We Are Your Friends
Friends shouldn’t let friends pay money to see We Are Your Friends.
* 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.
Gerardo Valero reflects on "Man of Steel" and the challenges of making a good Superman movie.
Marie writes: Welcome to "Good Books", an online bookseller based in New Zealand. Every time you buy a book through them, 100% of the retail profit goes directly to fund projects in partnership with Oxfam; projects which provide clean water, sanitation, develop sustainable agriculture and create access to education for communities in need. To increase awareness of Good Books' efforts to raise money for Oxfam, String Theory (New Zeland based agency) teamed up with collaborative design production comany "Buck" to create the first of three videos in a digital campaign called Good Books Great Writers. Behold the award winning animated Good Books Metamorphosis.
San Diego Comic-Con International is a celebration of cartoons, costumes and fictional and real characters. Recent years have brought increasing commercialization. Many of the panels are little more than tantalizing propaganda for upcoming TV programs and movies and the panels bare their wares as brazenly as the whores who used to walk the Gaslamp District before it became a hip place to be. But SDCC is also a venue for introducing and releasing movies that have a link to geek culture and SDCC hosts a Comic-Con International Independent Film Festival.
Marie writes: the following moment of happiness is brought to you by the glorious Tilda Swinton, who recently sent the Grand Poobah a photo of herself taken on her farm in Scotland, holding a batch of English Springer puppies!
"I believe that if, at the end, according to our abilities, we have done something to make others a little happier, and something to make ourselves a little happier, that is about the best we can do. To make others less happy is a crime. To make ourselves unhappy is where all crime starts. We must try to contribute joy to the world. That is true no matter what our problems, our health, our circumstances. We must try. I didn't always know this, and am happy I lived long enough to find it out." - from LIFE ITSELF
(click image to enlarge)
I saw my final film of Sundance 2010 here in Chicago. It was my best Sundance experience, and I want to tell you why. The film was "Jack Goes Boating," the directorial debut of Philip Seymour Hoffman. It played here in the Music Box, as part of the "Sundance USA" outreach program, which has enlisted eight art theaters around the country to play Sundance entries while the festival is still underway.
The Music Box is the largest surviving first run movie palace in Chicago. It is deeper than it is wide, and has an arching ceiling where illusory clouds float and stars twinkle. Many shows are preceded by music on the organ.
"Those who think "Transformers" is a great or even a good film are, may I tactfully suggest, not sufficiently evolved. Film by film, I hope they climb a personal ladder into the realm of better films, until their standards improve."
-- Roger Ebert, "I'm a proud Brainiac"
"Transformers: Revenge of the Fallen" is the "Dark Knight" of 2009. In what way? It's the pop-smash action picture that has excited a bunch of fanboys fans who don't usually read movie critics to howl with inarticulate rage about movie critics who don't like their movie. Of course, "The Dark Knight" was met with considerable mainstream critical acclaim, and "ROTFL" with equally considerable mainstream critical disdain, but the important thing to remember is: critics had nothing to do with making these movies hits.
Want to see critics made completely superfluous? Bestow upon them the magical power to predict box-office success. Instead of awarding thumbs or stars or letter grades, they can just provide ticket sales projections that can be quoted in the ads: "I give it $109 million in its opening weekend!" Voila! Instant redundancy, instant irrelevance. Why do you need critics to gauge grosses when you already have tracking reports, followed by the actual grosses themselves?
Psychologists say that depression is rage turned inward. Stand-up comedy, on the other hand, is rage turned back outward again. (I believe George Carlin had a routine about the use of violent metaphors directed at the audience in comedy: "Knock 'em dead!" "I killed!") In the documentary "Heckler" (now on Showtime and DVD) comedian Jamie Kennedy, as himself, plays both roles with ferocious intensity. The movie is his revenge fantasy against anyone who has ever heckled him on stage, or written a negative review... or, perhaps, slighted him in on the playground or at a party or over the phone or online.
"Heckler" (I accidentally called it "Harangue" just now) is an 80-minute howl of fury and anguish in which Kennedy and a host of other well-known and not-well-known showbiz people tell oft-told tales of triumphant comebacks and humiliating disasters, freely venting their spleens at those who have spoken unkindly of them. At first the bile is aimed at hecklers in club audiences (with some particularly nasty invective for loudmouthed drunken women), then it shifts to "critics" -- broadly defined as anybody who says something negative about a figure whose work appears before a paying public. Some of the critics are actually interested in analysis; some are just insult comics who are using the Internet as their open mic. It gets pretty ugly, but it's fascinating -- because the comics, the critics and the hecklers are so much alike that it's no wonder each finds the others so infuriating.
What does it feel like to resemble the Phantom of the Opera? You learn to live with it. I've never concerned myself overmuch about how I looked. I got a lot of practice at indifference during my years as the Michelin Man.
