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Archive for March, 2020

By J.D. Lafrance

With his low-budget revenge movie, Mad Max (1979), Australian filmmaker George Miller created one of the most kinetic action spectacles by choreographing car chases in a way that was unique. They were depicted viscerally, putting you right in the action. The film was a massive success, launching the careers of both Miller and its young star, Mel Gibson. The filmmaker briefly pursued another, unrelated project while turning down several offers from Hollywood before deciding to make a sequel only with much more money that would allow him to push his brand of visual storytelling to a new level. The end result was Mad Max 2 (1981) a.k.a. The Road Warrior, an unrelenting journey into a post-apocalyptic world that would prove to be hugely influential, spawning numerous imitations and two sequels that Miller would helm.

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Screen-cap from blistering Polish film “Corpus Christie”

by Sam Juliano

Super Tuesday is upon us and the prognosis is resoundingly unclear after Joe Biden’s enormous 30 point win in South Carolina on Saturday.  Some are convinced of the Comeback Kid narrative for the former Vice President while Sanders supporters see it more of a bump en route to their own candidate’s expected wins in delegate-rich California, Texas and other states on March 3rd.  Like many others I’ve been following Five Thirty Eight where the always fascinating Nate Silver has been mapping out all the possible scenarios moving forward.  I am still waiting to settle on the candidate I will ultimately support.  I am so unsure at this point.

Frigid temperatures have surfaced over the past week, but all things considered this has been an amazing mild winter is all regards.

J.D. Lafrance published a terrific essay on Tim Robbins’ Bob Roberts this past Tuesday, while Jim Clark is nearly publication for the next entry in his fabulous Ingmar Bergman series.

Lucille, Sammy and I saw the Polish gem “Corpus Christie” last night at the Film Forum. Though nominated for the Best International Film Oscar for this past year, its opening in USA theaters in February means it will count as a 2020 film for list-making purposes. The vast majority of US critics do the same annually. Directed by Jan Christie and starring Bartosz Bielenia in an oft-electrifying performance as a 20 year-old juvenile delinquent who secures a clerical collar and is accepted with no questions asked as the new priest in a local parish, where he exhibits an uneasy air of glee and trepidation and navigates an unorthodox manner that is welcomed by the staid parishioners. The film is intense and sometimes shocking in its plea for forgiveness and develops a real audience affinity for the old adage the end justified the means. Perhaps the best film of the year so far with a rating close to 5/5. (more…)

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