#47 — Assault on Precinct 13 (John Carpenter, 1976) By most assessments, the glory of American cinema in the nineteen-seventies was largely a result of major studios turning over significant dollars to daring directors who then spun that money into edgy … Continue reading Top Fifty Films of the 70s — Number Forty-Seven
I have no doubt that The Artist will prevail in this year’s Best Picture race at the Academy Awards. None whatsoever. Michel Hazanavicius’s tribute to the distantly bygone glamor of silent picture storytelling by making his own black-and-white, almost entirely … Continue reading Baby, baby, I’ll never let you down, I can’t stand another sound
It’s probably too late for me to tell you that I would have had Terrence Malick listed as a surprise Best Director nominee had we done predictions this year, right? Right. If you had trouble getting onto IMDb this morning, it’s because was trying to figure out who the hell Demián Bichir was at the very same time. Okay, that might be a little unfair; Bichir was also a Screen Actors Guild Best Actor nominee for A Better Life, but he was still one of the more surprising announcements this morning. In same category, Gary Oldman became an Oscar nominees … Continue reading It’s smelly and cold, but I wouldn’t trade it for a big pot o’ gold
The Oscar nominations arrive tomorrow. Usually I would be sitting in front of the television with a sheet of paper hastily scrawling down the honorees in the key categories as they’re announced, giving me the data needed to do some rapid-fire calculations. Somewhere nearby I had my predictions and those of my cohort from the movie review show we did on 90FM in Stevens Point what now seems an eon ago. Once the announcement was complete, I quickly tallied up which one of the two of us did a better job forecasting the nominations. Overwhelmingly, he was the victor. I … Continue reading Anything ragged or rotten or rusty
I knew was a little extra stressed out this week for a reason. It just occurred to me, as I prepared this post, that I actually wrote a lot for Spectrum Culture this week. I’ll start on the movie side, where I claimed responsibility for reviewing the directorial debut of Vincent D’Onofrio. This was in part because he’s enough of an oddball that I was very curious as to what he’d do behind the camera. I also have a marital obligation to acquire a horror movie for review from time to time and this one had the added curiosity of … Continue reading Spectrum Check
#48 — Stroszek (Werner Herzog, 1977) It’s difficult to write about Stroszeg without caving in and turning the whole thing into a prolonged essay on all the distinctive elements that make Werner Herzog’s films, the good and the bad, so … Continue reading Top Fifty Films of the 70s — Number Forty-Eight
I’ve had a similar reaction to every film adaptation of a John le Carré work that I’ve ever seen. I find it admirable and fascinating in the moment, taking special notice of the careful consideration of the plain mechanics of … Continue reading The call to arms you liken to a whisper
Spectrum Culture was back in full wing this week, which meant that my words were all over the place as well. I was especially busy on the movie review front. First I weighed in on a highly problematic drama built around grief and guilt and contrived tension. We’re in that weird stasis zone in between the end of year Oscar fodder (much of which I can’t get screeners of because they’re being highly protective of pirating, even though they send them out as freely as Bed Bath and Beyond coupons to major critics and guild members) and the launch of … Continue reading Spectrum Check
Cyrus (Jay Duplass and Mark Duplass, 2010). After establishing themselves as slightly cheekier members of the mumblecore movement with the fun, cleverly self-referential Baghead, the Duplass brothers made their first venture into a film with actors carrying impressive resumes with them with the genially bleak relationship comedy Cyrus. John C. Reilly plays a despondent guy who begins to emerge from his post-divorce funk when he stumbles into a relationship with a beautiful woman played by Marisa Tomei. Matters are complicated, however, by her dependent son played by Jonah Hill, in one of his first real attempts at breaking the typecasting … Continue reading Antin, Duplass and Duplass, Fellini, La Cava, Ray
#50 — All That Jazz (Bob Fosse, 1979) For those trying to determine the half-life it takes for a visionary film director to decay from an award-lauded masterpiece to a wildly indulgent fever dream, the Oscar class of 1972 (or … Continue reading Top Fifty Films of the 70s — Number Forty-Nine
