#43 — Point Blank (John Boorman, 1967) Films centering on revenge are easy, perhaps too easy. The motivation for the central character or characters are built right in–only the simplest backstory is needed in order to convince the audience of … Continue reading Top Fifty Films of the 60s — Number Forty-Three
In recent interview with New York magazine’s online outlet, director Sam Raimi was surprisingly frank about earlier films of his that didn’t work, specifically citing Spider-Man 3 and The Quick and the Dead. I concur on the former and would … Continue reading And movie stars you thought were long dead now are framed beside your bed
#44 — The Bride Wore Black (François Truffaut, 1968) Quentin Tarantino insists that he never saw The Bride Wore Black before conceiving of his Kill Bill films, but I don’t believe him. I’m sure he’s not lying, that he’s actually convinced … Continue reading Top Fifty Films of the 60s — Number Forty-Four
I only had one new piece go up at Spectrum Culture this week: a review of the new Ruby Suns album, which is mediocre. I have nothing to add about it. I was barely able to squeeze out the words needed for the review. However, I also forgot to share something last week, so I have a way to fill out this space a little more. We reached a conclusion of our mammoth undertaking to sort through the best cinematic comedic performances of each year, designating one as the pinnacle. The feature covered every year from 1930 to 2012, and … Continue reading Spectrum Check
#45 — They Shoot Horses, Don’t They? (Sydney Pollack, 1969) Sydney Pollack knew how to put together a movie. He was a favorite director of mine, despite the not insignificant detail that he didn’t make all that many great movies. … Continue reading Top Fifty Films of the 60s — Number Forty-Five
Our Idiot Brother (Jesse Peretz, 2011). There’s sure an abundance of promising elements to this comedy, but it illustrates the vast divide between lining up the right pieces and assembling them properly. Paul Rudd plays a layabout organic farmer who gets busted for selling pot to a police officer and then cycles through staying with his various siblings, played by Elizabeth Banks, Zooey Deschanel and Emily Mortimer. It’s boilerplate comic uplift with everyone evolving to understand the kind-hearted qualities behind the protagonist’s aggravatingly detached manner. There’s barely a laugh to be had in the film, though, and most of the … Continue reading Cahill, Dardenne and Dardenne, Linklater, Peretz, Rydell
I was predisposed to dislike this year’s Oscars telecast. I can admit it. Even since the Academy’s baffling announcement that Seth MacFarlane would be the host of their 85th awards ceremony, I’ve been on a downward trajectory of enthusiasm for … Continue reading Oscar Blight
With a bit of fortuitous timing (somewhat orchestrated, I will admit), we current sit between charts on the Sunday College Countdown feature, allowing for the accurate use of the above banner for my annual indulgence in Oscar ballot wishcasting. I’ve spent the past few weeks trickling out my choices for the best films of the year, but my compulsion for making lists doesn’t stop there. Instead, it melds with my helpless interest in the Oscars (no matter how much the Academy tries to thwart that with their baffling choice of a host for this year’s ceremony) and I arrive at … Continue reading Twenty Performances, or Hero Riva, Mon Amour
I had a very busy week at Spectrum Culture, in part because some screenings got goofed up, necessitating schedule shuffling. Specifically, Rubberneck, directed by Alex Karpovsky of Girls, ran on the day the film was released, a bit of a rarity for me. On the flip side of that, I also had a review of new Korean action film go up, after I had been turned down on two or three other titles for the release week in question. I also had a very big review go up on the music side, with an assessment of the new release from … Continue reading Spectrum Check
There are some movies that inspire adoration from their very first moments, that simply feel exactly right. That’s what happened when I saw Wes Anderson’s sophomore effort, Rushmore. I truly thought that would be a one-of-a-kind experience from the director, especially as his very particular brand of pinched emotion and tightrope whimsy became a little more strained with every outing. Oh me of little faith. From the very beginning of Moonrise Kingdom, with Bob Balaban calmly, sagely explaining the world of New Penzance, Anderson offers a pitch-perfect delivery of an enchanting tone, spirit and rhythm that is uniquely his own, … Continue reading Top Ten Movies of 2012 — Number One
Coffee for Two 