Movies

The Reverse Shot’s review by Julien Allen of A Matter of Life & Death does the movie justice. Some 75 years after the movie was made in part apparently to bolster post-war morale and Anglo-American relations, its dive into the relative merits of the USA and the UK is a surprising delight. The visual effects too are wonderfully crafted ⁠— it must have opened the minds of viewers such as Stanley Kubrick to the standards possible if you care enough.

Oh that’s a shame, I’ve always loved Steve Coogan. Goodbye, dear Saxondale. Oh fuck it, who am I kidding, I will be watching him as Stan Laurel until my end.

OK, stop this and get to work: more fun from Vulture: The Year of the Nepo Baby . Silly me, I did not know Josh Brolin’s mother is Barbra Streisand!

Reverse Shot’s review by Vikram Murthi does justice to Asteroid City, which I acknowledge despite not much liking the movie, which does feel a churlish and scummy thing to say about such an exquisite work.

Pull up a chair, Bob Iger absolutely regales us for over an hour on the A16Z podcast.

This rather disparaging article on Avatar at DNYUZ is the second time recently (I forget the first) I’ve enjoyed a pretty good longish read only to come across, about 2/3 of the way through, what seems so shoehorned in that it smells like the quiet raison d’etre of the whole piece:

What were the odds that, galaxies away, a society not only had two genders, but those genders were “male” and “female” ⁠— and the females were stacked?

Of all the liberties taken with physics and reality with this and other sci-fi tentpole movies, this biologically-grounded mammalian fact of life is the complaint?

You find some good shit when you search YouTube for reviews by other people who really detest No Time to Die. This is the redoubtable young Batcho.

Star Wars has destroyed many a career, as this article catalogs.

At 1:03, this transcendent moment of moviemaking, John William’s theme counterpointing Alec Guinness’s delivery of George Lucas’s creation. “It surrounds us, penetrates us, it binds the galaxy together.”

So right now all the James Bond movies are available on Amazon Prime, and with the sudden plethora I was stumped which I’m due next to rewatch. When in doubt, it’s back to Goldfinger, just the first few minutes this time. Once again I’m blown away by just how good it is; it’s definitely arguable that both preceding and all subsequent movies lead to and emanate from it. The post-credit opening scene with the swoop down to the diving board and the cut to Felix watching the dive from the glass window ⁠— what delicious glamorous filmmaking. “Into Miami / Pigeon Game” is the 1-minute musical accompaniment.

Oh, the minor yet multitudinous wonders of our age! I just discovered Yarn, where you “search by word or phrase for TV, movie and music clips”. What a fun business to have created!

No nominations for The French Dispatch. Huh. Variety is also surprised.

In the very-nicely-titled online review Crooked Marquee, Jason Bailey does justice to Wes Anderson’s fabulous new The French Dispatch:

Charmingly, this film that loves writers is also one of Anderson’s most lavishly directed ⁠— which is, I know, saying something … Anderson’s films have also become a welcome opportunity for serious actors to let their hair down ⁠— Tilda Swinton is clearly having a blast.

Yes indeed, The French Dispatch is a box of supercandy for grownups. Modern works seem to take it as part of their mission to be the supreme work; even if doomed to fail, there’s an understanding that a serious attempt elevates everything. (Or, as Frank Lloyd Wright said, “I don’t design a house without reimagining the social order.”) The French Dispatch is a contender for one thing it is an ode to other mediums: typography, cooking, France, the written word. All that and the title triggers “The French Mistake”…).

