Several great movies have been released on Blu-ray and DVD lately, including "99 Homes," "Black Mass," "Crimson Peak" and a Criterion version of Charlie Chaplin's "The Kid."
Sheila writes: In the films of Spike Lee, the characters often break the fourth wall and speak directly into the lens. There's a break in the action, and the dialogue spoken to the camera feels almost like it's from a documentary, with the "talking head" giving us more information for context. In this cut from the wonderful video-site "Press Play," watch the best To the Camera moments from Spike Lee's films.
Marie writes: remember "The Heretics Gate" by artist Doug Foster? Well he's been at it again, this time as part of an exhibit held by The Lazarides Gallery - which returned to the subterranean depths of The Old Vic Tunnels beneath Waterloo Station in London, to present a spectacular group show called The Minotaur. It ran October 11th - 25th, 2011 and depending upon your choice (price of admission) dining was included from top Michelin-star chefs.Each artist provided their own interpretation of the classical myth of Theseus and the Minotaur and as with The Heretics Gate before it, Cimera, Doug Foster's new and equally as memorizing piece made it possible to project whatever comes to mind onto it, as images of body forms and beast-like faces take shape and rise from the bowels of earth. (click image to enlarge.) Photo by S.Butterfly.
I met Dalton Trumbo only once, five years ago, but he made an impression I've not forgotten. The meeting was for lunch, long and leisurely, on the occasion of the opening of his film, "Johnny Got His Gun." Trumbo had directed the film at the age of 66, from a novel he wrote when he was 33. In the lifetime between those two ages he had been the highest-paid writer in Hollywood, had spent 10 months in prison and had won an Academy Award under a false name.
Dalton Trumbo's "Johnny Got His Gun" seemed for years to be one of those novels that could never be made into a movie. It took place entirely within the mind of a soldier who was so grievously wounded in World War I that he had only the most tenuous contact with the world. He had no arms, no legs, no sight or hearing, no way to speak.