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Filth and Wisdom (2008)
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All reviews for Filth and Wisdom
10 Musicians-Turned-Filmmakers
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"It hasn’t been terribly uncommon since the late ’60s for musicians to get behind the camera, whether for a straight concert film, a tour documentary or some kind of silly narrative focused on themselves and their bands. Jerry Garcia co-directed The Grateful Dead, Frank Zappa co-directed 200 Motels, The Beatles collectively co-directed The Magical Mystery Tour and separately John, Paul and Ringo has each taken the helm on a film project, some more artsy (John and Yoko’s cinematic collaborations, like Up Your Legs Forever) or less self-focused (Ringo’s Marc Bolan doc, Born to Boogie) than others. Now it’s a little more common for musicians to become directors of fictional films that aren’t so reflexive. Many don’t even have anything to do with music at all. And many are so awful that it’s safe to say the filmmaker should stick to mus "
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Madonna’s Filth and Wisdom Review
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"Not to diminish any of her myriad accomplishments (and I will never, ever begrudge her creative partnership with David Fincher), but it seems inarguable that history will remember Madonna most vividly as a cultural vampire: a supernatural creature (who, if not verifiably immortal, then certainly in hard-earned denial about her age), she’s sustained herself by sucking the lifeblood other artists, images, trends, cultural movements. From the punkish red scrawl of the opening credits forward (Is dotted with white Xs), Madonna’s feature directorial debut Filth and Wisdom seems of a piece with her previous work, in that it’s in some way about Madonna herself hiding behind borrowed aesthetics. Madonna has previously namechecked everyone from Godard to Pasolini as an inspiration, but while Filth and Wisdom has traces of the invention via ignorance seen in those auteurs’ early films, that’s where the comparisons end. T "
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Madonna’s Filth and Wisdom Review
by
SpoutBlog
in
SpoutBlog on spout.com
hasn't rated it.
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"Not to diminish any of her myriad accomplishments (and I will never, ever begrudge her creative partnership with David Fincher), but it seems inarguable that history will remember Madonna most vividly as a cultural vampire: a supernatural creature (who, if not verifiably immortal, then certainly in hard-earned denial about her age), she’s sustained herself by sucking the lifeblood other artists, images, trends, cultural movements. From the punkish red scrawl of the opening credits forward (Is dotted with white Xs), Madonna’s feature directorial debut Filth and Wisdom seems of a piece with her previous work, in that it’s in some way about Madonna herself hiding behind borrowed aesthetics. Madonna has previously namechecked everyone from Godard to Pasolini as an inspiration, but while Filth and Wisdom has traces of the invention via ignorance seen in those auteurs’ early films, that’s where the comparisons end. T "
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Blogging Berlin 02/14/08
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"Jurgen Fauth has nothing but praise for Heavy Metal in Baghdad (we felt pretty much the same when we saw it in Toronto), the screening of which, Jurgen says, “was so oversold that I ended up in the front row, effectively watching a distorted fun house mirror version of Suroosh Alvi and Eddy Moretti’s documentary.” “Most of the European critics came down pretty hard on Petri Kotwica’s Black Ice, a film in competition from Finland,” notes Filmbrain, “But I found this deliciously dark drama about dangerous deceptions to be a good bit of trashy fun.” Mr. Grant is far less enthusiastic about In Love We Trust and Just Anybody. Daniel Kasman is not entirely sold on Guy Maddin’s My Winnipeg, but he concedes “Maddi "
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Blogging Berlin 02/14/08
by
SpoutBlog
in
SpoutBlog on spout.com
hasn't rated it.
Was this review helpful?
[Be the first to tell us!]
"Jurgen Fauth has nothing but praise for Heavy Metal in Baghdad (we felt pretty much the same when we saw it in Toronto), the screening of which, Jurgen says, “was so oversold that I ended up in the front row, effectively watching a distorted fun house mirror version of Suroosh Alvi and Eddy Moretti’s documentary.” “Most of the European critics came down pretty hard on Petri Kotwica’s Black Ice, a film in competition from Finland,” notes Filmbrain, “But I found this deliciously dark drama about dangerous deceptions to be a good bit of trashy fun.” Mr. Grant is far less enthusiastic about In Love We Trust and Just Anybody. Daniel Kasman is not entirely sold on Guy Maddin’s My Winnipeg, but he concedes “Maddi "
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