Nathaniel shared a link to this artist's work with me and I just had to blog it. Rich Pellegrino is a painter, RISD graduate, and child of the 80s. He paints in watercolor, acrylic, or gouache, straight out of the tube, creating richly textured portraits that are almost musical. ("I want a brush stroke to sound like a distorted A chord. You know -- something loud and visceral.")
It's not surprising that many of his subjects are musicians, but he's also inspired by film (especially the work of Guillermo Del Toro, who he calls a master of color and light).
Here is a selection of some of his colorful film characters. You can buy prints at his shop, too!
It occurs to me that The Cute Hierarchy must be adjusted yet again to honor the most adorable screen couple of 2009: Zjoooey. I hereby dedicate this week of blogging to them!
"Why do you let me stay here?"
The summer gem (500) Days of Summer wasn't quite enough to unsettle the top tiers of cute. But once combined with the force of their dance moves in the She and Him video (above), small animals with ginormous eyes everywhere were quaking in fear in 2009. So Much Cuteness. Who can compete?
The other big shakeup: After decades in the top ten, chipmunks finally fall off the list altogether, their plump cheeked reputation forever tarnished by Alvin & the Chipmunks: The Squeakquel [shudder]
1. baby kittens holding down the top position since 1938 when Shirley Temple was vanquished 2. dolphins (+8) they're all the rage again
11. dimples 12. baby ducks in a line following their mama (-3) 13. Zjooey 14. unexpected gifts from loved ones 15. Australian accents 16. rainbows 17. Carey Mulligan (especially in the rain) (+6) 18. "The Lonely Goatherd" (+12) what? Sound of Music was on the tube the other day
19. Natalie Wood in Miracle on 34th Street (+30 ...typical holiday spike) 20. screwball comedy 21. pomeranians 22. bunny slippers 23. Meryl Streep and Steve Martin smoking weed (new entry)
Robert here, continuing my series of the directors that shaped the past 10 years. Our next subject is a director who made his debut this decade and was immediately compared to Terrence Malick. Some have suggested that he’s faltered recently and maybe they’re right but his early films are such a high point in modern indie cinema he more than qualifies as one of the best directors of this decade. I’m talking about: David Gordon Green.
Number of Films: Five Modern Masterpieces:George Washington. Total Disasters: None, though a few mixed efforts. Better than you remember:Undertow, while flawed is still a worthwhile endeavor, better than the reaction it's been given. Awards: Some Spirit Award noms, but not much else. Not enough. Box Office: 89 mil for Pineapple Express, the expected winner. Critical Consensus:George Washington was his best received film. All downhill from there. Favorite Actor: Paul Schnieder and Danny McBride show up in two films a-piece.
Let’s talk about: Growing up. And how do characters in David Gordon Green films grow up? They come to terms with the tragedies of their lives. Yes, it sounds depressing and David Gordon Green films live and die on whether they’re stylistically able to overcome that depression. George Washington is by far his most successful, and Green can credit both his cinematographer Tim Orr (for help with the Malick references), and a young cast that present the trials of youth with honestly and not condescension. Take this exchange between a young couple breaking up. Neither are old enough to understand the intricacies of relationships but they talk as if they do (as they’ve seen adults). She desires someone more mature. He asks to kiss her one more time. Of course, breaking up is a very minor tragedy in life (except when it's on the level of Green's second film). George Washington presents a much larger catastrophe to its young characters. And it’s how the film examines the urgency of this trauma juxtaposed against the meandering passage of childhood in a poor town where the film find's childhood's end.
In Green’s next film, All the Real Girls, the characters are considerably older, though still in need of maturing. Set in another small town again, that’ll have you screaming at the characters to “get out!” Paul Schnieder plays the town cad who genuinely falls for his best friend’s younger, innocent sister. These characters don’t possess enough self-awareness and understanding of their own emotions to make it work. And there's the tragedy. But Green never judges them. Instead he uses the backdrop of the run-down industrial town to frame their lack of direction, both internally and externally. The only way they can grow is when they’re forced to. Like it's predecessor, the film survives on its fantastic acting (that truly comprehends young love) and lyrical cinematography.
