Von Trier believes religion is a substitute for childhood rituals that help us retain control over cosmic events that are beyond our capabilities to do anything about.
When you gaze at all the wonders that “Breaking the Waves” possesses you have to submit to Emily Watson’s eyes. Are they the most exhilarating orbs owned by a British actor since Michael Caine’s? They dance with the light of sexual liberation, sparkle like they have discovered all the secrets of the universe; they can’t wait to divulge all the enigmas they’ve unpicked to anyone that cares to listen.
Twin Peaks is every bit as delightful as it was 25 years ago.
The minute the familiar opening montage of Twin Peaks flashes across the screen as I settle back to watch the pilot, I can feel my eyes tingling with nostalgia. The music swells, and we’re swept through the sequence to the iconic scene of Laura Palmer on the beach, eyes dead and cold, and plunged into one of the most famous cult television series in U.S. history. While Twin Peaks ran for only two seasons, it’s a David Lynch classic and a must for fans of the auteur, and it’s coming back in 2016, which might explain why the show has suddenly received an uptick in attention.
Making its North American debut in the Metropolis section at DOC NYC, Thomas Wirthensohn’s beautifully crafted “Homme Less” follows the quintessentially eccentric New Yorker Mark Reay. At 52, the still dashing and debonair, former international model now strives to make [...]
Making its North American debut in the Metropolis section at DOC NYC, Thomas Wirthensohn’s beautifully crafted “Homme Less” follows the quintessentially eccentric New Yorker Mark Reay. At 52, the still dashing and debonair, former international model now strives to make a living as a fashion photographer and bit actor (the “Men in Black” franchise is just one of his gigs). When not working out at the gym or editing photos at Starbucks, Reay attends Fashion Week and all the right downtown parties. Then he goes home. Not to the Chelsea loft he maintained for years, but to his friend’s rooftop (unbeknownst to the friend), where he sleeps under a tarp.
“Gomorrah The Series” then is a breathtaking, heart stopping achievement that has arrived in the golden age of episodic television
After reading this review and when you sit back to watch the box set of “Gomorrah The Series,” take some time out to remember just how much some writers have to suffer for their art. Back in 2006 the young Italian journalist Roberto Saviano decided to blow the lid on the Neapolitan Mafia, the Camorra. His book “Gomorrah” sold over 10 million copies; in 2008 it spawned a critically acclaimed film of the same title and is now the vitally important television series that makes the mastery of “The Sopranos” look like a children’s show. In retrospect Saviano regrets the, “Ambition” that drove him to write his stunning exposé, a classic example of the New Italian Epic that utilises an Unidentified Narrative Object (UNO), an act that landed him a Camorra death sentence and a lifetime under Police protection in New York.
In US media and entertainment, there’s clearly a call for comic adaptations, but might we be on the verge of a glut?
In the next six years, we are facing down nearly 40 superhero films, according to announcements from the major studios. That is, to put it mildly, a lot of superhero movies. But the superhero takeover is not just on the big screen; this season, five regular shows revolving around comic book adaptations are debuting, two more are well-established, and even more are coming down the pipeline.
This is not the typical procedural. It is a thoughtful, contemplative look at murder and small towns, with a sharp feeling of realism.
The show opens with a vista that’s achingly familiar for me — though I know it’s shot in British Columbia, that great stock replacement for the Pacific Northwest, it feels like home. The landscape is one of chilly waves, high cliffs, familiar trees; even the grasses look familiar to me, and the long lines of fencing wavering along the edges of the cliffs, the whales off the coastline. Though I’ve watched film and television actually filmed where I live, this feels almost more real. It is a hyperreal, cinematic imagination of my own environment.
Ultimately “Fury’ is a last stand cliché but what did you expect from a director who wants to remake “The Wild Bunch?”
Irony rides a pale horse. Where have all the Panzers gone? The architects of blitzkrieg have been reduced to legs and tails and hooves as Patton and Zhukov strangle the Thousand Year Reich. Oblivious to history the rider struts like a peacock on the moon picking his way between the silhouettes of Mark IVs, Panthers and Sherman tanks. They are dead machines littering the Luna surface, surreal and burning like Ronson Lighters, like images from Elem Klimov’s “Come and See,” the greatest war film ever made. Brad Pitt’s new film “Fury” gives Klimov a run for his money, though.
Don’t go into Outlander with the expectation of meeting a real feminist heroine like Arya Stark.
Is Outlander ‘the feminist answer to Game of Thrones,’ as some people seem to be billing it? That would depend, one supposes, on which definition of feminism is being used. If ‘feminism’ includes outdated attitudes about gender and sexuality, rape, and violence against women, then Outlander definitely meets those criteria, but it doesn’t differ much from Game of Thrones, either.
Two sweltering films from the London Film Festival.
The remarkable and sinister “Thou Wast Mild and Lovely” begins in abrupt fashion. Jeremiah a Kentucky farmer wrestles with his daughter Sarah. She stabs him with a headless chicken, an act both shockingly absurd but perfectly judged to reel us into their particular den of iniquity. Jeremiah is a leering beard of a man, often filmed just as out of focus as his contemptible soul. What does he do in that red barn? Is his resemblance to Bob from “Twin Peaks” a mere coincidence or a teaser for the new series in 2016?
There is nothing new or innovative here in terms of storytelling and narrative presentation.
Showtime’s The Affair is generating a great deal of buzz on the fall television schedule, as a show that might provide an intriguing narrative approach and some insight into the way we view men, women, and relationships. I, however, am not sold on it, because of one glaring problem: It’s yet another show about monogamous heterosexuality. Isn’t there enough of that on television? Do we really need even more? Isn’t it time to branch out a bit more?
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