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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Some films leave you physically altered; the catharsis they serve up is more than just lights playing on a wall. It is physical, possibly chemical. When the screen goes dark and house lights rise again, the shadow play just witnessed has taken a toll, a real one. Whatever the journey, the actors have mimicked it effectively enough that you feel as though you too have come through changed.\u003c/p>\n\u003cp>\u003cb>House of Sand\u003c/b> overwhelms from the first frame — a harsh white mountain of sand and then just a tiny black spot of a man. He is dwarfed. In front of such hostile nature \u003ci>we\u003c/i> are dwarfed. The wind wraps his voice in sand and blows it away. A caravan plods across the dune, each step a struggle against the shifting earth. The wind erases their tracks as they move. It is not difficult to understand what is temporary in this landscape.\u003c/p>\n\u003cp>Then water. Vasco has reached the tiny lagoon he has purchased for himself, his beautiful young wife Aurea (Fernanda Torres) and her mother Doña Maria (Fernanda Montenegro). The two women are unhinged at the prospect of scratching out an existence in so hostile an environment. Then Vasco collapses and the women must fend for themselves, relying on a nearby colony of escaped slaves to show them the way.\u003c/p>\n\u003cp>Aurea gives birth to a daughter, Maria, and spends the next decade waiting for the child to grow. Aurea believes she will escape her desert exile when Maria is old enough to cross the desert safely. The life she leads in the intervening years is a struggle with nature, a stripping away of the trappings of civilization, but not of the civilized.\u003c/p>\n\u003cp>\u003cb>House of Sand\u003c/b> follows Aurea as she plods through the shifting sands of her life, her footsteps disappearing as she advances. Through most of her adulthood Aurea stubbornly pursues both survival and escape. The more she makes a life in the sand, the more determined she seems to leave it, holding tightly to a dream of a world she has long since lost. Music. The wonders of technological achievement. Time passes. Man steps foot on the moon, but what does he find?\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>For some reason I relate the visceral experience I had watching \u003cb>House of Sand\u003c/b> to the one I had watching \u003cb>The Descent\u003c/b>. I don’t know why. Two more different films I cannot name. \u003cb>House of Sand\u003c/b> is sumptuous, poetic, full of primal fits of emotion and gorgeous leaps of the imagination. And it takes place, most definitely ABOVE ground. \u003cb>The Descent\u003c/b> is a horror film, full of things that jump and bump and chew and gnaw. It is full of bones and people who are meat and bones to be. It is loud and scary, bloody and violent. The two films really are opposites in every way. And \u003cb>The Descent\u003c/b>, the story of a group of female cave explorers wandering about in unexplored Appalachian caverns, definitely takes place down below.\u003c/p>\n\u003cp>Nonetheless, I believe there is something that connects these films. Perhaps it is their sheer physicality. Perhaps it is their female-dominated casts. Perhaps it is that catharsis thing I was talking about. I spent the full two hours of \u003cb>The Descent\u003c/b> squirming in my seat, my body producing adrenaline to spare. When the film was done, I was spent. I had gone through the scary depths with this group of women and come back to the world above shaken, changed. I needed a martini (also shaken) and quick.\u003c/p>\n\u003cp>Perhaps what these two films share is an understanding of how overwhelming and PRIMAL nature is. Even though \u003cb>House of Sand\u003c/b> unfolds in the shifting desert, there are moments when it captures that feeling of being buried alive. There is no resisting the desert. It advances whether you have built up structures to resist it or not. Similarly, there is no resisting the world of strong emotions — the suffocating effect of being forced to lead a life not chosen is reminiscent of the terrible claustrophobia of being trapped under ground. In \u003cb>The Descent\u003c/b> the subterranean environment mirrors the pent up hostilities between the film’s two main characters. Eventually buried anger and hatred will manifest itself in \u003ci>some\u003c/i> way. In this case it is as sightless, woman-eating creatures crawling the caves in search of their next meal. In \u003cb>House of Sand\u003c/b> the emotional landscape is so vast, eventually we know it will overwhelm everything, burning all external resistance away and leaving just the pure primal self.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cb>House of Sand\u003c/b> opens August 18, 2006.\u003cbr>\n\u003cb>The Descent\u003c/b> now playing.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "Q-500 Experiment: Foul You, Motherlover!",
"headTitle": "Q-500 Experiment: Foul You, Motherlover! | KQED",
"content": "\u003cp>\u003cb>Week in Review\u003c/b>\u003cbr>What happened to good G-rated movies for adults? This week I watched \u003cb>The Andromeda Strain\u003c/b>, definitely not a movie for kids, but rated for “general audiences.” Earlier this year, I watched \u003cb>Le Mans\u003c/b>, another G-rated movie, starring Steve McQueen. Let’s not forget \u003cb>Planet of the Apes\u003c/b>, which is probably my favorite G-rated movie. I know what happened, I don’t have to ask: the marketing bozos figured out a corralation between ratings and audience, which translates to ratings and money. \u003c/p>\n\u003cp>After watching movies for the last thirty something years, I would automatically assume any movie that comes out today rated G will not be of interest to me. I usually see movies that are rated R. Most of them are a strip club, three Fwords, and a blood spurt from being a G movie. If a script is written brilliantly, elements such as these will be added to boost the rating to one that is suitable for the audience to whom the film is being marketed. It’s yet another bad thing that happens to good scripts.\u003c/p>\n\u003cp>The next time you see a recent R-rated movie in the theater or on DVD, check out what they will cut for the TV version. Conversations in the strip club, where all informants hang out, will be cut out for TV or more insidiously, the strippers will be on either side of the screen that will be cropped for the Pan and Scan Version of the film. Usually, it’s the same character that drops all the F-bombs, while none of the other characters swear at all. This is so they only have to call in the minimum of actors for the alternate dialogue looping. \u003c/p>\n\u003cp>While I’m complaining, whatever happened to the beep out or the blank out? It’s still good enough for \u003cb>Springer\u003c/b> and the radio, but why insult the TV audience with Mad-Libs-sounding phrases like, “Rub my toe, you motherloving pirate!” It just makes me wonder what \u003cb>Deadwood\u003c/b> will sound like when it’s rerunning on TBS.\u003c/p>\n\u003cp>\u003cb>The Pick\u003c/b>\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>What a close one this week was. There was a strong field this week. Spike Lee’s moving \u003cb>4 Little Girls\u003c/b> documentary, \u003cb>The Andromeda Strain\u003c/b> based on then 29-year-old Michael Chricton’s book, the sometimes hilarious \u003cb>Confederate States of America\u003c/b>, and Bob Fosse’s classic \u003cb>Damn Yankees\u003c/b>, were all contenders. There were two, though, that stood above the rest.\u003c/p>\n\u003cp>Almost at number one was \u003cb>Brick\u003c/b>, the debut film by Rian Johnson. \u003cb>Brick\u003c/b> is a murder mystery set in a high school. While the acting and directing were good, the whole of the film, the sets, the actors were all just vehicles for the snappy film noir dialogue. This film has some of the best consistent dialogue I’ve heard all year. The language is so hot, I want to recommend this film that’s a cross between \u003cb>Pulp Fiction\u003c/b> and \u003cb>The River’s Edge\u003c/b>.\u003c/p>\n\u003cp>But there’s one other film that I saw that I can’t get out of my head.\u003cb>Don’t Come Knocking\u003c/b> was also just released this week. To be honest, I stuck it in my queue as soon as I found out Fairuza Balk was in it. But she’s only one of the many extremely talented and gifted people working on this film. Hopefully this film will get Oscar nominations for Best Director, Best Picture, Best Screenplay, Best Actor in a Lead Role, and Best Supporting Actress. Wim Wenders directed this Sam Shepard penned script, starring Shepard with an equally compelling role from Sarah Polley. But that’s not all. The movie also stars Tim Roth, Jessica Lange, and Eva Marie Saint in a small but crucial role. Every scene has wonderful interaction, for lines that other films use as exposition or filler between other scenes. (For a completely different take on \u003cb>Don’t Come Knocking\u003c/b>, read \u003ca href=\"http://www.kqed.org/arts/movies/index.jsp?id=5160\">Mark Taylor’s review\u003c/a>.\u003c/p>\n\u003cp>Shepard plays a movie cowboy who, for unexplained reasons, takes a horse and rides away from the set. At first I was thinking \u003cb>The Electric Cowboy\u003c/b>, but this film stands on its own. At the heart of the plot, which wouldn’t be prudent to reveal, Shepard’s character is on a spiritual journey which we’ve seen before, but is done with its own sense of freshness and urgency.\u003c/p>\n\u003cp>Sarah Polley plays her character perfectly. While she seems to be a minor character at first, her role grows in importance, but yet she takes a subtle approach to her performance. Maybe with another director and actor, this character would have done nothing but screamed and cried, but Polley is able to show these emotions to the viewer without overdoing it, which, in the end is always more powerful.\u003c/p>\n\u003cp>Wim Wenders made a lot of noise and gathered attention with \u003cb>The Beuna Vista Social Club\u003c/b>, and this is his best project since. I hope an Oscar is in his future. The same goes to Sam Shepard, whose only nomination was 22 years ago, for his portrayal of Chuck Yeager in \u003cb>The Right Stuff\u003c/b>.\u003c/p>\n\u003cp>\u003cb>The Pace\u003c/b>\u003c/p>\n\u003cp>I watched 10 this week. 300 DVDs in 225 days. 200 DVDs left in the next 140 days for a pace of 9.99 per week. \u003c/p>\n\u003cp>I’m a little behind on my daily posts, as my roommate decided to “upgrade” our connection, and now I can’t get online at all at home. This post is uncomfortably written off site. I’ll get caught up on those as soon as I can.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>This coming week: Anthony Mann week! The classic American director, mainly of westerns and noir films fills the week up. Mann is sadly not a household name, but has contributed many fine films to cinema that are all coming out now on DVD after years of being out of print on video. Time to get caught up! \u003c/p>\n\n",
