Showing posts with label Stanley Kubrick. Show all posts
Showing posts with label Stanley Kubrick. Show all posts

Monday, October 30, 2023

13 Bunnies of Halloween #12






At the end of Eli Roth's Cabin Fever (2002) our sort-of hero Paul (Rider Strong) has made it to the hospital after a string of, you know, negative set-backs. Up to and including the fact that he's infected with the deadly plague that's killed all of his friends in horrifically gruesome ways right in front of him over the course of the past couple of days. And as he's wheeled down the hallway he looks into one of the rooms and he sees a giant bunny man holding a stack of pancakes and a syringe.

As one does. As batshit at the moment is, it is a silly reference to something that had come earlier in the film -- that little blond boy on the gurney is the same little boy who bit Paul on the hand at the start of the film, and who later had a freak-out where he started screaming" Pancakes!!!" while showing off some wild tae kwan do moves...

No, none of this ever made "sense" but there is a throughline to the nonsense, at least! (Also -- the bunny's syringe is one hundred percent loaded with maple syrup right? I think that's a given.) As far as I know Eli Roth has never said what the hell was going on here -- this piece here says that Roth saw the kid actor practising his moves on the day of filming and decided to give him a showcase, but that doesn't explain bunnies or pancakes. The best explanation seems to be it's a reference to the equally surreal bear-suit moment in Stanley Kubrick's The Shining...

... where logic's meant to have fully leapt out the window and we've entered the land of madness. And that works fine for me. Also Roth is friends with Richard Kelly (recall his cameo in Southland Tales) so manybe there's some Frank from Donnie Darko in there  as well. Whatever the case nobody's talking, as the film's end credits make perfectly clear:




Thursday, September 01, 2022

Transexual Transylvania Closing In Quick


Yeesh the news is coming hot and hard today and my poor little fingers can hardly keep up. Somebody get over here and massage my fingers please! The first trailer for Shudder's forthcoming four-part docu-series Queer For Fear, which our pal Bryan Fuller has executive produced, has just now arrived! We'd seen a clip from the series which gave us a fine idea about the awesomeness in store (watch that here), but this trailer offers a good and proper over-look. Yes, as in The Overlook...

... hardy har har. Anyway the series as you ought to have scratched into your calendars by now hits Shudder in just a few short weeks on September 30th; EW spoke to Bryan and got some typically choice quotes from the ever-quotable man (he managed to get the phrase "giant cock that came to roost" in there hahaha). The trailer is age-restricted now (which happened in just the last five minutes since I began writing this) so you know, stand taller while you watch it or whatever.


Thursday, August 25, 2022

Quote of the Day


"With Bones and All, I wasn’t interested at all in the shock value, which I hate. I was interested in these people. I understood their moral struggle very deeply. I understood what was happening to them. I am not there to judge anybody. You can make a movie about cannibals if you’re there in the struggle with them, and you’re not codifying cannibalism as a topic or a tool for horror. The Texas Chainsaw Massacre is not a horror movie. It’s a devastating portrait of America from a very unreconciled master filmmaker. Even the second one, which I love as well, isn’t a horror movie; it’s a satire of Ronald Regan. The Exorcist is a family drama, not a horror movie. It’s about motherhood, and what is alien about that? 

The horror movie as a genre is less interesting because it does play with the various limited set of rules, and the repetition of those rules can be funny and amusing if you want a mindless day with the popcorn at the movie theater watching Final Destination. Or, it can be an empowering experience, or that of a great intellectual who is reflecting on those codes, like Kubrick with The Shining. But mostly it’s just repetition. It’s like comfort food. Except comfort food is the food that makes you sick after you eat it because while it tastes fine at the beginning, it’s also heavy and processed. 

 I’m saying all this as a great horror movie fan, and, because of Suspiria and partially because of this movie, a director in the camp. I think I’ll keep doing horror movies in my life, even if Bones and All isn’t a horror movie per se."

