By Matt Zoller Seitz.
The ReverseShot gang is gearing up for their 2006 film festival "ReverseShot Presents," which runs April 22-30 at the Makor Theater in NYC. The schedule suggests a shoestring variant of Roger Ebert's Overlooked Film Festival—a chance to bang the drum on behalf of unseen or underappreciated movies.
The fest opens April 22 with a Rob Zombie double feature—"House of 1,000 Corpses" and "The Devil's Rejects" [see above] with a special appearance by Zombie repertory company member and George Romero favorite Ken Foree). Other titles include Hou Hsiao-hsien's "Millennium Mambo" (April 26), Claire Denis' "The Intruder" (April 27) and a New York premiere of the superb documentary "A Lion in the House" (April 30, pictured). (Since I'm throwing some linkage ReverseShot's way, I'll also throw a dart: robbiefreeling, though you may well be right about the worthlessness of James Marsh and Milo Addica's "The King," which I have not yet seen, you are wrong to snidely dismiss Jonathan Glazer's "Birth," which Addica cowrote. For pro-"Birth" arguments, complete with examples and stuff, click here, and better yet, here.)
Meanwhile, across the river, The Brooklyn Underground Film Festival runs April 19-23 at the Brooklyn Lyceum. The fest opens Wednesday, April 19, with Spanish filmmaker Adan Aliaga's "My Grandmother's House" [pictured] and also features Heather Courtney's immigration documentary "Letters from the Other Side" (April 20, 8 p.m.) and Jeremy Mack's "High Score" (April 22, 8:45 p.m.), a profile of Portland videogame master Bill Carlton.
Say it again:
So entranced...can't form complete sentences...to describe...Angie Dickinson Blog-a-thon. Can only tell you...to visit...Flickhead. Or Sergio Leone and the Infield Fly Rule. Read essays. Then scroll down. For links. Angie....
Belatedly, please check out girish's essay on rarely-screened video documentaries by the Dardenne brothers, particularly the comments thread. Donning his professor hat (I've never met blogger Girish Shambu, but for some reason I picture him wearing a dashiki) he asks for commenters to explore the distinction between "form" and "style," and the result is fun even if it settles nothing. (For more on the Dardennes, see the Film Journey entry by Shambu's colleague, Doug Cummings.)
My esteemed colleague Edward Copeland, who recently spearheaded a poll of the worst Best Picture Oscar winners of all time, is soliciting ballots for a poll of the best Best Picture winners. All you have to do is write your list of the 10 finest Best Picture winners in order, with 1 being the best, and email it to firstname.lastname@example.org. For Copeland's own ballot, click here. Along similar lines, South Dakota Dark is running a poll to determine TV's best and worst shows. Send your top five (and if so inclined, your bottom five) to email@example.com. Deadline is May 1.
David Thomson's Independent column on Jeff Bridges offers his usual mix of insightful observations and gaseous bullshit. Among the former: Thomson notes that Bridges "...never owns up to his habit of making 'non-hits.' It's not exactly that they're flops: only a few have fallen that far, hardly more than a dozen. Maybe 15. No, it's rather that he prefers to make offbeat pictures, ones against the grain - difficult, doubting pictures, ones that are quietly attached to an archaic principle: that, once upon a time, movies were determined by the pain of grown men and women soaked in years of sadness and experience, and fairly sure that a similar crowd of pained people existed, to be referred to as 'the audience.'"
Over at Movie City News, Ray Pride references Manohla Dargis, James Wolcott, Jonathan Rosenbaum and Godfrey Cheshire (via the The House Next Door) in a free-associative, pot-stirring essay on the future of cinema. And finally, I kept meaning to revisit the comments section of my "Days of Heaven/The New World" post, where Andrew and "Anonymous" were mixing it up over issues of cultural colonialism and representation, and post a longer response to some of Andrew's concerns. But frankly, Anonymous made many of the same points I would have made—though admittedly a hell of a lot more combatively than I would have made them—and the argument was so fascinating that I selfishly decided to hang back at ringside and admire their form. This is one of my favorite comments exchanges yet.