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"excerpt": "\u003cb>Week in Review\u003c/b>\u003cbr />What happened to good G-rated movies for adults? This week I watched \u003cb>The Andromeda Strain\u003c/b>, definitely not a movie for kids, but rated for \"general audiences.\" Earlier this year, I watched \u003cb>Le Mans\u003c/b>, another G-rated movie, starring Steve McQueen. Let's not forget \u003cb>Planet of the Apes\u003c/b>, which is probably my favorite G-rated movie. I know what happened, I don't have to ask: the marketing bozos figured out a corralation between ratings and audience, which translates to ratings and money. ",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003cb>Week in Review\u003c/b>\u003cbr>What happened to good G-rated movies for adults? This week I watched \u003cb>The Andromeda Strain\u003c/b>, definitely not a movie for kids, but rated for “general audiences.” Earlier this year, I watched \u003cb>Le Mans\u003c/b>, another G-rated movie, starring Steve McQueen. Let’s not forget \u003cb>Planet of the Apes\u003c/b>, which is probably my favorite G-rated movie. I know what happened, I don’t have to ask: the marketing bozos figured out a corralation between ratings and audience, which translates to ratings and money. \u003c/p>\n\u003cp>After watching movies for the last thirty something years, I would automatically assume any movie that comes out today rated G will not be of interest to me. I usually see movies that are rated R. Most of them are a strip club, three Fwords, and a blood spurt from being a G movie. If a script is written brilliantly, elements such as these will be added to boost the rating to one that is suitable for the audience to whom the film is being marketed. It’s yet another bad thing that happens to good scripts.\u003c/p>\n\u003cp>The next time you see a recent R-rated movie in the theater or on DVD, check out what they will cut for the TV version. Conversations in the strip club, where all informants hang out, will be cut out for TV or more insidiously, the strippers will be on either side of the screen that will be cropped for the Pan and Scan Version of the film. Usually, it’s the same character that drops all the F-bombs, while none of the other characters swear at all. This is so they only have to call in the minimum of actors for the alternate dialogue looping. \u003c/p>\n\u003cp>While I’m complaining, whatever happened to the beep out or the blank out? It’s still good enough for \u003cb>Springer\u003c/b> and the radio, but why insult the TV audience with Mad-Libs-sounding phrases like, “Rub my toe, you motherloving pirate!” It just makes me wonder what \u003cb>Deadwood\u003c/b> will sound like when it’s rerunning on TBS.\u003c/p>\n\u003cp>\u003cb>The Pick\u003c/b>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>What a close one this week was. There was a strong field this week. Spike Lee’s moving \u003cb>4 Little Girls\u003c/b> documentary, \u003cb>The Andromeda Strain\u003c/b> based on then 29-year-old Michael Chricton’s book, the sometimes hilarious \u003cb>Confederate States of America\u003c/b>, and Bob Fosse’s classic \u003cb>Damn Yankees\u003c/b>, were all contenders. There were two, though, that stood above the rest.\u003c/p>\n\u003cp>Almost at number one was \u003cb>Brick\u003c/b>, the debut film by Rian Johnson. \u003cb>Brick\u003c/b> is a murder mystery set in a high school. While the acting and directing were good, the whole of the film, the sets, the actors were all just vehicles for the snappy film noir dialogue. This film has some of the best consistent dialogue I’ve heard all year. The language is so hot, I want to recommend this film that’s a cross between \u003cb>Pulp Fiction\u003c/b> and \u003cb>The River’s Edge\u003c/b>.\u003c/p>\n\u003cp>But there’s one other film that I saw that I can’t get out of my head.\u003cb>Don’t Come Knocking\u003c/b> was also just released this week. To be honest, I stuck it in my queue as soon as I found out Fairuza Balk was in it. But she’s only one of the many extremely talented and gifted people working on this film. Hopefully this film will get Oscar nominations for Best Director, Best Picture, Best Screenplay, Best Actor in a Lead Role, and Best Supporting Actress. Wim Wenders directed this Sam Shepard penned script, starring Shepard with an equally compelling role from Sarah Polley. But that’s not all. The movie also stars Tim Roth, Jessica Lange, and Eva Marie Saint in a small but crucial role. Every scene has wonderful interaction, for lines that other films use as exposition or filler between other scenes. (For a completely different take on \u003cb>Don’t Come Knocking\u003c/b>, read \u003ca href=\"http://www.kqed.org/arts/movies/index.jsp?id=5160\">Mark Taylor’s review\u003c/a>.\u003c/p>\n\u003cp>Shepard plays a movie cowboy who, for unexplained reasons, takes a horse and rides away from the set. At first I was thinking \u003cb>The Electric Cowboy\u003c/b>, but this film stands on its own. At the heart of the plot, which wouldn’t be prudent to reveal, Shepard’s character is on a spiritual journey which we’ve seen before, but is done with its own sense of freshness and urgency.\u003c/p>\n\u003cp>Sarah Polley plays her character perfectly. While she seems to be a minor character at first, her role grows in importance, but yet she takes a subtle approach to her performance. Maybe with another director and actor, this character would have done nothing but screamed and cried, but Polley is able to show these emotions to the viewer without overdoing it, which, in the end is always more powerful.\u003c/p>\n\u003cp>Wim Wenders made a lot of noise and gathered attention with \u003cb>The Beuna Vista Social Club\u003c/b>, and this is his best project since. I hope an Oscar is in his future. The same goes to Sam Shepard, whose only nomination was 22 years ago, for his portrayal of Chuck Yeager in \u003cb>The Right Stuff\u003c/b>.\u003c/p>\n\u003cp>\u003cb>The Pace\u003c/b>\u003c/p>\n\u003cp>I watched 10 this week. 300 DVDs in 225 days. 200 DVDs left in the next 140 days for a pace of 9.99 per week. \u003c/p>\n\u003cp>I’m a little behind on my daily posts, as my roommate decided to “upgrade” our connection, and now I can’t get online at all at home. This post is uncomfortably written off site. I’ll get caught up on those as soon as I can.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>This coming week: Anthony Mann week! The classic American director, mainly of westerns and noir films fills the week up. Mann is sadly not a household name, but has contributed many fine films to cinema that are all coming out now on DVD after years of being out of print on video. Time to get caught up! \u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "Matthey Barney: Drawing Restraint 9",
"headTitle": "Matthey Barney: Drawing Restraint 9 | KQED",
"content": "\u003cp>\u003cb>Matthew Barney\u003c/b> is greedy for your time. After a good four hours spent between two separate visits to MoMA, I am now the proud owner of a limited understanding of what Barney’s work over the past two decades is all about. \u003cb>Drawing Restraint 9\u003c/b> is the umbrella term title of Barney’s latest exhibit at SF MoMA, and before visiting, consider the following questions: Do you enjoy art made of self-lubricating plastic? Are you curious about whaling ships? Do you want to see \u003cb>Björk sans eyebrows\u003c/b>? If you answered “yes” to any of these questions, \u003cb>Drawing Restraint 9\u003c/b> is for you. \u003c/p>\n\u003cp>Barney’s show not only occupies the museum’s theater but several large gallery spaces. The major component of his new series is a feature-length film screened daily at MoMA at 2pm. Choosing to see the exhibit and forgo the film is equivalent to boarding the Godzilla ride at Universal Studios if you haven’t seen the movie — there’s still a lot to look at, but you’ll be wondering what’s up with the big lizard.\u003c/p>\n\u003cp>Though Barney’s flick has little dialogue, the peculiar nature and beauty of this big-budget operation holds your attention. Barney’s baby’s mama and alt-electro-pop queen, Björk, composed the score of the film, which opens with her tell-tale harp-infused beats playing while a woman elaborately packages two fossils. The lyrics of the music narrate the scene and — I later found out — were inspired by a letter written to General Douglas MacArthur by a Japanese citizen when a whaling moratorium was lifted after World War II. The thankful whaler sent some fossils to the general as a gift. Does this explain why the exhibit that accompanies the film opens with footage of Barney drawing on MoMA’s atrium wall dressed as MacArthur? No, but I hear he hung from the sky bridge on the fifth floor as if it were monkey bars while drawing on the walls, and that’s enough for me.\u003c/p>\n\u003cp>Back to the film. Welcome aboard the Nishin Maru, a powerful whaling ship in Japan. The story follows the journey of Occidental Guests 1 and 2 played by Barney and Björk. The latter, dressed in a fetching pink fur-trimmed red cape and retro hiking boots boards the ship first and takes a bath in a stainless steel tub of water and lemons (hello, iconic film still). A bearded Barney in a bear’s fur coat comes aboard next. He settles down for a nap and sleeps like a baby, even when his eyebrows and part of his head are shaved by one of the ship’s crewmembers.\u003c/p>\n\u003cp>Both guests are then dressed in fur kimonos and elaborate regalia in a lengthy ritual. A tender moment occurs when Barney — dressed and waiting in his new, stick-on fur eyebrows — hears his woman clomping towards him down the ship’s narrow hallway in her brand new whale bone flip-flops. They share an awkwardly sweet silence before crawling through a tiny door to feast on a funky green concoction.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>I’ll stop ruining it for you here. The film is undeniably eerie, but the cinematography and aesthetic details are impressively overwhelming. When I first sat down in the theater, I overheard someone comment that if Björk was in the film, it was sure to be strange, but it’s clear that both sides of the duo are impossibly eccentric. Plus, the combination of his surreal scenes set to her bell-heavy tunes is a naturally marketable fit.\u003c/p>\n\u003cp>Be sure to check out the exhibit afterwards because there you will see many of the sculptures fabricated onboard the Nishin Maru in the film, as well as parts of the ship cast in petroleum jelly and plastics. Thoughtfully crafted Green-tinged acrylic display tables and roto-molded polycarbonate picture frames showcase Barney’s various tiny drawings, and large C-prints of stills from the film wrap around the galleries. Walking through a white-walled pathway that leads through a massive petroleum floor sculpture, which was built on-site, gives a viscerally chilly feeling, like walking through a winter wonderland of whale blubber. An interesting fact to note here is that building the sculpture on-site led to a mid-process petroleum mishap where the goop was spewed from the tanker truck pumping it into the museum onto the sidewalk and a few unlucky passers-by in front of the museum.\u003c/p>\n\u003cp>There’s also a sculpture made of cast shrimp shells, which added my favorite element to the exhibit — smell-a-vision. Yes, Barney’s sculpture titled \u003cb>Ambergris\u003c/b> stinks. Literally. But it was nevertheless engaging because not only did I learn that \u003cb>Ambergris\u003c/b> is a waxy substance found in the belly of a sperm whale, but after watching the film’s child stars build said rank sculpture aboard the whaling ship, I got the chance to smell it up close. Barney is like an amalgamation of the art world and Hollywood, but you don’t need tickets to see his movie. You can’t come in late and there’s no popcorn, but it’s the first exhibit I’ve seen (besides a Prince concert) where you can buy a temporary tattoo of the artist’s signature symbol in the gift shop.\u003c/p>\n\u003cp>Also on view is footage of Barney’s earlier \u003cb>Drawing Restraint\u003c/b> performance pieces where he attempted to draw while tethered to a wall, jumping on a trampoline, and dressed as \u003cb>Carol Burnett\u003c/b> in \u003cb>Mama’s Family\u003c/b>. There’s also a small room with video and photos of Barney and Co. wrestling while dressed in elaborate half-man, half-goat costumes.\u003c/p>\n\u003cp>There is much more to describe but, if you’re at all interested, you should see it for yourself. After all, the \u003ci>New York Times\u003c/i> did label Barney “the most important artist of his generation.” But be brave! I’m warning you that at the end of the film, Barney and Björk cut away at each other’s flesh in a scene that caused half the theater to walk out. On the flip side, you also get to see strange markings on the back of their necks turn into blowholes. And apparently, Barney’s newest film is less nightmare-inducing than his earlier works, the \u003cb>Cremaster Cycle\u003c/b> film series, which you can purchase in MoMA’s gift shop or rent at Le Video.\u003c/p>\n\u003cp>There may have been an underlying theme related to the use of fossil fuel, which replaced whale oil in 1859, and I did notice Barney’s distinctive references to athletic conditioning, but for me, the messages got slightly buried in the sensationalism of the exhibit. On the other hand, I fully respect Barney’s design skills, his creatively provocative use of plastics, and the breadth and bravery of his artistic choices. Modern art can be anything and everything, and Barney leaves his actual shoeprints on the walls of galleries and museums to prove it. Overall, I’m glad I invested the time to fully experience Barney’s equally showcased films and sculptures, mostly because my friends are all jealous of my new fake \u003cb>DR9\u003c/b> tattoo.\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003cb>Matthew Barney: Drawing Restraint 9\u003c/b>\u003cbr>SF MoMA\u003cbr>Through September 17, 2006\u003c/p>\n\n",
