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"content": "\u003cp>\u003cb>Week in Review\u003c/b>\u003cbr>There was one week not too long ago, when I got emails from multiple people that included a list of facts about Chuck Norris. The facts were all things like “Chuck Norris’ tears can cure cancer. Too bad he has never cried.” It was a popular email for a few days, what I call a “water cooler” email. The same way people once talked about \u003cb>Seinfeld\u003c/b> or \u003cb>The Simpsons\u003c/b>, they talk about emails they get.\u003c/p>\n\u003cp> “Have you seen the Chuck Norris email?”\u003cbr>“Yes,” I’d say, “I’ve seen it. “\u003cbr>“It’s so funny!”\u003cbr>“What’s your favorite Chuck Norris movie?” I’d ask.\u003c/p>\n\u003cp>That’s where it got interesting. Many people knew \u003cb>Walker, Texas Ranger\u003c/b>, but that’s a TV show. I was familiar with \u003cb>Invasion USA\u003c/b> and \u003cb>Missing in Action\u003c/b>, but I had a hard time coming up with the other films, although I remember seeing most of them on cable at one time or another.\u003c/p>\n\u003cp>So I thought it was appropriate to have Chuck Norris week. I picked out six Chuck movies I couldn’t specifically remember watching and queued them up in order: \u003cb>Silent Rage\u003c/b>, \u003cb>Code of Silence\u003c/b>, \u003cb>Good Guys Wear Black\u003c/b>, \u003cb>The Octagon\u003c/b>, \u003cb>A Force of One\u003c/b>, and \u003cb>Breaker, Breaker\u003c/b>. \u003c/p>\n\u003cp>While not actually displaying supernatural powers, I did see Chuck fight an axe murderer, an entire biker gang, a Puerto Rican racist stereotype with a switchblade, a freak back from the dead, lots of ninjas, several mafia clans, small town cops, and Bill “Superfoot” Wallace. He can dive a police cruiser, a snowmobile, an 18 wheeler, a mural painted van, and a couple of Porsches. He can dive from the top of a subway car into a famously polluted river without harm. When he rolls into a new town, the first thing that happens is the one good-hearted woman flings her panties at him. Chuck is pretty awesome. \u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>The film that stood out the most was \u003cb>Silent Rage\u003c/b>, because it was the most bizarrely written. It was probably re-written on the fly, and there wasn’t any attention paid to continuity. The film starts with an axe murderer that Chuck has to kill. Then there’s a biker gang that comes to town that Chuck has to lay out all over the bar. Then scientists bring the axe murderer back to life, making him an un-killable creature. I couldn’t figure out what was going on in the large scale. Stuff happened, but one scene didn’t necessarily lead to the next. But I really enjoyed \u003cb>Silent Rage\u003c/b> nonetheless. Check out \u003ca href=\"http://4q.cc/index.php?pid=top100&person=chuck%20\" target=\"offsite\">100 Facts About Chuck Norris\u003c/a>.\u003c/p>\n\u003cp>\u003cb>Pick of the Week\u003c/b>\u003cbr>There were only two real candidates for this week’s pick. I really loved the writing and the sets for Lars Von Trier’s \u003cb>Dogville\u003c/b>, but it was so disturbing in the subject matter, I couldn’t recommend it. What really hit me hardest was the goriest film I’ve ever seen. \u003c/p>\n\u003cp>I’m sure you’ve heard of \u003cb>Lord of the Rings\u003c/b> and \u003cb>King Kong\u003c/b>, but you may not have heard of director Peter Jackson’s \u003cb>Dead Alive\u003c/b>. I hadn’t actually seen this. For years I had it confused with Sam Raimi’s \u003cb>Evil Dead\u003c/b>. One of my Netflix Friends, William Millender, who is following along with this experiment, suggested the film to me. It’s a perfect choice. I really like getting to the films I haven’t seen with actors or directors that I know. \u003c/p>\n\u003cp>This film isn’t for the fans of Peter Jackson’s recent work. \u003cb>Dead Alive\u003c/b> may not be for very many people at all. If you saw the \u003cb>Evil Dead\u003c/b> movies and thought of them as comedies, this is for you. If you want \u003cb>The Rocky Horror Picture Show\u003c/b> with actual horror, this is for you. If you wanted \u003cb>Eraserhead\u003c/b> to have a sense of humor, this is for you. \u003c/p>\n\u003cp>The last half hour of the film is a constant splatter scene. The gore is cartoony but it’s really gory. The effects are extremely creative, and if you can get past the yuck factor, it’s really impressive. \u003c/p>\n\u003cp>What’s it about? The same old story. A ratmonkey monster is brought to civilization from a remote island, and its bite turns people into the living dead with a never ending hunger for human flesh. That, and it’s about a mother’s love for her baby boy. I think. Check it out with a group, but not while you’re eating. \u003c/p>\n\u003cp>\u003cb>My So-Called Life\u003c/b>\u003cbr>I saw two sold out movies in the theater this weekend. Neither one was the Johnny Depp movie that grossed 132 million dollars over the weekend. \u003cb>Strangers With Candy\u003c/b> is playing at the Bridge. For opening night, they had a trivia contest, a Jerri Blank (the lead character) look-alike contest, and gave out prizes. Afterwards, they showed \u003cb>Beyond the Valley of the Dolls\u003c/b> at midnight. The Bridge is not just a movie theater, it’s an event.\u003c/p>\n\u003cp>Even though it was playing on two screens, Richard Linklater’s \u003cb>A Scanner Darkly\u003c/b> sold out the show I went to, and the one after. I’ve read the book twice. While the strictest adaptation would have taken more than four hours, I think Linklater did a fine job of putting together a loyal version of the film. 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"excerpt": "\u003cb>Week in Review\u003c/b>\u003cbr />There was one week not too long ago, when I got emails from multiple people that included a list of facts about Chuck Norris. The facts were all things like \"Chuck Norris' tears can cure cancer. Too bad he has never cried.\" It was a popular email for a few days, what I call a \"water cooler\" email. The same way people once talked about \u003cb>Seinfeld\u003c/b> or \u003cb>The Simpsons\u003c/b>, they talk about emails they get.\u003cp> \"Have you seen the Chuck Norris email?\"\u003cbr />\"Yes,\" I'd say, \"I've seen it. \"\u003cbr />\"It's so funny!\"\u003cbr />\"What's your favorite Chuck Norris movie?\" I'd ask.\u003c/p>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003cb>Week in Review\u003c/b>\u003cbr>There was one week not too long ago, when I got emails from multiple people that included a list of facts about Chuck Norris. The facts were all things like “Chuck Norris’ tears can cure cancer. Too bad he has never cried.” It was a popular email for a few days, what I call a “water cooler” email. The same way people once talked about \u003cb>Seinfeld\u003c/b> or \u003cb>The Simpsons\u003c/b>, they talk about emails they get.\u003c/p>\n\u003cp> “Have you seen the Chuck Norris email?”\u003cbr>“Yes,” I’d say, “I’ve seen it. “\u003cbr>“It’s so funny!”\u003cbr>“What’s your favorite Chuck Norris movie?” I’d ask.\u003c/p>\n\u003cp>That’s where it got interesting. Many people knew \u003cb>Walker, Texas Ranger\u003c/b>, but that’s a TV show. I was familiar with \u003cb>Invasion USA\u003c/b> and \u003cb>Missing in Action\u003c/b>, but I had a hard time coming up with the other films, although I remember seeing most of them on cable at one time or another.\u003c/p>\n\u003cp>So I thought it was appropriate to have Chuck Norris week. I picked out six Chuck movies I couldn’t specifically remember watching and queued them up in order: \u003cb>Silent Rage\u003c/b>, \u003cb>Code of Silence\u003c/b>, \u003cb>Good Guys Wear Black\u003c/b>, \u003cb>The Octagon\u003c/b>, \u003cb>A Force of One\u003c/b>, and \u003cb>Breaker, Breaker\u003c/b>. \u003c/p>\n\u003cp>While not actually displaying supernatural powers, I did see Chuck fight an axe murderer, an entire biker gang, a Puerto Rican racist stereotype with a switchblade, a freak back from the dead, lots of ninjas, several mafia clans, small town cops, and Bill “Superfoot” Wallace. He can dive a police cruiser, a snowmobile, an 18 wheeler, a mural painted van, and a couple of Porsches. He can dive from the top of a subway car into a famously polluted river without harm. When he rolls into a new town, the first thing that happens is the one good-hearted woman flings her panties at him. Chuck is pretty awesome. \u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>The film that stood out the most was \u003cb>Silent Rage\u003c/b>, because it was the most bizarrely written. It was probably re-written on the fly, and there wasn’t any attention paid to continuity. The film starts with an axe murderer that Chuck has to kill. Then there’s a biker gang that comes to town that Chuck has to lay out all over the bar. Then scientists bring the axe murderer back to life, making him an un-killable creature. I couldn’t figure out what was going on in the large scale. Stuff happened, but one scene didn’t necessarily lead to the next. But I really enjoyed \u003cb>Silent Rage\u003c/b> nonetheless. Check out \u003ca href=\"http://4q.cc/index.php?pid=top100&person=chuck%20\" target=\"offsite\">100 Facts About Chuck Norris\u003c/a>.\u003c/p>\n\u003cp>\u003cb>Pick of the Week\u003c/b>\u003cbr>There were only two real candidates for this week’s pick. I really loved the writing and the sets for Lars Von Trier’s \u003cb>Dogville\u003c/b>, but it was so disturbing in the subject matter, I couldn’t recommend it. What really hit me hardest was the goriest film I’ve ever seen. \u003c/p>\n\u003cp>I’m sure you’ve heard of \u003cb>Lord of the Rings\u003c/b> and \u003cb>King Kong\u003c/b>, but you may not have heard of director Peter Jackson’s \u003cb>Dead Alive\u003c/b>. I hadn’t actually seen this. For years I had it confused with Sam Raimi’s \u003cb>Evil Dead\u003c/b>. One of my Netflix Friends, William Millender, who is following along with this experiment, suggested the film to me. It’s a perfect choice. I really like getting to the films I haven’t seen with actors or directors that I know. \u003c/p>\n\u003cp>This film isn’t for the fans of Peter Jackson’s recent work. \u003cb>Dead Alive\u003c/b> may not be for very many people at all. If you saw the \u003cb>Evil Dead\u003c/b> movies and thought of them as comedies, this is for you. If you want \u003cb>The Rocky Horror Picture Show\u003c/b> with actual horror, this is for you. If you wanted \u003cb>Eraserhead\u003c/b> to have a sense of humor, this is for you. \u003c/p>\n\u003cp>The last half hour of the film is a constant splatter scene. The gore is cartoony but it’s really gory. The effects are extremely creative, and if you can get past the yuck factor, it’s really impressive. \u003c/p>\n\u003cp>What’s it about? The same old story. A ratmonkey monster is brought to civilization from a remote island, and its bite turns people into the living dead with a never ending hunger for human flesh. That, and it’s about a mother’s love for her baby boy. I think. Check it out with a group, but not while you’re eating. \u003c/p>\n\u003cp>\u003cb>My So-Called Life\u003c/b>\u003cbr>I saw two sold out movies in the theater this weekend. Neither one was the Johnny Depp movie that grossed 132 million dollars over the weekend. \u003cb>Strangers With Candy\u003c/b> is playing at the Bridge. For opening night, they had a trivia contest, a Jerri Blank (the lead character) look-alike contest, and gave out prizes. Afterwards, they showed \u003cb>Beyond the Valley of the Dolls\u003c/b> at midnight. The Bridge is not just a movie theater, it’s an event.