The fact that Juliette Binoche didn’t get an Oscar nomination for Certified Copy is conclusive proof that the Academy has their heads up their asses and/or that there really were, for the first year ever, a ton of decent roles for women in films.
Drop of the decade at 2:55.
Internet, this is your mission. Fetch me an mp3 of this… and I’ll let you live.
As a standalone story, Rise of the Planet of the Apes was pretty exciting.
Taken into the context of the Charlton Heston movie (as I deny all knowledge of the Tim Burton remake), I’m reminded of that Hannah Arendt quote: “The most radical revolutionary will become a conservative the day after the revolution.”
So the apes win… and evolve into Grade A douchebags. Huzzah.
Still, decent flick.
Aisha Tyler needs to do a series of interviews with Questlove, Frost/Nixon-style. I could have listened to him talk for hours.
Part 1 of Part I of a three-part video essay on why film critics actually won the Great Flame War of July 2008, in which the merits of The Dark Knight were debated hotly. On one hand, Jim Emerson does a great job of nailing down what he and other critics meant when they said the film had incoherent action. What they meant was that the “visual grammar” was poor, and Emerson gets his point across well.
But Emerson unintentionally proved to me in a later video, using the pretty boring Salt as a good example of visual grammar, that if the story is poor, it doesn’t matter how well-executed the action is. Undoubtedly, the action choreography and editing in Salt are top-shelf, but the film as a whole is pedestrian, predictable and trite.
It reminds me of when Armond White said that he could conduct a shot-by-shot analysis of Transformers: Revenge of the Fallen to prove how brilliant it really is. If this is the case, then it worries me that critics like White and Emerson are such navel-gazers regarding the visual aspect that they’re less bothered by the storytelling. The way I see it, any set of criteria that judges Michael Bay to be a better filmmaker than Christopher Nolan is incomplete. This prioritizing of visual language over story is, I think, the source of the general flatness I’ve found in a lot of technically spectacular films, like Avatar and the Pirates of the Caribbean sequels.
But evaluating story is more subjective than evaluating adherence to visual grammar, so I guess I’m wrong.
Werner Herzog is a better man than the rest of us deserve to know exists.
Here he is reading “Go the F*ck to Sleep” at the NY Public Library last night.
“I think if you would know one thing about me it would be that I prefer laying wreaths to lighting torches.”
(thanks, Jean and Linus!!)
I’m proud to say that I am friends with this cat.
I think remaking Woody Allen films with Muppets is a good idea. I would love to see Muppet’s Crimes and Misdemeanors.
I’d pay good money to see Deconstructing Kermie. Or The Purple Nose of Gonzo. Or Broadway Fozzie Bear. Or Janice and Her Sisters. Someone stop me. Please.
Tom Haverford On Food
"with a Z… I don’t know why, really."