Printer Friendly The Movie: Michael Moore's "Bowling For Columbine" is one of the most controversial films of the past several years; there was controversy upon release some wondered if the film would be released and then the controversy returned once again when Moore made an Oscar speech against the current state of affairs in our government and about the war that was taking place in Iraq.
This year in movies, everything seemed to be replicated, duplicated, adapted — from literature, nonfiction, comic books, Saturday morning cartoons, the New Wave, the Land of Geekdom, and sometimes, not just according to the Raelians, real life. Continuing a long-germinating trend, originality continued to reach another new nadir in American film, with the laboratory known as Hollywood continuing to eat its own tail.
With the recent discovery of the vast riches to be found in the shudders of Japanese horror and the wackiness of South Korean misfit comedies — currently being bought by rapacious Yankees spin doctors to shelve and remake — we should prepare ourselves for more second-hand goods in A-level packaging.
Still, with all the adaptation came the anxiety of adaptation. See the collected works of Charles Kaufman, which I support, but am tired of talking about already. Although Tsai Ming-liang continues with his daring circular project of endlessly remaking the same movie only blows left!
While Mike Leigh spinned his wheels, De Palma continued… well, you know. Antown Fisher — Oprah meets Dr. But context is everything. Although Douglas Sirk may have died while in self-imposed exile in Lugano inwill go down as the year when the reinterpretation and revival of his once-dismissed Hollywood melodramas crosses over from academics to full-blown filmic practice.
Still, no director, ever, has been as pastiche-dedicated as Haynes, the former Brown semiotics major. Haynes on Sirk would be completely unimaginable without a close reading of Sirk on Sirk, but a film whose artificiality is the very key to its emotional depth.
The most curious and, possibly, unquantifiable thing about Far From Heaven is how it manages to be contemporary: Artificial melodramatists, whether Haynes or PTA, are cut from the same jib, realizing the anguish inherent in the fact that in the DVD age everything seems to be replicated, duplicated, and adapted.
Lachman, co-director with Larry Clark of the film maudit Ken Park which languishes without a North American distributoris deserving of artist-of-the-year accolades. And as for Ozon?
Is there any doubt that Manoel de Oliveira is the greatest living filmmaker? After the action started in cloned-on-an-Italian-soundstage Civil War-era New York whole hog, I stopped trying to catch the reference points e. Whatever liberties have been taken with real events, Scorsese literally breathes life into history, a not-insignificant accomplishment in an age where historical memory is constantly sacrificed — and even more importantly, depicts it rightly as an American history written in Captain blood, xenophobia, and racism.
Any similarities with The Birth of a Nation are clearly intentional; as he deftly moves from micro to macro and back again with mounting complexity, Scorsese is painfully pointed on the futility of valour.
He also destroys one of the oldest myths in American history as seen through its filmsby melding the Frontier with so-called civilization. Billy the Kid, after all, was born in New York City.
A film made on the cusp of the last presidential election, Gangs makes politics into theatre — indeed, into a bona fide combat sport. The final coup de grace is how it reminds us of a stone cold fact that the rest of Hollywood seems to have erased with the ease of the stroke of a computer key: Most film critics are predisposed to like this kind of crap, indeed, revere it, because they read Tolkien under the covers while they were kids: I say anyone who has picked up a copy of The Hobbit should recuse themselves from any public comment on this catastrophic bore.
War films are by their nature delicate enterprises, and many others, including most recently Salman Rushdie, have pointed out how irresponsible is it in this climate of saber-rattling to present one where good and evil are so clearly demarcated?
Oh, not to mention that the film is indeterminable, ridiculous — 45 minutes of talking trees! The audience for this — clearly repressed gay film geeks. Remind me again why this film was made?
Oh yeah, 26 million dollars on opening day. Fascist movie of the year: Alberto Pezzotta writes for Corriere della sera and too many Italian film magazines. He is based in Milan, Italy. Trachinger is not only capable of revealing the heart and soul of her two main characters, but also the heart and soul of the city in which they live.
Before the Storm Reza Parsa, This film makes me cry a bucketful of tears. For me, Mueller is not only one of the greatest experimental filmmakers, he is also one of the greatest filmmakers.
There are a lot more emotions in his films than in most narrative cinema, and they films prove very well that there is more to experimental films then style, forms or concepts. Nabi Moon Seung-wook, Three people search for something in a hostile land, which may or may not exist. As in Stalker Andrei Tarkovsky,Nabi uses a sci-fi plot to explore something else.
Its most touching moment is the simplest—when the two heroines enjoy cooking noodle together.
Kim Ho-jung gives an intense performance, and seems like a Korean answer to Maggie Cheung. Nabi is my favourite Korean film after Park Chul-soo, ; both are highly recommended for those who like that particular sub-genre—films that explore female psychology, personality, memory, trauma, and the interaction between two or more women—of which Full Moon in New York Stanley Kwan, and Midnight Fly Jacob Cheung, are examples.Auto Suggestions are available once you type at least 3 letters.
Use up arrow (for mozilla firefox browser alt+up arrow) and down arrow (for mozilla firefox browser alt+down arrow) to review and enter to select. Michael Moore examines the social climate which resulted in the massacre at Columbine High School, when two socially awkward students armed themselves with automatic weapons and went on a killing 95%.
Apr 15, · Generating controversy and political debate like no other film in memory, Fahrenheit 9/11 is by turns a determinedly truthful, scathingly funny, intensely thought-provoking and thoroughly.
Bowling for Columbine is a American documentary film written, produced, directed, and narrated by Michael Moore. The film explores what Moore suggests are the primary causes for the Columbine High School massacre in and other acts of violence with guns.
Posted: 01/07/ Bowling for Columbine () by Laura Abraham. Documentary filmmaker and social commentator Michael Moore’s latest is as thought-provoking as anything he’s done.
Michael Moore in Bowling for Columbine. I recall a sketch from Monty Python's Flying Circus called 'Dead Bishop On The Landing'. The characters in the skit want to know who killed the Bishop.