I Lost My Body
A visually sumptuous slice of macabre storytelling that works best when it uses its director’s magical sense of composition and less when it feels weighed…
* This filmography is not intended to be a comprehensive list of this artist’s work. Instead it reflects the films this person has been involved with that have been reviewed on this site.
On 20 major premieres from the Toronto Film Festival that we'll be covering over the next two weeks.
The first wave of World Premieres announced for TIFF 2019.
An interview with director Michael Winterbottom about "The Trip to Spain," the third installment in his food trilogy.
An interview with Adam Nayman about his new book on director Ben Wheatley
Simon Abrams on two sequels: "The Trip to Italy", the sequel to the hilarious "The Trip", and "The Raid 2".
Marie writes: Did you know that if you wear your contact lenses too much and too long during the cold, winters months - and with the windows closed and the heat cranked-up, that you can develop an annoying eye condition? Because you can. Ahem. And so for the time being, I'll be spending less time staring at my monitor and more time resting my eyes. The Newsletter will still arrive as usual each week, but it won't be as huge. That said, it will contain a few extra goodies to make up for it, by way of curious finds. And speaking of finding stuff...."On Thursday, March 7, 2013, SpaceX's Grasshopper doubled its highest leap to date to rise 24 stories or 80.1 meters (262.8 feet), hovering for approximately 34 seconds and landing safely using closed loop thrust vector and throttle control. Grasshopper touched down with its most accurate precision thus far on the centermost part of the launch pad. At touchdown, the thrust to weight ratio of the vehicle was greater than one, proving a key landing algorithm for Falcon 9. The test was completed at SpaceX's rocket development facility in McGregor, Texas." - by Neatorama
Marie writes: Not everything is what is seems...(Click images to enlarge.)
Marie writes: I recently heard from an ex-coworker named Athena aka the production manager on an animated series I'd painted digital backgrounds for. She sent me some great photos she'd found on various sites. More than few made me smile and thus inspired, I thought I'd share them with club members. I've added captions for fun but if you can come up with something better, feel free to submit your wit by way of posted comment. Note: I don't know who the photographers are; doesn't say. (Click pics to enlarge.)
"I want a peanut for every photo you took of me..."
Lesson for the day: How to have fun while wasting time... Marie writes: welcome to DRAW A STICK MAN, a delightful Flash-based site prompting viewers to draw a simple stick figure which then comes to life! Ie: the program animates it. You're given instructions about what to draw and when, which your dude uses to interact with objects onscreen. Thanks go to club member Sandy Kahn who heard about it from her pal Lauren, in Portland Oregon.Note: here's a screen-cap of what I drew; I've named him Pumpkin Head.
Marie writes: you've all heard of Banksy. But do you know about JR...?(click to enlarge image)
The Grand Poobah shared the following recently and which struck me as just the thing to put in here - for it amounts to someone inventing a moving still akin to those seen on the front page of Harry Potter's famous newspaper."You know how people sometimes say that jazz is the only truly American art form? Animated GIFs are like the jazz of the internet: they could only exist, and be created and appreciated, online. That said, PopTart Cat is not exactly on par with Thelonious Monk. But photographer Jamie Beck and motion graphics artist Kevin Burg may have finally found a way to elevate the animated GIF to a level approaching fine art, with their "cinemagraphs" -- elegant, subtly animated creations that are "something more than a photo but less than a video." - fastcodesignAnd sadly, they won't work in here; Movable Type doesn't like animated gifs. It's easily solved however, just visit Far Better Than 3-D: Animated GIFs That Savor A Passing Moment to see an assortment in play!
Things in movies that made me feel as if my head would explode, in joy or disgust or both, during 2010.
Shot of the year: That's part of it, up there. "Sweetgrass" (Lucien Castaing-Taylor, Ilisa Barbash)
Best opening shot: "Mother" (Bong Joon-ho)
Best final shot: The terrifyingly comedic/nihilistic ending of "The Ghost Writer" (Roman Polanski). It all comes down to this: meaningless chaos, scattered and swirling in the wind...
Most astounding shot: A slow zoom-in on a mountainside that outdoes the opening of Werner Herzog's "Aguirre, the Wrath of God": "Sweetgrass"
Best movie-star shot: The one on the Staten Island Ferry that glides up behind Angelina Jolie and turns into a magnificent profile close-up. "Salt" (Phillip Noyce)
Click above to REALLY enlarge...
UPDATED 01/28/10: 2:25 p.m. PST -- COMPLETED!: Thanks for all the detective work -- and special thanks to Christopher Stangl and Srikanth Srinivasan himself for their comprehensive efforts at filling the last few holes! Now I have to go read about who some of these experimental filmmakers are. I did find some Craig Baldwin movies on Netflix, actually...
