Aw. c’mon — menace is over the top innit? I donno — when we visited Anaheim recently I thought it had the weirdest company-town vibe imaginable. Felt like you had to wear a Mouseketeer hat to live there. Non-Disney places felt like escape havens. Now it turns out Disney is doing something really, really shitty — banning LA Times critics from advance screenings because the paper is reporting on the freaky conquest of the town by the company. The only pleasure I take from any of this is that the shivery feeling I had out there was based in reality.
UPDATE: the ban is lifted after backlash that any non-arrogant non-bonehead could have seen coming.
Dropped by the French Culture Center (a must-visit for Boston locals — delights abound) and discovered that by chance it was the Library Book Sale. Hundreds and hundreds of volumes — $1 each! Zoot aloors!
What I grabbed:
Cinema magazine (May, 1971), featuring La Salamandre by Alain Tanner (not least because I can never have enough pictures of Bulle Ogier).
Cinema magazine (June, 1981), featuring Les Annees Lumiere by Alain Tanner (Light Years Away in the US) (not least because I saw this strange flick and loved that it did not even try to make linear sense)
Les Gens de Justice by Daumier (1974). Of course the jokes are lost in the French text, but the reproductions are so superior to any American volume I have run across that … less than a penny a page seems like the bargain of a lifetime.
Amour – Erotisme en Cinema, by Ado Kyrou, edited by Eric Losfeld (not sure what this means) (1966). Treasure of new to me film stills, from the heyday of hedonism-on-the-rise in movie houses. The historic stuff is also incredible. Has a bookmark. Looks the most-used of the books I got. Donated to the Cultural Center in 1969. (PS: the cover features a stylized image of Louise Brooks, confirming the country’s obsession with her erotisme.)
Various, La Chanson de L’Annee 2016 (MCA/Universal). Four-CD set! A bit less MOR than I expected, and way, way more fun than 25 cents a disc.
Frank Henenlotter’s Basket Case (1981)
Stuart Gordon’s Dagon (2001)
Sam Rami’s Drag Me To Hell (2009)
Tomas Alfredson’s Let the Right One In (2009)
Various, Technicolor Dreams and Black & White Nightmares (2014) A collection of rare cartoons from the ’20s, ’30s and ’40s, all of which are strange and some downright frightening.
Sure he played a butler, but the best part was that we all knew this was a ruse.
He was there to ladle on a particular brand of dry resentment about race and power and class convolutions. After I visited the place, he seemed very St. Louis to me. (I missed out on all his TV work after “Benson”.) And you have to say he elevated a mystic baboon from a potential nothing-shtick into an essential part of a major Disney franchise. (I argued that was not least because Rafiki seemed like the only character who was remotely from Africa.)
The last of the Noir Cowboys. Paris, Texas and Repo Man can be a double bill anytime in my movie theater in heaven. Then the next week, Cool Hand Luke and Dillinger.
Very odd article. I would have guessed Hollywood had wretched attendance this past summer, for the reason that everybody knows: addiction to exhausted franchises and remakes. The spread of Rotten Tomatoes is nothing to cheer but I can’t get worked up about it one way or the other: nothing is forcing anyone to pay any attention to the ratings. And I agree with commenters who said some sort of comparison with Metacritic would have been a useful addition to the discussion.
Hauro deserves a deep bow from this lifelong moster-movie fan.
According to us hardcores, there are three levels of Old Tech Monsters:
Worst: Lizards and frogs with shit glued onto them.
Meh: Guys in suits, no matter how nifty the suit (James Arness, as “The Thing From Another World” was the best, except I keeping seeing it wearing a cowboy hat since I found out who it was.)
Best: “Dynamation” and its relatives — this required serious art and craft and the payoff could be superb. If you haven’t seen “The 7th Voyage of Sinbad,” what are you waiting for?