Film

I only saw 32 new movies in 2012, and while plenty were good, none of them particularly blew my mind. With a few exceptions, I steered clear of big budget studio fare and stuck mostly to documentaries and unassuming indies. There were several critical darlings of different shapes and sizes that probably would have made my year-end list if I had gotten around to seeing them, but I didn’t. From what I did see, I… See more →

I have an information retention problem. I absorb a lot of it, all of which is presumably stored somewhere, but not nearly as much of it remains available for unassisted recall as I would like. Not surprisingly, the stuff that is best remembered has been reinforced, usually through some kind of repeated application or extensive immersion. In other words, if something is retained in my long-term memory, I probably had to work for it. Fair… See more →

Every October, I try to watch as many horror films that I haven’t seen before as possible.

Corman’s World

Alex Stapleton (USA, 2011)

A documentary on DIY producer/director Roger Corman and his alternative approach to making movies in Hollywood.

Not of This Earth

Roger Corman (USA, 1957)

An alien agent from the distant planet Davana is sent to Earth via a high-tech matter transporter. There, he terrorizes Southern California in an attempt to acquire blood… See more →

When it appeared in 2007, Paranormal Activity was arguably the best entry in the “found footage” horror sub-genre since that category was kickstarted by the immense success of The Blair Witch Project in 1999. A sort of Blair Witch for the YouTube era, Paranormal Activity capitalized on social media’s self-surveillance culture and applied it to things that go bump in the night, telling the story of a young couple who decided to investigate their home’s… See more →

Horror director Ti West is known for employing a persistent, slow-burning tension in his films, which I admire in principle, but in practice it hasn’t always worked out. His last feature, House of the Devil, was defined by tension built around what we knew and the protagonist didn’t: her babysitting clients were extremely unsavory characters. How it would end was unclear, but there was no question that she would be subjected to a harrowing ordeal… See more →

There is little I enjoy quite as much as spending an entire afternoon in a movie theater, so I often lament the fact that I missed out on the heyday of the double feature. Of course, in this day and age, I’m able to curate my own double (or triple, or quadruple) features in the privacy of my own home, which I do often. I might watch a string of sequels, a pair of films… See more →

To begin with, I have no small amount of reverence for Roger Corman. Untold hours of my youth were spent in front of a 13″ television that screened the most outrageous low-budget horror movies my local video store had to offer. Aside from the cheap thrills provided, there was something inspiring about their scrappy production values: a sense that limited resources and skills need not obstruct one’s dreams, and that a creative endeavor’s ostensible shortcomings… See more →

I’ve been following Mike Birbiglia’s work for a few years now, which means I’ve heard this story several times before. Sleepwalk With Me had its origins in his stand-up act, which morphed into a one-man show, which became a book, which has now been adapted into a film. It’s a good story deserving of all these media, but it is still best told onstage with a microphone.

Birbiglia is a gifted storyteller, heartfelt and free… See more →

Apropos of nothing, I’ve decided to watch all of Disney’s theatrical animated features in order of release date. Since Wreck-It Ralph’s release in November will bring the grand total up to fifty-two, it will take me exactly one year to watch them all if I do one film per week.

The marathon began tonight with 1937’s Snow White and the Seven Dwarfs, a film of such tremendous historical significance that it’s almost impossible to… See more →

There’s a good story in here somewhere, but unfortunately this documentary about former Hole drummer Patty Schemel doesn’t seem to have much faith that it can reach very far outside Hole’s fan base. A lot of narrative polish it might have employed for the sake of the rest of us is eschewed in favor of making sure the fans get to hear about every last moment behind the scenes (and making damned sure everyone knows… See more →

Ours is an age of cultural cannibalism. We have rather suddenly gained very convenient access to nearly the whole of human history’s significant creative output, and we are remixing it with careless abandon. We have introduced The Beatles to Jay-Z, Jane Austen to George Romero, and Abraham Lincoln to Bram Stoker. If something gets a modicum of attention online, it can count on being Photoshopped, captioned, auto-tuned, GIF’ed, pickled, bronzed, or arranged for ukulele and… See more →

Though he occasionally rises above it, Wes Anderson’s real great talent is in actively, counter-intuitively preventing an emotional connection between character and audience. I have never seen anyone work so hard to undermine his own ostensible goals. In spite of the delight his twee aesthetic elicits from his fan base, Anderson’s characters tend to be lifeless props populating meticulously constructed dioramas which were designed to be admired from the outside.