Srikanth Srinivasan of Bangalore writes one of the most impressive movie blogs on the web: The Seventh Art. I don't remember how I happened upon it last week, but wow am I glad I did. Dig into his exploration of connections between Quentin Tarantino's "Inglourious Basterds" and Jean-Luc Godard's "History of Cinema." Or check out his piece on James Benning's 1986 "Landscape Suicide." There's a lot to look through, divided into sections for Hollywood and World Cinema.
In the section called "The Cinemaniac... I found the above collage (mosaic?) of mostly-famous faces belonging to film directors, which Srikanth says he assembled from thumbnails at Senses of Cinema. Many of them looked quite familiar to me, and if I'm not mistaken they were among the biographical portraits we used in the multimedia CD-ROM movie encyclopedia Microsoft Cinemania, which I edited from 1994 to 1998, first on disc, then also on the web. (Anybody with a copy of Cinemania able to confirm that? My Mac copy of Cinemania97 won't run on Snow Leopard.)
Scroll down for my earlier entries.
The first five Sundance entries I've seen are the kinds of film the festival exists to showcase. It is possible that many of them won't ever open in most of the places you readers live, but you've impressed me with your resourcefulness in finding them anyway (and no, I don't mean piracy). You guys demonstrate that if you want to find a movie badly enough, you often can.
One of them, "Homewrecker," is for rent right now via YouTube, in keeping with the festival's Reinvention/Rebirth/Renewal and its embrace of new distribution channels such as the net and regional art cinemas.
That one and "Armless" are playing in the new Sundance section named NEXT, which specializes in movies with "low to no budgets." The guidelines specify budgets below $500,000, and both of these look closer to half a million than to "no."
How to plan my Toronto schedule when there are a few dozen movies screening every day and I want to keep from knowing much of anything about them before I see them, so that I can (as much as humanly possible) avoid preconceptions, false expectations, artificial festival "buzz," and other distractions that have little or nothing to do with what's on those screens? (See last year's accounting: "What did I know and when did I know it?")
The first thing I look for are the names of directors whose work I'm interested in following (or whose work I think I would like to follow). This year, for example, Danny Boyle, Kevin Smith, Rod Lurie and (as previously mentioned) Guy Ritchie all have films in this year's festival -- which, in my case, leaves more room to accommodate movies by directors I like. Not only for megastar filmmakers like the Dardennes and the Coens, but for Terence Davies ("The Long Day Closes"), Rian Johnson ("Brick"), Ramin Bahrani ("Chop Shop"), Katherine Bigelow ("Blue Steel"), Jerzy Skolimowski ("Deep End"), Kelly Reichardt ("Old Joy"), Michael Winterbottom ("A Cock and Bull Story" -- who makes two or three movies a year, it seems)... Those parenthetical titles, of course, are earlier films by these filmmakers. I don't even remember most of the titles from this year yet, because I haven't seen the movies. I've just been circling times and places on my screening schedule.
By Roger Ebert
Barbie as Karen in "Superstar."
Maybe there should just be a category in the right column for "Lists." Here's one from the film and music writers of Time Out London (which will always be the only real Time Out) called "50 greatest music films ever except for 'Spinal Tap'." No, I added those last four words, but the editors explain in their intro that "we’re celebrating great films – dramas and documentaries – about real musicians."
As if David St. Hubbins and Nigel Tufnel and Derek Smalls never actually toured in the flesh? As if they aren't at least as "real" as, say, KISS or the Monkees or Hootie and the Blowfish, which contained no one named "Hootie" and nobody named "Blowfish." (BTW, the Ramones weren't really "Ramones"! Those were just stage names!) Oh, and Gus Van Sant's "Last Days" was about a guy named "Blake." Michael Pitt looked like Kurt Cobain, but it was only about Cobain in the sense that "Velvet Goldmine" is about Bowie or Iggy Pop or Lou Reed, or "Grace of My Heart" is about Carole King or Brian Wilson or any of the Brill Building writers (even though a lot of them wrote songs for the movie). Then there's "'Round Midnight" (which is on the list) with Dexter Gordon playing Dale Turner, a fictionalized version of Bud Powell...
View image Downey, CA: "What happened?" Third shot of "Superstar." Compare to second shot of "Zodiac" -- establishing a neighborhood, from a car on the street...
