Lawrence Ferlinghetti, the poet whose San Francisco–based City Lights bookstore and publishing house served as a springboard for the Beat generation, has died. His daughter, Julie Sasser, reported his cause of death as interstitial lung disease, according to The New York Times. He was 101.
The poet was known for stacking small fractured lines on top of each other in unique geometric shapes like Jenga towers, with each thought supporting the ones above it. His best-known collection of poems, 1958’s A Coney Island of the Mind, presented vivid images in the language of his day,...
The poet was known for stacking small fractured lines on top of each other in unique geometric shapes like Jenga towers, with each thought supporting the ones above it. His best-known collection of poems, 1958’s A Coney Island of the Mind, presented vivid images in the language of his day,...
- 2/23/2021
- by Kory Grow
- Rollingstone.com
Errol Morris’ look at Steve Bannon, Alexis Bloom’s dissection of Roger Ailes, and James Longley’s unflinching portrait of life in war-torn Afghanistan are just a few of the politically charged documentaries that will screen as part of this year’s New York Film Festival.
The annual gathering for cinephiles and Oscar hopefuls has unveiled the complete lineup for its Spotlight on Documentary section, and it’s filled with some of the biggest names in non-fiction filmmaking. These directors are turning their cameras not just on agitprop masters and geopolitical hotspots, they’re also highlighting artistic giants, social justice champions, and off-beat fashion photographers.
The festival, which is presented by the Film Society of Lincoln Center, appears to be leaning into the polarized present. The selections include “Divide and Conquer: The Story of Roger Ailes,” which is directed by Bloom, the filmmaker behind “Bright Lights;” “The Waldheim Waltz,” director...
The annual gathering for cinephiles and Oscar hopefuls has unveiled the complete lineup for its Spotlight on Documentary section, and it’s filled with some of the biggest names in non-fiction filmmaking. These directors are turning their cameras not just on agitprop masters and geopolitical hotspots, they’re also highlighting artistic giants, social justice champions, and off-beat fashion photographers.
The festival, which is presented by the Film Society of Lincoln Center, appears to be leaning into the polarized present. The selections include “Divide and Conquer: The Story of Roger Ailes,” which is directed by Bloom, the filmmaker behind “Bright Lights;” “The Waldheim Waltz,” director...
- 8/22/2018
- by Brent Lang
- Variety Film + TV
Alec Bojalad Oct 12, 2017
Mr Robot starts its third season off on the right foot with an uncharacteristically clear yet still paranoid episode...
This review contains spoilers.
See related Who are The Gifted? The Gifted: spoiler-free review The Gifted episode 1: every X-Men and Marvel Easter Egg
3.1 Power Save Mode
When it’s all said and done Mr. Robot may be the only show in history where I wouldn’t be completely disappointed if all of this was just in the main character’s head the whole time.
Okay, that’s probably not true. The 'this was all a dream/hallucination/snowglobe' hasn’t been attempted in a meaningful way since St. Elsewhere in 1988 and rightfully so. It’s cheap and it undercuts rule #1 in the television Hippocratic oath: What you’re seeing matters.
Still, on Mr. Robot we often have a very little meaningful concept of exactly what we’re even seeing.
Mr Robot starts its third season off on the right foot with an uncharacteristically clear yet still paranoid episode...
This review contains spoilers.
See related Who are The Gifted? The Gifted: spoiler-free review The Gifted episode 1: every X-Men and Marvel Easter Egg
3.1 Power Save Mode
When it’s all said and done Mr. Robot may be the only show in history where I wouldn’t be completely disappointed if all of this was just in the main character’s head the whole time.
Okay, that’s probably not true. The 'this was all a dream/hallucination/snowglobe' hasn’t been attempted in a meaningful way since St. Elsewhere in 1988 and rightfully so. It’s cheap and it undercuts rule #1 in the television Hippocratic oath: What you’re seeing matters.
Still, on Mr. Robot we often have a very little meaningful concept of exactly what we’re even seeing.
- 10/12/2017
- Den of Geek
My returning to work on a book about Iranian cinema that I’d put aside years ago, followed by the decision to produce the book independently, and then the choice of supporting this effort with an Indiegogo crowdfunding campaign were all things set in motion by one terrible event: the death of Abbas Kiarostami.
That happened last July 4 in Paris, and it was a profound shock. I knew Kiarostami had been hospitalized for months in Tehran, but gleaned that he had turned a corner and was on the mend. Though it seemed his recuperation would take months, he had already mapped out plans for a new feature to be shot in China, and even in his hospital bed was putting finishing touches on the partly computer-generated feature “24 Frames” (which premiered in Cannes and will have a U.S. opening in the coming months).
His unexpected death was a jolt not...
