Wednesday, December 07, 2016

Trump and The Spectacle

Wrote a thing on Medium. Sounds very Guy Debord/Critical Theory, but don't worry, there's nothing particularly rigorous about it. It's just one more moment of me thinking I've "figured it out" because I just had a new thought that seems to have overturned a few previous thoughts at once.

A selection:
The hardest part about reconciling with the present moment — not submitting to it, of course, but finding the right way to exist in relation to it — is going to be resisting the spectacle of it all. We are all, even unto the most cynical and steady, vulnerable to the distraction that comes from bearing witness. Our own need to gaze awestruck upon the bigness of history, and the bigness of our own imperfection, is going to leave us dazzled.
Find it here: The Spectacle

Monday, November 28, 2016

Westworld's Three Domains

I've been gone for some time, but -- this seems as good a time as any to come back, since this blog feels like the best place for my current musings. If this is the only post in a five year span, please forgive me.

My ongoing viewing has been Game of Thrones, Mr. Robot, and Westworld. The first two are currently between seasons, so I'm focused on the third one, whose first season is just coming to an end. I have thoughts. This is the place for them, methinks.

My instinctive reaction to the show is that it's steeped in influences, and this isn't necessarily a bad thing. It's built on foundations of Inception, The Matrix, The Truman Show, Battlestar Galactica, Ex Machina, The Hunger Games, and various other postmodern reality-bending science fiction, and almost every artifact in the show can be seen as a refraction of one or several of these. I don't think it's doing anything ground-breaking with this conceptual material, but it's beautiful and well-executed, and there's nothing wrong with delving deeper into themes that our culture is currently hung up on.

My primary criticism of the show, up until this morning, was that it's too caught up in the self-indulgence of contemporary plotting and writing: the need to always have three, four, or five ongoing plot arcs, each with several characters, to the point where every concern feels trivial. In particular, Maeve's character arc, which represents a massive disruption as far as the setting is concerned (like, she's the lynchpin that's bringing about the end of the whole world of the show), doesn't feel entirely earned. There are enough characters that I can't always keep track of them, and when an old face turns back up in a new context, I find myself scrambling to remember where I saw them, or why it's even interesting.

But I think I've worked out a way of thinking about these plots that will help me make better sense of them, with the finale impending. As far as I can see it, this season consists of three primary narrative arcs: Dolores, Bernard, and Maeve. The other plotlines -- Ford as sinister mastermind, Charlotte and the board of directors, and the Man in Black -- are all background noise, threads that don't serve much except to tie those three major plotlines together.

Those three major plotlines can be thought of as, respectively, Spiritual, Existential, and Political.

I say "spiritual" for Dolores's plotline because it seems to be a journey of self-discovery and transcendence, and it takes on cyclical, mystical overtones. I wouldn't be surprised to discover, in the finale, that her journey brings together Past and Future and Good and Evil, and that she satisfies Westworld's obligatory "messianic" role.

I say "existential" for Bernard's plotline because it's a journey inward, to find the boundaries of Selfhood. The stakes are the limits and accountability of consciousness, and the reality of one's own emotions and experiences.

And Maeve's journey is political in the sense that she's working out, and manipulating, her place in the power structure. If the world is created and activated in the spiritual realm, it's in the political realm that it's ultimately brought to an end, through fire and revolution if necessary.

Some of this is informed by a certain fan theory floating around out there, that seems pretty highly likely as we approach the finale.

As another side-note, I have to say, I wish one of these Artificial Intelligence movies -- AI, Ex Machina, Her, even The Matrix -- would tackle the Hard Problem of Consciousness more directly. They all take it for granted that these intelligent agents have an inner life, perfectly analogous to our own. This is necessary for stories of self-discovery and heroism, but it's also kind of a cop-out.

I wouldn't even mind, if they didn't seem to be approaching this problem and then running away from it, like children running away from the waves lapping up the beach. Westworld is particular is obsessed with the secondary symptoms of this idea. Ford has a whole monologue on how he doesn't believe there's a clear distinction between human and machine consciousness. Logan, William's evil friend, is the epitome of a consciousness skeptic, believing adamantly that however human they appear, these hosts are simply machines, no more self-aware than calculators. And from what it sounds like in that last episode, it seems like "the maze" itself is just a test of sentience for the hosts, a high-powered Turing Test for some pragmatic "consciousness" criteria.

