Tuesday, July 26, 2016

scream room links

---The Evolution of the Comic Book Film

---"I get a middle-of-the-Venn-diagram thrill when I encounter either literariness in film writing or film as the subject or setting of literary writing. Granted most specialists probably feel similarly, but for me there's something uniquely difficult, and also potentially alchemic, in witing about movies. The writer is tasked not only with verbally transmitting image and movement, but also capturing something of the mood or fantasy evoked on screen, and grappling with medium-specific gestures so minor they're almost implied; here, the challenge is to convey but not overwork such moments, keeping both effect and subtlety intact, as if handing over a moth without dissolving its wings." --Veronica Fitzpatrick

---hathor / room

---"In the 1990s and early 2000s, I used to hear horror stories all the time. One well-known agent once threw his phone at an assistant, only he threw it so hard it went clean out the window. A top studio executive intimidated his staff so terribly that a lower-level executive kept a voodoo doll of him and would stab it on choice occasions. A media exec smashed two women’s heads together because he wanted to watch them kiss." --Stephen Galloway

---mistakes to avoid when shooting an independent film

---"The Video Essay as Art: How to Make a Great Supercut" by Conor Bateman

---"I've always been someone that's really fascinated by identity and really aware that it's a creation." --Tessa Thompson

---trailers for Doctor Strange, Justice League, Kong: Skull Island, La La LandWonder Woman, Blair Witch, A Tale of Love and Darkness, Nerve, Rules Don't ApplyThe Edge of SeventeenTrain to Busan, and The Magnificent Seven

---"The immediacy of media, the expectation that we can be anywhere now, is changing how we experience crisis and even our own mortality." --Emily Bell

---Spatial Bodies

---Matt Zoller Seitz studies the film pop culture references of Mr. Robot

---Alexander Payne: The Science of Failure

---"The most widely accepted definition of a troll is a provocateur—someone who says outrageous, extreme or abusive things to elicit a reaction in an imagined audience. For them, the reaction itself is the win. That doesn’t cover the various sub-species of troll in this well-catered goblin market. 

The key distinction, at this convention and among the petty demagogues here assembled, is between the attention hustlers—the pure troll howlers who play this grotesque game for its own sake and their own—and the true believers. Roosh is a true believer, and that puts him at a disadvantage. Roosh means what he’s saying, but he’s still aware that he’s playing a game — the same game almost everyone in this crucible of A-list internet con-men is playing. It’s the game of turning raw rage into political currency, the unscrupulous whorebaggery of the troll gone pro. These are people who cashed in their limited principles to cheat at poker. Milo is the best player here. Like Trump, and like a lot of successful politicians in this postmodern circus, they channel their own narcissism to give voice to the wordless, formless rage of the people neoliberalism left behind. They offer new win conditions for the humiliated masses. Welcome to the scream room. There’s a cheese plate." --Laurie Penny

---Star Trek: Rules of War

Saturday, June 25, 2016

"No one cares about reality anymore": 9 notes on Terrence Malick's Knight of Cups

Terrence Malick won't/has contempt for/dislikes shooting a scene, and that's what I found myself brooding on while watching Knight of Cups on Blu-ray. On one level, this omission makes for a more gnomic movie in which voiceovers sound like oracles, but there are clear problems with the practice. Apparently, Malick did not write a screenplay for Knight of Cups, so much of the time, the actors did not know what would happen in the next non-scene. I took pleasure earlier in the year in piecing together links that explored the extreme filmmaking legend/emperor with no clothes dichotomy of Malick's critical reception, so I felt unusually ready to appreciate the movie, which sometimes resembles an ad for its own profundity. Some notes:

1) I did enjoy the film more than I expected to, in part because individual sections, such as a montage of Los Angeles billboards, are stunning on their own, with much credit due to Emmanuel Lubezki's cinematography.

