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Karina on SpoutBlog

  • Color Correction and Conflict Avoidance. BlogNosh 07/07/08

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    Under discussion:

    My Sister Eileen  (1955)

    • At Cinematical, Erik Davis notes that although some bloggers fretted that Sony Pictures Classics would allow The Wackness to “disappear in limited release … and be eaten by a Cabbage Patch Kid, or whatever,” the film actual opening weekend “numbers [were] pretty frickin’ awesome.” And yet, are said fretting bloggers “congratulating SPC on a job well done? Nope. Not at all.”
    • Nick Schwartz is unemployed. “Or, ‘between things,’ as I’ve been told to say,” he writes at ShortEnd Magazine. This leaves him lots of time to watch movies from the Brooklyn Public Library, read James Agee, and contemplate conflict avoidance: “I’m not some kind of idealistic idiot. ‘Shut The **** Up!’ might be some kind of bizarre, fanciful, Lumet-inspired concept of how New Yorkers are supposed to handle conflict.”
    • Who would make a final color-corrected master of their movie so that 70% of the theatrical audience wouldn’t be able to see the colors properly?” asks David S. Cohen at Thompson on Hollywood. “Apparently, the Wachowski Brothers.”
    • At Bright Lights After Dark,

    Originally posted on:SpoutBlog » Karina Longworth

  • Blatant Self-Promotion: DVD Panache Interview

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    Under discussion:

    Pet Sematary  (1989)

    About a month ago, I emailed Adam Ross and asked him if he’d let me do one of his Friday Screen Test interviews at his blog, DVD Panache. He graciously agreed to allow me to promote myself via personal movie history confession. The interview is up now; I’ve pasted an excerpt after the jump, as companion to the above video. You can read the full thing here. Also: I’d like to note that I just laughed out loud reading the quote that makes up the entirety of the “About Me” section of Adam’s blog: “I think it would be fun to run a [blog].” –C.F. Kane.

    FILM ERA OR GENRE YOU’RE A LITTLE OBSESSED WITH: ‘Macro: everything from the 1930s, particularly early talkie sex farces and horror films. Micro: 1934, the year of The Black Cat, The Gay Divorcee, The Scarlett Empress, weirdly class-conscious pre-screwball (and barely pre-Code) comedies like Servant’s Entrance. I could go on…’

    THREE THINGS YOU’VE LEARNED FROM WATCHING MOVIES:
    1. Smoking and drinking are cool.
    2. When two people want to have sex with each other but can’t, they either argue or dance.
    3. The dead rising from the grave is the fundamental fantasy of contemporary culture. (Actually, I think I learned that from Slavoj Zizek, but I’m pretty sure he was talking about Pet Sematary, so it counts.)


    Originally posted on:SpoutBlog » Karina Longworth

  • Wall-E and Politics

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    Wall-E  (2008)

    I spent much of last week trying to avoid all that hysteria about Wall-E being “left-wing, America-hating propaganda,” even though I’m absolutely positive that The Sorcerer’s Apprentice was responsible for that steep rise in an interest in black magic amongst teens in the early 50s, and also that there would be neither PETA nor any form of federal gun control if it weren’t for Bambi. But what can I say? For whatever reason, I wasn’t in the mood to hear Steve Jobs compared to Joseph Goebbels, or to sound the violins for the poor demonized corporations, any of which could surely rule our state better than any democracy. Chalk it up to the holiday, I guess!

    But now, here comes Frank Rich, late to the party but determined to shoot it up nonetheless. “Wall-E For President!” his NY Times Op-Ed column shouts from the headline––the exclamation mine, but definitely implied. Tired of seeing Wesley Clark’s talking head on TV, he explains, Rich went to the movies last week to see Wall-E. After making the patently false statement that the film counts as “a rare economic bright spot” in the current movie year (yes, it did well, but a LOT of movies have been doing well––virtually every movie vertical is doing better than 12 months previously), Rich declared the apocalyptic animated film to be “more realistically in touch with what troubles America this year than either the substance or the players of the political food fight beyond the multiplex’s walls.” Read: people are fat, they live amongst garbage and they allow corporations to control their lives, and John McCain and Barack Obama don’t even notice! But the kicker doesn’t come until the final paragraph:

    Mr. McCain should be required to see Wall-E to learn just how far adrift he is from an America whose economic fears cannot be remedied by his flip-flop embrace of the Bush tax cuts (for the wealthy) and his sham gas-tax holiday (for everyone else). Mr. Obama should see it to be reminded of just how bold his vision of change had been before he settled into a front-runner’s complacency. Americans should see it to appreciate just how much things are out of joint on an Independence Day when a cartoon robot evokes America’s patriotic ideals with more conviction than either of the men who would be president.

