Imagine an "R" rated "Lassie" by way of "Spartacus." That's Kornél Mundruczó's "White God," a brutal but stirring fantasy about street dogs rising up against…
* 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.
Film's most feminist monster; Minority voices in games and tech; "Pretty Woman" at 25; Ranking the "Taken" knock-offs; An oral history of Weird Al's "UHF."
Brian Tallerico finds the parallels between "It's Always Sunny in Philadelphia" and "Seinfeld" instructive as to how shows about unlikeable characters can endure for nine seasons.
Rush Limbaugh's so-called "slutgate" brouhaha reminds me of a scene in Kenneth Lonergan's great film "Margaret." After a heated classroom argument about 9/11, a student says: "I think this whole class should apologize to Angie because all she did was express her opinion about what her relatives in Syria think about the fact that we bombed the shit out of a practically medieval culture... and everybody started screaming at her like she was defending the Ku Klux Klan!" Whereupon, one of the teachers says that jumping down someone's throat when you disagree with them is "censorship." Lisa Cohen (Anna Paquin) goes ballistic: "This class is not the government!"
Lisa's point is significant -- and it's one of the movie's many sharp insights into how Americans argue. We have a hard time separating our personal feelings from the legal system, a conflict that's goes to the core of Lisa's moral dilemma. (And for some reason we think it's a rational defense to say that someone else did something just as bad but didn't get punished for it as much.) The classroom of teenagers, reacting spontaneously and having a free discussion (even if it became raucous and uncivil) was not an attempt to prevent, modify or control the expression of Angie's ideas, but an attempt (by some, at least) to refute them. And while censorship isn't limited to government, church, commercial or social repression, the phrase "freedom of speech" (as outlined in the First Amendment) applies to government restrictions on what "the people" can say.
Is this guy is incredibly depressing, or what?
So, what was the deal with Jerry Seinfeld at the Oscars, smoothly delivering a chunk of some old act before presenting the documentary feature award? Who does this guy think he is, and why was he invited? What does he have to do with films or documentaries, besides having once starred in a feature-length advertisement for himself (and American Express commercials before Ellen DeGeneres)? Was he auditioning to be Oscar host next year, hoping to follow in the footsteps of Johnny Carson or something? What is up with that? Doesn't he have enough money and get enough attention? Next year will they ask Michael Richards to comically complain about how the subtitles, and the amount of dermal melanin in the actors, make him uninterested in seeing some or all of the Best Foreign Language Film nominees? Ho-ho!
John Sinno, the Seattle-based Oscar-nominated director of "Iraq in Fragments," has written an open letter to the Academy about Seinfeld's snide, extended putdown of docs at this year's Oscars: I had the great fortune of attending the 79th Academy Awards following my nomination as producer for a film in the Best Documentary Feature category. At the Awards ceremony, most categories featured an introduction that glorified the filmmakers’ craft and the role it plays for the film audience and industry. But when comedian Jerry Seinfeld introduced the award for Best Documentary Feature, he began by referring to a documentary that features himself as a subject, then proceeded to poke fun at it by saying it won no awards and made no money. He then revealed his love of documentaries, as they have a very "real" quality, while making a comically sour face. This less-than-flattering beginning was followed by a lengthy digression that had nothing whatsoever to do with documentary films. The clincher, however, came when he wrapped up his introduction by calling all five nominated films "incredibly depressing!"
