Saturday, September 20, 2014

soulless links

---History of Stop Motion

---Being There

---vintage Hollywood contact sheets by Karina Longworth

---Roman Polanski and Rosemary's Baby

---10 screenwriting blogs


---Billy Wilder's Double Indemnity: A Look Back

---"I mention all this because its weave is the leitmotif informing David Cronenberg’s film of my script Maps to the Stars. Contrary to critics’ easy characterisation, it doesn’t have a satirical bone in its elegiac, messy, hysterical body. I’ve given you the lay of the land as I see it, saw it, and lived it. Maps is the saga of a doomed actress, haunted by the spectre of her legendary mother; of a child star ruined by early celebrity, fallen prey to addiction and the hallucination of phantoms; of the mutilation, both real and metaphorical, sometimes caused by fame and its attendants – riches, shame and nightmare. I see our movie as a ghost play, not a satire." --Bruce Wagner

---stealth fashion for the under-surveillance society

---Cinephilia and Beyond revamped

---waiting for the iPhone 6

---the trailer for the 52nd New York Film Festival

---"How to make a living in independent film?"

---how to make an audiovisual essay

---Dear White People featurette

---Richard Brody appreciates All About Eve

---Type Safari with James Victore

---"There are plenty of great films of the late sixties and seventies that employ the bleakness at hand, but, when Pauline Kael said that she loved Get Carter because it was so 'calculatedly cool and soulless and nastily erotic,' she was pointing out the lengths to which the film went to paint everyone with the same brush. The city of Newcastle plays a major role as do the old rows of housing, their lack of indoor plumbing featured, but it’s really this coastline and the unceasing coal skips that bring the point home." --Drew Johnson

---trailers for Low Down, Big Eyes, A Most Violent Year, Force Majeure, Camp X-Ray, The Hunger Games: Mockingjay Part 1, Listen Up Philip, and The Riot Club

---"Unfortunately, another type of political adaptation is already under way—that of the armed lifeboat. This adaptation responds to climate change by arming, excluding, forgetting, repressing, policing, and killing." --Christian Parenti

---"I don't think I'm right yet on 'I'm going to kill the wabbit!' am I?"

---Steve McQueen: The Power of Cinema

---Captain America: The Winter Soldier main-on-end titles

---Star Wars Minus Williams

---"Just how far has the US strayed from this basic principle in its mass surveillance practices? Very far. The existence of the mass surveillance was kept officially secret from the world for over a decade, from when it started in earnest in 2001 until June of 2013 after the Snowden revelations. The surveillance at first had no judicial authorization whatsoever. Various pieces of it were brought under judicial authority --  email records in 2004, U.S. domestic telephone records in 2006 and backbone and other content collection in 2007 -- but these court decisions also happened entirely in secret, so the public still didn't know. Even today, large amounts of both the case law and the Executive Branch’s internal legal guidance have been kept from the public." --Cindy Cohn

---Chis Ware's The Last Saturday

Saturday, September 13, 2014

"Soda is the cigarette of the 21st century": 7 notes on the pleasures of Fed Up

1) My wife and I disagree on a key point when it comes to the new documentary Fed Up (now available on DVD and Blu-ray). She claims that the tendency to make cigarettes and sugary processed food and drinks equivalent is too simple. One can eat sugar in small amounts; in fact, our bodies are designed to take in and process sugars. Smoking cigarettes and taking into the body their poisonous by-products of tar and nicotine is something the body was not designed to do.  Thus, to equate the two too closely creates a false dichotomy. Several years ago, I wrote a positive review of Allan M. Brandt's The Cigarette Century: The Rise, Fall, and Deadly Persistence of the Product That Defined America (2007), so perhaps my perspective of the evils of the food industry has been influenced by that book, but still . . . I think that the correlation is accurate when one considers the amount of sugar we're talking about in today's fast food eating culture. There are too many corporations with enormous lobbying power pretending that they don't already know that excessive sugar consumption is making many people overweight. Instead, we are supposed to believe that all calories are equal. If lazy people would just get out there and exercise some more and eat more low-fat processed food, then the problem with the obesity epidemic will magically disappear. But, as Fed Up shows us, all calories are not created equally, and specifically soda cans should (and probably will) carry warning labels (just as in the case of cigarette packaging) that warn of the eventual risk of diabetes and obesity.

