7 items from 2014
It's amazing to think that it's been almost three years since LCD Soundsystem called it quits with a marathon final show at Madison Square Garden on April 2. The good news is that soon you'll finally be able to listen to the whole set from the comfort of the chair you put next to your record player. The Long Goodbye: LCD Soundsystem Live at Madison Square Garden will come out on April 19, Record Store Day, as a 5xLP vinyl boxed set and then May 20 with a full digital and vinyl wide release. Read the full, extensive track list below; watch a performance of "All My Friends" from the show, taken from the documentary Shut Up and Play the Hits; and decide whether this release makes them closer or further away from a reunion.The Long Goodbye:01 “Dance Yrself Clean”02 “Drunk Girls”03 “I Can Change”04 “Time to Get Away”05 “Get »
- Jesse David Fox
There’s a haze that covers Robert Altman’s films; from the sun drenched beaches of The Long Goodbye to the cavernous interiors of McCabe and Mrs. Miller, Altman’s films find loquacious antiheroes attempting to understand the details of their murky surroundings. Today would be Altman’s 89th birthday and we’re celebrating with a line-up of documentaries that illuminate [...] »
- Zade Constantine
Neal Thompson is Senior Editor at Amazon Books. He is also a journalist & author, amateur photographer/videographer, and compulsive reader-writer. Neal interviewed Michael Connelly, creator of Bosch, a new Amazon Original Pilot.
In 1992, a seasoned crime reporter named Michael Connelly published his first novel, the story of a body in a drainpipe, a bank robbery, and police corruption, based partly on a true crime that had occurred in La. Featuring Hieronymous “Harry” Bosch, a Vietnam vet turned Lapd detective, The Black Echo won the Edgar Award for Best First Novel, established Connelly as a new voice in the mystery/thriller world and Bosch as one of the more complex characters in modern crime fiction.
Now, more than a dozen novels later, Bosch is coming to the little screen. Amazon Studios has produced the first episode in a hoped-for series entitled Bosch, co-written by Connelly and with Titus Welliver (who has »
Directed by Robert Altman
Robert Altman’s foray into film in the 70s left him with a body of work densely packed with revered quality, which enshrined him as one of the great American directors. M*A*S*H, Nashville, McCabe & Mrs. Miller, The Long Goodbye, and 3 Women would have been enough to designate him a worthy auteur, one who spoke a certain mystical anti-Hollywood language with beams of nostalgia resonating from current cinephiles who wonder, “How did they get away with that?”. It wasn’t by fitting in with contemporaries such as Scorsese and Hellman or emulating the previous nouvelle vague that made Altman a mainstay in cinematic history — much of that is due to his unabashed critique of genre understanding, his unique editing, and, perhaps unexpectedly, his understanding of his subjects in a »
- Zach Lewis
Robert Altman’s work of the 1980s saw him exploring new stylistic trends as he ventured to adapt popular plays. These works stand in stark contrast with his earlier films as they were often secluded to single locations, with Altman’s sprawling vision of America confined to either a small interior space or even tied to a single character. The richness of Altman’s best work - The Long Goodbye, McCabe and Mrs. Miller and Nashville - stands in stark contrast with this new period of work, their sprawling narratives and settings seeming just a memory amid the very claustrophobic locales of his play adaptations. This transition in style, though, was motivated partially through practical needs that also mirrored his occasional shifts to television. The biggest catalyst in these lower-budget productions was the financial and critical struggles of his most recent work at the time, notably Popeye and HealtH. HealtH, »
- Justine Smith
Coming a year on the heels of Mash, one of his best known films, Robert Altman’s Western McCabe & Mrs. Miller certified the director as a genre revisionist. The opening strains of Leonard Cohen’s “The Stranger Song” lilt underneath a panning wide shot showing McCabe (Warren Beatty in his finest role), unrecognizable beneath bundled furs and astride a donkey, approaching a modest camp. The slow, lyrical pacing is akin to neither the golden-era Hollywood Westerns of John Ford or Howard Hawks, nor the ‘60s explosion of Spaghetti Westerns, emblemized by Sergio Leone and Clint Eastwood. Cohen’s style is effortlessly poetic and in opposition to the bravado of Dimitri Tiomkin and the percussive bombast of Ennio Morricone; the protagonist introduction is without the fanfare of a John Wayne saunter or a Charles Bronson cold stare. Vilmos Zsigmond’s cinematography is of murky earth tones, dull snow, and Altman’s trademark slow zooms, »
- Neal Dhand
Director Robert Altman had his fair share of ups and downs. The oscillation between works widely lauded and those typically forgotten is prevalent throughout his exceptionally diverse career. This was — and still is — certainly the case with his 1970s output. This decade of remarkable work saw the release of now established classics like M*A*S*H, Nashville, and McCabe & Mrs. Miller, as well as a picture like 3 Women, which would gradually gain a cult following of sorts and subsequently be regarded as a quality movie despite its initial dismissal. But couched between and around these features are more electric and generally more unorthodox films. There are multiple titles from this, arguably Altman’s most creative of decades, that remain generally unheralded to all but his most ardent of admirers.
For Altman, the 1970s began with this disparity. The first year of the decade saw the release of M*A*S*H, »
- Jeremy Carr
7 items from 2014
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