Long before I had actually seen Azazel Jacobs’ second feature, The GoodTimesKid, I had heard tell of its final scene, in which the Gang of Four song “Damaged Goods” is played in its entirety. It takes a certain kind of confidence to use a Gang of Four song in a cinematic context. Deceptively simple post-punk loaded with weighty narrative, it’s virtually impossible to match this music with imagery without the filmmaker’s voice getting lost in the noise, without the soundtrack seemingly functioning as a mission statement above and beyond what the rest of the film has to say. Certainly, the thesis of Sofia Coppola’s Marie Antoinette seems most articulate in its opening scene, set to a lengthy excerpt of Gang of Four’s “Natural’s Not in It” — the song serves as a key to unlocking that film’s visual indulgence, placing its evocation of angsty teen consumption and self-absorption within the irony of “problems of leisure” and the political context of the “body [as] good business.”
Jacobs makes the viewer wait about 70 minutes for the first use of “Damaged Goods,” but the song’s ethos still felt throughout the film. If there’s anything missed from Benten Films’ long-awaited release of The GoodTimesKid, it’s the full text of the letter, peeking out of the corner of the DVD box, that Jacobs wrote to the band asking for use of the song.
In Gang of Four songs, sex and commerce, personal relationships and socio-economic identity, are always inextricably linked, to the point where an apparent reference to one can be safely assumed to double for the other. It’s articulated best in another song, “Contract”: “Social dreams put in practice in the bedroom.” “Damaged Goods” swings back and forth: it’s a break-up song (“The change’ll do you good, I always knew it would/sometimes I’m thinking that I love you, but I know it’s only lust”) that dips into the language of transaction (“Damaged goods, send them back … open the till, give me the change you said would do me good/ refund the cost.”) It’s a fitting theme song for a film about three people desperate for change, bouncing back and forth between embracing the sentimentality of personal relationships and rejecting it. Never mind that it was shot on damaged short ends stolen from the set of Troy.
his review was originally published in February. Two Lovers is out on DVD this week.
Rarely has movie love been handled with both the dreamy indulgence and the cynicism that James Grey pulls off inTwo Lovers. It’s a pity that the film, which premiered nine months ago at Cannes and is now rolling out on VOD and in theaters via Magnolia, has been pegged in time as the allegedly final film of star Joaquin Phoenix. In this meditation on class passing and infinite adolescence, set mainly in Brighton Beach with a few giddy sojourns to Manhattan, Grey creates a mood pocket, as it were, that’s distinctly out of time. Working off a series of contrasts that’s very true to its New York setting, Two Lovers is implicitly concerned with the way romantic relationships give us an opportunity to slide back and forth across class lines; if that motion temporarily offers the potential for an erasal of personal history, our ultimate stations in life can’t be escaped.
Jean Luc-Godard may be unique amongst similarly iconic post-War European filmmakers in that it seems like we rarely go six months without one of his lost or little-known works getting revived or rediscovered, but its rare even for him for two such works to re-enter the spotlight in the same week. BAM’s presentation on Monday night of the little-seen One P.M., a film started by and, finally, starring Godard, was not billed as an event meant to capitalize on today’s street release of the little talked-about Une Femme Mariee, but it does inspire one to look for ways to talk about both in the same breath. There is not much overlap here, but at the very least, both films play on Godard’s interest in and persistent exploration of the tension between reality and its creation. Some notes:
1. One P.M.: Actual vs. Synthesized Anarchy
That One P.M puts Jean Luc-Godard on screen as a central focus should maybe not be the revelation that it is; after all, as we’ve discussed before, his best-known work is so deeply reflective of his personal life, and sometimes vice versa, that traditional distinctions between on-screen and off lose much of their ordinary meaning. But DA Pennebaker and Ricky Leacock’s film — began as a Godard-instigated collaboration called One A.M (or One American Movie), taken over and edited by the direct cinema legends when the French filmmaker abandoned the project and renamed it One P.M. (or One Pennebaker Movie, or One Parallel Movie) — presents a different Godard. Glimpsed here, in what amounts to documentary footage, trying to wring a hybrid of truth and fiction out of subjects both unsuspecting (a twenty-something female Wall Street lawyer) and very suspicious (Eldridge Cleaver), Godard embodies a caricature of the European art filmmaker come to America to con us into giving up our truth.