2) So how does a Malickian non-scene work? For much of the film, Christian Bale (screenwriter Rick) strolls about LA or Las Vegas looking pained as he encounters groupies, parties, the occasional homeless person, the gorgeous interior decoration of apartments, top notch ocean-view hotel rooms, skyscrapers, etc., all seemingly designed, perhaps, as A. O. Scott pointed out, to make us jealous. Occasionally, women like Cate Blanchett (playing a former wife, Nancy) and Natalie Portman (Elizabeth) join him, but then we usually don't get to hear much of what they might be saying. Since these stars have nothing exactly to work with except for a major filmmaker egging them on, they often come across as uncertain about what to do. Perhaps Malick likes for them to be spontaneous, but it also leads to overacting. Portman no sooner arrives than her character starts to weep because she (as we learn in the voiceover) has become pregnant, and she doesn't know whether Rick or her husband is the father. I imagine that Malick ultimately cuts out the sound of much of the film's improv dialogue because it turned out to be banal and repetitive.

3) Also, whenever Malick returns to erstwhile major characters later in the movie (such as he does with Rick's dad played by Brian Dennehy), whatever significance Malick may want us to feel doesn't work at all. Here's where coherent earlier scenes would have really helped keep the film from drifting into self-important abstraction.

4) Malick loves to film the ocean crashing on the shore. After awhile, we know that the stars of the movie, as much as they avoid the waves initially, will eventually get their Giorgio Armani designer clothes wet, because what else is there to do? One can then think of how the water meets the sand, and all of its metaphorical and cosmological significance.

5) What of the tarot cards? As each section of the movie divides up under titles like "Death," "the Moon,"and "the Hanged Man," etc., I kept thinking of T. S. Eliot's The Waste Land, which is also a collection of metaphorical fragments that hints at further metaphysical depth.

6) Due to the lack of real scenes, characters end up being vaguely dramatized ideas. Antonio Banderas appears in one party scene as a fun-loving hedonist who samples women like ice cream flavors. He dances on the edge of the pool, and, of course, ends up romping around in the water fully dressed as all of the beautiful people look on. I had difficulty believing that we were ever really meant to accept Cate Blanchett or Natalie Portman as characters at all. They are, instead, stars, like Freida Pinto, happy to not have been cut from the movie altogether. In this regard, their beauty operates more like a brand--they heighten the movie with their star power regardless of whatever vague motivation that each non-scene may have. Having Portman show up late in the movie makes sense--she's worthy of a later entrance given her comparative star wattage.

7) Actors do twirl less than they do in To the Wonder (2012), but there is one blonde stripper/actress named Karen (Teresa Palmer) who dances around in every scene much like Sarah Jessica Parker did in L.A. Story (1991). 

8) Occasionally, Malick juxtaposes the human-made spectacle with a natural one, cutting from a massive state of the art multi-screen concert to a desert mountain landscape so that we can compare and contrast the beauty of each.  At times, the grand long shot visual style of the movie (always happy to turn up and focus on a helicopter or a jet flying overhead) reminded me of Antonioni's L'Avventura (1960), where the composition of the shot keeps commenting obliquely on the scene and the characters (when it isn't overwhelming them).

9) Knight of Cups may one day serve as a grand and magisterially detached portrait of our era, one in which the movie's hints of depravity and existential despair may not prove as lasting as its vivid depiction of Los Angeles design and its semi-satirical portrait of the rich at play. Even with the film's Delphic voiceovers and Christian Bale's pained expressions, human characterization ultimately does not appear to matter all that much. As Karen points out, "No one cares about reality anymore" anyway.

summer links

---"Summer has officially arrived, along with the mounting pressure to enjoy it before it passes. The filmmaker who most deeply investigated the contradictions of the sweaty months is Eric Rohmer, whose summer films contain placid surfaces rippled by violent speech. His characters are surrounded by beauty and inevitably beset by anxieties of how their time there is being wasted, ticking away." --R Emmet Sweeney

---You Are Awake

---"The trouble with the movies is that they so seldom get below the surface of a story and its characters, that their whole is rarely as good as the parts, and the characters of their players—Gary Cooper or Margaret Sullavan, for instance—are usually more powerful than the characters they play." --Manny Farber

---a four part analysis of Edward Albee's Who's Afraid of Virginia Woolf by Nathaniel R, Kyle Stevens, and others on the Film Experience 

---"Streep made one small, but important, tweak at the table read. She changed Miranda’s last line, where she’s sitting in a chauffeured car with Andy, from 'Everybody wants to be me' to 'Everybody wants to be us.' On the press tour for Prada, Streep insisted that Miranda the movie character wasn’t based on Wintour. She said her performance was inspired by men, but kept their identities a closely guarded secret until now. 'The voice I got from Clint Eastwood,' Streep says. 'He never, ever, ever raises his voice and everyone has to lean in to listen, and he is automatically the most powerful person in the room. But he is not funny. That I stole from Mike Nichols. The way the cruelest cutting remark, if it is delivered with a tiny self-amused curlicue of irony, is the most effective instruction, the most memorable correction, because everyone laughs, even the target. The walk, I’m afraid, is mine.'"

