Wednesday, April 26, 2017

The World's End (UK/USA/Japan: Edgar Wright, 2013)

The World's End (UK/USA/Japan: Edgar Wright, 2013: 109 mins)

Brand, Scott. "Aftermath: A Few Thoughts on The World’s End as Imagined by Simon Pegg and Edgar Wright." Sequart (February 25, 2016)

---. "The End is Nigh!!!: A Few Thoughts on The World’s End as Imagined by Simon Pegg and Edgar Wright." Sequart (February 18, 2016)

Chen, David. "Edgar Wright and the Art of Close Ups." (Posted on Vimeo: 2014)

Hancock, James and Kyle Reardon. "Edgar Wright's Cornetto Trilogy." Wrong Reel #142 (June 6, 2016)

Jameson, A.D. "25 More Pints: Revisiting The World's End." HTML Giant (September 2, 2013)

Seitz, Matt Zoller. "The World's End." Roger Ebert (August 23, 2013)

Singer, Matt. "The World's End." The Dissolve (August 22, 2013)

The World's End Critics Round Up (Ongoing Archive)

Zhou, Tony. "Edgar Wright: How to Do Visual Comedy." (Posted on Vimeo: May 2014)

Monday, April 17, 2017

The Neon Demon (France/USA/Denmark: Nicholas Refn Winding, 2016)

"Like a 21st-century Showgirls meets Suspiria, Nicolas Winding Refn’s delirious plunge into the fake plastic horror of the image-obsessed fashion industry trafficks in both high-camp excess and kaleidoscopically stylized splatter. Elle Fanning is the guileless recent L.A. transplant whose fresh-faced youth and beauty almost instantly land her a high-profile modeling contract. Whatever “it” is, she has it. And a coterie of monstrously jealous, flavor-of-last-month Hollyweird burnouts will stop at nothing to get it. Working in a supersaturated, electric day-glo palette, Braier fashions a sleek, freaky-seductive vision of L.A.’s dark side." - The Female Gaze (2018)

The Neon Demon (France/USA/Denmark: Nicholas Refn Winding, 2016: 110 mins)

Bradley, S.A. "Shut Up and Watch the Movie (Part Two)." Hellbent for Horror #44 (June 19, 2017)

Braier, Natasha. "'I'm Like a Flare Hunter': On The Neon Demon." Filmmaker (November 30, 2016)

Cassidy, Brendan and J.D. Duran. "The Neon DemonDr. Strangelove - Extra Film." In Session (July 1, 2016) 

Cleaver, Sarah Kathryn and Mary Wild. "Fashion Films Episode 4: Corruption & Consumption." Projections (March 6, 2019) ["Mary and Sarah discuss the darkness and destruction of American Vogue documentary The September Issue (2009) and Nicolas Winding Refn’s The Neon Demon (2016)."]

Complex, Valerie. "Stanning the Ancients." Letterboxd (June 20, 2020) ["Valerie Complex probes the intersection of Greco-Roman mythology and queer experience in Portrait of a Lady on Fire, The Neon Demon, Jumbo and Midsommar."]

Fanning, Elle, et al. "Winding Refn - Elle Fanning Interview / De Palma." Filmspotting #591 (June 24, 2016)

Graham, Bill, Brian Roane and Ethan Vestby. "The Neon Demon." The Film Stage #196 (June 28, 2016)

Hancock, James. "The Neon Demon." The Wrong Reel (June 24, 2016)

Harvey, Dennis. "The Neon Demon and the Fear of Women." Keyframe (June 24, 2016)

Hudson, David. "Nicolas Winding Refn's The Neon Demon; 'Nervy feminist provocation or misogynist freakshow?'” Keyframe (May 19, 2016)

Kacprzak, Mikolaj. "The Silent Gaze." (Posted on Vimeo: September 2016)

Kermode, Mark. "The Neon Demon: Beauty as the Beast." The Guardian (July 10, 2016)

Koski, Genevieve, et al. "The Neon Demon/Suspiria, Pt. 1." The Next Picture Show #35 (July 12, 2016) ["Nicholas Winding Refn’s new THE NEON DEMON inspired us to look back at another tale of female rivalry that plays out in lurid colors and more than a little violence: Dario Argento’s classic 1977 horror movie SUSPIRIA. In this half, we explore the specific, lurid style in which Argento works, and consider how it functions as both cinema and horror. "]

---. "The Neon Demon/Suspiria, Pt. 2." The Next Picture Show #36 (July 14, 2016) ["We move our conversation of Dario Argento's 1977 film SUSPIRIA to Nicholas Winding Refn’s THE NEON DEMON, which works as a contemporary companion piece. In this half, we talk over the two films' respective uses of color, violence, and female competition."]
Martinez, Cliff. "Neon Demon." The Treatment (June 8, 2016) ["Cliff Martinez has strong roots in rock music, having begun his career as the drummer of Red Hot Chili Peppers. But, after reflecting on his love for the soundtrack of A Fistful of Dollars, Martinez broadened his musical scope as film composer behind scores for such films and television series as Spring Breakers, Sex, Lies and Videotape and The Knick. He joins Elvis Mitchell to discuss his personal music history and the thought process behind his latest musical work on Neon Demon."]