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"excerpt": "\u003cb>Matthew Barney\u003c/b> is greedy for your time. After a good four hours spent between two separate visits to MoMA, I am now the proud owner of a limited understanding of what Barney's work over the past two decades is all about. \u003cb>Drawing Restraint 9\u003c/b> is the umbrella term title of Barney's latest exhibit at SF MoMA, and before visiting, consider the following questions: Do you enjoy art made of self-lubricating plastic? Are you curious about whaling ships? Do you want to see \u003cb>Björk sans eyebrows\u003c/b>? If you answered \"yes\" to any of these questions, \u003cb>Drawing Restraint 9\u003c/b> is for you. ",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003cb>Matthew Barney\u003c/b> is greedy for your time. After a good four hours spent between two separate visits to MoMA, I am now the proud owner of a limited understanding of what Barney’s work over the past two decades is all about. \u003cb>Drawing Restraint 9\u003c/b> is the umbrella term title of Barney’s latest exhibit at SF MoMA, and before visiting, consider the following questions: Do you enjoy art made of self-lubricating plastic? Are you curious about whaling ships? Do you want to see \u003cb>Björk sans eyebrows\u003c/b>? If you answered “yes” to any of these questions, \u003cb>Drawing Restraint 9\u003c/b> is for you. \u003c/p>\n\u003cp>Barney’s show not only occupies the museum’s theater but several large gallery spaces. The major component of his new series is a feature-length film screened daily at MoMA at 2pm. Choosing to see the exhibit and forgo the film is equivalent to boarding the Godzilla ride at Universal Studios if you haven’t seen the movie — there’s still a lot to look at, but you’ll be wondering what’s up with the big lizard.\u003c/p>\n\u003cp>Though Barney’s flick has little dialogue, the peculiar nature and beauty of this big-budget operation holds your attention. Barney’s baby’s mama and alt-electro-pop queen, Björk, composed the score of the film, which opens with her tell-tale harp-infused beats playing while a woman elaborately packages two fossils. The lyrics of the music narrate the scene and — I later found out — were inspired by a letter written to General Douglas MacArthur by a Japanese citizen when a whaling moratorium was lifted after World War II. The thankful whaler sent some fossils to the general as a gift. Does this explain why the exhibit that accompanies the film opens with footage of Barney drawing on MoMA’s atrium wall dressed as MacArthur? No, but I hear he hung from the sky bridge on the fifth floor as if it were monkey bars while drawing on the walls, and that’s enough for me.\u003c/p>\n\u003cp>Back to the film. Welcome aboard the Nishin Maru, a powerful whaling ship in Japan. The story follows the journey of Occidental Guests 1 and 2 played by Barney and Björk. The latter, dressed in a fetching pink fur-trimmed red cape and retro hiking boots boards the ship first and takes a bath in a stainless steel tub of water and lemons (hello, iconic film still). A bearded Barney in a bear’s fur coat comes aboard next. He settles down for a nap and sleeps like a baby, even when his eyebrows and part of his head are shaved by one of the ship’s crewmembers.\u003c/p>\n\u003cp>Both guests are then dressed in fur kimonos and elaborate regalia in a lengthy ritual. A tender moment occurs when Barney — dressed and waiting in his new, stick-on fur eyebrows — hears his woman clomping towards him down the ship’s narrow hallway in her brand new whale bone flip-flops. They share an awkwardly sweet silence before crawling through a tiny door to feast on a funky green concoction.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>I’ll stop ruining it for you here. The film is undeniably eerie, but the cinematography and aesthetic details are impressively overwhelming. When I first sat down in the theater, I overheard someone comment that if Björk was in the film, it was sure to be strange, but it’s clear that both sides of the duo are impossibly eccentric. Plus, the combination of his surreal scenes set to her bell-heavy tunes is a naturally marketable fit.\u003c/p>\n\u003cp>Be sure to check out the exhibit afterwards because there you will see many of the sculptures fabricated onboard the Nishin Maru in the film, as well as parts of the ship cast in petroleum jelly and plastics. Thoughtfully crafted Green-tinged acrylic display tables and roto-molded polycarbonate picture frames showcase Barney’s various tiny drawings, and large C-prints of stills from the film wrap around the galleries. Walking through a white-walled pathway that leads through a massive petroleum floor sculpture, which was built on-site, gives a viscerally chilly feeling, like walking through a winter wonderland of whale blubber. An interesting fact to note here is that building the sculpture on-site led to a mid-process petroleum mishap where the goop was spewed from the tanker truck pumping it into the museum onto the sidewalk and a few unlucky passers-by in front of the museum.\u003c/p>\n\u003cp>There’s also a sculpture made of cast shrimp shells, which added my favorite element to the exhibit — smell-a-vision. Yes, Barney’s sculpture titled \u003cb>Ambergris\u003c/b> stinks. Literally. But it was nevertheless engaging because not only did I learn that \u003cb>Ambergris\u003c/b> is a waxy substance found in the belly of a sperm whale, but after watching the film’s child stars build said rank sculpture aboard the whaling ship, I got the chance to smell it up close. Barney is like an amalgamation of the art world and Hollywood, but you don’t need tickets to see his movie. You can’t come in late and there’s no popcorn, but it’s the first exhibit I’ve seen (besides a Prince concert) where you can buy a temporary tattoo of the artist’s signature symbol in the gift shop.\u003c/p>\n\u003cp>Also on view is footage of Barney’s earlier \u003cb>Drawing Restraint\u003c/b> performance pieces where he attempted to draw while tethered to a wall, jumping on a trampoline, and dressed as \u003cb>Carol Burnett\u003c/b> in \u003cb>Mama’s Family\u003c/b>. There’s also a small room with video and photos of Barney and Co. wrestling while dressed in elaborate half-man, half-goat costumes.\u003c/p>\n\u003cp>There is much more to describe but, if you’re at all interested, you should see it for yourself. After all, the \u003ci>New York Times\u003c/i> did label Barney “the most important artist of his generation.” But be brave! I’m warning you that at the end of the film, Barney and Björk cut away at each other’s flesh in a scene that caused half the theater to walk out. On the flip side, you also get to see strange markings on the back of their necks turn into blowholes. And apparently, Barney’s newest film is less nightmare-inducing than his earlier works, the \u003cb>Cremaster Cycle\u003c/b> film series, which you can purchase in MoMA’s gift shop or rent at Le Video.\u003c/p>\n\u003cp>There may have been an underlying theme related to the use of fossil fuel, which replaced whale oil in 1859, and I did notice Barney’s distinctive references to athletic conditioning, but for me, the messages got slightly buried in the sensationalism of the exhibit. On the other hand, I fully respect Barney’s design skills, his creatively provocative use of plastics, and the breadth and bravery of his artistic choices. Modern art can be anything and everything, and Barney leaves his actual shoeprints on the walls of galleries and museums to prove it. Overall, I’m glad I invested the time to fully experience Barney’s equally showcased films and sculptures, mostly because my friends are all jealous of my new fake \u003cb>DR9\u003c/b> tattoo.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cp>\u003cb>Week in Review\u003c/b>\u003cbr>In honor of George Clooney’s performance in \u003cb>Syriana\u003c/b>, I gained 30 pounds to write this blog. There was a big deal made about Fat Clooney, that he gained the weight for the film. In fact, on my Netflix envelope, it’s the first part of the description of the film. The idea was that Clooney would more match the physique of former CIA agent Bob Baer, upon whose work the screenplay was based. But there’s no reason in the story that demands that Baer be 30 pounds overweight. My conjecture: Clooney doesn’t give a damn anymore and showed up fat.\u003c/p>\n\u003cp> “Georgie baby,” his agent said in my imagination. “You’re looking bloated. All that Olive Garden and Mike’s Hard Lemonades are really putting on the weight.” \u003c/p>\n\u003cp> “Screw ’em,” Clooney replied, also in my imagination, while dipping a Hot Pocket in Ranch Dressing. “I’m George Freakin’ Clooney. I’m the new Brando. Time for me to do an \u003cb>Apocalypse Now\u003c/b> and show up twice the man I used to be.” \u003c/p>\n\u003cp> “Georgie baby, what’ll we tell them about your weight gain?” \u003c/p>\n\u003cp> “Tell ’em I gained it for the role. I’m like DeNiro in \u003cb>Raging Bull\u003c/b>. Put it in the press release for all I care. Now pass me that plate of cheese fries.” \u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>For an actor, gaining weight for a role is the same as a standup comic sitting on a stool and calling his bits a one-man show. It’s trite, and a little insulting to the audience. Clooney is following the lead of his fellow cast members from \u003cb>Facts of Life\u003c/b>. Yes, Clooney was on that show, near the end when the girls were no longer at boarding school but all worked at Edna Garrett’s bakery, and lived in the rooms upstairs. Mindy Cohn initially was hired to play the fat one, but they all were the same size by the time the series was over. All those baked goods were to blame, I assume. \u003c/p>\n\u003cp>\u003cb>Syriana\u003c/b> is full of emotional muggings and clichés. Not only are the evil oil companies looking to destroy the environment and the world economy, but they’re also the reason children drown in swimming pools. The CEOs make world decisions during cutthroat games of racquetball, just as they always have for any screenwriter who saw Gordon Gecko play Bud Fox in \u003cb>Wall Street\u003c/b>. Are there even racquetball courts anymore? I thought they had all been converted to yoga studios by now. \u003c/p>\n\u003cp>\u003cb>Pick of the Week\u003c/b>\u003cbr>This was another close week for the pick. The first one I watched, \u003cb>Clean\u003c/b>, featured an amazing multilingual performance from Maggie Cheung with a strong supporting role by Nick Nolte. \u003cb>V for Vendetta\u003c/b> had many cheesy moments, but was fun to watch and engaging to the end. Jason Statham had a movie-saving performance in \u003cb>London\u003c/b>. Selma Blair was adorable in her role as a bank teller who inadvertently thwarts a bank robbery by attempting suicide in \u003cb>Kill Me Later\u003c/b>. Atom Egoyan’s \u003cb>Where the Truth Lies\u003c/b> started slow but picked up speed and took some great turns. The winner this week is a film I found a little randomly called \u003cb>Trojan Eddie\u003c/b>.\u003c/p>\n\u003cp>Netflix suggested this film to me when I put director Gillies MacKinnon’s film \u003cb>Pure\u003c/b> in my queue. MacKinnon also did \u003cb>Hideous Kinky\u003c/b> and \u003cb>Small Faces\u003c/b>. When I realized it was a Tinker film, I had to get it. With a great backdrop, engaging plot, and amazing cast, combined with the fact that you probably haven’t heard of it, I’m recommending you to get it.\u003c/p>\n\u003cp>You probably have seen \u003cb>Snatch\u003c/b>, a film I enjoyed quite a bit. Brad Pitt’s character in that film is a Tinker. Tinker itself, depending on the tone of usage and context, is either a word of pride or a pejorative. They are a nomadic traveling Irish people with their own dialect and customs. However, in popular culture they are often shown as con men, unscrupulous day laborers, and living in ramshackle trailers (or caravans, as they call them). Not ever having met one of the Pavee, as they refer to themselves, I am extremely fascinated with their portrayal in film. \u003c/p>\n\u003cp>Trojan Eddie is a man who can sell anything to anybody. He works in the British version of the flea market, in small street stands or wherever a crowd may gather to hear his pitch. Eddie’s right hand man is one of the Tinkers, Dermot. Dermot’s girlfriend catches the eye of John Power, local mob boss, and that’s where the trouble and the plot starts.\u003c/p>\n\u003cp>The cast is top notch. Stephen Rea, 1992 Oscar nominee for his role in \u003cb>The Crying Game\u003c/b>, plays Trojan Eddie with full sympathy. Richard Harris shows how ruthless John Power can be. His frightening main henchman is played by Brendan Gleeson, star of \u003cb>The General\u003c/b>, one of my favorite heist films. One of the gems of the film is a performance by Pecker Dunne, playing a traditional song on the banjo, “Tinker’s Lullaby.” In case you miss it in the film, it plays again in the credits. Visit the \u003ca href=\"http://www.itmtrav.com/index.html\">Irish Traveler’s Movement website\u003c/a> to learn more about Tinkers first hand. \u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cb>The Pace\u003c/b>\u003cbr>I watched 10 this week. 290 DVDs in 218 days. 210 DVDs left in the next 147 days for a pace of 9.99 per week.\u003c/p>\n\n",
