Like Herzog’s opera-loving Fitzcarraldo dragging a 320-ton steamship through the jungles of Peru, Oscar-winning film buff/actress Tilda Swinton and a few followers are now driving – and occasionally dragging –[…]
“In classic Egoyan style, the humor is always also terrifying. . .”
“If the system is inimical to you, then you do whatever you can to alter your relationship to the system.”
“The concept of pure art pure poetry, pure painting, and so on is not entirely without meaning; but it refers to an aesthetic reality as difficult to define as it is to combat. In any case, even if a certain mixing of the arts remains possible, like the mixing of genres, it does not necessarily follow that they are all fortunate mixtures. There are fruitful cross-breedings which add to the qualities derived from the parents; there are attractive but barren hybrids and there are likewise hideous combinations that bring forth nothing but chimeras.”
Directors · Essays · Writers & Critics
“Kubrick’s 1961 film is really the first 1970s movie.”
Will Thomas Pynchon’s lightest, brightest novel put him in the Hollywood spotlight?
Actors & Personalities · Music & Musicals
“I hope he knew how much the world loved him.”
Directors · Exploitation & Erotica · Reviews
It’s a shame that Ed Wood’s last non-skin film, NIGHT OF THE GHOULS (1959), had to go unseen all through the prime time of Wade Williams’ TV horror package. It[…]
Directors · Exploitation & Erotica · Reviews
[youtube=http://www.youtube.com/watch?v=YLgx38t7AQ4] [youtube=http://www.youtube.com/watch?v=pAdAixzYq-k] Thank you, Spirit of Ed Wood Blogathon, for giving me an excuse to write about José Mojica Marins, the Brazilian screenwriter, director, and star of films every bit[…]
The upcoming release of Alain Resnais’s classic Last Year at Marienbad on Blu-ray DVD reminds us that Marienbad was one of the many formally ambitious films released in the 1960s[…]
Actors & Personalities · Reviews
How can anyone not marvel that two of Gothic Cinema’s greatest performers, Christopher Lee and Vincent Price, were born on the same day? Christopher Lee was born on May 27,[…]
Actors & Personalities · Directors · Reviews
Reading Joseph Aisenberg’s excellent piece (below) I’m compelled to offer my understanding of the great Von Sternberg’s stylistic obsessiveness, especially since it’s something I understand and share. (This began as[…]
Actors & Personalities · Directors · Uncategorized
Recently I re-watched Josef Von Sternberg’s The Scarlet Empress (1934) and found myself again surprised by the sickly gushy tasteless humor of the piece; had forgotten most of the film’s[…]
Actors & Personalities · Reviews
Once upon a time a strange sassy redhead with a big nose and giant lips cropped up as a pathetic obsessed fan in Martin Scorcese’s heavy-handed satire The King of[…]
Film Criticism 101: Why You Should Recycle the Promo Packet To be sure, there are many distinct methods of film criticism that might be employed with equal, and mutually exclusive,[…]
All stars are subject to fits of madness, and if you date a daytime TV talkshow host for long enough, who knows what kind of depths of self-confessional martyrdom you[…]
Actors & Personalities · Asian · Silents
“This is an actress who shows excitement down to the curl of her fingers, and whose face reveals every kind of mercurial change.”
“This situation requires the filmmakers to be more creative in handling their mostly simple stories, which sometimes are so simple as to seem very modern and minimalistic.”
“Tex Avery — Arch Radicalizer of the Hollywood Cartoon” consists of slightly glorified program notes that I wrote for the Zagreb Animation Festival in 1978. It was a big hit in the Old World and was published in Russian, Croatian, Dutch, French, and Italian (twice), but the only time it ever got printed in English was by Gary Morris in his cinephile-revered rag called Bright Lights. Now, thirty-one years later, Mr. Morris has decided to reissue the piece online. I have forgone attempting any actual rewrites, though, because the observations have not dated especially egregiously, except for my discussion of the then-current state of cartoon criticism. The biggest faux pas contained herein is my overconfident assertion that cel animation would inevitably dominate the future of the medium (oops – maybe not), as CGI was then but a distant pixel on the historical horizon.