So, OK: No "Spinal Tap." But no "I Am Trying to Break Your Heart: A Film About Wilco"? No "You're Gonna Miss Me: A Film About Roky Erickson"? No "Thelonious Monk: Straight, No Chaser"? No "X: The Unheard Music"? No "The Girl Can't Help It"? No "Wattstax"? No "Woodstock"? No "The Kids are Alright"? No "No Direction Home"? No "The Buddy Holly Story"? No "Theramin: An Electronic Odyssey"? No "Heart of Gold"? No "The Filth and the Fury"? No "We Jam Econo: The Story of the Minutemen"? No "La Bamba"? No "Kurt and Courtney"? See how much fun this is? Really, though, I'd substitute any of these for several of the selections on the list.
But, OK, many of my favorites are included: "24 Hour Party People," "Jazz on a Summer's Day," "Stop Making Sense," "DIG!," "Art Pepper: Notes from a Jazz Survivor" (his autobiography, "Straight Life," is the best account of addiction I've ever read), "The Decline of Western Civilization Parts I and II (The Metal Years)"...
View image No one here gets out alive.
At the toppermost of the poppermost: Todd Haynes' 1987 "Superstar: The Karen Carpenter Story," a 45-minute lo-fi "dramatization" that was never officially released because of music clearance troubles (that is, brother Richard wouldn't let Haynes use any Carpenters tunes). Still, after 20 years as an "underground" item, it's available from Google Video here. It's something you really need to see: a documentary-style biopic of Karen Carpenter performed mostly by Barbie dolls. Yes, its a parody (so are most musical biopics, including others on the list -- see the upcoming Jake Kasdan/Judd Apatow picture, "Walk Hard: The Dewey Cox Story" for more on that score). But it presents straightforward facts about anorexia that could have been excerpted from any PBS or 16mm educational doc of the period. It's also a formula showbiz melodrama. But for all the layers of artifice, like Haynes' Sirk opera "Far from Heaven," it becomes strangely, hypnotically -- and genuinely -- moving. Prepare yourself for Haynes' Dylan fantasia, "I'm Not There," by watching "Superstar" and "Velvet Goldmine."
ASIDE: From an interview with Haynes at The Reeler: I actually think that it's easier for people who know less about Dylan to go with it, if they're up for something different. Clearly, that's the first thing: Whether you know Dylan or not, you have to surrender to the movie to have a good time at all and get anything out of it. If you have a lot of Dylanisms in your head, it's kind of distracting, because you're sitting there with a whole second movie going on. You're annotating it as you go. It's kind of nice to sit back and let it take you. I think people get it: Even if you don't know which are the true facts and which are the fictional things, and when we're playing with fact and fiction, from the tone of it, you know that it's playing around with real life. In a way, that's what biopics always do. They just don't tell you that they're doing it, and they don't make it part of the fun. You have to follow the Johnny Cash story and just sort of think, "This is what really happened." Of course, you know it's being dramatized, but you're not in on the joke. You're not in on the game of that. In this movie, at least, you get tipped off to it.Oh yeah, but about that list. Here it is. Make of it what you will:
1 "Superstar: the Karen Carpenter Story" (Todd Haynes, 1987) 2 "Don't Look Back" (DA Pennebaker, 1967) -- Bob Dylan 3 "Gimme Shelter" (David Maysles/Albert Maysles/Charlotte Zwerin, 1970) --Rolling Stones 4 "24 Hour Party People" (Michael Winterbottom, 2002) -- Manchester scene 5 "Topsy-Turvy" (Mike Leigh, 1999) -- Gilbert and Sullivan 6 "Monterey Pop" (DA Pennebaker, 1968) -- concert 7 "Be Here to Love Me" (Margaret Brown, 2004) -- Townes Van Zandt 8 "Thirty Two Short Films about Glenn Gould" (Francois Girard, 1993) -- Glenn Gould 9 "Cocksucker Blues" (Robert Frank, 1972) -- Rolling Stones 10 "Bird" (Clint Eastwood, 1988) -- Charlie Parker 11 "The Last Waltz" (Martin Scorsese, 1978) -- The Band & Friends farewell concert 12 "Rude Boy" (Jack Hazan, David Mingay, 1980) -- The Clash 13 "Scott Walker: 30 Century Man" (Stephen Kijak, 2006) -- Scott Walker 14 "Bound for Glory" (Hal Ashby, 1976) -- Woody Guthrie 15 "The Decline of Western Civilization Parts I & II" (Penelope Spheeris, 1981, 1988) -- LA punk; '80s metal & hair bands 16 "The Devil and Daniel Johnston" (Jeff Feuerzeig, 2005) -- Daniel Johnston 17 "Sweet Dreams" (Karel Reisz, 1982) -- Patsy Cline 18 "Art Pepper: Notes from a Jazz Survivor" (Don McGlynn, 1982) -- Art Pepper 19 "Elgar" (Ken Russell, 1962) -- Edward Elgar 20 "Rust Never Sleeps" (Neil Young, 1979) -- Neil Young 21 "The Future is Unwritten" (Julien Temple, 2006) -- Joe Strummer 22 "DiG!" (Ondi Timoner, 2004) -- Brian Jonestown Massacre, Dandy Warhols 23 "Some Kind Of Monster" (Joe Berlinger, Bruce Sinofsky, 2004) -- Metallica 24 "A Hard Day's Night" (Richard Lester, 1964) -- The Beatles 25 "Jimi Hendrix" (Joe Boyd, 1973) -- Jimi Hendrix(more)
View image Mariane and Daniel Pearl (Angelina Jolie and Dan Futterman) in "A Mighty Heart."
