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2015 | 2014 | 2013 | 2012 | 2011 | 2010 | 2009 | 2008 | 2007 | 2004

3 items from 2015


The fantasist: The comic art of Woody Allen

24 January 2015 12:49 PM, PST | The Moving Arts Journal | See recent The Moving Arts Journal news »

Everyone knows Woody Allen. At least, everyone thinks they know Woody Allen. His plumage is easily identifiable: horn-rimmed glasses, baggy suit, wispy hair, kvetching demeanor, ironic sense of humor, acute fear of death. As is his habitat: New York City, though recently he has flown as far afield as London, Barcelona, and Paris. His likes are well known: Bergman, Dostoevsky, New Orleans jazz. So too his dislikes: spiders, cars, nature, Wagner records, the entire city of Los Angeles. Whether or not these traits represent the true Allen, who’s to say? It is impossible to tell, with Allen, where cinema ends and life begins, an obfuscation he readily encourages. In the late nineteen-seventies, disillusioned with the comedic success he’d found making such films as Sleeper (1973), Love and Death (1975), and Annie Hall (1977), he turned for darker territory with Stardust Memories (1980), a film in which, none too surprisingly, he plays a »

- Graham Daseler

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Criterion Collection: The Bitter Tears of Petra Von Kant | Blu-ray Review

20 January 2015 10:00 AM, PST | ioncinema | See recent ioncinema news »

Premiering at the Berlin Film Festival in the summer of 1972, Rainer Werner Fassbinder’s The Bitter Tears of Petra Von Kant didn’t open to ecstatic reception. Treated with the sort of contempt that artistic endeavors later recuperated as being ‘ahead of their time’ are often subjected to, conservative audiences dismissed it as bleak and artificial, while queer audiences denounced it as an exploitational freak show. Decades later, time has come for a reexamination of one of Fassbinder’s finest achievements, arriving early on in his titles inspired by the works of Douglas Sirk, for which the title of this most certainly evokes. Shot in ten days, and presumed to have been written by Fassbinder by hand on a flight from Berlin to Los Angeles, it features three of his most beloved actresses, each with whom he shared a different type of relationship. Bitchy, catty, melodramatic and pretentious, it’s »

- Nicholas Bell

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Men, Women, Anderson and Altman: On ‘The Master’ and ’3 Women’

11 January 2015 10:26 AM, PST | SoundOnSight | See recent SoundOnSight news »

1.

Paul Thomas Anderson learned to make movies by watching movies. Each of his films bears the ghostly fingerprints of his masters and mentors: the obsession and one-point perspective of Kubrick; the tough-guy veneers and fetid societies that sated the first decade of Scorsese’s career; the intense meditative stares of Jonathan Demme, constantly reminding us that we are, of course, watching a film—we’re immersed in it, but we are spectators, non-participants, in the hands of an artist. Anderson has never created voyeuristic or naturalistic films, never approached Cinéma vérité, and he’s never tried to feign an amateur aesthetic. He crafts films indebted to the grand ambience of New Hollywood, rendered unnaturally lucid and diligently composed. To watch one of Anderson’s films is to get a condensed lesson on the artisanship and history of American cinema.

But Anderson’s most obvious early influence—one he has name-checked, »

- Greg Cwik

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3 items from 2015


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