That is Luca Guadagnino talking about Horror Movies and his forthcoming cannibal romance Bones and All with Deadline, read it all here. It's a good-sized long chat and there is maybe a little bit more plot and theme-wise with regards to the new film than I'd have liked to have known, so be aware going in if you're concerned about that. Still I could listen to Luca talk about anything for ages even when I disagree with him, and I'm not sure I entirely agree with him in the above quote -- I get what he's getting at, saying The Exorcist is really a family drama and The Texas Chain Saw Massacre is a brutal satire of America but they are also very much Horror Films! I loathe the implication that labeling something "Horror Film" is somehow limiting. Which I don't entirely think is his intent -- he seems to have a definition of Horror Movie that's very precise in what "Horror" means. (Specifically that his intention with "cannibalism" here in this film isn't to horrify, but to metaphor.) But I'm all for opening it up, not closing it down. Anyway it's a good chat, check it. And here is the Bones and All teaser if you missed it.

Tuesday, June 29, 2021

Everything You Ever Need To Know About Life...

 ... you can learn from:

A.I.: Artificial Intelligence (2001)

Gigolo Joe: She loves what you do for her, as my customers love what it is I do for them. But she does not love you, David. She cannot love you. You are neither flesh nor blood. You are not a dog a cat or a canary. You were designed and built specific like the rest of us... and you are alone now only because they tired of you... or replaced you with a younger model... or were displeased with something you said or broke. They made us too smart, too quick and too many. We are suffering for the mistakes they made because when the end comes, all that will be left is us. That's why they hate us. And that is why you must stay here... with me. 
David: Goodbye, Joe.

Happy 20 to one of Spielberg's best films! I know the meet-cute between his sensibilities and Stanley Kubrick's threw a lot of people off at the time but I think we've generally come around to see this as a good thing, right? That its strangeness and imperfections are what make it a classic, an interesting experimental enormously-budgeted one-of-a-kind thing? I'll admit I haven't seen it in probably a decade but I think about it all the time all the same -- the scenes under the sea, the strange half-busted menagarie of sad robots, the shot in the rear-view mirror of David being left behind... Teddy! Teddy, obviously. Okay I think I'll definitely be re-watching this over the holiday weekend ahead. What are your thoughts on this film?



Thursday, February 11, 2021

Quote of the Day


I feel ridiculous but I am literally a blubbering mess after reading The Hollywood Reporter's new interview with the legend Shelley Duvall this morning -- if you've been keeping track Duvall, one of the greatest actresses ever put on the movie screen, disappeared off the face of the earth for awhile, until [he who shall not be named] put her on his Fake Doctor Program and exploited her mental state for ratings. All I've wanted is for her to be happy, and so seeing the photos attached to the article, and listening to her talk with fondness towards her career (with none of the exploitative factor from that earlier interview), well it's totally overwhelmed me. For all of the yammering on that I do about celebrities every day there are only a handful that I hold close and dear to my heart and Shelley's always been one, since I watched her Faerie Tale Theater and Popeye as a little kid, and then graduated on up to her world-class performances in Altman's films and The Shining

I profoundly recommend reading the piece -- it's wonderful -- but it's on the latter film that I quote her today in particular, because a narrative has formed (one I've participated in, far and wide) that it was Stanley Kubrick's insane, demanding and cruel treatment of her on the set of The Shining that drove her over the edge, mentally-speaking, but Duvall, in this piece only has nice things to say about him. Let's let her speak:

Duvall says, "[Kubrick] doesn't print anything until at least the 35th take. Thirty-five takes, running and crying and carrying a little boy, it gets hard. And full performance from the first rehearsal. That's difficult." Before a scene, she would put on a Sony Walkman and "listen to sad songs. Or you just think about something very sad in your life or how much you miss your family or friends. But after a while, your body rebels. It says: 'Stop doing this to me. I don't want to cry every day.' And sometimes just that thought alone would make me cry. To wake up on a Monday morning, so early, and realize that you had to cry all day because it was scheduled — I would just start crying. I'd be like, 'Oh no, I can't, I can't.' And yet I did it. I don't know how I did it. Jack said that to me, too. He said, 'I don't know how you do it.' " 