And looking around again at reviews, actually again it’s David Brody who treats it most appropriately, so bloody enthusiastic that he retells parts of it, which seems rather a faux pas for his critical stature. Brody reminds us at the end that yes, it is a screenplay that flows with noble emotion, exquisitely portrayed. And in the end he compares Anderson with Hemingway. See, what did I tell you…

Don’t Look Up ⁠— to the flaming comet or one’s sorry betters? Two of the worst things I read about this movie phenomenon were the risible Guardian collectivist sharing and the lazy Financial Times piece (why do they even bother, it just lowers the tone of an expensive subscription) and there’s plenty more drivel in this wide vein. Yet paradoxically it is two American outlets usually so generous in spreading the infection of orthodox moronicism who published two of the best: in The New York Times, no surprise that it’s Ross Douthat:

Art … has a way of escaping the intentions of its creators. McKay’s tweets notwithstanding, his comet scenario is a lousy allegory for the climate challenge, for reasons painstakingly elaborated by New York Magazine’s Eric Levitz in one of the best responses to the movie as a would-be policy intervention. But the pandemic that arrived before production started turned out to be a better fit for the allegory.

Who would have thought that an apparently intentionally pro-climate-alarmist movie would produce a sober backlash in such pro-climate-alarmist publications. That is why America win: it contains multitudes. And that’s what makes this movie worth talking about: it escapes the artist’s apparently feebly pious intentions. Why has Adam McKay, no stranger to exposing boondoggles given that he made such a great movie out of The Big Short, not read J. Storrs Hall?

Oh yes, and the other piece: film critic Richard Brody in The New Yorker:

The movie lives by its place in the discourse, such as that discourse is. It satirizes the trivializing flow of celebrity gossip and light-toned frivolity, of clickbait pushing aside investigative reporting and of tech moguls not only usurping government power but commandeering public discourse. Yet its own anti-aesthetic of neutral images and predigested narrative efficiency, its celebrity feast of star turns and flashy performances, and its simplistic anger-stoking and pathos-wringing mask the movie’s fundamental position of getting itself talked about while utterly eliding any real sense of politics or political confrontation.

All that said, I appreciated the movie quite a lot, and I think both these guys did as well.

Writing in The Guardian, Martin Pengelly is a real oozing 007 fan, managing in this paean to Roger Moore to link to a smorgasbord of great Bond-related cultural relics of recent years, from Alan Partridge’s clang-a-lang-a-singsong to Christopher Hitchen’s “Bottoms Up” and back again to Steve Coogan and Rob Brydon’s “They looked old. Because they are old.”

Bond is about sex as well as violence and to a seven-year-old boy in 1985 that was almost enough, appropriately given the fate of Kananga in Live and Let Die, to make my head explode.

Because the Marvel intro music is replaying in my mind’s ear (composed I believe by the great Michael Giacchino), I went to YouTube and found Every Marvel Intro. Turns out the first time we heard this brief yet potent bit was Dr Strange.

The best Star Trek starships by Josh Tyler at Giant Freakin Robot.

Fun fun fun, Sacha Baron Cohen, Jim Carrey, Don Cheadle, Henry Winkler & Timothy Simons talk shop.

Mohammad Ali watches Rocky II with Roger Ebert in 1979.

Two more Frank Lloyd Wright films planned by the maker of the new Unity Temple film, the one with the voice.

Hokey religions don’t seem to hold much sway in the Outer Rim. MaryAnn Johanson the FlickFilosopher loves The Mandalorian. Yes indeed, Star Wars lives!

2020: an isolation odyssey by (in case you miss her name in the credits) Lydia Cambron. [Via DF]

Soderbergh’s Raiders, so that we can marvel at Spielberg’s craft in staging.

Poolside.FM, the lovely Mac throwback to 1997.

Mike and Rich of Red Letter Media do a re:View of Star Trek: Picard. I hadn’t articulated to myself why I chose not to watch beyond the first episode ⁠— they explain it. One criticism though: they mock the term positronic, seeming not to know it comes from Asimov’s robots.

In r/saltierthancrait and posted by u/yellowdawg299, In your opinion, who is the worst character in Star Wars?. Great stuff.

