"I got poetry in me, dammit."
I don’t think I’ll ever watch McCabe & Mrs. Miller again. This isn’t anything to do with the film. I think it’s wonderful; I think it’s one of my favourites. I’ve written papers about it. I’ve seen it, I think, three times straight through, and a handful of other times, other ways. I saw it again at the Lightbox last week, on real 35mm, and man, it looked amazing. And it really got to me, too, you know? That stupid, ineffectual man. That absolutely castrated male ego. All the things that means. All the things that, in a frontier setting, points towards. America. Manhood. Me.Read more
The Facebook page for The Storaro Collection — which sells books, movie stills and other art by legendary cinematographer Vittorio Storaro — is a treasure trove of fantastic Apocalypse Now behind the scenes pics. Here’s the official site if you’ve got a few hundred extra bucks in your couch cushions for such things. —Deep Fried Movies
Mother of god these pics.
At some point in 1984, my father was attempting to describe the plot of Amadeus to our friend Susanne, whose command of English was not, at that point, very good - which required him to demonstrate the meaning of the word “suicide,” in explaining the first scene in the film, by drawing his thumb across the white flesh of his throat. This, I remember. I was eight years old - Amadeus was released on my 8th birthday, so I could not have been anything less than 8 years old - and we were in the dining room at my parents’ house.Read more
Super article about the success and influence of The Blair Witch Project, which was released 15 years ago today. Some of the highlights:
"It was proof that when it comes to having the goods, you either have ‘em or you don’t."
"…it seems appropriate that Blair Witch would be one of the first major films of the Internet age because the heated conversations it ignited on countless message boards embodied the way that the internet has gone on to transform (for the worse) the nature of our cultural dialogue – with people occupying extreme positions on opposing sides, leaving little room for any middle ground.”
"I believe that the constant chatter in Blair Witch is actually one of the keys to its effectiveness. Most horror films utilize silence in order to build suspense – for instance, think of the moments in Paranormal Activity when Katie and Micah are simply asleep in bed for long stretches of screen time – but silence is very rare in Blair Witch. As their situation becomes increasingly dire, all that talking from Heather, Mike, and Josh serves as a reassurance (both to themselves and us) that they’re still alive, still in the game, and still in it together. But as each voice is silenced one by one, with Heather’s being the last to go, the abruptness when Heather’s voice is cut off in mid-cry is as profound a jolt as the snap of the noose in An Occurrence at Owl Creek Bridge.”
The ceaseless game of internet cocksmanship that film critics play with one another, to see who can write the most arch review, can become tiresome - but nevertheless, The Dissolve’s review of My Man Is A Loser is my current favourite. Thanks to finely crafted Ehrlichisms like this:
"Ageless and enduringly charismatic time lord John Stamos plays Mike, the smooth and single owner of a Manhattan bar."
"Make no mistake, this is simply the latest incarnation of the regressive ‘men are like this, women are like this, and marriage is a hell on earth that’s slightly preferable to a lifetime alone’ mentality that has defined the sitcom era and made sweatpants a synonym for sexlessness.”
"Even the supporting characters compulsively give names to their moves, with one of the interchangeable wives educating the other about ‘AmEx Sex’—’When the AmEx bill comes, I hide it, blow him so hard that his eyes roll into the back of his head, and the next day he isn’t even mad about the charges’—an important skill in any wife’s arsenal because women be shopping."
"Narratively scattered and about as visually interesting as the average 40-year-old man."