Out of the Furnace
"Out of the Furnace," about two suffering brothers (Christian Bale and Casey Affleck) in Pennsylvania steel country. hits some of the same notes as "The…
* 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.
Extraterrestrial life may really exist; House Republicans slash billions in food stamps; "Invisible Man" banned in North Carolina; an object of Internet ridicule speaks; Hollywood luminaries who got their start with Roger Corman.
In the new book "Crab Monsters, Teenage Cavemen, and Candy Stripe Nurses," Chris Nashawaty tells the story of the amazing life and career of Roger Corman through a collection of interviews, which Nashawaty has put together into a blow-by-blow collage account.
Peter Sobczynski eulogizes the late, great, astoundingly prolific writer Richard Matheson, "whose work in a career that would encompass seven decades influenced anyone who encountered, it regardless of the medium he was working in." Includes appreciations of "Duel," "Nightmare at 20,000 Feet," "I Am Legend," "Somewhere in Time" and many other works, original and adapted.
Bruce Dern and Will Forte reminisce about their father-son road trip in Alexander Payne's "Nebraska."
Barbara Scharres sets the stage the 66th annual Cannes Film Festival.
Marie writes: the great Ray Harryhausen, the monster innovator and Visual Effects legend, passed away Tuesday May 7, 2013 in London at the age of 92. As accolades come pouring in from fans young and old, and obituaries honor his achievements, I thought club members would enjoy remembering what Harry did best.
UPDATED (08/01/12): Scroll to the bottom of this entry to see my first impressions of the newly announced critics' and directors' poll results.
Vittorio De Sica's "Bicycle Thieves" (1948) topped the first Sight & Sound critics' poll in 1952, only four years after it was first released, dropped to #7 in 1962, and then disappeared from the top ten never to be seen again. (In 2002 only five of the 145 participating critics voted for it.) Orson Welles' "Citizen Kane" (1941) flopped in its initial release but was rediscovered in the 1950s after RKO licensed its films to television in 1956. From 1962 to 2002 "Kane" has remained at the top of the poll (46 critics voted for it last time). This year, a whopping 846 top-ten ballots (mentioning 2,045 different titles) were counted, solicited from international "critics, programmers, academics, distributors, writers and other cinephiles" -- including bloggers and other online-only writers. Sight & Sound has announced it will live-tweet the 2012 "Top 50 Greatest Films of All Time" (@SightSoundmag #sightsoundpoll) August 1, and as I write this the night before, I of course don't know the results. But, for now at least, I'm more interested in the process.
Given the much wider and younger selection of voters in 2012, ist-watchers have been speculating: Will another movie (leading candidate: Alfred Hitchcock's "Vertigo," number 2 in 2002) supplant "Kane" at the top of the list? Will there be any silent films in the top 10? (Eisenstein's "Battleship Potemkin" and Murnau's "Sunrise" tied for #7 on the 2002 list, but the latter was released in 1927 with a Fox Movietone sound-on-film musical score and sound effects.)
Though there's been no rule about how much time should pass between a film's initial release and its eligibility (the Library of Congress's National Film Registry requires that selections be at least ten years old), most of the selections ten to have stood the test of time for at least a decade or two. The newest film on the 2002 list was the combination of "The Godfather" (1972) and "The Godfather, Part II" (1974) -- but they won't be allowed to count as one title for 2012.
From Jim Selvidge in Burlington, Washington:
Marie writes: Did you know that the world's steepest roller-coaster is the Takabisha, which opened earlier this year at the Fuji-Q Highland Amusement Park in Yamanash, Japan? The ride lasts just 112 seconds but is packed with exciting features including seven twists, blackened tunnels and a 43m-high peak. But the most impressive thing about Takabisha is the 121 degree free-fall, so steep that it's been recognized by the Guinness World Records as the steepest roller-coaster made from steel!
Marie writes: club member Sandy Kahn has submitted the following and I salute her web skills for having found it. Namely, an upcoming auction of film memorabilia the likes of which you rarely if ever see...
With the exception of "The Woman" (which is still in limited theatrical release), all of the films from "Bloody Disgusting Selects" are currently available on multiple platforms including Netflix (DVD only), Amazon.com and most VOD providers including Comcast, DirecTV, Amazon, iTunes, CinemaNow, VuDu and Verizon FiOS. Check your VoD provider listings, or go to www.bloodydisgustingselects.com for more information about the films and where to find them.
On DVD, all of the foreign-language films reviewed here include an optional English-dub dialogue track for viewers with an aversion to subtitles.
by Jeff Shannon
Historically and statistically, the most abundant, profitable, and creatively expressive movie genre has always been horror. It has consistently been the most viable proving ground for new talent and a focal point for the most obsessive movie fans on the planet. It's the most purely cinematic of genres, playing to the strengths of an artistic medium that has shock, surprise, dread, fear, and bloodletting built into every molecule of its DNA. It's a realm of expression that challenges masters and amateurs alike.