And yet, we're always privy to inner experiences of the hosts. Bernard and Maeve and Dolores have intense flashbacks, many of which seem to be distorted or fabricated, just like human memories. Wouldn't it be creepier if we'd seen, in some experimental sequence, a close-up of Bernard's eye as he's describing a vivid memory, and then a cut to complete black, or to a screen full of code? And wouldn't it be a beautiful moment if we got to see Bernard go from inert self-monitoring terminal to actual conscious mind? I'm not sure how you would do this, cinematically: some visual effect or camera trick representing the first glimmerings of a private, conceptual picture of the world, inaccessible even to the human operators.

Maybe this is part of the larger formal message of Westworld: that consciousness itself is basically a cinematic device showing flashbacks, a film reel that starts at birth and ends at death, that does nothing more interesting than represent the machine to itself. And that this simple mechanism is all that's necessary for "automaton" to become "living thing with a rich inner life."

Lots of questions. No answers, so far. But the finale is bearing down, and perhaps the questions will all least keep getting more interesting.

Monday, October 13, 2014

On Daily Intel and whether male feminists exist

In response to an article from Kat Stoeffel on the Daily Intel.

As an all-oppressor-classes human [cis, white, hetero, male, suburban, American, Yankee, upper-middle class, abled, neurotypical, etc], I've struggled with being an ally for some years. To all men, like me, who are reading this: the first step is, indeed, radical acceptance that you need to be secondary in this conversation; that if your views on gender issues remain forever conflicted, benign, and invisible, that's okay, it probably means you're doing it right. This disclaimer has been brought to you in the name of solidarity.

However, within that fuzzy gap where an oppressor-class human can talk about a movement he cares about, but isn't officially a member of (biologically speaking, and according to Kat, even in terms of identification) -- I want to note: Kat's article is fine in condemning a certain class of social-climber feminist men who rise in the movement's ranks by exercising their own chauvinist impulses. Clymer and Schweizer? Sure. Boorish, self-important, and definitely not good for the movement. However, along with that valid point, this article has a willful divisiveness riding side-saddle, and I doubt it's doing the larger feminist movement many favors.

Why? Because, at least for me, this article triggers some nasty anxieties about whether there is EVER a path to reconciliation for me, and for others like me, who want to contribute quietly and productively to the fashioning of a better world for all people stuck in the gender matrix. I know you (Kat, and other feminists) are not responsible for my "feels," and this isn't intended as a take-down. It just might be worth having on-hand as a data point -- one of many -- as you configure your strategy going forward.

It's this anxiety, triggered by articles like this, that occasionally threatens my interest in being an ally. It communicates, whether intentionally or not, the sense that I'm a permanent target of exclusionary rhetoric. In fact, this kind of wagon-circling is the only thing that gives me hang-ups about supporting feminism. Reading MRA rants and hearing misogynistic remarks? That actually makes me feel more feminism-aligned. I have no desire for solidarity with men who express their masculinity through disrespect and aggression.

Lots of men, some of them perhaps excellent allies, may want to identify as feminists, because  the term refers to a complex of ideas and commitments, a belief in certain values and a broad historical movement (and it's not a biologically-determined identity, like "disabled" or "American Indian"). Exclusionary rhetoric (and also snarky, dog-whistle defensive mechanisms of any kind) just make it seem like I'm not welcome to hold those values, or to adopt any position of support whatsoever vis-a-vis feminism.

Does feminism prefer an eventual reconciliation and mutual acknowledgment between the sexes, as the term "gender equality" would suggest? Or does it favor a permanent state of culture war, which would at least give women a place to fight for their autonomy and identity, even if it never leads to any kind of long-term equilibrium? It is an honest question, and I don't mean to load the answers with pre-judgment.