Asked whether she felt Kubrick had been unusually cruel or abusive to her in order to elicit her performance, as has been written, Duvall replies: "He's got that streak in him. He definitely has that. But I think mostly because people have been that way to him at some time in the past. His first two films were Killer's Kiss and The Killing." I pressed her on what she meant by that: Was Kubrick more Jack Torrance than Dick Hallorann, the kindly chef played by Scatman Crothers? "No. He was very warm and friendly to me," she says. "He spent a lot of time with Jack and me. He just wanted to sit down and talk for hours while the crew waited. And the crew would say, 'Stanley, we have about 60 people waiting.' But it was very important work."

Monday, July 06, 2020

5 Off My Head: Siri Says 1962

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Last week's edition of our "Siri Says" series -- where I ask my phone to give me a number between 1 and 100 and then list my five favorite movies from the year that corresponds to that number -- was a tough one, sending us tumbling into Silent Film, so I was relieved this week when, after about a dozen or so tires (the years we've got left are getting scarcer and scarcer) Siri plunked us down into a decade I've seen many more movies from, the 1960s, with the number "62." And then I started looking at The Movies of 1962 and I realized that my likes from that precise year -- which featured both the height of the Cold War and the birth of Spider-man -- tend towards outside-the-mainstream. Meaning that there are big beloved movies from that year that I feel very little towards! 

It's a terrific year of movies but an odd inconsistently-matched batch, including big swings between challenging international cinema which was booming, bargain-basement cult oddities from the likes of Roger Corman & Co, and of course the smooth pretty product line that was rolling out of Hollywood. The latter's where my interest wanes, and so as I skimmed through all the titles for the year I found myself wanting to (mostly) highlight the weirder stuff at the expense of the more popular titles.  But then the weirder stuff is my brand! As is, apparently, the black-and-white in the time of color stuff...

My 5 Favorite Movies of 1962

(dir. Roman Polanski)
-- released on March 9th 1962 -- 

(dir. Robert Aldrich)
-- released on October 31st 1962 -- 

(dir. John Frankenheimer)
-- released on October 24th 1962 -- 

(dir. Herk Hervey)
-- released on November 2nd 1962 -- 

(dir. Luis Bunuel)
-- released on May 16th 1962 -- 

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Runners-up: La Jetée (dir. Chris Marker), Dr. No (dir. Terence Young), Cape Fear (dir. J. Lee Thompson), Day of the Triffids (dir. Steve Sekely), L'eclisse (dir. Michaelangelo Antonioni), Jules and Jim (dir. Truffaut)...

... Panic in the Year Zero (dir. Ray Milland), Lolita (dir. Kubrick), Long Day's Journey Into Night (dir. Lumet), Vivre sa Vie (dir. Godard), Lawrence of Arabia (dir. David Lean), To Kill a Mockingbird (dir. Robert Mulligan)

Never seen: The Music Man (dir. Morton Dacosta), The Miracle Worker (dir. Arthur Penn), The Longest Day (dir. Andrew marton), All Fall Down (dir. John Frankenheimer), A Kind of Loving (dir. John Schlesinger), Billy Budd (dir. Peter Ustinov), Cleo From 5-7 (dir. Agnes Varda)...

... The Intruder (dir. Roger Corman), How the West Was Won (dir. Henry Hathaway), The Man Who Shot Liberty Valance (dir. John Ford), The Trial (dir. Welles), Cartouche (dir. Philippe de Broca), Days of Wine and Roses (dir. Blake Edwards)

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What are your favorite movies of 1962?
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Friday, May 22, 2020

Everything You Ever Need To Know About Life...