2) As Fed Up points out, we now know that cigarette smoking is a disgusting addiction, but to talk of sugar as habit-forming is a trickier thing to bring up. What a killjoy idea--demonizing chocolate and ice cream? Ever since I significantly cut down on my sugar consumption two Augusts ago, I have fantasized of driving to the local Krispy Kreme and purchasing a 12 pack of their fresh hot glazed donuts and a jug of chocolate milk and indulging in an unheard of blissful feast. My lizard brain still thrills to the thought, but, two Augusts ago, I pretty quickly lost 15 lbs, and I like being thinner, even if, as my wife points out, I can be insufferably holier than thou on the subject of sugar (and my diet is still highly flawed as it contains too much red meat). Now, with the help of Katie Couric, a new documentary completely confirms my biases on the matter, so I highly recommend it as a kind of counter programming public service message for the next time you visit the grocery store. Some of the basic points of the movie are as follows:

3) "By 2050, 1 out of every 3 Americans will have diabetes."

4) "There are 600,000 food items in America: 80% contain added sugar."

5) "The behaviors that we associate with obesity--the eating too much, exercising too little, the gluttony and sloth--they are the result of the biochemistry, not the cause."

6) "To eat healthy, you must work hard against the environment." I am still freshly astonished by the amount of marketing devoted to Coca-Cola and Sprite whenever I sit through the ads before watching a movie at the local Regal Cineplex, ditto the prominent posters for soda at convenient stores, ditto the candy aisle near the check-out counter at most stores (including office supply stores). Once one gets sensitized to the evils of sugar, so many prominent retail spaces around town resemble a scene in John Carpenter's 1988 movie They Live. Processed food marketing is cheerfully omnipresent.

7) Even though Fed Up can be a bit heavy-handed (as I admit this blog post may be) as it cuts from one overweight child's story after another, the rest of the movie's skillful use of graphics allows its basic message to come across well. The film is rhetorical, but it knows that it's up against a sophisticated systematic campaign of untruth. We have grown used to a steady diet of way too much sugar, and advertising have conditioned us to eat and drink it.  How much are McDonald's and Burger King and other fast food conglomerates at fault, complicit in the pattern of lies? How much do the executives at McDonald's power-pack their menu items with sugar just as the folks at Philip Morris USA dose their cigarettes with enhanced nicotine as explored in Michael Mann's movie The Insider (1999)? Do we even understand how sugar affects our brains? How much do cynical people-- corporations, lobbyists, insurance companies (see below), etc.--profit from our miserable compulsive consumption? How soon will they be seen as the 21st century version of the big tobacco executives lying on the witness stand as they say: "I believe nicotine is not addictive"?

Friday, September 12, 2014

Monday, September 8, 2014

compound distraction links

---"I’ve seen the best minds of my generation sucked dry by the economics of the infinite scroll. Amidst the innovation fatigue inherent to a world with more phones than people, we’ve experienced a spectacular failure of the imagination and turned the internet, likely the only thing between us and a very dark future, into little more than a glorified counting machine." --Douglas Haddow

---"The Masked Avengers" by David Kushner

---"Today's rarest commodity is the chance to be alone with your thoughts. . . .

Compound Distraction--The experience of one person’s distraction compounding another’s. Julie kept texting while I was talking about my dog, so I started texting, too. Exists in two varietals: Limited Compound Distraction refers to a moment of positive feedback distraction (i.e. Bailey kept texting while I was telling him about the exam so I started Tweeting about it instead) whereas Assumed Compound Distraction refers to a pre-determined atmosphere of distraction wherein sustained, meaningful interaction feels awkward and unwelcome. (i.e. Harry and Bryce mumbled to each other about Iran while scrolling through the news on their respective phones)"  --Michael Harris

---Wes Anderson's Vehicles

---"The average American adult spends about 7.4 hours per day looking at screens."