POSTSCRIPT:

In the spirit of this particular type of ally-ship, I'd like to recognize the good work of Matthew Inman in actually, earnestly apologizing when he writes jokes that offend people. This may be the best possible way to act as an ally... know when it's time to defer to the community. This is especially true if you accept the increasing feminist principles that: 1) silence in the face of injustice is bad, and 2) speaking out clearly enough to derail the movement's focus is bad.

Tuesday, August 12, 2014

On the Passing of Something (Robin Williams, 1951-2014)

How do you love an actor through their work? A celebrity, a public personality you've never met, never seen in their private moments, never known as anything but what they choose to put on the screen? A lot of questions, all intellectually interesting. Also, all easier to think about than the instigating event. All effective diversions.

I mean, some celebrities don't feel like mere projections, assemblages dispensed by the entertainment industry for the sake of optimal charisma. Some celebrities... some advocates, politicians, comedians, and even comic actors... don't seem to put much of a wall up between their public lives and their private eccentricities and vulnerabilities. Maybe they're just not good at the fakery. Or maybe they're extremely good at it, and my senses haven't caught up. Who knows?

You can't fall in love with on-screen personas the way you do with someone whose hand you've shaken at their wedding reception. You can't fall in love with them the way you do a trusted mentor, or a great psychologist. You can't fall in love with them the way you do with your kids as you tuck them in at night, and you can't be connected to them the way you can to a soul-mate whose trials and troubles you've spent a life trying to shoulder. With an entertainer, there's a degree to which it's all pre-packaged, conducted for your benefit, and for the benefit of several billion others who share your unrequited love.

But in a mediated age like ours, where we're all managing different aspects of ourselves that are being peeled away in fragments and distributed according to the logic of production, I think it's valid... perhaps even necessary... that we can fall in love with projections, with the ideas that people choose to champion and represent. It's been happening for centuries, after all... people have loved saints and athletes and politicians, in moments of hardship they've loved prophets and revolutionaries, in times of prosperity they've loved artists and emperors. They've loved fictional characters and half-serious delusions. These kinds of love are real, and and their mourning warrants expression.

Robin Williams earned our love, and he deserved it. Through the roles he chose, through his commitments to particular characters at particular moments, he came to represent a very specific thing in our culture: the hapless sentimentalist. He was a comic actor -- even his most serious roles were cut with a certain therapeutic irreverence -- but his humor was always an interface with a certain soaring, hopeful, joyful sadness, the kind of heartfelt pathos that's come under siege in the age of smug self-consciousness and detachment.

And goddamn! From a young age, I've fallen in love, repeatedly, with what Robin Williams represented. I was in love with Daniel Hillard and Armand Goldman and Jack Powell and Sean Macguire. His roles all took on this fatherly tenderness... even the heroic roles (Alan Parrish in Jumanji) and even, weirdly enough, the twisted and unhinged antagonist roles (Seymour Parrish of One Hour Photo, Walter Finch of Insomnia). As with many kids (not all, I fully realize), I thought my dad was the most heroic human in the world, and in a way, I loved Robin Williams because his roles seemed to be paying tribute to my own dad (Kevin Costner is the only other actor who managed the same thing from time to time).

Maybe Williams was so good at this because he also knew how to play a kid, and he knew the power that a father-figure or an older mentor can have over a child. This came through most explicitly in Jack, a lovingly-acted role in a movie that I still think about at the most random times. It's also one of the central dimensions of Hook, which is an affectionate, reconstructed hero story built around the father figure rediscovering childhood. Hook is, incidentally, in a three-way tie for my favorite Robin Williams movie.

One of my other favorite Robin Williams characters is the genie in Aladdin. I can't help but see all the good, earnest, loving people I know in that genie... all the people who I've been grateful to have as my mentors and influences. It was a movie all about the relationship between power and dependence and vulnerability, right? About how the greatest power in the world suddenly becomes worthless without the existential sinew of vulnerability and honesty and self-acceptance?

