I can’t bring myself to fully hate Four Rooms, the collaboration between Robert Rodriguez, Quentin Tarantino and two ‘up-and-coming’ 90’s auteurs who did not survive this movie unscathed. I disagree with others about this movie, that Tim Roth and the setting unites the sketches although yes, Roth’s character the bell boy doesn’t seem to have his own backbone. The directors embody crazy, a quality that unites anything. Everyone’s favourite is the Rodriguez sketch with Antonio Banderas and his John Waters-like pencil moustache and his two rowdy children giving the bell boy hell, but my favourite sketch is Madonna’s because I adored everything she touched because I’m a gay stereotype. Ooh, a humourous, irreverent take on oral sex, semen and phallus, how can that not be edgy, right? The film’s vulgarity appeals to the young who’s discovering indie films, Four Rooms serving as a capable gateway drug to this part of American cinema.
I caught the Tarantino sketch late at night, my second or fourth favourite (does the phone conversation with Kathy Griffin count as a separate sketch?). I always dislike movies that had convoluted dialogue only to summarize it with one line or action. Tarantino also thinks of himself as someone who can seduce better than the devil, starring in his own segment as a Hollywood party junkie who convinces the bell boy (Tim Roth) to harm the former’s friend. But his rapid fire delivery sells this premise. It’s also always nice to see Bruce Willis‘ shadow-like presence and performance.
- Quentin Tarantino’s Cinematic Reality (Column) (popmatters.com)
I couldn’t hold out on this series any longer. I should have done this at July 14, but I don’t think Kieszlowski released his Trilogy movies at that date neither. I chose the screen caps for the colours, but I hope national allegory and emancipation are captured in these images as well.
Vertigo (Alfred Hitchcock, 1958)
Age of Consent (Michael Powell, 1969)
The Conformist (Bernardo Bertolucci, 1975)
Hausu (Nobuhiko Obayashi, 1977)
The Usual Suspects (Bryan Singer, 1995)
The Thin Red Line (Terrence Malick, 1998)
Ballast (Lance Hammer, 2008)
Ruth from FlixChatter responded to being tagged to do a 15 Directors Meme post she did two-ish weeks ago, and I did some proud begging for her to tag me because I like talking about my favourite directors. Or I think I did – it was hard going past 12. I changed the list compared to my pre-list on her comments section. And it took me a while to respond.
What I look for in a director’s work is beautiful cinematography, theatre-like scripts or energy, decent representation of strong female characters. Lastly, a sense of humour, preferably dark, like coffee I would only drink if I was lazy. List.
- Stanley Kubrick (Full Metal Jacket)
- Charles Laughton (The Night of the Hunter)
- Christopher Nolan (Inception)
- Quentin Tarantino (Kill Bill Vol. II)
- Woody Allen (Sleeper, Another Woman)
- Terrence Malick (The Thin Red Line ’98)
- Elia Kazan (East of Eden)
- Mike Nichols (The Graduate)
- Michael Haneke (Code Inconnu)
- Jane Campion (Bright Star)
- George Cukor (A Star is Born ’54)
- Alfonso Cuaron (Y Tu Mama Tambien)
- Sidney Lumet (Serpico)
- Lars von Trier (Dogville)
- Fritz Laing (Fury)
And now I have to tag ETA: six bloggers who have lives.
Jose, who talks about classics with wicked witches and fugly whores.
Simon, who reminds us that David Bowie played Andy Warhol in a movie.
Andy, who’s going to see Ellen Ripley cut a bitch.
Nick and Nathaniel. One’s very chipper and the other’s a quipper. Both are getting me really excited for the Oscars.
Farran, who reminded me that my birthday was also Constance Bennett Day.
Hey, it’s Lucy from “The Office UK“/”Studio 60″/”Ugly Betty.”I don’t know which one of those shows that she had a character named Lucy but I’m gonna call her Lucy anyway. And a guy who plays Poppy’s (Sally Hawkins) brother-in-law in Happy Go Lucky. I swear casts in British films are so incestuous, although they never mix the ‘rich’ ones with the ‘poor’ ones. The one on the middle is Simon Pegg and the one who’s back is facing the audience is a zombie.
His name is Eddie…Paulson? Fact! The first time I saw this film was at Daylight Savings Time at Much More Music. Technically the movie went on for an hour. I also can’t remember how it ends. I’ve always been afraid to watch the movie on the big screen because apparently if you mess up the words, you get stripped in front of everyone. Anyway, Meat Loaf is telling off that boy something fierce. Also, why does every ‘bad’ movie between 1967 to 1980 need a muscle-y blonde man bimbo? That rule still exists today, a muscle-y blonde man bimbo appears as a character in Xavier Dolan’s Heartbeats.
Was Alfred Molina ever this skinny? Is my question too generous? Although I’ve only seen it enough to get the gist of it, I have the DVD here and my rusty French translates the title to Nights of the Devil or Diabolical Nights or something.