\u003c/p>\n\u003cp>Even though it was playing on two screens, Richard Linklater’s \u003cb>A Scanner Darkly\u003c/b> sold out the show I went to, and the one after. I’ve read the book twice. While the strictest adaptation would have taken more than four hours, I think Linklater did a fine job of putting together a loyal version of the film. The casting and acting were flawless. I don’t know if I can forgive Linklater yet for remaking \u003cb>The Bad News Bears\u003c/b>, but I did love this film. \u003c/p>\n\u003cp>\u003cb>The Pace\u003c/b>\u003cbr>I watched 9 DVDs this week. 250 DVDs in 190 days. 250 DVDs left in the next 175 days for a pace of 9.99 per week. Due to the holiday, which eliminated a day of mail, I only received 9 DVDs from Netflix. I have one that’s due on Monday. I need to get a little ahead, so I’m going to try for 12 this week. \u003c/p>\n\u003cp>\u003c/p>\n\u003cp>I’m halfway through the queue. 18 days total of constant viewing. If I had thought about how many days it would’ve taken, I might have chickened out. \u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>\u003cb>Halfway There\u003c/b>\u003cbr>When I first shared my idea for the Q-500 Experiment (fill my Netflix Queue to the top and watch all 500 films in a year), people either looked at me in disbelief or in jealousy. Some people thought it was mathematically impossible. “But there are only 365 days in a year,” they informed me. Yes, I know, it’s more than a movie a day. “I could totally do that,” other people said. Nothing is stopping anyone. Nothing but the US Mail.\u003c/p>\n\u003cp>Why is there no mail on Sundays? There are still some small communities around the country that shut down on a Sunday, since everyone is at church, don’t you know? But that’s a very Eisenhower Era ideal, isn’t it? I’m not saying that people should work more than five days a week, I’m saying that this would create more jobs in the federal government. While we’re de-industrializing the country, why don’t we increase the amount of federal employees with decent pay and good health plans, and an extra day of mail for me. It always comes back to me in the end. Part of me is concerned about the plight of the American workforce, the other part of me wants my Netflix on time. \u003c/p>\n\u003cp>I mean, the real trick to this project is keeping the rhythm right with the U.S. Mail and Netflix. So long as I return movies on Tuesdays and Wednesdays, I usually get them replaced by the weekend so I can watch more than eight a week. Then along comes some Sunday followed by, worse yet, a national holiday and the whole delicate balancing act goes right out the window!\u003c/p>\n\u003cp>There was a big to-do made over the issue of “throttling.” Netflix supposedly has a method to determine who gets DVDs first. The newer, fewer-at-a-time customers get first dibs, and on down the line. Many people were incensed over this. I was told I would be throttled for sure, but to my knowledge, it hasn’t happened. Every few weeks, one of the more obscure movies in my queue will ship from a hub outside of my local area. These take longer to receive, but for the most part, I can see no evidence of throttling, at least not to the extent I was warned. More hype than truth, it seems. \u003c/p>\n\u003cp>I started the Q-500 Experiment on January 1. Sunday was the middle of the year. Today is the first day of the second half of 2006. Remember those resolutions? Dust ’em off and get back on it. Can you still remember what they were? I’ve almost kept up with mine. I’m a tiny bit behind where I wanted to be, but otherwise I’m good. \u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Also, I realized that if I watched all 241 of the DVDs viewed thus far in a row without sleeping or pausing to change discs, it would take me over 17 days. What this means to me is that I will have spent an entire month watching these films by the end of the year.\u003c/p>\n\u003cp>\u003cb>Pick of the Week\u003c/b>\u003cbr>This was a no-contest week for the pick. When I saw it, I immediately wanted to watch it again. I had seen two documentaries that I really liked, \u003cb>New York Doll\u003c/b> and \u003cb>When Stand Up Stood Out\u003c/b>, but when I saw \u003cb>The Chumscrubber\u003c/b> I was stunned.\u003c/p>\n\u003cp>Once you get past the name, the movie is brilliant in the \u003cb>Donnie Darko/River’s Edge\u003c/b> type of way, but lighter — like a recent John Waters film. Once I had seen the film all the way through, I liked it, but I remember originally seeing the title and thinking of trashy ’80s fare like \u003cb>C.H.U.D. \u003c/b> or \u003cb>The Toxic Avenger\u003c/b>.\u003c/p>\n\u003cp>\u003cb>The Chumscrubber\u003c/b> is a suburban nightmare film, revolving around the suicide of an integral player in the area’s pill addiction economy. The suicide is about 5 minutes into the film, so I don’t consider it a spoiler. Every character in the film is either on prescription medication, be it legitmate or not, or on “Veggiforce” vitamins. With the main supplier gone, the entire high school population begins to unravel without their meds. \u003c/p>\n\u003cp>There are few big names in this film, and the ones that are recognizable are not given any more weight than the unknown players. Glenn Close turns in a very subtle but intensely creepy performance as the dead dealer’s mother, and only she is in danger of outacting the cast. The rest of the players are well-matched and balanced, under the direction of first-timer Arie Posin, a man about whom there is not much information, even on the internet. \u003c/p>\n\u003cp>I’m not sure what else to say about this film that wouldn’t give away its continual surprises. This is one of the few movies where the next scene is a true unknown. \u003cb>Chumscrubber\u003c/b> makes perfect sense and only bends reality a little, but it is entirely unpredictable. Along with the aforementioned John Waters, I would compare Posin’s writing with Tod Solondz, of \u003cb>Welcome to the Dollhouse\u003c/b> and \u003cb>Happiness\u003c/b>.\u003c/p>\n\u003cp>The other wonderful rarity of \u003cb>Chumscrubber\u003c/b> is that the scenes are not played to one specific emotion. There are moments that some people would find hilarious, and others would find darkly depressing. I’m reluctant to call this film a drama or a comedy, unless I could say that it is one or the other, but definitely not both at the same time; the genre of the film depends on the viewer. \u003c/p>\n\u003cp>Watch it. Twice. Thanks to Q-500 participants Amy and Stephen Virgilo for the high ratings/recommendations.\u003c/p>\n\u003cp>\u003cb>The Pace\u003c/b>\u003cbr>I watched 10 DVDs this week. 241 DVDs in 183 days. 259 DVDs left in the next 182 days for a pace of 9.96 per week. Normally, this is not a problem, but I do have the pesky Independence Day with no mail. If they mail out my new discs on Monday, I’ll probably get some on Wednesday, so if I watch two that day I may be able to get 10 for the week. I would’ve hit 11 this week, but when I took the DVD out of the \u003cb>Underworld: Evolution\u003c/b> sleeve, it turned out to be the first film, which I had just watched.\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>The year is now officially halfway over, and I am 9 DVDs behind. If I hadn’t spent a week in Salt Lake City, I’d be on track by now, but that trip was completely worth it. Challenges do lay ahead, especially in the critical days near the end of the year when there will be no mail due to Thanksgiving and X-mas holidays. I need to get ahead a bit so I can have some 8 DVD weeks.\u003c/p>\n\n",
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"excerpt": "\u003cb>Halfway There\u003c/b>\u003cbr />When I first shared my idea for the Q-500 Experiment (fill my Netflix Queue to the top and watch all 500 films in a year), people either looked at me in disbelief or in jealousy. Some people thought it was mathematically impossible. \"But there are only 365 days in a year,\" they informed me. Yes, I know, it's more than a movie a day. \"I could totally do that,\" other people said. Nothing is stopping anyone. Nothing but the US Mail.",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003cb>Halfway There\u003c/b>\u003cbr>When I first shared my idea for the Q-500 Experiment (fill my Netflix Queue to the top and watch all 500 films in a year), people either looked at me in disbelief or in jealousy. Some people thought it was mathematically impossible. “But there are only 365 days in a year,” they informed me. Yes, I know, it’s more than a movie a day. “I could totally do that,” other people said. Nothing is stopping anyone. Nothing but the US Mail.\u003c/p>\n\u003cp>Why is there no mail on Sundays? There are still some small communities around the country that shut down on a Sunday, since everyone is at church, don’t you know? But that’s a very Eisenhower Era ideal, isn’t it? I’m not saying that people should work more than five days a week, I’m saying that this would create more jobs in the federal government. While we’re de-industrializing the country, why don’t we increase the amount of federal employees with decent pay and good health plans, and an extra day of mail for me. It always comes back to me in the end. Part of me is concerned about the plight of the American workforce, the other part of me wants my Netflix on time. \u003c/p>\n\u003cp>I mean, the real trick to this project is keeping the rhythm right with the U.S. Mail and Netflix. So long as I return movies on Tuesdays and Wednesdays, I usually get them replaced by the weekend so I can watch more than eight a week. Then along comes some Sunday followed by, worse yet, a national holiday and the whole delicate balancing act goes right out the window!\u003c/p>\n\u003cp>There was a big to-do made over the issue of “throttling.” Netflix supposedly has a method to determine who gets DVDs first. The newer, fewer-at-a-time customers get first dibs, and on down the line. Many people were incensed over this. I was told I would be throttled for sure, but to my knowledge, it hasn’t happened. Every few weeks, one of the more obscure movies in my queue will ship from a hub outside of my local area. These take longer to receive, but for the most part, I can see no evidence of throttling, at least not to the extent I was warned. More hype than truth, it seems. \u003c/p>\n\u003cp>I started the Q-500 Experiment on January 1. Sunday was the middle of the year. Today is the first day of the second half of 2006. Remember those resolutions? Dust ’em off and get back on it. Can you still remember what they were? I’ve almost kept up with mine. I’m a tiny bit behind where I wanted to be, but otherwise I’m good. \u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Also, I realized that if I watched all 241 of the DVDs viewed thus far in a row without sleeping or pausing to change discs, it would take me over 17 days. What this means to me is that I will have spent an entire month watching these films by the end of the year.