While I appreciate the role of humor in our lives, Jerry Seinfeld’s remarks were made at the expense of thousands of documentary filmmakers and the entire documentary genre. Obviously we make films not for awards or money, although we are glad if we are fortunate enough to receive them. The important thing is to tell stories, whether of people who have been damaged by war, of humankind’s reckless attitude toward nature and the environment, or even of the lives and habits of penguins. With his lengthy, dismissive and digressive introduction, Jerry Seinfeld had no time left for any individual description of the five nominated films. And by labeling the documentaries “incredibly depressing,” he indirectly told millions of viewers not to bother seeing them because they’re nothing but downers. He wasted a wonderful opportunity to excite viewers about the nominated films and about the documentary genre in general. To have a presenter introduce a category with such disrespect for the nominees and their work is counter to the principles the Academy was founded upon. To be nominated for an Academy Award is one of the highest honors our peers can give us, and to have the films dismissed in such an offhand fashion was deeply insulting. The Academy owes all documentary filmmakers an apology.... I have to agree with Sinno. This wasn't like Chris Rock taking a gratuitous swipe at Jude Law (only to be "corrected" by the utterly humorless and pompous Sean Penn). Sure, Seinfeld was doing his obnoxious putz routine, playing the Philistine. His schtick was slick, and his jokes (though hackneyed and predictable) pandered to the prejudices of the crowd in the room and the general audience watching on TV. But his bit was, no question, lengthy and dismissive -- in a year when the documentary nominees were, for the most part, better movies than those in the Best Picture category. The docs deserved so much better.
Sinno's letter continues after the jump...
John Fitzgerald Kennedy's early cameo appearance in "Nashville," at Lady Pearl's Old Time Picking Parlor.
Please consider this my initial contribution to Andy Horbal's Film Criticism Blog-a-Thon -- happening all weekend at No More Marriages!
View image Inside Pearl's Parlor: Red, white and bluegrass. Kenny Fraiser (David Hayward) enters from behind the flag at center.
How can two critics see (or remember) the same movie, and have such contradictory interpretations of how it works and what it means? And what better case-in-point than Robert Altman's 1975 "Nashville" -- now being remembered in the wake of Altman's death last week, and seen through the prism of Emilio Estevez's recent release about the assassination of Robert F. Kennedy, "Bobby"?
View image Lady Pearl: "The only time I ever went hog wild, 'round the bend, was for the Kennedy boys. But they were different."
From two reviews of "Bobby":
View image "... and the asshole got 556,577 votes."
Watching the movie, I kept thinking of "Nashville." And not just because Robert Altman's 1975 masterpiece remains the most politically and psychologically astute big-ensemble/where-America's-at movie ever made (it's got a presidential campaign and ends with a beloved public figure gunned down, too). There's a minor character in it, played by Barbara Baxley, who's a Kennedy-loving Yankee married to a country music star. In one boozy monologue, she expresses all that was both hopeful and delusional about what the dead Kennedys represented for progressive citizens. I've never forgotten that speech, while the more simplistic and diffuse "Bobby" is already starting to fade from memory.
-- Bob Strauss, LA Daily News
View image Alone at Mass.
Despite its reputation as an exuberant classic, "Nashville" knows zip and cares even less about country music or the city of Nashville (where it was shot) -- which doesn't prevent it from heaping scorn on both. It even ridicules a dowager who tearfully reminisces about John and Bobby Kennedy, and it shamelessly encourages viewers to share its contempt for the rubes. The relentless cynicism that Nashville brandishes as proof of its hipness ultimately gives way to glib, high-flown rhetoric in the climactic repeated shots of an American flag filling the screen while a nihilistic pseudocountry anthem, "It Don't Worry Me," builds to a crescendo, asserting the concert audience's unembarrassed cluelessness.
-- Jonathan Rosenbaum, Chicago Reader
First, I want to point out the obvious: Bob Strauss is right even when he's wrong (I don't think Baxley's character is minor or a Yankee) and Jonathan Rosenbaum is wrong even when he's right (Altman admitted he wasn't interested in making a movie about the real Nashville or country music; after all, he let the actors write their own songs). Rosenbaum's preoccupation with his own perception of "hipness" (which he deems extremely uncool) appears to have obscured his view (or his memory) of what's happening on the screen in Altman's movie. As I said in a comment over at The House Next Door, using "Bobby" to bash "Nashville" makes as much sense as using "Neil Simon's California Suite" to bash "Short Cuts" -- or "The Towering Inferno" to belittle "Playtime." Yes, there are superficial similarities (as Bob points out), but in terms of ambition, complexity, vitality and sheer movieness, there's no comparison.