Films

09.15.06

Cocktail, Remixed

The New York chapter of AICE — The Association of Independent Creative Editors — just held their annual “Trailer Park” competition. The contest asks entrants to choose from a list of nine movies and edit a :90 second trailer which promotes the film as a picture from a completely different genre.

Last year’s winner, Robert Ryang’s Shining, re-imagined Stanley Kubrick’s “The Shining” as a heartwarming family flick.

This year’s grand-prize winner is Scott Rankin of Northern Lights Post, whose superb editing transformed the 1988 Tom-Cruise vehicle Cocktail into a Bollywood musical.

It’s called CAAKTHÄ€L:

More details are available on the AICE site. I’d like to thank AICE for making the video available to me.

Also check out the new blog The Trailer Mash, which was created solely to track these kinds of mashed trailers.

08.23.06

Crazy for Crosswords

A friend asked me recently whether I had seen any good movies lately. I got the sense that my first answer — Peeping Tom — was not suited to his taste. Certainly, he must not have been inclined to watch it after hearing me describe, in glowing terms, a film in which a fanatical moviemaker uses the sharpened leg of his tripod to kill people while recording their deaths.

Not exactly family fare. But you’ve got to love a film that includes the line, “I distrust a man who walks quietly,” even if that line is surrounded by lots of outdated, quasi-Freudian mumbo-jumbo.

(via)

At any rate, the film I should have recommended, and later did by email, was Wordplay, a sweet little documentary about The New York Times crossword puzzle, and the tortured souls who live and die by it. Along with (believe it or not) riveting, white-knuckle coverage of the annual American Crossword Puzzle Tournament, the film includes charming interviews with jet-set crossword mavens such as Jon Stewart, Bill Clinton, Ken Burns, and Mike Mussina.

The film left me with a strong desire to try own my hand at filling the ole blank boxes. And try, I have, with only a modicum of success. A few days after watching the film, I signed up for the Times’ Premium Crossword Puzzle club, and began to test myself against it on an almost-daily basis. The puzzles get more difficult as the week goes on; I can only get through Wednesday at this point, but Friday is not completely out of reach. That, at least, is what I tell myself late at night, as I’m stomping loudly up the stairs.

Along the way, I’m gaining a sense of the kinds of people who construct crossword puzzles. They’re a ruthless bunch, and they hold certain beliefs which I find rather disconcerting. For instance: if you “came in second,” you’re a “loser” — unless Mr. Shortz takes pity on you and concedes that may have “placed.” They know that the capital of Tibet is Lhasa, and they’ll hold it against you if you don’t. They suggest that “idiot” is another word for “half-wit;” you might just get the sense that they’re talking about you as drops of your sweat stain the squares of a Monday puzzle.

I like to remind those kinds of people that heterogeneity is the piquancy of life. We can’t all be crossword-puzzle experts, can we?

Anyway, as I was thinking about Wordplay, it occurred to me that the film is representative of a recent strain of documentary film that explores what I would call “niche passions” — pursuits that seem normal enough on the surface of things, until you see them pursued by a group of fanatical oddballs. At their best, such films explore the shared culture that grows up around idiosyncratic hobbies, and poke gentle fun at the film’s subjects while maintaining respect for their lives and beliefs.

And so, having taken a roundabout way to get there, I’ve arrived at this week’s on-again, off-again movie question: what is your favorite film about a “niche passion”?

07.19.06

Those Dying Generations (and their song)

I will commend, all summer long, Michael Bérubé’s brilliant and heartfelt exegesis of Yeats’ “Sailing to Byzantium,” the poem from which this blog takes its name.

Michael guesses that I might have something to say about the poem, and he’s right, but he catches me as I’m working against a dissertation-related deadline (don’t worry — I assure you that the dissertation is in its last throes).

Until I’m better able to address his post, I offer you the following take on The Big Lebowski. It’s not quite as eloquent as Yeats’ commentary on the human condition, but it shares a vaguely similar leitmotif. I like to think of it as a gloss on the lines “Caught in that sensual music all neglect / Monuments of unageing intellect.”

The Big Lebowski - F_cking Short Version
(caution: this video contains more profanity than a G8 Summit Meeting, so put on some headphones if you’re at work, and cover the ears of your children if you’re at home)

07.08.06

Horror Movies for People Who Hate Horror Movies

I have an admission to make about my taste in movies, one that many people will find disturbing: I hate horror flicks.

Texas Chainsaw Massacre

It’s not that I disrespect the genre; I simply don’t like the sensation of being scared. When I was young, I used to race up the stairs in my house, convinced that I was being chased by chainsaw-wielding madmen or vomit-spewing girls. My dreams were troubled; I had a vague aversion to resorts in the Catskills; and I worried that my head might be consumed by swarming beetles.

Having conquered those childhood fears, I wonder why I should subject myself to the night sweats again. And yet, horror movies are fascinating on many levels. As Tim Dirks points out, the genre has much to say about our sublimated desires and repressed fears:

Horror Films are unsettling films designed to frighten and panic, cause dread and alarm, and to invoke our hidden worst fears, often in a terrifying, shocking finale, while captivating and entertaining us at the same time in a cathartic experience. Horror films effectively center on the dark side of life, the forbidden, and strange and alarming events. They deal with our most primal nature and its fears: our nightmares, our vulnerability, our alienation, our revulsions, our terror of the unknown, our fear of death and dismemberment, loss of identity, or fear of sexuality.

[. . .]

Horror films, when done well and with less reliance on horrifying special effects, can be extremely potent film forms, tapping into our dream states and the horror of the irrational and unknown, and the horror within man himself. (The best horror films only imply or suggest the horror in subtle ways, rather than blatantly displaying it [. . .]) In horror films, the irrational forces of chaos or horror invariably need to be defeated, and often these films end with a return to normalcy and victory over the monstrous.

With all of that in mind, I put this week’s film questions* to you:

1. What are your favorite horror films? Which one of them do you consider to be the scariest movie you’ve ever seen?

2. Which horror movies would you recommend to someone who hates horror movies?

3. If you are a horror movie fan, how would you explain your attraction to the genre?

 

Here are some lists to get you thinking:

IGN.com: Top 25 Horror Movies of All Time

Filmsite: Scariest Movie Moments and Scenes

IMDb: Best/Worst “Horror” Titles

Bloodletters: Top 50 Horror Movies

Box Office Prophets: BOP’s 50 Favorite Horror Films

 

* I think that these film posts are better suited to the weekends than Mondays. Henceforth, weekends are for movies, at least on this blog.



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