\u003c/p>\n\u003cp>\u003cb>Pick of the Week\u003c/b>\u003cbr>This was a no-contest week for the pick. When I saw it, I immediately wanted to watch it again. I had seen two documentaries that I really liked, \u003cb>New York Doll\u003c/b> and \u003cb>When Stand Up Stood Out\u003c/b>, but when I saw \u003cb>The Chumscrubber\u003c/b> I was stunned.\u003c/p>\n\u003cp>Once you get past the name, the movie is brilliant in the \u003cb>Donnie Darko/River’s Edge\u003c/b> type of way, but lighter — like a recent John Waters film. Once I had seen the film all the way through, I liked it, but I remember originally seeing the title and thinking of trashy ’80s fare like \u003cb>C.H.U.D. \u003c/b> or \u003cb>The Toxic Avenger\u003c/b>.\u003c/p>\n\u003cp>\u003cb>The Chumscrubber\u003c/b> is a suburban nightmare film, revolving around the suicide of an integral player in the area’s pill addiction economy. The suicide is about 5 minutes into the film, so I don’t consider it a spoiler. Every character in the film is either on prescription medication, be it legitmate or not, or on “Veggiforce” vitamins. With the main supplier gone, the entire high school population begins to unravel without their meds. \u003c/p>\n\u003cp>There are few big names in this film, and the ones that are recognizable are not given any more weight than the unknown players. Glenn Close turns in a very subtle but intensely creepy performance as the dead dealer’s mother, and only she is in danger of outacting the cast. The rest of the players are well-matched and balanced, under the direction of first-timer Arie Posin, a man about whom there is not much information, even on the internet. \u003c/p>\n\u003cp>I’m not sure what else to say about this film that wouldn’t give away its continual surprises. This is one of the few movies where the next scene is a true unknown. \u003cb>Chumscrubber\u003c/b> makes perfect sense and only bends reality a little, but it is entirely unpredictable. Along with the aforementioned John Waters, I would compare Posin’s writing with Tod Solondz, of \u003cb>Welcome to the Dollhouse\u003c/b> and \u003cb>Happiness\u003c/b>.\u003c/p>\n\u003cp>The other wonderful rarity of \u003cb>Chumscrubber\u003c/b> is that the scenes are not played to one specific emotion. There are moments that some people would find hilarious, and others would find darkly depressing. I’m reluctant to call this film a drama or a comedy, unless I could say that it is one or the other, but definitely not both at the same time; the genre of the film depends on the viewer. \u003c/p>\n\u003cp>Watch it. Twice. Thanks to Q-500 participants Amy and Stephen Virgilo for the high ratings/recommendations.\u003c/p>\n\u003cp>\u003cb>The Pace\u003c/b>\u003cbr>I watched 10 DVDs this week. 241 DVDs in 183 days. 259 DVDs left in the next 182 days for a pace of 9.96 per week. Normally, this is not a problem, but I do have the pesky Independence Day with no mail. If they mail out my new discs on Monday, I’ll probably get some on Wednesday, so if I watch two that day I may be able to get 10 for the week. I would’ve hit 11 this week, but when I took the DVD out of the \u003cb>Underworld: Evolution\u003c/b> sleeve, it turned out to be the first film, which I had just watched.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cp>Ever wonder why GM’s sales are falling? In the face of rising gas prices, Toyota’s hit Prius hybrid and a $1.1 billion loss posted last quarter, GM has announced a whole new line of large pickups and SUVs for next season. In fact, as Honda searches for a spot to build their next American plant, GM talks about moving its operations to Mexico. But that’s all recent news and not what \u003cb>Who Killed the Electric Car?\u003c/b> is about.\u003c/p>\n\u003cp>The film tells the story of how General Motors brought a great, little electric car, the EV1, to market and then turned on its own creation, crushing it out of existence. GM is portrayed as opaque, all-powerful and as unknowable as the capricious, angry God of the Old Testament. GM moves in mysterious ways and it is apparently not ours to understand why.\u003c/p>\n\u003cp>It should be a compelling story. GM put a lot of money into the development and marketing of the EV1, leasing several to celebrities and tastemakers who fell in love with the car. In fact, the film is populated with a group of characters who became activists when their vehicles were confiscated by the automaker and consigned to the scrap heap. But the filmmakers are so smug, they make their own characters look like liberal wackos and the presentation of actual newsreel footage looks faked in their hands. It makes one really appreciate what an amazing job Al Gore did with \u003cb>An Inconvenient Truth\u003c/b>.\u003c/p>\n\u003cp>Gore took the time and invested the energy necessary to build an argument, fact by incontrovertible fact. When he didn’t know the answer to something, he plainly just asked the question. At the core of \u003cb>An Inconvenient Truth\u003c/b> is a deep melancholy about the state of the union and the state of the planet, coming from a very personal place and leading to a very universal truth. What makes the film so effective is the way it shies from sensationalism and in the end offers alternatives and a great deal of hope. It’s very difficult to refute the overall claims made in \u003cb>An Inconvenient Truth\u003c/b> and few, from either the left or the right, have.\u003c/p>\n\u003cp>\u003cb>Who Killed the Electric Car?\u003c/b> has a lot going for it. At its core is a seriously fascinating mystery. Why did General Motors turn against and destroy its own innovation? Where would that company be now if it had continued the EV1 program and followed the technology wherever it was leading? The film is populated with a highly motivated cast of characters, including people who worked for GM developing and marketing the car and all those crazy Hollywood liberals who drove and loved it. Plus, the documentary introduces Stanford and Iris Ovshinsky, a husband and wife team that invented better fuel cells for electric and hybrid cars. The work these two are doing with alternate forms of energy looks fascinating and the couple is as intelligent and amusing as they are innovative. There are even a pair of great villains present in Alan Lloyd, the former director of the California Air Resources Board and Edward R. Murphy, a representative from the American Petroleum Institute. Those two say the darndest things…\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Structurally, \u003cb>Who Killed the Electric Car?\u003c/b> is as schizophrenic as GM. The film pretends to hand out indictments to suspects accused of murdering the EV1 and in the end doles out guilt and innocence. However, even the most rudimentary courtroom drama honors the adversarial process enough to present compelling arguments for and against each defendant. The device is a nod to Reality TV, complete with cheesy graphics and cheap sound effects.\u003c/p>\n\u003cp>Unfortunately, we never find out why General Motors abandoned the EV1, and the real “murderer” remains at large, though there is a lot of conjecture suggesting that a coalition of big oil, big auto and the White House did the deed. (Hmmm. You don’t say?) There was a genuinely compelling story to be told here, too bad the filmmakers lost their way and couldn’t drive it home.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cb>Who Killed the Electric Car?\u003c/b> opens June 30, 2006.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Ever wonder why GM’s sales are falling? In the face of rising gas prices, Toyota’s hit Prius hybrid and a $1.1 billion loss posted last quarter, GM has announced a whole new line of large pickups and SUVs for next season. In fact, as Honda searches for a spot to build their next American plant, GM talks about moving its operations to Mexico. But that’s all recent news and not what \u003cb>Who Killed the Electric Car?\u003c/b> is about.\u003c/p>\n\u003cp>The film tells the story of how General Motors brought a great, little electric car, the EV1, to market and then turned on its own creation, crushing it out of existence. GM is portrayed as opaque, all-powerful and as unknowable as the capricious, angry God of the Old Testament. GM moves in mysterious ways and it is apparently not ours to understand why.\u003c/p>\n\u003cp>It should be a compelling story. GM put a lot of money into the development and marketing of the EV1, leasing several to celebrities and tastemakers who fell in love with the car. In fact, the film is populated with a group of characters who became activists when their vehicles were confiscated by the automaker and consigned to the scrap heap. But the filmmakers are so smug, they make their own characters look like liberal wackos and the presentation of actual newsreel footage looks faked in their hands. It makes one really appreciate what an amazing job Al Gore did with \u003cb>An Inconvenient Truth\u003c/b>.\u003c/p>\n\u003cp>Gore took the time and invested the energy necessary to build an argument, fact by incontrovertible fact. When he didn’t know the answer to something, he plainly just asked the question. At the core of \u003cb>An Inconvenient Truth\u003c/b> is a deep melancholy about the state of the union and the state of the planet, coming from a very personal place and leading to a very universal truth. What makes the film so effective is the way it shies from sensationalism and in the end offers alternatives and a great deal of hope. It’s very difficult to refute the overall claims made in \u003cb>An Inconvenient Truth\u003c/b> and few, from either the left or the right, have.\u003c/p>\n\u003cp>\u003cb>Who Killed the Electric Car?\u003c/b> has a lot going for it. At its core is a seriously fascinating mystery. Why did General Motors turn against and destroy its own innovation? Where would that company be now if it had continued the EV1 program and followed the technology wherever it was leading? The film is populated with a highly motivated cast of characters, including people who worked for GM developing and marketing the car and all those crazy Hollywood liberals who drove and loved it. Plus, the documentary introduces Stanford and Iris Ovshinsky, a husband and wife team that invented better fuel cells for electric and hybrid cars. The work these two are doing with alternate forms of energy looks fascinating and the couple is as intelligent and amusing as they are innovative. There are even a pair of great villains present in Alan Lloyd, the former director of the California Air Resources Board and Edward R. Murphy, a representative from the American Petroleum Institute. Those two say the darndest things…\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Structurally, \u003cb>Who Killed the Electric Car?