That happened last July 4 in Paris, and it was a profound shock. I knew Kiarostami had been hospitalized for months in Tehran, but gleaned that he had turned a corner and was on the mend. Though it seemed his recuperation would take months, he had already mapped out plans for a new feature to be shot in China, and even in his hospital bed was putting finishing touches on the partly computer-generated feature “24 Frames” (which premiered in Cannes and will have a U.S. opening in the coming months).
His unexpected death was a jolt not...
- 7/4/2017
- by Godfrey Cheshire
- Indiewire
Let us go then, you and I, to Paterson, New Jersey: birthplace of Allen Ginsberg, and longtime home of modernist poet William Carlos Williams. It’s a city known for its poetry. For this review we turn our attention to one poet in particular, a man who himself is called Paterson, played by the ever-impressive Adam Driver.
Over the past five years Driver has become a quiet but un-ignorable presence in entertainment, both in film and on television. From his role as the illusive and wild Adam Sackler in the Lena Durham-created Girls (2011), to his role as Kylo Ren in Star Wars: The Force Awakens (2015) and as Father Garupe in Silence (2016), as well as a range of smaller roles, including bit-parts in films like Lincoln (2012) and Inside Llewyn Davis (2013) the Juilliard trained actor has made quite a name for himself. It seems ironically appropriate then that the young actor,...
Over the past five years Driver has become a quiet but un-ignorable presence in entertainment, both in film and on television. From his role as the illusive and wild Adam Sackler in the Lena Durham-created Girls (2011), to his role as Kylo Ren in Star Wars: The Force Awakens (2015) and as Father Garupe in Silence (2016), as well as a range of smaller roles, including bit-parts in films like Lincoln (2012) and Inside Llewyn Davis (2013) the Juilliard trained actor has made quite a name for himself. It seems ironically appropriate then that the young actor,...
- 4/13/2017
- by Ian Bailey
- The Cultural Post
Christmas is over, and as we race to the conclusion of what has been a seemingly unanimously loathed 2016, film critics and cinephiles alike are continuing to formulate their respective best-of-the-year lists. Films from throughout the year are being discussed seriously and in ways that previous points in the year really don’t offer up. However, the year isn’t quite over yet, and there is one film that is in dire need of deep consideration as one of the very best films of not only this year but its director’s much-lauded career.
That film is Paterson, a quiet, poetic new neo-drama from beloved auteur Jim Jarmusch. Drawing its name from both the New Jersey city as well as the film’s fictional lead character, Paterson (as well as an epic poem from William Carlos Williams who gets name dropped throughout the film), almost from the outset, proclaims its observational conceit.
That film is Paterson, a quiet, poetic new neo-drama from beloved auteur Jim Jarmusch. Drawing its name from both the New Jersey city as well as the film’s fictional lead character, Paterson (as well as an epic poem from William Carlos Williams who gets name dropped throughout the film), almost from the outset, proclaims its observational conceit.
- 12/30/2016
- by Joshua Brunsting
- CriterionCast
A Jim Jarmusch movie is unmistakable. He’s a storyteller who favors richness of detail over plot, whether it’s reunited vampires (“Only Lovers Left Alive”), escaped prisoners (“Down By Law”), or a cousin visiting from Budapest (“Stranger Than Paradise”). Small in scale, generous in production value, and tempered with idiosyncratic rhythms and dry humor, his films represent one the most original and uncompromised bodies of work in American cinema.
However, while Jarmusch might seem to be an auteur-theory poster child, the filmmaker told IndieWire’s David Ehrlich in 2014 (then writing for The Guardian) that he doesn’t believe, for him, the concept of director-as-author applies:
“I put ‘A film by’ as a protection of my rights, but I don’t really believe it. It’s important for me to have a final cut, and I do for every film. So I’m in the editing room every day, I...
However, while Jarmusch might seem to be an auteur-theory poster child, the filmmaker told IndieWire’s David Ehrlich in 2014 (then writing for The Guardian) that he doesn’t believe, for him, the concept of director-as-author applies:
“I put ‘A film by’ as a protection of my rights, but I don’t really believe it. It’s important for me to have a final cut, and I do for every film. So I’m in the editing room every day, I...
- 12/28/2016
- by Chris O'Falt
- Indiewire
Adam Driver gives one of the loveliest and least likely to be rewarded performances of the year in Paterson. Why least likely, you ask? Because Driver's indelibly moving portrayal is so lived-in and lyrical you hardly recognize it as acting. He plays Paterson, a poet who drives a bus in the New Jersey city of Paterson. Yes, the city and the poet have the same name. Don't cringe. You'll get over it. Written and directed with grit and amazing grace by indie icon Jim Jarmusch – hard to believe it's been...