Azazel Jacobs‘ Momma’s Man, which premiered at Sundance in 2008 and was rescued from the ashes of ThinkFilm by Kino for a theatrical release last summer — is finally out on DVD today. The package features a pretty impressive slate of extras, including Momma’s Family, described as a 42 minute “featurette on the clash realities that takes place in Momma’s Azazel Jacobs returns to the set of the film and can’t leave”; Capitalism: Child Labor, a 2006 short by Azazel’s father (and Momma’s co-star) Ken Jacobs; plus deleted scenes and an audio conversation with the Jacobs family.
Kino’s site has buying information; you can also check out my review of Momma’s Man, our interview with Azazel from Sundance, and some further thoughts on his three features.
Ray Pride points to a trailer for 13 Most Beautiful…Songs for Andy Warhol’s Screen Tests, a DVD from Plexifilm featuring 13 of Warhol’s 16mm, single-shot portraits of his superstars and Factory drop-ins (including Dennis Hopper, Lou Reed, Edie Sedgwick and Nico), set to original songs composed by ex-Luna/Galaxie 500 frontman Dean Wareham and his wife/bassist Britta Phillips. Plexifilm says it’s the “first ever authorized DVD release of films by Andy Warhol,” and in addition to the basic DVD, they’re also offering a $250 limited edition package, featuring “a deluxe gatefold LP-style package with an exclusive poster and booklet,” as well as an archival print from a frame from your choice of one of the screentests. Or you can just watch the pretty trailer over and over for free.
At the cinema, 2008 was the year when it was hip to depart from the moral outrage any conscientious individual might feel about our countries’ on going illegal and immoral war 6,000 miles away. Light satire, be it of the buddy (Harold and Kumar Escape From Guantanamo Bay) or “five minutes in the future, things will be even more remarkably FUBAR” variety (War Inc.) were fashionable. Stop-Loss, much like last year’s ill conceived Lions for Lambs, luke warm Rendition and sneakily powerful In the Valley of Elah, was too sincere for most audience members and a large swath of critics’ taste. On the other hand, did we really need Morgan Spurlock to go looking for Osama Bin Laden? What if he would have found him? That might have been a beheading worth watching.
Thankfully the much-maligned documentarian Nick Broomfield, best known for his perpetual work-in-progress (i.e. shoddily constructed), Tragic Musicians of the 90s Docs Kurt and Courtney (1998) and Biggie and Tupac (2002), finally surfaced with a genuinely terrific film. His 2007 TIFF entry Battle for Haditha, a picture that, in perhaps the year’s biggest cinematic surprise given its author’s dubious track record and relative inexperience in the realm of narrative, is so eerily verisimilar that it puts much of what one could accurately call combat cinema to shame.
Criterion, who had already shown the Wes Anderson love with their Rushmore, The Royal Tenenbaums and The Life Aquatic discs, announced back in 2007 that they were going to be putting out an edition of Bottle Rocket. This was met with much joy, especially because the previously released version, which came out back in 1996, was about as bare bones as you could get. The only real special feature it could claim was widescreen on one side of the disc, and full screen on the other. Big whoop.
The new version, which just came out in late 2008 has a ton of features, and is available in both standard and Blu-ray editions. But it also contains one of the single most sour notes ever hit in an Anderson DVD. It’s so extremely painful that it makes the package almost worth avoiding.
Because there’s nothing like waiting until the last minute to do some holiday shopping, we’ve compiled this handy-dandy shopping guide to the best DVDs of 2008 that you can use now, or wait until the dust settles and clean up with any cash that Santa or Hanukkah Harry happened to leave you. It’s broken down by the person you’ll be shopping for to make things easier, even if that person happens to be yourself.