\u003c/b> is as schizophrenic as GM. The film pretends to hand out indictments to suspects accused of murdering the EV1 and in the end doles out guilt and innocence. However, even the most rudimentary courtroom drama honors the adversarial process enough to present compelling arguments for and against each defendant. The device is a nod to Reality TV, complete with cheesy graphics and cheap sound effects.\u003c/p>\n\u003cp>Unfortunately, we never find out why General Motors abandoned the EV1, and the real “murderer” remains at large, though there is a lot of conjecture suggesting that a coalition of big oil, big auto and the White House did the deed. (Hmmm. You don’t say?) There was a genuinely compelling story to be told here, too bad the filmmakers lost their way and couldn’t drive it home.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cb>Who Killed the Electric Car?\u003c/b> opens June 30, 2006.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>\u003cb>Week in Review\u003c/b>\u003cbr>I went through my queue and tried to put all the music movies together. If I had to do this project again, I would have kept it organized to directors or categories. It is a little maddening to see the same plot devices used over and over again.\u003c/p>\n\u003cp>In the last few years, as the music biopic has become an Oscar standard, a license to print soundtrack sales money, and an assured way to get entertainment journalists to write articles about the film (as many of them are music enthusiasts), we have seen at least one big name biopic every year. And we can count on that for years to come. Often, the same company owns both the back catalogue AND the movie studio, financing the film as more or less an infomercial for the soundtrack.\u003c/p>\n\u003cp>These biopics tend to focus on a brief part of the subject’s career. In \u003cb>Ray\u003c/b> and \u003cb>Walk the Line\u003c/b> both, the films leave off the last 30 years of the each singer’s life story. Why the fascination with ending the film after the singer kicks his drug addiction? Because it’s \u003cb>Lady Sings the Blues\u003c/b> with an upbeat ending, which is an easier sell than that depressing overdose storyline.\u003c/p>\n\u003cp>\u003cb>Pick of the Week\u003c/b>\u003cbr>There were several films to choose from for this week’s pick. From the first moment to the end credits of \u003cb>Kiss, Kiss, Bang, Bang\u003c/b>, I was thoroughly entertained, and the dialogue alone almost made it my pick. The peacock-colored and sometimes psychedelic trash classic \u003cb>Valley of the Dolls\u003c/b> is a must for group viewings. I loved watching Clint Eastwood acting alongside his son Kyle in the road movie \u003cb>Honkytonk Man\u003c/b>. Watching Elijah Woods’ transformation from expelled Harvard student to West Ham Football Hooligan in \u003cb>Green Street Hooligans\u003c/b> almost got the nod. But the pick this week goes to a classic: Otto Preminger’s government drama \u003cb>Advise and Consent\u003c/b>.\u003c/p>\n\u003cp>Henry Fonda stars as a man nominated to be secretary of state. The opposition digs up dirt on him, and it’s all conspiracy and slander after that. It’s an early sixties behind-the-scenes government film, as dirty as it got before the JFK assassination and the various political traumas that followed.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Charles Laughton steals the movie in his supporting role as the rabble rousing Senator Seabright Cooley. Cooley seems to be the only man who opposes Fonda’s nomination. At first he seems to be wasting everyone’s time with petty grievances and a strange witness played by Burgess Meredith. But as time goes on, his accusations and reservations bear more and more weight. This was Laughton’s last role before he died, ending a career that included such films as \u003cb>Witness for the Prosecution\u003c/b>, \u003cb>Mutiny on the Bounty\u003c/b>, and \u003cb>The Private Life of Henry VIII\u003c/b>.\u003c/p>\n\u003cp>Peter Lawford also turns in a great performance as Lafe Smith, a young senator with a bright future and a dark secret in his past. Lawford, if you’re not familiar with him, was one of the Rat Pack, with Sinatra, Dean Martin, Sammy Davis Jr, and Joey Bishop, with whom he also starred in the original \u003cb>Ocean’s Eleven\u003c/b>. His \u003cb>Advise and Consent\u003c/b> scene during the Frank Sinatra song was priceless.\u003c/p>\n\u003cp>It’s a slow-paced film, but brilliantly written, directed, and acted. It didn’t get a single Oscar nomination, but was severely overlooked, in my opinion. If you get this, and I recommend you do, give it time and be patient with the front-loaded exposition, as it pays off in the end.\u003c/p>\n\u003cp>\u003cb>My So-Called Life\u003c/b>\u003cbr>I caught Spike Lee’s \u003cb>Inside Man\u003c/b> at the AMC. I love Spike’s work. If you look at a list of his films, there will be a half dozen that you’ve missed, unless you watch a lot like me. He runs the gambit from small documentaries like \u003cb>Jim Brown: All American\u003c/b>, to stranger small productions like \u003cb>She Hate Me\u003c/b>, to mainstream releases like \u003cb>The 25th Hour\u003c/b> and \u003cb>Inside Man\u003c/b>. \u003cb>Inside Man\u003c/b> is a great heist film, using elements of other botched-heist films and TV shows that we’ve seen before, but finding a new way to resolve the conflicts. It’s almost out of the theaters by now, having started its run 3 months ago. \u003c/p>\n\u003cp>Wednesday was Will Franken’s one man show, \u003cb>Press One for Existence\u003c/b>, at The Marsh. Franken’s been written up in the local papers lately as an up and coming comic, but I think he’s already here. It’s more “funny theater” than comedy, something Franken describes as one-man sketch comedy. Franken’s been ready for bigger things for years, it has taken San Francisco a little while to catch up with him. I’ve seen Franken multiple times, but only now does he seem to be getting the proper venues to show off his abilities. Franken’s talent is not how he constructs a single character, but the way he fills the room with one character after another, until the stage is crowded with his weird personas.\u003c/p>\n\u003cp>On Friday night, I went to The Dark Room to see a night of sketch comedy. There was a strong showing by Santa Cruz’s Sunshine Fortress, but the opening group, Boomtime! was a hard act to follow. Boomtime’s premises were fresh and most of all, unusual. I can’t do justice to their sketches by describing them, but I will say I will never go to a kid’s pizza party again. Sunshine Fortress uses the conventions of sketch comedy against itself, playing with the ideas that they are performing sketches within sketches. Check out these groups and more in The Dark Room’s Sketch Comedy Festival in August.\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003cb>The Pace\u003c/b>\u003cbr>I watched 11 this week. 231 DVDs in 176 days. 269 DVDs left in the next 189 days for a pace of 9.96 per week. The way I figure it, July 2 is the middle of the year. There’s no way I’ll fit 19 DVDs in before then, so I’m a little behind the yearly pace.\u003c/p>\n\n",
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"excerpt": "\u003cb>Week in Review\u003c/b>\u003cbr />I went through my queue and tried to put all the music movies together. If I had to do this project again, I would have kept it organized to directors or categories. It is a little maddening to see the same plot devices used over and over again.\u003cp>In the last few years, as the music biopic has become an Oscar standard, a license to print soundtrack sales money, and an assured way to get entertainment journalists to write articles about the film (as many of them are music enthusiasts), we have seen at least one big name biopic every year. And we can count on that for years to come. Often, the same company owns both the back catalogue AND the movie studio, financing the film as more or less an infomercial for the soundtrack.\u003c/p>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003cb>Week in Review\u003c/b>\u003cbr>I went through my queue and tried to put all the music movies together. If I had to do this project again, I would have kept it organized to directors or categories. It is a little maddening to see the same plot devices used over and over again.\u003c/p>\n\u003cp>In the last few years, as the music biopic has become an Oscar standard, a license to print soundtrack sales money, and an assured way to get entertainment journalists to write articles about the film (as many of them are music enthusiasts), we have seen at least one big name biopic every year. And we can count on that for years to come. Often, the same company owns both the back catalogue AND the movie studio, financing the film as more or less an infomercial for the soundtrack.\u003c/p>\n\u003cp>These biopics tend to focus on a brief part of the subject’s career. In \u003cb>Ray\u003c/b> and \u003cb>Walk the Line\u003c/b> both, the films leave off the last 30 years of the each singer’s life story. Why the fascination with ending the film after the singer kicks his drug addiction? Because it’s \u003cb>Lady Sings the Blues\u003c/b> with an upbeat ending, which is an easier sell than that depressing overdose storyline.\u003c/p>\n\u003cp>\u003cb>Pick of the Week\u003c/b>\u003cbr>There were several films to choose from for this week’s pick. From the first moment to the end credits of \u003cb>Kiss, Kiss, Bang, Bang\u003c/b>, I was thoroughly entertained, and the dialogue alone almost made it my pick. The peacock-colored and sometimes psychedelic trash classic \u003cb>Valley of the Dolls\u003c/b> is a must for group viewings. I loved watching Clint Eastwood acting alongside his son Kyle in the road movie \u003cb>Honkytonk Man\u003c/b>. Watching Elijah Woods’ transformation from expelled Harvard student to West Ham Football Hooligan in \u003cb>Green Street Hooligans\u003c/b> almost got the nod. But the pick this week goes to a classic: Otto Preminger’s government drama \u003cb>Advise and Consent\u003c/b>.\u003c/p>\n\u003cp>Henry Fonda stars as a man nominated to be secretary of state. The opposition digs up dirt on him, and it’s all conspiracy and slander after that. It’s an early sixties behind-the-scenes government film, as dirty as it got before the JFK assassination and the various political traumas that followed.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Charles Laughton steals the movie in his supporting role as the rabble rousing Senator Seabright Cooley. Cooley seems to be the only man who opposes Fonda’s nomination. At first he seems to be wasting everyone’s time with petty grievances and a strange witness played by Burgess Meredith. But as time goes on, his accusations and reservations bear more and more weight. This was Laughton’s last role before he died, ending a career that included such films as \u003cb>Witness for the Prosecution\u003c/b>, \u003cb>Mutiny on the Bounty\u003c/b>, and \u003cb>The Private Life of Henry VIII\u003c/b>.\u003c/p>\n\u003cp>Peter Lawford also turns in a great performance as Lafe Smith, a young senator with a bright future and a dark secret in his past. Lawford, if you’re not familiar with him, was one of the Rat Pack, with Sinatra, Dean Martin, Sammy Davis Jr, and Joey Bishop, with whom he also starred in the original \u003cb>Ocean’s Eleven\u003c/b>. His \u003cb>Advise and Consent\u003c/b> scene during the Frank Sinatra song was priceless.