My third favorite: Williams' role as Chris Nielsen in What Dreams May Come, one of the great epic journeys, a walk in the shadow of endless cosmic melancholy. Despite its joyful, almost saccharine ending, there's a profound sadness that permeates What Dreams May Come, a sense of futility and submission to the endless cycles and trials and rediscoveries of history. This is, of course, balanced by the redeeming forces of familial love and loyalty and free will, but one of the most beautiful things about the movie is that it finds a delicate balance... the darkness passes, but it remains on the horizon of the film, even unto its rosy final shot.

I loved Robin Williams, one of the great father figures of the modern age of cinema, and though his story will always be tinged with melancholy, I hope that for him, the darkness has passed. RIP RW.

Monday, July 14, 2014

Lone Survivor: compromised war film

I just saw Lone Survivor, and I formed what I felt was a pretty solid, informed opinion of the film. Then, as one does, I went on Rotten Tomatoes to see how it jives with the rest of the world’s reactions.

Imagine my surprise!

I thought Lone Survivor was astoundingly inept, a mass-produced clot of war film clich├ęs, with a hilariously limited narrative vocabulary. I’d call it "predictable," but that word suggests too much coherence… it was so predictable, it felt like a recitation, or perhaps even a stutter. It was odd, then, that I could read down a litany of positive reviews on Rotten Tomatoes and discover that other critics found it “grueling, tense, action-soaked” (Jim Schembri, News Talk), “visceral, exciting and thought-provoking” (Henry Fitzherbert, Daily and Sunday Express), and “morally complex” with a climax that was “tense and surprisingly moving” (Ashley Clark, Time Out London). Boy, I did not see the same film as these folks.

Before I jump into it, I have to answer my own ethical quibbles about movie reviewing (which are one of the main reasons I tend not to engage in this highly questionable activity). Because look… if you’re here wondering whether you’ll like the movie, I can give you at least one reliable answer: there’s a 75% chance that you will, because that’s the proportion of reviewers who really dug it. And if that’s what you’re looking for, I’m not sure I’ll be rendering you much of a service by elucidating my own opinions on the topic. At best, I’ll be giving you some starting-points for judging the film by your own standards, and at worst, I’ll be ruining something you might have really enjoyed.

Of course, maybe you're here for the same reason I was at Rotten Tomatoes in the first place… you've already seen the movie, and you're looking for another opinion to validate you (or contradict you, if you're that type of masochist). Or maybe you've got a bunch of indistinct feels about the film, and you're looking for something to help you sort them out. I guess those reasons – the less prescriptive, more reflective reasons – are the reasons I'm going to follow through with writing this mini-critique-review artifact.

It feels weird to enumerate a series of negatives, as if they were positives. It feels like an attempt to quantify an absence, or prove a bunch of counterfactuals. Nonetheless, it’s all I have to go on, and it can be summed up thusly… first, the film was trite and sophistic about its subject matter. Second, its selection of plot developments – what I would call its “narrative vocabulary” – was tragicomically limited. Third, it balked on the basic duty of characterization, which was one of its few promising opportunities to redeem its other shortcomings.

We have to start, of course, with critique number 1: "trite and sophistic about its subject matter." I'm alluding, generally, to the subject matter of battlefield combat and loyalty, all the expectations that are drawn from its genre ("war film" as envisioned in the post-9/11 age). The war film generally has several merits, aside from its basic objective of dramatizing violence. A war film also has to engage with the theme of brotherhood, whether by romanticizing it (Thin Red Line) or subverting it (Platoon) or both (Full Metal Jacket, Forrest Gump). It also has to face larger questions about the morality of war, and its effects on its participants (Apocalypse Now, The Hurt Locker). These questions are always latent in any dramatization of war… if you don’t make some gesture toward them in your narrative, the absence is going to be conspicuous.

Of all the war films I've seen… going all the way back to David Lean, Ivan’s Childhood, and The Last Command… Lone Survivor is the most myopic in these areas, bordering on frank propaganda. Any consideration of motives, or ethics, or moral compromise is replaced by a general sense of righteousness and martyrdom, a sharp line through the middle of the movie that places every character in one of two camps: either they're good people on our side, or they're bad people on the other side. This dynamic governs all the attempted "complexities" of the film: the debate over whether to break the rules of engagement, and the third-act willingness of a local tribe to oppose the Taliban.

