After two episodes full of deliberate but pulse-quickening pacing, Battlestar Galactica's latest episode, "Sine Qua Non," written by Michael Taylor and directed by Rod Hardy, feels a little scattered. Part of that's by design (the fleet is thrown into chaos after the sudden disappearance of Roslin, Baltar and a whole Basestar), but some of it just feels like the show trying to cram a bunch of plot points in so it can get back to the basestar and answer the questions everyone has. Battlestar almost never exposes the hands moving its various chess pieces around, but tonight, those hands were too obvious in a few scenes. Still, the last act gave the episode a grandly epic feeling, even pulling back for a rare long shot (albeit, a CGI-enhanced one, but still). In its final season, Battlestar is almost taking on the feel of something romantic and sweeping, even as it remains committed to its vision of following a fleet full of people who are very, very frakked up. Continue Reading »
The House Next Door
Archive: May, 2008
BSG Saturdays: Season 4, Ep. 8, "Sine Qua Non"
by Todd VanDerWerff on May 31st, 2008 at 10:58 am in Television
Doctor Who: Season 4, Ep. 5, "The Poison Sky"
by Ross Ruediger on May 31st, 2008 at 10:14 am in Television
In the comments section for "The Sontaran Stratagem," Joan wondered why at the close of the episode "...no one thought to break the window of the car while Gramps was asphyxiating." And so "The Poison Sky" begins with Donna's mother, Sylvia, doing just that. It's a huge anticlimax for the cliffhanger, but I would argue that the whole point of a cliffhanger is in the hang, not in the resolution in the next episode. Cliffhanger resolutions almost by their very nature are destined to suck, because if our heroes succumbed to the disastrous situations they're left in, there would be no more show. We always want the resolve to be as thrilling as the minutes that preceded it in the narrative, but there's a big difference in the first couple minutes of an episode, and the final moments of another. And there's no point in delivering the best you've got at the start, right? Continue Reading »
Sundance Institute at BAM: Gonzo: The Life and Work of Dr. Hunter S. Thompson
by Fernando F. Croce on May 31st, 2008 at 8:40 am in Festivals, Film

Terry Gilliam captured slash-and-burn counterculture daredevil Hunter S. Thompson in his first-rate film version of Fear and Loathing in Las Vegas, but little of the vehement political creature was evident. It's this often overlooked side that makes Alex Gibney's Gonzo: The Life and Work of Dr. Hunter S. Thompson both an absorbing documentary and an apt follow-up to Gibney's Taxi to the Dark Side. Focusing mainly on Thompson's decade of maverick stardom, from 1965 to 1975, the film doesn't starve for anecdotes about mescaline-laced sessions and confrontations with the Hell's Angels, though its heady mix of excess and inquiry doesn't really take off until the reptiles overrunning the Casino Strip go from projections of a substance-lubricated brain to manifestations of journalistic fury. Thompson's legendary coverage of the 1972 presidential campaign is portrayed as his zenith as a gonzo agitator, and not surprisingly, that's where the film finds fresh topicality in the time of Vietnam and Nixon ("How low do you have to stoop in this country to be President," Thompson muses incredulously in archival footage). If Gibney often succumbs to easy period standbys in his recreations of the subject's life—a filmmaker should be fined every time "American Pie" is trotted out for elegiac tugging—he is a lucid interviewer, getting barbed, surprising comments from Pat Buchanan (fondly remembering Thompson's description of him as "Nixon's Davey Crockett"), Jimmy Carter, George McGovern and Tom Wolfe. Johnny Depp, who became friends with the notorious writer while preparing to portray him, reads pieces from Thompson's most incendiary years, yet Gonzo for the most part steers clear of fanboy adulation: There's never any doubt that the boundary-pushing approach that revolutionized the press also made him a prick of a husband and father and, later on, encased him in the shell of his own cultish persona. It's this refusal to settle for Thompson's druggy image that enlarges the film's view of political disillusionment and connects it to our own era of fear and loathing.
Links for the Day (May 31st, 2008)
by Keith Uhlich on May 31st, 2008 at 7:04 am in Links for the Day
1. "24 Season Two: The Musical": Even the cougar gets to sing! (Hattip: Gerry Canavan)
["Bring it on!"] Continue Reading »
Sundance Institute at BAM: Anvil! The Story of Anvil
by Nick Schager on May 30th, 2008 at 3:51 pm in Festivals, Film