\u003c/p>\n\u003cp>It’s a slow-paced film, but brilliantly written, directed, and acted. It didn’t get a single Oscar nomination, but was severely overlooked, in my opinion. If you get this, and I recommend you do, give it time and be patient with the front-loaded exposition, as it pays off in the end.\u003c/p>\n\u003cp>\u003cb>My So-Called Life\u003c/b>\u003cbr>I caught Spike Lee’s \u003cb>Inside Man\u003c/b> at the AMC. I love Spike’s work. If you look at a list of his films, there will be a half dozen that you’ve missed, unless you watch a lot like me. He runs the gambit from small documentaries like \u003cb>Jim Brown: All American\u003c/b>, to stranger small productions like \u003cb>She Hate Me\u003c/b>, to mainstream releases like \u003cb>The 25th Hour\u003c/b> and \u003cb>Inside Man\u003c/b>. \u003cb>Inside Man\u003c/b> is a great heist film, using elements of other botched-heist films and TV shows that we’ve seen before, but finding a new way to resolve the conflicts. It’s almost out of the theaters by now, having started its run 3 months ago. \u003c/p>\n\u003cp>Wednesday was Will Franken’s one man show, \u003cb>Press One for Existence\u003c/b>, at The Marsh. Franken’s been written up in the local papers lately as an up and coming comic, but I think he’s already here. It’s more “funny theater” than comedy, something Franken describes as one-man sketch comedy. Franken’s been ready for bigger things for years, it has taken San Francisco a little while to catch up with him. I’ve seen Franken multiple times, but only now does he seem to be getting the proper venues to show off his abilities. Franken’s talent is not how he constructs a single character, but the way he fills the room with one character after another, until the stage is crowded with his weird personas.\u003c/p>\n\u003cp>On Friday night, I went to The Dark Room to see a night of sketch comedy. There was a strong showing by Santa Cruz’s Sunshine Fortress, but the opening group, Boomtime! was a hard act to follow. Boomtime’s premises were fresh and most of all, unusual. I can’t do justice to their sketches by describing them, but I will say I will never go to a kid’s pizza party again. Sunshine Fortress uses the conventions of sketch comedy against itself, playing with the ideas that they are performing sketches within sketches. Check out these groups and more in The Dark Room’s Sketch Comedy Festival in August.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cp>In Jean-Pierre Melville’s \u003cb>Army of Shadows\u003c/b> the constant threat of a storm hangs over weary France. The skies are blanketed in low-hanging grey clouds, windows ice over and roads are slushy with fresh mud. Drab rooms are populated with tight-lipped people whose faces are taut, strained with the pressure of impending violence. Nazis have taken over the large French country estates, emptied drawing rooms of their furniture and turned them into torture chambers.\u003c/p>\n\u003cp>On the street, people meet one another’s gaze with barely registered questions. Are you with us or against us? Can you be trusted? At the start of the film, Philippe Gerbier (Lino Ventura) has been captured and is being transported to a Vichy camp. It is bitter cold, but he remains stoic, intractable, inscrutable. His guards stop off to run errands on the way to the prison. Cruelty and oppression have become routine. When Gerbier arrives at the camp he is evaluated by the commandant, whose internal monologue is the first voice we hear. He lists the prisoner’s character traits and vacillates between using a “carrot” or “stick” on his new charge.\u003c/p>\n\u003cp>Later Gerbier escapes and rejoins the resistance, helping shield British and Canadian pilots as they land on the Mediterranean coast. The men and women of the Resistance are not dashing. They do not charge about heroically getting the best of their enemy. They struggle under an oppressor that has colored the whole world an army green drab and made every neighbor into a potential enemy or informant.\u003c/p>\n\u003cp>Even though the members of Gerbier’s small cell, Felix, Le Bison, Le Masque and most of all Mathilde have proven themselves trustworthy, they never let their guard down with one another. It is as though they have all forgotten how to exhale. They battle on against the Nazis, but the Nazis have almost completely stamped out hope. In one scene, Mathilde (Simone Signoret) holds Gerbier’s hand after rescuing him from a Gestapo “shooting gallery.” She swiftly puts her hand in his, silently attempting to calm and reassure him, but then her hand thinks better of the intimacy and shrinks away. Her tenderness, concealed as it is under a tough no-nonsense exterior, will be her undoing.\u003c/p>\n\u003cp>\u003cb>Army of Shadows\u003c/b> is very reminiscent of a Hitchcock film that has been stripped of its Hollywood sheen. The color palette is as painstaking as any of Hitchcock’s but the glamour, the luster is missing from the scenery, the story and, most of all, the actors. \u003cb>Army of Shadows\u003c/b> is about real people resisting an occupation, it is about tension building without the hope of release. In muffled style and execution, the film reminded me particularly of a scene in Hitchcock’s \u003cb>Torn Curtain\u003c/b> where Paul Newman and a female agent silently murder a man with their bare hands while a policeman snoops around the yard just outside. In that scene, the only sounds were of muted human struggle. If you have ever wondered what the difference is between “insurgents” and “freedom fighters” or wondered how the occupied feel about their occupiers, go and see \u003cb>Army of Shadows\u003c/b>. The film captures the subterranean emotions of occupation, with ordinary people struggling against both an overwhelming oppressor and their own muffled screams of outrage.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cb>Army of Shadows\u003c/b> opens Friday, June 23, 2006.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>In Jean-Pierre Melville’s \u003cb>Army of Shadows\u003c/b> the constant threat of a storm hangs over weary France. The skies are blanketed in low-hanging grey clouds, windows ice over and roads are slushy with fresh mud. Drab rooms are populated with tight-lipped people whose faces are taut, strained with the pressure of impending violence. Nazis have taken over the large French country estates, emptied drawing rooms of their furniture and turned them into torture chambers.\u003c/p>\n\u003cp>On the street, people meet one another’s gaze with barely registered questions. Are you with us or against us? Can you be trusted? At the start of the film, Philippe Gerbier (Lino Ventura) has been captured and is being transported to a Vichy camp. It is bitter cold, but he remains stoic, intractable, inscrutable. His guards stop off to run errands on the way to the prison. Cruelty and oppression have become routine. When Gerbier arrives at the camp he is evaluated by the commandant, whose internal monologue is the first voice we hear. He lists the prisoner’s character traits and vacillates between using a “carrot” or “stick” on his new charge.\u003c/p>\n\u003cp>Later Gerbier escapes and rejoins the resistance, helping shield British and Canadian pilots as they land on the Mediterranean coast. The men and women of the Resistance are not dashing. They do not charge about heroically getting the best of their enemy. They struggle under an oppressor that has colored the whole world an army green drab and made every neighbor into a potential enemy or informant.\u003c/p>\n\u003cp>Even though the members of Gerbier’s small cell, Felix, Le Bison, Le Masque and most of all Mathilde have proven themselves trustworthy, they never let their guard down with one another. It is as though they have all forgotten how to exhale. They battle on against the Nazis, but the Nazis have almost completely stamped out hope. In one scene, Mathilde (Simone Signoret) holds Gerbier’s hand after rescuing him from a Gestapo “shooting gallery.” She swiftly puts her hand in his, silently attempting to calm and reassure him, but then her hand thinks better of the intimacy and shrinks away. Her tenderness, concealed as it is under a tough no-nonsense exterior, will be her undoing.\u003c/p>\n\u003cp>\u003cb>Army of Shadows\u003c/b> is very reminiscent of a Hitchcock film that has been stripped of its Hollywood sheen. The color palette is as painstaking as any of Hitchcock’s but the glamour, the luster is missing from the scenery, the story and, most of all, the actors. \u003cb>Army of Shadows\u003c/b> is about real people resisting an occupation, it is about tension building without the hope of release. In muffled style and execution, the film reminded me particularly of a scene in Hitchcock’s \u003cb>Torn Curtain\u003c/b> where Paul Newman and a female agent silently murder a man with their bare hands while a policeman snoops around the yard just outside. In that scene, the only sounds were of muted human struggle. If you have ever wondered what the difference is between “insurgents” and “freedom fighters” or wondered how the occupied feel about their occupiers, go and see \u003cb>Army of Shadows\u003c/b>. The film captures the subterranean emotions of occupation, with ordinary people struggling against both an overwhelming oppressor and their own muffled screams of outrage.\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>\u003cb>Army of Shadows\u003c/b> opens Friday, June 23, 2006.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>\u003cb>Week in Review: \u003c/b>No self respecting film nerd would miss an entire film festival like the one SF Indie sponsored, \u003cb>Another Hole in the Head\u003c/b>. Even with all the DVDs I’m watching for this project, I couldn’t pass up the full schedule of films. The one that caught my eye was called \u003cb>Meatball Machine\u003c/b>.\u003c/p>\n\u003cp>\u003cb>Meatball Machine\u003c/b> is made by the makers of the best zombie sports film ever, \u003cb>Battlefield Baseball\u003c/b>. This film finds humans the subject of alien parasite infestation. The parasites make their hosts fight each other with strange machines called Necroborgs. There’s lots of blood, gruesome gore, and unbelievable effects. I knew I wouldn’t be disappointed.\u003c/p>\n\u003cp>There were some truly squeamish moments during the film, that made even a room full of jaded horror fans squeal with disgusted delight. Throughout the film, we were treated to disembowellings, non-consensual amputations, and good ol’ eyeball puncturing. Did I mention the film is hilarious?\u003c/p>\n\u003cp>Sadly, this film is not yet available on DVD and I doubt it will have a traditional theatrical release. Catch it at a film festival, or not at all.