“I’m talking about actual ‘coke movies,’ the ones where it’s clear everyone on set—or at least the ones in charge—seem to be making decisions in a cocaine-induced frenzy. Marked by intensely committed but slightly skewed editing, writing, and camera placement and movement, a coke movie feels obsessively personal yet constantly distracted.” Roger Leatherwood with an appreciation of a very specific genre.
“The tragedy of “Montage of Heck” is in the annihilation of the sacred space that must exist between the artist and his art for the illusion to be sustained.” A review by Jenn-Anne Gledhill
“As we sat down to our scrambled eggs, we heard a great crash and a scream. Our family rushed into the living room to find my Grandma Dalton lying in a heap amid the ruins of the Death Star. My brother and I rushed past her to the shattered remains of our precious play set.” Corey Michael Dalton reflects.
“Sorry to piss in the midi-chlorians, but Star Wars is cosmically overrated. More overrated than The Beatles. More overrated than Ronald Reagan, the Olympics, sarcasm, bike lanes, and living past 75.” Matt Gonzales taunts The Force.
Have you ever spent a whole day listening to Pet Sounds, from “Wouldn’t It Be Nice” to “Caroline No,” again and again? Each song is an epiphany, but rapid-fire epiphanies are hard to absorb, so…you have to go back to the beginning. When you step into the world of Pet Sounds, you’ve stepped into the…
“In front of our TV, medical monitor cords spread across the carpet like vines on a forest floor. The monitor’s beeping competed with the volume of the zombie action on screen.” Fiction by Sam Watermeier.
I won’t dispute that Steven Spielberg is one of the great American directors. Taken together, his body of work is astonishing in both its breadth and its narrative depth, ranging from explosive summer blockbusters to deeply meditative character studies. But after a recent viewing of “The Lost World,” I realized that even a director of…
“The lead character, Sandra, played uncomfortably well by Marion Cotillard, starts the film by telling herself not to cry. She pops a Xanax. Then she cries, pops more Xanax, and teeters on the verge of crying again in a non-stop cycle of self-pity for the next 90 minutes.” Nick Honeywell reviews Two Days, One Night.