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November 2008 - Posts

  • Roger Ebert: The Death of the Film Critic is the Death of Society

    Posted by Vadim Rizov

    We've seen a lot of despairing think-pieces and blog posts this year written by, for and about film critics this year — specifically, how we're all dead on the ground. Mass firings, reductions in word count for space reasons, mass syndications of writers to every newspaper in the land that eradicate distinctive individual voices — none of this is news, and even if you're part of the target audience it can be tiresome. Just in time for Thanksgiving, Roger Ebert took it one step further: the death of literate film criticism (specifically, to make room for celebrity gossip and "reporting") isn't just distressing to those predisposed to care about disinterested analysis and cinematic championing. "It is not about the disappearance of film critics," he declares. "It is about the death of an intelligent and curious, readership, interested in significant things and able to think critically. It is about the failure of our educational system. It is not about dumbing-down. It is about snuffing out."

    I'm not sure what to think of Ebert's fascinating dispatch. There's a lot in it: he's suitably pissed, for example, about the AP's declaration to all writers that film reviews must now never pass 500 words. But does the death of literate film criticism presage a larger cultural decline? Whenever you start thinking in apocalyptic, death-of-the-intellectual terms, you end up in the territory academics have made their specialty in occasional book-length diatribes, from Allan Bloom's infamously myopic and cranky The Closing Of The American Mind to the recent The Dumbest Generation. This is rarely productive territory for anyone. A smaller, better question would be not if intellectual society is dying (it's always been in the minority, something people tend to forget in the annual cri de couers), but whether the idea of getting paid to think is dying out in every non-academic context.

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  • Yesterday's Hits: The Bachelor and the Bobby-Soxer (1947, Irving Reis)

    Posted by Paul Clark

    During the 1930s, there was no bigger star in Hollywood than Shirley Temple. So beloved was little Shirley by both moviegoers and other actors that allegedly she was given an honorary Academy Award for fear that she would defeat older, more experienced performers if she was nominated for a competitive Oscar. However, growing up can be awkward for child stars, and Temple, popular though she was, was no exception. By the early 1940s, she had been largely relegated to supporting “kid-sister” roles in films like 1944’s Since You Went Away.

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  • Guy Peellaert, 1934-2008

    Posted by Phil Nugent

    The Belgian artist Guy Peellaert, who died last week at 74, was a painter, comic strip artist, theatrical decorator, and photographer whose best-known work mixed a lurid Pop Art style with a mordant wit and the eye of a critical-minded pop culture addict. The 1972 book Rock Dreams, Peelaert's 1974 collaboration with the British critic and journalist Nik Cohn, cemented his legend in pop music circles for his ceramic-looking images: Phil Spector, fitted with headphones and sprawled on his bed as if cut off from the world in an isolation tank; Johnny Cash parting the prison-farm barbed wire with his fingers to stare out mulishly at the society that thought it had cast him aside forever; Ray Charles, supremely cool behind the wheel of a convertible with one arm around a smiling redhead; Mama Cass and Michelle Phillips, nude, sitting cross-legged in what seemed like a post-apocalyptic landscape, though it was probably just the Mohave. Peellaert also designed album covers, the most famous of which is probably his painting of David Bowie as a half-canine sideshow exhibit for Diamond Dogs. Peellaert guaranteed that the first pressings of the album would become instant collectors' items by originally making the critter's genitals plainly visible; in later editions, the Bowie-dog would be gelded by airbrush.

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  • Trailer Review: Watchmen (Trailer #2)

    Posted by Paul Clark

    Sweet, a new Watchmen trailer, and with better music this time around.