---"Should studios be worried? I think they should be, a little. It’s probably not a complete coincidence that the year’s biggest surprise hit, The Lego Movie, is a self-aware fable predicting an eventual revolt by a captive audience that’s tired of being told that everything is awesome when everything isn’t. Accordingly, this summer provided a jolting reminder that there are some things even unstoppable systematized marketing can’t overcome"  --Mark Harris

---What is composition?

---"the spread of an aggressive brand of policing that has spurred the seizure of hundreds of millions of dollars in cash from motorists and others not charged with crimes, a Washington Post investigation found. Thousands of people have been forced to fight legal battles that can last more than a year to get their money back."

---The Rise of the SWAT Team in American Policing

---"How Robert Pattinson became cool"

---"The lack of interruption in trains of thought may be the critical ingredient in an environment that enables creative flow. As long as a writer can tune out background noise, the decibel level per se may be unimportant. For some writers, the dripping of a faucet may be more disruptive than the bustle of a cafe in the heart of a city."

---Experience the power of a Bookbook

---25 films directed by female directors

---trailers for Being There, In the BasementEden, A Pigeon Sat on a Branch Reflecting on Existence, Samba, Attila Marcel, The Humbling, Clouds of Sils Maria, This Is Where I Leave You, Cymbelineand Pasolini

---"As Limits to Growth concluded in 1972:

'If the present growth trends in world population, industrialization, pollution, food production, and resource depletion continue unchanged, the limits to growth on this planet will be reached sometime within the next one hundred years. The most probable result will be a rather sudden and uncontrollable decline in both population and industrial capacity.'

So far, there’s little to indicate they got that wrong."

Friday, August 29, 2014

text message links

---Richard Linklater's five favorite films

---"Nobody uttered a word. The camera kept rolling. The special effects men from their high perches continued to drop toasted autumn leaves from above. I continued to puff on my cigarette, and began to get quite panic-stricken. Was there more to the scene? Had I gone blank? What was Carol waiting for me to do? I took one more puff, then in exasperation threw the cigarette to the ground, at which point Carol shouted through his laugher the word I had been waiting desperately to hear — 'Cut.'" --Joseph Cotten

---Hold On--Tarantino Women

---Women in Refrigerators and Women as Background Decoration: Part 2

---"All That Jazz: Stardust" by Hilton Als

---“All my life there’s been something wrong. Something missing. A sense that everything I’m seeing all around me isn’t entirely true. That this seemingly ordered world of laws and logic and reason is nothing but a shroud, a chimera. A mask. But every once in a long while, the mask falls away. Every once in a long while, the whole world makes perfect sense. The world reveals itself. I am at peace. And at war.”  --Frank Miller

---TIFF 2014, a trailer mashup

---an oral history of Napoleon Dynamite

---the Sin City: A Dame to Kill For B-Roll

---Texting and the Internet in Film

---All these films blancs have an atmosphere of the uncanny – not the dark underworld, but the naggingly unsettled and unsettling everyday, the well-lit space of a home which is in fact distressingly unhomely. As critic-screenwriter Pascal Bonitzer has argued, this sense of the uncanny is a key defining feature of Hitchcock’s storytelling sensibility. “The unheimlich, or the uncanny, occurs when a known object suddenly presents an unfamiliar aspect. It is the same, yet it is other” --Adrian Martin

---trailers for Winter Sleep, Rosewater, Trash, Bird People, Red HollywoodMortdecai, The Golden Era, Miss Meadows, and Men, Women and Children

---the "authenticity" of vertical mobile phone footage

---Hopkins and Delany LLP

---"Something Wild is pure, unfiltered unpredictability, which is quite joyous to experience on the screen when it actually occurs." --TJ Duane

---behind the scenes with the Coen brothers

---"So it's very important that, starting, maybe, with 'The Stooges,' or the Sex Pistols, or the Ramones; the idea is to reduce down to the essential thing. Don't worry that you're not a professional, and this is the future, in a way, where cinema is now. Strip away everything."  --Jim Jarmusch

---Brownlow discusses Abel Glance

---Scorsese's favorite foreign films

---the 1977 Star Wars

---Whit Stillman's The Cosmopolitans

---The brain itself is not, whatever we may like to believe, a multitasking device. And that is where our problem begins. Your brain does a certain amount of parallel processing in order to synthesize auditory and visual information into a single understanding of the world around you, but the brain’s attention is itself only a spotlight, capable of shining on one thing at a time. So the very word multitask is a misnomer. There is rapid-shifting, minitasking, lame-spasms-of-effort-tasking, but there is, alas, no such thing as multitasking. 'When we think we’re multitasking,' says Gentile, 'we’re actually multiswitching.'

