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.
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?
I saw Night of the Living Dead when it was new and it scared the doo-doo out of me. Hard to imagine this was the first horror movie that wasn’t just creepy or thrilling, but brutal, assaultive, with a rough-newsreel quality that made it feel like a documentary. Plus a horrific, downbeat ending. But my favorite part of the film, which let me know I was crossing into a fresh circle of Hell, is the beginning. There’s no explanation, no setup, no warning when this horrifying guy just appears from behind a tombstone and starts to menace and then WHAM! the brother is killed — a guy you probably expected to be the hero. And then of course we get the modern trapped-in-a-scary-house theme. Fascinating that the film was such an enduring influence that it’s transformed the meaning of “zombie” until almost no one you ask could cite the original Caribbean possessed-person definition.
(Plus, he died listening to Bing Crosby, a pretty up-there choice, I say.)
[PS: Because I have been asked, yes, the Fela Kuti “Zombie” does refer to the original definition. In a very potent way.]
I always thought of her as a knockout beauty and found her not-bad in films. Very glad Keef was nice to her in his autobio. Here’s a good take on her dated, tough role in life.
Of the 25 top-grossing films of the 21st century so far, 20 have been visual-effects showcases like “Avatar,” “The Avengers” and “Jurassic World.” (The other five were entirely animated, like “Frozen.”) — New York Times Magazine
I adored animated features as a child and was enormously gratified when they re-found big-hit audiences with Who Framed Roger Rabbit? But I honestly wish there was more variety in movie smashes nowadays. More hints of theater. More emphasis on inspired writing. More grownups less all-ages.
(But like I say, at least the seating has never been better.)
(I may say more later — right now I’m having trouble processing all these people passing on.)
Equals parts filmmaker and music nut and creator after my own heart. I thought a good deal of his stuff didn’t quite work, but every time out I could precisely feel and understand where he was trying to go.
The neglected item: Melvin and Howard. Eccentric, sure, but how many movies are not only eccentric but one-of-a-kind?
Favorite uplift from source material: Silence of the Lambs. The book, which I was captivated by the flick enough to read afterward, is clunky and ordinary in comparison. Every change Demme made is an improvement. Wise to shun sequels.
The ultimate of course is Stop Making Sense. Changed the way amplified concerts were filmed. No band could ask for a finer monument. I was riveted by right from the first of the several times I’ve seen it. About halfway through it hit me: “Ho-lee crap — there’s no question this is more exciting and overwhelming than seeing the actual show. No single audience position could knock out your brains like this!”