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  • Never Mind the Bollocks, Here's the Marx Brothers

    Posted by Phil Nugent



    In a provocative piece in the Guardian, Danny Leigh uses the ongoing "Punk 'n Pie" program at BAM to ask, where are the great punk movies? At BAM, as in many a retrospective or critical study, punk movies are movies that deal with punk music as a subject, whether as performance movies or biopics or documentaries or anthropological field trips, or movies that are populated by celebrities and hangers-on from the "scene", such as the now-forgotten Downtown detritus cranked out by '80s filmmakers such as Beth B. and Scott B. and the young Susan Seidelman. Leigh writes that "quite apart from the questionable merits of the films concerned, I've always thought there was something grimly pedestrian about the way such a firecracker cultural moment should be represented by something so drab as a canon at all. And yet wheeled out every so often for an audience of ebbing nostalgiacs are the same old dusty reels, those already mentioned joined by or interchanged with the grim Great Rock'n'Roll Swindle, cosy Sex Pistols doc The Filth and the Fury, and/or the various filmic portraits of the Clash, principally the near-unwatchable curate's egg Rude Boy and the Joe Strummer tribute The Future Is Unwritten."

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  • The Screengrab Holiday Special: Movies We’re Thankful For (Part Six)

    Posted by Andrew Osborne

    SARAH CLYNE SUNDBERG IS THANKFUL FOR:

    BILLY LIAR (1963)



    Billy Fisher is a young man with a well-developed fantasy life and a rather disappointing real one. He lives in some unfun industrial Northern town in drab post-war England. Life after graduation is not all it was cracked up to be — despite working at a funeral parlor that hawks plastic coffins and having two fiancés, plus a girl on the side — Billy still lives with parents and grandmother. His closet is stuffed with calendars pilfered from work and unpublished manuscripts. In his spare time he escapes to his own private dictatorship where he is a leader-war hero and adoring citizens greet him with a "left-handed salute." He also dreams of moving to London to work as a scriptwriter, but doesn't seem to be able to get it together sufficiently to leave. A young and beautiful Julie Christie assures him, "It's easy, you get on a train, then four hours later you are there." Billy is not convinced. I saw this movie when I was about 16 and couldn't wait to get out of the European satellite town I lived in. Like some of the best pop music to come out of England, Billy Liar told me that I was not alone and that others had felt my pain. For this I am thankful.

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  • The Screengrab Holiday Special: Movies We’re Thankful For (Part Five)

    Posted by Andrew Osborne

    LEONARD PIERCE IS THANKFUL FOR:

    BARTON FINK (1991)



    It wouldn’t be the first time I found myself agreeing with the French, and it wouldn’t be the last. But when this richly layered film by the Coen Brothers swept the major awards at Cannes, it was, for me, a confirmation that what I had only previously suspected was indeed true: Joel and Ethan Coen were not just good directors, not just great directors, but the greatest living American filmmakers. Barton Fink, to this day, is not one of the Coens’ best-loved films; it tends to be very divisive, and while its greatness isn’t frequently in question, where it belongs in their filmography is hotly disputed. For me, even in the wake of later triumphs like Fargo, The Man Who Wasn’t There, and No Country for Old Men, it seems obvious that it’s one of their greatest movies, and likely their best altogether. For a movie that was apparently scratched out during the making of Miller’s Crossing to help the Coens overcome a bad case of writer’s block, it’s astonishingly deep and complex, a deft blend of satirical comedy, character-driven drama and existential horror that seems all along to be about one thing and ends up being very profoundly about another. Not even The Big Lebowski equals Barton Fink as an evocation of Raymond Chandler’s Los Angeles, and its intricate, dreadful set design surpasses anything the Coens have ever done. And to top it all off, it’s one of the few cinematic evocations of the process of writing that isn’t an embarrassment. The day I saw Barton Fink is the day I finally realized that the greatness of Hollywood films wasn’t a thing of the past: it was something I was living through.