---Matthew McConaughey Talks True Detective

---"De Palma went on, 'The studios gave us the keys to the kingdom, and we all made a lot of extraordinary movies before they discovered sequels.' He made the word sound repellent. 'But it’s a corrosive system. When I was working on The Fury, Frank Yablans”—who produced the 1978 film—'said, ‘Dino will pay you a million dollars to do Hurricane. Go see him right now.’ Dino De Laurentiis was an impresario of gaudy schlock. 'So I go to Dino’s office, and he holds up this picture of an island and says, ‘ Hurricane! You will live in my hotel and shoot it all!’ After I read this terrible script and was embarrassed that I’d been lured, I told myself, ‘You can’t stay here any longer.’" --Tad Friend

---Dave Adder of Typeset in the Future considers Blade Runner

---"Simply the Best: Blood Simple and the Fabulous Coen Brothers" by Danny Bowes

---trailers for The Birth of a Nation, American Honey, Eight Days a Week: The Touring Years, Miss Peregrine's Home for Peculiar Children, I, Daniel Blake, Train to Busan, The Legend of TarzanThe Girl With All the Gifts, Keeping Up with Jonesesand American Pastoral

---"Whether the film’s influence extended beyond the movies and into reality is another question, but when the World Trade Center was attacked in 2001, it was often said that footage of the crumpling Twin Towers could have come from a Hollywood movie – and one Hollywood movie in particular. Joe Viskocil, the pyrotechnics expert who designed The White House explosion in Independence Day, went so far as to say that he felt partially responsible. 'I felt guilty about making my work look so good,' he says. 'I started thinking maybe I did my job too well, and it might have been the nucleus of an idea for someone to say: ‘Hey, let’s crash a plane into the White House.’" But no one else in Hollywood showed much remorse. Directors, Emmerich included, kept on knocking down New York landmarks as if nothing had happened." --Nicholas Barber

---David Fincher: From a Distance

---Whit Stillman's 10 favorite films

---Famous Actors as Famous Authors

---Dissecting Dialogue in Film

---"The Dawn of 'Just Me": Zack Snyder's Neoliberal Superheroes" by William Bradley

--“I say the same thing over and over again. If I can create a sequence where you’re gazing at a woman or following a woman, it seems to me like a basic building block of cinema." --Brian De Palma

---Happy and Townie by Mitski

---All Along the Watchtower, Explored

---Thought Leader Talk

---"I think when something is exciting to you, a picture or a piece of music, what’s exciting is that you’re hearing the latest sentence in a conversation you’ve been having all your life. When you look at a painting, you don’t just see that painting, you see every other picture you’ve ever seen. That painting is in the context of every picture you’ve ever seen." --Brian Eno

Thursday, June 9, 2016

"Be gone, or I will have you whipped": the pleasures of Whit Stillman's Love and Friendship

Adapted from an early story by Jane Austen, Whit Stillman's Love and Friendship is delightful, with Kate Beckinsale as Lady Susan Vernon dominating most every scene she's in, but I was confused by certain aspects of it. To whit,

a) no superheroes battle each other.

b) the movie, which is weirdly not a sequel, does not end with a large explosion and a chase scene.

c) Kate Beckinsale does not wear black leather, jump out of high buildings (landing on her feet), nor does she kill a single Lycan as she tends to do in her various Underworld movies.

