A review of Netflix's new series, "Santa Clarita Diet," which premieres tomorrow.
Tom Shales looks at "Carson on TCM," a weekly series of shows culling great Carson interviews.
Of late, I've been thinking about how I got here. Here, in love with movie watching and movie making. Here, in a design school in India, and not an engineering college or a medical school like predetermined for most Indian students. Here, in correspondence with a huge role model of mine. Here, doing what I love.
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.
Marie writes: Summer is now officially over. The berries have been picked, the jam has been made, lawn-chairs put away for another year. In return, nature consoles us with the best show on Earth; the changing of the leaves! I found these at one of my favorites sites and where you can see additional ones and more...
[This resurrected piece is my contribution to the Steven Spielberg Blogathon co-hosted by Adam Zanzie (Icebox Movies) and Ryan Kelly (Medfly Quarantine). Originally published in the (pre-home-video) December, 1982, issue of The Informer, a monthly publication of the Seattle Film Society, when I was just a wee lad, barely a quarter-century old.]
"E.T." is a universal film -- and I'm not just talking about the MCA company that released it. Steven Spielberg's latest celluloid fable is fast on its way to becoming the most popular movie ever made. Yet, unfortunately, critical attention has been focused primarily on the phenomenon of "E.T." rather than on the cinematic merits of the movie itself. So much has been said about "E.T." as an extraordinary entertainment, a masterfully orchestrated work of childlike wish-fulfillment, that people seem to have overlooked the fact that it's also -- dare I say it? -- a rich and resonant Work of Art. Perhaps Spielberg is too unassuming, too unabashedly populist in his style and (overt) subject matter to make critics sit up and take notice of what he's doing from shot to shot.
Nevertheless, "E.T." is connecting with millions of people worldwide -- and for good reason. Like "Close Encounters of the Third Kind," Spielberg's other masterpiece about intergalactic harmony and understanding (and perhaps the largest-scale abstract/experimental film released by a major Hollywood studio since Stanley Kubrick's "2001: A Space Odyssey."), "E.T." is above all about contact, about the very nature of communication, and the system of signs we human beings have created to bring ourselves closer to one another: spoken language, gestures, symbolic objects, physical contact -- and any combination of the above.
The ad slogan for "Close Encounters" (hereafter referred to as "CE3K") was "We Are Not Alone," and both that film and "E.T." are about alienated individuals who try to break out of their isolation, who struggle to bridge the void between themselves and others. Perhaps the best way to get to the heart of these movies is to take a look at some of the ways Spielberg's characters communicate with (or fail to reach) each other -- and how Spielberg uses cinematic technique to bring film, characters, and audiences, into contact.
James Bond (Daniel Craig) in "Casino Royale." With every move he makes, another chance he takes. Odds are...
What accounts for the movies' fascination with gambling? That's a question I mull over in a survey of pictures (from "Gilda" to "Barry Lyndon" to "Casino" to "California Split" to "The Cooler") about the addictive alchemy of luck, chance, fate and skill at MSN Movies. Making a movie is itself a grand gamble. You never know how it's going to turn out, and the results have as much to do with circumstance as they do with talent or craftsmanship. An excerpt from "High Rollers": Gambling does not rank among the "seven deadly sins." It doesn't have to. Just about all the capital vices can be found in the psyche of the gambler, and not just in the usual suspects, greed and envy. There's also plenty of room for gluttony (overindulgence, addiction, substance abuse); wrath (rage, vindictiveness); sloth (indifference, jadedness, existential apathy); lust (licentiousness, dissolution); and, the deadliest of all sins: pride (hubris, arrogance, usually expressed in the form of cheating, or a misplaced belief in a dubious "system" designed to beat the odds).
The grandest "Casino Royale" -- the ultimate gamble -- is, of course, the game of life itself: a series of cosmic wagers in which the stakes vary wildly from day to day, bet to bet. Some people seem to go "all in" all the time, some ante up just enough to get them through each hand they're dealt, and others are perpetual folders who try to opt out of the game entirely in order to avoid risking too much.
But since the time of Oedipus the central question has always been: How much of the outcome is governed by free will and how much by predestination? The answer depends on the (rigged?) nature of the game you're playing, and whether the winners and losers are predetermined, either by some higher interventionist power (appeased by superstitious rites, such as blowing on dice or disingenuously proclaiming the need for new footwear for one's tot), or by a simple calculation of the odds that invariably favor "the house."
Although one can only play the hand one is dealt, a poker or blackjack player retains a small degree of influence over his fate, as some game variables are subject to decision-making based on statistical knowledge and experience. Those who gamble on a roll of the dice or a spin of the wheel, however, rely on pure chance. Or, as it is known in gaming circles, "luck."
The odds of winning are never better than 50-50 (red or black in roulette), which is why most gambling stories -- and gambling movies -- are either about chance, or about cheating. As in the 1946 classic film noir, "Gilda," with Glenn Ford and Rita Hayworth, these tales are of the men and women who learn to "make their own luck."
The only way to increase your luck without trickery is with skill -- by learning to read the odds based on the cards that have already been played, or by learning to read the people who play them. In Curtis Hanson's new "Lucky You," hot-headed poker player Huck Cheever (Eric Bana) has to learn how to do both if he wants to woo songstress Billie Offer (Drew Barrymore). As his father, L.C. (Robert Duvall), tells him: "You've got it backwards, kid. You play cards the way you should live life, and you live life the way you should play cards."
That's the lesson movie gamblers are always trying to learn. Everybody has a "tell" -- a little unconscious tic that reveals when they're bluffing. In David Mamet's "House of Games," renowned psychoanalyst Margaret Ford (Lindsay Crouse) thinks she understands human behavior until she is schooled by Mike (Joe Mantegna) in the ways of gamblers and con men who avoid being understood. The big gamble comes down to a matter of pride -- and the skill and intuition to fool the other players.
In the most recent "Casino Royale" film, the hubris of James Bond (Daniel Craig) costs him a high stakes game, and nearly costs him his life. Every scene in the movie involves a bet, a bluff, or a calculated risk. Whether the game is espionage, romance, the stock market, or poker, the rules are basically the same: Outwit, outplay and outlast your opponents....
Continue reading at MSN Movies...
Q: I recently found out that David Gordon Green's film "A Confederacy of Dunces," with Will Ferrell and Drew Barrymore, has been canceled. Green is one of my favorite directors and I have high hopes for his career. What is the story behind the cancellation and what will this do to his career? Jonathan Warner, Evanston