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  • The Screengrab Holiday Special: Movies We’re Thankful For (Part Four)

    Posted by Andrew Osborne

    PAUL CLARK IS THANKFUL FOR:

    BETTY BLUE (1986)



    It would be a mistake for me to trace the birth of my love for movies to one film, and if I was foolish enough to do so, a better candidate would be something like Pulp Fiction. But while Tarantino pushed me down the road of cinephilia, I was still a sheltered suburban high schooler for whom subtitled movies were still, well, foreign. So I suppose it makes sense that my first experience with French cinema was motivated by the same factor that has led generations of curious moviegoers to the arthouses and dusty “foreign” shelves at the video store: sex. “Check this one out,” said the pierced twentysomething guy behind the counter to me and my pack of renting buds. “It’s French -- you know what that means.” And in the course of the evening, if anyone didn’t know what that meant, they would soon be educated. It wasn’t just the subtitles or the sexuality though -- Betty Blue introduced me to the sort of woman I’d never seen before in a movie. As played by Beatrice Dalle, Betty was a stark contrast to the teenage girls who mostly snubbed me throughout my high school years -- she was a feral life force, fiercely carnal, both sexy and more than a little scary. But even more than that, Betty Blue was the gateway drug that got me hooked on French cinema, leading me to Truffaut, Renoir, Godard, and all my auteurial pals. Not bad for a movie I watched primarily to see some tits.

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  • The Screengrab Holiday Special: Movies We're Thankful For (Part Three)

    Posted by Andrew Osborne

    PHIL NUGENT GIVES THANKS FOR:

    BLUE VELVET (1986)



    I'm not sure that it's possible to fully appreciate how thankful some of us are for Blue Velvet, the greatest American movie of the 1980s, without having suffered the indignity of being a movie freak in the 1980s, when this picture arrived like cool water to a man stranded in the desert. The biggest surprise may not have been that David Lynch, who by that time had Eraserhead and The Elephant Man to his credit, had this inside him, but that he was allowed to get it out of his system with the financial assistance of Dino De Laurentiis, who bought the property out of development hell and gave Lynch carte blanche to express his vision, asking only that the sucker come in at no longer than two hours. This was apparently De Laurentiis' way of thanking Lynch for all the unhappy work the director had put in cranking out Dune, another De Laurentiis production. Given that Dune failed to result in the intended franchise hit, nobody in Hollywood would have been surprised, let alone appalled, if Dino had told the boy from Missoula to take a hike, and take his leading man (Kyle MacLachlan, who made his film debut in Dune, and who had signed to appear in a string of sequels that were never going to happen) with him. Instead, De Laurentiis succumbed to an unusually well-timed bout of honor, and given the results, only the churlish would whisper that it's too bad that it didn't last long enough for Lynch to cut a deal with him to make Ronnie Rocket. Because of this, anyone who's thinking of talking some shit about Dino De Laurentiis -- the man whose other credits in 1986 alone included Tai-Pan, King Kong Lives, and Maximum Overdrive -- had better check with me first to make sure you've got the right. Unless you've paid for a movie masterpiece and been married to Silvano Magnano, you probably haven't.

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  • The Screengrab Holiday Special: Movies We're Thankful For (Part Two)

    Posted by Andrew Osborne

    SCOTT VON DOVIAK IS THANKFUL FOR:

    JAWS (1975)



    It's the summer of 1975 and I have successfully completed the second grade. I am living on a Navy base in Puerto Rico, and I've got the run of the place: swimming pool, ball field, bowling alley, snack bar all within easy biking distance…and of course, the movie theater. We're a few months behind the states, which means every time a kid comes back from a week's vacation stateside, I hear about it all over again: Jaws. By summer's end, I have entire scenes memorized and I haven't even seen the damn thing yet. Every week I check the base newsletter (El Tiburon – meaning, of course, "the shark," and did I mention that our little league team was also called the Sharks?) for the upcoming movie listings. Finally it appears on the schedule. When the big night arrives, I pedal to the theater, ditch my bike and get in line. While trying to catch my breath, I overhear bits of conversation. They're not talking about sharks – they're talking about pinball wizards and deaf, dumb and blind kids. I get to the ticket window. "Sorry, there was a misprint. The movie tonight is Tommy." I pedal home in tears. I rage to my parents about the unfairness of it all. My dad gets on the horn and raises a stink. Apparently he's not the only one. The next night, I finally get my shark movie. I close my eyes when the head pops out from under the boat – I knew it was coming – but other than that, I'm good. I've seen it a few times since then.