- 12/27/2016
- Rollingstone.com
Adam Driver stars as a bus-driving poet in a Jim Jarmusch drama suffering from self-regard
Jim Jarmusch’s Paterson is a lovely, if ultimately suspect, film about a plain-spoken poet in a humdrum Us town. This showcases a winning central performance from Adam Driver and has good things to say about what makes an artist, saluting the sweet, simple tao of putting the right words on a page. It’s heartfelt, it’s funny; it wants to be your life coach. But I’ve seen this twice now and remain oddly immune to its charms.
Jarmusch’s hero (and possible alter ego) is Paterson (Driver), a serene bus driver who fortuitously lives and works in Paterson, New Jersey, once the base of poet William Carlos Williams. Paterson has a steady routine, a doting wife, Laura (Golshifteh Farahani), and a passion for poetry, which appears to spill out of the world and into his notebook.
Jim Jarmusch’s Paterson is a lovely, if ultimately suspect, film about a plain-spoken poet in a humdrum Us town. This showcases a winning central performance from Adam Driver and has good things to say about what makes an artist, saluting the sweet, simple tao of putting the right words on a page. It’s heartfelt, it’s funny; it wants to be your life coach. But I’ve seen this twice now and remain oddly immune to its charms.
Jarmusch’s hero (and possible alter ego) is Paterson (Driver), a serene bus driver who fortuitously lives and works in Paterson, New Jersey, once the base of poet William Carlos Williams. Paterson has a steady routine, a doting wife, Laura (Golshifteh Farahani), and a passion for poetry, which appears to spill out of the world and into his notebook.
- 11/27/2016
- by Xan Brooks
- The Guardian - Film News
Paterson Amazon Studios Reviewed by: Harvey Karten, Shockya Grade: B Director: Jim Jarmusch Written by: Jim Jarmusch Cast: Adam Driver, Golshifteh Farahani, Barry Shabaka Henley, Chasten Harmon Screened at: Park Ave.,NYC, 11/12/16 Opens: December 27, 2016 Paterson, New Jersey, not the kind of place that will compete with Viking Tours for your two weeks’ vacation, nonetheless has a rich colonial history. It is also the subject of a long, four-books’ epic poem by William Carlos Williams, whose theme is that a human being is like a city in the way both grow and decline. And the city itself is in decline from the looks of Jim Jarmusch’s typically minimalist film. [ Read More ]
The post Paterson Movie Review appeared first on Shockya.com.
The post Paterson Movie Review appeared first on Shockya.com.
- 11/22/2016
- by Harvey Karten
- ShockYa
Jim Jarmusch’s ‘Paterson’ And ‘Gimme Danger’: How Two New Films Speak to the Artistic Process — Nyff
The following essay was written by a participant in the 2016 New York Film Festival Critics Academy, a workshop for aspiring critics co-produced by IndieWire, the Film Society of Lincoln Center and Film Comment.
Jim Jarmusch is no stranger to making films about artists or films that reference other works of art: “Dead Man’s” protagonist is named after the English poet William Blake, in “Ghost Dog: Way of the Samurai,” Jarmusch pays homage to Seijun Suzuki’s “Branded to Kill,” and “Only Lovers Left Alive” has a vampire protagonist who doubles as a famous rock musician. Jarmusch’s latest two films which, played at the New York Film Festival this year—“Gimme Danger” and “Paterson” — continue this pattern of making a film about artists. What ultimately ties all these works together is a nostalgic longing for old art, and this can be seen through references Jarmusch’s films make...
Jim Jarmusch is no stranger to making films about artists or films that reference other works of art: “Dead Man’s” protagonist is named after the English poet William Blake, in “Ghost Dog: Way of the Samurai,” Jarmusch pays homage to Seijun Suzuki’s “Branded to Kill,” and “Only Lovers Left Alive” has a vampire protagonist who doubles as a famous rock musician. Jarmusch’s latest two films which, played at the New York Film Festival this year—“Gimme Danger” and “Paterson” — continue this pattern of making a film about artists. What ultimately ties all these works together is a nostalgic longing for old art, and this can be seen through references Jarmusch’s films make...
- 10/19/2016
- by Anthony Dominguez
- Indiewire
The following essay was written by a participant in the 2016 New York Film Festival Critics Academy, a workshop for aspiring critics co-produced by IndieWire, the Film Society of Lincoln Center and Film Comment.
With its promotional campaign reaching a fever pitch, “The Girl on the Train” careened into theaters like some crazed locomotive manned by Jon Voight in a knit beanie, promising yet another affirmation of pop literature’s power in the box office. While sardonic vigilantes and humanist marine life remain the most reliable earmarks of successful commercial cinema, recent years have seen an increasing number of literary adaptations achieve blockbuster status.
Whether major franchises (“Harry Potter,” “The Hunger Games”) or more critically competitive one-offs (“Gone Girl,” “American Sniper”), studios are growing increasingly adept at shuttling extant fan bases into theaters to watch beloved fictions and nonfictions translated to the big screen. Complete with readymade press points tied to...