Of course, there's always a downside: The record-setting $50 million opening weekend of "Paranormal Activity 3" (which earned a one-star review from Roger Ebert) -- and Paramount's immediate strategy to keep that franchise booming -- provided a stark reminder that, more often than not, horror is where commerce almost always trumps art. It's the favorite plaything for copy-cats and money-grubbers. The genre's blood is frequently tainted by fast-buck pretenders and greedy opportunists who care more about profit than the genre's history, which is the worthy subject of some of the finest film scholarship that's ever been written.
When I went to the Jeonju International Film Festival in this April, I was reminded again that the old theaters at the downtown of my hometown are gone. Most of them are now replaced by a bunch of multiplexes, and I can't say the old theaters were better than their replacements. While there were the big theaters where I could enjoy movies like "Independence Day" or "Starship Troopers," I remember too well how shabby several theaters were in early 1990s, compared to the current standard; I am happy with the comfortable seats, nice bathrooms, and agreeable viewing condition in multiplex theaters.
● "Ironclad" (2011) ● "Black Death" (2010)
"Ironclad " is now available on DirecTV and other on-demand providers (check your service listings) and from Netflix (DVD and Blu-ray) starting on July 26th. "Black Death" is available on Netflix (streaming, DVD and Blu-ray) and Amazon Instant Video.
When I was a kid growing up in the Seattle suburb of Edmonds, WA (aka "The Gem of Puget Sound"), my parents did everything that good, sensible parents should do to shield their kids from violence, both real and reel. I remember being innocently intrigued by the furor over "Bonnie & Clyde" in 1967, but they would never have taken me to see it with them (to their credit, since I was only six). The same held true for "The Wild Bunch" in 1969, by which time the debate over movie violence had reached a fever pitch in our national conversation. Over the ensuing decades, that conversation has become a moot point as movie violence proceeded apace, from Sonny Corleone's death in a hail of Tommy-gun fire in "The Godfather" (1972), to the slasher cycle of the late '70s and '80s (when makeup artists Tom Savini and Rick Baker reigned supreme as a master of gory effects) and into the present, when virtually anything - from total evisceration to realistic decapitation -- is possible through the use of CGI and state-of-the-art makeup effects. That's where movies like "Ironclad" and "Black Death" come in, but more on those later.
If you're looking for a rant against milestone achievements in the depiction of graphic violence, you've come to the wrong place. To me, it's a natural progression. Movies and violence have always been inextricably linked, and once opened, that Pandora's Box could never be closed. A more relevant discussion now is how the new, seemingly unlimited gore FX should be used and justified. Horror films will always be the testing ground for the art of gore, and it would be a crime against cinema to cut the "chest-burster" from "Alien" (or, for that matter, Samuel L. Jackson's spectacular death in "Deep Blue Sea"). But it's the depiction of authentic, real-life violence -- in everything from the "CSI" TV franchise to prestige projects like HBO's "Band of Brothers" and "The Pacific" -- that pushes previously unrated levels of gore into the mainstream.
Don't get me wrong: I'm not praising this progression so much as acknowledging its inevitability. If you really love movies -- and especially if you've been lucky enough to make a career out of watching them -- you have undoubtedly seen a violent film that was unquestionably vile, unjustified and miles beyond the boundaries of all human decency. I've seen violent movies that earned my disgust because (1) the context of the violence was as abhorrent as the violence itself and (2) the intentions of the filmmakers were clearly indefensible. (Context and intention: More on that later.) Tolerances and sensibilities may vary, but every critic has seen a film that appeared to have been written and directed by sociopaths. Check out Roger Ebert's review of "I Spit on Your Grave" (the 1978 version) and you'll see what I mean.
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.
Marie writes: Having recently seen a stage play, I was reminded again of how much I enjoy them. And the buildings they're often performed in. Which sent me off looking for old ones and hopefully Theatres you never hear about - as then it's like stumbling upon a secret known only to a lucky few. And thus how I found "Minack Theatre Portcurno Cornwall" with a view over-looking the Cornish sea...
Roger and Chaz outside the CBC Studios. They were recently featured on CBS News Sunday Morning to discuss the launch of their new show "Ebert Presents At The Movies".
"Twists of fate, love and humour, perseverance and, finally, a philosophical outlook- his story has it all." - Sarah Hampson.(click photo to enlarge) From the Globe and Mail article "You couldn't write this script" published July 19, 2010.From the Grand Poobah: "A young lady with excellent taste". (click to enlarge) "Ever since I was a child messing around with a terrible paint set from K-mart, I have been obsessed with controlling pigment suspended in water. Now I paint with divine, hand-made watercolors from Holland along with brushes ranging from high-end to dirt cheap, but the obsession remains..." - from Kelly Eddington's artist statement. To read more and see her truly wonderful watercolors, visit Kelly Eddington's Website and Gallery.
Ah, watercolors.... so easy to master; only takes decades....
From Ian Carsia:
Live-tweeted from Los Angeles:
Click above to REALLY enlarge...