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  • The Screengrab Holiday Special: Movies We're Thankful For (Part One)

    Posted by Andrew Osborne



    I grew up right next door to Thanksgiving Town, USA: Plymouth, Massachusetts, former home of the Pilgrims and Wampanoag Indians and future home of Plymouth Rock Studios and a nice big casino.

    My next door neighbors used to work at Plimoth Plantation, where docent actors dress up in 17th century drag and mosey up and down the streets of a life-size replica Pilgrim settlement, discussing crops and Calvinism, while modern Native Americans in traditional buckskin attire give their side of the story in a nearby encampment.

    So I like to think I know a thing or two about Thanksgiving. And let me tell you: it’s not all about the yams.

    In fact, before the Macy’s Day Parade and the advent of that delicious Brundlefly monstrosity known as Turducken, the fourth Thursday of November was all about chowing down eel and corn and celebrating a bountiful harvest. In fact, as I learned on a recent visit to Plimoth Plantation, the name for the annual kick-off to the Christmas shopping season is actually a compound word that literally means “giving thanks”!

    And so, as we here at the Screengrab prepare our traditional Turkey Day feast of pretzel sticks, jelly beans, two slices of toast and a handful of popcorn, we’d like to just take a few moments to express our gratitude for the people, places and movies that made us the full-on film geeks we are today.

    HAPPY THANKSGIVING FROM THE SCREENGRAB!

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  • Thursday Poll for November 27, 2008

    Posted by Paul Clark

    Last week, we continued our Bond-fest with the eternal question, “who was the best 007?” But much like the Vesper martinis that Daniel Craig’s Bond enjoys so much, this quiz came with a twist- Sean Connery wasn’t one of the candidates, a choice we made with the goal of keeping the poll competitive. However, you had other plans, with Craig (if nothing else, the first Bond since Connery who could convincingly kick some serious villain ass) bringing home a cool 56% of the vote. Trailing him by a wide margin was the #2 choice, Roger Moore, with 19%, followed by Pierce Brosnan with 13%.

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  • William Friedkin Has No Sense of Social Obligation

    Posted by Vadim Rizov

    On the occasion of the DVD release of 1970's The Boys In The Band, Andrew O'Hehir has interviewed William Friedkin. Friedkin is best known to the general public as the man who engineered the back-to-back successes of The French Connection and The Exorcist, then flopped forever more. For hardcore film nerds and auteurists, he's either a constant failure or an underrated master.

    Aside from small cult affairs like 2003's The Hunted — a fairly brilliant pared-down continuous chase film derided for its deliberate lack of characterization — the reason Friedkin annoys a lot of people are a twin pair of gay-themed films viewed fairly continuously as homophobic. The Boys In The Band annoyed post-Stonewall gays for its ostensibly stereotypical portrait of self-loathing queens going at it for condescending straight viewers having their worst fears confirmed. 1980's Cruising — cop Al Pacino vs. gay murderers in New York's S&M scene — was reviled even before it was filmed; as Trenton Straube wrote when the film was re-issued on DVD last year, the Village Voice's Arthur Bell predicted it would be "the most oppressive, ugly, bigoted look at homosexuality ever presented on the screen." When it was released, the National Gay Task Force compared it to The Birth Of A Nation.

    Whether or not the films are inadvertently homophobic is beside the point. What O'Hehir's interview shows is something I've suspected for a long time: Friedkin is a director so sociopathically honed in on exploring environments, he's completely indifferent when it comes to any sense of social responsibility.

