we like to watch

it is indeed a shame that a man with such lineage (he’s the son of gabriel garcía márquez) should be so distinctly untalented. i’ve seen two of his films, albert nobbs and things you can tell just by looking at her, and while i appreciate his attempts to present life from women’s point of view, i have to bemoan his utter failure.

Paul Thomas Anderson’s The Master is an uncompromising, rigorous and disciplined work of modernist cinema—a twisty, difficult film which undermines all expectations, keeping the spectator at a critical distance throughout yet continually holding our attention via mesmerizing visuals and knotty moral and ethical conundrums. Gorgeously shot and edited, The Master looks magnificent on the big screen, and the relationship between the film’s two central characters generates a lot of heat – the work on display is about as explosive and compelling as screen acting gets.

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Just got word of this new story in Slate, about the release of Normam Mailer films. The 9-minute clip embedded in the story is mesmerizing, and I highly recommend you watch with the sound turned up, as it is often muddled. I don’t quite know what to make of it.
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Looking for film suggestions for a Gen Ed course on immigrant literature.  Feature films that are accessible and teachable–I’m thinking of doing 2-3 films in addition to the literature.  This is a new course with a historical span.  Also anything featuring immigrants in the Midwest would be great too.  Thanks!

If it is not too hard to believe, Expendables 2 is even better than its predecessor. Sure, it essentially has no plot, and there is something painful about watching Stallone and Dolph Lungren stagger around the place pretending to be young again. But the action sequences are well-choreographed, and it is played for laughs with everyone pretty much winking their way through the scenes. Van Damme is slyly villainous; Chuck Norris has a couple of good turns. And Schwarzenegger has a blast. He and Bruce Willis trade references to each others’ movies. It’s silly, very silly, but it’s my kind of silly. Continue reading →

Here is a not-too-awful print of a rare short film by Sam Peckinpah: his adaptation of Katherine Anne Porter’s short story “Noon Wine.” It aired on ABC’s “Stage ’67″ in 1966 and stars Jason Robards, Olivia de Havilland, Theodore Bikel, as well as a couple more Peckinpah stand-bys, Ben Johnson and L.Q. Jones. If you’re a Peckinpah fan, I’d love to hear your thoughts about the film, which Peckinpah made between the ill-fated Major Dundee and his triumph, The Wild Bunch. It so happens that Jerry Fielding (blacklisted in 1953 and did not return until 1961) did the music here, and there are some motifs in the score that will reappear in The Wild Bunch.

Robards is great–just the perfect role for him (he will play a similar character in The Ballad of Cable Hogue. Peckinpah manages to get a pretty good performance out of de Havilland (though I understand his methods were borderline sadistic). Bikel is just on the right side of not too over the top and, although only on screen for about a minute or so, L.Q. Jones is terrific. The swedish actor Per Oscarsson plays the escaped loony Olaf. An odd performance, perhaps not well-suited to a Peckinpah film.

I’ve never seen Peckinpah use so many dissolves and superimpositions. They’re there in The Wild Bunch, certainly, but nothing quite like this–but here he has to tell a long story (really a novella) in just under 50 minutes, so I guess they’re necessary.

Can’t seem to embed the video (Arnab?) so here’s a link.

4697645 from John Bruns on Vimeo.

It’s chilling to think that the same carnival atmosphere I experienced at the midnight showing here in Ohio turned into a bloodbath in Colorado. There is some more poignancy to a light-hearted exchange between Batman and Catwoman/Selina Kyle about the ethics of eschewing guns.

You know the plot from the reviews: Batman has been in self-imposed exile for eight years, paying the price for the canonization of Harvey Dent. Bane arrives in Gotham to complete the cleansing task begun by Ra’s Al Ghul in the first movie of the triology. Batman comes out of retirement, is beaten and humiliated by Bane who engages in assorted terrorism and mock class warfare until Bruce Wayne has recovered enough for the final showdown. This movie links back satisfyingly to Batman Begins in countless ways, large and small, so that we really do see the trilogy as part of a common arc. Continue reading →