
Is Roy Scheider attempting to explain to Mandy Patinkin the theory of gravitational planes? It would make as much sense as anything else in Jonathan Demme’s jaw dropping exercise in hyperactive confusion, “Last Embrace”
Is Roy Scheider attempting to explain to Mandy Patinkin the theory of gravitational planes? It would make as much sense as anything else in Jonathan Demme’s jaw dropping exercise in hyperactive confusion, “Last Embrace”
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1928 - 2013
If you don't like what you see, what the heck- it's free!
Clearly if this little darling had been better versed in film quotes she wouldn't have ended up as a big bug appetizer. DON'T LET THIS HAPPEN TO YOU! Enroll today at BIJOUX U., otherwise known as FLIM FLAM FILM TALK, the greatest film blogsite this side of the otherside. Become well versed in filmology, cinemaology and overpriced popcornology all for nuthin' a serving. Just click on the photo above and enjoy the ride. Accredited by the academics at SMARTERIN U. FILM SCHOOL and operating while avoiding the cloud of federal indictment since 1806.
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A review of Tim Burton's SF satire "MARS ATTACKS!" starring Jack Nicholson, Rod Steiger, Martin Short, Jim Brown and Lisa Marie.
Michelangelo Antonioni's neglected "Identificazione di una donna" relinquishes the metaphysical mire which had plagued the director for over a decade, and offered an introspective view of life, creation, sex and love. A film worthy of attention and serious reappraisal.
Federico Fellini's 1953 masterwork "I vitelloni", his greatest, most personal and ultimately most influential work.
For cryin' out loud, watch your fingers because if he hasn't had his peanut butter, he gets really cranky!
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Converting Populist Stooges Into Critical Thinkers In The Blink Of An Eye!
The essential 1967 Russian film "Viy" was actually the first horror film produced in the Soviet regime.
...and probable Populist finks Boris and Natasha.
"La Dolce Vita" (Nino Rota)
What is it we seek from the Cinema? It all depends on your point of view.
For some, the movies are a source of seeking refuge from everyday existence, a release from daily tensions and anxieties. This is escapism and it has been the driving factor of the Populist attraction to the movies since the origin of the form. However, if one were to alter the view and regard film without merely the Populist limitations of escapist diversion but also as an Art Form, the perspective deepens and enters the realm of Critical Thought.
Though inconsistent in perspective, each side has validity, and is actually far more dependent on the existence of the other than would first seem possible. In a nutshell, it is a battleground between perceived verisimilitude against the aesthetic Ideal.
In formulating the foundations of The Critical Establishment,
it is necessary to understand the characteristics of each perspective, to note the seemingly contradictory similarities and disparities, and their often inextricable interconnections.
In examining both Populist thought and Critical Thinking in Film, it is useful to define the key players in the field: the reviewers and the critics. Though seemingly cut from the same cloth, there is a world of difference. Reviewers are the professional manifestation of the Populist front; reviewers have a primary focus on entertainment value while critics evaluate under an aesthetic criteria, reviewers reward immediate gratification whereas critics seek artistry.
With the burgeoning of internet filmspeak, there is a misconception that the old model of printed press criticism is being eroded by the emergence of an equal internet critical roster. This, however, is a fallacy. One thing is for certain, even with a cursory glance at popular internet movie sites: reviewers are plentiful and genuine criticism of merit is as scarce as water in the Mojave Desert.
The reviewer will generally spend the bulk of their time reprinting the plot synopsis of a film, often almost verbatim from the printed materials of the studio. While this assists handily in filling a column, it does little to illuminate the worth of a film. The reviewer will often spend an inordinate amount of time relaying such unessential data as background gossip, "best" lists and an alarming volume of space on film finances- usually relating to either the film's budget (as if the writer had a financial stake in the enterprise) or opening weekend receipts, neither of which has the slightest bearing on the film's aesthetic achievement.
-to be continued
"O Lucky Man!" (Alan Price)
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Stephane Audran in Claude Chabrol's meditative psychological suspense film "Le boucher" virtually redefines how thrillers should be conceived, by concentrating solely on character rather than narrative, the finale of the film, rather than the standard increase in tension, achieves a far more satisfying sense of personal tragedy.
"Hatari!" (Henry Mancini)
I remember seeing this on TV and thinking, ‘Roy Scheider?’.
Regards from England, Pete.