UPDATED 01/28/10: 2:25 p.m. PST -- COMPLETED!: Thanks for all the detective work -- and special thanks to Christopher Stangl and Srikanth Srinivasan himself for their comprehensive efforts at filling the last few holes! Now I have to go read about who some of these experimental filmmakers are. I did find some Craig Baldwin movies on Netflix, actually...
Srikanth Srinivasan of Bangalore writes one of the most impressive movie blogs on the web: The Seventh Art. I don't remember how I happened upon it last week, but wow am I glad I did. Dig into his exploration of connections between Quentin Tarantino's "Inglourious Basterds" and Jean-Luc Godard's "History of Cinema." Or check out his piece on James Benning's 1986 "Landscape Suicide." There's a lot to look through, divided into sections for Hollywood and World Cinema.
In the section called "The Cinemaniac... I found the above collage (mosaic?) of mostly-famous faces belonging to film directors, which Srikanth says he assembled from thumbnails at Senses of Cinema. Many of them looked quite familiar to me, and if I'm not mistaken they were among the biographical portraits we used in the multimedia CD-ROM movie encyclopedia Microsoft Cinemania, which I edited from 1994 to 1998, first on disc, then also on the web. (Anybody with a copy of Cinemania able to confirm that? My Mac copy of Cinemania97 won't run on Snow Leopard.)
Director Joe Dante ("Piranha," "The Howling," "Gremlins," "Matinee," "Homecoming") talks with Dennis Cozzalio about stories and effects at Sergio Leone and the Infield Fly Rule, in one of the most enjoyable filmmaker interviews I've read in a long time:
... I'm not saying all these new techniques are better. Unfortunately, you can't go home again, and it is difficult to make films using the old technology. I've seen a couple of pictures in Europe when I've gone to festivals where they have carefully tried to use the old Rob Bottin-Rick Baker school of do-it-in-the-camera, and it's often very effective, but those movies often don't get released anywhere because they're not CGI, they're not what people expect. I mean, love it or hate it, CGI is here to stay -- the trick is to find a way to work it so that it doesn't look as sterile and mechanical as by definition it is.
From Ebert's new book, now on sale.
David Mamet's recent "Redbelt" is an example of a kind of movie that needs a name. It's not precisely a thriller, or a suspense picture, or a police procedural, and although it occupies the territory of film noir, it's not a noir. I propose this kind of film be named a Twister, because it's made from plot twists, and in a way the twists are the real subject.
Raping Dakota and Feeling Minnesota: Despite all the publicity, "Hounddog" ain't nothin' but a dog, say critics. It's not dangerous, after all.
"As its poster and advertising remind us, "Quinceañera" won both the jury and audience prizes at the 2006 Sundance Film Festival, and those honors are strangely indicative of its dramatic and stylistic limitations. If there was ever a movie that seemed precision-tailored for a Park City reception, this is it -- the quintessential example of the festival's favored brand of hand-crafted, slice-of-life, youth-oriented filmmaking that expresses affection for a nicely captured American subculture. In other words, it's a Sundance specialty, right from the box.
"This is a shopping-list movie: A double coming-of-age story spiced with local color; a bittersweet portrait of a Los Angeles neighborhood in transition; a warm and soapy celebration of a Mexican-American community. "Quinceañera" is also a thoroughly predictable melodrama that's both kitchen-sink and 'After-School Special.'"
-- from my review of "Quinceañera" last summer
One of the debilitating side effects of the pop-culture "mainstreaming" (if I may use an ugly marketing term) of the Sundance Film Festival brand over the last 20 years or so has been the over-glorification of what I call resumé movies. These are films, cobbled together from familiar elements designed to appeal not only to a Sundance jury (or audience), but with an eye toward getting the filmmakers some "Hollywood" money for their next picture. And that, in itself, is fine. Nothing wrong with trying to climb the ladder of success. But I don't particularly want to watch somebody's resumé on a movie screen, particularly when it's sold to me as a "personal story" (or a "subversive thriller") and plays like pure Hollywood formula schlock.
John Sayles admits that "Return of the Secaucus 7" was just such a resumé picture. After years of writing horror and exploitation scripts for Roger Corman ("Piranha," "The Lady in Red," "Alligator"), he wanted to start directing his own, more personal stuff. The reason there's a basketball game in the movie was simply to show that he knew how to handle an action sequence. But Sayles was expanding his craft and moving from formulaic commercial genre filmmaking toward more personal projects, not the other way around.
Remember "Project Greenlight," the HBO (then Bravo) series, produced with good intentions by Matt Damon and Ben Affleck, with the Weinstein Miramax? The deal was that they would choose an unproduced first-time script and give a novice director a chance to make the movie, which Miramax would finance and distribute. By the third (and final) season, they joined forces with Wes Craven and were making a horror exploitation film for Miramax's Dimension division.
Samuel Z. Arkoff, who in some ways invented modern Hollywood, died Sunday of natural causes in a Burbank hospital. The co-founder of American-International Pictures and the godfather of the beach party and teenage werewolf movies was 83.