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  • John Patterson On John Thomas

    In this week's Guardian film section, blogger/critic John Patterson reminds us that, amongst the other debts we owe to Judd Apatow, we can also thank him for helping shred one of the last remaining bougeois taboos in cinema:  the one that state that the human penis cannot be seen at any cost. 

    Patterson reports that it took a string of comedies, from Superbad to Forgetting Sarah Marshall to the upcoming Harold and Kumar Escape from Guantanamo Bay, to shatter the ironclad reluctance of American bluenoses to the merest suggestion of the national generative organ.  The penis is, after all, as Patterson notes, a comical thing -- "just ask any woman."   Prior to the recent proliferation of the dick as joke (not to be confused with the dick joke), big-screen appearances of the little man were confined to pornography, well-meaning art films, and any movie starring Harvey Keitel.  

    Read More...


  • Many Animals Were Harmed In The Production Of This Film

    The previously publicity-shy Coen Brothers are practially media darlings with the release of No Country for Old Men, but one of the most enjoyable interviews they've done as part of the blitz is this one, with the Guardian's always-reliable John Patterson.  The boys seem downright gleeful -- giddy, even -- discussing the ultraviolence they bring to the screen in the Cormac McCarthy adaptation; likewise, they seem well aware of the inevitable comparisons to the works of Sam Peckinpah that the western setting and over-the-top bloodshed is likely to draw.  Ethan says "We were aware of the basic link just by virtue of the setting, the southwest, and this very male aspect of the story. Hard men in the south-west shooting each other - that's definitely Sam Peckinpah's thing...you show a hard-on guy in a western-cut suit and it already looks like a Peckinpah movie. Same kind of shorthand."  Over the course of the interview, they also provide insight into Javier Bardem's inhuman haircut, why they're not likely to ever take on a science fiction movie despite dabbling in almost every other genre, and the surprisingly high death toll of animals (cows, lizards, rabbits, dogs) in their films.  In fact, it's that thread of the conversation that leads to a surprising preview of their next, and still unnamed, film project:  "It's a proper western, a real western," Ethan explains, "set in the 1870s. It's got a scene that no one will ever forget because of one particular chicken."


  • Show Me The. . . Oh, Never Mind.

    The Guardian UK, as we’ve mentioned many times before, continues to feature some of the best film writing around. Just this week, they’ve brought us an article on the potential tragic loss of the Ronald Grant Cinema Museum and an exposé of the man who fought to keep Al Gore’s An Inconvenient Truth from being shown in British schools (surprise – he’s a mining and fuel tycoon), and they've given David Harewood a platform to decry how black actors in Britain must travel to the United States to get really choice roles. But for once, we must take exception to their movie section, as otherwise-reliable Guardian film blogger John Patterson is on the verge of making a terrible mistake that could cause untold suffering. In his latest column, he suggests that Cuba Gooding Jr., already having plumbed the depths as an actor, should salvage what remains of his career by becoming a director. Mr. Patterson, we urge you to recant: sure, it doesn’t seem like Cuba could possibly do worse behind the camera than he’s done in front of it, but then again, ten years ago, who could have predicted the horrors of Snow Dogs, Radio and Boat Trip? Recant, we beg of you. — Leonard Pierce


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