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  • Painter of Light, Producer of Glop

    Posted by Phil Nugent

    It's Thanksgiving week, the official kick-off to the Christmas season that hit the drugstores in my neighborhood the day after Halloween, and a time when we here at the Screengrab, responding to the smell of fresh gingerbread and mistletoe, throw off our usual habit of jeering at and making cruel sport of movie directors and actors and, with a hearth's worth of love burning in our chests, jeer at and make cruel sport of rich, shitty painters. Like, say, Thomas Kinkade, the self-made douchebag whose work has inspired this tribute from novelist and essayist Joan Didion: "A Kinkade painting was typically rendered in slightly surreal pastels. It typically featured a cottage or a house of such insistent coziness as to seem actually sinister, suggestive of a trap designed to attract Hansel and Gretel. Every window was lit, to lurid effect, as if the interior of the structure might be on fire." Didion makes it sound as if Kinkade's work might provide inspiration for Tim Burton, but when Kinkade sort of got into the movie business last year, he chose not to travel down that pop-Gothic path. Instead, Thomas Kinkade's Christmas Cottage, which lists Kinkade as one of its many producers, is a seriously goopy coming-of-age story that tells how young Thomas--played by Jared Padalecki, the guy who took Rory Gilmore's virginity, the two-timing son of a bitch--came to paint his masterpiece, to which the movie's title refers. Joining Dean in the cast are Marcia Gay Hardin as Mama Kinkade, Ed Asner, Geoffrey Lewis, Richard Moll--he was too busy to show up for the Night Court reunion on 30 Rock, but for this he skipped golf?--and Chris Elliott, who was probably just looking for something to talk about the next time he's booked on David Letterman. The big "get" was Peter O'Toole, who gets to mentor the hero by swanning about, crooning "Paint the light, Thomas, paint the light!" If you think of O'Toole's performance as a parody of John Gielgud's in Shine, you may be able to watch him while only throwing up in your mouth a little.

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  • Trailer Review: Star Trek

    Posted by Paul Clark

    Hey, did you know that Kirk was a rebellious kid? This and other shocking revelations contained therein.

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  • Screengrab Review: Milk

    Posted by Paul Clark

    Following the 2005 release of Ang Lee’s Brokeback Mountain, there was some excitement over the possibility that more high-profile gay-themed movies would follow, a development that didn’t really pan out. Now, three years later, Hollywood has once again decided to tackle gay-friendly subject matter, this time the life of slain San Francisco politician and activist Harvey Milk- directed by the openly gay filmmaker Gus Van Sant, no less. But while the film has attained a certain amount of contemporary relevance with its parallels to California’s recently-passed Proposition 8, Milk biggest breakthrough may be the idea that the lives of gay heroes can be boiled down to the Hollywood biopic formula just as easily as their straight counterparts.

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  • Ozsploitation! “Roadgames” (1981)

    Posted by Scott Von Doviak

    Inspired by the terrific new documentary Not Quite Hollywood, the Screengrab is proud to present Ozsploitation!, our own survey of the golden age of Australian drive-in movies. Pop a tube, throw another shrimp on the barbie and try not to chunder.

    Richard Franklin’s Roadgames is like Rear Window on wheels. I wish I could take credit for that observation, but I cribbed it from the director himself. Franklin is a self-proclaimed Hitchcock buff; he directed Psycho II, but Roadgames is actually the more Hitchcockian achievement – a zesty soufflé of humor, action, suspense and a dollop of ambiguity. (I stole “soufflé” from Franklin, too – what can I say, the man is an astute appraiser of his own work.) It’s such a fun little flick, I have no idea why I’d never seen it before now.

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  • Ben Mankiewicz: 12 million died in the Holocaust

    Posted by Vadim Rizov

    Over at Defamer, Stu VanAirsdale has received an anonymous tip about graceless behavior in the screening room. The subject: a "well-known but little respected TV critic whose son is also a well-known but little respected TV critic, trash-talking highly respected older critic who was replaced by his son." This, the site and commenters agree, can point in no other direction than Jeffrey Lyons and his spawn Ben, who — along with Ben Mankiewicz — makes up the tag-team that's replaced Roeper & Ebert on "At The Movies." Apparently Lyons senior went on to label Ebert a "pathetic old putz" and was cackling over the fact that no one wants to watch "two geeky guys."