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"excerpt": "\u003cb>Week in Review\u003c/b>\u003cbr />In honor of George Clooney's performance in \u003cb>Syriana\u003c/b>, I gained 30 pounds to write this blog. There was a big deal made about Fat Clooney, that he gained the weight for the film. In fact, on my Netflix envelope, it's the first part of the description of the film. The idea was that Clooney would more match the physique of former CIA agent Bob Baer, upon whose work the screenplay was based. But there's no reason in the story that demands that Baer be 30 pounds overweight. My conjecture: Clooney doesn't give a damn anymore and showed up fat.",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>For an actor, gaining weight for a role is the same as a standup comic sitting on a stool and calling his bits a one-man show. It’s trite, and a little insulting to the audience. Clooney is following the lead of his fellow cast members from \u003cb>Facts of Life\u003c/b>. Yes, Clooney was on that show, near the end when the girls were no longer at boarding school but all worked at Edna Garrett’s bakery, and lived in the rooms upstairs. Mindy Cohn initially was hired to play the fat one, but they all were the same size by the time the series was over. All those baked goods were to blame, I assume. \u003c/p>\n\u003cp>\u003cb>Syriana\u003c/b> is full of emotional muggings and clichés. Not only are the evil oil companies looking to destroy the environment and the world economy, but they’re also the reason children drown in swimming pools. The CEOs make world decisions during cutthroat games of racquetball, just as they always have for any screenwriter who saw Gordon Gecko play Bud Fox in \u003cb>Wall Street\u003c/b>. Are there even racquetball courts anymore? I thought they had all been converted to yoga studios by now. \u003c/p>\n\u003cp>\u003cb>Pick of the Week\u003c/b>\u003cbr>This was another close week for the pick. The first one I watched, \u003cb>Clean\u003c/b>, featured an amazing multilingual performance from Maggie Cheung with a strong supporting role by Nick Nolte. \u003cb>V for Vendetta\u003c/b> had many cheesy moments, but was fun to watch and engaging to the end. Jason Statham had a movie-saving performance in \u003cb>London\u003c/b>. Selma Blair was adorable in her role as a bank teller who inadvertently thwarts a bank robbery by attempting suicide in \u003cb>Kill Me Later\u003c/b>. Atom Egoyan’s \u003cb>Where the Truth Lies\u003c/b> started slow but picked up speed and took some great turns. The winner this week is a film I found a little randomly called \u003cb>Trojan Eddie\u003c/b>.\u003c/p>\n\u003cp>Netflix suggested this film to me when I put director Gillies MacKinnon’s film \u003cb>Pure\u003c/b> in my queue. MacKinnon also did \u003cb>Hideous Kinky\u003c/b> and \u003cb>Small Faces\u003c/b>. When I realized it was a Tinker film, I had to get it. With a great backdrop, engaging plot, and amazing cast, combined with the fact that you probably haven’t heard of it, I’m recommending you to get it.\u003c/p>\n\u003cp>You probably have seen \u003cb>Snatch\u003c/b>, a film I enjoyed quite a bit. Brad Pitt’s character in that film is a Tinker. Tinker itself, depending on the tone of usage and context, is either a word of pride or a pejorative. They are a nomadic traveling Irish people with their own dialect and customs. However, in popular culture they are often shown as con men, unscrupulous day laborers, and living in ramshackle trailers (or caravans, as they call them). Not ever having met one of the Pavee, as they refer to themselves, I am extremely fascinated with their portrayal in film. \u003c/p>\n\u003cp>Trojan Eddie is a man who can sell anything to anybody. He works in the British version of the flea market, in small street stands or wherever a crowd may gather to hear his pitch. Eddie’s right hand man is one of the Tinkers, Dermot. Dermot’s girlfriend catches the eye of John Power, local mob boss, and that’s where the trouble and the plot starts.\u003c/p>\n\u003cp>The cast is top notch. Stephen Rea, 1992 Oscar nominee for his role in \u003cb>The Crying Game\u003c/b>, plays Trojan Eddie with full sympathy. Richard Harris shows how ruthless John Power can be. His frightening main henchman is played by Brendan Gleeson, star of \u003cb>The General\u003c/b>, one of my favorite heist films. One of the gems of the film is a performance by Pecker Dunne, playing a traditional song on the banjo, “Tinker’s Lullaby.” In case you miss it in the film, it plays again in the credits. Visit the \u003ca href=\"http://www.itmtrav.com/index.html\">Irish Traveler’s Movement website\u003c/a> to learn more about Tinkers first hand. \u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cb>The Pace\u003c/b>\u003cbr>I watched 10 this week. 290 DVDs in 218 days. 210 DVDs left in the next 147 days for a pace of 9.99 per week.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>Last year I made a new friend who helped me remember that happiness is possible. He’s my dearest Matty, and he loves the cinema. Early in our friendship I spent many evenings lost in the city because Matty’d just moved here, too. And while we’re both pretty good at choosing the movies we’d like to see, neither one of us has a sense of direction.\u003c/p>\n\u003cp>I’m always the driver, and I’ve gotten so hopelessly tangled up in these streets that we’ve wound up miles from the theater — I’ve accidentally found the airport, Hunter’s Point, and Colma — but so far we’ve never been late for a flick and neither of us has lost our temper.\u003c/p>\n\u003cp>Matty and I have uncannily similar tastes in movies, and I can’t begin to tell you how excited I was when I learned that \u003cb>Johnny Guitar\u003c/b>, starring Joan Crawford at her most ball-busting, would be playing at the Castro Theater, i.e. The Most Spectacular Theater On Earth. At \u003cb>The Castro\u003c/b> the popcorn is always fragrant and warm, the audience shouts at the actors onscreen, and each show begins with a live organ player who rises from the proscenium on a small hydraulic stage. To top it all off, I can find this theater without getting lost. So I phoned Matty about the show, and as usual we tried to rope in our other friends (who rarely share our tastes, who \u003ci>refused\u003c/i> to go to \u003ci>A Star Is Born\u003c/i> with us) and dragged them along.\u003c/p>\n\u003cp>If you haven’t seen this movie, you should, right away. It’s a western, or at least it appears to be one on the surface. The meanest, fightingest, most dominant characters in this western are female: Vienna (Joan Crawford) and Emma Small (Mercedes McCambridge). One character says of Joan Crawford’s Vienna that he’s “never seen a woman who was more a man. She thinks like one, acts like one, and sometimes makes me feel like I’m not.”\u003c/p>\n\u003cp>\u003cb>Johnny Guitar\u003c/b> isn’t a movie I love for the plot. Plot-heavy movies bore me as much as flat, straight roads and square city blocks. I love \u003cb>Johnny Guitar\u003c/b> for its confusing subtext, it’s strange exploration of gender roles, and for Joan Crawford and Mercedes McCambridge, who give seething performances. Their characters hate each other absolutely — or are they in love with each other?\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>It’s tough to say, and after the movie Matty and I left the theater confused on this point and thrilled by what we’d just watched. Our friends were simply confused. What, they asked, is \u003cb>Johnny Guitar\u003c/b> REALLY about? Why do we like this movie so much? Where’s the nearest bar? Once we’d secured our favorite drinks (Matty: Diet Coke; me: amber ale), we tried to figure out just what makes \u003cb>Johnny Guitar\u003c/b> so good. Maybe it’s that it’s so rare to see powerful, dominant female characters in pictures made in the mid-1950’s. Maybe it’s that the villains are so easy to dislike because they condemn others for their lifestyle choices. Or perhaps it’s just that certain scenes are so over-the-top bad, they’re actually good. While Matty and I didn’t end up converting our friends, I think they understood this much: every night we live in San Francisco is a lucky, lucky night; the Castro Theater is the be-all and end-all of old theaters; and feeling confused and a little bit lost can be a ton of fun if you’re with the right people.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Last year I made a new friend who helped me remember that happiness is possible. He’s my dearest Matty, and he loves the cinema. Early in our friendship I spent many evenings lost in the city because Matty’d just moved here, too. And while we’re both pretty good at choosing the movies we’d like to see, neither one of us has a sense of direction.\u003c/p>\n\u003cp>I’m always the driver, and I’ve gotten so hopelessly tangled up in these streets that we’ve wound up miles from the theater — I’ve accidentally found the airport, Hunter’s Point, and Colma — but so far we’ve never been late for a flick and neither of us has lost our temper.\u003c/p>\n\u003cp>Matty and I have uncannily similar tastes in movies, and I can’t begin to tell you how excited I was when I learned that \u003cb>Johnny Guitar\u003c/b>, starring Joan Crawford at her most ball-busting, would be playing at the Castro Theater, i.e. The Most Spectacular Theater On Earth. At \u003cb>The Castro\u003c/b> the popcorn is always fragrant and warm, the audience shouts at the actors onscreen, and each show begins with a live organ player who rises from the proscenium on a small hydraulic stage. To top it all off, I can find this theater without getting lost. So I phoned Matty about the show, and as usual we tried to rope in our other friends (who rarely share our tastes, who \u003ci>refused\u003c/i> to go to \u003ci>A Star Is Born\u003c/i> with us) and dragged them along.\u003c/p>\n\u003cp>If you haven’t seen this movie, you should, right away. It’s a western, or at least it appears to be one on the surface. The meanest, fightingest, most dominant characters in this western are female: Vienna (Joan Crawford) and Emma Small (Mercedes McCambridge). One character says of Joan Crawford’s Vienna that he’s “never seen a woman who was more a man. She thinks like one, acts like one, and sometimes makes me feel like I’m not.”\u003c/p>\n\u003cp>\u003cb>Johnny Guitar\u003c/b> isn’t a movie I love for the plot. Plot-heavy movies bore me as much as flat, straight roads and square city blocks. I love \u003cb>Johnny Guitar\u003c/b> for its confusing subtext, it’s strange exploration of gender roles, and for Joan Crawford and Mercedes McCambridge, who give seething performances. Their characters hate each other absolutely — or are they in love with each other?\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>It’s tough to say, and after the movie Matty and I left the theater confused on this point and thrilled by what we’d just watched. Our friends were simply confused. What, they asked, is \u003cb>Johnny Guitar\u003c/b> REALLY about? Why do we like this movie so much? Where’s the nearest bar? Once we’d secured our favorite drinks (Matty: Diet Coke; me: amber ale), we tried to figure out just what makes \u003cb>Johnny Guitar\u003c/b> so good. Maybe it’s that it’s so rare to see powerful, dominant female characters in pictures made in the mid-1950’s. Maybe it’s that the villains are so easy to dislike because they condemn others for their lifestyle choices. Or perhaps it’s just that certain scenes are so over-the-top bad, they’re actually good. While Matty and I didn’t end up converting our friends, I think they understood this much: every night we live in San Francisco is a lucky, lucky night; the Castro Theater is the be-all and end-all of old theaters; and feeling confused and a little bit lost can be a ton of fun if you’re with the right people.