The House Next Door

Archive: February, 2008

Lichman & Rizov "Live" at Grassroots Tavern (Episode 4: "Big in Japan!"), with Grady Hendrix & Mark Walkow

By John Lichman & Vadim Rizov

[Editor's Note: The views expressed in this podcast are those of the commenters, and do not necessarily reflect the official policies, positions, or opinions of The House Next Door.]

[Authors' Note: "Gamblers, Gangsters, and Other Anti-Heroes: The Japanese Yakuza Movie" runs March 6 through April 17 at The Asia Society, 725 Park Avenue, NY, NY. Non-members $12, Students/Members $10. Series opens with A Tale of Two Yakuza and closes with Battles Without Honor and Humanity on April 17th, which also includes a post-show discussion with series curator Ian Buruma and Kyoko Hirano.]

I admit this is a bit niche considering The House's tastes, but when you come to consider everyone's current obsession of The Wire, Westerns and crime stories, discussing the upcoming series at Asia Society ("Gamblers, Gangsters, and Other Anti-Heroes: The Japanese Yakuza Movie") seems like the obvious choice. We delve into the topics of old-school vs. modern films, notably Jinsei Gekojo (A Tale of Two Yakuza) against Kinji Fukasaku's Battles Without Honor and Humanity. In order to help Vadim and myself, who would no doubt just argue about Takashi Miike instead, we have special guests (and 2/5ths of Subway Cinema) Grady Hendrix (Kaiju Shakedown, New York Sun) and Mark Walkow (Outcast Cinema) to school us kids on the history and social aspects of "Yak" films. It's a wonderful life, truly.

As for the today's image, you can never go wrong with Bunta Sagawara and a gun. But do join us next week when our special guest will be Eric Kohn (The Reeler, NYPress, The Hollywood Daily) as we discuss... well, you'll find out.

Until then if you see Vadim or ME at the bar, buy us a drink. Please.(JL)

Podcast is accessible after the break. Any problems, it can also be found here. (TRT: 39 minutes, 36 seconds) Continue Reading »




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Rendez-Vous With French Cinema 2008

[The "Rendez-vous with French Cinema" series begins today at The Film Society of Lincoln Center, with concurrent screenings at Manhattan's IFC Center. Click here and on titles below for program and screening information.]

These last four years, I've never seen a better film in the "Rendez-Vous with French Cinema" series than actress Mia Hansen-Løve's directorial debut All Is Forgiven (although that says as much about the hazards of programming an annual series of films not high-profile enough to get into NYFF or Tribeca as anything). Continue Reading »




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Poverty as Cinema: The Unforeseen

By Andrew Schenker

[The Unforeseen opens today in Manhattan.]

The Unforeseen neatly encapsulates the problems of the contemporary political non-fiction film: its importance as social document is everywhere countered by its poverty as cinema. Taking as its subject the damages (both to the environment and the fabric of communities) wrought by unchecked land development, Laura Dunn's film is content to present its arguments through typical talking heads plus archival footage methodology, relying on less than spectacular aerial and underwater footage to fill in the visual gaps. The lack of imagination of this presentation (as well as the inevitable rigidness of the argument) places the burden of interest squarely on the narrative, a burden which it has more than a little difficulty sustaining. Continue Reading »




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No-Man's Land: Jar City

By Lauren Wissot

[Jar City opens today for a one-week run at Manhattan's IFC Center. Click here for screening information.]

Jar City, Baltasar Kormákur's tight little thriller based on the Scandinavian crime writers' Glass Key Award-winning novel Mýrin by fellow Icelander Arnaldur Indriðason, takes the familiar crime procedural and injects it with a specific (Arctic) sensibility, much in the way of Erik Skjoldbjærg's Insomnia before it was hijacked by Hollywood, Christopher Nolan at the helm. Kormákur, best known for his adrift if crowd-pleasing Icelandic slacker film 101 Reykjavik, benefits greatly from the strong foundation and narrative focus of a good book. With confidence in his compelling story—or rather, "stories", since the film breezes along on two parallel threads—the director seems better able to concentrate on the details that make a film believable, from the eerie (lack of) northern light, which envelops everything in a deathly bluish glow, to the hardships of being a vegetarian in Iceland (if you are and Reykjavik is in your travel plans bring along a lot of protein bars—trust me). Continue Reading »




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Links for the Day (February 29th, 2008)

1. "What "Street Niggas" Really Listen To...": Clipse, Pusha, Carney and Cassavetes, by Brandon Soderberg of No Trivia. Elsewhere: Todd VanDerWerff reviews the latest episode of Lost and Ross Ruediger writes up the DVD release of Tell Me You Love Me.

