No, he's not funny. None of his shows are funny. He's a low brow, sophomoric asshole, and more importantly he just has a terrible sense of comedy. He completely lacks satire in any form, he is the equivalent of catch phrase standups.
No. Much like a lot of things you write, you're wrong on this one.
How dare you!
I don't want to fuck him.
I mean, he's easy on the eyes, but he's not my type.
Wait a minute... this is "Chicago," not Star Wars. Ok, which one was "Chicago?"
So did anyone participate in the flash sale on criterion.com this week?
(somehow, I know that Xanman did, and would be more shocked if he didn't)
Another Upstream Color screening got announced. RSVP for free here. Q&A as well. March 5th.
Upstream Color was a lot to take in, but was completely remarkable. A substantial step forward for Carruth in every way (regardless of what you thought of Primer)...mesmerizing score, incredible imagery, shot in a style that, even after only two films, has quickly become very recognizable as his. I have only a vague idea of what it all meant, but I can't wait to see it again.
Yeah, Upstream Color is fucking amazing. It doesn't initially seem stylistically kin to Primer - Carruth has essentially followed his lo-fi jigsaw puzzle with a Malick-descendent, kaleidoscopic fever dream that explores the connective tissues between identity, reality, and creation - but there is a distinctive through-line from the earlier film that can be subtly detected in the writing and editing (although Carruth has, this time around, solicited help in the latter field from the apparently brilliant director/editor David Lowery, whose Ain't Them Bodies Saints also debuted at Sundance and comes out in August). No question it's a tremendous step forward for Carruth, as well as a monolith (in both the landmark and 2001-open-ended-metaphor senses) in its own context. I can't fucking wait to see it a second time.
HERE ARE ITS THEATRICAL DATES EVERYWHERE. EXCUSES WILL NOT BE TOLERATED.
I trust you, Gabe, as long it's not another Southland Tales.
Watched Compliance last night on Netflix and I'm convinced of its brilliance. "Based On A True Story" is one of the most over used and exploited devices in modern film but in this instance it's absolutely vital to the narrative. The movie made me uncomfortable. Then it made me angry and for the life of me I can't stop thinking about it. The acting, writing and directing are all superb and the movie manages to shine some light on the motives for some of the most unspeakable acts in human history - Nazi Germany, you name it. And it takes place in a fast food restaurant. And yeah, true story.
So I finally watched Prometheus and I don't get it--what was everyone so pissed about? Seriously. Looked pretty, decent enough action though I hate the way Ridley has made strobe lighting an affect of any space ship in distress (which got carried over from Alien to every single shitty space movie ever made), and definitely made me tilt my head at the screen a few times pondering the implications of what the Engineers are supposed to represent. Totally dug the merging of traits from numerous ancient God lores and incorporating it into the more current scientific viewpoint that life started from alien matter that landed on Earth somehow, although in this instance it's intentional but I still like it.
It made my mind start whirring going back over concepts of creationism and religion I'd spent years dissecting as a teenager when I had a lot of drugs around. Lots of the ancient myths are similar from one culture to the other--Norse gave way to Greeks gave way to Romans and their lore got reinterpreted in a different language with different names and somewhat different content but a lot of the same ideas. Similarly, Judaism evolved into Christianity and then that evolved into Islam. What if none of them are wrong? What if the differences between them are really just a reinterpretation due to cultural and language differences that were then beefed up with these human-invented concepts that any of them are more correct than the other--or that God gives a flying fuck--by men who were trying to seize power? Reducing the creator-beings to just some simplistic embodiments of either life-giving or life-taking also kinda rubs me the right way. If you're doing a creation lore you better either get REAL detailed--which is gonna piss people off--or keep it REAL broad, which apparently still pisses a lot of people off.
Generally speaking I'm a big sucker for any time someone looks at the question of what happened to God and the answer is just that He fucked off for whatever reason. Got bored, didn't like us so much anymore, whatever. Seems infinitely more logical than the general precept that if there is a God, that God must still care about us and is still hanging around with his thumb up His ass not doing anything.
This pretty much goes over everything I thought was hilariously bad about Prometheus, specifically the motivations/actions of characters and their personalities. I enjoyed Prometheus, but when I saw it a second time I noticed all these ridiculous things that much more.
11/7 - Bradley vs. Rios - Thomas & Mack Center - LV
11/11 - Yo La Tengo - Sayer's Club - LV
12/12 - UFC 194: McGregor vs. Aldo - MGM Grand - LV
Eh, this is a lot funnier at making the same criticisms: http://charismagic.tumblr.com/post/2...inutes-or-less
The problem--and it seems like a lot of people have forgotten this--is that these are inherently fucking ridiculous movies. In the first Alien there's like two or three times particularly towards the end where you're just like "OH GO FUCK YOURSELF THE ALIEN WAS ALL THE WAY AT THE OTHER END OF THE SHIP AND NOW IT'S OVER HERE WHAT IS THIS SHIT," and little to nothing about the Alien is explained at all and it's all a big mind fuck but it works so it's cool. Then in Aliens it's okay, I get why the Marines are here, they're Marines. I get why the greedy Jew is here, he's greedy. But why the fuck is this chick willing to go back to the planet that birthed the things that horrifyingly killed her entire crew? And why don't space marines wear anything more defensive than a light jacket? And did we really have to make the big death moment for the alien being sucked into space AGAIN? That's how we ended the last movie.
They're not great stories and frankly I'm not sure that they could be. There's not much meat to the subject.
Peter Greenaway is a crazy bastard. I watched A Zed & Two Noughts tonight, and this is the second time in as many films that I was mostly onboard throughout, but then came this wonderful ending that totally won me over.
Where to go next after The Cook and A Zed? I'm assuming The Belly of an Architect is the next logical step.
The Belly of an Architect.
Compliance was wonderful.
Prometheus was fantastic if you took most of the characters out.
Can't wait for Upstream Color.
Just watched Bully (2001) for the first time. What a deeply disturbing and great movie, way better than Kids imo. Michael Pitt is one of my favorites after his character in Boardwalk, he did a great job like always.