\u003c/p>\n\u003cp>\u003cb>Pick of the Week\u003c/b>\u003cbr>\nThere were only two films that I considered for this week’s pick. The first one I saw that I really loved was the British horror film \u003cb>Creep\u003c/b>, starring Franka Potente. I would love to watch it again. But the one film I saw that made me regret not seeing it in the theater was the Tommy Lee Jones picture, \u003cb>The Three Burials of Melquiades Estrada\u003c/b>.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Written by Guillermo Arriaga, the writer of \u003cb>Amores Perros\u003c/b>, \u003cb>21 Grams\u003c/b>, and the forthcoming \u003cb>Babel\u003c/b>, \u003cb>Three Burials\u003c/b> follows director and star Tommy Lee Jones as he tries to bury a dead friend in the deceased’s hometown in Mexico. It’s way more complicated than this, but I don’t want to give too much away.\u003c/p>\n\u003cp>If you’re a fan of the Tommy Lee Jones who was in \u003cb>Coal Miner’s Daughter\u003c/b> and \u003cb>The Executioner’s Song\u003c/b>, you must see this. It may be the role of Jones’ lifetime. Although most people will remember him from \u003cb>The Fugitive\u003c/b> or \u003cb>Men in Black\u003c/b>, after 30 years in the business Jones has turned in maybe his best role yet.\u003c/p>\n\u003cp>\u003cb>My So Called Life\u003c/b>\u003cbr>\nI was out a lot this week, much more than usual. Two nights that were exceptionally fun were Friday and Saturday. Friday was Parkerpalooza and Saturday I saw Matt Besser at the Eureka Theater.\u003c/p>\n\u003cp>I’m still not sure who this Parker guy is. I managed to meet him, but all I could get out of him was some vaguely hostile drunken mumblings. If I could’ve understood him, I may have been offended. The point is, for his birthday, Parker’s been throwing an annual party, this year at the 12 Galaxies. Most of the bands were not worthy of mentioning, except for The Enablers, whose singer/reciter Pete Simonelli twisted and contorted his lyrical stylings for the crowd, for a really cool spoken word/music combination. About one AM, comedian Mary Van Note took the stage with the look of a Sunday school teacher but with material that would make Don Rickles blush.\u003c/p>\n\u003cp>If you haven’t seen The Upright Citizens’ Brigade, queue those DVDs now. The show didn’t run for very long, but the UCB crew is still very much active in the world of comedy, sketch, and improv. Their theaters in LA and New York are the new hotspots of comedy. One of their members, Matt Besser, was in town to perform his one man show, \u003cb>Woo Pig Sooie\u003c/b>.\u003c/p>\n\u003cp>Walking home from the show, I was stunned. I thought back to what I had seen and tried to figure out if it had been theater, comedy, or a conversation. Besser’s style is rehearsed but yet interactive, unlike others who simply do the exact same show every time. Many other comedians recite an hour of material while sitting on an introspective stool under the guise of a one man show, but Besser’s material was more like a lecture with laughs than standup with better lighting. Besser also talks to the audience rather than at the audience, as is the case with many spoken word artists. Most importantly, Besser’s show was heavy on message, not just some kind of observational comedy; the weight of Besser’s show dealt with the importance that people place on religion, and the possible dangers of such. The whole walk home I felt like I’ve never really said what I thought about anything, and I’m an opinionated egoist.\u003c/p>\n\u003cp>\u003cb>The Pace\u003c/b>\u003cbr>\nI didn’t get 11 this week like I wanted to, but I got 10, which is good considering how much was going on. It was my birthday on Tuesday. My friends all offered to take me to the movies. Aside from \u003cb>Meatball Machine\u003c/b>, I asked if they would take me to dinner instead. But I’m still on pace.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>220 DVDs in 169 days. That leaves me with 280 more over the next 196 days for a pace of 9.99 per week. I dropped two discs in the mail on Friday night. I’m suspicious that that box isn’t getting picked up on Saturday anymore. If I get those back on Tuesday, I may be able to get to more than 10 this week.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003cb>Week in Review: \u003c/b>No self respecting film nerd would miss an entire film festival like the one SF Indie sponsored, \u003cb>Another Hole in the Head\u003c/b>. Even with all the DVDs I’m watching for this project, I couldn’t pass up the full schedule of films. The one that caught my eye was called \u003cb>Meatball Machine\u003c/b>.\u003c/p>\n\u003cp>\u003cb>Meatball Machine\u003c/b> is made by the makers of the best zombie sports film ever, \u003cb>Battlefield Baseball\u003c/b>. This film finds humans the subject of alien parasite infestation. The parasites make their hosts fight each other with strange machines called Necroborgs. There’s lots of blood, gruesome gore, and unbelievable effects. I knew I wouldn’t be disappointed.\u003c/p>\n\u003cp>There were some truly squeamish moments during the film, that made even a room full of jaded horror fans squeal with disgusted delight. Throughout the film, we were treated to disembowellings, non-consensual amputations, and good ol’ eyeball puncturing. Did I mention the film is hilarious?\u003c/p>\n\u003cp>Sadly, this film is not yet available on DVD and I doubt it will have a traditional theatrical release. Catch it at a film festival, or not at all.\u003c/p>\n\u003cp>\u003cb>Pick of the Week\u003c/b>\u003cbr>\nThere were only two films that I considered for this week’s pick. The first one I saw that I really loved was the British horror film \u003cb>Creep\u003c/b>, starring Franka Potente. I would love to watch it again. But the one film I saw that made me regret not seeing it in the theater was the Tommy Lee Jones picture, \u003cb>The Three Burials of Melquiades Estrada\u003c/b>.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Written by Guillermo Arriaga, the writer of \u003cb>Amores Perros\u003c/b>, \u003cb>21 Grams\u003c/b>, and the forthcoming \u003cb>Babel\u003c/b>, \u003cb>Three Burials\u003c/b> follows director and star Tommy Lee Jones as he tries to bury a dead friend in the deceased’s hometown in Mexico. It’s way more complicated than this, but I don’t want to give too much away.\u003c/p>\n\u003cp>If you’re a fan of the Tommy Lee Jones who was in \u003cb>Coal Miner’s Daughter\u003c/b> and \u003cb>The Executioner’s Song\u003c/b>, you must see this. It may be the role of Jones’ lifetime. Although most people will remember him from \u003cb>The Fugitive\u003c/b> or \u003cb>Men in Black\u003c/b>, after 30 years in the business Jones has turned in maybe his best role yet.\u003c/p>\n\u003cp>\u003cb>My So Called Life\u003c/b>\u003cbr>\nI was out a lot this week, much more than usual. Two nights that were exceptionally fun were Friday and Saturday. Friday was Parkerpalooza and Saturday I saw Matt Besser at the Eureka Theater.\u003c/p>\n\u003cp>I’m still not sure who this Parker guy is. I managed to meet him, but all I could get out of him was some vaguely hostile drunken mumblings. If I could’ve understood him, I may have been offended. The point is, for his birthday, Parker’s been throwing an annual party, this year at the 12 Galaxies. Most of the bands were not worthy of mentioning, except for The Enablers, whose singer/reciter Pete Simonelli twisted and contorted his lyrical stylings for the crowd, for a really cool spoken word/music combination. About one AM, comedian Mary Van Note took the stage with the look of a Sunday school teacher but with material that would make Don Rickles blush.\u003c/p>\n\u003cp>If you haven’t seen The Upright Citizens’ Brigade, queue those DVDs now. The show didn’t run for very long, but the UCB crew is still very much active in the world of comedy, sketch, and improv. Their theaters in LA and New York are the new hotspots of comedy. One of their members, Matt Besser, was in town to perform his one man show, \u003cb>Woo Pig Sooie\u003c/b>.\u003c/p>\n\u003cp>Walking home from the show, I was stunned. I thought back to what I had seen and tried to figure out if it had been theater, comedy, or a conversation. Besser’s style is rehearsed but yet interactive, unlike others who simply do the exact same show every time. Many other comedians recite an hour of material while sitting on an introspective stool under the guise of a one man show, but Besser’s material was more like a lecture with laughs than standup with better lighting. Besser also talks to the audience rather than at the audience, as is the case with many spoken word artists. Most importantly, Besser’s show was heavy on message, not just some kind of observational comedy; the weight of Besser’s show dealt with the importance that people place on religion, and the possible dangers of such. The whole walk home I felt like I’ve never really said what I thought about anything, and I’m an opinionated egoist.\u003c/p>\n\u003cp>\u003cb>The Pace\u003c/b>\u003cbr>\nI didn’t get 11 this week like I wanted to, but I got 10, which is good considering how much was going on. It was my birthday on Tuesday. My friends all offered to take me to the movies. Aside from \u003cb>Meatball Machine\u003c/b>, I asked if they would take me to dinner instead. But I’m still on pace.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>220 DVDs in 169 days. That leaves me with 280 more over the next 196 days for a pace of 9.99 per week. I dropped two discs in the mail on Friday night. I’m suspicious that that box isn’t getting picked up on Saturday anymore. If I get those back on Tuesday, I may be able to get to more than 10 this week.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>The culture of irony is a slippery devil. It has seeped into our skin, peppered our speech with “Dudes,” and created walls between ourselves and the people closest to us. It is the post-meta way of this generation to constantly detach, poke fun, belittle and play down, to the point of never being able to honestly say how we feel.\u003c/p>\n\u003cp>Therefore, without any ironic smirking whatsoever, I must emphatically scream from the rooftops: “Go see \u003cb>The Puffy Chair\u003c/b>!!” This movie is so under the radar that its theatrical run may not even last as long as it takes to type this sentence, but I hope that in some small way I can encourage you to seek out this heartbreakingly honest, funny, well-written, brilliantly acted portrayal of a relationship trying to claw its way out of layers of stifling coolness.\u003c/p>\n\u003cp>This tiny little homemade film was shot with hand-held digital cameras, stars complete unknowns, and boasts a nifty indie rock soundtrack. In theory, this combination would send me screaming from the theater. Anyone remember \u003ca href=\"http://www.kqed.org/arts/movies/index.jsp?id=1176\">\u003cb>Thumbsucker\u003c/b>\u003c/a>? Ugh. With so many of these kinds of films, like Miranda July’s \u003ca href=\"http://www.kqed.org/arts/movies/index.jsp?id=1183\">\u003cb>Me and You and Everyone We Know\u003c/b>\u003c/a>, in the process of trying to be “honest” and “real” in their portrayal of “quirky” people, these filmmakers’ own hipster snobbishness creates a condescending attitude toward their own characters, forcing the audience to feel alienated and superior at the same time. This is not a sensation I seek from a film, and yet it seems that every time I give one of these buzzed-about films a chance, there is some white trash weird freaky sexual absurdity that is supposed to pass for real humanity. Ha frickin’ ha. Or even worse, pop culture references thrown in to make the filmmaker look cool, the audience feel cool, and everyone can just go home thinking that they’re so cutting edge.