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The Birds (1963)
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Comic-Con 2008: Barbie Invades ...
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"Forget Iron Man, Batman, Superman, and all the other average joe male superheroes. Comic-Con is all about the Barbie. Mattel’s booth has one glass display case tucked away in the corner, far away from their massive replica of Castle Grayskull, and it’s an entire homage to Barbie. You’ve got Barbie as Supergirl, Barbie as Wonder Woman, Barbie as Batgirl, Barbie as Catwoman, Barbie as Trixie from Speed Racer and… Barbie as Tippi Hedren from The Birds? Nothing really says “comic book fan” like a Barbie action figure dressed up as the star of a 1963 Hitchcock film, complete with a trio of attacking ravens. I totally want one. Photo evidence after the jump. Originally posted on:SpoutBlog "
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Weekend at Bodega Bay
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"SPOILER ALERT: Don't read if you want to see Magnolia. The most surprising aspect of this movie is how long it takes for the birds to attack. When they finally do, it feels like they're interrupting a movie that would've been perfectly good without them, a complex and suspenseful screwball comedy. Ultimately the thrills of the second act fall short, and not because of cheesy effects. Hitchcock and co. are remarkably resourceful within their technical limitations. No, what makes it fall short is that birds just aren't that scary. M. Knight Shyamalan cites this movie as inspiration for The Happening. There's a thematic connection, but structure-wise a film that's far closer is From Dusk Till Dawn. Both films deliver in the first act and drop the ball when the tone switches. (And Shyamalan's film is inept but comical all the way through.) I think I would like this movie more if it were called Weekend at Bodega Bay; calling the film The Birds is like referring to Magnolia as The Frogs. "
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FilmCouch #75 - The Happening: ...
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"M. Night Shyamalan’s The Happening is as bad as we feared (or hoped?). Shyamalan, and the studios who have dared to work with him, would like to paint him as a first-bill auteur, a director of genius and vision who’s name atop the poster puts butts in seats. Alas, things do not looks good for ol’ Manoj. In this episode of FilmCouch we compare The Happening with two classics by directors whose names do sell movies, and who have influenced Shyamalan’s career: Spielberg and Hitchcock. Duel, Spielberg’s first film, is a lost gem, and a must-see for anyone hoping to populate their film with a faceless evil. And of course, we look at Hitchcock’s The Birds, the genesis of the spooky nature-turns-on-man sub-genre. (Subscribe to FilmCouch–Spout’s weekly movie podcast–in the iTunes store or to our
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Put Down That Frog and Step Awa ...
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"Before dealing with the end of the world as we know it, which this movie does not explicitly mention but which is lurking there in the unspoken background - before dealing with that, it being a pet peeve of mine, let me mention first an equally annoying pet peeve: many podcasters, the Spout podcasters occasionally among them, use the expression "begs the question" when they actually mean "raises the question." This error of diction has become so common in the U.S. today that it's probably useless to even mention it here, but since I heard it again on FilmCouch recently, let me remind those who might be unaware of it that "begging the question" is a form of logical fallacy in which an argument is assumed to be true without evidence other than the argument itself. Thank you. Meanwhile, back in the day, if you hated documentaries but had to write a paper on one, you could head down to Ninth and Trawler and catch The Nudist Story at the Jewel Box. The Nudist Story is the film where eve ... "
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Sex and the City Uncensored: Bl ...
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"“Once Upon A Time in America, Dead Man, L’Argent, Ivan the Terrible, Crash—these are some of my favorites in the BFI series of monographs,” Girish writes. “Are there others in the series you particularly like and would recommend?” I read tons of these in grad school; my favorites included Groundhog’s Day, Independence Day, Salmon Rushdie on The Wizard of Oz, and Camille Paglia on The Birds. Jeff Wells, after trisecting Gus Van Sant’s career, worries which version of the filmmaker showed up to make Milk. “If Van Sant who made Drugstore Cowboy is making Milk, terrific. If a blend of that Van Sant along with the guy who made Elephant is directing Milk, beautiful. But if the Finding Forrester Van Sant is anywhere near the Milk set, watch out.” On a recent press tour for Smart People, Sarah Jessica Parker was reluctant to speak about the Sex and the City movie at all, but she did try to assuage wo "
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Sex and the City Uncensored: Bl ...
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"“Once Upon A Time in America, Dead Man, L’Argent, Ivan the Terrible, Crash—these are some of my favorites in the BFI series of monographs,” Girish writes. “Are there others in the series you particularly like and would recommend?” I read tons of these in grad school; my favorites included Groundhog’s Day, Independence Day, Salmon Rushdie on The Wizard of Oz, and Camille Paglia on The Birds. Jeff Wells, after trisecting Gus Van Sant’s career, worries which version of the filmmaker showed up to make Milk. “If Van Sant who made Drugstore Cowboy is making Milk, terrific. If a blend of that Van Sant along with the guy who made Elephant is directing Milk, beautiful. But if the Finding Forrester Van Sant is anywhere near the Milk set, watch out.” On a recent press tour for Smart People, Sarah Jessica Parker was reluctant to speak about the Sex and the City movie at all, but she did try to assuage wo "
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Scorsese Shills For Wine
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"Martin Scorsese has never been shy about aligning himself with brands, but when the offer came in to shill Freixenet sparkling wine, he must have momentarily flashed back to Orson Welles’s Paul Mason commercials. There’s a difference between taking home a paycheck, and prostrating your legacy to a bald-faced, half-assed cash-in, remembered for all eternity via the YouTube dissemination of regrettable outtakes. It’s no wonder, then, that this elaborate Freixenet ad directed by and starring Scorsese barely announces itself as an ad until the final minute or so. The concept: Scorsese the tireless film preservationist finds three pages of an unproduced Alfred Hitchcock project called The Key to Reserva; Scorsese the filmmaker decides to film the pages “the way [Hitchcock] would be making it then, only making it now.” The ensuing short combines elements of
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