Columns
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Shooting a Movie in 25 Days for Blumhouse: Phil Joanou on The Veil
One of the best American suspense films of the last ten years sneaks onto VOD, iTunes, and Netflix streaming this week as director Phil Joanou’s The Veil arrives courtesy of Universal and Blumhouse. A movie in the subgenre that James Mangold once referred to as “the cinema of unease,” it’s a slow burn horror flick that skillfully utilizes the Blumhouse production model (which yielded The Purge, Sinister, and The Visit) to tell a slightly more ambitious – though no less unsettling – tale. Working from a subtle, complex, and ruthlessly original script by Robert Ben Garant, Joanou tells the story […]
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Prime Time: Jacob Gentry’s Synchronicity
Among Synchronicity director Jacob Gentry’s formidable gifts is a sharpened sensitivity to context, background, and setting that frees him to put in his characters’ mouths dialogue that might seem in the hands of less attuned writer/filmmakers overblown, at best chuckle-worthy in its impropriety. After all, even before being forged into a balanced partnership, these variables are already so complex. Consider the following line from the film as if it were a stand-alone: “Time is a great teacher that eventually kills all its students.” It does express a truism, but it also sounds, and reads, pretentious. One of several correctives would […]
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“The Grain of Super 16 Gives the Film Another Layer”: Edward Lachman on Carol
If cinematographer Edward Lachman was inclined towards chasing golden statuettes, he would shoot nothing but ’50s-era forbidden romances for Todd Haynes. Lachman’s initial film to match that descriptor – 2002’s Far from Heaven – earned his first Oscar nomination. This morning Lachman landed his second nod for his work on Carol, another ’50s-set romance, this time between an unhappily married New York housewife (Cate Blanchett) and a budding young photographer (Rooney Mara). Carol marks Lachman’s fourth film with Haynes, highlighting a five-decade career that includes collaborations with Robert Altman, Steven Soderbergh, Todd Solondz, Paul Schrader, Sofia Coppola, and a sizable […]
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David Bowie, 1947 – 2016
I’ve been listening to David Bowie’s new Blackstar all week, and its lyrical ruminations on mortality — some aching, some cheeky — are inescapable. Still, the idea that these were prompted by anything more than an impending 70th birthday didn’t occur to me. It seemed unbelievable that David Bowie would not be around for a little while longer. So, it’s a sad day to wake up to the news that Bowie has died. So meaningful, influential and vital through so many different periods of our lives. For me, the Berlin trilogy, my first arena show, The Man Who to Earth, […]
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Dancer in the Dark: Ross Partridge’s Gutsy Lamb
A minor blip on a warm Chicago afternoon. No one seems to notice that an 11-year-old waif, Tommie (a precocious Oona Laurence) is grabbed and pushed into a car by a stranger, the 47-year-old David Lamb (director Ross Partridge). Her pals — two seventh-grader girlfriends from school standing beside her — don’t even bother to report the feigned abduction, which is David’s twisted provocation after they dared the diminutive, eager-to-please child, decked out in attention-grabbing stiletto heels, to bum a cigarette from this complete stranger. Unperturbed, Tommie willingly accepts David’s offer of a road trip to rural Wyoming for nearly […]
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“Looking for False Performance Beats”: Editor Fred Raskin on The Hateful Eight
As the first film to be shot in the Ultra Panavision 70 format since Khartoum in 1966, Quentin Tarantino’s The Hateful Eight has deservedly garnered a lot of attention for its cinematography; shot in an extra-wide aspect ratio on a 65mm negative, it’s undeniably a spectacular showcase for director of photography Robert Richardson’s visual gifts. Subtler, but perhaps even more impressive, is the contribution of editor Fred Raskin, who assembles the 2.76:1 images like a maestro of space, timing, and movement. At over three hours in its Christmas Day “roadshow” edition, The Hateful Eight doesn’t have an extraneous frame – […]
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Christmas Surprise Tracks from LCD Soundsystem and Radiohead
Here’s hoping this becomes a new tradition — surprise releases from great bands that are actually pretty good! The first, what will become a seasonal classic for melancholics everywhere, is from a band that technically doesn’t even exist anymore: LCD Soundsystem. And the second is an unused theme for the James Bond film Spectre by Radiohead. First, here’s what LCD Soundsystem’s James Murphy wrote to accompany “Christmas Will Break Your Heart”: so, there’s been this depressing christmas song i’d been singing to myself for the past 8 years, and every year i wouldn’t remember that i wanted to make it […]
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Staggered: The Hateful Eight
The following review contains spoilers. In Quentin Tarantino’s superbly balanced ensemble piece, The Hateful Eight, the passengers and drivers we meet at the start of the picture, dropped off at Minnie’s Haberdashy, a spacious Wyoming way station, by two different stagecoaches on different but overlapping missions, all have masked identities. Six years after the end of the Civil War, these are some of battle’s renegade residue, Confederate vets with few prospects who depend on bounty hunting to survive in a particularly testy postwar America. In the second coach there’s Chris Mannix (Walton Goggins, displaying the best of his high-energy talent), […]
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“Front Street Gym is the Heartbeat of the Film”: Production Designer Hannah Beachler on Creed
When the original Rocky hit screens in December of 1976, the underdog tale’s titular pugilist was a slightly doughy, none-too-bright palooka who guzzled beer after fights and collected for a loan shark. Rocky even loses the climactic bout, but earns a personal victory by going the distance. In a decade cinematically defined by Travis Bickle, Deep Throat, and “Forget it, Jake. It’s Chinatown,” that qualified as a rousing crowd pleaser. By the time Rocky IV arrived less than a decade later, Stallone’s southpaw was now a ripped, perfectly coiffed millionaire who practically ends the Cold War by breaking a hulking Soviet […]
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The Designated Mourner: Son of Saul
“You failed the living for the dead,” Abraham (Levente Molnar) chides fellow Hungarian Jew Saul Auslander (Geza Rohrig) in the bowels of Auschwitz-Birkenau in October, 1944. It’s a damning comment, almost a charge of treachery: That is the occasion for the single act of resistance by camp inmates against the occupying Germans. Given recent Russian advances, the Nazis pushed to quickly liquidate not only those who had defied the odds, who had survived unimaginable brutality, epidemics, and freezing temperatures, but also the camp’s naïve newcomers right upon arrival. The latter actually believed they were disrobing for a group shower before […]