Rock titans Slash, Lemmy Kilmister and Lars Ulrich extol the virtues of Canadian metal outfit Anvil at the outset of the aptly titled Anvil! The Story of Anvil, yet Sacha Gervasi's documentary about the little-known group isn't propelled by musical brilliance but, rather, by bittersweet blood, sweat and tears. Once a 15-year-old roadie for the band's 1985 tour, Gervasi reconnects with the group—led by Steve "Lips" Kudlow and Robb Reiner, who founded the band in high school 35 years ago—in order to both find out what impeded their path to success as well as to help grant them the recognition he believes they deserve. The director's fondness for the group, however, doesn't unsettle his warts-and-all portrait, which begins by recalling their halcyon 1984 days performing with bondage harnesses and dildos in Japan alongside Bon Jovi and Whitesnake, and then charts their current, arduous efforts to keep teenage rock n' roll dreams alive while supporting families through nine-to-five drudgery. A European tour fraught with shady venue owners, missed trains and in-fighting, and subsequent efforts to record their 13th studio album, is—when accompanied by references to Satan and a visit to Stonehenge—a misadventure that a less compassionate filmmaker might have wrung for cheap Spinal Tap-ish humor. Gervasi, though, eschews at-their-expense jokes to concentrate on the simultaneously pitiable, poignant and stirring perseverance of Lips and Reiner, lifelong friends who keep trudging forward, despite economic hurdles, the ravages of time, and repeated blows to their self-esteem and brotherly relationship, in the hope that their star might yet ascend. Lips proves particularly fascinating, his never-say-die resolve destabilized by the painful weight of responsibility he feels toward those who count on him to make the band go, and his deep discontent epitomized by the candid admission that sometimes, when on stage, he closes his eyes and tries to imagine a crowd as big and wild as those which greet his idols. Anvil! revolves around a band that, in all probability, will forever fail to attain Metallica or Megadeth-levels of popularity. But if fame and fortune elude them, their abiding, unadulterated love of shredding guitars, thunderous drums and growling vocals nonetheless exemplifies something just as vital: the fast, brutal, never-say-die essence of metal.
Cannes Film Festival 2008: Days 9 and 10
by Matt Noller on May 30th, 2008 at 7:20 am in Festivals, Film