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>\u003cb>Week in Review\u003c/b>\u003cbr>I ran out of room last week, when I wanted to write a little about Courtney Love. Courtney is a perpetual joke in pop culture, often seen as someone who married well but did nothing else right. Our last image of her on television was the now-legendary roast of Pamela Andersen, in which she was inexplicably always in front of the camera with apparently no sense (or maybe no care) of how inebriated she looked and sounded. It’s a shame, I think, that Courtney went down the road she did, because I think cinema lost what could’ve been a great actor.\u003c/p>\n\u003cp>I know a lot of you film nerds out there are getting ruffled up, but hear me out. Courtney’s getting a bad rap. I’m not saying she would’ve been Hepburn, but she could’ve been a great character actor. There are few women with non-standard looks working in Hollywood. The majority of men are usually classically handsome as well, but there are more odd-looking male types than there are women. I’m thinking of women like Illeana Douglas, who is beautiful yet not a clone, and Sandra Bernhard, whose presence onscreen can be overwhelming. Courtney could’ve been in that league of actors. \u003c/p>\n\u003cp>Courtney started out with a nice indie resumé in film. In \u003cb>Sid and Nancy\u003c/b>, she plays one of Nancy’s friends, but she really should’ve gotten the Spungen role. Alex Cox liked her enough to cast her again in his odd and unexplainable \u003cb>Straight to Hell\u003c/b>. Her next credit is in the cult favorite \u003cb>Tapeheads\u003c/b>. After that, however, she disappears from film until 1996’s \u003cb>Basquiat\u003c/b>. Courtney was busy with her music career and being one half of one of the all-time most-famous rock marriages. But if you didn’t know that, you probably wouldn’t have read this far anyway. \u003c/p>\n\u003cp>My theory is that she spent her prime acting years in Hole, her band. Her twenties were spent in the debauchery of Alternative Rock. She lost the precious time doing tours with Lollapalooza and Marilyn Manson. But when she came back to acting, she nailed the role of Althea Leasure in \u003cb>The People Vs. Larry Flynt\u003c/b>. I can’t think of another woman in Hollywood who could’ve played that role. \u003c/p>\n\u003cp>I recently watched \u003cb>Beat\u003c/b>, the film in which Love portrayed Joan Burroughs, the wife of \u003cb>Naked Lunch\u003c/b> author William S. Burroughs. The one scene she pull off was the one in which she was required to sing. Oh, the irony. \u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Courtney has two strikes against her right now: age and drug damage. The biggest crime one can commit in Hollywood is getting older; there are very few good roles for 42-year-old women at all, and Courtney’s far from getting first pick at those. Maybe she would’ve gotten into the drug scene as an actor anyway, but I can’t help but think that the rock and roll lifestyle was the worst thing for her. Drugs won’t kill a person with Courtney’s constitution, but the damage does show, and she wears chaos like a halo. I would love a chance to see into a parallel universe in which Love has a career akin to that of Steve Buscemi, or Warren Oates, or any of the other much loved character actors. \u003c/p>\n\u003cp>\u003cb>Pick of the Week\u003c/b>\u003cbr>This week had three films that were all worthy of being the week’s pick. \u003cb>Employee of the Month\u003c/b> really surprised me with a stellar performance from the entire cast and a playground of a screenplay. \u003cb>Guess Who’s Coming to Dinner\u003c/b> outdid that one with its legendary cast and flawless performances, living up to all the hype that I’ve heard about the film. But the one that I ended up picking was an unlikely romance flick that I hadn’t seen since the ’80s called \u003cb>Badlands\u003c/b>.\u003c/p>\n\u003cp>On the surface, \u003cb>Badlands\u003c/b> seems to be a thriller, but it’s really about the love that Sissy Spacek shows for Martin Sheen. The characters are based on the real story of Charles Starkweather and Caril-Ann Fugate. Spacek’s voiceovers throughout the film sound as sweet and dreamy as the text of a Judy Blume book: \u003cb>Are You There God? It’s Me, Accessory to Murder\u003c/b>.\u003c/p>\n\u003cp>Writer/director Terrence Mallick made his feature film debut with \u003cb>Badlands\u003c/b>, and in my opinion, it’s his best film. There are a lot of small details in this film that really made it stand apart from many other films. Aside from the overall sweetness, Mallick shows Starkweather as a man who was cautiously polite one moment, and violently explosive the next. In one scene he records a message for the authorities, and says “thank you” at the end. In the very next scene, he dumps gasoline all over the house of his first victim. \u003c/p>\n\u003cp>Throughout the film, Mallick plays the audience’s emotions every way he can imagine. There’s goofy treehouse scenes and lighthearted steel drum music to counterbalance the gutshots and arson. Even at a time of imminent capture, when Spacek wants to stay behind, Sheen tells her where to meet him in seven years, in a very touching line. In reality, Starkweather and Fugate were much more evil and violent than this film portrays. What drew the two together in real life was their hatred for their small town and their hair-trigger tempers. Fugate, as played by Spacek is nothing short of adorable. While Sheen only killed Fugate’s father, Starkweather shot both her stepfather and mother, then strangled her two year old sister to death. The sheer brutality of the child’s murder was what prompted a National Guard search for the couple. Although Fugate was not even fifteen, she was sentenced to life in prison, and was paroled in 1976. Spacek plays her like an innocent. \u003c/p>\n\u003cp>The story of the two, both in reality as well as this film, were a big influence on Quentin Tarantino. His screenplay for \u003cb>Natural Born Killers\u003c/b> was inspired by this story, as well as Alabama’s voiceover from \u003cb>True Romance\u003c/b>. Although I don’t think he had anything to do with the music selection for \u003cb>True Romance\u003c/b>, the music during the end sequence is very similar to the music used throughout \u003cb>Badlands\u003c/b>. The other unlikely influence is on Bruce Springsteen. His song \u003cb>Nebraska\u003c/b> is inspired not only by the story of Starkweather and Fugate, but by \u003cb>Badlands\u003c/b> itself. \u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003cb>The Pace\u003c/b>\u003cbr>I watched 10 this week. 280 DVDs in 211 days. 220 DVDs left in the next 154 days for a pace of 9.99 per week. The DVD that hadn’t shown up did show up, a week late, in a plastic bag with an apology from the USPS. The red envelope had been torn open and taped back up. I really thought it wasn’t coming. \u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Courtney has two strikes against her right now: age and drug damage. The biggest crime one can commit in Hollywood is getting older; there are very few good roles for 42-year-old women at all, and Courtney’s far from getting first pick at those. Maybe she would’ve gotten into the drug scene as an actor anyway, but I can’t help but think that the rock and roll lifestyle was the worst thing for her. Drugs won’t kill a person with Courtney’s constitution, but the damage does show, and she wears chaos like a halo. I would love a chance to see into a parallel universe in which Love has a career akin to that of Steve Buscemi, or Warren Oates, or any of the other much loved character actors. \u003c/p>\n\u003cp>\u003cb>Pick of the Week\u003c/b>\u003cbr>This week had three films that were all worthy of being the week’s pick. \u003cb>Employee of the Month\u003c/b> really surprised me with a stellar performance from the entire cast and a playground of a screenplay. \u003cb>Guess Who’s Coming to Dinner\u003c/b> outdid that one with its legendary cast and flawless performances, living up to all the hype that I’ve heard about the film. But the one that I ended up picking was an unlikely romance flick that I hadn’t seen since the ’80s called \u003cb>Badlands\u003c/b>.\u003c/p>\n\u003cp>On the surface, \u003cb>Badlands\u003c/b> seems to be a thriller, but it’s really about the love that Sissy Spacek shows for Martin Sheen. The characters are based on the real story of Charles Starkweather and Caril-Ann Fugate. Spacek’s voiceovers throughout the film sound as sweet and dreamy as the text of a Judy Blume book: \u003cb>Are You There God? It’s Me, Accessory to Murder\u003c/b>.\u003c/p>\n\u003cp>Writer/director Terrence Mallick made his feature film debut with \u003cb>Badlands\u003c/b>, and in my opinion, it’s his best film. There are a lot of small details in this film that really made it stand apart from many other films. Aside from the overall sweetness, Mallick shows Starkweather as a man who was cautiously polite one moment, and violently explosive the next. In one scene he records a message for the authorities, and says “thank you” at the end. In the very next scene, he dumps gasoline all over the house of his first victim. \u003c/p>\n\u003cp>Throughout the film, Mallick plays the audience’s emotions every way he can imagine. There’s goofy treehouse scenes and lighthearted steel drum music to counterbalance the gutshots and arson. Even at a time of imminent capture, when Spacek wants to stay behind, Sheen tells her where to meet him in seven years, in a very touching line. In reality, Starkweather and Fugate were much more evil and violent than this film portrays. What drew the two together in real life was their hatred for their small town and their hair-trigger tempers. Fugate, as played by Spacek is nothing short of adorable. While Sheen only killed Fugate’s father, Starkweather shot both her stepfather and mother, then strangled her two year old sister to death. The sheer brutality of the child’s murder was what prompted a National Guard search for the couple. Although Fugate was not even fifteen, she was sentenced to life in prison, and was paroled in 1976. Spacek plays her like an innocent. \u003c/p>\n\u003cp>The story of the two, both in reality as well as this film, were a big influence on Quentin Tarantino. His screenplay for \u003cb>Natural Born Killers\u003c/b> was inspired by this story, as well as Alabama’s voiceover from \u003cb>True Romance\u003c/b>. Although I don’t think he had anything to do with the music selection for \u003cb>True Romance\u003c/b>, the music during the end sequence is very similar to the music used throughout \u003cb>Badlands\u003c/b>. The other unlikely influence is on Bruce Springsteen. His song \u003cb>Nebraska\u003c/b> is inspired not only by the story of Starkweather and Fugate, but by \u003cb>Badlands\u003c/b> itself. \u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cb>The Pace\u003c/b>\u003cbr>I watched 10 this week. 280 DVDs in 211 days. 220 DVDs left in the next 154 days for a pace of 9.99 per week. The DVD that hadn’t shown up did show up, a week late, in a plastic bag with an apology from the USPS. The red envelope had been torn open and taped back up. I really thought it wasn’t coming. \u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>\u003cb>Week in Review\u003c/b>\u003c/p>\n\u003cp>Early Thursday morning I left for the Comic Con in San Diego. I didn’t get back until Sunday night, so it took a toll on my pacing. Such is life. I’m glad to be back, away from the Stormtroopers, the toy collectors, and the self important “artists.” Comic Con, if you don’t know, is like Burning Man, but for people who don’t like going outside.\u003c/p>\n\u003cp>While it was once about Comic Nerds filling spaces in Iron Man collections in A Time Before Ebay, Comic Con has become a Mecca for all things collectible, nerdy, and obsessive. Thus, it is a perfect place to reach Film Nerds like me who want info on what is coming out, but not TOO much info.