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Thursday, Jul 24, 2014
If you surgically grafted a snippet of Flowers for Algernon and a low-end documentary about the human brain onto a Cliff Notes summary of La Femme Nikita, the result might approach the lazy schizophrenia of Luc Besson's latest fembot warrior fantasy.

Luc Besson has been impatient when it comes to shootouts ever since 1990’s La Femme Nikita. A typical scene that we’ve seen him repeat from that film to 1997’s The Fifth Element to his newest, Lucy, goes as follows: a lone armed hero or villain walks swiftly into a room filled with many other characters with guns. The lone gunperson lets off many, many rounds in the blink of an eye. Everybody else falls down dead.


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Thursday, Jul 24, 2014
Can we overcome the Darkness through the power of dance? We’ll see.

I’ve been thinking about dancing in video games and not in the Dance Central, “you are the dancer” sense. I’m talking about games where dancing is far from (at least as far as I can tell) the central interest of the game. I’m talking about the Destiny beta, a weird place where you are the universe’s savior and also its interstellar b-boy. Dancing is seemingly a light hearted and minor action in the game, but it is an important illustration of how difficult it is to maintain a game’s thematic tone.


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Thursday, Jul 24, 2014
In these two films, Robbe-Grillet hones in on the plastic and empirical qualities of film, which expose entirely subjective and unreal states.

Dead women tied to bedposts can be found at the center of the hall-of-mirrors plots in these two popular hits from postmodern fetishist Alain Robbe-Grillet. In light of the female nudity, forgiving French audiences didn’t object to the teasing pseudo-narratives.


As himself, Robbe-Grillet rides on the titular train in Trans-Europ-Express, inventing and revising a narrative in which actor Jean-Louis Trintignant (also on the train as “himself”) plays a drug courier on an endless cycle of transfers and messages. Shot in gorgeous black and white, the movie borrows a page from Alphaville or Shoot the Piano Player in its cavalier mockery of pulpy plots. Amid the narrative feints, the filmmaker’s unconscious (or too conscious) fantasies rise to the surface as the story zeros in on a prostitute-spy (Marie-France Pisier), whose primary function is more femme fatality than femme fatale.


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Wednesday, Jul 23, 2014
When singer/songwriter/filmmaker/author Korby Lenker needed a video for his “If I Prove False”, he turned to another local renaissance man, Dawson Wells.

Singer/songwriter Korby Lenker has to be one of the hardest-working, most all-around creative guys in Nashville. In addition to releasing an album earlier this year, Lenker also just published his first book of short stories, Medium Hero, and is relaunching a live performance web series, Wigby. Still, when he needed a video for his “If I Prove False”, Lenker turned to another local renaissance man, Dawson Wells, who had previously helmed his “Forbidden Fruit” piece. The result is what can, perhaps, be best described as a live-action stop motion love story, even though that doesn’t completely capture it.


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Wednesday, Jul 23, 2014
Ten years after the release of A Ghost Is Born, the songs still just aren't there.

Ultimately, Wilco‘s A Ghost Is Born is a disappointment.


I should clarify. A Ghost Is Born is a disappointment not because it’s worse than Yankee Hotel Foxtrot, which was easily one of the best albums of 2002 and which was, for me (and for I imagine tons of others after Pitchfork gave it a perfect score) the entry point to the band. That line of thought definitely does not need to be pursued.


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