That cry, most memorably a mantra for Reverend Lovejoy's wife, Helen, on The Simpsons, encapsulates the pervasive movement to childproof American life. Parents no longer have the time, will, or ability (so they claim) to properly censor all aspects of culture their kids might be exposed to, so a rising chorus demands the government do it for them.
Yet these efforts only underline the scattershot nature of an institutional overview of today's wide-open mediascape. Read more »
Olivier Assayas's films are both strange and engrossing, so much so that they may evade broad comprehension on the first go-round. Whereas instigating French new wave directors like Jean-Luc Godard and François Truffaut played fast and loose with tone and narrative structure to create jarring juxtapositions, Assayas does so to effect a subtler, more mysterious sense of illumination. Read more »
Sergey Eisenstein's legendary 1925 film Battleship Potemkin was declared a masterpiece from the moment it premiered, and it has placed near the top of greatest-film polls for as long as such polls have existed. According to legend, Douglas Fairbanks imported his own copy and showed it to the Hollywood elite in private screening rooms; no one was converted by its politics, but everyone was euphoric over its pure technical prowess. Read more »
There's a moment in Lust, Caution (Se, Jie) in which you can clearly make out the writing, and this most awkward title's embedded warning, on the wall. The scene: a humid, tryst-friendly boudoir in Japanese-occupied Shanghai. Read more »
Nature enjoyed rebelling against arrogant, polluting humankind in the paranoid ecosploitation cinema of the 1970s: Prophecy, Phase IV, Frogs, Sssssss, The Food of the Gods, and even the Oscar-winning fake documentary The Hellstrom Chronicle all suggested Mother Nature was mad as hell and not going to take it anymore. Back then, though, nature was just bitching within safe fantasy confines. Read more »
Some films glean artful pleasure from the pains of labor. One flourishing subgenre or strain of documentary tackles working conditions in countries across the world, highlighting the plight of the marginalized to make ends meet and maintain dignity in the face of unjust or extreme conditions. In a sense, Ghosts and Numbers and Luchando, two features at this year's San Francisco Documentary Film Festival, belong to this group, but they are most interesting for the ways that they differ from it, in content and style. Read more »
1. 4 Months, 3 Weeks and 2 Days(Christian Mungiu, Romania, 2007). This Romanian debut feature possesses a nonjudgmental flow reminiscent of a Dardenne brothers film as it follows two women who negotiate for an illegal abortion during the final days of Nicolae Ceausescu's Communist regime. You'll be holding your breath as the characters dash from one nightmare to the next. There's a reason this movie won the Palme d'Or at the 60th Cannes Film Festival.
2. Flight of the Red Balloon(Hou Hsiao-Hsien, France, 2007). Read more »
If you can end your Toronto International Film Festival experience with a movie that climaxes in a 10-minute fistfight (roofs collapse, cinder blocks are smashed, tables become splinters, ankle bones snap like twigs, and vengeance is won ... but at what price?), that qualifies as a joyous note in my book. Read more »
Josef von Sternberg and Marlene Dietrich, Federico Fellini and Marcello Mastroianni, Akira Kurosawa and Toshiro Mifune legendary screen team-ups betwixt a vision-questing director and his or her alter ego star filter are the stuff of cinematic legend. Read more »