... you can learn from:

The Shining (1980)

Wendy: Hey. Wasn't it around here that 
the Donner Party got snowbound?
Jack: I think that was farther west in the Sierras.
Wendy: Oh.
Danny: What was the Donner Party?
Jack: They were a party of settlers in covered-wagon times. 
They got snowbound one winter in the mountains. 
They had to resort to cannibalism in order to stay alive.
Danny: You mean they ate each other up?
Jack: They had to, in order to survive.
Wendy: Jack...
Danny: Don't worry, Mom. I know all 
about cannibalism. I saw it on TV.
Jack: See, it's okay. He saw it on the television. 

The Shining turns 40 tomorrow! And since I won't be posting tomorrow, in a brave accordance with my wish to continue observing the former entity known as "weekends," I post this news today, on a Friday. Yes, it is a Friday. Apparently. Anyway I'm pretty sure I'm going to watch The Shining tonight in order to celebrate, maybe you should too. But just for Shelley Duvall. Because she's the real reason for the season. Read my previous piece on her perfect performance over at TFE. Shelley forever.


Tuesday, March 31, 2020

Her Name Is Shelley Duvall

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I don't intentionally keep writing up movies about isolation for my "Great Performances in Horror Actressing" series over at The Film Experience week after week (see also: Repulsion last week) but it keeps happening and, uhh, it makes some sense. This week I wrote a lil' ode to Shelley Duvall's top notch work in The Shining, which is by my estimation one of the single greatest feats of acting in any movie, period. I do think that the opinion on her work here has, over the past few years, greatly swung around to my side... but I'm gonna keep on yelling it just in case.
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Monday, March 02, 2020

Pics of the Day

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This past weekend I made a voyage beyond the stars, or maybe just the Queensboro bridge, to the Museum of the Moving Image in Astoria for their current exhibit on Stanley Kubrick's classic sci-fi masterpiece 2001: A Space Odyssey, and hoo boy am I glad I did. When I tell you that I involuntarily squealed when I saw the little red eyeball of the HAL 9000 prop staring at me from across the room I think you'll probably understand. 

It was like the "meet cute" in a rom-com! All the noise from the room disappeared, everybody else faded away, and me and HAL were suddenly alone, just me and my HAL dancing around the room in slow-motion to the tune of "Daisy Daisy." It was the most romantic moment of my entire life. I spontaneously gave birth to several floppy disks that day, my friends!

Anyway my point is you obviously should go to MOMI for this exhibit if you're in New York at any time before it closes in July. They're also screening a bunch of classics alongside -- I got to see Ridley Scott's Alien, hubba hubba -- what an erotic adventure that was. That said I'll now share a few more photos I took of the show, including props and models and costumes and the like, after the jump...

Tuesday, November 12, 2019

I've Seen the Future, Brother, It Is Redrum

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"That's odd. The blood usually gets off on the second floor." 

Try as hard as I might that line from The Simpsons' Shining parody was always skittering around the edges of my brain while watching the 40-year-delayed sequel Doctor Sleep, until eventually, like that indefatigable blood itself, I couldn't hold it back any longer -- it came pouring out everywhere all over everything. So heavy is the weight of iconography attached to the Overlook and its dark descendants -- they cannot, they will not, be contained. 

At times that spooky weight worked in Sleep's favor -- when we do finally make it back to the Hotel, as we must, you do feel the same passage of time that Adult Danny Torrance (Ewan McGregor) seems to -- we too now have creaks in our musty bones and crevasses around our exhausted eyes; the  radiators are quaking and the little boys in chunky astronaut sweaters are no more on either side of the screen. It goosed its old riffs good. But more often than not I felt Doctor Sleep crumbled under the weight of its impossible expectations and the blood, loosed, drowned the poor dear. 

