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Nazi Cuckoo: The Keep

The Keep

Perhaps it was just a bad dream. Perhaps writer-director Michael Mann didn't really veer from his crime-film comfort zone after 1981's terrific Thief (an entrancing amalgam of seventies grit and eighties gloss), only to end up in supernatural phantasmagoriaville with 1983's much-maligned period horror film The Keep. Perhaps it would have been preferable (especially for that part of us that futilely demands life and its associated arts to move in easily classifiable straight lines) to jump directly to 1986's Manhunter, the first cinematic swipe at Thomas Harris's Hannibal Lecter mythos—a luridly antiseptic bit of genius that Chicago Reader reviewer Pat Graham incisively likened to "white noise" and "electronic snow." (The critic's memorable "am I recommending this or not?" punchline: "Just try not to nod off…")




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Breakdown at 92YTribeca (Monday, 08/15/11, 8pm), Presented by Keith Uhlich

Breakdown

There are many questions posed in life. For our purposes, only one really matters: "$90,000 or 90,000 donuts?" Choose wisely or the girl dies! … Suddenly alarmed? Fearful? Cowering in your seat? Think how you'll feel after I screen one of my favorite thrillers—the 1997 Kurt Russell vehicle Breakdown—this Monday, August 15th, 2011 at 8pm at 92YTribeca. The event blurb:

Clean-cut yuppie Jeff Taylor (Kurt Russell) and his Bennetton-wardrobed spouse Amy (Kathleen Quinlan) are driving cross-country in their shiny red Jeep Cherokee. They break down somewhere out in John Ford country. A helpful trucker (J.T. Walsh) gives the lady a lift to a nearby telephone … and she doesn't come back. At first Jeff thinks they just got their wires crossed. But he soon realizes he's in the midst of an elaborate kidnapping plot: rednecks with rifles come out of the barren badlands, cellphone reception is nonexistent and no one, it seems, can be trusted. Director Jonathan Mostow—later to helm Terminator 3—keeps us on edge throughout this taut thriller, which builds to a spectacularly destructive, and literally cliffhanging, finale. Russell is pitch-perfect as the everyman forced by circumstance to go from meek to mercenary. But the film belongs to the late, great Walsh, who gives a master class in villainy as the chillingly subdued lead kidnapper.

This is my inaugural presentation at 92YT, and I couldn't be more excited. Breakdown holds a special place in my moviegoing heart, for reasons I'll expand on in my introduction (I'll also be around for some in-the-lobby chat post-screening). Hope a number of you (readers, friends, et al) can attend. If you'd like to purchase tickets ahead of time, click here.




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The Tree of Life: The Space Between Spaces

The Tree of Life

[Author's Note: This is a contribution to "The Tree of Life Week" at Reverse Shot.]

The Tree of Life is a movie of infinite moments, culled from one person's singular experience and placed side-by-side in a free-floating mosaic. The best of the film's posters plays off this idea: still images from different scenes are gathered in a patchwork, though not ordered according to the movie's nonlinear chronological progression. Whether conscious or not, this separates the poster's purpose (to sell) from the film's (to represent, or better, re-present). Interestingly, several of my colleagues have said that certain images in Terrence Malick's semiautobiographical opus are little more than affected bric-a-brac pilloried from perfume commercials (a shot of a commedia dell'arte mask sinking through the ocean is a frequent target for criticism) or computer screen savers (in the case of the "creation of the cosmos" interlude, featuring work by special-effects legend Douglas Trumbull and others).

We should be thankful that these negative judgments—perfectly defensible—are near-entirely balanced out by the rest of the commentary on the film. (For me, the cosmos sequence feels overwhelmingly tactile and purposeful, in no way a technological placeholder behaving randomly, and the submerged disguise, when considered in context, implies a beautiful conviction about our human comedy: At the end of time, the masks fall away.) This is the mark of a truly vital work, one that sways, flows, and moves with the tides of opinion. Rather than incline solely toward preferred sentiments (those equally superficial extremes of fawning love or vigorous hate), the film invites voices of all tenor to engage it and encourages dialogue that can never truly be silenced. We resonate, or—to quote Malick's previous film The New World—we rise.




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Some Sunday Links: The L and Notebook Film Polls, Cary Grant's first on TCM, & more

Two film polls of note: The L Magazine (a consensus Top 25) and The Daily Notebook at Mubi (in which each contributor picks a new and old title for a prospective double feature). Both polls include several write-ups by House contributors.

Cary Grant's first movie, This Is the Night, screens this evening on TCM. Set your DVRs.

At A Laughter of Inner Devils, N.P. Thompson considers the state of work and life.