    Now, frankly, Roeper's departure from the air is no great loss; he was just a place-holder with guests of varying quality until Ebert could talk again, and who knows when that'll happen. People talk shit about Ebert and his extremely generous standards these days, and the two thumbs up/down system surely did no favors for serious criticism in the public eye. (Anthony Lane once made a sarcastic crack about "the rotation of a chubby thumb through 180 degrees." On the Brazil commentary track, Terry Gilliam more succinctly announced that Siskel and Ebert could go fuck themselves.) But Ebert did a lot of important work in the '70s, championing Herzog as fervently as anyone and generally doing a lot to expand the general public's understanding of film. He gets a lifetime pass. His successors display none of his commitment, fervor or knowledge.

    But, for all their graceless, hacky evaluations and banal pronouncements, people seem to have missed Lyons and Mankiewicz's biggest blunder so far: they think 12 million died in the Holocaust.

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  • Reviews By Request: The Times of Harvey Milk (1984, Rob Epstein)

    Posted by Paul Clark

    As always, I’ll be polling you folks to determine my next Reviews By Request column. To vote, see the poll at the end of this review.

    When I floated Rob Epstein’s documentary The Times of Harvey Milk as a possibility for a Reviews By Request column, I did so primarily in anticipation of the upcoming biopic Milk. The principal reason for this is because I generally have a rule against getting my history from “fiction” films, so I wanted to learn about Milk’s life beforehand, the better to concentrate on the performances and filmmaking in Gus Van Sant’s film. Not having seen Milk yet I can’t be sure, but to my eyes, The Times of Harvey Milk, though relatively undistinguished as filmmaking, is invaluable as a cinematic account of the life and legacy of Harvey Milk. It doesn’t tell everything about him- what movie could?- but it’s a great jumping-off point.

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  • Morning Deal Report: Paul Schrader Goes Bollywood

    Posted by Scott Von Doviak

    “Saying he feels the U.S. film market has become ‘barren,’ the writer of classics Taxi Driver and Raging Bull is packing his bags for Mumbai to write and direct the Bollywood action movie Extreme City,” according to The Hollywood Reporter. Paul Schrader is working on the script for this “cross-cultural tale that will center on an American man who travels to India to help resolve a kidnapping case for his father-in-law, only to get caught up in a gangster plot. There likely will be some musical numbers, and dialogue will be spoken in English and Hindi.” Call me crazy, but I’m intrigued.

    Graphic novelist Joann Sfar will direct Serge Gainsbourg (vie heroique) for Universal – the first French-language picture in the studio’s history.

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  • DVD Digest for November 25, 2008

    Posted by Paul Clark

    This week, a surprisingly small selection leading into the so-called “biggest shopping day of the year.”

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  • Steven Seagal Gets Real

    Posted by Phil Nugent

    In a rare development that outstrips my ability to make up goofy theories that might explain it, 2008 is threatening to be remembered as the year when all the washed-up action stars in Hollywood summoned their last remaining traces of testosterone for a concerted, multi-media assault on the fourth wall. First, Chuck Norris allowed Republican presidential candidate Mike Huckabee to prove that he, Huckabee, had a sense of humor, by using the uncomprehending but game Texas Ranger as an all-purpose punch line at rallies and in campaign ads. Then Jean-Claude Van Damme agreed to star, as a sadly diminished version of himself, in Mabrouk El Mechri's JCVD, currently on its knees begging for a cult in selected markets. (New York Times reviewer A. O. Scott hails it as "almost clever.") Now comes word that the logiest lummox of them all, the pony tail in search of a personality, Steve Seagal, will be starring in a new reality series on A & E. This surprising development raises many questions, the most pressing of which may be, just how many middle-aged Neanderthal hulks can one cable network afford to support? At least, that's probably the most pressing question now surging through the rickety brain of Dog the Bounty Hunter.