If being emotionally impenetrable truly… See more →

A little star-rating math:

Sergio Leone’s overall command of the medium has us beginning at four stars. Alas, his palpable misogyny throughout the film shaves off the fourth star. Toward the end, we lose most of the third star with the reveal of a plot twist that bears the odd distinction of being both predictable and thoroughly implausible. The remaining sliver of that third star is melted away by the bewildering prominence of Ennio Morricone’s… See more →

In the late 1980s, two recent college graduates in San Francisco began making audio recordings of their elderly neighbors’ loud, drunken arguments, eventually amassing over fourteen hours of material. If you find that material fails to transcend momentary amusement, the ensuing story will follow suit. As the recordings become a phenomenon throughout underground tape-trading networks and spawn albums, comic books, theatrical productions, and feature films, the cult obsession over such a mundane artifact grows ever… See more →

The Fly is iconic for its premise, but its execution leaves much to be desired. It tries to turn a typically feathery 1950s nuclear family idyll on its ear with a scientific experiment gone horribly wrong, but ultimately only reinforces the status quo with a wholly undeserved happy ending. With the hero trapped unnoticed in plain sight, and the heroine taking the fall for his murder, the story is ready to end on a note… See more →

Ken Burns was still finding his voice in 1985, and with Reagan in office, PBS was even more inclined than usual to document its federal benefactor through a few layers of gauze. So it’s not shocking that two thirds of The Statue of Liberty borders on peacetime jingoism, but it is disappointing. I had been hoping to learn about the marvel of engineering and diplomacy that was the statue’s origin, and I did. But in… See more →

Going into Crips and Bloods: Made in America, I was concerned that it would just be a sensationalist exposé on LA’s two most notorious gangs. But I was pleased to find that it has a genuine curiosity about its subject, which extends beyond the violence and traces the roots of African-American marginalization from the early twentieth century to present day. It is often a bit too stylish for its own good, and I wish it… See more →

The Swedish hardcore band Refused took a few years to get great, and shortly after it did, it imploded. Given its incendiary legacy, fans might expect fireworks from this “documentary” about the band’s final days and rather abrupt end, and sporadic live footage does offer a taste of what all the fuss was about. But for all Refused’s unique energy, its breakup story is pretty standard – the tour’s not going well, somebody has a… See more →

You don’t need to know anything about chess to enjoy Bobby Fischer Against the World, but you may well want to learn more about the game after you’ve seen the film – if you don’t take it as a cautionary tale.

Bobby Fischer’s story is a true American tragedy, and possibly the twentieth century’s most fascinating example of the tenuous divide between genius and madness, as this film makes abundantly clear. The pacing is a… See more →

Much of Life During Wartime initially led me to believe it was a postmodern prank whose genesis took this form: “What if I made a sequel to Happiness? God, what a pointless, stupid idea. I’ll do it!”

As Michael Haneke’s Funny Games charges audiences with being complicit in the real-life violence they flock to see fictionalized on screen, Todd Solondz’s Life During Wartime seems to make a mockery of the compulsion to drag new and… See more →

The extraordinary devotion Bill Cunningham has for his work means that any film about him is worth a look, but it’s a shame this one is not a more illuminating portrait. Amiable though he may be, Cunningham has made a career out of being an observer rather than a participant, and his years behind the lens have trained him well in the art of evasion. No one interviewed in this documentary seems to know anything… See more →

There were at least two high profile odes to testosterone of the pull-the-superhuman-war-hero-out-of-retirement-for-a-suicide-rescue-mission variety in 1985: Rambo: First Blood Part II and Commando. Both traffic in the big, loud, and dumb of 1980s Cold War action tropes. But only Commando is actually fun, because it has the good sense not to take itself so seriously.

Each of Arnold’s one-liners in Commando is a winking acknowledgement that this is high octane escapism, a celebration of wanton… See more →

Apparently the myth of the American sleepover is that its volume can rise above a whisper. This film tries so hard for understated adolescent authenticity that it forgets those first tentative steps into adulthood tend to be just as clumsily vibrant as they are furtively awkward. For a story that spans several nocturnal teenage gatherings on the last weekend of summer, it is remarkably – and fatally – sedate. I have no lack of patience… See more →

Surely no one was more disappointed by Sarah Palin’s absence from the 2012 presidential race than Stephen K. Bannon, the director of this two-hour campaign commercial.

The Undefeated is a chore. With “tell, don’t show” as its storytelling mantra, it chronicles Palin’s public works in her own words (using excerpts from her audiobook) and the words of the people who helped her. And there are so, so many words, all of them black or white,… See more →

Art communicates. The core message might be as simple as “I like Slayer” or as complicated as “Let’s begin reversing centuries of female marginalization.” The work’s context and various expressive textures contribute narrative layers that enrich that core message. The more we identify with the message, its layers, and their convergence, the more we like the art, even if we can’t explain what those things are or how we connect with them.

In the who,… See more →

Let’s get this out of the way: I am not a Kevin Smith fan. He has always seemed more interested in hiring actors to recite his own self-consciously profane monologues than in creating living, breathing characters, and the results are reliably tedious.

For the most part, though, Red State avoids Smith’s usual pitfalls and just lets Michael Parks work his villainous magic. Parks plays a fringe fundamentalist Christian preacher in the mold of Fred Phelps… See more →

Following Steve Coogan and Rob Brydon on a week-long drive through the sights, sounds, and tastes of the northern English countryside, The Trip is equal parts tour documentary, buddy movie, and road trip flick. But more than anything, and in spite of its many laughs, it is a poignant meditation on aging.