Always worth your Sunday reading: Dave Kehr's New York Times DVD column. This week: Rita Hayworth.

I turntabled this video over the holiday break: Who Else Could Play Mary Poppins? Bette Davis, of course, kills it.

Links for the Day: A collection of links to items that we hope will spark discussion. We encourage our readers to submit candidates for consideration to ed@slantmagazine.com and to converse in the comments section.




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The Spielberg Blogathon: Indy Edition

Today marks the start of Ryan Kelly and Adam Zanzie's Spielberg blogathon. Click this link to visit the hosting site. In honor of the event, the House here reposts our 2008 coverage of the four Indiana Jones films: Odienator on Raiders of the Lost Ark, Matt Zoller Seitz on Temple of Doom and myself on Last Crusade and Kingdom of the Crystal Skull.—Keith Uhlich

A Well-Oiled Machine: Raiders of the Lost Ark

Raiders of the Lost Ark

When re-releasing their beloved E.T. and Star Wars trilogy for a new generation of viewers, Steven Spielberg and George Lucas angered the films' original fans by committing crimes of digital alteration. Spielberg turned government agents' guns into walkie-talkies, removing the few justifiable hints of menace in E.T. Lucas' sins guaranteed him a lower circle of Hell: he added special effects using technology then unavailable to him, which upset purists like me; he changed character motivations; worst of all, he recast an actor in the ghostly final shot of Return of the Jedi (substituting Hayden Christensen, young Anakin Skywalker in the prequels, for Sebastian Shaw, who played the older, unmasked Anakin in the film proper) for the sole purpose of trying to convince us that the second trilogy deserved to be mentioned in the same breath as the first. Granted, these are Spielberg and Lucas' films, and they can butcher them at will, but in making the original versions hard to obtain on home video, it felt as if they were rewriting history. Imagine the rabid anti-smokers digitally redoing Paul Henreid's famous Now, Voyager cigarette lighting scene with Twizzlers. Continue Reading »




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Lawrence High School: "Colour My World"

Film/Media teacher Jeff Kuhr of Lawrence High School in Kansas sent along his students' latest lipsync production, to Petula Clark's "Colour My World." A nice thing to wake up to. Great job, all! (See their previous production here.)




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Toronto International Film Festival 2010: Critics Roundtable

From the Eye Weekly website: Every year at TIFF, Eye Weekly's Adam Nayman and Jason Anderson round up some of North America's top film critics to take a break from the movie madness and have an extended discussion about the best and worst of TIFF. This year, they're joined by Karina Longworth from L.A. Weekly, Daniel Kasman of mubi.com, Andrew Tracy of Cinema Scope, Fernando F. Croce of Slant Magazine and The House Next Door blog, and (better late than never) Robert Koehler of Variety.

This is the first of nine videos. To view the rest at Eye Weekly, click here.




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Last Address: Film and Website

I'd like to direct House readers to the new website Last Address, an offshoot of the short film of the same name (embedded above) by my good friend Ira Sachs. The short is comprised of images of the last residences of New York artists who died of AIDS. The website, designed by Joshua Sanchez, offers further information (biographies, interviews, performance videos, audio recordings, essays, etc.) on those included in the film.




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Steven Boone: "The Best of Everything"

The Best of Everything

House contributor Steven Boone (also a writer for Capital) needs your help. As he explains:

Film criticism has gotten a jolt of inspiration in recent years with the emergence of video essays, some of which are more cinematic and entertaining than the films they analyze. I have done my best to hold up my end of this amazing thousand-way conversation.

"The Best of Everything" is my latest and most ambitious video essay, a ten-chapter series. I use the format to lampoon, poeticize and dissect my own struggle to find love, meaning and a purpose during the tumultuous past decade in New York City. This is the story of a blue collar working stiff who insisted on writing and chasing his addiction (movies) against all reason—and even after I went homeless. In this video, you will hear cultural/social commentary you just can't get from The New Yorker or The Times, not only from myself but also the movie-mad folks down here in the streets with me. I'm coming from a place Shohei Imamura called "the lower half of society"—or, as I call it, the best seat in the house.

All my previous videos have been completed on borrowed, broken and public computers. (The New York Public Library and the Apple store will be thanked after God in my Oscar speech.) To bring off "The Best of Everything" I will require the following:

  • a MacBook Pro with Final Cut Studio
  • a Canon Vixia HF S20 camcorder
  • a Sennheiser MKE 300 microphone

I pledge that the resulting video will be as thought-provoking, easy to digest and easy on the eyes as I can make it. It should also be pretty funny.

There's one week left to obtain Kickstarter funding for the project, so please click here to help Steve meet his goal. Need further impetus? Click here to read our man Jason Bellamy on Steve's project.




