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Winter Sleep

The running time of his new picture Winter Sleep, three hours and change, suggests weight, but at it happens, this movie struck me as both…

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Mr. Turner

Filmmaker Mike Leigh's biography of the landscape painter J.M.W. Turner is what critics call "austere"—which means it's slow and grim and deliberately hard to love—yet…

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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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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…

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These guys make Guy Ritchie's career all the more insignificant

I was recently on a plane from Chicago to Seattle and Guy Ritchie's "Sherlock Holmes: A Game of Shadows" (2011) was playing. I didn't watch it (to paraphrase "Night Moves": "I saw a Guy Ritchie movie once...") but every time I looked up at the screens, the same thing would happen: The action would speed up and slow down within individual shots. In the days of film, you might call it overcranking and undercranking, but this was digital. You remember "The Matrix." It was all very 1999.

Shortly thereafter I saw this video (and many others) by Genki Sudo / World Order. I find their movements, accomplished with their bodies in real time and not with camera tricks, mesmerizing (robot moves aside, reminiscent of David Byrne's "Once in a Lifetime") and somehow quite moving. They're getting at something profound about the rhythms of technology and biology and modern rituals. And, as a side effect, they make Guy Ritchie's directorial career look all the more insignificant.

L to R: Takashi Jonishi, Yusuke Morisawa, Ryo Noguchi (chief choreographer), Genki Sudo (vocal, producer & director, retired Ultimate Fighter), Masato Ochiai, Akihiro Takahashi, Hayato Uchiyama.

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