In the Bag (1956)
That film, one of the “lost” trailers featured in our Great Global Trailer Search, was, until its recent home video revival, very nearly a lost film in itself. More’s the pity because It’s in the Bag, Allen’s sole starring vehicle, is an overlooked comic gem.
A surreal-screwball farce fueled by Allen’s perpetually perplexed sad sack persona and out-of-left-field set pieces (like a nightmarish trip to the movies that predicts the vertiginous pitfalls of a crowded Imax theater), It’s in the Bag recalls the anything goes Paramount
Alphabetical list of titles by section including feature premiere status
Wp = Wp
Ep = European Premiere
IP = International Premiere
UK = UK Premiere
Captain Phillips, Paul Greengrass (Us) Ep
Saving Mr Banks, John Lee Hancock (Us/UK) Ep
Philomena, Stephen Frears (UK) UK12 Years A Slave, Steve Mcqueen (UK) EPGravity, Alfonso Cuaron (Us) UKInside Llewyn Davis, Ethan Coen, Joel Coen (Us) UKLabor Day, Jason Reitman (Us) EPThe Invisible Woman, Ralph Fiennes (UK), EPThe Epic Of Everest, John Noel (UK) WPBlue Is The Warmest Colour, Abdellatif Kechiche (France) UKNight Moves, Kelly Reichardt (Us) UKStranger By The Lake, Alain Guiraudie (France) UKDon Jon, Joseph Gordon-Levitt (Us) UKMystery Road, Ivan Sen (Australia) UKOnly Lovers Left Alive, Jim Jarmusch (Us) UKNebraska, Alexander Payne (Us) UKWe Are The Best!, Lukas Moodysson (Sweden) EPFoosball 3D, Juan Jose Campanella (Argentina
The premiere episode featured a couple new improvers, Gary Anthony Williams and Heather Anne Campbell, plus some special guests -- "Walking Dead's" Lauren Cohan and "Glee's" Kevin McHale.
Favorite games were played -- Scenes From a Hat, Let's Make a Date, Living Scenery -- plus there were new games, like What's In the Bag and Sideways Scene. The Sideways Scene was particularly a lot of fun, as the improves laid on their sides and performed on a red set, which was then shown right-way up on TV. Trust us, it's a lot cooler than it sounds here.
What did you think about Aisha Tyler as the new host?
This is one "movement" of our exquisite corpse-style critical project, Tony Scott: A Moving Target, which coincidentally begins with a look at Crimson Tide, the same movie that begins the other movement. As outlined in the introduction to the entire project, this project began in my mind, as something fairly simple: a snaking continuum of scene analysis. This is only in part what resulted.
The varied responses I got back from my group—"mine" in the sense that it is the one I participated in, since Gina's contribution closes Movement B—seem to say as much about the participating critics as they do about Tony Scott's films and the overlap between the two: the perception of Scott's films and career. Thus many entries, including my own,
<- the previous analysis | movement index | the next analysis ->
"Visually the film is quite impressive, something like a confetti storm in which the spectator never gets to rest."
–Manny Farber, 1968
Participating in this writing game is a little like being crossed between Robert Bresson’s A Man Escaped (1956) and Jean Genet’s Un chant d’amour (1950). Both prison films, both about Men on Fire. One implicitly gay, the other explicitly so. Alone in my cell, like in Bresson, I am doing my bit to chip my way through to collective freedom and enlightenment. And, meanwhile, I am being presented, like in Genet, with things—all kinds of things—to help me along,
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