I have a mind and sometimes there are things on it. Given that I have a bad back, this space is where I hope to unload them.
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The next post will be a comparison of the original 1951 film The Day the Earth Stood Still by Robert Wise and the 2008 remake by Scott Derrickson. In the meantime here's a little something to tide you over. J
Tony Leung and Maggie Chung in In the Mood for Love (Wong Kar-Wai, 2001) Wong Kar-Wai I am often asked what my favourite film is, to which I generally reply - "Pffft!". I know! Why people ever ask me anything is quite beyond me too. But my reason for mentioning that particular flaw in my character is that while it seems utterly out with my ability to choose a particular favourite, or indeed to respond to the question in a civil, adult and mannered way, I do have a list. This list may grow and shrink over time, but in 2001 I added a film to it and it has been there ever since. In the Mood for Love was a defining moment for me and my connection to cinema. This movie more than most underlined the notion that what particularly moves me is film form; rather than just character, narrative or singular technical aspects, it is the collision of these things that resonates for me in film and makes them stay with me. Tony Leung in the sumptuous In the Mood for Love The fi...
This is not a jolly festive post, I wish it was, and I wish it wasn't my first post in a while. It is an opinion piece on the Sony Pictures email hack or rather the devastatingly objectionable response to it by men, big bloody, unimportant men, doing relatively unimportant things, and being colossally paid for it. Seth Rogen, Brad Pitt and screenwriter Aaron Sorkin went on the offensive the other day, claiming that these criminal acts are being compounded by media outlets who are 'doing exactly what these criminals want.' I'm not going to go into an argument of hypocrisy based on individuals who conduct their lives courting public attention and then balk when it bites them, as I do see a line between the private lives of all individuals and their more public, working lives. What I find objectionable is the way they have chosen to express their chagrin and the distasteful worldview it might reveal. I find that I can't agree with Brad Pitt or Aaron Sork...
Howdy. Offt! March is looking like a very strong month of films at the cinema and I'll tell you what, I'm going to try and see them, and then write about them and then…ehh…maybe watch a bit o' telly or something. What is catching my eye in particular is: Nymphomaniac (parts I and II) (Lars von Trier, 2013); Her (Spike Jonze, 2013); Only Lovers Left Alive (Jim Jarmusch, 2013), The Grand Budapest Hotel (Wes Anderson, 2014) and Under the Skin (Jonathan Glazer, 2013) Let's kick this of with Nymphomaniac (Lars von Trier, 2013). In typical style there was a buzz around - no! A furore - No! A brouhaha (doesn't fit as well as furore but I like the sound of it) around the film. The controversy, or expectation, or umbrage, or what ever swell of feeling, is often stimulated in no small part by von Trier himself (see the publicity shot) . This time Lars von Trier has remained muted about the film in a self...
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