When noted, we’ve picked the Blu-ray version over the standard definition, because we try to be all about 1080p and other technical terms whenever possible. But, the regular versions are just fine as well. Still, it’s true what they say: once you go HD you’ll never go back.
While at the Dubai International Film Festival over the weekend, Terminator Salvation director McG “announced” that a fifth installment of the Terminator franchise is definitely in the works, although The Halcyon Co. revealed over a year ago their plans for a trilogy. That McG is back to helm the installment must mean Halcyon is happier with the way Salvation looks than some of us are.
F/X artist-turned-director Stephen Norrington is finally following up The League of Extraordinary Gentlemen with the remake of The Crowthat’s been talked about in Hollywood for awhile. I wonder if Jason Statham is still interested in playing the lead.
Oh yeah, the weekend’s box office results: well, The Day the Earth Stood Still managed to just barely edge out The Happening to be the higher grossing of the year’s lame eco-sci-fi films. The animated film you never heard of, Delgo, couldn’t make a million bucks on more than 2,000 screens, while the Bollywood film you never heard of, Rab Ne Bana Di Jodi, cracked a million bucks on about 100 screens. And a ton of limited specialty films, including new releases Gran Torino, Wendy and Lucy, The Reader, Doubt and Che, all had better per-screen-averages than did the #1 film, The Day the Earth Stood Still.
Frank V. Ross’ Hohokam belongs to a small subgenre of films that I’ve seen at festivals over the past few years: Movies That I’d Love To Reccomend … If There Was Any Possible Way For You To See Them. Ray Carney booked Hohokam at his series at the Harvard Film Archive in 2007, and later that summer it screened at the New Talkies event in New York, but it otherwise had a limited life on the festival circuit, and for most of 2008 has gone unseen. But now, thanks to Indiepix, you can download Hohokam or buy the film on DVD. Blatant Self Promotion Alert: I wrote some notes for the release, which you can read on the movie’s Indiepix page. The trailer is embedded above.
It’s no secret that I have a soft spot for all things science fiction-related, and when it involves robots of any kind (the odd exception being the actual movie Robots, which I avoided like the plague) then I’m in like Flynn. The more non-human looking the robot, the more I’ll love it. (Which is probably why Disney’s own The Black Holehas some of the coolest movie robots in it. V.I.N.C.E.N.T.? Maximillian? Great stuff. Where’s my Blu-ray, Disney?) One of the movies this past year that actually got me into the theaters more than once was Disney/Pixar’s WALL•E, which comes out on DVD today. They’ve added a ton of special features to the film, especially (of course) if you buy the three-disc special edition, which includes a digital copy of the movie that you can toss on your iPhone, laptop, digital watch, toaster oven, or shaving mirror.
Despite the fact that director Andrew Stanton says WALL•E has “no environmental message” whatsoever, it’s a bit ironic that on the commentary track he starts out by explaining that in the development process they wondered what would happen if so much trash piled up that humans had to leave the earth in order to clean it up. Sounds environmental enough to me. Luckily, the fact that Stanton continues to insist there’s no underlying meaning, and that he never made the connection between WALL•E and Johnny 5 from Short Circuit hasn’t detracted from my enjoyment of the film.
Pixar decided to revisit the WALL•E universe by creating a short film using new animation and some recycled footage. The idea was that it would be a nifty little special feature for the DVD, which it is, but it makes me yearn for a sequel to WALL•E — which is a sign of Disney’s marketing magic at work. The short film is BURN•E, and I got the chance to see a little early and to talk with the director of the short, Angus MacLean. The DVD also includes the short magician vs. rabbit film Presto, and these two shorts alone are worth the price you’ll pay for this robotic wonder. Check out our interview with MacLean below the jump.