With its promotional campaign reaching a fever pitch, “The Girl on the Train” careened into theaters like some crazed locomotive manned by Jon Voight in a knit beanie, promising yet another affirmation of pop literature’s power in the box office. While sardonic vigilantes and humanist marine life remain the most reliable earmarks of successful commercial cinema, recent years have seen an increasing number of literary adaptations achieve blockbuster status.
Whether major franchises (“Harry Potter,” “The Hunger Games”) or more critically competitive one-offs (“Gone Girl,” “American Sniper”), studios are growing increasingly adept at shuttling extant fan bases into theaters to watch beloved fictions and nonfictions translated to the big screen. Complete with readymade press points tied to...
- 10/15/2016
- by Lee Purvey
- Indiewire
Here’s Manuel reporting from the New York Film Festival with two projects on unassuming artists.
Paterson
In Paterson, Adam Driver plays a bus driver named Paterson. He lives in the New Jersey town by the same name and, living up to the town's poetic tradition (it was home to both Allen Ginsberg and William Carlos Williams), jots down verses in between bus shifts.
Jim Jarmusch's latest is just as precious as that description makes it sound and that's before I tell you that it's structured around a week in the life of Paterson, with every day marked by the same routine...
Paterson
In Paterson, Adam Driver plays a bus driver named Paterson. He lives in the New Jersey town by the same name and, living up to the town's poetic tradition (it was home to both Allen Ginsberg and William Carlos Williams), jots down verses in between bus shifts.
Jim Jarmusch's latest is just as precious as that description makes it sound and that's before I tell you that it's structured around a week in the life of Paterson, with every day marked by the same routine...
- 9/30/2016
- by Manuel Betancourt
- FilmExperience
Excepting, say, Toni Erdmann, no 2016 premiere has earned quite the wave of acclaim bestowed upon Jim Jarmusch‘s Paterson, which we called “a fresh new masterpiece for our present decade” that can stand with the best of his oeuvre. Because some things in this world are just and reasoned, we’ll be getting the movie soon enough — by year’s end if you’re in New York or Los Angeles, and (probably) not too long after otherwise. Do you know what that means? Trailer time!
If you actually need to be sold on the thing, I guess. Fans of Jarmusch (or Adam Driver or Golshifteh Farahani) probably won’t need much else, nor take it. Our laudatory review implies that this is a work one should see unfold in its fine-tuned manner, saying, “Like the best poetry, Paterson keeps its meticulous construction hidden, letting its impact sneak up on you unawares.
If you actually need to be sold on the thing, I guess. Fans of Jarmusch (or Adam Driver or Golshifteh Farahani) probably won’t need much else, nor take it. Our laudatory review implies that this is a work one should see unfold in its fine-tuned manner, saying, “Like the best poetry, Paterson keeps its meticulous construction hidden, letting its impact sneak up on you unawares.
- 9/29/2016
- by Nick Newman
- The Film Stage
"So much depends / upon / a red wheel / barrow / glazed with rain / water / beside the white / chickens."
So goes "The Red Wheelbarrow," a very short "silly little" poem by William Carlos Williams quoted by Tyrell Wellick in the opening flashback scene of Mr. Robot Season 2 Episode 12. It's either straightforwardly simple or deceptively complex – as good an analogy for this show as any.
"Python Pt. 2" was a great finale. The first half was quite slow, and they purposefully didn't wrap up every single plot line, but I actually feel satisfied with where we left off.
I totally get that many viewers might not feel the same way. Some people really like closure, especially when we're due to wait nearly a full year for any new episodes. For me, the answers we got were enough, and I wasn't overly frustrated with the things left dangling.
First things first: once and for all, the...
So goes "The Red Wheelbarrow," a very short "silly little" poem by William Carlos Williams quoted by Tyrell Wellick in the opening flashback scene of Mr. Robot Season 2 Episode 12. It's either straightforwardly simple or deceptively complex – as good an analogy for this show as any.
"Python Pt. 2" was a great finale. The first half was quite slow, and they purposefully didn't wrap up every single plot line, but I actually feel satisfied with where we left off.
I totally get that many viewers might not feel the same way. Some people really like closure, especially when we're due to wait nearly a full year for any new episodes. For me, the answers we got were enough, and I wasn't overly frustrated with the things left dangling.
First things first: once and for all, the...
- 9/22/2016
- by Caralynn Lippo
- TVfanatic
Throughout this whole crazy season of Mr. Robot, we weren’t quite sure what was a dream and what was reality. Well, Wednesday’s Season 2 finale served as a big, bloody wake-up call.