\u003c/p>\n\u003cp>The movie the attendees were most hyped about was \u003cb>Snakes on a Plane\u003c/b>. The SOAP booth was a humongous snake’s head, big enough to enter standing up, with stills and artifacts from the film inside. Wanting to remain spoiler free, I declined entrance, even though I was coaxed by the flight attendants who manned the booth.\u003c/p>\n\u003cp>The most common costume was a pirate costume, in honor of the new Johnny Depp film. I saw quite a few \u003cb>Shaun of the Dead\u003c/b>s, since that’s a fairly easy costume to make. There were too many Superman shirts to count, and second to that was the “Vader Was Framed” shirts.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Saturday night, I attended a party celebrating the forthcoming Adult Swim cartoon \u003cb>Metalocalypse\u003c/b>. I met the director, Jon Schnepp, and creator Tommy Blacha. Brendon Small, Brian Posehn, and Robert Smigel were also there. I’m not sure how they’re involved, maybe producers, voices, creators, directors, friends, I’m not really sure. This scoop is so fresh, it’s not on IMDB yet. You’re reading it here first, my friends.\u003c/p>\n\u003cp>There was a demo thingy that played. I’m not sure what \u003cb>Metalocalypse\u003c/b> is about, but it looked gory, evil, and it played at 200 beats per minute. It reminded me only of the darker scenes of \u003cb>Heavy Metal\u003c/b>, and not just because of the title. There’s a band in the show, Dethklok, but, like I said, I’m still not sure what this is about. All I know is, I’ll be watching the first week, and getting my evil on.\u003c/p>\n\u003cp>There’s nothing like a hotel room for bad film watching. I saw parts of both \u003cb>White Chicks\u003c/b>. and \u003cb>Hitch\u003c/b>. Both films were completely horrible. But you probably knew that already.\u003c/p>\n\u003cp>\u003cb>Pick of the Week\u003c/b>\u003c/p>\n\u003cp>There wasn’t much to pick from this week, since I didn’t get to watch very much, and most of the films weren’t that good. There was one, that I enjoyed, that will make the cut: \u003cb>Mr. Majestyk\u003c/b>.\u003c/p>\n\u003cp>Don’t screw with Charles Bronson’s watermelons! You can throw him in jail, threaten his life, but if you ruin his crop, there will be hell to pay. Bronson is a watermelon farmer who just wants to get his crop in. But people won’t leave The Bronson alone. There are rednecks, small town cops, and even the mafia get on his case. But The Bronson doesn’t need anyone but himself to take on the whole lot of them. This film has the best Watermelons Being Shot By Submachine Guns scene ever.\u003c/p>\n\u003cp>This plot is totally ludicrous and all over the map. But in the end, it’s an awesome Bronson flick. The script, while silly, has electric dialogue, written by none other than Elmore Leonard, not based on one of his novels, but actually written by him. Each line is delivered with precision under the watchful eye of Richard Fleischer.\u003c/p>\n\u003cp>While you may not be familiar with Elmore Leonard, his novels have been the basis of many films, right up there with other pulpers like Stephen King. The two best adaptations of his books were \u003cb>Jackie Brown\u003c/b>. (from his novel \u003cb>Rum Punch\u003c/b>) and \u003cb>Get Shorty\u003c/b>. I also liked the original version of \u003cb>The Big Bounce\u003c/b>. He’s never written a brilliant piece of literature, but he’s never written a boring chapter, either.\u003c/p>\n\u003cp>Even though Fleischer directed such great films as \u003cb>20,000 Leagues Under the Sea\u003c/b> and \u003cb>Soylent Green\u003c/b>, he’s still unknown to those outside of Film Nerddom. Definitely, this is a film that could’ve been ruined in lesser hands. There’s a beautiful book of his memoirs entitled \u003cb>Just Tell Me When to Cry\u003c/b>. He’s the son of one of the famous Fleischer Brothers, the animators of \u003cb>Betty Boop\u003c/b> among other things.\u003c/p>\n\u003cp>This film was released the same year as \u003cb>Death Wish\u003c/b>, the film that broke Bronson from the B-List to the A-List. After \u003cb>Death Wish\u003c/b>, there were many films, such as the sequels, where Bronson acted very little, and just walked around the sets mumbling lines and being filmed. \u003cb>Murphy’s Law\u003c/b>, which I watched on Sunday night, was one of these. Check out some of his early work, such as this one or \u003cb>Once Upon a Time in the West\u003c/b>.\u003c/p>\n\u003cp>\u003cb>The Pace\u003c/b>\u003cbr>I watched 6 this week. 270 DVDs in 183 days. 230 DVDs left in the next 162 days for a pace of 9.93 per week.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>There’s a bump in the road. One of the DVDs that was scheduled to come on Wednesday hasn’t come yet. Without that in the rotation, it could make things difficult for me. I’m waiting until Wednesday to report it missing. I do have a couple more for Monday, so I’ll get a headstart on the coming week.\u003c/p>\n\n",
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"excerpt": "\u003cb>Week in Review\u003c/b>\u003cbr />\u003cp>Early Thursday morning I left for the Comic Con in San Diego. I didn't get back until Sunday night, so it took a toll on my pacing. Such is life. I'm glad to be back, away from the Stormtroopers, the toy collectors, and the self important \"artists.\" Comic Con, if you don't know, is like Burning Man, but for people who don't like going outside.",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Saturday night, I attended a party celebrating the forthcoming Adult Swim cartoon \u003cb>Metalocalypse\u003c/b>. I met the director, Jon Schnepp, and creator Tommy Blacha. Brendon Small, Brian Posehn, and Robert Smigel were also there. I’m not sure how they’re involved, maybe producers, voices, creators, directors, friends, I’m not really sure. This scoop is so fresh, it’s not on IMDB yet. You’re reading it here first, my friends.\u003c/p>\n\u003cp>There was a demo thingy that played. I’m not sure what \u003cb>Metalocalypse\u003c/b> is about, but it looked gory, evil, and it played at 200 beats per minute. It reminded me only of the darker scenes of \u003cb>Heavy Metal\u003c/b>, and not just because of the title. There’s a band in the show, Dethklok, but, like I said, I’m still not sure what this is about. All I know is, I’ll be watching the first week, and getting my evil on.\u003c/p>\n\u003cp>There’s nothing like a hotel room for bad film watching. I saw parts of both \u003cb>White Chicks\u003c/b>. and \u003cb>Hitch\u003c/b>. Both films were completely horrible. But you probably knew that already.\u003c/p>\n\u003cp>\u003cb>Pick of the Week\u003c/b>\u003c/p>\n\u003cp>There wasn’t much to pick from this week, since I didn’t get to watch very much, and most of the films weren’t that good. There was one, that I enjoyed, that will make the cut: \u003cb>Mr. Majestyk\u003c/b>.\u003c/p>\n\u003cp>Don’t screw with Charles Bronson’s watermelons! You can throw him in jail, threaten his life, but if you ruin his crop, there will be hell to pay. Bronson is a watermelon farmer who just wants to get his crop in. But people won’t leave The Bronson alone. There are rednecks, small town cops, and even the mafia get on his case. But The Bronson doesn’t need anyone but himself to take on the whole lot of them. This film has the best Watermelons Being Shot By Submachine Guns scene ever.\u003c/p>\n\u003cp>This plot is totally ludicrous and all over the map. But in the end, it’s an awesome Bronson flick. The script, while silly, has electric dialogue, written by none other than Elmore Leonard, not based on one of his novels, but actually written by him. Each line is delivered with precision under the watchful eye of Richard Fleischer.\u003c/p>\n\u003cp>While you may not be familiar with Elmore Leonard, his novels have been the basis of many films, right up there with other pulpers like Stephen King. The two best adaptations of his books were \u003cb>Jackie Brown\u003c/b>. (from his novel \u003cb>Rum Punch\u003c/b>) and \u003cb>Get Shorty\u003c/b>. I also liked the original version of \u003cb>The Big Bounce\u003c/b>. He’s never written a brilliant piece of literature, but he’s never written a boring chapter, either.\u003c/p>\n\u003cp>Even though Fleischer directed such great films as \u003cb>20,000 Leagues Under the Sea\u003c/b> and \u003cb>Soylent Green\u003c/b>, he’s still unknown to those outside of Film Nerddom. Definitely, this is a film that could’ve been ruined in lesser hands. There’s a beautiful book of his memoirs entitled \u003cb>Just Tell Me When to Cry\u003c/b>. He’s the son of one of the famous Fleischer Brothers, the animators of \u003cb>Betty Boop\u003c/b> among other things.\u003c/p>\n\u003cp>This film was released the same year as \u003cb>Death Wish\u003c/b>, the film that broke Bronson from the B-List to the A-List. After \u003cb>Death Wish\u003c/b>, there were many films, such as the sequels, where Bronson acted very little, and just walked around the sets mumbling lines and being filmed. \u003cb>Murphy’s Law\u003c/b>, which I watched on Sunday night, was one of these. Check out some of his early work, such as this one or \u003cb>Once Upon a Time in the West\u003c/b>.\u003c/p>\n\u003cp>\u003cb>The Pace\u003c/b>\u003cbr>I watched 6 this week. 270 DVDs in 183 days. 230 DVDs left in the next 162 days for a pace of 9.93 per week.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>There’s a bump in the road. One of the DVDs that was scheduled to come on Wednesday hasn’t come yet. Without that in the rotation, it could make things difficult for me. I’m waiting until Wednesday to report it missing. I do have a couple more for Monday, so I’ll get a headstart on the coming week.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>I remember being on a drive with my family a very long time ago. We were meandering along country roads, the windows down, just out having a look at the scenery, when my step dad asked my mom to say something in Spanish. She thought for a moment and uttered a phrase. He said, “Oh, that’s beautiful. What does it mean?” She replied, “Flies don’t enter a closed mouth.” That episode came back to me while watching \u003cb>Whisky\u003c/b> because, like that long-ago drive, the film ambles amiably along peppered with the occasional dry punch line.\u003c/p>\n\u003cp>“Whisky” is what people say in place of “cheese” when they’re having their picture taken. \u003cb>Whisky\u003c/b>, the film, generates a number of strange moods. It’s gritty and slow-moving, but intriguing. For most of the movie, one wonders what — if anything — is going to happen. Is it a mystery? Is it a con? The slow build of details makes it seem as though every element is important somehow, as though we should remember them because they will yield fruit sometime later in the film.\u003c/p>\n\u003cp>Beginning with a car engine turning over and then a long drive at night, the film introduces Jacobo, who goes about his daily routine as the owner of a small, antiquated factory that makes socks. The daily routine is a grind, padlocks are opened, warehouse doors folded up, ancient machines turned on, tea brewed and socks made. Every morning Jacobo meets Marta, his office manager outside the factory door. Every day Jacobo struggles with the blinds in his office, which someone at some point will come to fix. Every afternoon, Marta takes a furtive cigarette break. Every evening Marta checks the other employees’ bags as they clock out, mechanically repeating “See you tomorrow, God willing.”\u003c/p>\n\u003cp>One day Jacobo asks Marta for a favor. He wants her to pretend to be his wife during a visit from his more successful brother, Herman who returns to Montevideo for the matzeiva, the placing of a tombstone on their mother’s grave. A charade begins, but why? After the ceremony, Marta, Jacobo and Herman take a weekend trip to a seaside resort, which the brothers haven’t visited together since childhood. More details build, and a little tension between the brothers smolders beneath their stiff but cordial interactions. It becomes clear that the taciturn Jacobo is the responsible one, the one who took care of their mother through her apparently long illness, and that Herman is the charming one, the one who gets off easy, living a relatively carefree life.