The House Next Door

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Full Frame Documentary Film Festival 2010: And Everything Is Going Fine (Steven Soderbergh)

And Everything Is Going FineSteven Soderbergh's And Everything Is Going Fine is an exhaustive tribute to the work and, by extension, the life of virtuoso monologist Spalding Gray. Impeccably researched and cut together, the film is almost exclusively built out of footage of Gray on stage or being interviewed. By "almost exclusively," read 99 percent, with the other one percent consisting of Gray's family photos. Not a single title or word of voiceover clutters the master's endlessly engaging delivery of a fearless autobiography lived out loud, an old-school decision that makes this one of the more ambitious and brave documentaries in recent memory.

Soderbergh loosely follows the Bubble/The Girlfriend Experience line of his filmmaking to define yet another odd corner of cinematic experimentation. The film opens with Gray doing his thing. A breathless 89 minutes later, it ends with Gray having done his thing, the speaker's thoughts dominating the viewer's conscious in one grand, new, Soderbergh-created monologue about Gray's turns in the theater, his discovery of the monologue form, and his struggles to cope with success and typecasting toward the end of his life. This rich examination of performance and creative nonfiction will become an essential academic document for any future Gray scholar. Continue Reading »




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Some links, for now

In NYPress, I write that Tommy Lee Jones' Three Burials of Melquiades Estrada is a suitable Peckinpah tribute if you haven't seen a Peckinpah movie recently. Jennifer Merin talks to Steven Soderbergh about Bubble, which I disliked, and his distribution plan, which has never made sense to me no matter how many different people try to explain it. Armond White asks what makes Kenny Chesney's 'Who You'd Be Today' as great a record as 'Little Deuce Coup' and then gives a convincing answer.

Over at the Star-Ledger, my TV beat partner Alan Sepinwall delves into the world of network TV music supervisors, revealing the various factors involved in choosing and clearing particular songs. He follows it with a profile of one specific music supervisor, Alexandra Patsavas, soundtrack DJ for The O.C. and Grey's Anatomy. I have some fun at the expense of two canine makeover shows, PBS' Underdog and National Geographic Channel's The Dog Whisperer.

At PopMatters, Cynthia Fuchs actually finds fresh things to say about 24. At the New York Daily News, Richard Huff asks a question that is, for an American TV columnist, heretical: Is Jon Stewart comic enough to host the Oscars? And a belated recommendation: At Slant Magazine, Sal Cinquemani asks if Arrested Development is as good as everyone says, or if it's just really, really fast.

Update: Alan shows Veronica Mars some well-deserved love, and I wonder why somebody doesn't just pull the plug on ER. James Woods' performance as a dying A-list character actor is amazing, but how many of these do the producers expect us to sit through without rebelling?

Update: Over at Slate, Jim Lewis has a thorough and insightful appreciation of the late Nam June Paik, pioneer of video-as-art.

Update: The New World blog update: Liverputty compares/contrasts Edward Copeland's anti-Malick stance with The House Next Door's relentless (and for some, off-putting) cheerleading, picks a winner, and includes an affectionate parody of Malick's voice-over narration while he's at it. Also, some new, elegantly written analyses of Malick's visuals and editing strategies in the comments section of my 01/25/06 Malick post, "Just beautiful."




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