Ostensibly playing themselves, Coogan and Brydon are a juxtaposition of insecure and self-possessed, of serious artist and happy-go-lucky entertainer. Their differences are sussed… See more →

Every October, I try to watch as many horror films that I haven’t seen before as possible.

Hostel

Eli Roth (USA, Czech Republic, 2005)

Three backpackers head to a Slovak city that promises to meet their hedonistic expectations, with no idea of the hell that awaits them.

Saw

James Wan (USA, 2004)

Two men awaken to find themselves on the opposite sides of a dead body, each with specific instructions to kill the other or… See more →

A lot of foley artists and sound designers in the ’70s and ’80s seemed to have this fetishistic preoccupation with footsteps. In any scene where people were on the move, the soundtrack focused on footfalls to the exclusion of all else. The foley was produced with what I’m guessing was a maximum of three different kinds of shoes (loafers, heels, tennis shoes) on two different surfaces (asphalt, linoleum-tiled concrete). Despite being thoroughly unconvincing, it dominated… See more →

The Crazies arrived in 1973, five years after George Romero’s auspicious debut (Night of the Living Dead) and five years before his masterpiece (Dawn of the Dead). As a low-budget doomsday thriller, it lands directly between those two films as well, making great use of what he learned from Night’s confined space (paranoia, a winking cynicism, and subtle but devastating irony) while sketching out in long form what he would later condense into Dawn… See more →

Remember when Nirvana exploded and every major label scrambled to sign any band they could find that was even remotely similar? Well, if The Sixth Sense is Nirvana (and given how quickly M Night Shyamalan squandered whatever goodwill his breakout hit engendered, I hesitate to draw the comparison), then The Others is Bush.

The themes, tone, essential plot points, and even the color palette are all lifted directly. To its credit, this is not immediately… See more →

When I recently finally saw the first Hostel, I was surprised by how fun it was. Eli Roth’s first feature, Cabin Fever, had not endeared him to me, and that plus Hostel’s reputation for being a torture porn standard-bearer alongside the idiotic and gimmicky Saw films had done little to persuade me. But I had to admit Hostel was competently made and showed both the reverence Roth has for his influences and the glee… See more →

A bit mawkish for my taste, but this is some great visual storytelling, and I love the look of it. Also, I refuse to believe that Chipotle doesn’t rely heavily on industrial agriculture.

Your daily reminder that intellectual property law is fucked.

I saw this at SXSW. It’s fantastic.

On paper, this would make me roll my eyes, but I have to admit the trailer makes me want to see it.

I’m not sure there has ever been a subject more deserving of a documentary probe than this one.

I wish I could find a way to adequately express how awesome and important Don Hertzfeldt is.

Subject matter wise, this is timely for me, but I think I’d have found it just as affecting even if that weren’t the case. Wonderful textures, beautifully told story.

A thousand times, yeesh.

Good luck with that.

This is such a strange move. I wonder how big a release they’re planning, because there can’t be much overlap between the 3D crowd and the subtitles crowd, regardless of the arguable potential for the former to be enticed by BR’s unorthodox brand of ultraviolence. A shitty American remake wouldn’t have surprised me, but a 3D’d American theatrical release (of any size) ten years later is not something I ever saw coming.

Clue was a great movie to grow up with. I was drawn in at a young age by its slapstick and wordplay, there was always something new to discover in its absurdly Byzantine plot, and I understood more and more of its cultural and political references as I got older. It was probably the basis for my years-long fascination with the McCarthy era. I’m surprised this piece makes no mention of Murder By Death, the… See more →

Ordinarily I’m not interested in celebrities being out of touch with reality, but these two just keep getting nuttier.

This year was the least of the eight OIAFs I’ve attended, but I’m glad to see The External World took away the big prize, since it was definitely a standout. Too bad you can’t see any of it online. I’m likewise happy to see the excellent Goodbye Mister Christie win the best feature award. It was the only feature that interested me this year (Phil Mulloy is the shit, and his films are very much… See more →

Fuck. Yeah.

Forgot to share this before. The attention to detail here is astonishing, right down to replicating each character’s every costume change. It pretty much recreates the entire movie, attempts to fill plot holes, and provides hours of gameplay (thanks to numerous Easter eggs, achievements (medals), and other secret goodies), all while staying true to what makes The Room such a wonderfully inept phenomenon. Of course, that means it’s also essentially mundane and boring, but, perhaps… See more →

I put deleted scenes on the DVD, and of course I could’ve gone back and put those scenes into the film to make it longer, but I just didn’t want to. If I’d done that, I would’ve gone back and corrected a bunch of things I would have done differently. Better to leave it alone.

Exactly. Someone introduce this man to George Lucas.

I’m not a Scott Pilgrim fan, but this looks crazy fun.

Lest anyone be curious about this film, I can attest that this review is spot-on.