\u003c/p>\n\u003cp>The trio have an odd symmetry, not really enjoying one another’s company, not really relaxing at the resort, often staring unmoved at the mundane events of life as it passes in front of their expressionless faces. In tone and pace and sort of oddball timing, \u003cb>Whisky\u003c/b> is like a geriatric version of Jim Jarmusch’s classic \u003cb>Stranger Than Paradise\u003c/b>. It’s all uncomfortable aside and deadpan stare, a brick of cash even drops into the plot. I loved the narcotic mood it put me in, while I, too, stared blankly at the film drifting by onscreen. When the film ended, I muttered “whisky” to myself and half-smiled.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>“Whisky” screens at the Castro Theater on Monday, July 24 at 1:30pm and then again in Mountain View and Berkeley a week later. The film is part of the Jewish Film Festival, which opens tonight (July 20) and runs through August 7, 2006.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>I remember being on a drive with my family a very long time ago. We were meandering along country roads, the windows down, just out having a look at the scenery, when my step dad asked my mom to say something in Spanish. She thought for a moment and uttered a phrase. He said, “Oh, that’s beautiful. What does it mean?” She replied, “Flies don’t enter a closed mouth.” That episode came back to me while watching \u003cb>Whisky\u003c/b> because, like that long-ago drive, the film ambles amiably along peppered with the occasional dry punch line.\u003c/p>\n\u003cp>“Whisky” is what people say in place of “cheese” when they’re having their picture taken. \u003cb>Whisky\u003c/b>, the film, generates a number of strange moods. It’s gritty and slow-moving, but intriguing. For most of the movie, one wonders what — if anything — is going to happen. Is it a mystery? Is it a con? The slow build of details makes it seem as though every element is important somehow, as though we should remember them because they will yield fruit sometime later in the film.\u003c/p>\n\u003cp>Beginning with a car engine turning over and then a long drive at night, the film introduces Jacobo, who goes about his daily routine as the owner of a small, antiquated factory that makes socks. The daily routine is a grind, padlocks are opened, warehouse doors folded up, ancient machines turned on, tea brewed and socks made. Every morning Jacobo meets Marta, his office manager outside the factory door. Every day Jacobo struggles with the blinds in his office, which someone at some point will come to fix. Every afternoon, Marta takes a furtive cigarette break. Every evening Marta checks the other employees’ bags as they clock out, mechanically repeating “See you tomorrow, God willing.”\u003c/p>\n\u003cp>One day Jacobo asks Marta for a favor. He wants her to pretend to be his wife during a visit from his more successful brother, Herman who returns to Montevideo for the matzeiva, the placing of a tombstone on their mother’s grave. A charade begins, but why? After the ceremony, Marta, Jacobo and Herman take a weekend trip to a seaside resort, which the brothers haven’t visited together since childhood. More details build, and a little tension between the brothers smolders beneath their stiff but cordial interactions. It becomes clear that the taciturn Jacobo is the responsible one, the one who took care of their mother through her apparently long illness, and that Herman is the charming one, the one who gets off easy, living a relatively carefree life.\u003c/p>\n\u003cp>The trio have an odd symmetry, not really enjoying one another’s company, not really relaxing at the resort, often staring unmoved at the mundane events of life as it passes in front of their expressionless faces. In tone and pace and sort of oddball timing, \u003cb>Whisky\u003c/b> is like a geriatric version of Jim Jarmusch’s classic \u003cb>Stranger Than Paradise\u003c/b>. It’s all uncomfortable aside and deadpan stare, a brick of cash even drops into the plot. I loved the narcotic mood it put me in, while I, too, stared blankly at the film drifting by onscreen. When the film ended, I muttered “whisky” to myself and half-smiled.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>“Whisky” screens at the Castro Theater on Monday, July 24 at 1:30pm and then again in Mountain View and Berkeley a week later. The film is part of the Jewish Film Festival, which opens tonight (July 20) and runs through August 7, 2006.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>\u003cb>Week in Review\u003c/b>\u003cbr>This week I watched both \u003cb>Straight to Hell\u003c/b> and \u003cb>Cakeboy\u003c/b>. \u003cb>Straight to Hell\u003c/b> was made by Alex Cox, starred Joe Strummer of The Clash and featured The Pogues and many other music types in the main roles. Courtney Love, before her music career, also showed up. \u003cb>Cakeboy\u003c/b> was directed and written by members of The Vandals, and heavily featured the band No Use For a Name. It made me think back to my days with my punk friends in the late ’80s when we killed time between shows by watching movies nonstop, often repeating the same ones.\u003c/p>\n\u003cp>It’s been a while since I made a list type column, so here’s one for you. This is the list of films that we made a big deal about back then. It’s by no means definitive except in my personal group, but you should definitely give these a look if you have the chance.\u003c/p>\n\u003cp>\u003cb>Sid & Nancy\u003c/b> (1986)\u003cbr>The great Gary Oldman stars as the enigmatic bass player for the Sex Pistols. This is why every emo boy and mall punk has the padlock on a chain around his neck.\u003c/p>\n\u003cp>\u003cb>Repo Man\u003c/b> (1984)\u003cbr>Unfortunately I have quoted Emelio Estevez’s line “I can’t believe I used to like these guys” way too many times, but never while watching the Circle Jerks, who appear during that scene. One of the all-time best soundtracks of any genre. \u003c/p>\n\u003cp>\u003cb>Suburbia\u003c/b> (1983)\u003cbr>I watched this film so many times, I learned how to walk in slow motion. Don’t confuse it with the Eric Bogosian film. This was my favorite of the bunch. By 2001, I was living the life portrayed here — and I hated it.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003cb>A Clockwork Orange\u003c/b> (1971)\u003cbr>There’s nothing about punks in here, not the music, or the characters. But nonetheless, this Kubrick film was viewed many times as we worked on our fake accents, and it gave everyone of us a Halloween costume.\u003c/p>\n\u003cp>\u003cb>Decline of Western Civilization\u003c/b> (1981)\u003cbr>There was only one copy of this in the entire St. Louis area, and it was broken. I’ve still never seen it, but have lied many times about watching it, so it makes the list. Sadly, like its two sequels, not available on DVD.\u003c/p>\n\u003cp>\u003cb>Another State of Mind\u003c/b> (1984)\u003cbr>I remember the first time I saw this one, I felt like I had missed everything — that I had been born a few years too late. If I had a time machine, I’d use it to go back and see a Minor Threat show.\u003c/p>\n\u003cp>\u003cb>The River’s Edge\u003c/b> (1986)\u003cbr>I remember seeing this film when it hit Betamax. Keanu Reeves’ best film, \u003cb>The River’s Edge\u003c/b> christened Crispin Glover as our role model and hero. More of a metal film than a punk film, but we loved it anyway.\u003c/p>\n\u003cp>\u003cb>The Young Ones\u003c/b> (1982)\u003cbr>We taped these off MTV. Back then, it was almost all videos and few shows. We watched them over and over. They were \u003cb>Monty Python’s Flying Circus\u003c/b> for punks. Yet another show for us with which to affect British accents.\u003c/p>\n\u003cp>\u003cb>Honorable Mention:\u003c/b>\u003cbr>These films came out later, but definitely would be in the mix today.\u003c/p>\n\u003cp>\u003cb>Romper Stomper\u003c/b> (1992)\u003cbr>Russell Crowe as a brawling skinhead. Crowe doesn’t play evil anymore, and it’s a shame. He definitely has a Bad Guy face when he wants it.\u003c/p>\n\u003cp>\u003cb>SLC Punk\u003c/b> (1998)\u003cbr>Matthew Lillard’s career spiked sharper than a liberty spike with this film. I was laughing at the first few minutes, but the end really left me silently sad.\u003c/p>\n\u003cp>\u003cb>American History X\u003c/b> (1998)\u003cbr>Edward Norton’s role as a nazi skinhead is flawless. Edward Furlong and Fairuza Balk both contribute excellent performances as well.\u003c/p>\n\u003cp>\u003cb>Pick of the Week\u003c/b>\u003cbr>There were some good films this week, but I didn’t see anything that blew me away. I really enjoyed \u003cb>Bounce\u003c/b>, the documentary about bouncers. I liked Lucky McKee’s installment of the \u003cb>Masters of Horror\u003c/b> series. I finally got around to seeing \u003cb>Basic Instinct\u003c/b>, and thought it was good. The one that stood out was \u003cb>The Bounty\u003c/b>.\u003c/p>\n\u003cp>I’m picking \u003cb>The Bounty\u003c/b>, because it came out 22 years ago, and you most likely haven’t seen it or haven’t seen it in a while, and the performances are early shots of some of today’s favorites. I think this film would do well today in a simple rerelease. All of the principal players are still relevant to today’s viewing public.\u003c/p>\n\u003cp>I’m not much for the Sea Adventure flick, and this one has a very slow start, but the writing and acting are top notch. Hopkins faces off most often and to best effect with Mel Gibson, who at this point had been \u003cb>Mad Max\u003c/b> twice but not yet in the \u003cb>Lethal Weapon\u003c/b> movies that would really put him in the American public domain.\u003c/p>\n\u003cp>This is also before Hopkins became Hannibal Lecter, in \u003cb>Silence of the Lambs\u003c/b>. His performance in this is much better, and in some ways, more evil as a meter of justice and unforgiving arm of the law. A pre-\u003cb>Schindler’s List \u003c/b>Liam Neeson has a small role, as does the pre-\u003cb>My Left Foot\u003c/b> Daniel Day-Lewis.\u003c/p>\n\u003cp>\u003cb>The Pace\u003c/b>\u003cbr>I watched 14 this week. I had one on Monday, watched three both Tuesday and Wednesday, so I had half of them down by Thursday. 264 DVDs in 176 days. 236 DVDs left in the next 168 days for a pace of 9.83 per week. \u003c/p>\n\u003cp>\u003c/p>\n\u003cp>I needed to get a little ahead, because I’m going to Comic Con for my other job. Comic Con is the big Nerd Festival of the year in San Diego. I have one coming on Monday, probably only one on Tuesday. I may not get many this week, depending on what I can do on Wednesday Night.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cb>A Clockwork Orange\u003c/b> (1971)\u003cbr>There’s nothing about punks in here, not the music, or the characters. But nonetheless, this Kubrick film was viewed many times as we worked on our fake accents, and it gave everyone of us a Halloween costume.\u003c/p>\n\u003cp>\u003cb>Decline of Western Civilization\u003c/b> (1981)\u003cbr>There was only one copy of this in the entire St. Louis area, and it was broken. I’ve still never seen it, but have lied many times about watching it, so it makes the list. Sadly, like its two sequels, not available on DVD.\u003c/p>\n\u003cp>\u003cb>Another State of Mind\u003c/b> (1984)\u003cbr>I remember the first time I saw this one, I felt like I had missed everything — that I had been born a few years too late. If I had a time machine, I’d use it to go back and see a Minor Threat show.\u003c/p>\n\u003cp>\u003cb>The River’s Edge\u003c/b> (1986)\u003cbr>I remember seeing this film when it hit Betamax. Keanu Reeves’ best film, \u003cb>The River’s Edge\u003c/b> christened Crispin Glover as our role model and hero. More of a metal film than a punk film, but we loved it anyway.\u003c/p>\n\u003cp>\u003cb>The Young Ones\u003c/b> (1982)\u003cbr>We taped these off MTV. Back then, it was almost all videos and few shows. We watched them over and over. They were \u003cb>Monty Python’s Flying Circus\u003c/b> for punks. Yet another show for us with which to affect British accents.\u003c/p>\n\u003cp>\u003cb>Honorable Mention:\u003c/b>\u003cbr>These films came out later, but definitely would be in the mix today.\u003c/p>\n\u003cp>\u003cb>Romper Stomper\u003c/b> (1992)\u003cbr>Russell Crowe as a brawling skinhead. Crowe doesn’t play evil anymore, and it’s a shame. He definitely has a Bad Guy face when he wants it.\u003c/p>\n\u003cp>\u003cb>SLC Punk\u003c/b> (1998)\u003cbr>Matthew Lillard’s career spiked sharper than a liberty spike with this film. I was laughing at the first few minutes, but the end really left me silently sad.\u003c/p>\n\u003cp>\u003cb>American History X\u003c/b> (1998)\u003cbr>Edward Norton’s role as a nazi skinhead is flawless. Edward Furlong and Fairuza Balk both contribute excellent performances as well.