An interview with Alex Thompson and Kelly O'Sullivan, director and writer/star, respectively, of the CCFF-opening Saint Frances.
Walter Chaw revisits Oliver Stone's 1981 horror film "The Hand" and explores the director's fascination with nightmares and the uncanny.
An appreciation of Nastassja Kinski, on the occasion of a tribute to her at the Film Society at Lincoln Center from November 27-December 3, 2014.
Marie writes: Widely regarded as THE quintessential Art House movie, "Last Year at Marienbad" has long since perplexed those who've seen it; resulting in countless Criterion-esque essays speculating as to its meaning whilst knowledge of the film itself, often a measure of one's rank and standing amongst coffee house cinephiles. But the universe has since moved on from artsy farsty French New Wave. It now prefers something braver, bolder, more daring...
Marie writes: Behold a truly rare sight. London in 1924 in color. "The Open Road" was shot by an early British pioneer of film named Claude Friese-Greene and who made a series of travelogues using the colour process his father William (a noted cinematographer) had been experimenting with. The travelogues were taken between 1924 and 1926 on a motor journey between Land's End and John O'Groats. You can find more footage from The Open Road at The British Film Institute's YouTube channel for the film. You can also explore their Archives collection over here.
Marie writes: If I have a favorite festival, it's SXSW and which is actually a convergence of film, music and emerging technologies. However it's the festival's penchant for screening "quirky" Indie movies which really sets my heart pounding and in anticipation of seeing the next Wes Anderson or Charlie Kaufman. So from now until March, I'll be tracking down the best with the zeal of a Jack Russell terrier! Especially since learning that Joss Whedon's modern B/W take on Shakespeare's "Much Ado About Nothing" is set to screen at SXSW 2013 in advance of its June 21st US release date; they'll cut an official trailer soon, rubbing hands together!
Marie writes: Behold a truly inspired idea...Age 8: Eileen's pink creature It started with a simple idea: to make a recognizable comfort toy for her 4 year-old son Dani, based on one of his drawing. His school had asked the children to bring in a toy from home; an emergency measure in the event of a tantrum or crying fit. Fearing he might lose his favorite, Wendy Tsao decided to make Dani a new one. Using a drawing he often made as her guide, she improvised a plush toy snowman. Five years later, Wendy Tsao has her own thriving home-based craft business - Child's Own Studio - in which she transforms the imaginative drawings of children into plush and cloth dolls; each one handcrafted and one-of-a-kind. She receives requests from parents all over the world; there's 500 people on waiting list. Note: kudos to club member Sandy Kahn for submitting the piece.
Q. There are two movies this month about conspiracies in the White House. One is Clint Eastwood's "Absolute Power." The other one is "Shadow Conspiracy," starring Charlie Sheen. I noticed an add for "Shadow Conspiracy" that read: "Life. Liberty. And the Pursuit of Absolute Power." Do you think this was a coincidence, or an attempt by the Sheen movie to rip off the title and beat Eastwood to the finish line? (Casey Anderson, Schaumberg, IL)
Q. Does it strike you that some movie sound effects are overdone? I've noticed in recent years that when a movie couple gets passionate, their kisses sound like they're sucking a peach. If I kissed my wife that sloppily, she'd wipe off her face and send me to the guest room for the night. And what about movie punches? Movies have been overdoing fight sound effects for years. My most vivid memory of "Rocky III" was of Sylvester Stallone and Mr. T beginning their fight with punches that would kill the average person. Do you feel that sound effects are as cliched as some of the other areas you cover in your Little Glossary? (Steven Bailey, Jacksonville Beach, Fla.)