This sharp, high-contrast us-versus-them frame has some visual repercussions… the Marines are a quartet of bearded white guys surrounded in a sea of middle eastern hostiles, and they kill dozens with impunity, but never hurt or endanger anyone except their intended targets, the mooks who are firing at them. The primary antagonist, the "target," has no crime and no motivations except for killing Americans… in particular, sending a horde of terrorists after the protagonists. Oddly, the Hollywood terrorists seem fond of wearing eyeliner.

Also, it seems the only “mistake” the SEALs make is following the rules of engagement, and the story is built around this mistake costing the lives of a dozen or more Americans.

The second criticism I noted, above, is the limited narrative vocabulary. The film's defenders will justify this by pointing to the non-fiction basis of the story (the book "Lone Survivor" by Marcus Luttrell, played in the film by Mark Wahlberg). Indeed, from my limited reading (i.e. some related Wikipedia pages), Lone Survivor made a valiant attempt to adhere to the reality of the situation, as it was portrayed in the written account. If this was your sole criteria, the film is probably really excellent. But I need to judge it on its merits as an actual film, and my ultimate impression is that the filmmakers left themselves with very few dramatic devices to leverage.

The movie really had three acts. The first one entailed the following standard scenes: SEALs sitting around making crass jokes and being melancholy about their families back home; SEALs in a briefing room, going over mission details; SEALs in helicopters. This was humanizing, and it showed some promise for the characters (the most interesting of whom isn't included as an active combatant in the mission), but it's really just a montage of generic war-movie deployment scenes.

Approximately the same thing happened in the second act. There were SEALs hiding and looking through their scopes, reliably cycled with sequences of frantic shooting and hiding behind rocks. If this doesn't sound generic enough, I'll break it down further: there were close-ups of SEALs aiming, grunting in pain, and exchanging sentimentalities; medium-shots of terrorists dropping like video game targets; SEALs falling down mountains in brutal detail (this “everyone falling down the rocks” event happened three times); and a few slow, gauzy, backlit heroic death scenes. The pattern was so consistent and so drawn out, it became numbing.

I'll admit that there was one welcome interlude where the four protagonists debated the value of a non-combatant enemy’s life, but this was governed entirely by the above-referenced dynamics: us versus them, mercy as a form of heroic martyrdom, a stimulating American debate about moral compromise carried out over the secure, helpless bodies of primitive locals. If this is all I have left to praise, there's definitely something missing from this 80-minute action centerpiece.

Finally, in the third act, the last remaining SEAL finds some friends among the horde of Others that make up the indigenous population of Afghanistan. This act might have been fascinating, in a stronger movie, but it was left with nothing to stand on. All anybody could do was posture with guns, fire the guns at each other across the dirt, and make serious, suspicious, vaguely sympathetic faces at Mark Wahlberg. Incidentally, this is the part of the film that was least accurate with respect to the events in the book.

I know some reviewers found this relentless barrage of gunfire to be consistently exciting and visually stimulating. For me, it was an exercise in simplicity so basic, it almost crossed the line into minimalism. Unfortunately, there was nothing provocative or experimental about it, nothing to challenge any preconceptions I had, or even to evoke some emotional connection to the violence and its consequences. It was a piecing-together of gun fetish footage and romantic war propaganda, captured by a photographer and stitched together by an editor, decently crafted, but totally bereft of any creativity. As I said above: its visual and narrative vocabulary was limited.

Finally, there's my third point: there was no meaningful characterization in this film. At least one reviewer thought this might be a smart choice (they're supposed to function as a single cohesive unit! Get it?) but with four excellent actors, they might have really capitalized on this angle. So where's the sensitivity, the intimacy, the individuality? Maybe the book was the problem, but really... Did these four guys seem blank, anonymous, and undifferentiated in the book? Did they seem like a countdown, like each SEAL was another life to lose in a Mega Man game?

