This film, by Paul Provenza and Penn Gilette, opens tomorrow in New York, and a few weeks later in select cities. Can someone go see it and report? Fat chance it ever comes to Charleston, but if anyone thinks it’s worth the 90 minute drive, I can see it when it opens in Columbia on (believe it or not) September 9.
I think Mauer first mentioned this documentary in a comment a few posts back. I first heard about it when I read this piece by Frank Rich:
Speaking of Spielberg,
I bought the 35th anniversary DVD of “Jaws” yesterday, which includes a making-of documentary (a version of which I had already seen) in which Spielberg says that he was drawn to the script of “Jaws” because he thought it was essentially the same film he had just made, “Duel.” And as I tried to point out in comments to Mike’s “War of the Worlds” post of 7/1 , isn’t it possible to say he’s been remaking “Duel” ever since?
The 35th anniversary edition DVD is quite good, but should I have just waited a few more years for the 40th anniversary DVD? Or the 42nd anniversary DVD? Or the 50th anniversary blu-ray disc? Or the 53rd anniversary Holographic Versatile Disc? Or the eagerly awaited 75th diamond anniversary mindmeld, with bonus Robert Shaw clone?
Seriously, I was browsing through the DVD section of our local B&N, and I saw in the shelves, back to back, the 30th anniversary and the 35th anniversary DVDs of “Easy Rider.” Now, I like the film. But does ANY film, good or bad, need to be repackaged that quickly? What’s so “special” about this “special edition” if it is to become obsolete in 5 years? I think the time between DVD editions should be no less than 10 years, and only if something significant has occurred, like major restoration of original negatives. “Last chance to own ‘Pinocchio’ on DVD, so act now!” Does anyone really believe that?
Speaking of disembowelment and the everyday, I recommend to you this 20 minute French documentary from 1949, though you will have to have a strong stomach to watch it, as it includes the matter of fact slaughter of a horse, a steer, several veal calves and a dozen or so sheep. In fact, the calves are decapitated in order “to keep the meat white.†The director Georges Franju says he made the film in black and white so the viewer would have a forceful “aesthetic response†rather than the convulsive physical response that color would have encouraged. The film depicts the everyday work of a couple of slaughterhouses in Paris where the work is done by hand, with very sharp knives, as though it might be 1249 instead of 1949.
Continue reading Blood of the Beasts
As a kind of three cheers to the public for deciding not to watch Michael Bay’s latest piece of crap, I thought I’d post on some of the old Mike Leigh films I’ve seen which have been recently released on DVD. I’m a big fan of this guy’s films. I really wish there was an American making equivalent films here, but of course, there’s no one to fund them and no one to show them, and no one to watch them either.
I’ll start with the one I watched most recently, Four Days in July (1985). This is one of the last films Leigh made for TV, and I thought it would be one of the most ‘violent’ or heartbreaking, set as it is in Northern Ireland in the mid-80s during the always tense time of the Orange men march through the streets of Codmonger, or wherever. Continue reading 3 by Mike Leigh: Four days in July, Grown-Ups, Kiss of Death
Hey. I recently re-watched The Candidate, Michael Ritchie’s (still!) revealing dry-as-bone satire on American politics/campaigning. The film has a few too many montages, and struck me in this viewing as stretched from a more perfect 80-90 minute stripped-down narrative into a slightly-bloated two hours. (Compared to the complicated fun of Tanner ’88, which admittedly had a few hours to tease out more narrative entanglements.) But Redford is … well, he’s as good at suggesting an ironic critique of flat pretty surface as Warren Beatty has been. Continue reading Candidates
Flipping channels the other day, I came across Johnny Depp on In The Actor’s Studio. He was talking about Sleepy Hollow, and how he was certain that he would be fired from the movie after it had been shooting for two weeks. When asked why, he said, here’s this very expensive film, with a lot at stake for the studio, and I am playing the lead character as a 14-year old girl. Why wouldn’t they fire me? Depp says Burton ran enough interference for him with the studio to keep it going, but yes, looking back on it, he was playing Ichabod Crane as a fourteen year old girl. Continue reading Charlie and the Chocolate Factory
Thinking about the best films of 2005 (released domestically thus far) and I’m stymied by the sheer mediocrity of most everything I’ve seen. I can think of one film I hope will be on my list at the end of the year: Howl’s Moving Castle. After that I can only come up with four lesser films to fill out the list: Millions, Crash, Mysterious Skin, and The Cinderella Man. How about you? Continue reading 2005 Thus Far
For some reason, we watched The Last of Sheila, a strange ’70s “brainteaser” mystery, with D.C., Richard Benjamin, Racquel Welch, James Coburn, James Mason, and Ian McShane (! not very Swearingen-y).
Charles Grodin must have been busy, or in a blood feud with Benjamin.
It was written by Stephen Sondheim and Anthony Perkins. But it felt like a Love Boat episode written by Liz Smith and Anthony Shaffer’s retarded little brother.
What’s your favorite Dyan Cannon film?
What a double bill.
Solaris – reams have been written about it, and I don’t need to add more really, but it was an interesting reaction to 2001, which Tarkovsky apparently thought was “cold and impersonal.”
I had trouble with the reactions of the characters to the events taking place – they just didn’t seem to be plausible. Especially since the pilot who had originally seen the manifestations years earlier, and tries to tell Kelvin about them on earth, seemed very believable in his reactions, both in the archive footage of his report and his meeting with Kelvin. Continue reading Solaris / Trials of Henry Kissinger
hijacking the brief nicky katt sidebar in the “layer cake” discussion and opening it up to other people we don’t see very often or in very large roles but would like to see more of.
(katt, by the way, is very good in “boiler room” and in a brief appearance in “school of rock”. he’s one of those people who disappears into his characters and i’m often surprised to see his name in the credits.)
i would add mark rufalo to the list but he’s in a lot lately. he was also wasted in “collateral”. how do you lot feel about giovanni ribisi? he was also excellent in “boiler room”–then again whoever directed that film also drew solid performances out of ben affleck and vin diesel. ribisi was also good in “the gift” which features a shockingly good performance by keanu reeves (who i don’t wish to see very much more of). has he been in anything which doesn’t feature crap actors acting unfeasibly well?