We can hardly blame ourselves for being enraptured by the promise of multitasking, though. Computers—like televisions before them—tap into a very basic brain function called an “orienting response.” Orienting responses served us well in the wilderness of our species’ early years. When the light changes in your peripheral vision, you must look at it because that could be the shadow of something that’s about to eat you. If a twig snaps behind you, ditto. Having evolved in an environment rife with danger and uncertainty, we are hardwired to always default to fast-paced shifts in focus. Orienting responses are the brain’s ever-armed alarm system and cannot be ignored." --Michael Harris

Saturday, August 23, 2014

Jim Jarmusch's Only Lovers Left Alive and the quandary of the cooler than thou

Jim Jarmusch's Only Lovers Left Alive left me half-appalled and half-impressed. Given his indie-status as the writer/director of Mystery Train (1989) and Down by Law (1986), I have much respect for Jarmusch's work, but his current vision of Adam and Eve (Tom Hiddleston and Tilda Swinton) raises many questions, like, Did Jarmusch really name them Adam and Eve? Beyond the movie's impulse to celebrate guitars, writers, books, rock and roll, and night-time Detroit, is there a plot? Have I seen two characters more self-congratulatory than the ultra-cultured Adam and Eve as they strut about night-time Tangier in nicely contrasting outfits? Did Eve really just look up and mention the "magical musical diamond in the sky" like some ersatz variation on a lyric from Pink Floyd's Dark Side of the Moon?

I imagine that Jarmusch must live with a lot of romantic pressure on his own creativity, so once he figures out what he finds to be cool, be it Tom Waits or New Orleans or the Sun Studio in Memphis, then he can make his movie and damn whatever anyone else thinks. I respect his aesthetic of the endlessly fetishized, but still . . . If a movie prefers to ogle a 1960's Silvertone, a collection of uber-tasteful books (Kafka, Infinite Jest, etc.), and Jack White's childhood home, can one still legitimately wonder about little things like dramatic tension? Both Adam and Eve occupy so much of their time sleeping during the day, affecting poses that recall Bowie and Deneuve in The Hunger of 1983 (sunglasses at night), and generally slinking around in muted pseudo-rock star glamour, one is left wondering when this movie will come to life (the movie's title anticipates this critique). Adam especially often seems reluctant to wake up, and why would he? What motivates him to fully engage in this inferior century amidst such sad humans?

Meanwhile, a plot of a sort develops when Ava (Mia Wasikowska) suddenly appears as Eve's evil LA younger sister (you can tell she's related because they all have long shaggy hair). She meets nothing but disapproval from Adam, but she does succeed in getting the jaded couple over to a Detroit nightclub where they can jam languidly to the decadent tunes of White Hills in a manner very reminiscent of the opening scene in The Hunger with Bauhaus's lead singer Peter Murphy twitching to "Bela Lugosi's Dead." Ava brings undead life to the movie because she still seems capable of doing something unexpected, which serves to further emphasize how much the central twosome have congealed in their amber of cool. In comparison to Only Lovers Left Alive, things happen in The Hunger. Bowie's character John Blaylock ages 100 years in a day, Deneuve's Miriam finds herself attracted to Susan Sarandon, but Adam and Eve tend to be too demurely iconic to have much going on.

