Goodbye to Language
Jean-Luc Godard's latest free-form essay film may be, more than anything else, a documentary of a restless mind.
* 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.
Rocket Raccoon makes a comeback; Why Some Movies Shouldn't Be Explained; Fear of a Minority Superhero; Christian Indies of 2014; Profane response to net neutrality.
No cinematic genre lends itself less for repeated viewings than comedy. Finding a truly funny picture is hard enough (not that you could tell from the typical reactions at a "Fockers" screening) and besides, how many times can people laugh at the same joke? Comedies also tend to age the worst. Among those that I recall once driving audiences wild here in México were "The Party" (1967), starring Peter Sellers, with all the guests falling into a pool full of bubbles, and Peter Bogdanovich's zany screwball feature "What's up Doc?" (1972), but watching them today mostly leaves me cold.
Marie writes: I recently heard from an ex-coworker named Athena aka the production manager on an animated series I'd painted digital backgrounds for. She sent me some great photos she'd found on various sites. More than few made me smile and thus inspired, I thought I'd share them with club members. I've added captions for fun but if you can come up with something better, feel free to submit your wit by way of posted comment. Note: I don't know who the photographers are; doesn't say. (Click pics to enlarge.)
"I want a peanut for every photo you took of me..."
The Grand Poobah writes: Unless we find an angel, our television program will go off the air at the end of its current season. There. I've said it. Usually in television, people use evasive language. Not me. We'll be gone. I want to be honest about why this is. We can't afford to finance it any longer.
To read the full story, visit "The Chimes at midnight" on the Blog.
Welcome to a special Halloween edition of the Newsletter! Marie writes: the Cimetière du Père-Lachaise in Paris is considered one of the most beautiful cemeteries in the world, in addition to being the final resting place of many a famous name. From Édith Piaf, Sarah Bernhardt and Chopin to Oscar Wilde, Jim Morrison and Georges Méliès, the well-known sleep on the tree-lined avenues of the dead and which you can now explore in a virtual 360 degree tour...
When his handsome face and a stroke of luck brought Curtis to Hollywood in 1948, he was 23 years old and felt as if he was in heaven. That wasn't because of the acting opportunities. It was because of the women, and Tony was one of the town's best-known lotharios for decades. He loved acting, too, and made great films and bad ones with the same sense of fun. He was also a lifelong artist, whose paintings commanded decent fees, and a party animal until he got clean and sober in 1982. One thing you will not notice in the obituaries is anyone with a bad word to say about him. He was fun, and few had more fun than he did himself.
Marie writes: Club member and noted blog contributor Tom Dark took this astonishing photograph near his home in Abiqui, New Mexico. The "unknown entity" appeared without warning and after a failed attempt to communicate, fled the scene. Tom stopped short of saying "alien" to describe the encounter, but I think it's safe to say that whatever he saw, it was pretty damned freaky. It sure can't be mistaken for anything terrestrial; like a horse pressing its nose up to the camera and the lens causing foreshortening. As it totally does not look like that at all. (click to enlarge.)
Among Janet Leigh's last interviews was one she gave in July to the Sun-Times' Miriam Di Nunzio about the DVD release of "The Manchurian Candidate." Some excerpts: On working with directors John Frankenheimer, Alfred Hitchcock and Orson Welles: "They were all geniuses. Hitchcock ['Psycho'] did not like ad-libbing at all because everything was timed to perfection in his scenes. Orson loved ad-libbing. The whole ['Touch of Evil'] script was skeletal. Frankenheimer liked spontaneity, but 'Manchurian Candidate' was too closely honed a story to really ad-lib much. There wasn't a whole lot of that going on during filming."
The movie is called "Blue Steel," and Jamie Lee Curtis stars in it as a female cop who can't convince her superiors that a psychopath is trying to kill her. But first he wants to scare her. So he materializes out of shadows and from behind parked cars and from darkened stairways, and he toys with her emotions until she's a basket case. Meanwhile, he's murdering other people all over town--and when the cops dig the bullets out of the dead bodies, they all have her name etched on them.
Ebert's Best Film Lists1967 - present
"Jeez, isn't it shocking, how bad 'Goonies' did?"