The term "moral relativism" (or "moral equivalence") has always fascinated me because of its slipperiness -- its moral relativism, if you will. The way the term is used in politics these days (by Israelis and Palestinians, conservatives and liberals, Christians and Muslims, and so on), it can mean one thing or its opposite, depending on who's using it and what they're trying to justify.
What it boils down to, in popular rhetorical discourse, is the moral equivalent of a five-year-old's finger-pointing: "But they started it!" and "What they did was worse!" This creates an inescapable and illogical ideological loop, wherein each new assault is justified by a previous one (or fear of a future one) that attempts to even the score but never, ever does, since it is always used to rationalize the next reprisal. It's always a matter of "self-defense" in the minds of the perpetrators.*
This ever-escalating tit-for-tat is, in fact, moral relativism at its most insidious, because it posits that there is no objective right or wrong. Something is considered moral or immoral depending on who does it and when, rather than on the nature of the act itself and its consequences -- whether unintended ones, or the intended kind that pave the road to hell.
Judea Pearl, the father of Daniel Pearl, has an essay at The New Republic website ("Moral relativism and 'A Mighty Heart'") in which he recalls a conversation with a Pakistani friend who said "he loathed people like President Bush who insisted on dividing the world into 'us' and 'them.' My friend, of course, was taking an innocent stand against intolerance, and did not realize that, in so doing, he was in fact dividing the world into 'us' and 'them,' falling straight into the camp of people he loathed."
In other words, if there's one thing I can't tolerate, it's intolerance.
Angelina Jolie as Mariane Pearl
"A Mighty Heart," Michael Winterbottom's film based on Mariane van Neyenhoff Pearl's book about her husband Daniel, a journalist who was kidnapped and executed in Karachi, Pakistan, opens this weekend. I've had my say about the casting of (Czech / Haudenosaunee / American) Angelina Jolie as (Dutch / Cuban / French) Mariane Pearl. And so has Mariane Pearl, who told Newsweek: "This is not about skin color. I wanted her to play me because I trust her. Aren't we past this?"
Marianne Pearl as Marianne Pearl.
Well, some people are. And some aren't. Like, I guess, the people who hired Halle Berry to play white Nevada schoolteacher Tierney Cahill in the upcoming "Class Act." (Berry's at least as much white as she is black. But will she wear "whiteface" in the movie? Do you care?) Or, perhaps, the ones who hired John Travolta to play a woman in "Hairspray." Or even those who think it was just wrong for Marriane Pearl to have married a white Jew in the first place. (Miscegenation!) Let's take that logic to its inevitable extreme. Some people are sticklers for racial, cultural and gender purity. If only race, culture and gender were really that monolithic and clear-cut...
And we're talking about actors here. I'm not advocating blackface or whiteface minstrelsy (that implies bad acting, doesn't it?), but these people are supposed to be able to play characters other than themselves. That's what they do.
Maybe Jolie is terrible and totally miscast in the part. I don't know, I haven't seen the movie yet. But a commenter at the site concreteloop.com succinctly summarizes my own feelings about the matter at this stage: At first it does seem a bit odd, because I am sure there are women of African American or Afro-Cuban descent who could play that role but I would not say this is modern day black-face. If it were some blond-hair, blue-eyed non-talented actress, I would really have a problem. However, I do think Angelina is a great actress and as a matter of fact Mariane Pearl wanted Angelina to portray her in the film. So shouldn’t her wishes be respected?Producer Brad Pitt, who hired his honey for the part, said he was nervous about doing it, but he felt it was the right decision for the movie: "I knew the part had to be played by someone with Mariane's strength and understanding of the world, but I didn't know how to broach the subject. It feels a little like Wolfowitz trying to get his girlfriend a job. [...]
