indulgently overjoyed to watch Ocean's Twelve recently. A reiteration of the first Ocean's film, George Clooney remains sexy, Brad Pitt continues to swallow gulps of food between cool sentences--eating has never been so cool--and though this list could continue to describe the rest of the characters, including Matt Damon's freshman gangster tendencies, his eager yearning to talk tough like his un-emasculated compatriots, it will stop here, because you already know these guys. And that is what makes Twelve endlessly entertaining: Clever, debonair men looking great and succeeding because of it.These next few posts will be a short few sentences in order to catch up quickly on my film notebook. Time is also scarce these days since I began a project as a research assistant to a visiting documentary filmmaker. Her name is Judith Helfand, and you can read all about her here. More on this in the coming days…
Saturday, June 23, 2007
Pierrepoint: The Last Hangman - 2007 - DVD
Friday, June 22, 2007
Everyone gets caught in a droning routine, even British War era executioners who hang convicted criminals for a living. And you thought your cubicle job was punishing...
Read the whole review in Yerp Magazine!
Everyone gets caught in a droning routine, even British War era executioners who hang convicted criminals for a living. And you thought your cubicle job was punishing...Read the whole review in Yerp Magazine!
Sunday, June 17, 2007
Sunday, June 10, 2007
Out 1: Spectre - 1972 - Film
Saturday, June 9, 2007
"I don't get it" is the tip of the iceberg, though I'm not beating myself up for it. Apparently, for the folks who had seen the full 750 minute version of Jacque Rivette's Out 1, the measly 4 1/4 hours of his 1972 Out 1: Spectre was "just blowing by." At least that's what I overheard at the Gene Siskel Film Center during the intermission. Not having seen the former version of the film (and indeed its own separate masterpiece, I am sure) I watched Spectre with bouts of awe, unavoidable weariness, and indulgence.
Mostly I am fascinated by a filmmaker who has the audacity to create a film that's originally 12-and-a-half hours in length, then, not yet giving it up, reforming it into a new piece of art—that is, the 4+ hours I witnessed a few weeks ago. Then, and with just as much pride, the movie nearly filled the theater, making me question what kind of person it takes to willingly subject oneself to hour after hour of images in the dark—passing up meals, sunshine, and necessary bathroom breaks—to watch this filmmaker's 12 or 4-hour creation?
Well, I am one of those spectators, though I don’t have an answer. To describe it best (like any film that, in my opinion, runs over 3 hours) Out 1: Spectre is an experience. It is all at once baffling, beautiful, philosophical, and yes, cathartic. The first couple hours of the film bounce among different sets of characters abruptly; the transitions are raw, making the various groups' connections indecipherable; it's a puzzle. Intermission comes and goes, and according to Rosenbaum a few minutes ahead of schedule, as per the original screening in Paris thirty-five years ago. Though, renewed with caffeine and a good stretch, the latter half of the movie read differently, more relaxed. The characters intermingle, some semblance of a narrative emerges, and you've otherwise become comfortable with the fact that you're not quite sure what's going on, so you just watch.
And therein lies the indulgence. In retrospect the movie is a colorful barrage of movement, acting, speaking; with no defined form it is life emerging from long and short intervals of time. I can't think of anything more delightful that escapes my understanding.
"I don't get it" is the tip of the iceberg, though I'm not beating myself up for it. Apparently, for the folks who had seen the full 750 minute version of Jacque Rivette's Out 1, the measly 4 1/4 hours of his 1972 Out 1: Spectre was "just blowing by." At least that's what I overheard at the Gene Siskel Film Center during the intermission. Not having seen the former version of the film (and indeed its own separate masterpiece, I am sure) I watched Spectre with bouts of awe, unavoidable weariness, and indulgence. Mostly I am fascinated by a filmmaker who has the audacity to create a film that's originally 12-and-a-half hours in length, then, not yet giving it up, reforming it into a new piece of art—that is, the 4+ hours I witnessed a few weeks ago. Then, and with just as much pride, the movie nearly filled the theater, making me question what kind of person it takes to willingly subject oneself to hour after hour of images in the dark—passing up meals, sunshine, and necessary bathroom breaks—to watch this filmmaker's 12 or 4-hour creation?
Well, I am one of those spectators, though I don’t have an answer. To describe it best (like any film that, in my opinion, runs over 3 hours) Out 1: Spectre is an experience. It is all at once baffling, beautiful, philosophical, and yes, cathartic. The first couple hours of the film bounce among different sets of characters abruptly; the transitions are raw, making the various groups' connections indecipherable; it's a puzzle. Intermission comes and goes, and according to Rosenbaum a few minutes ahead of schedule, as per the original screening in Paris thirty-five years ago. Though, renewed with caffeine and a good stretch, the latter half of the movie read differently, more relaxed. The characters intermingle, some semblance of a narrative emerges, and you've otherwise become comfortable with the fact that you're not quite sure what's going on, so you just watch.
And therein lies the indulgence. In retrospect the movie is a colorful barrage of movement, acting, speaking; with no defined form it is life emerging from long and short intervals of time. I can't think of anything more delightful that escapes my understanding.
Knocked Up - 2007 - Film
Friday, June 8, 2007
My 62 year-old dad says he wants to see Knocked Up, so despite its raunchy humor it must be getting some loveable word of mouth. I say this because The Old Man ain't up on the film criticism scene, making himself scarce enough to not even read this very blog! Like the Bundy kids used to say to Al, "Thanks, dad!"