The first blood drawn this week is the blood splashed all over Darlene’s jacket. Yay, Darlene’s alive! But Cisco’s dead (that’s his blood) following that Dark Army ambush a couple weeks back, and Dom and her boss have Darlene holed up in an interrogation room. Darlene pleads the fifth, but Dom’s boss coldly tells her that doesn’t apply: “This isn’t Burn Notice…...
The first blood drawn this week is the blood splashed all over Darlene’s jacket. Yay, Darlene’s alive! But Cisco’s dead (that’s his blood) following that Dark Army ambush a couple weeks back, and Dom and her boss have Darlene holed up in an interrogation room. Darlene pleads the fifth, but Dom’s boss coldly tells her that doesn’t apply: “This isn’t Burn Notice…...
- 9/22/2016
- TVLine.com
Last Week’S Review: ‘Mr. Robot’ Does Not Want To Say No To Us
In Elliot’s Head, Two’s A Crowd
The episode opens will Elliot attempting to induce a lucid dreaming state so he can switch places with Mr. Robot and discovers what he’s planning. This dream-like quality extends to the rest of the hour, a brief, fitful pause between the high-action end of last week and next week’s season finale. Elliot is so far from in control that when he trails Mr. Robot to a secret meeting, he temporarily forgets that they are the same person. When the rendezvous turns out to be a surprise meeting with the long-missing Tyrell, Elliot genuinely cannot tell if Wellick is real or another projection of his mind. And though Tyrell behaves as if he’s real, the show doesn’t give us confirmation; instead, we get a dreamy background rendition of “Earth Angel,...
In Elliot’s Head, Two’s A Crowd
The episode opens will Elliot attempting to induce a lucid dreaming state so he can switch places with Mr. Robot and discovers what he’s planning. This dream-like quality extends to the rest of the hour, a brief, fitful pause between the high-action end of last week and next week’s season finale. Elliot is so far from in control that when he trails Mr. Robot to a secret meeting, he temporarily forgets that they are the same person. When the rendezvous turns out to be a surprise meeting with the long-missing Tyrell, Elliot genuinely cannot tell if Wellick is real or another projection of his mind. And though Tyrell behaves as if he’s real, the show doesn’t give us confirmation; instead, we get a dreamy background rendition of “Earth Angel,...
- 9/15/2016
- by Jay Bushman
- Indiewire
The 2016 New York Film Festival line-up has arrived, and as usual for the festival, it’s an amazing slate of films. Along with the previously announced The 13th, 20th Century Women, and The Lost City of Z, there’s two of our Sundance favorites, Manchester By the Sea and Certain Women, as well as the top films of Cannes: Elle, Paterson, Personal Shopper, Graduation, Julieta, I, Daniel Blake, Aquarius, Neruda, Sieranevada, Toni Erdmann, and Staying Vertical. As for other highlights, the latest films from Hong Sang-soo, Barry Jenkins, and Matías Piñeiro will also screen.
Check it out below, including our reviews where available.
The 13th (Opening Night, previously announced)
Directed by Ava DuVernay
USA, 2016
World Premiere
The title of Ava DuVernay’s extraordinary and galvanizing documentary refers to the 13th Amendment to the Constitution, which reads “Neither slavery nor involuntary servitude, except as a punishment for crime whereof the party shall have been duly convicted,...
Check it out below, including our reviews where available.
The 13th (Opening Night, previously announced)
Directed by Ava DuVernay
USA, 2016
World Premiere
The title of Ava DuVernay’s extraordinary and galvanizing documentary refers to the 13th Amendment to the Constitution, which reads “Neither slavery nor involuntary servitude, except as a punishment for crime whereof the party shall have been duly convicted,...
- 8/9/2016
- by Jordan Raup
- The Film Stage
★★★★★ "No ideas but in things" wrote William Carlos Williams, the patron saint of Jim Jarmusch's sumptuous sonnet to poetry and ordinariness, Paterson. The film presents us with a week in the life of bus driver and lunchtime poet Paterson (Adam Driver). In many way, Paterson's life is idyllic. He is deeply, almost boyishly in love with his wife Laura (Golshifteh Farahani); his work, given he's a bus driver, is remarkably stress-free and gives him plenty of time to think. Like Frank O'Hara, he writes his poetry in his breaks and before his shift. Sure enough we glimpse O'Hara's Lunch Poems anthology in the driver's cab.
- 5/18/2016
- by CineVue UK
- CineVue
Small exchanges and lengthy pauses are hallmarks of Jim Jarmusch movies, but few have the profound mixture of warmth and melancholy found in "Paterson." Carried by an appropriately low-key Adam Driver and Jarmusch's casual genius for capturing offhand remarks, "Paterson" is his most absorbing character study since "Broken Flowers" -- and far more grounded in real life. There's no context necessary to recognize it as his most personal work. Read More: Every Review, News Item and Interview From Indiewire's Cannes 2016 Coverage The master text fueling "Paterson" is the poetry of William Carlos Williams, himself a resident of Paterson, New Jersey, where Driver's character — also named Paterson — resides. Going through the motions of his quiet routine as a bus driver (on the Paterson route, natch), he enjoys domestic bliss with his pregnant wife Laura (Golshifteh Farahani) and their surly pug Marvin, whose passive reaction shots provide comic...
