The Man Who Knew Infinity
An account of a remarkable person should strive to be as equally remarkable as its subject, not the timid and tidy boilerplate special of a…
* 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.
A report from SXSW 2016 on the latest from Ti West, Keegan-Michael Key & Jordan Peele, John Michael McDonagh and more.
A review of the Hulu eight-part event series adaptation of Stephen King's bestselling book.
An interview with experimental filmmaker Mark Rappaport.
A look at the latest additions to the now-completed Sundance 2016 lineup.
An interview with "World of Tomorrow" director Don Hertzfeldt.
This month's short film, "Air Conditions," and an interview with its director.
Art house film desert of L.A.; 'Arrested Development' taught me to read the scriptures; Stuart Gordon on "Re-Animator"; Stop writing think-pieces on what you haven't seen; Missing history of Ravensbrück.
Our racial moment of truth; Legacy of "The Shining"; Hollywood reaches a feminist tipping point; Christopher McQuarrie on "Mission: Impossible 5"; Ezra Miller and Michael Angarano.
MTV's Scream and CBS's Zoo premiere tonight. One is worth your time. Which one?
A personal reconsideration of Clive Barker's "Nightbreed" in light of its Blu-ray Director's Cut.
A look at Kimberly Pierce's 2013 version of "Carrie."
A history of movies not directly based on comic books but definitely inspired by them.
Brian De Palma talks about his new film "Passion," his long career and seeing one of his most famous films, "Carrie," get a remake.
Peter Sobczynski ranks 27 films by Brian De Palma.
The first rule in Elmore Leonard's ten rules of writing is "Never open a book with the weather." It could never be a "dark and stormy night" in Leonard's universe. Instead, he opened his novels with nonchalant statements of character-driven fact. "Rum Punch" begins "Sunday morning, Ordell took Louis to watch the white-power demonstration in downtown Palm Beach." "The Hot Kid" informs us that "Carlos Webster was fifteen the day he witnessed the robbery and killing at Deering's drugstore." And "Glitz"'s opening line kicks off two and a half of Leonard's most readable pages with "The night Vincent was shot he saw it coming." Elmore Leonard got straight to the point. His characters were sometimes in love with their verbosity, but Leonard the narrator did not share this predilection. The omnipotent voice running through Dutch Leonard's work told you who said what, who did what, and the darkly comic repercussions of both. No writer wrung more color out of simply telling you what happened than Dutch Leonard. "Melanie was holding it in both hands now, arms extended, aimed at Gerald. "He tossed the shotgun to land on the sofa, looked up at Melanie and said 'Okay, now you put that down, honey, and I won't press charges against you.' Confident about it, as though it would settle the matter."Melanie didn't say anything. She shot him." –"Rum Punch"Leonard's characters were a multi-racial motley crew of cops, criminals, outlaws, lawyers, cowboys and sociopaths. They did not always follow the crime fiction novel's gender conventions. Strong, brutal women and weak, emotional men were not verboten. Leonard's characters were beholden to their own self-defined notions of ethics and morality. They were often much less clever than they thought; their flaws of nemesis underestimation became their undoing. Those who survived sometimes found themselves in other novels. Leonard never passed judgment as his characters flamed out in pitch black comic blazes both pathetic and glorious. To do so would violate his last and most important rule of writing: "Leave out the parts readers tend to skip." Much of the pleasure of reading Elmore Leonard was in the dialogue, which is why so many of his books became movies and TV series. Leonard followed his rule of "avoiding detailed descriptions of characters" by having his people talk to each other. He had an ear for the way conversations flowed, whether they were conducted on the street, in the precinct, or on the range. For a White guy, he certainly knew how to sound convincingly like the Black dudes who populated many of his novels. He captured the cadences of their speech, and did so without stereotype. His Brothers sounded like the guys I heard on the street in my old neighborhood; his cops sounded like cops I knew. Leonard embraced and elevated what they said, letting them ramble on whenever necessary. This love of casual chatter is probably what drew Tarantino to adapt "Rum Punch" as "Jackie Brown." It's certainly what made him pull entire chunks of Leonard's dialogue verbatim into the "Jackie Brown" script.The labyrinthine plots Leonard dragged his characters through were overly complicated yet always compelling. Even in something as spare and nasty as "52 Pick-Up," the first book of his I read, Leonard toyed with the expectations of where his stories took us. Even in the most convoluted plots, there was a feeling that the reader got entangled in this mess by virtue of the characters' machinations, not the author's. Before turning to the Florida-set crime stories that became his trademark, Elmore Leonard wrote Westerns. "3:10 to Yuma" and "The Tall T" were based on his work, as was Paul Newman's 1967 film "Hombre." Starting with "The Big Bounce" (made with Ryan O'Neal in 1969), Leonard changed his genre but kept many of the characteristics of a good Western. For example, "Mr. Majestyk" features a character protecting his "homestead" in much the same way as Jimmy Stewart or Randolph Scott would have. And of course, "Justified"'s Raylan Givens is the perfect synthesis of both genre halves of Leonard's work. Is there another author besides Shakespeare and Stephen King whose prolific output inspired so many movie adaptations? And by directors as varied as Abel Ferrara, Steven Soderbergh, Quentin Tarantino, Budd Boetticher, John Frankenheimer, Barry Sonnenfeld and Burt Reynolds (whom I'm sure Leonard wanted to shoot after seeing "Stick"). The stories vary from tales of Hollywood to big money heists to sleazy exploitation. Regardless of quality—and it varied from film to film—the spirit of Dutch Leonard's prose was felt by the viewer. Since I was 17, Elmore Leonard has been my favorite writer. I told him so the one time I met him. It was at the now defunct and long-gone Waldenbooks on Exchange Place and Broadway in Manhattan. He was there to sign copies of "Rum Punch," which was eerily prescient since it was the basis of my favorite film adaptation of Leonard's work. He was a very nice man, patiently listening to the 22-year-old aspiring writer whose excited rambling violated Leonard's fourth rule of writing ("Keep your exclamation points under control!"). When I was done, he verified the spelling of my name, signed my book and wished me luck with my writing.I hadn't thought about that meeting in a while, but when I heard that Leonard died today, it rushed back to me with the immersive force of a good Elmore Leonard set piece. There was casual chatter, a cool as a cucumber experienced character, and a matter of fact, straightforward rendering of events. Nobody got shot, which is a good thing for me, but that didn't make my run-in with Mr. Leonard any less memorable. Rest in peace, Dutch.
