By now I’m sure that everyone knows that Lucas has, once again, decided to mangle The Original Trilogy for its September 16 Blu-Ray release. We have this scene:
described as “Krayt Dragon Call” but sounds more …
Book and lyric writer Anna Marquardt and composer Britt Bonney capture the exuberance of the time with a menu of tuneful, cleverly worded songs that incorporate tango, foxtrot and jazz motifs
Everything seems right about the setup. In a refreshing change from the norm, Sally is the kind of character who does not falter at reaching or peering into dark places. She seems to be intelligent and adventurous, never giving a thought to the possibility of monsters. This causes us much anxiety on her behalf, as we know something is lurking before she does.
This weekend’s Don’t Be Afraid of the Dark (which I saw at a film festival last fall and didn’t enjoy, much to my chagrin) is the latest in a series of flicks Guillermo Del Toro …
Collins’ strong suit is suspense tinged with bafflement. When it works, you’re reeling from the last twist in the plot, and wondering where it’ll go next. When it doesn’t, you’re still trying to work out whose will has just been overturned by the return of the mysterious stranger who looks exactly like the missing heiress whose marriage records…and so the next twist is rather a moot point.
More importantly, the good-for-you, vitamin-enriched Renaissance we know today is itself a fairly recent, and largely American, historical construction.
In the age of equality, is it bad to be sexy? Fun to be bad? Which costume is more empowering: the corporate suit or the Victoria’s Secret intimates? The troubled protagonist of The Tutor doesn’t quite find the answers, but attracts plenty of fun and trouble as she embarks on her quest.
Glyndebourne: one of the names in the British calendar. Up there with Wimbledon, Henley and other occasions which involve large quantities of strawberries being consumed in extremely specific clothing. With the added attraction of some of the best opera in the world.
Despite the subject matter, and the evident success of the play, the particular style of performance the Globe encourages seemed to throw the play off kilter a few times. There was too much “playing at naughtiness”, an easy iconoclasm feeding off the sense that jokes about sex are risky and daring in a play about the Renaissance in Shakespeare’s “own” theatre.
El Shaddai is absolutely gorgeous. Each level of the tower of the Fallen contains unique and often totally surreal and psychedelic art design; from neon framed skylines, to impressionist landscapes of floating terrain, and an industrialized highway resembling the love-child of Tron and Blade Runner. Topping it off is just an impeccable use of cel-shading and filters that bring the often insane level architecture and world design to its perverse life.
Discerning “Buffy the Vampire Slayer” fans will have noticed Fright Night’s screenplay is written by Marti Noxon, who penned some of the best episodes of the WB show. Who better to take on a screenplay about a solo teenager combating vampires? Noxon’s screenplay is witty, gory, and fast-paced. Cinematographer Javier Aguirresarobe, who also did memorable work on The Others, Vicky Cristina Barcelona, and The Road, made Vegas, a city of lights and constant motion, seem remarkably cold and foreboding.
Marcus Nispel’s Conan The Barbarian knows what it is, and, as a movie, it will probably provide target audiences with exactly what they want: blood and boobs. Not everything set in this “era” can be (or should be) Game of Thrones or Lord of the Rings.
Carthage, however, was not merely conquered by Rome. As the title of Miles’ book asserts, Carthage was destroyed. In three brutal wars, Carthage’s military power was annihilated by the legions of the Roman Republic. The city was ransacked and burned, down to its foundations. The people of Carthage were massacred or enslaved. The literature of the city was put to the torch. Not a stone was left upon a stone.
Where West’s incarnation as Detective McNulty was part of a sprawling, panoramic vision of a social and political system in crisis, Butley hones in on one man frenetically working his own destruction in an academic office. Gestures are made towards student radicalism and changing mores, but Butley’s existential battle is conducted on viciously hand-to-hand terms.
Forget good fences, and forget good neighbors. Characters in movies and television are far more compelling when not acting the least bit neighborly.