I’m hyperventilating right now, my finger and toes are literally tingling. I was weeping on the floor of my bathroom a few minutes ago, my cat freaking out because I was, listening to the voice of my friend and making no sense to her. See, I had to text my friend Chase, who I thought might understand, and after a few bewildering texts she called my to see if I was okay. My voice was shaking. My voice trembling. I cried when I talked about the final moment of Twin Peaks, I couldn’t finish my sentence, it was overwhelming, I’m crying now. Tears streaking down my face. I can’t begin to describe my feeling or my state of being other than that I’m not here right now. I’m somewhere in my subconscious; so forgive me if this is all very stream of conscious. Read the rest of this entry »
The shifting sands of people’s opinions have inspired me to take part of my day and type this up. Yesterday it was BP’s fault, today it’s President Obama’s/our government’s fault, tomorrow it will be the pelicans’ faults! I’m not one to make big grandiose statements on current events, because the chances that history will prove me wrong, are to say the least, adequate.
So I will let someone else speak in my stead: Read the rest of this entry »
Every time I see M. Knight Shyamalan’s name on a movie poster, hope wells up inside of me. Hope that I’ll see something that was as beautiful and human and brilliant as Unbreakable. There have been moments in his last few films. In The Village when he takes her hand and pulls her safely inside or when the knife slowly slides out of him only to be sunk in again and again like a warm spoon into ice cream. Lady in the Water has even fewer of these moments, and in turn has more of M. Knight on screen. In his newest film The Last Airbender you see him only briefly and he’s in full costume, but you know its him. Why? Because he’s worse than a horrible actor. He has anti screen presence. Even the brief moment he’s on screen it’s almost like a black hole is created. Hitchcock was smart and never gave himself lines.
(I’ve concluded that the more times you see Shyamalan’s name in the credits, the worse the film will be.) Read the rest of this entry »
And out of the darkest night golden plumes dance down the street towards the camera; like a Phoenix rising out of the ashes and mud and destruction of New Orleans. “Won’t bow! Don’t know how!” this man, this Chief proclaims. And chills ran down my spine.
Already Treme, the new HBO series created by Producer and Writer David Simon (the creator of one of the greatest television series of all time, The Wire) and Eric Overmeyer (who’s worked with Simon on The Wire, and Homicide — a show which I will now have to watch), has distinguished itself from every other show on television, ever. Characters’ dialogue already feels like they’ve been around for 5 seasons. Imagery that will already be considered iconic. Read the rest of this entry »
The scariest piece of intel I got out of the new pseudo political actioneer Green Zone, directed by Paul Greengrass and starring Matt Damon, the team that brought you the last two Bourne films, is how the Government and the CIA really don’t get along. If what they dramatize in the movie is even remotely true, we’re screwed. This isn’t a simple jurisdictional problem. These organizations and the decisions they make force change on cultures.
About a half hour of the movie deals with these issues, but you see, this is secondary. What the Green Zone wants to do is give a fictional time out to the people who sent us over to Iraq in the first place and to give us an outlet for our rage over the falsifications of the WMDs that led to war. Our everyman is a disgruntled soldier named Miller (Damon) who decides to help out the CIA to find out what’s really going on as every WMD site they show up at…has no WMDs…bum bum buuuuum! Read the rest of this entry »
Los Angeles seems to, more than any other place, harbor the sort of people that let their past cripple them. Narcissists of self-annihilation; they wear their wounds on their tongues so they can suck everyone else into their universe and take them down as well. They pull people in requiring companionship, and push people away because they’re afraid they might destroy something good. The characters in Greenberg have the capability to become these sorts of people. Each character clings to a past pain, whether it’s from a relationship they just got out of (a very typical thing in LA), to friendships that have floundered. Considering this serious and somewhat depressing trajectory, Greenberg is really very funny. Read the rest of this entry »