It wasn't a virtue, and even if it was intentional, it was a bad call. You can do great things with four characters -- give them different motivations (everybody was fighting for America and their spouse back home) and give them a semblance of back-story that might explain their battlefield behavior. Give them time to change... come to some realization, follow some kind of arc. Even the one survivor -- Marcus Luttrell, played by Wahlberg -- had no sense of differentiation, no development, except for maybe the fact that he ordered everyone to follow the rules of engagement. If there was supposed to be some sort of karmic significance in this decision and the subsequent tragedy, the film didn't give any indication of it.

I am not a cinematic pacifist, and I have nothing against the war film as a genre. I think you can romanticize our armed forces, and you can dramatize the pain and tragedy of war, without necessarily committing an offense against taste. But I think Lone Survivor failed to do those things, and its most redeeming contribution, at this point in Hollywood history, is to provide a template for the failed war film: a catalog of predictability, a conspicuous dearth of sophistication, that future war films should see as their lowest common denominator.

Friday, July 11, 2014

Twitter reviews 2013

I was going to post these around the New Year, but apparently I got hung up on a sort of micro-procrastination. Now seems like as good a time as any. I've been doing these for three years now, and it seems I watch fewer movies each year. This sounds like a narrative of decline, but I prefer to think of it as a temporary shift.

As always: all reviews, including the movie title and date, are exactly 140 characters. I give myself some flexibility on words like AND (vs &) and on ending punctuation.

1-10

Gravity (2013) - A film of silences & oscillations: warm to cold, expansive to claustrophobic. Beautifully shot; simply & effectively acted.

Spring Breakers (2013) - Exploitation's compulsive sexuality and violence, unhinged, channeled into an acid gonzo bubblegum pop fever dream.

Conan the Destroyer (1984) - Maybe deserves an award for clumsiest, awkwardest, most creepy and uncomfortable big-budget fantasy movie ever.

Night Tide (1961) - A calm meditation on being an outsider, ripe with shy obsessions and repressed sexuality; almost magical-realist in tone

Cave of Forgotten Dreams (2010) - Alternately whispering & soaring, delivering on the promise of its vast landscapes & eccentric characters.

The Road (2009) -  A decent take on the hopelessness in the novel, and "Son" has a vibrant and evolving emotional life; but maybe too polite?

Black Death (2010) - A grimy, mean-spirited anti-morality tale, blessed with compelling characters & jarring shifts in attitude & credulity.

The Europa Report (2013) - Quiet, wide-eyed & enigmatic, endearing for how sweeping & hypnotic a story it assembles from such a limited palette.

(NOTE: Realize I somehow used the adjective "ballistic" in both of the next two reviews. For the record, I think it applies better to Elysium.)

Elysium (2013) - A ballistic, richly textured journey of heroes and anti-heroes, humane and hard-working, hampered by some tone-deaf writing

Thor: The Dark World (2013) - A ballistic romp of a movie, whose charming asides successfully mediate the (intentionally) overpowering pomp.

11-20

The Hobbit (2013) - A Disneyesque need for broad emotional cues doesn't entirely ruin Tolkien's love of majesty and archaic language

Deadly Blessing (1981) - A weird, shuttered, otherworldly ballet of messed up characters: some shamelessly, and others who barely conceal it

Grandmaster (2013) - Full Wong Kar Wai atmosphere, plus killer fight scenes -- some done the same way "In the Mood for Love" did sex scenes.

Dredd (2012) - Fun, sloppy action film, highly preoccupied with hypersubjective experiences, despite the title character's robotic blankness

Blue is the Warmest Color (2013) - Vivid, tactile, & intimate; a compelling portrait of young love. An achievement of craft, if not concept.

Lovers on the Bridge (1991) - Stormy, vivid, impetuous; an irreducibly beautiful chronicle of love surviving cycles of abuse and abandonment

Unforgiven (1992) - Eastwood's stern meta-Western, a pinpoint-precise portrayal of the insecurity of manhood trapped in a cultural narrative

Dangerous Game (1993) - A bold, semi-successful attempt at gritty experimentalism from Abel Ferrara, seething with barely-contained violence

Once Upon a Time in Anatolia (2011) - Serene, meditative... also frigid & tense. The visuals add a studied richness to a desolate narrative.

