(Source: marcusblack1844)

Watched: Black Moon, If…, G.I. Joe: #RETALIATION

If you ever need proof that the French are completely insane, look no further than Black Moon, which I bought from the Criterion Collection a year or so ago for reasons unremembered, and finally got round to watching. I have a sentimental fondness for the kind of foreign/arthouse movies that are so that kind of movie that they have been surreptitiously scaring “the norms” away from everything other than mainstream cinema since time immemorial; Black Moon, being a kind of gloss on Alice in Wonderland, is required to make even less concessions to its audience’s sense of sense than usual. There must be something so freeing about taking on Alice, provided you don’t mind your freedom coming with a healthy dose of it-just-don’t-fuckin’-matter. Carroll-logic permanently removes any attributes of narrative satisfaction from the equation, and if Black Moon is drenched in powerful symbolism, it also doesn’t have to succeed as anything other than a series of whackshit whatsits happening in a long, contiguous row. To watch Black Moon, Jan Svankmajer’s Alice, and Burton’s Alice in Wonderland all together would be better than half the drugs in common circulation. Add an A/V poetry reading of Alan Moore’s Lost Girls to the equation, and it’s really a party.

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Watched: Alice in Wonderland, Ponyo, Howl’s Moving Castle

Yes, I get it - I get all of it. I get why critics and fans howled with derision upon the release of Tim Burton’s Alice in Wonderland; and I get why it made a billion dollars. It may be the most mediocre, the most automatically-handwritten, movie in the history of movies. There’s something to it, certainly; but every time it threatens to tip over into really having something to it, the film pulls back. It reminds me of that episode of Star Trek where Data prolonged a chess game indefinitely by taking the least risky move at every turn. At a hundred hours long, Alice in Wonderland would still be exactly this tweedle-humdrum.

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