xXx: Return of Xander Cage
The last forty minutes of the movie do come together in a pretty diverting way.
* 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.
This excerpt from James Greenberg's "Roman Polanski: A Retrospective" looks at Polanski's breakthrough American film "Rosemary's Baby."
Marie writes: Intrepid club member Sandy Khan has sent us the following awesome find, courtesy of a pal in Belgium who'd first shared it with her. "Got Muck?" was filmed by diver Khaled Sultani (Emirates Diving Association's (EDA) in the Lembeh Strait, off the island coast of Sulawesi in Indonesia. Camera: Sony Cx550 using Light & Motion housing and sola lights. Song: "man with the movie camera" by cinematic orchestra.
You may find it disturbing to see audiences laughing while watching "The Exorcist"(1973), but you will probably not see any problem in having some laugh with "Rosemary’s Baby" (1968). It goes without saying that they are two of the most chilling modern horror films, but, while the former unsettles us with its utmost solemnness parodied many times since it came out, the latter has a spooky sense of humor immune to parodies. How can you make an effective parody to undermine a horror film if it already has a devilish tongue slyly placed on its dark cheek?
I will do most anything to avoid thinking. At the hint of strenuous thought I flee. I run like the dickens. I do not want my world to be disrupted. Seventy five percent of my energy is spent repairing a glorious cocoon of comfort.
Inside this shelter there is no overhead lighting, only lamps. There are no cold mornings or metaphysical crises. Everything is as it should be. Every question is easily answered. There you will find me licking my wounds, secretly enjoying the tang of blood and pus. Thankfully, for the health of body and soul, this cocoon is under constant siege. The valiant twenty five percent of life force that remains does all in its power to destroy a sheltering that in reality is more prison than sanctuary. This twenty five percent is Saint George. The cocoon is the terrible dragon. It is death.
As Cocteau said, "comfort kills creativity." You will find me angrily hissing this to myself all day every day. On good days I heed the wisdom of the French man. On bad ones I refuse.
The Grand Poobah writes: I saw this stag in the Michigan woods near our country place, where I am still working on my memoir. (click to enlarge)
From Dennis Cozzalio, Sergio Leone and the Infield Fly Rule:
Brian De Palma’s exceedingly stimulating and sensational consideration of femme fatale iconography and the possibility of redemption within it begins with one of the director’s customarily brilliant, multilayered opening shots. Under the black of the producers credits, familiar voices are heard. It’s Fred MacMurray. Fade up on a shot of an extreme close-up of a TV. It’s MacMurray, 525 broadcast lines blown up to big-screen size, in "Double Indemnity". But a close examination of the image reveals a splash of color -- something else is visible here, contrasting with the black-and-white images of Billy Wilder’s film. It’s a reflected image of a half-naked woman stretched out perpendicular across the TV screen. She is watching "Double Indemnity", and we see her watching the movie in her reflection off the glass TV screen. "Double Indemnity" continues to play out, crosscutting between MacMurray and the original femme fatale, Barbara Stanwyck (as Phyllis Dietrichson).
The image of the young woman becomes clear, yet remains slightly ghostly, as the image in Wilder’s film darkens. MacMurray moves to close a window, when a shot rings out. Stanwyck has betrayed him with a bullet, and the title credit "Femme Fatale" pops on screen at the same time, as the ethereal image of the woman, reclining on her side, dispassionately watching the movie, lingers. (The title credit “A Film by Brian De Palma��? was earlier synchronized with Stanwyck’s first appearance on the TV.) Now De Palma’s camera begins to pull back. We see the cabinet of the TV, and we can now also observe that there are French subtitles superimposed on Wilder’s film. The image of the woman reflected in the TV seems even clearer now, as we continue to pull back, seeing her much more clearly in the flesh, gray tendrils rising from the cigarette she’s smoking while watching the TV. At this point there is double layering of the woman’s image, the reflection and the person being reflected, over the image of Stanwyck, who has taken a dominant position over her wounded lover as she confesses her machinations against him.
Buffy Barko. Sarah Michelle Gellar in Richard Kelly's "Southland Tales."
When "Donnie Darko" sank without a trace after its theatrical release in October, 2001, writer-director Richard Kelly feared his (potential) career had gone down with it. Then, the movie became a cult phenomenon on DVD and Kelly, like his alliterative hero, was given a second chance.
The signs since then have not been enouraging: a screenplay for Tony Scott's "Domino," a film that graced many of last year's Ten Worst lists; and (far more disturbing) a "director's cut" of "Donnie Darko" that indicated Kelly didn't know what he'd done right the first time. All the best qualities of the film -- its teasing ambiguity, its creepy playfulness -- were nearly crushed in an attempt to laboriusly spell out an elaborate science-fiction/time travel mythology. What was once a tantalizing undercurrent was thus made literal and dull. More "explanation" of geeky but arbitrary "rules" simply reduced the movie's sense of possibility and imagination... and made it a lot less fun. If the "DD" director's cut had been the original version of the movie, it would never have piqued enough curiosity to have developed much of a cult following.
Now, the reviews from Cannes of Kelly's long-awaited and highly anticipated sophomore feature, "Southland Tales," suggest Kelly hasn't learned anything from his "Donnie Darko" director's cut experience. Most of them are devastating -- by which I mean they're at least as bad as the ones for "The Da Vinci Code," and worse than the ones for "X-Men: The Last Stand."
Q: I recently found out that David Gordon Green's film "A Confederacy of Dunces," with Will Ferrell and Drew Barrymore, has been canceled. Green is one of my favorite directors and I have high hopes for his career. What is the story behind the cancellation and what will this do to his career? Jonathan Warner, Evanston
A sampling of movies from the Toronto International Film Festival from the editor of RogerEbert.com, who was celebrating his fifth TIFF.
Once was that all American movies were made by Hollywood directors, and the way you got to be a Hollywood director was to have been one for 30 years. A few foreign directors like Jean Renoir were summoned to Hollywood, but they invariably found it impossible to make movies with the studio czars breathing in their ears. And so it was often true that Hollywood movies were products of Group Think, and foreign movies were the work of individual directors.