It's not a bad film. (Rebecca Ferguson, that queen, certainly does her best.) But it actually doesn't even entirely feel like a "film" to me -- it feels more like a miniseries, something director Mike Flanagan has proven himself a sturdy captain of with his Haunting of Hill House series for Netflix, about to disclose its own second anthology. On Netflix Doctor Sleep could have been another hour or two longer and I would've gobbled it up with absent-minded and perfectly mild satisfaction on my face -- dull-eyed and entertained.

On the big screen though, as those familiar strings descend and the REDRUMS pile up and multiple actors are forced to do their best Jack Nicholson and Shelley Duvall impersonations, I don't know, I just kept being forced into the corner of thinking upon other people's really strange and daring creations. Flanagan is a good, solid filmmaker who in 2019 can't possibly live up to the shit Stanley Kubrick pulled with that 1980 film. It's a task for a crazy person; Mike Flanagan isn't that.

The film's better than it has any right being -- Flanagan's made a career out of that exact sentiment time and time again. There are scenes of genuine fucked-up-ness in Doctor Sleep that a totally by-the-numbers person wouldn't have accomplished. But there's nothing truly scarifying, and there's not much that I think will stand as its own legacy, un-borrowed from betters. Even the film's grossest practical effect is a thing Flanagan himself pulled with his last King adaptation Gerald's Game (which remains  at this point the best thing he's done).

Doctor Sleep is an entertaining tribute to a monumental thing. It's a bowl of colorful fruits laid out in front of a forever monolith, one that reaches black to the stars and blots out so much that came after --the gods will not be angry for this sacrifice. But I'd rather we build our own gods, defiled and deranged and pink with present tense, to suit our modern purposes. The blood came and went awhile back; I long for some new flesh. 


Friday, November 08, 2019

Ewan McGregor Four Times

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I'm ready for an Ewannaissance myself, ain't y'all? It's time for the monolithic internet brain to be swooning over him like it has been for Keanu. I have no idea if Doctor Sleep is going to be any good or not but "good movies" has hardly been a requirement when it's come to the Keanu thing. If any of you go see Doctor Sleep this weekend tell me about it -- I don't know when I'm going to find the time, this weekend is otherwise jam-packed, but I'd like to at some point. These photos are via Ewan's interview with Men's Journal over here, which full disclosure I haven't read -- fuller disclosure I think I've got a cold or something coming on and y'all should not be expecting a lot today. But hit the jump for the rest of this shoot at least...

Tuesday, July 16, 2019

Everything You Ever Need To Know About Life...

... you can learn from:


Alice: Millions of years of evolution, right? Right?
Men have to stick it in every place they can,
but for women... women it is just about security
and commitment and whatever the fuck else!
Bill: A little oversimplified, Alice,
but yes, something like that.
Alice: If you men only knew...

Stanley Kubrick's technically unfinished (by him anyway) masterpiece Eyes Wide Shut was finally released on this day twenty years ago... where it was met with a great big "HUH?" I loved it immediately and have grown to love it even more with time, but I get the HUH, I really do. It's a three-hour-long unsexy unthrilling sex thriller that moves like molasses -- I get it! It's a challenging and strange motion picture. And yet with time it begins to feel more and more like it might be the most incisive film about long term relationships I've ever seen. (Give or take a Phantom Thread.)

The way it captures the sensation of moving through the world in the lonely singular spheres that we all travel in, through the inescapable machinations of the human mind and our very natures, tethered to another forever unknowable who's gliding around in their own sphere, and how it feels like the fucking Wizard of Oz whenever you get one of those good clear cruel glimpses inside somebody else -- all of our sublime and ornate ridiculousness, inexplicable and unfathomable -- and you're met with this profound marrow deep shudder of your own Nietzschean nothingness; a gilded mirror held up to a gilded mirror hovering above an abyss. I recognize it!