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.
Is "Room 237" some kind of crazy joke? Rick Ascher's much-discussed "subjective documentary" features five people who present their theories/interpretations of the "hidden meanings" they say they've found in the rooms and corridors of Stanley Kubrick's Overlook Hotel, the setting of his chilly 1980 horror film, "The Shining." I'm asking a question; I don't know the answer. I haven't yet had the opportunity to see the picture, which has played a number of festivals (Sundance, Cannes, Toronto, NY, London, Karlovy Vary) and has been picked up by IFC Films and is slated for release in 2013. I have seen Ascher's 2010 short, "The S from Hell," however, which the "Room 237" web site says "in many ways laid the groundwork" for the new film. That one is satire.
Streaming on Netflix Instant
"Carrie" (1976) was based on standard horror material but became memorable thanks to Brian De Palma's ability to keep an audience unnerved every step of the way. Think for a moment of the nature of telekinesis, the film's supernatural gimmick. The ability to mentally transport things is surely not as intriguing or frightening as the gifts of other Stephen King characters, but the director seems to realize that once the public buys it, he can then take liberties and add it to other dimensions related to the protagonist's fears and obsessions. That's s what made the picture unsettling. Some of the De Palma's other films have felt more like exercises in movie craftsmanship ("Body Double," "Raising Cain," "Snake Eyes") but this particular story lent itself particularly well to his usual directorial traits and they felt fresher at this stage of his career.
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?
Marie writes: I've never seen this done before - and what an original idea! Gwen Murphy is an artist who breathes new life into old shoes, transforming them from fashion accessories into intriguing works of art. Thanks go to club member Cheryl Knott for telling me about this. (Click to enlarge.)
David Cronenberg's "The Dead Zone" (1983) is my favorite adaptation of a Stephen King horror novel. Some parts from "The Shawshank Redemption" are terrifying in a different way, and are better classified in other genres. I'm also fond of some of the other films his works have inspired. "Carrie" and "The Shining" were mostly outstanding, but the casting of adults as teens in the first and the absence of an everyman feel to the lead protagonist in the second are the main reasons why I place "The Dead Zone" above them. The latter films were made by exceptional directors (DePalma and Kubrick), but Cronenberg's taste for the unusual, turned out to be a more adequate fit for King's material.
Sometimes ordinary people becoming evil are more frightening than Dr. Hannibal Lector or Frank Booth. Villains like them are downright scary, but they are basically outsiders with a monstrous nature beyond our common sense. In contrast, the characters in Sam Raimi's crime thriller "A Simple Plan" (1998) are nice, ordinary people we can identify with, at least in the beginning. We can recognize their human wishes, desires, and motives. We can understand why they are driven into the plot while it's getting bloodier and more complicated. As a result, it is frightening to observe them doing horrible things, and one question immediately pops up in our minds - what would I do if I were in their circumstance?
"The Innkeepers" is streaming online through Amazon Instant and Vudu. It is also offered on some cable systems' On Demand channels and opens theatrically in a limited release February 3rd. The official website is here.
by Steven Boone
The trailer for "The Inkeepers" betrays a basic insecurity common in low-budget indie films nowadays: They want you to think they're as loud and hectic as their big-budget counterparts. They're afraid you won't show up otherwise. And so this horror film which builds its scares slowly, stealthily and through the peculiar quirks of its characters is sold as just another clangy, generic mainstream fright flick. Mercifully, the actual film shows only a little of this poisonous "ambition." It's mostly just a good old-fashioned ghost story, well told.
This film's wealth of personality is apparent early on, as director Ti West takes his time recording the subtle oddball chemistry between Claire (Sarah Paxton) and Luke (Pat Healy), the only staff on duty at the Yankee Pedlar Inn. Luke is obsessed with documenting a legendary ghost at the Pedlar for his website. He is surprised to find that Claire, his secret geek-girl crush, is just as fascinated by the subject. For a healthy stretch of the film we just watch them goofing off and pranking each other when not rendering poor service to the inn's only two guests (one played by Kelly McGillis from "Top Gun," appearing about 15 years older than her actual age--the biggest jolt of the movie, for a viewer over 30).
In the biochemistry class during my naive undergraduate years, the professor jokingly said the capability of metabolizing alcohol depends on our genetic makeup. Thanks to the variations in the genes, some people can produce more enzymes or more active enzymes to take care of alcohol in their body. They can be heavy drinkers, or the ones less susceptible to the hazards caused by alcoholism than their fellow drunks.
That may explain the existence of Charles Bukowski (1920-1994), the "laureate of American lowlifes" who lived a relatively long life despite many days and nights of bottles and women at the bars. As Stephen King says in his insightful book "On Writing," writing usually has no business with drinking ("Hemingway and Fitzgerald didn't drink because they were creative, alienated, or morally weak. They drank because it's what alkies are wired up to do."). Sometime there are exceptions like Bukowski. Drinking and writing always came together to him, and he had no problem with that.