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On John Gianvito and Vapor Trail (Clark)

Vapor Trail (Clark)

John Gianvito's new documentary, the first of two films focusing on decommissioned, and hazardous, U.S. military bases—one named Clark, the other Subic—in Pampanga province, Philippines, takes its title (minus parenthetical) from the contrails left behind by airplanes at high altitude. A pre-credits sequence shows several such images, in addition to a rolling stream at sunrise; the driver's-eye interior view of a car, signal clicking, as it prepares to turn (which way unspecified); and faded photographs that depict, we will come to learn, incidents and asides from the Philippine-American War (1899-1913). What connects these disparate objects/mo(ve)ments is a shared sense of impermanence—the feeling that everything we're viewing is fleeting and, likely, soon forgotten.

The three Gianvito films I've seen—this, 2007's Profit motive and the whispering wind, and, my personal choice for best of the '00s, 2001's The Mad Songs of Fernanda Hussein—share a fascination with, and in some way seek to redress the human propensity toward cultural-historical amnesia. I'm sure some would consider this a more recent mindset, one exacerbated by the ever larger and larger number of ADD-distractions that prove detrimental to more reflective and perceptive thought. (This, to me, is its own kind of amnesia: though based, admittedly, more on feeling than fact, I gather we've all of us been creating false histories—dicking each other over whether wielding bones or iProducts—since at least the Upper Paleolithic.) Continue Reading »




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"It's like my underwear…Depends."




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The 30 Best Summer Blockbusters Ever

Aliens

[Editor's Note: My Time Out New York colleagues (David Fear and Joshua Rothkopf) and I recently picked our 30favorite summer blockbusters. Below is Josh's introduction, followed by a link to the full feature.]

Blast the AC and fire up the flat screen; sometimes a cool couch is better than a sweltering ticket holders' line. Still, the rite of the summer blockbuster is burned into our brains, especially for this generation of moviegoers. These are the films meant purely to entertain, designed for the dog days of vacation and evenings after the beach. They also boast some of Hollywood's most talented directors (maybe you can guess a couple of these baseball-capped moguls beforehand). In arriving at our ranked list, we set a few parameters: All films had to be released between May and August—sorry, Titanic fans. All had to have grossed at least $100 million globally (seriously thinning the herd). And all had to be intended as high-stakes entertainments, not accidental "sleeper" hits like The Blair Witch Project. So read on. We expect huge receipts from this project. And let us know if we forgot your favorite.




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In Honor of Saturday "White" Live

The Golden Girls: Season 1, Episode 1, 'Break In'




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It's…the Return of the Curse of the White Elephant Blogathon!

White Elephant Blogathon

[Editor's Note: Paul Clark of Silly Hats Only asked that I reprint the below announcement. Deadline's only a few days away. Join up!]

A little over three years ago, Ben Lim and his buds over at Lucid Screening came up with one of the more entertaining blog phenomena I've seen—the White Elephant Blogathon. It was based on the concept of a White Elephant gift exchange, in which participants will each bring one gift, usually something less than desirable, and draw names to see who goes home with which gift. Ben's inspiration was to do the same for movies- you submit one movie, then write about another blogger's submission. Sometimes you'll end up with one that's surprisingly good—in 2008 I drew Seijun Suzuki's Princess Raccoon—and other times, well, not so much.

Sadly, Ben wasn't able to continue the tradition this year. However, he was gracious enough to accept my offer to take over hosting duties. Due to being tied up with the Muriels and other stuff, I wasn't able to get the Blogathon up and running in time for April Fool's Day, the date Ben has hosted it for the past three years. Instead, I'm going to be holding it a little less than two months from now, on June 15.

Why June 15, you ask? Aside from giving everyone enough time to submit their choices then procure the titles that I've selected for them, I thought it just seemed like a normal, boring-sounding day, one that could stand to be livened up a little by something like this. Besides, should it go well this year, I'm hoping to move it back to the original date next year.

Naturally, I'll be sticking to the rules that Ben has laid down in previous years:

1) Submit the title of a movie that you want someone else to review (preferably something available via Netflix).
2) Review the movie that you get assigned and post the review on June 15th.
3) Have fun!

So if you're interested in taking part this year—and you know who you are—send your submission to me at lastwordsquiz@yahoo.com no later than May 1. Please don't submit through the comments section—I'd like to keep this year's selections a secret if possible. And if you'd like to know more about the White Elephant Blogathon, visit your local library. Or, failing that, leave a message in the comments box.

See you on June 15th! And spread the word, will ya? The more the merrier, says I.




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4th Wall

Love

Blooming




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