\u003c/p>\n\u003cp>In \u003cb>The Puffy Chair\u003c/b>, made by the Duplass Brothers, the characters themselves are the reference, the edge, and the humanity. Josh, an indie rock booking agent, embarks on a road trip to pick up a huge purple upholstered Lazy Boy recliner that he found on eBay, and deliver it to his father for his birthday. He somewhat reluctantly brings along his girlfriend Emily, who pokes and prods him into the big “relationship talk” at every opportunity along the way. Josh is unable to communicate with Emily in a straightforward way, after years of being on the road with his own band and having cultivated a completely detached hipster persona. Even Emily, to some extent, has worked out her own “cute little alternative chick” façade, so she too has a role to play in their dysfunctional communication skills. They pick up Josh’s dreamy, childlike bearded brother Rhett, who, even though he appears remarkably open to the wonders of the world, maintains his own distance by virtue of his meticulously manicured naiveté.\u003c/p>\n\u003cp>Their little road trip reveals something to each of them about how they deal with the world, each other and the people they love. The chair is not what Josh expected, and the trip is not what it started out to be. It’s \u003cb>Sideways\u003c/b> for the emo generation, or \u003cb>Stranger Than Paradise\u003c/b> without the absurd humor. The big chair becomes more than just a chair — it is a symbol of the comfort we seek but can never find until we are at peace with ourselves and open and honest in our relationships. The film reaches into a cultural strata that I have never seen so honestly portrayed on the screen, the true victims of the culture of irony: ourselves.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\u003cp>\u003c/p>\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>The culture of irony is a slippery devil. It has seeped into our skin, peppered our speech with “Dudes,” and created walls between ourselves and the people closest to us. It is the post-meta way of this generation to constantly detach, poke fun, belittle and play down, to the point of never being able to honestly say how we feel.\u003c/p>\n\u003cp>Therefore, without any ironic smirking whatsoever, I must emphatically scream from the rooftops: “Go see \u003cb>The Puffy Chair\u003c/b>!!” This movie is so under the radar that its theatrical run may not even last as long as it takes to type this sentence, but I hope that in some small way I can encourage you to seek out this heartbreakingly honest, funny, well-written, brilliantly acted portrayal of a relationship trying to claw its way out of layers of stifling coolness.\u003c/p>\n\u003cp>This tiny little homemade film was shot with hand-held digital cameras, stars complete unknowns, and boasts a nifty indie rock soundtrack. In theory, this combination would send me screaming from the theater. Anyone remember \u003ca href=\"http://www.kqed.org/arts/movies/index.jsp?id=1176\">\u003cb>Thumbsucker\u003c/b>\u003c/a>? Ugh. With so many of these kinds of films, like Miranda July’s \u003ca href=\"http://www.kqed.org/arts/movies/index.jsp?id=1183\">\u003cb>Me and You and Everyone We Know\u003c/b>\u003c/a>, in the process of trying to be “honest” and “real” in their portrayal of “quirky” people, these filmmakers’ own hipster snobbishness creates a condescending attitude toward their own characters, forcing the audience to feel alienated and superior at the same time. This is not a sensation I seek from a film, and yet it seems that every time I give one of these buzzed-about films a chance, there is some white trash weird freaky sexual absurdity that is supposed to pass for real humanity. Ha frickin’ ha. Or even worse, pop culture references thrown in to make the filmmaker look cool, the audience feel cool, and everyone can just go home thinking that they’re so cutting edge.\u003c/p>\n\u003cp>In \u003cb>The Puffy Chair\u003c/b>, made by the Duplass Brothers, the characters themselves are the reference, the edge, and the humanity. Josh, an indie rock booking agent, embarks on a road trip to pick up a huge purple upholstered Lazy Boy recliner that he found on eBay, and deliver it to his father for his birthday. He somewhat reluctantly brings along his girlfriend Emily, who pokes and prods him into the big “relationship talk” at every opportunity along the way. Josh is unable to communicate with Emily in a straightforward way, after years of being on the road with his own band and having cultivated a completely detached hipster persona. Even Emily, to some extent, has worked out her own “cute little alternative chick” façade, so she too has a role to play in their dysfunctional communication skills. They pick up Josh’s dreamy, childlike bearded brother Rhett, who, even though he appears remarkably open to the wonders of the world, maintains his own distance by virtue of his meticulously manicured naiveté.\u003c/p>\n\u003cp>Their little road trip reveals something to each of them about how they deal with the world, each other and the people they love. The chair is not what Josh expected, and the trip is not what it started out to be. It’s \u003cb>Sideways\u003c/b> for the emo generation, or \u003cb>Stranger Than Paradise\u003c/b> without the absurd humor. The big chair becomes more than just a chair — it is a symbol of the comfort we seek but can never find until we are at peace with ourselves and open and honest in our relationships. The film reaches into a cultural strata that I have never seen so honestly portrayed on the screen, the true victims of the culture of irony: ourselves.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cp>\u003cb>Unhitched\u003c/b> is a portrait of a community that has transformed travel trailers into permanent homes. Tucked away in a redwood grove in Northern California, Faerie Ring Campground and RV Park serves as one of the only options for low income housing in the area. Through the residents’ experiences, this film illustrates the value of having a place to call home while expanding our notions of community.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\u003cp>\u003c/p>\n",
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"content": "\u003cp>\u003cb>Week in Review: Masters of Horror\u003c/b>\u003cbr>Last year, my friend and \u003cb>Megaforce\u003c/b> fanboy Dan Simpson called me over to his house to watch the premiere of \u003cb>Masters of Horror\u003c/b>, a series on Showtime. I knew if Dan was making a big deal about it, I should pay attention.\u003c/p>\n\u003cp>We were about to watch the first installment of thirteen one-hour movies made for cable by some of the biggest names in horror cinema. Don Coscarelli’s (\u003cb>Phantasm\u003c/b>) \u003cb>Incident On and Off a Mountain Road\u003c/b>. That’s the only one I was able to watch, as I didn’t have Showtime. I thoroughly enjoyed it, as it was dark, weird, and fast-paced.\u003c/p>\n\u003cp>There were thirteen released for the first season. Stuart Gordon (\u003cb>Re-Animator\u003c/b>), Tobe Hooper (\u003cb>The Texas Chainsaw Massacre\u003c/b>), Dario Argento (\u003cb>Suspiria\u003c/b>), Mick Garris (\u003cb>The Stand\u003c/b>), Joe Dante (\u003cb>Gremlins\u003c/b>), John Landis (\u003cb>An American Werewolf in London\u003c/b>), John Carpenter (\u003cb>They Live\u003c/b>), William Malone (\u003cb>Creature\u003c/b>), Lucky McKee (\u003cb>May\u003c/b>), Larry Cohen (\u003cb>It’s Alive!\u003c/b>), John McNaughton (\u003cb>Henry: Portrait of a Serial Killer\u003c/b>), and Takashi Miike (\u003cb>Audition\u003c/b>) all followed with contributions.\u003c/p>\n\u003cp>Now, the DVDs are being released, and there are six that are showing up on Netflix right now. I watched three this week, and will put the remaining ones I in the queue. Learn more about the series at \u003ca>The Official Masters of Horror Website.\u003c/a>\u003c/p>\n\u003cp>\u003cb>The Hollywood Shotgun\u003c/b>\u003cbr>Most shotguns that are shown in film these days are pump action shotguns, even wielded erroneously by military personnel who would most likely have a combat shotgun that is automatic.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>The pump is what takes a shell and puts it in the chamber, making the shotgun ready to fire. If there was a previous firing, an empty shell will be ejected upon the pump. Hollywood loves “The Pump.” That sound is unmistakable and means business. But most of the people involved in the films have no idea why the pump is there.\u003c/p>\n\u003cp>Pumping your BB Gun gives it the pressure to propel the BB through the air; the more you pump, the more powerful the shot. However, the more you pump a shotgun, the faster your ammo runs out. Usually, a shotgun would hold no more than five shells. While I was watching \u003cb>Running Scared\u003c/b> this week, I noticed there were quite a few Hollywood shotguns. The Hollywood shotgun doesn’t eject empty shells and can be pumped as many times as the shooter desires. Why, with each pump comes a little more information from the guy the shooter is coercing.\u003c/p>\n\u003cp>\u003cb>My So Called Life\u003c/b>\u003cbr>I took a break from the movie watching on Saturday night to go to an undisclosed location for a house party, at which \u003cb>Club Screwball\u003c/b>, the LA variety show had come up to entertain us. The night started with a wall of noise from \u003cb>Slugeon\u003c/b>, the one man noise band. Next up was the impossibly beautiful Darcey Leonard, the ringleader of the trip, with a burlesque number. And then came \u003cb>Connie Fucking Francis\u003c/b>. That’s really their name, I’m not randomly swearing here. They’re three SF kids, under 65 years old all together, who do covers of only Connie Francis songs. The music is a late ’70s punk version of the Francis classics. By the time they were finished performing it was about 2AM, and there were still several acts to go. Nice one, guys, thanks for coming up and giving us a party.\u003c/p>\n\u003cp>\u003cb>Pick of the Week: I Love Your Work\u003c/b>\u003cbr>It was another tough week to single out a selection. \u003cb>Running Scared\u003c/b> surprised me for a seemingly standard thriller that took a dark path. I’m a sucker for any time travel movie, and \u003cb>Time After Time\u003c/b> was not only a smart film, but set in San Francisco. \u003cb>Project Grizzly\u003c/b> was nothing but fun from the opening minutes. But this week’s pick is Adam Goldberg’s \u003cb>I Love Your Work\u003c/b>.\u003c/p>\n\u003cp>Adam Goldberg, whose name you may not recognize, but whose face I’m sure you would, wrote and directed a real gem. On the surface it appears to be another behind-the-scenes movie about movies. 