\u003c/p>\n\u003cp>\u003cb>Pick of the Week\u003c/b>\u003cbr>There were some good films this week, but I didn’t see anything that blew me away. I really enjoyed \u003cb>Bounce\u003c/b>, the documentary about bouncers. I liked Lucky McKee’s installment of the \u003cb>Masters of Horror\u003c/b> series. I finally got around to seeing \u003cb>Basic Instinct\u003c/b>, and thought it was good. The one that stood out was \u003cb>The Bounty\u003c/b>.\u003c/p>\n\u003cp>I’m picking \u003cb>The Bounty\u003c/b>, because it came out 22 years ago, and you most likely haven’t seen it or haven’t seen it in a while, and the performances are early shots of some of today’s favorites. I think this film would do well today in a simple rerelease. All of the principal players are still relevant to today’s viewing public.\u003c/p>\n\u003cp>I’m not much for the Sea Adventure flick, and this one has a very slow start, but the writing and acting are top notch. Hopkins faces off most often and to best effect with Mel Gibson, who at this point had been \u003cb>Mad Max\u003c/b> twice but not yet in the \u003cb>Lethal Weapon\u003c/b> movies that would really put him in the American public domain.\u003c/p>\n\u003cp>This is also before Hopkins became Hannibal Lecter, in \u003cb>Silence of the Lambs\u003c/b>. His performance in this is much better, and in some ways, more evil as a meter of justice and unforgiving arm of the law. A pre-\u003cb>Schindler’s List \u003c/b>Liam Neeson has a small role, as does the pre-\u003cb>My Left Foot\u003c/b> Daniel Day-Lewis.\u003c/p>\n\u003cp>\u003cb>The Pace\u003c/b>\u003cbr>I watched 14 this week. I had one on Monday, watched three both Tuesday and Wednesday, so I had half of them down by Thursday. 264 DVDs in 176 days. 236 DVDs left in the next 168 days for a pace of 9.83 per week. \u003c/p>\n\u003cp>\u003c/p>\n\u003cp>I needed to get a little ahead, because I’m going to Comic Con for my other job. Comic Con is the big Nerd Festival of the year in San Diego. I have one coming on Monday, probably only one on Tuesday. I may not get many this week, depending on what I can do on Wednesday Night.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>When I planned to check out Amy Hicks’ \u003cb>Suspended Series\u003c/b> of videos, I thought I knew exactly what to expect. The artist and I have a school chum in common who told me about the project last year. Imagining Hicks’ four short films as 16mm footage shot while driving across Bay Area bridges brought to my mind’s eye a pretty clear picture of a grainy view from a car moving across the monumental spans that connect our counties. “It’ll be just like those virtual reality rides, right?” I thought to myself. Wrong.\u003c/p>\n\u003cp>Had I not known what Hicks’ footage was derived from, I would have guessed the first film \u003cb>1\u003c/b> was a microscopic view of mitochondria floating around a blue Petrie dish, or maybe a stowaway fly’s perspective from a speeding car’s windshield. The images are mirrored, making it difficult to discern what you are seeing. Every once in a while, a glimpse of the road is offered, but \u003cb>1\u003c/b> mostly made me feel like I was watching lampposts float about in the atmosphere through a kaleidoscope. Because of the mirroring, the images passing you by seem to fold in on themselves. Hicks’ driving footage is more like a Stan Brakhage painted film — not so easy on the retina, but fascinating and begging to be figured out. People observing the films would occasionally emit an “Ohhh!” when, for a split second, they saw a detail of a car or landscape that they recognized. It seemed the audience was searching for the satisfaction of attaching meaning to what they were seeing.\u003c/p>\n\u003cp>\u003cb>2\u003c/b>‘s images are bathed in white and the backs of cars are visible (mostly SUVs — I figured we were headed to Marin). Eerie music sounding like a mix between screeching brakes and a very slow samba is heard while footage shot out the back window of the car and played in reverse gives the appearance of an automobile army preparing for attack.\u003c/p>\n\u003cp>\u003cb>3\u003c/b> was my favorite because it’s so gritty and unrecognizable with its stripes of muted colors — like watching an animated Rothko painting. My mind raced, “Am I looking at a road? The wall of a tunnel?” I had no idea. I felt as though life was passing me by, and I was watching it through a dirty lens, or maybe a filter of stucco siding. Strategically placed tail light flashes and the sound of a car horn brought me back to reality, but without those subtle hints, one could get lost in what appears to be a dream sequence — only this dream happens to occur when you’re asleep at the wheel. It wasn’t until the end of \u003cb>3\u003c/b> that I realized the blue stripes streaming across the screen were a mirror image of a familiar skyline.\u003c/p>\n\u003cp>\u003cb>4\u003c/b> was the darkest of the films and featured the most recognizable bridge in the series. Hicks employs a delicate use of light as the bridge’s metalwork fades in and out. The screechy audio returns — layered with the beat of a locomotive — enhancing the ominous mood of the final piece.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>There’s one thing I was right about when anticipating this series — it should be watched on an empty stomach — it will make you feel like you just got off of a roller coaster, though it’s a thought-provoking ride. If you’re the type who prefers in-home viewing, all four films are available in a fabric-covered boxed set complete with an archival print of a well-chosen film still. So, Velcro that FasTrak to your windshield, plan on a late dinner, and head downtown to check out a local girl’s gallery debut of video trickery.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cb>Amy Hicks: Suspended Series\u003c/b> is at the \u003ca href=\"http://www.cclarkgallery.com/\" target=\"offsite\" rel=\"noopener\">Catharine Clark Gallery\u003c/a> through July 29, 2006.\u003c/p>\n\n",
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"excerpt": "When I planned to check out Amy Hicks' \u003cb>Suspended Series\u003c/b> of videos, I thought I knew exactly what to expect. The artist and I have a school chum in common who told me about the project last year. Imagining Hicks' four short films as 16mm footage shot while driving across Bay Area bridges brought to my mind's eye a pretty clear picture of a grainy view from a car moving across the monumental spans that connect our counties. \"It'll be just like those virtual reality rides, right?\" I thought to myself. Wrong. ",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>There’s one thing I was right about when anticipating this series — it should be watched on an empty stomach — it will make you feel like you just got off of a roller coaster, though it’s a thought-provoking ride. If you’re the type who prefers in-home viewing, all four films are available in a fabric-covered boxed set complete with an archival print of a well-chosen film still. So, Velcro that FasTrak to your windshield, plan on a late dinner, and head downtown to check out a local girl’s gallery debut of video trickery.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cb>Amy Hicks: Suspended Series\u003c/b> is at the \u003ca href=\"http://www.cclarkgallery.com/\" target=\"offsite\" rel=\"noopener\">Catharine Clark Gallery\u003c/a> through July 29, 2006.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"info": "Our flagship program, helmed by Kai Ryssdal, examines what the day in money delivered, through stories, conversations, newsworthy numbers and more. Updated Monday through Friday at about 3:30 p.m. PT.",
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"info": "The MindShift podcast explores the innovations in education that are shaping how kids learn. Hosts Ki Sung and Katrina Schwartz introduce listeners to educators, researchers, parents and students who are developing effective ways to improve how kids learn. We cover topics like how fed-up administrators are developing surprising tactics to deal with classroom disruptions; how listening to podcasts are helping kids develop reading skills; the consequences of overparenting; and why interdisciplinary learning can engage students on all ends of the traditional achievement spectrum. This podcast is part of the MindShift education site, a division of KQED News. KQED is an NPR/PBS member station based in San Francisco. You can also visit the MindShift website for episodes and supplemental blog posts or tweet us \u003ca href=\"https://twitter.com/MindShiftKQED\">@MindShiftKQED\u003c/a> or visit us at \u003ca href=\"/mindshift\">MindShift.KQED.org\u003c/a>",
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"info": "For decades, the process for how police police themselves has been inconsistent – if not opaque. In some states, like California, these proceedings were completely hidden. After a new police transparency law unsealed scores of internal affairs files, our reporters set out to examine these cases and the shadow world of police discipline. On Our Watch brings listeners into the rooms where officers are questioned and witnesses are interrogated to find out who this system is really protecting. Is it the officers, or the public they've sworn to serve?",
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"info": "Our weekly podcast explores how the media 'sausage' is made, casts an incisive eye on fluctuations in the marketplace of ideas, and examines threats to the freedom of information and expression in America and abroad. For one hour a week, the show tries to lift the veil from the process of \"making media,\" especially news media, because it's through that lens that we see the world and the world sees us",
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"tagline": "Politics from a personal perspective",
"info": "Political Breakdown is a new series that explores the political intersection of California and the nation. Each week hosts Scott Shafer and Marisa Lagos are joined with a new special guest to unpack politics -- with personality — and offer an insider’s glimpse at how politics happens.",
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"info": "Possible is hosted by entrepreneur Reid Hoffman and writer Aria Finger. Together in Possible, Hoffman and Finger lead enlightening discussions about building a brighter collective future. The show features interviews with visionary guests like Trevor Noah, Sam Altman and Janette Sadik-Khan. Possible paints an optimistic portrait of the world we can create through science, policy, business, art and our shared humanity. It asks: What if everything goes right for once? How can we get there? Each episode also includes a short fiction story generated by advanced AI GPT-4, serving as a thought-provoking springboard to speculate how humanity could leverage technology for good.",
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"radiolab": {
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"info": "A two-time Peabody Award-winner, Radiolab is an investigation told through sounds and stories, and centered around one big idea. In the Radiolab world, information sounds like music and science and culture collide. Hosted by Jad Abumrad and Robert Krulwich, the show is designed for listeners who demand skepticism, but appreciate wonder. WNYC Studios is the producer of other leading podcasts including Freakonomics Radio, Death, Sex & Money, On the Media and many more.",
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"reveal": {
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"officialWebsiteLink": "https://www.revealnews.org/episodes/",
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},
"rightnowish": {
"id": "rightnowish",
"title": "Rightnowish",
"tagline": "Art is where you find it",
"info": "Rightnowish digs into life in the Bay Area right now… ish. Journalist Pendarvis Harshaw takes us to galleries painted on the sides of liquor stores in West Oakland. We'll dance in warehouses in the Bayview, make smoothies with kids in South Berkeley, and listen to classical music in a 1984 Cutlass Supreme in Richmond. Every week, Pen talks to movers and shakers about how the Bay Area shapes what they create, and how they shape the place we call home.",
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"science-friday": {
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