- 5/15/2016
- by Eric Kohn
- Indiewire
Hitchcock/Truffaut is a documentary film by Kent Jones, the Director of the New York Film Festival and editor-at-large of Film Comment magazine, focusing on the 1967 book that Truffaut compiled of his conversations with the British director. As Jones makes clear, what emerges out of these conversations is the idiosyncratic vision that these filmmakers—each from a different era—had formed about cinema. Hitchcock/Truffaut also explores the formative influence that these conversations have had on the directors of our own era, many of whom appear in Jones’ film as they assess this impact.For the following conversation with Jones I was deeply and influentially assisted by Mahmood Khoshchereh.Notebook: I’m curious as to why you picked film directors and not critics or film historians to discuss Hitchcock's films and Truffaut’s relationship with him.Kent Jones: I only wanted to have filmmakers. I wasn’t interested inmaking a documentary.
- 12/2/2015
- by Amir Ganjavie
- MUBI
Music and Sex: Scenes from a life - A novel in progress (first chapter here). Warning: more highly graphic Tmi.
A weekend of fruitless fretting almost led Walter to agree that Martial had the right idea and the show should go on with no guitarist, and with just Walter on keyboards, but really all he'd come up with for sure was a new band name -- The Living Section, for the Wednesday arts portion of The New York Times. The other guys all agreed that was an improvement. However, he couldn't bring himself to propose to them what, in his head, he had dubbed the Martial Plan.
The thing about the band was, it had to be fit in between all the stuff that going to college was actually about, such as attending classes. So on Monday, it was back to the usual schedule, which meant one of his favorite...
A weekend of fruitless fretting almost led Walter to agree that Martial had the right idea and the show should go on with no guitarist, and with just Walter on keyboards, but really all he'd come up with for sure was a new band name -- The Living Section, for the Wednesday arts portion of The New York Times. The other guys all agreed that was an improvement. However, he couldn't bring himself to propose to them what, in his head, he had dubbed the Martial Plan.
The thing about the band was, it had to be fit in between all the stuff that going to college was actually about, such as attending classes. So on Monday, it was back to the usual schedule, which meant one of his favorite...
- 9/8/2015
- by RomanAkLeff
- www.culturecatch.com
This past June, The Fault in Our Stars brought John Green’s tale of the little infinities shared by cancer-stricken teens Hazel Grace Lancaster (Shailene Woodley) and Augustus Waters (Ansel Elgort) to the big screen. Along the way, the film became one of the popcorn season’s biggest movies for non-superhero or Channing Tatum devotees.
As of Aug. 26, superfans can weep to their heart’s content in the privacy of their own homes with the release of the film’s Digital HD edition (followed by a Blu-ray/DVD release on Sept. 16). Talking with EW, Elgort predicts the extended cut of...
As of Aug. 26, superfans can weep to their heart’s content in the privacy of their own homes with the release of the film’s Digital HD edition (followed by a Blu-ray/DVD release on Sept. 16). Talking with EW, Elgort predicts the extended cut of...
- 8/19/2014
- by Lanford Beard
- EW - Inside Movies
After last week’s episode focused on an intellectual debate between swift justice and the twisted road of espionage, Homeland ditched all of that entirely in “A Red Wheelbarrow” to opt for a well-plotted if characteristically ridiculous installment that found Carrie getting shot and Saul tracking down Brody in Venezuela. Like the William Carlos Williams poem it alludes to, ”A Red Wheelbarrow,” is all about suspense: the “set piece,” I suppose, of Carrie butting heads with Dar and Quinn and getting a bullet in the shoulder for it and the longer one of Saul’s mystery trip. Both have in common Brody, who has been on the lam or drugged into glass-eyed docility since the Langley bombing. He’s maintained a presence back in Washington through Carrie, his sole advocate back home. She’s explosive in nature, attached enough to him and righteous enough about the truth that we don’t really need the excuse of a...
- 11/18/2013
- by Inkoo Kang
- FilmSchoolRejects.com
As a rule, rooting for the main character of the show you're watching to get shot is a pretty clear sign that something's gone really wrong with the show you're watching. But rules are meant to be broken. That's what Carrie Mathison thought when she defied a direct order and tried to stop the assassination of the man who could clear her beloved Brody's name, even if it meant flushing months of work down the toilet like so much lithium. And that's why, when Peter Quinn pulled the trigger and plugged Carrie in the arm,...
