http://www.laweekly.com/ink/05/19/film-taylor.php
The LA Weekly’s review of Sin City. It touches on many of the points we’ve been discussing of late.

i can’t tell if this show is getting more or less ridiculous, but i am compelled to watch.

apparently the west was not the jolly barrel of laughs it was portrayed as being in films such as “paint your wagon” and “blazing saddles”. season 1 established that a lot of people swore then/there, and thanks to season 2 i know that doctors did not use much anaesthesia. but where exactly is all the laundry being done? the people on this show are done up better than on masterpiece theater. perhaps season 3 will clear this up.

did you lot read this article in the ny times about the new hollywood comedy power brokers?

Mr. Ferrell, Mr. Apatow and Ben Stiller are among the club’s kingpins. Mr. McKay, Owen Wilson, Jim Carrey, Vince Vaughn and Jack Black belong, as do Nick Stevens, a United Talent agent who represents Mr. Carrey and Mr. Stiller, and Mr. Gold and Mr. Miller, who have much of the group in their stable.

The funnymen appear in one another’s movies, from “Dodgeball” to “Anchorman” to “Elf” to “Zoolander,” creating a wheel-of-comedy effect that can leave viewers wondering just whose movie they’re watching. What’s more, the stars and their representatives live, work and play in a continuum that has virtually shut the studios out of the development process. By coming up with their own concepts, finding screenwriters and then offering the whole package for production – script, director and cast, take it or leave it – this group is reshaping screen humor to their liking.

whatever happened to janeane garofalo and sarah silverman?

Under the Scorsese post, I was going to bring up Richard Price (who wrote the “NY Stories” segment directed by Marty, whom I call Marty). Price is a helluva novelist and an equally strong screenwriter, although the stuff he’s done tends toward the better B-movie genres and thus gets too little acclaim. (“Ransom,” for instance, despite workaday direction by little Ronnie Howard, gives Delroy Lindo and Gary Sinise and even Mel Gibson some great gristly chatter.)

There are a couple screenwriters or scripts which get the nod–they get bandied about in the trades, ballyhooed on awards show; it’s conceivable that they, too, are for better or worse celebrities in the star machine. Kaufman, the delightfully execrable Joe Eszterhas, etc.

But who are the unsung heroes of film writing? One of the reasons I love “After Hours” is its astonishingly precise and pitch-perfect script, by Joseph Minion. (I actually do searches trying to see what he’s done since–and it’s pretty hit or miss. Although the most recent flick he wrote, “On the Run,” has two great performances by Michael Imperioli and, especially, John Ventimiglia, who plays Artie Bucco on “The Sopranos.”) UNSUNG, now–don’t say John Sayles or Preston Sturges.

And speaking of unsung, I should add Delroy Lindo to my post on presences, or just give him his own heading. He is particularly astonishing in “Crooklyn,” “Clockers,” and even salvages some of “A Life Less Ordinary.”

i’ll say for the last time: i don’t dislike “after hours”; i would just put these films above it:

“king of comedy”–my favorite scorcese
“taxi driver”
“raging bull”
“mean streets”
“gangs of new york”–pete, sunhee and i saw this together and we all loved it.

I’ve been on a Japanese bender recently, especially after reading Peter Carey’s memoir Wrong About Japan: A Father’s Journey with His Son. I’ve read two novels by Haruki Murakami: Kafka on the Shore and The Chronicle of the Wind-Up Bird (while critics seem to favor the latter I found his most recent novel, despite its flaws, the more entertaining and thought-provoking read) and watched a number of films: Yasujiro Ozu’s Floating Weeds, Isao Takahatu’s Grave of the Fireflies, Ryosuke Hashiguchi’s Like Grains of Sand, Hirokazu Kore-eda’s After Life and Nobody Knows. I also watched Shunji Iwai’s All About Lily Chou Chou for a second time. I can’t say I have come any closer to an understanding of Japanese culture—if anything these works seem to reflect a country that is more radiant chimera than coherent nation. (more…)

She writes: “The fact that “Oldboy” is embraced by some cinephiles is symptomatic of a bankrupt, reductive postmodernism: one that promotes a spurious aesthetic relativism (it’s all good) and finds its crudest expression in the hermetically sealed world of fan boys.” If there are no women on this site willing to speak, I’ll let Ms. Dargis do the talking. Boys what do you think?

speaking of fat girl, we watched “bridget jones: the edge of reason” last night. this is what i don’t get about these movies–and let me note that i quite enjoyed the first one: instead of getting a hollywood actress to put on a lot of weight for a role (which i guess, along with the accent, means she’s “acting”) why not just hire a talented actress who isn’t an anorexic to begin with? ditto for charlize theron in “monster”. i mean, it isn’t like the character’s weight is fluctuating in the film (as with de niro in “raging bull). yes, yes, i get how the box-office/star system nexus works.

this would not be a bad film to watch on a plane but there’s no reason to watch it under any other circumstances–i don’t know why we did.

other notes: hugh grant is so much better playing against type (see also “about a boy” and “an awfully big adventure”); what is the appeal of colin firth? now that clive owen is on the scene are there enough roles for the two of them and sean bean?

This is a well made, well acted film that I would recommend to most poeple on here, though it would likely offend some of the more moralistic types, like the late Bruns. I watched this more than a week ago, and have been thinking about it since, but I dont know that I have much to say about it. The point of view is through the eyes of a fat 13 year old girl, watching (being dragged along like a dog sometimes) by her beautiful, slightly older sister.

The director has taken a lot of heat for her films over the years – I remember “Romance” being pretty well loathed, but after enjoying Fat Girl, I will look for more of her stuff. If anyone else has seen Fat Girl, and has thoughts on it, I’d like to hear them. Also, it contains a small, but strong performance by Atom Egoyan’s wife, Arsinée Khanjian, whom I always love to see. (more…)

i just received an email from amazon touting something called lady in a cage. has anyone seen it? here’s part of the amazon summary. (the full summary at amazon gives the entire plot away so beware.)

In Lady in a Cage, Olivia de Havilland plays an aging, wealthy widow who is recuperating from a recent hip operation and is forced to use an elevator to get from one story of her home to the other. While she’s headed for the upper story of the house, a power failure occurs that leaves her stranded in the elevator car 12 feet off the ground. The elevator’s alarm bell arouses the curiosity of a passing wino, who comes in and helps himself to the widow’s wine cellar. The transient and a friend begin looting the house until they are one-upped by a trio of feral, neobeatnik thugs (led by a very young James Caan). All the invaders merely ignore the widow’s pleas for help as they toss her house in an orgy of violence.

i don’t know that i’m going to buy it but if netflix gets it i’m definitely renting it.