Daniel Craig’s James Bond in Quantum of Solace and Casino Royale might eschew gadgets in lieu of a hard punch to the nose, but it’s hard to argue that the best Bond gadget in recent years isn’t the invention of the Blu-ray DVD. Now the classic Bond films have started appearing in the format with upgraded images, sound, and a slew of special features. Casino Royale was previously released on DVD as one of Sony’s first “must have” discs to show off your Blu-ray player (which was probably a Sony PlayStation3), but now they’re visiting a smattering of different Bonds in this first release.
As I’ve learned in my adult life, there are sometimes those moments that you realize you’re probably unhealthily obsessed with something. For me, that moment came when I was seriously considering purchasing a $2,999 framed collage featuring signatures of all the actors who had played James Bond in the “official” movies, along with various playing cards, casino chips, photos and what not. I ultimately had to pass on it, and my wallet was grateful after the fact.
Thankfully there are much more affordable ways to feed this obsession, some of which can be documented in the series of Bondcasts that I used to host with Athena Stamos at Cinematical. One of those ways has been collecting the James Bond movies on DVD. There have been not one, nor two, but now three different collections of Bond issued on DVD, and while I really miss the menu screens from the first set, (”Please activate your remote control to activate the Goldfinger Special Edition DVD” — complete with an extremely Bondian gadgetlike interface), you can’t argue that Blu-ray is definitely giving the previous James Bond films a shot in the arm.
Back when Billy the Kid hit theaters last December, I wrote an essay calling Jennifer Venditti’s non-fiction feature “The Anti-Juno.” The films begged to be compared at the time, not just because they were both, as I wrote, “films about the inner lives and social stumbling blocks of precocious, ‘outsider’ teenagers,” but because they were actually opening in New York on the same day. Juno came riding in with the best indie cred that Fox Searchlight could buy, so it’s a no-brainer that the eventual Oscar winner would outshine the truly indie Billy on a short timeline. But on a long tail, Billy has a huge advantage, if only because, as Cullen Gallagher put it today at /Hammer to Nail, “Jennifer Venditti has managed the incredible feat of both finding and conveying cinematically a character who is absolutely singular and unique, and at the same time exists as an “everyman” who sums up our collective adolescence.” Honest to blog.
Billy, which I named as one of my favorite films of 2007, comes out on DVD today, in a special package including a commentary track by director Venditti with Ryan Gosling, and a liner notes essay by Miranda July. If you go to the film’s official website and click on the DVD flag on the bottom right, you can actually get 25 percent off your purchase.
I was planning to weigh in on this week’s big digital rights story, the MPAA’s lawsuit against Real Networks for releasing its new RealDVD movie-copying software, but that was at the top of the week. This is the Internet. Everybody said everything that’s to be said on the matter in the first two days or hours or minutes of this, um, controversy. It’s hard to work up any Real passion on the subject anyway, as nobody really likes Real Networks (onetime online audio pioneers, now junky iTunes wannabe) or the MPAA (aka the movie police). But it all seems kinda simple to me: big, ravenous companies trying to expand/protect revenue streams, dressing it up as a copyright/artists’ rights issue. Ancient stuff.
The latest release from Carnivalesque Films, the DVD initiative spearheaded by filmmakers David Redmon and Ashley Sabin, hits stores (and Amazon, etc) today. It’s Orphans, Ry Russo-Young’s debut feature, which premiered and won a Jury Prize at the SXSW Film Festival in 2006. It’s a family horror film of sorts, about two estranged sisters who get together for one weekend of boozy recollection and reconnection gone wrong. I’ve written about the film briefly before; you can see also a conversation with Russo-Young and Tom Hall, and a crazy in-depth “breakdown” of Orphans by Ry and Noralil Ryan Fores. The trailer is above. Also: last week Brandon talked to Ry about Fassbinder and her latent desire to make a film with Amy Winehouse.
We’ve had a bit of trouble getting this episode to go through the iTunes feed, so we hope this re-post will fix the problem. The original post, with episode description and embedded player, is here.
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