Instead, Stillman relies upon Lady Susan Vernon's wit and satirical bite to drive a Regency era comedy that moves fast with lots of horse-drawn carriages rushing back and forth between estates. Stillman prefaces scenes with flagrantly artificial introductions of characters where the actors stand before the camera while we read something written on them in fancy Austen-esque font like:

The Divinely Handsome
Lord Manwaring

Also, curiously, Stillman often leaves key characters, such as Lord Manwaring (Lochlann O'Mearain) out of the movie almost altogether, never bothering to waste a scene on a figure who serves the plot but may not be needed otherwise.

As a typical consumer of recent cinema, I am used to moviemakers spoonfeeding information to my distracted brain, but Whit Stillman makes Love and Friendship tricky, subtle, and occasionally hard to follow. I went to see it with two lady friends, and we have gotten into various arguments about it since. When I claim that I like the machinations of Lady Susan, they assure me that I should not, that she's evil and manipulative. As a man, I, too, am susceptible to her charms. Once one learns to look beyond the conventions of mostly upper class early 19th century society, one realizes that Lady Susan takes what she wants, and justifies her behavior smoothly afterwards. When she runs into a man she doesn't want to see, she says "Be gone, or I will have you whipped." Likewise, when she has an affair with Lord Manwaring and his wife Lady Lucy (Jenn Murray) understandably objects, Lady Susan points out that "If she was going to be jealous, she should not have married such a charming man."

Perhaps in part because the death of her husband has left her poor, Lady Susan comes across as more alive than her more moneyed hence complacent peers. Her former husband's brothers' wife Catherine DeCourcey Vernon (Emma Greenwell) becomes alarmed by Lady Susan's visit to her country estate due to her reputation as an effective coquette, i.e. her ability to do great mischief by getting most any man around to fall in love with her. Yet, Catherine also acts transfixed around Lady Susan, as if hypnotized by a snake. I enjoyed Kate Beckinsale's performance, in part because she proves that she does not need all of that tight-fitting black leather and slow-motion fight scenes in the gothic dark to hold one's attention. She can accomplish that well enough as a supremely self-interested player.

In an American movie, Lady Susan might've been a femme fatale along the lines of Matty Walker in Body Heat (1981) or Barbara Stanwyck's role in Double Indemnity (1944), but Lady Susan need not kill anyone either. She enjoys the chess-like strategizing of manipulating others for its own sake, much as the Marquise de Merteuil does in Dangerous Liaisons (1988). When Lady Manwaring manages to poke a hole in Lady Susan's deceptions by exposing one of her letters to Reginald DeCourcey, Lady Susan handily defuses the scandal by questioning Reginald's trust in her. If anything, she makes her ability to transfix everyone look too easy, to the detriment of Chloe Sevigny's role as Alicia Johnson, an American wife who mostly just listens to Lady Susan's confidences. In contrast to Chloe's previous work with Kate in Whitman's excellent Last Days of Disco (1988), her participation in this movie as Alicia is limited by her husband Mr. Johnson (Stephen Fry), who, as Lady Susan puts it, is "too old to be governable, too young to die."

Meanwhile, as everyone reels from "the most accomplished flirt in England," Tom Bennett as the upper-class twit James Martin proves hilarious every time he attempts to talk. I liked it when he brings up the 12 commandments and then tries to explain why he goofed. When he finds some peas on his plate during dinner, he says, "How jolly, tiny green balls. What are they called?" Stillman understands how Americans enjoy watching English nobility reduced by in-breeding, perhaps, to sheer fat-headed ludicrousness. Reginald DeCourcey proclaims James Martin to be insufferably "silly," but the man still has fun in his idiocy.

In the end, Love and Friendship works just as Lady Susan does, through its "captivating deceit," its "uncanny understanding of men's nature," and its insistent charm. Sometimes, even when we know better, we prefer the company of a knowing and beautiful fraud.

Tuesday, June 7, 2016

anesthesia of the loudness links

---The American Dream in Film

---"Sequel after sequel has disappointed at the box office this year."