- 11/18/2013
- Rollingstone.com
Benjamin Franklin spent his mornings naked. Patricia Highsmith ate only bacon and eggs. Marcel Proust breakfasted on opium and croissants. The path to greatness is paved with a thousand tiny rituals (and a fair bit of substance abuse) – but six key rules emerge
One morning this summer, I got up at first light – I'd left the blinds open the night before – then drank a strong cup of coffee, sat near-naked by an open window for an hour, worked all morning, then had a martini with lunch. I took a long afternoon walk, and for the rest of the week experimented with never working for more than three hours at a stretch.
This was all in an effort to adopt the rituals of some great artists and thinkers: the rising-at-dawn bit came from Ernest Hemingway, who was up at around 5.30am, even if he'd been drinking the night before; the strong coffee was borrowed from Beethoven,...
One morning this summer, I got up at first light – I'd left the blinds open the night before – then drank a strong cup of coffee, sat near-naked by an open window for an hour, worked all morning, then had a martini with lunch. I took a long afternoon walk, and for the rest of the week experimented with never working for more than three hours at a stretch.
This was all in an effort to adopt the rituals of some great artists and thinkers: the rising-at-dawn bit came from Ernest Hemingway, who was up at around 5.30am, even if he'd been drinking the night before; the strong coffee was borrowed from Beethoven,...
- 10/5/2013
- by Oliver Burkeman
- The Guardian - Film News
Review by Big Daddy Dane Marti Pow! As old, withered, but still dedicated Hipster, I had trepidations (very un-hip thoughts, Daddy) about seeing this film, sort as if I were undressing in front of millions of strangers. Still, Cat, while someone like Norman Mailer might write fervently about hipsters, the term for many folks is still rather broad and ephemeral, of course. For me, The Hipster is at his best – or for some of you Squares, at his worst– during the Beat Generation, the latter 50′s era personified by Jack Kerouac and Allen Ginsberg. These Post WW11 guys and their friends were a different cool animal from the kids personified in the zany film under review! Hipsters, as opposed to Beatniks, were often African American and more knowledgeable about the harsh underbelly of life. Duh. They knew how to remain cool under unpleasant situations (which often seemed to pertain to...
- 11/16/2012
- by Movie Geeks
- WeAreMovieGeeks.com
When I was growing up, New York 's best (now long-defunct) classical radio station, Wncn, played only American composers' music each Fourth of July. With the classical world dominated by Europeans, this was a welcome and educational corrective. In the history of American music, independence wasn't achieved until the 20th century; 19th century composers such as John Knowles Paine and George Whitefield Chadwick studied in Europe and blatantly imitated European models. Listening to their music "blind," few would guess they were Americans. There was Revolutionary War-era vocal writer William Billings, but his originality was more a lack of proper technique. Continuing Wncn's tradition, here's a look at true American classical. music.
There is a bit of chauvinism in this article, as "American" here refers not to all the Americas (North, Central, and South) but rather the colloquial usage in the United States to mean that country's residents (hence, the Mexican Carlos Chavez,...
There is a bit of chauvinism in this article, as "American" here refers not to all the Americas (North, Central, and South) but rather the colloquial usage in the United States to mean that country's residents (hence, the Mexican Carlos Chavez,...
- 7/4/2012
- by SteveHoltje
- www.culturecatch.com
Written and directed by Benh Zeitlin, whose short, "Glory at Sea," was shot through with purpose and promise, "Beasts of the Southern Wild" is as stirring and striking a film as you could wish for. Shot and set in a Louisiana community called The Bathtub, on the wrong side of the levees that stop the water from encroaching on civilization, it's at heart the story of a little girl, Hushpuppy (Quvenzhané Wallis) who lives with her father Wink (Dwight Henry). That synopsis does not do the film justice, though, as the story -- based on a play by Lucy Alibar -- incorporates a flood that not only drowns The Bathtub but also huge, prehistoric beasts -- Aurochs -- returning to life from the frozen icecaps and stalking, gigantically, towards Hushpuppy's world. It's a flawed comparison -- and indeed, any comparison for a work as completely and startlingly unique as this...
- 6/26/2012
- by James Rocchi
- The Playlist
When James Franco first came up with the idea to make a movie about the life of American poet Hart Crane, he had no idea he would wind up writing, directing, producing and starring in it, as he eventually did in "The Broken Tower," which is getting a theatrical release Friday. He thought he'd just want to act. He was fascinated by Crane's legendarily difficult, brilliant poetry, as well as his personal demons, which led him to alcohol and eventually suicide at age 32.