• “I tell you what, if Rose had killed Leia in TROS and monologued about what idiots the Rebels were for buying her ‘save the people you love’ bullshit, I’d be dragging everyone I knew to the theatre.” ⁠— rothbard_anarchist
• “*Snoke* continues to shrink in intrigue until he is in a fetal position in a jar.” ⁠— Wiffernubbin
• “Replace Holdo with an emotionless machine that locks their escape behind a passcode/override that no one but Leia knows after the bridge destruction, and the story becomes more coherent since that’s a matter of procedure rather than a person making active decisions that contradict themselves and their own goals.” ⁠— Hylian-Highwind
• “*Jar Jar*, because the others aren’t in Star Wars.” ⁠— JBlitzen

Etc, etc.

A view to the best bit of Bond fan art I’ve seen maybe ever: David Reed’s 007 film title anagrams.

Mark Steyn rhapsodizes on Ernst Stavro Blofeld.

You’re a very talented young man, with your own clever thoughts and ideas. Jeffsum, a text placeholder generator of Jeff Goldblum lines.

Quentin Tarantino talks Once Upon a Time… in Hollywood with Paul Thomas Anderson.

James Bond: 50 Years of Main Title Design at Art of the Title. It’s by Ben Radatz, a partner at MK12 and co-director of Quantum of Solace’s.

Premieres for the Rams doc by Gary Hustwit (of Helvetica) are being held all around America. The only cities where it’s sold out are: NY, LA and SF.

Having just seen Sam Smith on a televised weekend concert, I was reminded of Spectre and went and found a podcast episode where they satisfyingly eviscerate his lazy theme song, “The Writing’s on the Wall”.

Revenge of the Audience. In the comments after this Variety article about Solo , people consider why this movie is a box office disaster.

Watching Carrie Fisher tell her son about his Dad in Catastrophe, s3e6, she removes her glasses and her bitter old character eccentricities and we see just her face and eyes and she is as glittering onscreen as ever. Yet in the two new movies they gave her static scenes, which I think is a significant reason for Star Wars fatigue: what they did to the original troika in these new movies is distasteful.

I know why I didn’t see Solo: because The Last Jedi.

Joss Whedon on making The Avengers: “There’s very little that I didn’t look at. It’s like, This is a Dr. Strangelove moment. This is The Abyss. This is His Girl Friday. It’s constant. You have to have all that stuff sort of in a blender in your head.”

“Jon [Favreau] said, ‘Look into his eyes. If you look into his eyes you will know. Is he being asked a question or is he asking the question?’” On the making of Iron Man’s HUD.

Vincent Gallo Sings by one Vincent Gallo. “I know what I look like. It’s certainly not how I would have made myself look. Don’t blame me.”

Check it out, How We Made, a weekly series by The Guardian interviewing two collaborators on a seminal work of art ⁠— from 2001: A Space Odyssey to the Swatch watch.

Paglia on #meToo: “Treating women as more vulnerable, virtuous or credible than men is reactionary, regressive and ultimately counterproductive.”

Quincy Jones on Michael Jackson’s bullshit and everyone else’s too. Oh and famous friends.

Another Tim Ferriss Show link, this time a joyful 2-hour interview with Terry Crews, artist, athlete, movie actor, taboo-dispeller, celebrity, self-help book aficionado.

Mark Hamill on The Last Jedi: He’s not my Luke Skywalker. My prediction: this movie will be what elevates the reputations of the prequels. And Poe Dameron that of Jar Jar Binks.

Drew Pierce, Iron Man 3 co-screenwriter with director Shane Black, discusses the writing of the Trevor Slattery reveal in this Vulture article. There’s also a jpg of the screenplay! This is one of my favorite Marvel movie scenes. And jeez, I just discovered All Hail the King ⁠— where have I been?

Reflections on Tarantino by Tom Shone, film critic and author of a new book about the director.

According to this meretriciously entitled New York Post article “Millennials don’t really care about classic movies”, the only 4 overlapping movies among the top 10 most common movies that both millennials and over-50’s have seen are: 1) Forrest Gump, 2) Back to the Future, 3) The Silence of the Lambs, and 4) The Godfather. That’s Zemeckis in 1994 and 1985, Demme in 1991, and Coppola in 1972. No Spielberg, Hitchcock, not even James Cameron. Interesting.

Casting President Trump ⁠— The Movie.