---Frank Zappa on fads

---the Strokes' "Drag Queen"

---a scene from American Psycho

---"X-Men, meanwhile, is iconography in reverse. No one — outside of their personal accountants — will associate Michael Fassbender with Magneto, or Jennifer Lawrence with Mystique, or James McAvoy with Professor X when they look back on their careers. These parts are IMDb filler; celebrity curios; walking, knowing smirks. If anything, equity-wise, X-Men roles carry a stigma: They’re pure paychecks." --Sam Donsky

---Beck's "Wow"

---"Our Brand Could Be Your Crisis" by Ayesha Siddiqi

---Notes on Pickpocket

---trailers for 11:55, Down by Love, Love and FriendshipThe Legend of TarzanRoadies, Carnage ParkThe Call Up, and Morgan

---"Ms. Eakin said spotlighting the range and diversity of female cinematographers underscored their strength. 'Everyone can stop questioning whether women can command a set and a crew and be creative and technical at the same time,' she said. 'We can and we do. We just need to get past it being this rarity.'" --Melena Ryzik

---a collection of Pauline Kael's reviews

---"The Video Essay as Art: Why Process Matters" by Conor Bateman

---"Rawness is fast emerging, in fact, as the central paradox of live streaming: The very intimacy and immediacy that make the medium attractive are also the things that make it almost impossible to keep clean." --Caitlin Dewey

---Brian De Palma's guilty pleasures

---Richard Hell's top 10 Criterion picks

---Cinephilia and Beyond considers Alien

---Stanley Kubrick: The Cinematic Experience

---"Such cruel paradoxes seem somehow built into Highsmith’s sapphic romance—written, as it were, into the fictional DNA. Highsmith, one might venture, was never able to rid herself of an ominous, dissipating sense of the pathological element in human life. Like a retribution, it was there in society’s repressive dictates and in her own psyche. These deep contradictions both undercut and intensify the nostalgic seduction supplied by the warm and glittery 1950s Manhattan setting. Carol and Therese seem to be forever swirling down Old-Fashioneds and double Gibsons, listening to Billie Holiday, and smiling a little too intently at one another. The Price of Salt, read straightforwardly, depicts the beginnings of the kind of relationship Highsmith herself could never enjoy. The novel is, I think, its author’s wish-fulfilment dream, but one in which anxiety-dream elements, the same stuff she transmuted elsewhere into bizarre suspense fiction, keep looming up like neurotic symptoms to invade the mise-en-scène. It’s a rarity—a love story lit by a weird, unwholesome, noirish glow." --Terry Castle

---"Sofia Coppola and the Female Coming of Age" by Allie Gemmill

---Intertextuality: Hollywood's New Currency

---"Watching Captain America: Civil War, in which positively nothing is at stake, I checked my watch 25 minutes into the film, sighing at the realization that there were nearly two hours remaining. How can audiences stand this? By submitting to the anesthesia of the loudness, I suspect, by comforting themselves with the knowledge that they are, at this moment, doing what culture expects of them. Seeing the “big” thing, the Super Bowl of yearly adventure epics." --Chuck Bowen

---What Makes a Movie Great?

Tuesday, May 24, 2016

hyper-reality links

---"At times I feel as though I’m in a bad science fiction movie where everyone takes orders from tiny boxes that link them to alien overlords." --Rebecca Solnit

---"11 Ways to Make a Video Essay" by Conor Bateman

---"Western Culture is built around ideals of individual choice and freedom. Millions of us fiercely defend our right to make 'free' choices, while we ignore how we’re manipulated upstream by limited menus we didn’t choose.

This is exactly what magicians do. They give people the illusion of free choice while architecting the menu so that they win, no matter what you choose." --Tristan Harris


---"as a private company, Facebook has no particular obligation to reveal the inner workings of its products. But Facebook isn’t shy about its ambitions (or successes): It hasn’t just upended journalism and advertising; it plans on upending the retail, telecommunications, and entertainment sectors, too, inserting itself not as a competitor but as an entirely new layer in businesses around the world. It’s building drones that provide internet access through lasers. Its black-box sorting now governs a whole variety of experiences, or even entire industries. 'It just works,' a selling point on your desktop, is less compelling at global scale. How does it work? How does the system serve up information? More important: What are we not seeing?" --Brian Feldman

---"Peekaboo! The Movies of 2016 at Halftime" by Dennis Cozzalio

---“In today’s world we are surrounded by gadgets. Our phones, televisions, fridges, everything around us is sending real-time information about us. Already we have full data on people’s movements, their interests and so on. A person should understand that in the modern world he is under the spotlight of technology. You just have to live with that.”

