Posted in Uncategorized, tagged Anthony Shaffer, cinema, Feature Friday, Harold Pinter, Jacques Rivette, Joseph L. Mankiewicz, Kenneth Branagh, Laurence Olivier, Michael Caine, Sleuth on February 17, 2012 |
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John recently stripped this site of its “Features” tab, where I was steadily and secretly stockpiling links to feature films that are up in their entirety at YouTube. So maybe I’ll just start embedding them on the main page? One every Friday?
This week’s film will be:
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Posted in Uncategorized, tagged A D & Jeremy Talk about Movies, A D Jameson, A Simple Plan, All About Eve, Ang Lee, Anthony Hopkins, Asgard, Batman Returns, Beta Ray Bill, Brian Blessed, calypso, Carmelo Bene, CGI, Chris Hemsworth, claustric, comics, Darkman, David Lynch, détournement, Dead Again, Diabolik, Eric the Viking, Frank Langella, Galactus, Geneviève Bujold, George Lucas, greenscreen, Grigori Kozintsev, Hamlet, Harold Pinter, Henry V, Hulk, Ichi the Killer, J.J. Abrams, Jack Kirby, Jacques Rivette, Jacques Tourneur, Jane Campion, Jeremy M. Davies, John Gardner, John Milius, Joseph Mankiewicz, Kenneth Branagh, Kirby dots, Krull, Kuleshov Effect, Last Life in the Universe, Laurel Canyon, Lawrence of Arabia, Loki, Love Me Tonight, Love’s Labour’s Lost, Masters of the Universe, Mel Gibson, motion capture, Myrna Loy, Night of the Hunter, Norse mythology, Odin, On Moral Fiction, One Hamlet Less, Paul Verhoeven, Peter Jackson, Richard Kelly, Robert MItchum, Roger Ebert, Rosencrantz & Guildenstern Are Dead, Rosencrantz and Guildenstern Are Undead, Sam Raimi, Scott Pilgrim vs. the World, Senses of Cinema, Shakespeare, Showgirls, Sleuth, Star Trek, Star Wars, Starship Troopers, superheroes, Superman II, Superman the Movie, Tadanobu Asano, Tales of Asgard, The Avengers, The Bad Sleep Well, The Box, The Lord of the Rings, The Mighty Thor, The Phantom Menace, The Portrait of a Lady, Thor, Tom Hiddleston, Tom Stoppard, Twin Peaks: Fire Walk with Me, Wilkes-Barre, Willow on May 30, 2011 |
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[You want to read the earlier installments, and we want to help you: Part 1, Part 2]
[Drumming our fingers on the tabletop, humming along to Debbie Gibson, we contemplated just walking out on our waitress, when Jeremy remembered a Payday he had in his pocket. Passing it back and forth, we resumed our conversation.]
Jeremy: All this work, and still no appetizers. So we might as well talk about Kenneth Branagh, as this feeling of weary emptiness reminds me so much of his films …
A D: I remember adoring his Dead Again. I saw it on VHS, not too long after it came out. I had to pause it halfway through, I got so excited. I was, I think, all of sixteen.
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Posted in Uncategorized, tagged 2000AD, 500 Days of Summer, 5x2, Alan Moore, Annie Hall, Atom Egoyan, Bakha satang (Peppermint Candy), Betrayal (play), C. H. Sisson, Charlie Kaufman, Christopher Homm, Christopher Nolan, Coldplay, David Bordwell, David Hugh Jones, Dead Island, Doom House, Edward Lewis Wallant, ER, Eternal Sunshine of the Spotless Mind, François Ozon, Gaspar Noé, George Furth, George S. Kaufman, Goodbye to the Past, Happy End, Harold Pinter, Iain M. Banks, Irréversible, Jamie Thraves, Jane Campion, Jay DiPietro, Jean Epstein, Jean-Pierre Aumont, Jonathan Nolan, Kenneth Biller, Kurt Vonnegut, La glace à trois faces, Lee Chang-dong, Leon Prochnik's short film The Existentialist, Luis Buñuel, Marc Webb, Martin Amis, Memento, Merrily We Roll Along, Michel Gondry, Mike White, Mood House, Moss Hart, Oldrich Lipský, Peter and Vandy, Pull My Daisy, Quantum Leap, reverse chronology, Russell Banks, Sealab 2021, Seinfeld, Shrabster, Slaughterhouse-five, Spike Jonez, Star Trek: Voyager, Stephen Sondheim, Techland, The Bridge at San Luis Rey, The Human Season, The Pet Shop Boys, The Pharcyde, The Reversible Man, The Sweet Hereafter, The X-Files, Thornton Wilder, Time's Arrow, Two Friends, Use of Weapons, W. R. Burnett, Woody Allen on May 25, 2011 |
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I’ve been doing some research into reverse chronology (for the follow-up to my post “From ‘Doom House’ to ‘Mood House’”), and I thought I’d compile the results here.
Reverse chronology is probably as old as narration itself. Once one has the idea of telling a story forward, it’s a simple enough matter to tell it backwards:
There was an old lady who swallowed a cow.
I don’t know how she swallowed a cow!
She swallowed the cow to catch the goat…
She swallowed the goat to catch the dog…
She swallowed the dog to catch the cat…
She swallowed the cat to catch the bird …
She swallowed the bird to catch the spider
That wiggled and wiggled and tickled inside her.
She swallowed the spider to catch the fly.
But I dunno why she swallowed that fly
Perhaps she’ll die.
How far back does this idea go?
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Posted in Uncategorized, tagged Andrew O'Hehir, Ariadne, Bob le flambeur, Bryan Singer, Christopher Higgs, Christopher Nolan, Chuang Tzu, Cornelia Parker, Days of Heaven, Edith Piaf, George P. Cosmatos, Harold Pinter, Inception, Jean Baudrillard, Jim Emerson, Kiss Me Deadly, Lily Hoang, Paul T. Anderson, Philip K. Dick, Quentin Tarrantino, Rififi, Roman Polanski, Ron Silliman, Seinfeld, Simulacra and Simulation, The Asphalt Jungle, The Betrayal, The Dark Knight, The Gateless Gate, The Ghost, The Matrix, The Three Stigmata of Palmer Eldritch, Zabriskie Point on August 8, 2010 |
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Truth in advertising.
Update: Related posts that may interest you:
Christopher Nolan, while presumably a rather likable fellow (he does give work to Michael Caine), is a depressingly artless filmmaker. To be sure, some of the concepts in this new one are clever enough (even if they play like weak snatches from Philip K. Dick): the military developed shared dreaming, which then became a tool for corporate espionage—sure thing. The great Dom Cobb and his team now must infiltrate a businessperson’s mind in order to plant the seed of an idea, rather than steal one—a nice enough twist, and a fine enough premise for a caper.
But Nolan then fails to dramatize his concepts. His primary—indeed, practically his only—tool for delivering information to the audience is character dialogue. Rarely does anyone shut his or her mouth during the 148 minutes that are Inception. Its actors are talking threadbare ciphers, eager mouthpieces for their director.
Examples abound. After failing in their mission to deceive Saito, Cobb remarks to his teammate Arthur: “We were supposed to deliver Saito’s expansion plans to Cobol Engineering two hours ago. By now they know we failed.” (A potential response: “Hey, dude, I’m, like, your partner. I know the score!”) An even better one: the line where Cobb points out to Michael Caine’s character—a university professor teaching in Paris—”You know extradition between France and the US is a legal nightmare.” Yes, Mssr. Professor Caine probably does, in fact, know that! But I’m sure that somebody way in the back row was happy to hear.
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