And though I delight in taking loving jabs at my father on a public forum, my point is clear, Knocked Up has even the most unlikely audiences excited to get to the theater. I would expect nothing less from director Judd Apatow and his usual crew of comics. The notoriously nice Steve Carell, who starred in 2005's The 40-Year-Old Virgin, Apatow's first big directorial hit, makes a cameo in Knocked Up starring Seth Rogen. Rogen also had a secondary part in 40-Year-Old, so Apatow's got his own repertoire of actors to rely on. The best thing about the actors (and indeed the characters they play) is their down-to-earth sensibility; these guys really are regular Joes, the fun (not mean) kind who get their kicks poking fun at one another.
Whether or not the film can be termed Pro-Life or not, to me, is irrelevant. It's an issue buzzing about in reviews of Knocked Up, and for good reason: a beautiful young TV personality named Alison (Katherine Heigl) has too many beers with a stoner stranger named Ben (Seth Rogen), they go home together, and a few weeks later (after she has purposely fallen out of touch with him), and as the title bluntly states, Alison realizes she's been "knocked up." Most importantly, she decides not to get an abortion. Her sister Debbie (gleefully played by Leslie Mann) thinks she's crazy for keeping it, and Ben is even more shocked. Neither of them is at the place in their lives where they want a child, or even feel responsible enough. Surely, that's to be said for Ben who doesn't even have a job.
What's interesting about the movie is that it never pleads a case for or against abortion; instead the situation is looked at from a personal perspective. Alison decides that the best thing for her is to keep the baby, never implying judgment on anyone who might make the opposite decision. And very sweetly (and comically), we see two polar opposite characters learn to like one another.
Some of the best moments include comedy regular Paul Rudd, who is looking wonderfully dreamy --just like he did in the slender, clean cut days of Clueless. Take that with a grain of salt, I guess, but his blue eyes are enough to make one swoon (men included; I think he qualifies as a "man crush.") Ryan Seacrest makes a cameo appearance ranting on celeb culture (one brilliantly ironic performance), and the host of roommates Ben stores at home might make you snort with laughter. A personal favorite of the bunch is Martin (Martin Starr), who accepts a challenge not to shave his beard for a year; his friends mock his appearance; hilarity ensues.
Knocked Up is head and shoulders above the rest of the summer movies out now, and will probably a remain a favorite on my top ten for 2007. It's so funny, and so kind that even a conservative sixty-something will like it--right, Dad?
My 62 year-old dad says he wants to see Knocked Up, so despite its raunchy humor it must be getting some loveable word of mouth. I say this because The Old Man ain't up on the film criticism scene, making himself scarce enough to not even read this very blog! Like the Bundy kids used to say to Al, "Thanks, dad!" And though I delight in taking loving jabs at my father on a public forum, my point is clear, Knocked Up has even the most unlikely audiences excited to get to the theater. I would expect nothing less from director Judd Apatow and his usual crew of comics. The notoriously nice Steve Carell, who starred in 2005's The 40-Year-Old Virgin, Apatow's first big directorial hit, makes a cameo in Knocked Up starring Seth Rogen. Rogen also had a secondary part in 40-Year-Old, so Apatow's got his own repertoire of actors to rely on. The best thing about the actors (and indeed the characters they play) is their down-to-earth sensibility; these guys really are regular Joes, the fun (not mean) kind who get their kicks poking fun at one another.
Whether or not the film can be termed Pro-Life or not, to me, is irrelevant. It's an issue buzzing about in reviews of Knocked Up, and for good reason: a beautiful young TV personality named Alison (Katherine Heigl) has too many beers with a stoner stranger named Ben (Seth Rogen), they go home together, and a few weeks later (after she has purposely fallen out of touch with him), and as the title bluntly states, Alison realizes she's been "knocked up." Most importantly, she decides not to get an abortion. Her sister Debbie (gleefully played by Leslie Mann) thinks she's crazy for keeping it, and Ben is even more shocked. Neither of them is at the place in their lives where they want a child, or even feel responsible enough. Surely, that's to be said for Ben who doesn't even have a job.
What's interesting about the movie is that it never pleads a case for or against abortion; instead the situation is looked at from a personal perspective. Alison decides that the best thing for her is to keep the baby, never implying judgment on anyone who might make the opposite decision. And very sweetly (and comically), we see two polar opposite characters learn to like one another.
Some of the best moments include comedy regular Paul Rudd, who is looking wonderfully dreamy --just like he did in the slender, clean cut days of Clueless. Take that with a grain of salt, I guess, but his blue eyes are enough to make one swoon (men included; I think he qualifies as a "man crush.") Ryan Seacrest makes a cameo appearance ranting on celeb culture (one brilliantly ironic performance), and the host of roommates Ben stores at home might make you snort with laughter. A personal favorite of the bunch is Martin (Martin Starr), who accepts a challenge not to shave his beard for a year; his friends mock his appearance; hilarity ensues.
Knocked Up is head and shoulders above the rest of the summer movies out now, and will probably a remain a favorite on my top ten for 2007. It's so funny, and so kind that even a conservative sixty-something will like it--right, Dad?
Subscribe to:
Posts (Atom)