---"listening machines trigger all three aspects of the surveillance holy trinity:

1) They're pervasive, starting to appear in all aspects of our lives.

2) They're persistent, capable of keeping records of what we've said indefinitely.

3) They process the data they collect, seeking to understand what people are saying and acting on what they're able to understand." --Ethan Zuckerman

---"The Future is Almost Now" by Elizabeth Alsop

---The Art of Film Editing

---"Stillman’s movies are always half-glamour, half-thrift. He speaks on behalf of a lifestyle many will recognize as their own: One of cocktails and suit jackets, but also one of student loans and difficulties paying the bills. Hollywood seems to imagine every person in America as either a multi-millionaire or a beggar on the dole, as though anyone who reads the New Yorker owns a yacht. Stillman understands that many of us are somewhere in between. His heroes are the sort that have college educations but don’t have cab fare. Do they lead a life of luxury? No. But Stillman’s films know what it’s like to live paycheck-to-paycheck but still feel a little debonair." --Calum Marsh

---trailers for Personal Shopper, Our Kind of Traitor, Sausage Party, Ghostbusters, De Palma, Hell or High Water, Zero DaysBilly Lynn's Long Halftime Walk, and Into the Forest 


---“Everything’s designed to be bland, homogenised, user-friendly. As someone says in the book (and I’ve used it before, I know, but it’s a slogan I’m going to keep pushing) the totalitarian regimes of the future will be ingratiating, subservient. No longer will it be Orwell’s vision of a boot stamping on a human face. We’ll have something highly subservient and ingratiating, where the tyranny is imposed for our own good. We see it all the time.” --J.G. Ballard

Sunday, May 22, 2016

"You are about to be killed by a Zamboni": 10 questions about Deadpool

1) Why is it that one of the most successful superhero films insists upon making Ryan Reynolds ugly, demeaning him in multiple ways by calling him "God's perfect idiot," etc., and turning the 39 year old actor into a peculiarly adolescent variation of Donnie Darko (complete with hoodie) who will, as his friend Weasel (T. J. Miller) points out, "die alone . . . for others sake"?

2) What is it about breaking frame that makes Deadpool appealing? Is it because it makes him the viewer's confidante, a partner in speaking the truth of the current state of rotting superhero cliches? Why watch Deadpool at all as it mocks the very form it participates in? Have we reached the point in postmodern culture when the snarky commentary has become superior to the consumer product itself?

3) Why does Deadpool live with an older African American woman named Blind Al (Leslie Uggams)? Is it because she's the living opposite of the standard youthful white male superhero lead? Is Deadpool a hit movie because it calls attention to Captain America's lack of any recognizably human discernible personality, or Superman's for that matter?

4) Why does Deadpool draw crude images on paper on the edge of the spaghetti freeway? Is it because he's the representative portrait of the postmodern artist?

5) What should one make of the scrambled narrative structure of Deadpool with an extended flashback occurring just as our anti-hero skewers a bad guy with his long knives, holding him for a sustained amount of time in the air as he dies?

6) Why does Deadpool insist that his real story is a romance? Is it because that is the one storyline that much of the movie's geek audience may never attain?

7) How much is Deadpool a particularly snarky variation on Spiderman?

8) Why does Wade Wilson have to endure a particularly horrific torture porn sequence to gain his superpowers? Why is so much of Deadpool hellish, with grey spaghetti freeways, crashed SUV's, the burning interiors of warehouses, graffitied bathroom walls, scummy biker bars and strip clubs, mounds of detritus, and garbage piled everywhere? Why are there no images of nature anywhere? Is Deadpool popular because it consists solely of leftover waste of popular culture, because it acknowledges that so many blockbusters just consist of recooked cliches?

9) What does Deadpool affirm? The desire to be an antihero, the love of his prostitute girlfriend (Morena Baccarin), and the need for acceptance once he has become so deformed as to reach Elephant Man-level ugliness?

10) How does Hello Kitty figure in the success of the movie? My Little Pony? Is Deadpool the new hit Marvel franchise because the man wears Crocs, enjoys Wham!, frequents TGI Fridays, and idly looks through Segway tour pamphlets in his free time?