"I know that people are frustrated at the lack of great roles (for people of color), but I think they've picked the wrong example here."
Halle Berry plays Tierney Cahill (pictured -- either the one on the left or the one on the right) in an upcoming movie. You see the resemblance. Gotta problem with that?
I guess it also depends not only on whether you think Mariane Pearl has a (moral? contractual?) right to approve who plays her in a movie made from her own book, but whether you consider Angelina Jolie an actress or just "Brad's girlfriend" — you know, half of "Brangelina." (Or even whether women are capable of making such important judgments, since those who cry "racism" here insist that Jolie and Pearl do not have the personal or professional credibility or authority to make such decisions for themselves.)
And whether you consider the fact that both share Northern European / Caucasian heritage. Much of the criticism I've seen has focused on the tabloid "Brangelina" phenomenon (as if that were real anywhere beyond the supermarket checkstands), or has tried to tie this casting into the history of racist portrayals of African-Americans in Hollywood movies. (In that regard, I recommend Donald Bogle's book, "Toms, Coons, Mulattoes, Mammies & Bucks.") But is that really an appropriate conclusion to draw in this particular instance?
I agree that actors of color should be offered more and better roles — including those that weren't originally written to be one race or another. (Sigourney Weaver played a man's role in "The TV Set" without changing a word. Other parts have been re-written for the actor selected for the part.) But is the problem really one of casting people with the same racial make-up as their characters? Or is it more significant that writers and directors and casting directors are not making films with enough characters of color?
On the practical side... well, a star is a star. Angelina Jolie and Halle Berry are Oscar winners, marquee names, not struggling unknowns. (Not that struggling unknowns or semi-knowns don't deserve a chance, but they're unlikely to get one in such a high-profile project.) Mariane Pearl wanted Angelina Jolie to play her, sought her out, and sold the rights to Brad Pitt's production company. Based on this "package," the film was able to get a greenlight from Paramount Vantage, with the expectation that they would make a profit. The question becomes: Is the only form of "good casting" to make sure the racial balance of the character matches that of the actor?
Is Beyonce really too light — or too dark — to have played a character based on Diana Ross in "Dreamgirls"? Is Denzel Washington really too dark to have played light-skinned, reddish-haired Malcolm X? Was it racist to have cast Chinese actress Gong Li as a Japanese woman in "Memoirs of a Geisha"? Were Al Pacino — or Mary Elizabeth Mastrantonio or Robert Loggia — terrible in "Scarface" (1983) because they are not Cuban? Was it wrong for Benicio Del Toro (Puerto Rican-American) to play a Mexican cop in "Traffic"? If these actors were good or bad in those movies, was it because of their racial background, or because of the roles and their performances in them?
I wonder what happened to a sense of proportion here. This isn't exactly Mickey Rooney playing a grotesque caricature of a Chinese guy in "Breakfast at Tiffany's." Doesn't the performance itself count for anything — or is it all about appearances? (OK, if Jennifer Aniston had been cast as Pearl, I'd be a lot more skeptical. Even though she's only two years younger than Pearl, while Jolie is seven years younger. But if Jolie is playing Pearl in 2001-2002, then she's just about the perfect age, no?)
Roger Ebert's best movie lists from 1967-present
Q. I was rooting for "Brokeback Mountain" to win the Best Picture Oscar. I thought it was a great film. I haven't seen "Crash," but I'm curious now to see it and be able to make a comparison. I wish the Academy voters had done the same. For the major categories, there is no requirement that Academy voters have seen all nominees. Or that they've even seen any of the nominees. Or that the Academy member is the person actually filling out the ballot. The process is a sham.
It was a year when more movies opened than during any other year in memory. A year when the big Hollywood studios cast their lot with franchises, formulas, sequels, and movies marketed for narrow demographic groups--focusing so much on "product" instead of original work that they seemed likely to be shut out of the Oscars, as they were essentially shut out of the Golden Globes. A year when independent and foreign films showed extraordinary vitality. A wonderful year, that is, for moviegoers who chose carefully, and a mediocre year for those took their chances at the multiplex.
CANNES, France -- The survivors of the 52nd Cannes Film Festival met at the Nice airport on Monday like applicants for an emergency airlift. The carnage of the awards ceremony was still fresh in our minds. A jury led by the Canadian director David Cronenberg had produced a list of awards so peculiar that it is safe to say no one understood it except Cronenberg -- and perhaps some, but not all, of his jury members. "Perverse," Variety called the verdict.