Little Girl Who Lives Down the Lane (1976) - A twisted, unsettling little creeper with some of the most vivid characters I've met in cinema.

21-30

Bleeding House (2011) - This tale of psychos colliding is tense and restrained, but sometimes a bit too rushed for its slow-burn aspirations

Dead Presidents (1995) - If 90's reviewers had forseen today's banal pseudo-edginess, they would have welcomed DP's hard-nosed eccentricity.

Only God Forgivess (2013) - Nicolas Winding Refn's deconstruction of the white savior trope, wrapped in a bilious torture chamber of a movie.

Before Sunrise (1995) - Proof that in the absence of suspense, a whole story can coast on earnestness and still feel gratifying and complete

Sabrina (1954) - Props to Wilder for this classic black & white charmer, starring two of the most attractive people in the history of people

Holy Motors (2012) - A wild, sexy tantrum of a movie, seething with all those violent emotions that we keep so buried in our everyday lives.

Everything Must Go (2010) - An anxious indie film with a sort of lukewarm realism. Not a masterpiece, but endearing in its humor and wisdom.

The Eclipse (2009) - A melancholy movie with a tenuous mood, like a creepy old photograph where the shutter stayed open just a bit too long.

Red (2010) - A fun, insubstantial pop collision of Hollywood personalities relieved of their dignity & allowed to wallow in cartoon violence

Eve's Bayou (1997) - Steamy, enigmatic, and twisted, a smart and heartfelt film that weaves us into a vivid setting and emotional ecosystem.

31-40

Upstream Color (2013) - Dreamy, abstract, and surprisingly tense tribute to the power of love and unseen forces; best for patient audiences.

Magnolia (1999) - Ambitious omnibus, suffering mildly from lack of focus, but elevated by its brave performances, both intimate & expansive.

30 Days of Night (2007) - Vicious, terrifying neo-vampire survival horror, perhaps held back because it doesn't push its extremes far enough

Irreversible (2002) - Depraved postmodern trash, redeemed by an amazing formal unity and thematic cohesion, and four courageous performances

Cold Mountain (2003) - Sometimes overwrought, but touched with flashes of brilliance in its depictions of war, hardship, & human connection.

Secret of Kells (2009) - Vivid and enchanting, handcrafted with a soft touch, like a Miyazaki movie smoothed over by a calligrapher's hands.

A Town Called Panic (2009) - A hilarious, flippant manic stop motion buddy movie for the ages. The polar opposite of the last one I reviewed

Valhalla Rising (2009) - An abstraction of grit & violence, brutal and glacially paced that toes the line between hypnotic and mind-numbing.

Hidden Blade (2004) - A wise and intimate cinematic sonata, rich in relationships; one of the most patient & tender samurai films I've seen.

Ashura (2005) - A wildly melodramatic kabuki-style kaidan, whose bad special effects give it a sort of charm, if you're in a forgiving mood.

Wednesday, July 09, 2014

The ol' Spontaneous Hiatus

Hello, if there are any readers left out there. I haven't written anything in a while. I had a video project I was working on for like a year, which self-destructed recently (hard drive, bed-shit). I've been working on a personal project that I've been keeping a bit closer to my chest than usual, but if the right time ever comes, I'll post something about it on here.

I'm still an occasional photographer, but I haven't been taken with my most recent work in that area.

I'm working very hard on a critical piece on Dark Souls 2, for the ol' Berfrois, who have published some of my work before. That should be emerging pretty soon. I'll put an update up here.

The closest thing I have to a BotD-exclusive piece is a long review I've written of Lone Survivor (2013), which I found kind of off-putting. I'll post that pretty soon, I think.

I might start thinking in blogging-terms again, if possible... I've gotten a couple actual real comments recently, and if something else goes up in Berfrois, it will be very embarrassing to have an empty blog at the end of the link in my profile.

Having furnished a probably-irrelevant update, I shall sign off. Cheerio the Internet!