"At that point, I was only an actor; I'd never directed a movie before," Franco told The Huffington Post. "So I thought, 'I sorta look like him and he has such an interesting, dramatic story.' So I'd go around and say, 'I want to play Hart Crane,' hoping that someone would be willing to work with me and do a Crane project. But nobody was interested.
"At that point, I was only an actor; I'd never directed a movie before," Franco told The Huffington Post. "So I thought, 'I sorta look like him and he has such an interesting, dramatic story.' So I'd go around and say, 'I want to play Hart Crane,' hoping that someone would be willing to work with me and do a Crane project. But nobody was interested.
- 4/27/2012
- by Joe Satran
- Huffington Post
As his latest film Beginners arrives in cinemas, we caught up with writer and director Mike Mills to talk about the making of the film...
Beginners, the new film from Mike Mills, has been promoted oddly. The posters currently adorning the country are bright, white affairs, complete with a grinning Ewan McGregor, a pouting Mélanie Laurent, and a dashing, neckerchief-clad Christopher Plummer. There’s also a cute dog, for good measure.
When coupled with the most basic of plot synopses - that 70-odd year old Hal (Plummer) comes out as gay to his son, Oliver (McGregor) - it looks like we’d be in for a pleasant, buoyant indie comedy.
However, the roots of Beginners go deeper. This is actually a very personal story, unapologetic in its tone, and marked by grief. Mills’ own father came out in his old age, and died only a few years later. The resulting...
Beginners, the new film from Mike Mills, has been promoted oddly. The posters currently adorning the country are bright, white affairs, complete with a grinning Ewan McGregor, a pouting Mélanie Laurent, and a dashing, neckerchief-clad Christopher Plummer. There’s also a cute dog, for good measure.
When coupled with the most basic of plot synopses - that 70-odd year old Hal (Plummer) comes out as gay to his son, Oliver (McGregor) - it looks like we’d be in for a pleasant, buoyant indie comedy.
However, the roots of Beginners go deeper. This is actually a very personal story, unapologetic in its tone, and marked by grief. Mills’ own father came out in his old age, and died only a few years later. The resulting...
- 7/20/2011
- Den of Geek
Updated through 6/12.
Let's begin this quick run through goings on in New York and with J Hoberman in the Voice: "Dennis Hopper changed the game with Easy Rider (1969), blew up his career with The Last Movie (1971), and then, through a never clearly explained series of events, took over and reconfigured a Canadian tax-shelter project for which he had been hired to act, thus contriving a dialectical comeback with his brutal, accomplished Out of the Blue (1980)."
"Widely banned and/or shoved under the rug at the time of its limited release primarily due to its violently bonkers ending, the film's alternately herky-jerky and languid cadence is suggestive of a terminally wounded body undergoing a death rattle." Joseph Jon Lanthier in Slant: "This produces a look and feel that communicates the blind rage and ennui out of which punk's jabby power chords and raucous lyrics sprang. But the film's punk apotheosis — the...
Let's begin this quick run through goings on in New York and with J Hoberman in the Voice: "Dennis Hopper changed the game with Easy Rider (1969), blew up his career with The Last Movie (1971), and then, through a never clearly explained series of events, took over and reconfigured a Canadian tax-shelter project for which he had been hired to act, thus contriving a dialectical comeback with his brutal, accomplished Out of the Blue (1980)."
"Widely banned and/or shoved under the rug at the time of its limited release primarily due to its violently bonkers ending, the film's alternately herky-jerky and languid cadence is suggestive of a terminally wounded body undergoing a death rattle." Joseph Jon Lanthier in Slant: "This produces a look and feel that communicates the blind rage and ennui out of which punk's jabby power chords and raucous lyrics sprang. But the film's punk apotheosis — the...
- 6/12/2011
- MUBI
Much modern architecture has grown tiresome to me. It does not gladden the heart. It doesn't seem to spring from humans. It seems drawn from mathematical axioms rather than those learned for centuries from the earth, the organic origins of building materials, the reach of hands and arms, and that which is pleasing to the eye. It is not harmonious. It holds the same note indefinitely.
It was not always so. My first girlfriend when I moved to Chicago was Tal Gilat, an architect from Israel. She was an admirer of Mies. Together we explored his campus of the Illinois Institute of Technology. She showed me his four adjacent apartment buildings on Lake Shore Drive and said they looked as new today as when they were built. It is now 40 years later, and they still look that new.
Then I was impressed Now I think of it as the problem.
It was not always so. My first girlfriend when I moved to Chicago was Tal Gilat, an architect from Israel. She was an admirer of Mies. Together we explored his campus of the Illinois Institute of Technology. She showed me his four adjacent apartment buildings on Lake Shore Drive and said they looked as new today as when they were built. It is now 40 years later, and they still look that new.
Then I was impressed Now I think of it as the problem.
- 7/17/2010
- by Roger Ebert
- blogs.suntimes.com/ebert
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