David Gordon Green
David Gordon Green’s next two films, while still good, endure considerably more difficulty in overcoming the weight of their tragedies. But these tragedies still fulfill their objective and force those around them into adulthood. Undertow takes a more suspenseful route, often echoing Night of the Hunter. Troubled teen Jamie Bell must straighten up enough to protect his younger brother and outrun evil uncle Josh Lucas as he hunts down a stash of gold. Critical reaction was mixed, and the theme of growth via tragedy while obviously present isn’t particularly deep. Still an ending more ambiguous than it first seems makes it an interesting entry in the Green canon. Snow Angels on the other hand, is David Gordon Green’s least successful film. Here the rub lies in the tragedy itself which feels like a plot point more than anything truly tangible and leaves the viewer cold.. But dependable David Gordon Green gets some fantastic performances out of his actors (Kate Beckinsale, Sam Rockwell, Michael Angarano and Olivia Thirlby) the latter two again capturing the experience of young love not often seen.
People were a bit startled when it was announced that Green would be partnering with Judd Apatow in 2008 for Pineapple Express. But knowing that both men were fascinated with the theme of individuals entering adulthood it was a natural fit. The film was sold mostly as an Apatow comedy with little attention payed to the talent or accomplishments of its actual director. But to know Green’s history is to know that this stoner comedy fits in perfectly with his oeuvre, as does the violence that surprised so many in the film (after all, what else would spur these men-children into adulthood?).
The country's current generation of 20-somethings are no strangers to the concept of adulthood spurred by tragedy. It's been a running theme of reality this past decade. So much that one would have to conclude that David Gordon Green is certainly a keen observer of the times. Another thing he keenly understands is that while independent dramas are great, they don't bring in the cash. Green's next project... another comedy.
Day (2) of my vacation and I'm still working. I totally forgot to upload the latest vodcast with Katey. I was in Jersey this weekendand she was in San Diego for Comic-Con. But by the magic of my forgetfulness and technology and non-linear chronologies here we are together talking up (500) Days for you. So here it is...
If you've seen the movie at this point, we'd love to hear your opinions. Do you share Katey's mild reservations or did you fall for it (mostly) wholesale like me? *
Did you watch the pilot of the new show choir comedyGlee last night? Unfortunately, there's no rush. In an odd carrot-dangling exercize from FOX, you can watch it all summer long on their website. You just can't see anything new. Not that Glee is "new" per se. We've seen high school shows with well meaning adorable teachers and can-do dorky kids before. We've seen musically self aware comedies (Ally McBeal / Pushing Daisies). It's not "new" but it is very very welcome. It's another blessed flag planted down in the pop culture sand, with the inscription "the musicals are back."
I swear to god if I read one more opinion piece / review of anything musical that feels the need to use the disclaimer...
I'm not really a musicals guy/girl...
I'm going to... Well, I'm going to ... bite my pillow!
How about we drop this foolish bias and twittering nervousness about anything show-tuney or theatrical. Let's just admit that it was out of fashion for about twenty years -- roughly the years in between the genre's final 70s classic All That Jazz (1979) and its masterful rebirth Dancer in the Dark (2000) / Moulin Rouge! (2001) -- and two decades is a lot of time to train people to believe that a particular genre is "uncool" or "gay" or "only meant to be in animated movies" and that they're not supposed to like it.
Stop being sheep opinion-makers! Why the disclaimers? It's like many bloggers, talking heads and critics are worried about being seen as uncool. And that's so, well, high school. Stop worrying about what's cool and enjoy anything that's passionately created, well executed and joyfully performed. Enjoy anything that is glad to be what it is. There are so many joyless money-making exercizes out there. [*cough* Wolverine... seriously? I think everyone involved needed major injections of anti-depressants]
Glee is certainly glad to be what it is. The first episode is funny, mostly well cast (yay Jane Lynch. Never can get enough Jane Lynch), moving and bursting with promise. It was also just casually adorable. That light touch was particularly surprising given that musicals are more prone to tilt towards the charm offensive. Not that there's anything wrong with that: if you've got it, flaunt it and whatnot. Glee doesn't whip out its razzle dazzle into the rousing "Don't Stop Believing" finale, but by then you're already a believer. B+/A-
Matthew atop a pickup for a solo in the short-lived 10 Million Miles.
