There is no need to know about
presidents, wars, numbers or science.
Just listen to me and you'll learn.
There’s a degree of precision and clarity in this film that I haven’t encountered in any of Fassbinder’s other work. It’s as though he’s offering us an abecedarium for a whole new cinematic language, derived from avant-garde theater, daytime television, the bleakest German philosophy, and, of course, Douglas Sirk melodramas.
A is for Alcohol. The salve for a wounded subjectivity and the last exit for an unsalvageable one.
B is for Banality — of work, of family, of petty petit-bourgeois…
The always charming Judy Holliday stars as Gladys Glover in this tale of America’s first Instagram-famous celebrity. Originally titled A Name for Herself, the film recounts the story of an average woman who, not content to remain just another face in the crowd, spends her life savings to lease a billboard in Columbus Circle and soon becomes famous for being famous. Exactly 30 years after the film’s release, Angelyne would find success in the real world by following the exact…
Dark Waters has all the nuance and narrative coherence of a death metal video, but it does provide some handy tips for the novice horror film director.
1. If having one wizened, milky-eyed, enigmatic soothsayer in your movie is creepy, then having three of them will be three times creepier.
2. When you’re out of ideas for scaring the audience, just put in some close-ups of animal viscera or someone eating a raw fish. That’s pretty scary, right?
Wan tells us several things in the very first shot of his new film — a CG simulation of a drone skimming the surface of a mist-covered lake towards an improbably huge, impossibly isolated gothic hospital, perched on the water’s edge like a baleful behemoth. First, all plausibility is going to be chucked out the window at the jump. Second, this movie is not only not going to avoid cliches, it’s going to lean into them…hard. Third, it’s saying “elevated,…
Stephen: “I had a dream like that, sir. Like the queen in the play, sir.”
Housemaster Cooke: “Was it of a snake?”
This was one of those very rare films that I felt compelled to watch twice, and on the second viewing, I found my opinion of it had taken a 180 degree turn. What I first thought was a pile of self-regarding, grandiose horseshit became a strangely energizing manifesto about queerness — very broadly defined — as the foundation…
This very strange hybrid of quasi-neo-realist folk-horror deserves a lot more recognition than it’s received. The film’s relative obscurity may be due to the fact that the director, Brunello Rondi, is much better-known as one of Fellini’s go-to screenwriters — his credits include La Dolce Vita, Juliet of the Spirits, and Satyricon, among others — than as an auteur in his own right. His later career as a director was somewhat checkered. By the late sixties, he had transitioned into…