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Keeping Up with the Joneses

It comes up decidedly short, and if any of your own neighbors suggest otherwise, you might want to begin looking upon them with what will…

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Ballad of Narayama

"The Ballad of Narayama" is a Japanese film of great beauty and elegant artifice, telling a story of startling cruelty. What a space it opens…

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The 2013 Santa Barbara International Film Festival (by way of Oklahoma)


Seasonal anticipation: as 2013 debuted, many were feeling it. The 28th iteration of the Santa Barbara International Film Festival, aka "SBIFF," was on the wind, with jazzed moviegoers soon to converge elbow-to-elbow in a familiar, even familial, and happy bustle on downtown's State Street.

I was among the excited, as this would be my third year covering the festival. And for me, extra sweetening would be provided by the tribute to Daniel Day-Lewis, the oft-reticent acting genius whose reanimation of Abraham Lincoln seemed certain to bring another Best Actor Academy Award -- his 3rd, making him the only actor to surpass Marlon Brando, who received 2.

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#139 October 24, 2012

Marie writes: The countdown to Christmas officially begins the day after Halloween, which this year lands on a Wednesday. Come Thursday morning, the shelves will be bare of witches, goblins and ghosts; with snowmen, scented candles and dollar store angel figurines taking their place. That being the case, I thought it better to start celebrating early so we can milk the joy of Halloween for a whole week as opposed to biding adieu to the Great Pumpkin so soon after meeting up again...

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The great movies (almost) nobody voted for


OK, this is where it really gets interesting. Forget the consensus Top 50 Greatest Movies of All Time; let's get personal. Sight & Sound has now published the top 250 titles in its 2012 international critics poll, the full list of more than 2,000 movies mentioned, and all the individual lists of the 845 participating critics, academics, archivists and programmers, along with any accompanying remarks they submitted. I find this to be the most captivating aspect of the survey, because it reminds us of so many terrific movies we may have forgotten about, or never even heard of. If you want to seek out surprising, rewarding movies, this is a terrific place to start looking. For the past few days I've been taking various slices at the "data" trying to find statistical patterns, and to glean from the wealth of titles some treasures I'd like to heartily recommend -- and either re-watch or catch up with myself.

I know we're supposed to consider the S&S poll a feature film "canon" -- a historically influential decennial event since 1952, but just one of many. I don't disagree with Greg Ferrara at TCM's Movie Morlocks ("Ranking the Greats: Please Make it Stop") when he says that limiting ballots to ten all-time "best" (or "favorite," "significant," "influential" titles is incredibly limiting. That's why I think perusing at the critics' personal lists, the Top 250 (cited by seven critics or more) and the full list of 2,045 films mentioned is more enjoyable pastime.

It's wise to remember that, although the top of the poll may at first glance look relatively conservative or traditional, there's a tremendous diversity in the individual lists. Even the top vote-getter, "Vertigo," was chosen by less than one quarter of the participants.

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Greatest Films of All Time: Where's the funny?


The big loser in the 2012 Sight & Sound critics poll is... funny. OK, we know there are no losers, only winners! But, still, with the obvious exceptions of "Citizen Kane" and "Rules of the Game," this decade's consensus choices for the Greatest Films of All Time are not a whole lotta laughs, even though they're terrific motion pictures. There's not much in the way of chuckles or joie de vivre to be found in "Vertigo," "Tokyo Story," "Man with a Movie Camera," "The Searchers," "The Passion of Joan of Arc"... At least "Sunrise," "2001: A Space Odyssey" and "8 1/2" have healthy senses of humor, but "Kane" and "Rules of the Game" are the only movies in the top 10 with the propulsive vitality of (screwball) comedy. They are flat-out fun (even if they are regarded as "classics"). And with "Kane" bumped to #2 this time, The List has become, to paraphrase a great comedy from the 1980s, one less funny.

I say this as someone who believes that comedy is everything, and that drama is lifeless (or at least emotionally stunted) without it. Some might argue that comedy without drama is also limited and superficial, but I think comedy is more profound and complex -- and more difficult to pull off successfully. I can name plenty of comedies that capture a mature vision of human existence (if you're into that kind of thing -- like all of Buster Keaton), but a drama that (artificially) excludes humor is feels false and inert to me. [No, I'm not saying the other movies in the Top Ten are humorless or lack cinematic exuberance; just that their energy is not primarily comedic, as i feel Welles' and Renoir's are. To some extent, I'm talking about the overall tendency to value "seriousness" above "humor" in these sorts of exercises.] As for the 2012 Sight & Sound Top Ten, compare it with 1982 ("Singin' in the Rain," "The General"), 1992 ("L'Atlante") and 2002 ("Singin' in the Rain"). The lack of comedy on the new list hearkens back to the Somber Ol' Days of the 1950s, '60s and '70s. As somebody once said: Why so serious?

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David Simon: Damn right Omar is cool. Get over it.


"The number of people blogging television online -- it's ridiculous. They don't know what we're building. And by the way, that's true for the people who say we're great. They don't know. It doesn't matter whether they love it or they hate it. It doesn't mean anything until there's a beginning, middle and an end. [...]

I do have a certain amused contempt for the number of people who walk sideways into the thing and act like they were there all along. It's selling more DVDs now than when it was on the air. But I'm indifferent to who thinks Omar is really cool now, or that this is the best scene or this is the best season. It was conceived of as a whole, and we did it as a whole. For people to be picking it apart now like it's a deck of cards or like they were there the whole time or they understood it the whole time -- it's wearying. Because no one was there in the beginning, or the middle, or even at the end. Our numbers continued to decline from Season 2 on.* -- David Simon, creator of "The Wire," "Generation Kill," "Treme"

I've heard some very good film critics make this argument before, too. Of course, a movie has a beginning, a middle and an end (although, as Jean-Luc Godard reminded us, not necessarily in that order). That's the fabled "three-act structure" all the screenplay manuals talk about. Wim Wenders and other great directors have observed that they always make at least two movies: the one they set out to make and the one they discover while they're trying to make the first one. Same goes for watching a movie or TV series: there's always the show you watch when its destination is unknown, and the one you reconsider after you know how it ended up.

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