    I haven’t seen Wall-E, and though I’m sure it’s just as good as everyone insists it is and totally deserves 20 million Oscars (or else it’s a virus that’s going to turn Our Children into tax-hiking Commie zombies––whatever!), there few things in this world that irk me more than the sanctimonious suggestion from a newspaper columnist that prospective world leaders “could really learn a thing or two” from watching a Hollywood movie, let alone a Hollywood movie geared toward an audience old enough to be susceptible to the charm of the film’s assorted synergistic tie-ins, but too young to actually pay for their own ancilaries themselves. Shit is, as we know, pretty bad out there, but it’s hard to decide what’s the more ridiculous rhetoric suggestion for the replacement of our current political system: rescue by corporation, or by cartoon.


    Originally posted on:SpoutBlog » Karina Longworth

  • Mamma Mia: Delayed Revenge Against Pauline Kael?

    2 out of 2 people found this review helpful. [What do you think?]
    Under discussion:

    Mamma Mia!  (2008)

    Meryl Streep has previously sung on screen (most recently for Robert Altman’s A Prairie Home Companion), but the upcoming Mamma Mia! is the first real musical of her 30 year career. Why all the singing and dancing, and why now? “It was to prove Pauline Kael wrong,” insists Stuart Jeffries.

    In this Guardian interview, he suggests to Streep that her decision to take a lead role in this likely summer blockbuster was nothing but a long-delayed strike against the film critic who decades earlier complained that Streep acted only “from the neck up.” Amazingly, Streep essentially shrugs and says, “Yeah, maybe”––and then goes on to tie Kael’s criticism of the actresses body language to the film critic’s ethnic/economic insecurity. The actual, speculative diss after the jump.

    Kael’s bile hurt Streep. “It killed me,” she once said. But at least, I suggest, by taking this role in Mamma Mia! you are, in a very literal, high-kicking way, proving Kael wrong. Few 59-year-old screen actors seem as lively from the neck down as she does as Donna.

    “I’m incapable of not thinking about what Pauline wrote,” Streep replies seriously. “And you know what I think? That Pauline was a poor Jewish girl who was at Berkeley with all these rich Pasadena Wasps with long blonde hair, and the heartlessness of them got her. And then, years later, she sees me.”

    Of course, there’s a long tradition of film critics taking out their own ethnic and economic anxieties on poor, beautiful, defenseless actresses, and Kael was particularly vindictive against blondes. Except when she was praising Michelle Pfeiffer and calling Mariel Hemingway “a goddess.” But the rest of the time, yeah, pretty much everything she came up with came from being a poor, bitter Jew. Thank god an Abba musical came along so that Streep could finally fight back!


    Originally posted on:SpoutBlog » Karina Longworth

  • Hancock Not Huge, But Good Enough. Trade Roughage 07/07/08

    1 out of 1 people found this review helpful. [What do you think?]
    Under discussion:

    The Fly  (1986)

    Hancock  (2008)

    The Wackness  (2008)

    • Hancock made $107.3 million over the five night weekend, giving the Will Smith fractured superhero tale the third best July 4th opening of all time. It’s considered a victory for Smith’s star power, but it’s still almost $50 million less than Spider-Man 2 managed in a similar time frame. Meanwhile, The Wackness enjoyed the highest per-screen average of the weekend, earning $24,177 on each of its 6 screens.
    • SAG is expected to make an announcement today about AMPTP’s “final offer”––although they might just announce that they need more time to think it over. Meanwhile, at a press conference at the Karlovy Vary Film Festival over the weekend, Robert DeNiro argued against a strike, accusing his fellow actors of not having “done their homework” on the economics. “I do not know if it is the right time to be doing this at all with the economy the way it is,” he warned.
    • The opera directed by David Cronenberg based on his movie version of The Fly is bombing with French critics. Though complaints regarding the score’s “lack of expertise and imagination” have damaged ticket sales somewhat, apparently “Cronenberg diehards, Paris’ trendy 30ish art crowd and a sprinkling of goth girls” are still coming out in full force.

    Originally posted on:SpoutBlog » Karina Longworth

 

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