Thursday, February 17 2005
Dottie Gets Spanked contextualizes and foretells the artfully designed surfaces and off-kilter universes of Haynes' later successes.
Monday, February 7 2005
Voyage in Time, a one-hour television film, snatches a fragment of Tarkovsky's working life.
In Michael Haneke's version of the end of the world, things are different.
The film offers up a timeless double standard: a man who has many sexual partners is considered masculine, but a woman with multiple partners is a slut.
The affection Neil Gaiman shows for Marcus indicates that he doesn't hate critics, just what we represent: an ethos of inept misinterpretation aimed at elevating the academic over the visceral.
We feel a dogged incompletion, as if Ray Johnson's career was a massive joke awaiting one final punch line.
David Marconi's screenplay is redeemed by its interest in messing with our minds rather than trotting out the requisite local color and visual shortcuts.
The film's primary appeal is the bizarre turn by Noel Coward as Wilson (one of several 'eccentrics' the film trots out to otherize London even as it pathologizes at least one of the yanks).
Wednesday, February 2 2005
Dickie Pilager embodies U.S. political-corporate mythology, the 'shining city on a hill' reduced to basic elements.
'The fact is,' says director Peter Chelsom, 'I was very, very wary about remaking such a perfect original.'"
Decked out in his vintage gear, Rico Suave has been reduced to selling oranges with his young son on the side of a California highway.
'This was a lot of joy,' says Bruce Sinofsky, 'To be in a studio with musicians and people you respect, and watch the creative process, but also to watch these people break themselves down to their essence and start rebuilding themselves was an inspiration.'"
Its handheld verité style pulls viewers uncomfortably close to this band of humans struggling to survive their surroundings, as well as each other.
Kinji Fukasaku's striking compositions remind us that the world of filmmaking is draped in a charade, an expertly plotted manipulation.
Wednesday, January 26 2005
Crippled by their past and unable to function in the present, these characters represent what David Hare calls 'the part-emotional landscape that is England.'"
Kevin Conran seems pleased to admit that he has never stepped foot inside Radio City Music Hall.
Paul W.S. Anderson says, 'For me, there is in modern times, a definite fear of loss of identity. And that's what the undead represent. They are the mass, there's no differentiation between them.'"
According to director Stephen Hopkins, 'Los Angeles, with all its glare and dust, felt like a Western town to us, sort of a mining town that had been shoved up really quickly.'"
'This shot here... is like a window opening up onto this kid's world,' says Jacob Aaron Estes.