Last night we watched “The Specialist” and although it is a terrible movie, it’s another example of bog-standard ‘90s cinematography playing as a visual feast simply because nobody really uses these colors anymore.
Followed it up with Rollerball, for an accidental Houston Sucks double feature. A great looking movie, which not incidentally looks like it was composed for movie screens.
Saw Reality Bites for the first time last night, and that era where cinematographers ruthlessly protected the image for pan & scan home video is hilarious in widescreen. All these carefully composed 1.33:1 frames with an ocean of blank space on the side. That said, it played on TV forever, so…
Saw Reality Bites for the first time last night, and that era where cinematographers ruthlessly protected the image for pan & scan home video is hilarious in widescreen. All these carefully composed 1.33:1 frames with an ocean of blank space on the side. That said, it played on TV forever, so…
People got really pissed off when The Beatles licensed “Revolution” to Nike, while ignoring the fact that the band’s whole musical project was just a means of funding their true passion: marketing and selling the EMITEX record cleaning cloth.
Imagine the version of “Blood Meridian“ Cormac McCarthy would have written if Harper & Brothers had published an unexpurgated edition of Samuel Chamberlaine’s memoir.
Continuity error in Firestarter (1984): When Rainbird first visits Charlie, she is playing the ColecoVision version of “Slither!” Despite the fact that “Slither!” is a high resolution video cartridge that plays like the real arcade game, Rainbird is able to engage Charlie in conversation.
I mean, take a look at these guys: Mayor George Cryer, Kent Parrot, Cryer’s campaign manager and the de facto mayor, and crime boss Charles Crawford. Where’s their limited series?
We don’t need a prequel to Chinatown, but I’d love more stuff set in Los Angeles in the 1920s. Millions of movies and TV shows about the city in the 30s and 40s, but the 20s were more interesting: bootleggers and gangsters openly controlled the city through puppet mayor George Cryer.
Discovered a folder on my desktop called “Posters,” which I do not remember ever creating or saving anything in. (Actually, I remembered while attaching the images: According to an ad in Army Man, you could write in and order a taped-from-TV VHS copy of a selection of movies, these included.)
Saw a headline referring to “Possession” as an “80s horror movie,” which is true! But to me the phrase evokes “Gore-Met Zombie Chef From Hell” more than “Possession.” The unsettling reflection-free mirrors in the Café Einstein scene alone are way more elegant than the median 80s horror movie.
I see lots of people complaining about journalism's collapse, and even more complaining about paywalls, but no one pursuing alternative pricing strategies. For years I've been saying news organizations should model themselves after the summer 1875 run of the Pulaski Citizen, but will anyone listen?
It really does work on just about anybody. Anybody who reads it, Max. But why would anybody read it? Why would anybody read a scum website like Twitter.com?
Google appears to have rolled back its new AI Overviews — a generative AI feature — after the technology produced a litany of untruths and errors, including recommending glue as part of a pizza recipe and suggesting that people ingest rocks for nutrients.
Whenever an album on Apple Music has obviously ahistorical album art, a phony Jan. 1 release date, and no copyright or record label information at all, you’re always in for a treat.
One other thought on One False Move: Michael Beach’s character is a terrifying villain precisely because he never gives speeches or acts charming or crazy or does any of the usual villain stuff. He’s a quiet and unassuming guy who might start stabbing people at any moment.