Glee did manage to sneak in one beefcake shot of Morrison in bed but no singing to stamp it with an exclamation point. For a while Broadway and Off Broadway were combining his hunk quotient with the killer voice to great effect: shirtless for the romantic highlight in TheLight in the Piazza (the unbelievably gorgeous "Say it Somehow" --god, that show was so fab), Broadway Bares 18, extra pumped-up and wife beater clad for most of 10 Million Miles (the show wasn't so hot but the music was super. You really can't go wrong with Patty Griffin, now, can you?),
When Glee returns there will supposedly be guest appearances from other glittery musical theater types like Kristin Chenoweth, Cheyenne Jackson, Victor Garber and John Lloyd Young. But given the show's concepts (which seems to only allow for the high schoolers to be singing ... how are they going to give all these giant voices their own musical numbers?). Either way, this show will be a much better rent-paying option for Broadway stars than Law & Order (their previous cash cow) sine though none of them ever got anywhere close to a musical number on that procedural. They usually just got a paycheck for delivering some exposition as victims, criminals or witnesses. Snooze.
Two videos: Matthew Morrison and Zooey Deschanel in Once Upon a Mattress and "Don't Stop Believing" from Glee (though I'd advise watching the whole show first. It's more moving that way)
In conclusion: September/October can't come soon enough. Summer is my least favorite season, anyway. Let's skip ahead to fall. That way we get the new TV shows, falling leaves, Oscar buzz and prestige movie season.
I'm totally into time travel this month, huh? 1984, Fall 2009, Terminators 91. How to stay in the present tense? WhereWhen am I? *
Nashville Film Festival ~ Day One NFF chose well with their opening film. (500) Days of Summer = exuberant crowd pleaser. It's always so enjoyable to see smart comedies with an audience that actually laughs out loud repeatedly (critics screenings can be brutally quiet). The audience was totally with the movie and Tom (Joseph Gordon-Levitt) and Summer's (Zooey Deschanel) difficult romance from start to finish. I was a little more tentative about falling for it. Within its first few minutes it threw four things at me that I am completely allergic to: omniscient narrator, precocious child as wizened soul, men vs. women ('they're different!') jokes, and chronology jumbling. I didn't even sneeze. It won me over.
It's 'Zooooey'
I predict big things at the box office. I'm not suggesting it's going to be Juno-sized but I'm guessing it shouldn't have a problem entering that Tyler Perry zone -- $40ish? Or maybe even that Forgetting Sarah Marshall / Role Models $60ish zone? The film cost less than $10 million to make (or, as the moderator joked with its director Marc Webb during the Q&A, 'less than the catering on The Dark Knight') so it should turn a nice profit is what I'm saying.
[editor's note: Who has stolen this blog? Nathaniel knows squat about box office!]
At the very least (500) Days... will make bigger stars of its leads. Zooey may be on her 11th variation of free spirit fantasy girlfriend (definite echoes of her roles in Yes, Man and All the Real Girls in particular) but she's not phoning it in. The film has very smart pacing but in one of the more interesting bits within the Q&A, Webb mentioned that it was hard to control that because Zooey has such unusual "back beat timing" and was always finding new things to work off of within the scenes. He also adjusted the film's entire color palette with the production designer to better accentuate Zooey's popping blue eyes. Good move. The movie falls hard for her just like Tom.
Speaking of. The film is told from Tom's perspective and Gordon-Levitt is _________ [insert your superlative of choice, it probably applies]. He has no trouble whatsoever carrying the picture (see also Brick). Webb called him a "super, intellectual, intense actor" and noted his "great command of his physicality", the latter an observation which I had already scribbled in my notebook whilst watching so I concur. Not only does Levitt shift Tom's body language for every gradation of his relationship with Summer and his own arc but he also completely sells the film's funniest sequence, a dance number, which maybe shouldn't work but works like gangbusters. You feel as happy as Tom by the end of it.
