(Author’s Note: This was original published on Fandor on February 14th, 2016, but they’ve deleted their archives.)
Is there anything more romantic than watching the face of your date as the image of Rosamund Pike slitting Neil Patrick Harris’s throat is projected up on the big screen—on your first outing, no less? Now that’s an ice breaker. My date was seated to my right as I scribbled down notes for the first fifteen minutes, unaware of the context of our meeting until a good fifteen minutes into the film. The ambiguity with which our outing was initially imbued may or may not speak to a larger idea of the cultural shifts in courting, but to watch Gone Girl on a first date is really, contrary to public perception, a romantic thing. The jittery ebullience of the evening doesn’t really change, since the context is the same, and though we didn’t go out again, not because of the film (our post screening discussion was lively and impassioned), there’s a hurdle one overcomes when watching Gone Girl—or even other works like Antichrist, Scenes from a Marriage, etc.—it’s a weird, inexplicable sense of intimacy and understanding one has when watching a film like this, let’s call them Anti-Romantic films. Read the rest of this entry »
(Author’s Note: This was originally written for my horror cinema class.)
Not unlike its HR Geiger designed monster, saliva cascading from its bladed fangs, the Alien franchise has morphed generically with each film, these alterations and manipulations contingent on the director’s generic and stylistic proclivities. With Ridley Scott’s original entry in 1979, Alien was created as a film that exists within a haunted house context, traipsing through tropes with a sci-fi bent; James Cameron’s 1986 follow up Aliens recontextulized that universe as a militaristic allegory about the state and the body; David Fincher’s Alien 3 (1992) sought a vision of spiritual, metaphysical horror; and Jean-Pierre Jeunet’s Alien: Resurrection (1997) dressed dressed the franchise entry up in the garb of a goofy sci-fi action film. But it is Fincher’s entry which is the most striking and the least understood, the product of studio interference, script rewrites, and the struggle to achieve an Alien film that both resembled its classical originator as well as diverged from it drastically to mine in the conventions of the art house. Read the rest of this entry »
As I said in another list, this year was slightly different, not only in that I wrote a heck of a lot more, but also in that I just saw more, at least as far as new releases went. My journey to making these lists was a fun one. Finals were already happening and I thought, oh, I have a couple of weeks to finish the seven or so lists I had to make, I have plenty of time. And then I realized I had just over a week. So I crammed in as many 2014 films as I could, and voila!
So, here it is, folks, my final, locked in list of my favorite 14 films that I saw in 2014 (I’m not worrying about US release date or anything, just counting what I saw.)
You can also find my ranked 2014 list on Letterboxd, my top 20 performances at Under the Radar, some capsules I contributed to Under the Radar’s best films of 2014, and to Sound on Sight (my individual ballot here), and my favorite musical moments in film from 2014. And, also, my superlative year in film. And also, my complete list of all the new releases I saw in 2014. Yes, I made a lot of lists this year.
Thanks for taking this cinematic journey with me! I hope 2015 to be as fruitful and fun! Have a safe and very Happy New Year, folks! Read the rest of this entry »