["Maybe some drug dealers have decent music taste, but the assumption that because one is from the street, one is apt to embrace street music, is incorrect. I see the logic, but most people are just more into ideas of escape and it's why blue-collar whites listen to mainstream country music and not sad-sack songs about why their life sucks. The illusion that the drug-dealer is some near-Nietzschean businessman beyond good and evil that embraces his/her fate is a myth sold by dealers and the popular rappers that leech off of that myth. It's a fucked-up circle of bullshit and the reality is, dealers are stupid too. They want to feel good about themselves like everybody else so, 50 Cent's image of thuggery is way more appealing than say, 'Chinese New Year'. In last night's episode of 'The Wire', there's a scene of Snoop and Chris driving down the street with Hurricane Chris playing out their speakers; that's what I'm getting at!"] Continue Reading »




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Links for the Day (February 28th, 2008)

1. "William F. Buckley Jr., 82, Dies; Sesquipedalian Spark of Right": From The New York Times. Related: Buckley on The Sopranos' finale.

["William F. Buckley Jr., who marshaled polysyllabic exuberance, arched eyebrows and a refined, perspicacious mind to elevate conservatism to the center of American political discourse, died on Wednesday at his home in Stamford, Conn. He was 82."] Continue Reading »




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"On the Circuit": Post-Oscar Roundtable

By Keith Uhlich

At the close of the 80th Annual Academy Awards, I sat down with a few friends and colleagues to discuss the ceremony in all its (mostly superficial) pleasures and particulars. Participants in this podcast, housed at Zoom In Online, are John Lichman, Kevin B. Lee, Dan Callahan, Kaveri Marathe, Vadim Rizov, and Preston Miller.
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To listen to the podcast, click here.




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The Criterion Collection #422: The Last Emperor

By Andrew Chan

[Editor's Note: This review is also archived at The Criterion Collection Database.]

Before the average person could afford to travel by air, movies were the most viable form of transportation. Audiences were stunned by how this new medium could convince the eye it was having an intimate encounter with a corner of the world previously inaccessible. It is dismaying, then, to realize that a certain stock of images have always dominated cinema history, and that the art form so rarely lives up to its capacity for introducing new sights and sounds to our worldview. In the 1980s, when the Chinese government granted Bernardo Bertolucci unprecedented access to the Forbidden City, an entire nation that had been ignored in popular world cinema suddenly became a new frontier for Western viewers. The promise of the project must have seemed overwhelming: at a time when good old camp like The Good Earth and Shanghai Express were still Hollywood's paradigmatic depictions of the country, here was the most sensual of European masters taking on the role of a modern-day Marco Polo. He would come back to share with us treasures that had never appeared before on a movie screen. When the resulting achievement, The Last Emperor, became an international hit and a whirlwind success at the Academy Awards, it was a breakthrough for Chinese images in Western cinema. But behind the silk veils and looming structures of Bertolucci's biggest blockbuster remains one of the strangest mainstream epics imaginable, a film that wears its compromises of style and perspective on its sleeve. Continue Reading »




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In Dreams Begin…: Chop Shop

By Kenji Fujishima

[Chop Shop opens today at Manhattan's Film Forum. Click here for screening information.]

Ramin Bahrani's new film Chop Shop, like his breakthrough 2005 feature Man Push Cart, is likely to be embraced by its boosters as a modern embodiment of the Italian neorealist style, which made international waves in the 1940s and early 1950s. On a stylistic level, the comparisons are by no means inapt. With these two features, Bahrani shows a remarkable assurance using elements of the neorealist style (long takes, nonprofessional actors, location shooting, and a loosely structured story) to evoke gritty, realistic milieus and create a convincing impression of a camera simply recording real life. And the kinds of stories Bahrani tells—detailing the efforts of working-class protagonists simply trying to survive the daily grind, while keeping alive hopes for some kind of better life—reminds one of the stories Vittorio De Sica powerfully told in films like Bicycle Thieves and Umberto D. (Bahrani's occasional shout-outs to Bicycle Thieves—a stolen food cart in Man Push Cart, a purse stolen out of desperation in Chop Shop—certainly encourage such connections.) Continue Reading »




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Links for the Day (February 27th, 2008)

1. "What makes Diablo Cody unique now gets pans": From MSNBC. And here's the blog entry in question.