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  • All The Real Girls Is One of the Most Influential Movies of the Decade

    Posted by Vadim Rizov

    Over the weekend I watched All The Real Girls for the first time since it came out for a couple of reasons. One, it's been a weird year for David Gordon Green fans, watching his two weakest films (Snow Angels — with its nervy naturalism eventually undercut by an all-too-schematic doom-and-gloom plot and heavy-handed symbols straight from the worst middlebrow novels — and the pointless '80s simulacrum of Pineapple Express) come out in quick succession. Was I overrating Green based on false memories, or is he just going through a weird transitional phase? Two, I was wondering if All The Real Girls is secretly one of the most influential films of the decade.

    The answers are no and yes. Sort of.

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  • Mike Hodges Remembers: The "Get Carter" Director Writes About Making the Movies That Nobody Sees

    Posted by Phil Nugent

    The British writer-director Mike Holdges scored a big hit right out of the box with his first film, Get Carter (1971), which starred Michael Caine as a vengeful hit man and which just about single-handedly created a new kind of gritty British gangster movie. A couple of decades later, he helped make Clive Owen a movie star with another neo-noir, Croupier, a small film that narrowly escaped going to straight to video but managed to become a genuine sleeper. In between, he worked on probably his biggest-budgeted movie, the 1980 Dino De Laurentiis production Flash Gordon, a somewhat underrated entertainment that is one of the few comics-based movies to achieve true camp--the real, gilded thing itself, mind you, not that sniggery TV-Batman stuff. Aside from these high points, Modges has enjoyed the kind of career you might expect from a smart, talented guy who basically works within the industry but whose instincts aren't strictly, safely commercial: he's made some films, such as the 1987 A Prayer for the Dying, that were reportedly mangled by the distributors, and some, such as the 1985 Morons from Outer Space, where it's tempting to think that some mangling could have only helped. He's also made some movies that, as he writes in an article in The Guardian, never had much of a chance to find an audience. Such as his first film after Get Carter, the tantalizingly bizarre comedy Pulp, which also starred Michael Caine. He played a sleazy writer hired to ghost write the memoirs of a movie star (Mickey Rooney) with actual gangland connections.

    Hodges writes that the movie bewildered studio executives and so was banished to the vaults, where it "languished for a year or more. Then one day, a technician appeared, brushed the accumulated dust from its label to make sure he had the right unknown, unloved film, and loaded it on to a truck. It was on its way to New York."

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  • Trailer Review: Harry Potter and the Half-Blood Prince (Trailer #3)

    Posted by Paul Clark

    If we can't have the new Potter movie, I guess the new Potter trailer would be the next best thing.

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  • Set Your DVR!: November 24 - December 1, 2008

    Posted by Hayden Childs

    Can you believe that it's the end of November already?  I've barely gotten over Halloween.  But there's some great movies coming up this week, so get that record button ready.

     

    Mon, Nov 24:

    8/9 pm: The Proposition on IFC (repeat 11/25 at 12/1 am).

     

    Tues, Nov 25

    3:45/4:45 am: The Wild One on AMC.  You may ask what that young man is rebelling against?  At this point, the answer is: whaddaya got?  Later the answer will be: belts.

    8:50/9:50 am: The New World on IFC (repeat at 2:35/3:35 pm).

    7/8 pm: Ride With The Devil on AMC (repeat 11/26 at 12:30/1:30 am).  Among the many inversions of your expectations in Ang Lee's Civil War drama is the utter surprise when the pop singer Jewel appears and you do not feel like leaving the room immediately.

    11 pm/12 am: The Last Waltz on VH1CL. Why is The Band so awesome?  Marty Scorcese wants to know.

    11:15 pm/12:15 am: Rio Grande on TCM.

