Love me some Film Crit Hulk - “Don’t impress me, convince me”
Hulk’s latest target of smashing: blockbusters that get so so convoluted, so byzantine in their reveals that they alienate story-seeking audiences.
Moody photo of a Spanish bullfighter Juan del Alamo making the ‘paseillo’ or ritual entrance to the arena before a bullfight at Las Ventas bullring in Madrid Sunday, June 16, 2013. Bullfighting is an ancient tradition in Spain and the season runs from March to October. (AP Photo/Daniel Ochoa de Olza)
(Source: nationalpostphotos)
Gimme - I wanna sell it and make “The Man Who Got Away”.
Georges Rouault, Head of a Clown, c. 1920
From the Indianapolis Museum of Art:
Clowns, a popular motif in French art from 18th-century painter Antoine Watteau through Picasso, often appear in Rouault’s work. They are his Everyman, assuming a wide range of different guises.
Much of Rouault’s art and life revolved around anguished themes of sin, suffering and atonement. This image takes on the tragic features of Christ as the Man of Sorrows and expresses suffering in a universal sense. Its smoldering color and emphatic line reflect Rouault’s early training in stained glass.
As I have already noted elsewhere, I very much enjoyed this feature presentation
Nicholas Rombes on Shane Carruth’s Upstream Color and the process of creation:
Perhaps most art, at some fundamental level, is about the process of its own creation, if for no other reason than that it bears the indelible claw marks of the hands that made it. Walden, for instance, is not just about Thoreau’s experiences in nature, but also about the assembling of those experiences into the book itself. And Virginia Woolf’s experiments in her novels with extended interior monologue suggest that, maybe, that’s what her novels are really about: their composition through a particular mode of consciousness. While there are no lack of theories about what Upstream Color is about or what it all means, the fact that most of these readings don’t cancel each other out, but rather exist simultaneously, is suggestive of the particular power of this film.
They’re a big “hit” with my “band”, says Vincent Gardenia (via).
basically the entire movie