["The first-time scriptwriter from Lemont, Ill., demonstrated her no-nonsense, rebellious personality last week when she took to her MySpace blog to vent about the $1 million diamond-laced shoes designed for her by Stuart Weitzman to wear on Oscar's red carpet. "They're using me to publicize their stupid shoes and NOBODY ASKED ME," wrote Cody, who ultimately wore gold flats. "I would never consent to a lame publicity stunt at a time when I already want to hide." Cody, who has been unapologetic and candid about her colorful life, drew praise in the blogosphere for her remarks at the time. But in the days that followed, Weitzman told the celebrity Web site TMZ that Cody actually selected the shoes herself, and bloggers (and subsequent commenters) had their fun calling her out for what they saw as diva behavior."] Continue Reading »




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Black History Mumf: Blazing Saddles

By Odienator

[Editor's Note: This article is part of a series currently underway at Big Media Vandalism, where the author is publishing 29 pieces on 29 consecutive days in celebration of Black History Month.]

Mel Brooks once said his films "rise below vulgarity." Witness Blazing Saddles, a film so politically incorrect it should come with a surgeon general's warning for the easily offended. The film is full of racist language, Black jokes, Jewish jokes, gay slurs, religious blasphemy and cruelty to both animals and old ladies. There are at least three jokes about rape, two jokes about improper use of cattle (one of which I've already counted in the rape jokes), and one joke about implied masturbation between a cowboy and his bathing boss. I've a rule about comedy which states that nothing is offensive to me so long as it's funny. Luckily, Saddles is hilarious, but every joke is a powderkeg of potential offense.
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To read the rest of the article at Big Media Vandalism, click here.




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Torchwood, Season Two, Ep 5: "Adam"

By Joan O'Connell Hedman

Torchwood enters Bizarro World when an alien reprograms the team's memories—and personalities—in "Adam." We're short on science fiction and long on character again this week, as is usual for writer Catherine Tregenna, but we get a big juicy chunk of Captain Jack's backstory. It's up to you whether or not it's a worthy trade. I was happy to hear Gray's story only four episodes after John Hart dropped that bombshell ("I found Gray") on Jack. Continue Reading »




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Links for the Day (February 26th, 2008)

1. The new issue of Cineaste debuts. Web exclusive to this issue are the following: David Archibald's interview with Stefan Ruzowitsky; Martha P. Nochimson's review of the Samuel Fuller Eclipse DVD's and of the reprint of Fuller's novel The Dark Page; David Sterritt's take on Cinema 16's European Short Films DVD; Phillip Lopate's review of the Eclipse Series dedicated to Raymond Bernard; and James L. Neibaur on "Lost and Found: The Harry Langdon Collection".

["Feeling homosocial? Sam Fuller is the director for you. Sam's the man who said, "If a story doesn't give you a hard-on in the first couple of scenes, throw it in the goddamn garbage." Sorry Sam, I'll have to find another way of judging narrative value—and your films."] Continue Reading »




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Directorama: Night's New Twist

[Editor's Note: Directorama is on brief hiatus. In the interim, we will be publishing several of Peet's cartoons which were originally featured on his blog Lost in Negative Space.]

Click to enlarge: (To navigate previous episodes, click here.)


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Peet Gelderblom directs, edits and develops commercials, TV programs and broadcast design in Amsterdam. His writing and graphic criticism can be found at Lost in Negative Space and 24LiesASecond.




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Links for the Day (February 25th, 2008)

1. "Stuff White People Like": Kevin Lee directs us to this blog of note. #74: Very true! And on that note, be sure to check out our illustrious Editor-in-Chief's participation in the Television Without Pity Oscar LiveBlog.

["One of the best places to gain a white person's trust is at an Oscar party. An invitation to one these parties is basically your "foot in the door"."] Continue Reading »




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