Showing posts with label THE OTHER SIDE OF THE WIND. Show all posts
Showing posts with label THE OTHER SIDE OF THE WIND. Show all posts

Tuesday, January 7, 2020

TEEN ANGST

Last Friday I presented a Top Ten List for 2019. But let’s not forget that, as of last Wednesday, the 2000-‘Teens are also in the rearview.

Here’s a Top 10 for the ‘Teens:


The Act of Killing (2012) —Joshua Oppenheimer’s shocking nonfiction film, in which participants in killings during the Indonesian massacres of the mid-‘60s re-enact their crimes for the camera, is hard to watch, but probably the movie of the decade.

The Other Side of the Wind (2018) —Released four decades belatedly, the final directorial feature of Orson Welles—shot in the ‘70s, much of it here in the Valley—is a send-up of both old-Hollywood machismo and new-Hollywood artsy posing. Superficially chaotic, it’s full of bravura sequences and fine, funny acting.


The Tree of Life (2011) —Terrence Malick takes on The Meaning of Life through the prism of a midcentury Texas family. A strange, difficult symphony of fractured narrative and beautiful acting.

   
Get Out (2017) —Jordan Peele’s horror comedy-melodrama about race as a hijack-able commodity was a knockout.


Moneyball (2011) —A superbly re-watchable, improbably touching sports movie, about Billy Beane using “Sabermetrics” to rebuild the Oakland A’s. Brad Pitt and Jonah Hill make a great Don Quixote and Sancho of baseball.

Fruitvale Station (2013) —This heartbreaking, infuriating drama about a police shooting at the title BART station marked a spectacular debut for director Ryan Coogler and potent star turns by Michael B. Jordan and Octavia Spencer.

 
American Animals (2018) —Bart Layton’s docudrama, about four college-age nitwits plotting to rob the rare books room at a Kentucky library, is unforgettable in its depiction of movie-driven criminal fantasy, and of the privileged status of the conspirators. 

November (2017) —This black-and-white Estonian gothic, directed by Rainer Sarnet from a novel by Andrus Kivirahk, has a low-key magic all its own. 


Black Panther (2018) —Having debuted with Fruitvale Station, Ryan Coogler went on to direct the most fun of the Marvel movies.

The Lovers (2017) —Hardly anyone seemed to pay any attention to this low-key comedy-drama about adultery turned on its head, so, modest though it may be as a piece of cinema, I’m going to put it on the list. Hope it gets discovered one of these years. 

Here are 10 more that came close: The Skin I Live In, Moonlight, Lincoln, Spotlight, The Shape of Water, Once Upon a Time in Hollywood, Inside Out, The Town, Attack the Block and Ant-Man. 

By the way, after a nearly twenty-year hiatus, Your Humble Narrator finds himself back on Rotten Tomatoes; you can check out my page here.

Friday, November 2, 2018

HAPPY TURKEY MONTH!

Happy November everybody! Check out my "Four Corners" column in the November issue of Phoenix Magazine...


...this month concentrated into the four corners of The Churchill, the new downtown Phoenix hipster destination.

Also, Happy Friday. Check out my "Friday Flicks" column on Phoenix Magazine online, with my review of Viper Club...


...and previews of Scottsdale International Film Festival and of the Netflix premiere of the Orson Welles movie The Other Side of the Wind.

Also, RIP to a favorite character actor, James Karen, passed on at 94. Karen was fondly remembered as Uneeda Medical Supply's genial, ill-fated Frank in 1985's Return of the Living Dead and as the developer who "didn't move the bodies" in Poltergeist. But he appeared in movies ranging from All the President's Men, Capricorn One, The Gathering, The China Syndrome, Jagged Edge and Wall Street and television roles on The Jeffersons (as a KKK member saved by George Jefferson's CPR) and Eight Is Enough and The Golden Girls and the swansong of Little House on the Prairie, as the evil railroad man who wipes Walnut Grove off the map. He had several Broadway credits including Cactus Flower, worked with Buster Keaton in Beckett's Film, was the heroic leading man in Frankenstein Meets the Space Monster, and starred in countless Pathmark supermarket commercials. Despite his frequent villainous parts, he was highly endearing.