The Disappearance of Eleanor Rigby: Them
"The Disappearance of Eleanor Rigby: Them" is an affecting but disjointed film about trauma's impact on one couple and their families.
* 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.
Picks for the best of the 2013-14 television season, in the form of a Dream Emmy ballot.
Marie writes: There's a glorified duck pond at the center of the complex where I live. And since moving in, my apartment has been an object of enduring fascination for Canadian geese - who arrive each Spring like a squadron of jet fighters returning from a mission in France, to run a sweeping aerial recon my little garden aka: playhouse for birds... (click to enlarge)
Marie writes: Doug Foster is a filmmaker and artist who produces large scale digital film installations that often play with ideas of symmetry and optical illusion. His piece The Heretics' Gate is currently on view at "Daydreaming with... St. Michael's" - an exhibition taking place at St. Michael's church in Camden, London. Note: Foster's piece first appeared at the Hell's Half Acre exhibition at the Old Vic Tunnels in London in 2010."The Heretics' Gate" draws inspiration from Dante's Inferno, the first part of his epic poem The Divine Comedy. A twenty foot high, arched screen and a thirty foot long reflecting pool, are cleverly combined to deliver a mesmerizing and strangely ethereal vision of hell at the central focus point of the church's imposing gothic architecture. To learn more, visit: Liquid Hell: A Q&A With Doug Foster.NOTE: The exhibition is the latest installment in renowned British music producer James Lavelle's curatorial and collaborative art venture, "DAYDREAMING WITH..." - a unique and visceral new exhibition experience, inspired by the desire to marry music and visual art. The goal is to bring together some of the most acclaimed creative names working in music, art, film, fashion and design.
From the Grand Poobah in Toronto: It was slightly chilly and I threw on my Toronto International Film Festival jacket and hurried out of the hotel. Only an ooh and an ahh from behind me at the Elgin Theater alerted me that I was wearing my official Roots 20th anniversary jacket. Since 2010 is the festival's 35th anniversary, that's not bad, n'est-ce pas? I hope that at the theater my T-shirt wasn't peeking out.
The Grand Poobah writes: I carry a little Canon S60 digital camera so small it tucks in my jeans pocket. Sometimes, all by itself, it will take a great photograph. Here are Lena and Werner Herzog. She is the acclaimed photographer. This was taken shortly after Herzog and Errol Morris held their lively onstage conversation, which I video recorded from the front row.
The day will come when "Transformers: Revenge of the Fallen" will be studied in film classes and shown at cult film festivals. It will be seen, in retrospect, as marking the end of an era. Of course there will be many more CGI-based action epics, but never again one this bloated, excessive, incomprehensible, long (149 minutes) or expensive (more than $200 million). Like the dinosaurs, the species has grown too big to survive, and will be wiped out in a cataclysmic event, replaced by more compact, durable forms.
Oh, I expect the movie will make a lot of money. It took in $16 million just in its Wednesday midnight opening. Todd Gilchrist, a most reasonable critic at Cinematical, wrote that it feels "destined to be the biggest movie of all time." I don't believe "Titanic" and "The Dark Knight" have much to fear, however, because (1) it has little to no appeal for non-fanboy or female audiences, and (2) many of those who do see it will find they simply cannot endure it. God help anyone viewing it from the front row of a traditional IMAX theater--even from the back row. It may benefit from being seen via DVD, with your "picture" setting dialed down from Vivid to Standard.
The term Assault on the Senses has become a cliché. It would be more accurate to describe the film simply as "painful." The volume is cranked way up, probably on studio instructions, and the sound track consists largely of steel crashing discordantly against steel. Occasionally a Bot voice will roar thunderingly out of the left-side speakers, (1) reminding us of Surround Sound, or (2) reminding the theater to have the guy take another look at those right-side speakers. Beneath that is boilerplate hard-pounding action music, alternating with deep bass voices intoning what sounds like Gregorian chant without the Latin, or maybe even without the words: Just apprehensive sounds, translating as Oh, no! No! These Decepticons® are going to steal the energy of the sun and destroy the Earth! The hard-pounding action music, on the other hand, is what Hollywood calls Mickey Mouse Music, so named because, like the music in a Mickey Mouse cartoon, it faithfully mirrors the movements on screen. In this case, it is impatient and urgent. I recommend listening to it on your iPod the next time you have difficulty at the doctor's office filling the little plastic cup.