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  • Morning Deal Report: An "Arrested" Development

    Posted by Scott Von Doviak

    Twilight was gleaming at the box office this weekend, staking its claim to $70.6 million. (Gleaming! Staking! Can you believe Variety hasn’t hired me yet?) Those are Harry Potter numbers, so it’s no surprise that the Twilight sequel New Moon has already been greenlit. Bolt and Quantum of Solace finished in a virtual tie for second place, each taking in roughly $27 million. Bolt was a bit of a disappointment by Disney standards, but Quantum has already crashed the $100 million barrier, so you can bet James Bond will return.

    How about that Arrested Development movie? Apparently its development is no longer arrested, as creator Mitch Hurwitz and producer Ron Howard are close to signing on for a feature film continuation of the cult series.

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  • The Screengrab Highlight Reel: Nov. 15-21, 2008

    Posted by Scott Von Doviak

    I have no wacky character to introduce this week’s Highlight Reel. I have only this goofy photo of Ginger Spice in a Wonder Woman costume. But really, shouldn’t that be enough? After all, Spice World is one of the entries in our survey of Guilty Pleasures (Parts One, Two, Three, Four, Five and Six). And comic book movies are all the rage, I am told. Besides, I’ve run out of story – just like Hollywood! So I might as well just tell you about the highlights from the week and Screengrab and be on my way:

    We welcome back Vadim Rizov, who wonders Why Action Heroes Must Have Manly Haircuts

    Despite my physician’s warnings, the Unwatchable project continues with Yu-Gi-Oh! The Movie and Carry On Columbus

    Phil Nugent explores The Short Career and Strange Legacy of Tom Graeff and explains Why Cinemark Shouldn’t Get Your “Milk” Money

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  • The Rep Report (November 21-28)

    Posted by Phil Nugent

    NEW YORK: The Brooklyn Academy of Music serves up "Punk 'n' Pie", a Thanksgiving-week nostalgia fest documenting the spirit of punk music (or, as the record companies asked us to call some of this stuff when I was in high school, "New Wave") as it's been captured on film. There are music films, including the '80s music-TV mainstay Urgh! A Music War, including performances by Devo, the Police, XTC, the Go-Gos, and UB40, as well as documentaries devoted to Joe Strummer, Joy Division, and Depeche Mode. Also included are Michael Winterbottom's hilarious 24 Hour Party People, Alex Cox's inevitable Sid and Nancy, and Derek Jarman's Jubilee, a real time capsule (including a glimpse of the Slits as a gang of street toughs dismantling a car) of what bad attitude looked like in England around the time of Elizabeth II's "Silver Jubilee."

    In a very different vein, Film Forum is saluting one of the iconic Holllywood comediennes of the screwball romance era, Carole Lombard, in a series running today through December 2. There are some very choice double bills here, starting with the opening serve of My Man Godfrey, a screwball classic co-starring William Powell at his suavest, and Twentieth Century, a great showcase for Lombard's co-star John Barrymore at his woldest. Barrymore turns up again in True Confession, a courtroom comedy that's paired with the likable romance Hands Across the Table, both of which hook the heroine up with Fred MacMurray; she brings out the best in him. For something farther off the beaten track, there's We're Not Dressing, a fun vaudeville revue set on a desert island (featuring Bing Crosby, Ethel Mermen, and George Burns and Gracie Allen), which you get to see after you've sat through the 1934 freak show that is Bolero, an attempt to turn Lombard and George Raft into screen rivals of Astaire and Rogers's. In the words of a Bob Dylan song, you'll just sit there and stare.

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  • Yesterday's Hits, 007 Edition: Thunderball (1965, Terence Young) and Moonraker (1979, Lewis Gilbert)

    Posted by Paul Clark

    Quantum of Solace was released in U.S. theatres a week ago today, but I’m still jonesing for that old Bond feeling. Perhaps it was the decidedly un-007-like style of the latest movie in the series, but I for one found myself missing some of the reliable, even cheesy, touches of the old installments. So for this week’s column, I decided to look back at two of the biggest hits of the series to date, one starring Sean Connery (Thunderball), and one starring Roger Moore (Moonraker), thereby making this my first Yesterday’s Hits double feature to date.

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