Yes, years before I acquired my present problems, I was not merely fat, but was universally known as "the fat one," to distinguish me from "the thin one," who was Gene Siskel, who was not all that thin, but try telling that to Gene:
"Spoken like the gifted Haystacks Calhoun tribute artist that you are."
"Haystacks was loved by his fans as a charming country boy," I observed.
"Six hundred and forty pounds of rompin' stompin' charm," Gene said. "Oh, Rog? Are those two-tone suedes, or did you step in some chicken shit?"
The real Phantom: Lon Chaney in 1925
"You can borrow them whenever you wear your white John Travolta disco suit from 'Saturday Night Fever,'" I said.
"Yeah, when are you gonna wear it on the show?" asked Buzz the floor director. "Enquiring minds want to know."
"He wanted to wear it today," I said, "but it's still at the tailor shop having the crotch taken in."
"Ba-ba-ba-boom !" said Buzz.
"Here's an item that will interest you, Roger," Gene told me one day, paging through the Sun-Times, his favorite paper, during a lull in the taping of our show. We taped in CBS Chicago's Studio One, home of the Kennedy-Nixon debate.
"It says here, the Michelin Man has been arrested in a fast food court in Hawaii for attempting to impersonate the Pillsbury Dough Boy."
View image Denzel Washington in "American Gangster" (2007).
Richard Corliss at Time presents his choices for "The 25 Most Important Films on Race. "The films span nine decades, and reveal a legacy that was tragic before it was triumphant." More about the list after the jump, but the following passage from RC's intro struck a chord with me: We need to examine the history of blacks in film to appreciate their deep roots. [Sidney] Poitier, [Will] Smith and Denzel Washington, all radiating a manly cine-magnetism, are the sons of Paul Robeson, who was the first great black movie star — or would have been, if Hollywood and America hadn't been steeped in racism. Richard Pryor and Eddie Murphy, the top comedy stars of the 80s, have a strange, subversive ancestor in Stepin Fetchit, America's first black millionaire actor.Both Corliss and Odie Henderson (aka Odienator) take personal approaches to examining black film history, and so far (Odie is on his 11th consecutive day of a month-long "Black History Mumf" series) they haven't even overlapped much. Odienator has written, analytically and often nostalgically, about the Hudlin Bros.' Kid 'n' Play comedy "House Party" (1990), "football players-turned-actors, "Schoolhouse Rock," actress Diana Sands," Eddie Murphy's "Coming to America" (1988), Joseph Mankiewicz's "No Way Out," (1950) with Sidney Poitier and Richard Widmark, the opening credits of Spike Lee's "Crooklyn" (1994), "Sparkle" (1976), "The Jeffersons" and "Good Times" and the one with my favorite headline: One Drop of Black Cinema: Joel Schumacher. That's just the beginning.
Odienator has been concentrating on films that aren't necessarily in the traditional African-American Canon, but neither he nor Corliss have (so far) written about certain titles some might consider the obvious or officially sanctioned landmarks/classics: "Showboat" (1936), "Cabin in the Sky" (1942), "Porgy and Bess" (1959), "A Raisin in the Sun" (1961), "Lilies of the Field" (1963), "Guess Who's Coming to Dinner" (1967), "Putney Swope" (1969), "Shaft" (1971), "Sounder" (1972), "The Autobiography of Miss Jane Pittman" (TV, 1974), "The Color Purple" (1985), "New Jack City" (1991), "Malcolm X" (1992), "Crash" (2005)...
"I don't think Capote knew exactly what he was setting himself up for," Philip Seymour Hoffman said. "He said later if he'd known what was going to happen, he would have driven right through the town like a bat out of hell."
TORONTO--At the end of the 27th Toronto Film Festival, six films in six paragraphs, alphabetically:
After Cannes, the Toronto Film Festival is the most important in the world. Last year's festival was ripped in two on Sept. 11. I walked out of a screening, heard the news, and the world had changed. Now comes the 27th annual festival, opening today. Are movies important in the new world we occupy? Yes, I think they are, because they are the most powerful artistic device for creating empathy--for helping us understand the lives of others.
TORONTO -- Spike Lee's new film was shot on digital video. Joel Schumacher's new film was shot on 16mm. The formats probably made the films possible. Video is not film and 16mm is not 35mm, but the artistic imagination is the same, and the lower-priced formats allow spontaneity and speed that you can't get when you're dragging a 35mm camera and all of its lights and acolytes everywhere you go.
TORONTO -- Joel Schumacher is not exactly singing "Amazing Grace," but from the way he talks, he once was lost and now he's found, was blind but now he sees.
TORONTO -- I missed the first Toronto Film Festival. So did a lot of other people. I've attended every one since. The second was like a gathering of conspirators who raced from theater to theater on the rumors of screenings. But the festival has grown so steadily that its 25th anniversary event, which begins today, can safely be called the most important film festival in North America, and one of the top handful in the world.