One can see why Swinton would choose this vehicle as another variant on her sleeping Art exhibit, but I much prefer the mockery implicit in her role as the communist crackpot authority figure Minister Mason in Snowpiercer. Hiddleston, meanwhile, goes shirtless in leather pants in his semi-derelict but tasteful Detroit home, his character full of disdain for his rock 'n roll fame (in part due to his desire to be not known). Adam has a wall with pictures of various writers (Twain, Dickinson, Billie Holiday, Joe Strummer) all over it, but one gets the impression that he carries nothing but contempt for our present, the 21st century and its petty distractions. Given the way Jarmusch works, his scenes tend to rigidify into tableaus like famous paintings in the Louvre ("Vampires Weeping on an Oriental Rug").

I do like much of what Jarmusch trains his eye on, especially the abandoned buildings of Detroit, but the fagged-out world-weary characters at the center of Only Lovers Left Alive suffer from an all-encompassing ennui that threatens to engulf this viewer as well. When Ava angrily calls Adam and Eve "condescending snobs," I fully understand what she means.

Monday, August 18, 2014

Nukes behind the rusty iron curtain: Mimi Leder's The Peacemaker (1997)

[I had just started writing reviews when this film came out.] Mimi Leder's The Peacemaker takes as its opening conceit a train loaded with nukes getting hijacked at full speed by a disgruntled Russian general and his red-lit night-goggled henchmen in the Ural mountains. Pretty soon the train collides into another one full of people just before a warhead blows up and evaporates two awestruck peasants. As the bomb's nuclear pulse flies into the camera lens, frying everything in sight, the scene cuts to Nicole Kidman swimming olympic sized laps in some Washington DC pool. Soon she's leading a White House Nuclear Smuggling group into tracing the whereabouts of those ten "broken arrows."

Repeatedly in this movie, Kidman's character Dr. Julia Kelly walks full speed into a room or a hangar full of state-of-the-art computers, telephones, and great maps on the wall as harassed preppy underlings debrief her on the crisis at hand as the camera circles around them. "Give me Russian military command!" she cries. There's a hint of romance in a bouquet of flowers that arrive from some guy named Roger, but there's no time for fooling around. This movie means business.

George Clooney (who plays Lt. Col. Thomas Devoe) got on my nerves for lowering and wagging his head around with his exaggerated televised charm. He could learn a few lessons from Cary Grant for holding back his gestures for maximum effect. Regardless, Julia and Thomas head off to Austria to research the Russian general's bomb-filled truck driving towards Iran, and we're off on a decent James Bond / Tom Clancy-style thriller.

In spite of the tank-like military movement of many of the film's set-piece scenes, I enjoyed this film in part because of Mimi Leder's intelligent direction. Constrained by the limitation of a macho-action plot, Leder strives at every turn for greater depth, and this tension between explosions and human interest makes the movie surprisingly engaging. She humanizes the Bosnian terrorist villain Dusan Gavrich (played by Marcel Iures) by emphasizing his religious intensity, his classical piano playing, and the war-torn landscape of Sarajevo around his apartment. When men die in combat, characters actually mourn them for a minute or two. Even Clooney covers his face later in his hotel room when one of his Russian contacts gets shot.

The fact that Julia and Thomas never get romantically involved keeps the film very businesslike, focused more on terrorist-stopping strategy than on star power. Even the thieving Russian general has a recognizable motive (money and weariness with Russian cutbacks in military might) in comparison to the cartoonish Red Baiting villainy of Gary Oldman in Air Force One. The title of this film turns out to be ironic as Gavrich comments on all of the harm America has visited on Bosnia in its efforts to keep the peace.

Lastly, the cinematography looks different--lots of dark blues and greens with burnt sienna highlighting--capitalizing on the grungy landscape beyond the former Iron Curtain. The climax, a bomb threat to New York's United Nations, pulls a few too many children in the way of sniper rifles for emotional effect. A retiree covers his poodle's eyes when a bunch of FBI men invade an elevator. Nicole Kidman's character gets to dismantle the little baseball-sized core of the warhead in the atrium of a cathedral. She uses a knife to try to pry the core open. "Be careful!" Clooney mutters as the seconds tick down on the red digital read-out. I kept hoping the timer would stop at 007 as it did in Goldfinger. Regardless of who gets blown up at the end, I found The Peacemaker surprisingly stylish and photogenic for a formulaic thriller.