Thursday, February 2, 2017

Resources for February 2, 2017

Avila, Robert. "Ross McElwee and the Man Behind the Man Behind the Camera."   Keyframe (May 5, 2014)

Bradley, S.A. "Nowhere Man: The Outsider in Horror." Hell Bent for Horror #30 (January 21, 2017)
["The Us vs. Them mentality is a backdrop for some really good horror stories. Frankenstein being a great example. The Monster is the outsider, but yet you sympathize with him. In these conflicts, horror is uniquely suited to tell some great stories, and give different results. What makes THEM…them? How easily can WE become THEM? “Civilized” society is a tough path to tread. In this episode I talk about Horror and the outsider. I bring up Frankenstein and then go from short stories to little known movies to popular movies of the last decade."]

Hancock, James and Kyle Reardon. "In Praise of Park Chan-wook." Wrong Reel #227 (January 2017)

Kiefer, Jonathan. "Are We Doing This Again: Groundhog Day and the Power of the Replay." Keyframe (February 2, 2017)

Naremore, James and Lady P. "Touch of Evil." Flixwise #58 (January 31, 2017)  ["Lady P and Naremore delve into Welles stylistic choices, and how they differ from some of Welles’ previous Hollywood pictures. They talk about the terrific performances from both the lead actors and the supporting players, and of course the screen-scorching presence of Marlene Dietrich. For the second topic, they move on to another iconic Welles character: Harry Lime. The purpose of art in today’s scary political climate is a popular topic kicking around online magazines and social media feeds. Some articles have even suggested that these times of great tumult may prove a boon to artists, because, apparently, social revolt is grist to the mill for creative types. This sentiment echoes Harry Lime’s “Cuckoo Clock” speech from Carol Reed’s 1949 classic, The Third Man in which he makes a claim that great cultural works are produced primarily as a result of war and strife. Lady P and Naremore revisit this infamous speech, and discuss whether its central argument still holds any merit today, and perhaps more significantly, whether it ever held any merit at all."]

Smith, Adam. "Trespass Against Us." Film School (January 13, 2017) ["TRESPASS AGAINST US is set across three generations of the Cutler family who live as outlaws in their own anarchic corner of Britain’s richest countryside. Chad Cutler (Michael Fassbender) is heir apparent to his bruising criminal father, Colby (Brendan Gleeson) and has been groomed to spend his life hunting, thieving and tormenting the police. But with his own son, Tyson (Georgie Smith) coming of age, Chad soon finds himself locked in a battle with his father for the future of his young family. When Colby learns of Chad’s dreams for another life he sets out to tie his son and grandson into the archaic order that has bound the Cutler family for generations. He engineers a spectacular piece of criminal business involving a heist, a high-speed car chase and a manhunt, which leaves Chad bruised and bloodied and with his very freedom at stake. With the law cracking down and his father tightening his grip, Chad is forced into increasingly desperate measures. Featuring incredible performances – and an astonishing score by The Chemical Brothers – TRESPASS AGAINST US is at once an exhilarating crime thriller and a profoundly moving story about love and family. TRESPASS AGAINST US director ADAM SMITH (Director) is an award-winning film, television drama, documentary and music-video director. Smith is best known for his long-term collaboration with the Chemical Brothers, and the critically acclaimed concert film Chemical Brothers: Don’t Think he directed. Director Adam Smith joins us to talk about his feature film debut and the riveting performances turned in by his three lead performers."]

Smith, Nathan. "About That George Michael Joke in La La Land: And the Matter of Artistic Seriousness." Keyframe (December 27, 2016)

[De Palma's] VISION from A. Martin & C. Álvarez López on Vimeo.

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