Let the Sunshine In
The film’s confidence comes in part from the acceptance of the things that can’t be known.
* 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.
Wednesday, July 18, is the 20th anniversary of our marriage. How can I begin to tell you about Chaz? She fills my horizon, she is the great fact of my life, she has my love, she saved me from the fate of living out my life alone, which is where I seemed to be heading. If my cancer had come, and it would have, and Chaz had not been there with me, I can imagine a descent into lonely decrepitude. I was very sick. I might have vegetated in hopelessness. This woman never lost her love, and when it was necessary she forced me to want to live. She was always there believing I could do it, and her love was like a wind forcing me back from the grave.
You better watch out You better not cry You better have clout We're telling you why Two Thumbs Down are comin' to town We're making a list, Checking it twice; Gonna find out whose movie was scheiss. Sandy Claws is comin' to town. We see you when you're (bleeping), We know when you're a fake We know if you've been bad or good So be good for cinema's sake!
View image: Borat in New York, a town locate on the eastern coast of United States and America.
In their reviews of "Borat: Cultural Learnings of America for Make Benefit Glorious Nation of Kazakhstan" Anthony Lane of The New Yorker and Armond White of the New York Press make it clear they are not amused. Mostly because they think the movie is about something I woudn't think was funny, either, if I thought that's what the movie was about.
To Lane, Sacha Baron Cohen is a guy who "adopts fictional personae and then marches briskly into the real world with a mission to embarrass its inhabitants." That may be "Punk'd" (or "Candid Camera") but that's the least of what's going on in "Borat," which presents these improvisations in a fictional narrative context that give them meaning (and, consequently, humor). To White, "Borat" is "anti-American propaganda," that "primarily consists of genital humor, scatological humor and jokes about deformity and mental retardation" -- while any praise of the film is "a bit seditious" and amounts to "evil criticism." OK, that movie doesn't sound funny to me, either. But that movie is nine shots of Armond White with just a splash of Borat Sagdiyev.
Lane is baffled by "Borat." White goes off on a comically crude and incoherent rant against Madonna, Andy Kaufman, Neil LaBute, Madonna (again), 9/11, George W. Bush, Michael Moore, Emir Kusturica, the "angry Left’s vicious temerity" and the "self-loathing" of "Borat’s ass-kissing film critics." Yes, in White's six-paragraph review he spews more bilious imagery -- "pits," "sewer gas," "flatulent," "odious," "evil," "stench," "Ethnic-Cleansing" -- than the feature film he's accusing of low blows. (And for some people, inexplicably, everything will always be about Madonna.)
Q. After seeing 'Hannibal's" extremely graphic violence, I wonder how the people who decide film ratings have an ounce of credibility left. When the film "Clerks" came out, it almost got an NC-17 rating due to language. Now we have a movie like 'Hannibal" with gory scenes that remind me of "Day of the Dead" and "Dawn of the Dead." How in the world can they give 'Hannibal" an R rating and not look like a bunch of monkeys? (Kayvan Koie, Plainfield, Ind.)
PARK CITY, Utah--Here is the most fundamental rule of film criticism: A movie is not about what it is about, but about how it is about it. The subject does not and cannot make a movie good or bad. Only the style, the approach, the method, the craftsmanship, the purpose and the message can make a movie good or bad.