It was strange in the Q&A to hear the director's confession that JG-L didn't think they'd get funding for a movie starring Zooey and himself because they weren't big enough stars. I was thinking to myself: 'But everyone loves Joseph Gordon-Levitt!' And then I remembered. 'Self. Bubble. Bubble. Self. You live through cinema and you talk to other movie fanatics all day long on the web. John Q Public still mostly wants to see Nicolas Cage on opening weekend.'
Opening Night Festivities No celebrities present (sniffle... although I suppose local celebrities could have been there) but free booze to help you pretend that they were. The festival did provide celebrity intro commercials before the films, though. First up was Mr. Nicole Kidman Keith Urban who welcomed us to the festival onscreen (where was Nicole? I demand Nicole!). Carrie Underwood did the same. In her bit she said "my fellow film lovers" which cracked me up. I was trying to picture Carrie Underwood conversing on Spanish cinema ("Almodóvar and Buñuel. Discuss.") or taking sides in the great critical debate of 2007 (No Country For Old Men or There Will Be Blood?) but my imagination failed me. What do you suppose her preferred genre is? favorite actor?
Directed by first timer Marc Webb Starring Zooey Deschanel and Joseph Gordon-Levitt Synopsis Boy meets girl, boy and girl like each other, boy falls in love, girl doesn't quite yet. Brought to you by The Sundance Film Festival Expected Release Date July 24th
Whitney: Here in Salt Lake City, July 24th is "Pioneer Day," and I will be spending my Pioneer Day seeing 500 Days of Summer. Not only is the cast adorable and fairly trustworthy (All the Real Girls and Brick being two of my favorite recently released films) but this seems to be a romantic comedy done right. My husband and I covered the Sundance Film Festival for Film Threat and he got to see 500 Days of Summer. He's a romantic comedy person by nature (whereas I'm a horror gal), but he said it was the best one since Love Actually. That sounds pretty good.
Nathaniel: I'm suspicious. Are you sure you got that synopsis right. How does one notquite fall in love with JG-L?
Fox: If I was a kid and heard that a film called 500 Days of Summer was coming out, I would be ecstatic! Think about how over-the-top lovely and seductive a title like that is. It's like "300 Presents for Christmas", "800 Puppies on Your Birthday" or "2000 Coffee Dates w/ Nathaniel".
Hold tight Whitney... it's only 176 days until 500 Days of Summer!
Joe: I had started following this movie back over the summer solely because I liked the of Zooey Deschanel and Joseph Gordon-Levitt headlining a movie, and I called them "Joooey" because I am also the kind of gay that means "lame."
But then I was pretty well knocked out by the trailer, and the word out of Sundance (including raves for JGL) has me very, very excited to see this. Even the negative reviews were saying things like "too precious," and I always end up liking those kind of movies.
JA: I've been in love with Zooey ever since she told that old lady to get peed on and I've loved JGL ever since he trolled for gay sex in a park bathroom. So these two seem like a naturally fun fit. Skinny emo indie kids in love! Watch them warble and bat their big eyes! I know that sounds smart-assy but I really can't wait to do just that.
Fox: I have spent the last ten minutes trying to figure out if "Joooey" should be pronounced like "Joe"-"ey" or "Jew"-"ey". I've never seen three Os in a row before and it's kind of freaking my sh*t out!
Joe: The preferred pronunciation of Joooey is "Joey," but you have to hold on to the "oh" sound for a little bit.
Nathaniel: Too precious ???
In case you missed any entries they went like so... * We Can't Wait: #1Inglourious Basterds, #2Where the Wild Things Are,#3Fantastic Mr. Fox, #4Avatar, #5Bright Star, #6Shutter Island, #7Scott Pilgrim vs. The World #8Imaginarium of Dr. Parnassus, #9Nailed,#10Taking Woodstock, #11Watchmen, #12The Hurt Locker, #13The Road, #14The Tree of Life #15Away We Go, #16500 Days of Summer, #17Drag Me To Hell, #18 Whatever Works, #19Broken Embraces,#20Nine (the musical) intro (orphans -didn't make group list) *
Next year @ the film experience I hope to look at shorts and DVDs more on account of easy access for all of you -- this year was so discouraging in how hard it was for anyone outside of NY & LA to see the new releases I wanted keep talking about. Maybe next year we shoot for more accessibility.
