"Transcendence" is a serious science fiction movie filled with big ideas and powerful images, but it never quite coheres, and the end is a copout.
* This filmography is not intended to be a comprehensive list of this artist’s work. Instead it reflects the films this person has been involved with that have been reviewed on this site.
View image Alain Delon as Jef Costello in Jean-Pierre Mellville's "Le Samourai." How un-American!
Edward Copeland, mastermind and organizer of the online ""Best" non-English language films poll, reports that Danny Leigh at the film blog at The Guardian (UK) is wondering about our motives ("The view: Is Hollywood America?"): Naturally it's nice to see this kind of attention lavished on some of history's finest yet lately neglected films; but between Copeland's poll (coming after The Guardian's similar exercise earlier in the year) and the surging popularity of foreign movies in the UK, I can't help wondering how much of the current enthusiasm for what was once known as world cinema is purely that - and how much a rejection of Hollywood at a time when the wider America is so reviled. In other words, is George Bush responsible in some odd tangential way for the rediscovery of Jean Renoir and Fassbinder?
If so, it's clearly a phenomenon with differing degrees of enmity; few US bloggers are likely to share the anti-Americanism of many British audiences. And yet in both cases there may be an underlying notion of Hollywood as a tool of a cultural imperialism that, however murkily, reflects the actual imperialism of US foreign policy. Follow that logic far enough and Hollywood flicks aren't just dopey time-killers - but sermons straight from the bully pulpit. I see his angle regarding Hollywood hegemony, but to attribute anti-American (or, rather, anti-Bush) motives to this particular project is stretching things quite a bit.
When it comes to Hollywood movies, I thought we had the British (Robin Wood, Raymond Durgnat) and the French (the Cahiers du Cinema crowd) to thank for originally helping us see the artistic worth of American studio pictures once dismissed as "dopey time-killers."
On the other hand, according to the incessant drumbeat of Fox and the rest of the far-right media, "Hollywood" is America's greatest enemy (since Ronald Reagan left town, anyway) -- especially its outspoken movie stars and Jewish singers! Their favorite targets are Sean Penn, Alec Baldwin, George Clooney, Barbara Streisand... So, in this climate, if we really wanted to appear "anti-American" (by their definition) wouldn't we actually align ourselves with "Hollywood"?
But this effort to showcase films that aren't in our native tongue (including non-British films, if you want to put it that way) has nothing to do with contemporary politics. It has to do with looking beyond the English-speaking film-world to... the rest of the world and the diversity of movies beyond the five government-selected nominees for the annual Best Foreign Language Film Oscar, and the like.
Q. I haven't seen "Never Again" and I probably won't, but I have one comment about your review, where you said that a woman wouldn't tell her stylist about her sexual exploits in a voice loud enough to be heard by all. You are definitely wrong about that. I have been a monthly visitor to hair salons for many years, and you wouldn't believe the things some women (and men, I might add) say in front of everyone. I have never understood it, but some women seem to use the salon like a confessional. (Kay Robart, Austin TX)
Q. What did Matt Damon's character in "Rounders" determine about John Malkovich's character from his eating of the Oreos? (Joseph Gonzales, Waco, TX)