Ohh, Gaad! Anyway, I’ve always thought of Mr. Blonde (Michael Madsen) as Quentin Tarantino‘s on-screen double. Also, Coconut is so the best song in this movie.
Note to Americans: only the gay Canadians have the ‘beady little eyes.’ And fine, it’s funny hearing Anne Murray being called a bitch.
If I was a Congressman, I’d make America F**k Yeah the national anthem. Although best part of this film involves its parody of Susan Sarandon. And I usually hate homophobia in film, but seeing Tim Robbins and Sean Penn be called F.A.G.’s seemed really funny. Well, mostly because I hate Sean Penn.
After the Team America clip, we have this, and for a split second the curtains and the wallpaper made me think of the balcony space in ‘The Muppets.’ But no, this is a real person from Blue Velvet‘s wacky world. There’s always interludes of 1960’s American songs, and we thank David Lynch for seeing something dark in that decade. Speaking of the 60’s, I wonder what would happen if David Lynch directed an episode of “Mad Men.” Oh wait, that already happened.
Sookie! When I yelled that at the screen, the hipsters in front of me laughed. Funny thing is I don’t even watch “True Blood.” And again, I didn’t even know she was in this movie, especially since I loved Anna Paquin as a child. I previously blogged about how I hate Kate Hudson, but I kinda like her again here. Here her face still looks like that of an awkward teenager’s, and it’s still mesmerizing to watch her sing. I declare an Almost Famous curse, because the cast members except Billy Crudup ended up doing bad movies. Well, Paquin did have 25th Hour, and she’s better than doppelgänger Claire Danes can aspire to be.
I’m so ashamed to not know the lyrics to this song, because my dad is like the biggest Tears for Fears fan and I listened to this stuff in high school. My dad thinks the members of Tears for Fears met in a mental ward. Anyway, my favourite movie in high school, and one that needs revisiting stat! Also, when Donnie (Jake Gyllenhaal) and Gretchen (Jena Malone) kiss. Joy Division has never been better used in a soundtrack.
Joseph Gordon Levitt for mayor! Although Joe Levitt would sound like he’s running in the South.
Dance, white boy, dance!
‘Singin’ in the Dark’ programmer Shawn Hitchins says that this is what it’s gonna be like if Rob Ford gets elected for mayor. Best film criticism I’ve heard all year.
Courtney Love auditioned for the role of Nancy in… Sid and Nancy, but the casting agents considered her too young and it went to Chloe Webb. Love thanks the gods for not giving her the role because British TV called Chloe Webb ugly. I agree. And was Gary Oldman ever that young?
And we end this ding along with blasphemy. This is both optimistic and cynical. The Eric Idle character tries to comfort us, but they all end up alone and deserted, no one venerating them for their deaths. Yet.
Multitude of thanks to Hitchins for giving me the list of movies he chose for his sing along “Singin’ in the Dark” as part of this year’s Nuit Blanche, which is like the only event in my calendar. Photos courtesy of Universal (Shaun of the Dead, Blues Brothers) 20th Century Fox (Rocky Horror Picture Show), Alliance Atlantis (Boogie Nights) Miramax (Reservoir Dogs), Paramount (South Park: Bigger, Longer and Uncut), Pandora Films (Donnie Darko), MGM (Blue Velvet, Sid and Nancy), Fox Searchlight (500 Days of Summer) Warner Brothers’ Pictures (A Clockwork Orange), HandMade Films (Life of Brian).
I love how every stoner posits him or herself as a medical or legal expert, such as Melanie Ralston (Bridget Fonda) in Jackie Brown. You’ve had one of those in your social circle.
Coughing’s good! It opens up the capillaries. You know, when you cough you’re pulling in air, or in this case – smoke, into parts of the lungs that don’t normally get used. So, coughing’s good, it gets you higher.
I mean, she’s white. She must have gone to college or something. And Fonda never hesitates nor clings on a word and just lets them fly out of her mouth with such certainty and security. While depicting drug addicts or questionables or damaged an actress can either go shrew or 33 variations of victim, and thankfully she’s neither.
For some reason, everybody watched Jackie Brown last Tuesday or Thursday nights when it was on at CBC at one in the morning. I only caught the last two hours of it, but I remember past viewings when Samuel L. Jackson shoots Chris Tucker. And by watching the rest, I guess I get the picture. I just love Bridget Fonda’s performance and character here so much. I’m not alone. She’s well-traveled, liberated, subversive. I had to blog her.
Quentin Tarantino is a great director in a technical side, deftly showing his audience the shot-counter shot relationship through Melanie, such as shot.
Stop hating, Jackie.
Melanie the character also has one of the greatest swan song in movies. Melanie started this precedent of women dying awesome in Tarantino’s oeuvre. O-Ren Ishii’s (Lucy Liu) decapitation, Elle Driver (Darryl Hannah) losing an eye, Bridget von Hammersmarck (Diane Kruger) getting strangled. For Melanie it all started with ‘Louisss…Lou-isss…’
And she gets shot. The end!