[soapbox] I can't be the only one that's concerned that the movies --particularly the awards hopefuls -- are veering further and further away from the direction of general pop culture which is all about instant access. Why do the movies keep withholding? --no wonder Oscar ratings keep sinking. I think it's a far more complex problem than "the public doesn't like serious films". I think it's more a problem of "the public likes these movies less and it's really hard to see them even if you're interested in them". After all, who cultivates interest in something they have extremely little access too? Not many people, that's who. Anyway.... [/soapbox]
Here's a look back at the best of music video (everyone's favorite short film genre) for 2008... the form was once dying but the web has started to resuscitate it. Like my best of television list this is hardly comprehensive... I'm sure I missed some goodies. But here's 10 I loved from the year (in fluid but vaguely preferential order)
10 Matt & Kim "DAYLIGHT" and 09 P!NK "So What" Because music videos should understand how to be fun. Is it just my imagination or is P!NK too modest what with the "I'm still a rock star" bit. Isn't she more than "still"... doesn't she get better all the damn time?
08 She & Him "WHY DO YOU LET ME STAY HERE" and 07 Janet Jackson "ROCK WITH U" Zooey Deschanel sings. She makes an adorable rock pixie even if her film career is getting fairly one note --I love this bit from a Yes Man review @ Tractor Facts
Blessed with those wide, striking, chocolate eyes, Deschanel's performance still feels out of sorts, as if she's staring into the abyss of her limited range.
Hee. And in other news Janet Jackson returns (even if it wasn't quite a "comeback") with a nifty one take video. I love that one take gimmick (see also Hitchcock's Rope)
06 Grace Jones "CORPORATE CANNIBAL" and 05 Madonna "4 MINUTES" I've featured both of these videos before and wrote about Madonna's extensively. I went a little crazy but she does that to me. The reaction to Grace Jones has been memorably divisive. Some people think this video is 'creepy and subpar' and others 'utterly astonishing'. But I think we can all agree that it's a good thing Grace is back to haunt us.
04 Radiohead "HOUSE OF CARDS" and 03 Gnarls Barkley "WHO'S GONNA SAVE MY SOUL" I used to occasionally be annoyed with videos that relied heavily on trippy visual effects or conceptual gimmicks (I'm not a fan, for example, of one of the most favored videos of all time "Sledgehammer" but now that so many mainstream artists view video-making as a toss off optional ad for their cds --even Madonna has gotten relatively haphazard about when she'll make them and how much effort gets put in -- conceptual and f/x videos are more thrilling... at least they still seem interested in the form.
02 The BPA "TOE JAM" and 01 Beyoncé SINGLE LADIES Choreography is still king (or queen as the case may be) to the music video. The Toe Jam video feels like a fun-loving lark but you know it was intricately planned work and it's a pleasure to watch. I'm not even a fan of Beyoncé (too disturbingly retrograde in her gender politics for me) but this video deserved all the mainstream attention it got --even as I wished they'd have been more upfront about their debt to Bob Fosse (maybe a "dedicated to" note at the end of the video, single lady?)
And yes I was killing time.
I know why you're here: le cinéma. The Year in Review proper begins tonight (or tomorrow morning?). It's always such a daunting task. Bear with me.
Our young proxy TIFF sampler Lev (pictured left) is resting up today in the midst of the film festival before a four and half hour guerilla journey with Benicio Del Toro tomorrow morning. Perhaps they'll give festival goers an opportunity to stretch their legs in the middle.
Hi again. I'm back from my fifth day of watching movie after movie after movie. To some it may not seem like a lot. There are people who see 40 films, and I've only seen nine so far, but three films in one day is more than enough for me.
I feel Lev's fatigue. When I went to TIFF I tried the 30 film package. I met folks who were seeing more and I didn't envy them so much as wish to gift them with protective goggles. I never knew the eyes could hurt as badly as the ass after lengthy movie sits. But individual constitutions will vary. I suggest the 30 film package if you ever go there. See how much your eyes can take!
