In Memoriam 1942 – 2013 “Roger Ebert loved movies.”

RogerEbert.com

Thumb_large_pyzhflb8qgqszkr4ku8mwrjayfa

The Do-Over

At one point, I checked the time code on Netflix and saw that the movie had over forty minutes to go. I visibly winced.

Thumb_balpko1iwwmmxte0ffzy9fw3jid

Of Men and War

Bécue-Renard brings his own brutality to the topic of PTSD, by putting us at odds with feeling his subjects' pain, or only studying it.

Other Reviews
Review Archives
Thumb_xbepftvyieurxopaxyzgtgtkwgw

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…

Thumb_jrluxpegcv11ostmz1fqha1bkxq

Monsieur Hire

Patrice Leconte's "Monsieur Hire" is a tragedy about loneliness and erotomania, told about two solitary people who have nothing else in common. It involves a…

Other Reviews
Great Movie Archives
Other Articles
Channel Archives

Groundhog Day is here, and here, and here...

ghd.jpg

"Life might very well lack purpose, and it might very well be a struggle. But that doesn't mean you have to be an asshole about it."

So writes Ali Arikan in his thoroughly illuminating (and not at all repetitious) "Imagining Sisyphus Happy: A 'Groundhog Day' Retrospective" at The House Next Door. This is one of those appreciations that lights up the movie from within, and makes you happy reading just it, as the writer weaves together detailed observations of the film itself and parallels to "It's a Wonderful Life," "The Sopranos," Schopenhauer and Camus. And it's funny!

A shot of a blue sky (cotton-white clouds floating, lazily, across the screen) opens the film. Every few seconds the shot changes--yet it remains the same. The sky is blue, the clouds as pearly as before and still in their hazy dance, even though they are not the same as the ones from the previous shot. It is a visual metaphor that permeates the rest of the film. That it is intertwined with an otherworldly small town marching band track only adds to the positively Lynchian feel.

Eventually, the sky cuts to a blue screen as an outstretched palm invades the frame from the right, looking like it belongs to an illusionist--a flick of the wrist, a legerdemain, and an Ace of Spades might suddenly appear, dangling precariously from the tip of the fingers. The illusionist in this case is Phil Connors (Bill Murray, wonderfully channeling W.C. Fields), a weatherman with Channel 9 Pittsburgh, acerbic and detached from his fellow humans to the point of nervosa. In this brief moment, however, beyond Phil's soul-devouring sarcasm, we are presented with one of the film's central themes. That our lives as we live them are illusions--not in a New Age/Philosophy 101 sense, but in the way that we reflect into them the meaning that we want them to have. The blue screen is, in fact, Phil's tapestry, and he is, in fact, its creator.

After reading this, you know what's going to happen. You're going to have to watch it again...

Popular Blog Posts

Who do you read? Good Roger, or Bad Roger?

This message came to me from a reader named Peter Svensland. He and a fr...

Memoirs of a Geisha, Part II: How Are Geisha or Nerd Stereotypes Harmful?

Part two of Jana Monji's essay about the portrayal of Asian characters in cinema.

Back to "Roots" with a Multi-Channel Remake of the Television Classic

A review of the History Channel remake of the landmark mini-series, "Roots."

I believe Dylan Farrow

Separating the artist from the art isn't as easy as it sounds.

Reveal Comments
comments powered by Disqus