Synecdoche, New York (Charlie Kaufman). It doesn't matter how big a Kaufman devotee you are, how many times you've seen Being John Malkovich or Adaptation. or Eternal Sunshine of the Spotless Mind. It doesn't matter what you've read or heard about Synecdoche, New York, his directorial debut, because nothing could possibly prepare you for the overwhelming mindfuckery on display. It is easily Kaufman's most ambitious project, which means that it is easily one of the most ambitious films I've ever seen. The role of the artist in society; coming to terms with death, God and fate; and the importance of escaping from the trap of solipsism in order to connect with others are among the most prominent themes, but they are far from the only ones. The sheer depth and complexity of the ideas Kaufman is out to explore here is mind-boggling.
Obviously, Synecdoche, New York is not an easy film, or a clean one. The first twenty minutes or so are relatively straight-forward, all things considered, as they detail the day-to-day life of a theatre director named Caden Cotard (Philip Seymour Hoffman) and his wife Adele (Catherine Keener). When Caden's health begins to deteriorate in strange and grotesque ways (the possibilities of these sicknesses being all in his head or being meant as a literalization of his fear of death seem quite likely), Adele takes his daughter to Berlin for a week-long trip. They never come home, and as the film becomes increasingly focused on Caden's mental state, things like temporal and narrative cohesion start to feel like a distant memory. Continue Reading »
915 (56). El Topo (1970, Alejandro Jodorowsky)
by Vadim Rizov on May 30th, 2008 at 7:04 am in Film
[Editor's Note: This is the latest entry in House contributor Kevin B. Lee's Shooting Down Pictures, a record of his ongoing quest to see every title on the list of the 1000 Greatest Films compiled by They Shoot Pictures, Don't They?]
Screening #1: December 2006, IFC Center - opening night premiere of a new digital print restored for the upcoming Abkco/Image Entertainment DVD supervised by Jodorowsky. Yoko Ono scheduled to introduce the film but pulls out for fear of her ex-chauffeur stalking and threatening her. That was about as much excitement as the evening had to offer, as by a third of the way into the film I had nodded off. Despite the heapings of noisy gunfights, sodomy and lesbianism, my brain cells instinctively powered down in reaction to the overbearing presence of what it deemed a gratuitous display of shock cinema. Or perhaps it was the pseudo-philosophical babblings of characters who lulled me into a defensive slumber. When I finally awoke to the sound of an entire village being wiped out mercilessly by a shotgun-toting monk, who then consummated the film in a climax ripped baldly from Vietnam war newsreels, I assured myself that I hadn't missed much...
Screening #2: 10 a.m., sitting on my bed in a cold tranquil February morning. This time I don't fall asleep, and what's more, I'm taken in by the film's swagger, its audio-visual abundance, the way its execution rendered its conceptual gimmickry into real moments and tactile sensations. In the days and weeks that follow, I try to make my peace with the film.
_____________________________________
To read the rest of the article at Shooting Down Pictures, click here.
Links for the Day (May 30th, 2008)
by Keith Uhlich on May 30th, 2008 at 6:02 am in Links for the Day
1. Some Sex & the City reviews of note: Anthony Lane in The New Yorker; Ed Gonzalez in Slant Magazine; Peter Sobczynski at eFilmCritic; Roger Ebert for the Chicago Sun-Times; Alonso Duralde for MSNBC; Owen Gleiberman for Entertainment Weekly; and A.W., of course, for the New York Press.
["Sex and the City's superficial fans couldn't give a shit, but I still have to ask: Is a demeaning representation better than no representation at all? When Jennifer Hudson appears on screen in Sex and the City, the only sane way to respond to the Oscar-winning actress's performance is with a Homer Simpson-esque shudder, not because Hudson can't act—most people could tell you that from watching Dreamgirls, in which Hudson's "soulful" singing was meant to distract (some might say successfully) from reality—but because the American Idol also-ran allows herself to be typecast as a modern-day mammy to Sarah Jessica Parker's Carrie Bradshaw. The way Michael Patrick King tells it, you wouldn't think much has changed since the Civil War-era plantation, as Hudson's Louise is exactly to Carrie what Butterfly McQueen's Prissy was to Vivien Leigh's Scarlett O'Hara in Gone with the Wind. "] Continue Reading »
Ten steps away: At the Death House Door
by Matt Zoller Seitz on May 29th, 2008 at 8:59 pm in Film
"The biggest and most important thing is, I believe and always believed and always will believe that no one should die alone," says pastor Carroll Pickett, who for 15 years ministered to death-row inmates at the "Walls" prison unit in Huntsville, Texas. "Somebody should be with them who cares for them as people."
Starting in 1979, three years after the Supreme Court reversed itself and declared capital punishment legal, the soft-spoken Pickett was present for 95 executions, before leaving the prison system and becoming an anti-death-penalty activist in 2004. Now 73, he's the ostensible subject of At the Death House Door, a documentary by Hoop Dreams directors Steve James and Peter Gilbert that debuts Thursday 29 on the Independent Film Channel. But the movie, like Pickett, proves more complex than its placid surface suggests: As terse and subdued as Hoop Dreams was expansive and exuberant, Death House slowly and subtly reveals itself to be about far more than one pastor's life. It's about the politics and ethics of the death penalty, the human flaws that prevent it from being carried out equitably and consistently, and the moral calculus that those involved must go through to be able to sleep at night.
To read an interview with Carroll and the filmmakers, Steve James and Peter Gilbert, go to the Time Out New York feature here. To watch my video podcast review of the movie, see below or click here.
"Indie 500″: The Return
by Vadim Rizov on May 29th, 2008 at 6:56 am in Music
Hello. My name is Vadim, and I've been a derelict blogger. I truly apologize; after filing my last column (2 MONTHS AGO!), it became increasingly obvious that running the next month's gauntlet of wrapping up my undergraduate life forever, moving house (5 stops closer on the L! Woo!), and covering the Tribeca Film Festival would be hard enough without listening to anything but the same four albums over and over for comfort's sake. (This mostly amounted to listening to the new, leaked Notwist a bunch, which was fab. More on this in the AV Club when it actually comes out.) Keith was kind enough to give me the time to tweak out on my own, and now I'm back (which is to say comfortably underemployed and reveling in it, at least for the moment). There's a lot of ground to cover, so let me adopt a slightly superficial capsule mode for this round til we're all caught up again: Continue Reading »
SIFF 34: Dispatch Three
by N.P. Thompson on May 29th, 2008 at 6:23 am in Film
Much more entertaining and enjoyable than any movie I've seen in the last several days was actor F. Murray Abraham's refreshingly plainspoken talk about his life in the theatre and the disappointments of his post-Amadeus film career. Holding court for a too-short 90 minutes at Northwest Film Forum this past Memorial Day, Abraham, every bit the engaging charmer, reminisced about working with Milos Forman, Woody Allen, and Lina Wertmüller (the last of whom confessed to him, over a few glasses of wine in between takes, "I haven't been able to make a good movie since I got rich"). Continue Reading »
Links for the Day (May 29th, 2008)
by Keith Uhlich on May 29th, 2008 at 5:50 am in Links for the Day
1. ""Iron Man" and Robert Downey Jr.'s quirky performance": At his online journal, Roger Ebert takes a long, hard look at the man who would be Tony Stark.
["Downey's performance is intriguing, and unexpected. He doesn't behave like most superheroes: he lacks the psychic weight and gravitas. Tony Stark is created from the persona Downey has fashioned through many movies: irreverent, quirky, self-deprecating, wise-cracking. The fact that Downey is allowed to think and talk the way he does while wearing all that hardware represents a bold decision by the director, Jon Favreau. If he hadn't desired that, he probably wouldn't have hired Downey. So comfortable is Downey with Tony Stark's dialogue, so familiar does it sound coming from him, that the screenplay seems almost to have been dictated by Downey's persona."] Continue Reading »
To Our Readers: URL Change
by Keith Uhlich on May 28th, 2008 at 8:59 pm in The House

A note to our readers. We've changed our URL to http://www.thehousenextdooronline.com so please update your bookmarks and records accordingly. The transition takes a few days, so if there are any problems the original URL (mattzollerseitz.blogspot.com) will take you to the site as well, and should continue to after the fact. Thank you.
Links for the Day (May 28th, 2008)
by Matt Zoller Seitz on May 28th, 2008 at 4:12 am in Links for the Day
1. "Matt Zoller Seitz on Movie Geeks United!": Our own Editor Emeritus joined the Movie Geeks to discuss the new 4-film Rambo box set. The discussion begins at 42:24. Click here for Matt's article on the Rambo series, originally published on January 25th, 2008.
["War is in your blood."] Continue Reading »

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