Tuesday, December 11, 2018

5 Off My Head: Siri Says 1964

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We haven't had time to talk to the little lady that lives inside of our phones for months now! The poor lady got so angry she up and left, who can blame her, and I had to buy a brand new phone to have somebody to talk to. (Don't judge me.) So today, with an extra hour to spare and a guilty weight upon my heart I figure why not, let's communicate with this new sucker.

That's right, it's time for our "Siri Says" series, in which I ask my telephone to tell me a number between 1 and 100 and then choose my favorite movies from the year that corresponds with that number. We've done well over half of all the numbers by now and so it always takes a few tries to get a fresh number out of Siri but today it only took, well, like seven tries. That's not so bad! And Siri gave me "64" (eventually) and so today we're celebrating The Movies of 1964. Let's take a look!

My 5 Favorite Movies of 1964

(dir. Alfred Hitchcock)
-- released on November 9th, 1964 --

(dir. Jacques Demy)
-- released on December 16, 1964 --

(dir. Stanley Kubrick)
-- released on January 29th, 1964 --

(dir. Mario Bava)
-- released on April 10th, 1964 --

(dir. Roger Corman)
-- released on September 16th, 1964 --

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Runners-up: Goldfinger (dir. Guy Hamilton), Hush Hush Sweet Charlotte (dir. Robert Aldrich), Strait Jacket (dir. William Castle), That Man From Rio (dir. Phillippe de Broca)...

... What a Way To Go! (dir. Thompson), The Last Man on Earth (dir. Sidney Salko), The Gorgon (dir. Terence Fisher), The Comedy of Terrors (dir. Tourneur), The Naked Kiss (dir. Samuel Fuller)... 

...... Kitten With a Whip (dir. Douglas Hayes), First Men in the Moon (dir. Nathan Juran), Onibaba (dir. Kaneto Shindô), Tomb of Ligeia (dir. Corman), Ghidora, The Three-Headed Monster (dir. Honda), Kwaidan (dir. Masaki Kobayashi), Dead Ringer (dir. Paul Henreid), Zorba the Greek (dir. Michael Cacoyannis)

Never seen: A Hard Day's Night (dir. Richard Lester), Becket (dir. Peter Glenville), A Married Woman (dir. Jean-luc Godard), Band of Outsiders (dir. Godard), Nothing But the Best (dir. Clive Donner), Joy House (dir. Rene Clement), I Am Cuba (dir. Mikhail Kalatozov), Marriage Italian Style (dir. Vittorio De Sica), Diary of a Chambermaid (dir. Bunuel)

What are your favorite movies of 1964?
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Monday, April 02, 2018

I'm Half Crazy All For the Love of You

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I suppose it's a cheat, sending you off to vote on this week's 2001: A Space Odyssey edition of "Beauty vs Beast" by planting this image of Keir Dullea's prettiness in your mind first, but I think he'll probably need the nudge given he's up against one of cinema's most iconic villains. We're turning to 2001 because it's turning 50 today! So head on over and vote, ya bunch of nutty apes.


Thursday, September 21, 2017

5 Off My Head: Uncle Stevie's 70

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It is the 70th birthday of Stephen King and old age be damned he's this year's hot "It Boy" and in more ways than one, the movie It being the year's biggest surprise hit - I think we all expected the movie to do well, but not this well. It's raking in cash over claw. (Here is my review in case you missed it.) Anyway I'm in too much of a rush just now to go back through our archives and check to see if I've done this before (it's entirely possible) but here on his 70th let's name our five favorite movie adaptations of his stories.

My 5 Favorite Stephen King Movies

-- dir. Taylor Hackford --

Carrie (1976)
-- dir. Brian DePalma --

The Mist (2007)
-- dir. Frank Darabont --

The Shining (1980)
-- dir. Stanley Kubrick --

Misery (1990)
-- dir. Rob Reiner --

And if I did a Top Ten: The Shawshank Redemption

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What are your favorite Stephen King movies?
(And would you already put It on your list?
I'm not quite there yet, but it's good.)
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