The Neon Demon Critics Round Up (Ongoing Archive)

"Nicolas Winding Refn." The Close-Up #90 (June 29, 2016)

Paul, Jacob. "The Current Debate: Seeing and Believing in The Neon Demon." Notebook (June 29, 2016)

Refn, Nicholas Winding. "The Neon Demon." The Cinema Show (July 8, 2016)

Stark, Clinton. "The Neon Demon: Critic wants to ban Nicolas Winding Refn’s film, protect England from 'depravity." Stark Insider (June 7, 2016)

Swinney, Jacob T. "12 Essential Women Cinematographers." Keyframe (August 10, 2016)

Monday, April 3, 2017

Elle (France/Germany/Belgium: Paul Verhoeven, 2016)

Elle (France/Germany/Belgium: Paul Verhoeven, 2016: 130 mins)

Barton-Fumo, Margaret. "Paul Verhoeven." The Film Comment (November 15, 2016) ["What are the uncanny forces at work behind Paul Verhoeven’s visceral and transgressive cinema? In anticipation of the Film Society’s complete retrospective of the Dutch master’s films and the U.S. release of Elle, this episode offers a comprehensive discussion of the director’s audacious and eclectic career encompassing art-house Dutch films (Turkish Delight [1971], Spetters [1980]) and big-budget Hollywood productions such as Basic Instinct (1992), Total Recall (1990) and Starship Troopers (1997). In the first part of the podcast, Film Comment Digital Editor Violet Lucca sits down with a panel of Verhoeven connoisseurs, including Cinema Scope critic Adam Nayman, Film Comment Deep Cuts columnist Margaret Barton-Fumo (also the editor of a forthcoming book of interviews with Verhoeven), and Fort Buchanan director Benjamin Crotty, to tackle the controversy that lies at the core of Verhoeven’s work. In the final part of the episode, Margaret Barton-Fumo speaks to Verhoeven about the uncomfortable eroticism that pervades Elle and his Brechtian influences."]

Bidisha. "Rape Fantasy Elle is Not a Five Star Masterpiece - It is Sick." The Guardian (March 28, 2017)

Bradshaw, Peter. "Elle: Startling Strange Rape-Revenge Black Comedy." The Guardian (March 9, 2017)

Brody, Richard. "The Phony Sexual Transgressions of Paul Verhoeven's Elle." The New Yorker (November 15, 2016)

Cribbs, John, James Hancock and Leanne Kubicz. "The Cinema of Paul Verhoeven." Wrong Reel #200 (November 2016)

Deighan, Samm and Kat Ellinger. "Sex Without Shame: The Telephone Book (1971) and Elle (2016)." Daughters of Darkness #27 (March 19, 2018) ["Kat and Samm return from a lengthy hiatus with this personal, boisterous episode that explores desire, consent, and sexuality by comparing two very different films: Nelson Lyon’s forgotten erotic classic, The Telephone Book (1971), and Paul Verhoeven’s challenging rape-revenge drama, Elle (2016). Made early in the porno chic period, before mainstream titles like Deep Throat (1972), The Telephone Book follows a young woman who becomes the target of an obscene caller. Instead of feeling victimized, she’s excited by the encounter and goes on a ribald odyssey through New York City to find her loquacious love. And though Elle’s approach is quite different, Kat and Samm discuss how it serves as an important counter example to the idea that such films can’t be made in recent years. Marking Verhoeven’s return to filmmaking in a decade, Elle stars the great Isabelle Huppert as Michele Leblanc, an unconventional business executive who is raped in her home by a masked attacker. Refusing to see herself as a victim, Michele becomes determined to learn her rapist’s identity and uncover his potential motivations. Hovering somewhere between domestic drama, rape revenge film, and black comedy, Elle explores complicated notions of power, consent, and intimacy."]

Elle Critics Round Up (Ongoing Archive)

Erbland, Kate. " Elle: Isabelle Huppert on Why Her Controversial Film About Rape Is ‘Post-Feminist.'" IndieWire (October 14, 2016)

Gleiberman, Owen. "‘Showgirls’ With Subtitles? The Demented Caveman Feminism of Paul Verhoeven’s Elle." Variety (December 11, 2016)

Hudson, David. "Paul Verhoeven's Elle." Keyframe (October 14, 2016)

---. "Paul Verhoeven’s Elle (Cannes 2016): 'The glee with which Verhoeven and Huppert openly defy any concession to cultural correctness is breathtaking.'" Keyframe (May 21, 2016)

Lee, Benjamin. "Isabelle Huppert: Elle is not about a woman 'accepting her rapist.'" The Guardian (May 21, 2016)

---. "Paul Verhoeven on Elle: 'It is Not a Rape Comedy.'" The Guardian (May 27, 2016)

Lodge, Guy. "Elle." Variety (May 21, 2016)

López, Cristina Álvarez and Adrian Martin. "Isabelle Huppert: The Absent One." Third Rail #10 (2017)

Nayman, Adam. "The Rules of the Game: Paul Verhoeven's Elle." Cinema Scope #68 (2016)

O'Malley, Sheila. "Elle." Roger Ebert (November 11, 2016)

Righetti, Jamie. " Post-Feminist Power: How Isabelle Huppert And Others Are Giving Us a New Kind of Movie Hero." IndieWire (November 8, 2016)

Scott, A.O. "In Elle, Isabelle Huppert Subverts the Role of Rape Victim." The New York Times (November 10, 2016)

Shaw, Dan. "Great Directors: Paul Verhoeven." Senses of Cinema (January 2003)

Singer, Leah. "Lost in Translation: Foreign-language Acting at the Oscars." Keyframe (February 2017)

Stevens, Dana. "Elle: Paul Verhoeven’s unsettling latest is a black comedy about systemic misogyny, a rape whodunit, and so much more." Slate (November 11, 2016)

Verhoeven, Paul. "Elle." The Close-Up #109 (November 9, 2016)