But back (to back to back movies) with Lev...
(In order that I saw them)
The Wrestler - Very good. Not quite as great as you may have been reading, and not up to the standard of Aronofsky's last two films. It's main problems lie within a script that is a little too cliche and has some bad dialogue. Thankfully, Aronofsky knows how to direct. He's got some good actors working with him (as he always seems to get). Believe everything you've been hearing about Mickey Rourke, he's really quite superb. B+
Lev also notes that Gus Van Sant was at the screening and that Aronofsky was quite eloquent introducing the film. I can't wait to see this. Looking forward to experiencing Mickey Rourke win renewed respect (I liked him in the 80s and damn but he was terrific in Sin City) ...and to see my girlfriend Marisa Tomei again.
Gigantic - An average, quirky indie starring Paul Dano (who attended the screening) & Zooey Deschanel. The two leads are likeable enough to save a mediocre script and some of the unfortunate plot points are handled nicely. Still, I'm kinda tired of clever, quirky indies. B-
Zift - AHHHHH! What a waste of a movie! I was completely un-engaged. Horrible cinematography (shot on 35mm yet it looks like digital. How do you manage that??). Badly acted, edited, written film that was only 90 something minutes yet felt like three times that. F
The Burning Plain - I wanted to like this. For the first hour I kept on excusing all its faults, but in the end it just exemplified all the bad qualities of Arriaga/Inarritu films. Every plot point and twist if painfully obvious, and unlike Babel there's no Adrianna Barazza here to bring you to tears. C-
Four Nights With Anna - (pictured above) Very good Polish film about a man obsessed with the girl next door. Feels like a film made in the 70's that would be on Criterion today. One thing I've noticed at TIFF this year is how poorly most movies are shot and edited. So much coverage and so many cuts spoil numerous scenes, especially dialogue scenes. Director Jerzy Skolimowski and DP Adam Sikora shot Four Nights With Anna well, keeping the camera moving, and creating tension by long, suspenseful takes. Great mood and acting. (Atom Egoyan was at the screening) B+/A-
There's a critical roundup on this film over @ GreenCine too for those that are interested in hearing more plaudits.
Acolytes - Crappy Australian horror film. Shot on HD, looked awful. Terrible stylistic choices. Poor acting. Convoluted story. Not recommended. D+
Lev is making me jealous. Why am I in DC instead of Toronto? grrrrr. At least I have NYFF to look forward to which begins... well, any day now -- Monday to be specific. Stay tuned for my posts from the Walter Reade (yes, I'm soon to return to my homeland. Though I might miss the first few days of the critics screenings) *
Club Silencio Was Tony Leung placed in movies by the tobacco industry? A totally believable conspiracy theory!
European Films has a review of the Palme D'Or winner The Class (Entre les Murs)
<--- Purse Blog Kirsten Dunst's MiuMiu campaign. Not new but we've been neglecting Kiki. In other news the 'sphere is attacking her for claiming she went to rehab for "depression". Either way, I applaud her ONTD Zooey Deschanel is touring this summer Low Resolution makes an important clarification about TV ladies
StinkyLulu hosts the Madeline Kahn Appreciation Day. If my computer weren't on the fritz I was going to write about Paper Moon Getty What to make of Sex & The City's box office prospects? Hollywood Elsewhere on Sex & the City
The first hour especially is as garish and putrid and spiritually repulsive as can possibly be imagined without throwing up.
Is there ever this much vitriol for films about men?
Goatdog has seen almost every Best Picture nominee. Crazy Fabulon, a great actressexual hangout, barely knows who Jessica Alba is. I am amused. (Incidentally I will be their guest blogger on 06/15)
Huh? Why am I posting the trailer for upcoming rom-com He's Just Not That Into You? Search me. Perhaps it has something to do with Ginnifer Goodwin getting a big role and my short-term (I hope) crush on Bradley Cooper and the outside shot that for once we'll get to see a Jennifer Connelly performance that doesn't involve moping and crying.
"Rosario Dawson/Zooey Dechanel"