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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>The pump is what takes a shell and puts it in the chamber, making the shotgun ready to fire. If there was a previous firing, an empty shell will be ejected upon the pump. Hollywood loves “The Pump.” That sound is unmistakable and means business. But most of the people involved in the films have no idea why the pump is there.\u003c/p>\n\u003cp>Pumping your BB Gun gives it the pressure to propel the BB through the air; the more you pump, the more powerful the shot. However, the more you pump a shotgun, the faster your ammo runs out. Usually, a shotgun would hold no more than five shells. While I was watching \u003cb>Running Scared\u003c/b> this week, I noticed there were quite a few Hollywood shotguns. The Hollywood shotgun doesn’t eject empty shells and can be pumped as many times as the shooter desires. Why, with each pump comes a little more information from the guy the shooter is coercing.\u003c/p>\n\u003cp>\u003cb>My So Called Life\u003c/b>\u003cbr>I took a break from the movie watching on Saturday night to go to an undisclosed location for a house party, at which \u003cb>Club Screwball\u003c/b>, the LA variety show had come up to entertain us. The night started with a wall of noise from \u003cb>Slugeon\u003c/b>, the one man noise band. Next up was the impossibly beautiful Darcey Leonard, the ringleader of the trip, with a burlesque number. And then came \u003cb>Connie Fucking Francis\u003c/b>. That’s really their name, I’m not randomly swearing here. They’re three SF kids, under 65 years old all together, who do covers of only Connie Francis songs. The music is a late ’70s punk version of the Francis classics. By the time they were finished performing it was about 2AM, and there were still several acts to go. Nice one, guys, thanks for coming up and giving us a party.\u003c/p>\n\u003cp>\u003cb>Pick of the Week: I Love Your Work\u003c/b>\u003cbr>It was another tough week to single out a selection. \u003cb>Running Scared\u003c/b> surprised me for a seemingly standard thriller that took a dark path. I’m a sucker for any time travel movie, and \u003cb>Time After Time\u003c/b> was not only a smart film, but set in San Francisco. \u003cb>Project Grizzly\u003c/b> was nothing but fun from the opening minutes. But this week’s pick is Adam Goldberg’s \u003cb>I Love Your Work\u003c/b>.\u003c/p>\n\u003cp>Adam Goldberg, whose name you may not recognize, but whose face I’m sure you would, wrote and directed a real gem. On the surface it appears to be another behind-the-scenes movie about movies. Then it looks to be about stalking and the cost of fame. But then Goldberg takes it in some directions I didn’t see coming at all.\u003c/p>\n\u003cp>The cast is filled with a lot of underused actors: Christina Ricci, Giovanni Ribisi, Joshua Jackson, Franka Potente, and Jason Lee. It’s an unusual mix that works very well together. I made this my pick for the strength of the story, the quality of the cast, and the interesting storytelling of the direction. Also, it’s one of those films that get away from the viewing public. As far as I can tell, it only showed on one screen in the US. \u003ca>Read an interview\u003c/a> with Adam Goldberg (on about.com).\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cb>The Pace\u003c/b>\u003cbr>I watched 10 this week, for a total of 210 in 162 days. 203 days left to watch 290, at a pace of 9.99 per week. Unlike this week, next week I should get DVDs on Tuesday, giving me an additional day to watch and return. Last week, I didn’t get the rhythm right and this week I didn’t get my new discs until Wednesday. I’m trying for 11 or 12. I need to get a little ahead. As it stands now, every holiday is a threat to me losing 2 per week.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>A naked man crawls across a desolate Martian landscape in search of a desert oasis, all the while remembering a violent rape in flashback. An ancient Japanese town is haunted by the shocking deaths of several local women whose faces and skulls have been burned away. Each possesses a mysterious hand mirror made by a local man obsessed with creating the perfect mirror. The wife of a war hero devotes her life to the care and feeding of her soldier husband, who has returned from the war badly disfigured, missing both arms and legs. A beautiful stage actress is pursued by a young man who dreams of intimacy but is plagued with a fear of germs and crawling bugs.\u003c/p>\n\u003cp>These stories unfold in their own time, each creating a sumptuous, fully realized world. 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It immediately grounds the film with a more traditional approach to storytelling, but in double. The director uses the kinds of camera angles one might expect in classic noir, but shoots them through mirrors, doubling the action — like sending a Japanese Sam Spade through a kaleidoscope. It’s clever and lovely and a bit brittle and chilly, like the surface of a mirror. \u003cb>Caterpiller\u003c/b> juxtaposes moments of pure filmic poetry (brilliant animated butterfly wings, a sequence viewed through a camera obscura), which express the ache of a “war hero’s wife,” who lost her “normal” life when she became the constant caregiver to her wounded soldier husband. But the ache twists into sadism and the filmmaking erupts with frenzied, violent action, reminiscent of the chilling \u003cb>Audition\u003c/b>. Finally, \u003cb>Crawling Bugs\u003c/b> captures the feel of a stage set, all bright colors and spotlights. The story moves back and forth in time, inside and out of a young man’s head. A plague of germs and itching bugs preoccupies his thoughts while he tries to figure out a way to stop his one true love (the actress he has kidnapped and murdered) from decomposing.\u003c/p>\n\u003cp>\u003cb>Rampo Noir\u003c/b> is a brilliant start to the festival. However, I was able to view a few other selections from the fest’s one week run (June 8 – June 15), which I thought were mediocre (\u003cb>Blood Deep\u003c/b>, \u003cb>Dark Remains\u003c/b>). Even though I am a big fan of horror films (\u003cb>Carrie\u003c/b>, \u003cb>The Birds\u003c/b> and Dario Argento’s \u003cb>Deep Red\u003c/b> fall neatly in my all-time top ten), I am not a true member of this festival’s target audience. I looked over the schedule, trying to find a number of films to review and discovered that the line-up is chiefly populated with “chop em ups.” Films that make earlier versions of the psycho-killer-with-a-knife (or chainsaw) — \u003cb>Halloween\u003c/b>, \u003cb>Texas Chainsaw Massacre\u003c/b> and \u003cb>Friday the 13th\u003c/b> — look like Disney. The violence in them is brutal, agonizing, graphic and sadistic. I just don’t have the stomach for such chop suey. I thought Italian horror master, Dario Argento was extreme. I mean, when someone dies in one of his films, they’ve been killed several times over, dragged down the street and mashed into a pulp, but all in brilliant Italian primary colors! Many of the recent offerings (\u003cb>Hostel\u003c/b>, \u003cb>Saw\u003c/b>, et al) are like Dario Argento in a blender, and I don’t think viscera is that interesting to watch, nor the dismantling of the human body onscreen — in various creative ways — that compelling. That said, I’ve heard some great things about The Butcher Brothers’ film \u003cb>The Hamiltons\u003c/b>, which screens June 12.\u003c/p>\n\u003cp>But \u003cb>Rampo Noir\u003c/b> is an entirely different beast. Go see it. It will satisfy a horror fan’s thirst for blood, a noir fan’s need for twisty psychological states, and an experimental film fan’s hunger for anything that brings the camera inside the story and really pushes the medium’s descriptive power to dazzle the eye and bewitch the mind.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\u003cp>\u003c/p>\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>A naked man crawls across a desolate Martian landscape in search of a desert oasis, all the while remembering a violent rape in flashback. An ancient Japanese town is haunted by the shocking deaths of several local women whose faces and skulls have been burned away. Each possesses a mysterious hand mirror made by a local man obsessed with creating the perfect mirror. The wife of a war hero devotes her life to the care and feeding of her soldier husband, who has returned from the war badly disfigured, missing both arms and legs. A beautiful stage actress is pursued by a young man who dreams of intimacy but is plagued with a fear of germs and crawling bugs.\u003c/p>\n\u003cp>These stories unfold in their own time, each creating a sumptuous, fully realized world. In \u003cb>Rampo Noir\u003c/b>, the opening night film for SF’s \u003ca href=\"http://www.holehead.org/home/\" target=\"offsite\" rel=\"noopener\">Another Hole in the Head\u003c/a> film festival, the grotesque and the exquisite blur in an orgy of surrealism and — almost gothic — horror. You don’t have to be a horror aficionado to enjoy \u003cb>Rampo Noir\u003c/b>, which is a collection of four stories by Edogawa Rampo (a transliteration of Edgar Allan Poe and the nom de plume of Taro Hirai), “the author who established the foundations of modern Japanese mystery and horror novels.” Four of Japan’s top directors adapted the work to screen, each adopting a different camera style, tempo and color palette to express the twisted psychological dramas that unfold.\u003c/p>\n\u003cp>\u003cb>Mars’s Canal\u003c/b> explodes on screen, fast and rythmic, it builds up a sense of frustrated rage and desolation. \u003cb>Mirror Hell\u003c/b> is stately, told as an old-fashioned noir detective story. It immediately grounds the film with a more traditional approach to storytelling, but in double. The director uses the kinds of camera angles one might expect in classic noir, but shoots them through mirrors, doubling the action — like sending a Japanese Sam Spade through a kaleidoscope. It’s clever and lovely and a bit brittle and chilly, like the surface of a mirror. \u003cb>Caterpiller\u003c/b> juxtaposes moments of pure filmic poetry (brilliant animated butterfly wings, a sequence viewed through a camera obscura), which express the ache of a “war hero’s wife,” who lost her “normal” life when she became the constant caregiver to her wounded soldier husband. But the ache twists into sadism and the filmmaking erupts with frenzied, violent action, reminiscent of the chilling \u003cb>Audition\u003c/b>. Finally, \u003cb>Crawling Bugs\u003c/b> captures the feel of a stage set, all bright colors and spotlights. The story moves back and forth in time, inside and out of a young man’s head. A plague of germs and itching bugs preoccupies his thoughts while he tries to figure out a way to stop his one true love (the actress he has kidnapped and murdered) from decomposing.\u003c/p>\n\u003cp>\u003cb>Rampo Noir\u003c/b> is a brilliant start to the festival. However, I was able to view a few other selections from the fest’s one week run (June 8 – June 15), which I thought were mediocre (\u003cb>Blood Deep\u003c/b>, \u003cb>Dark Remains\u003c/b>). Even though I am a big fan of horror films (\u003cb>Carrie\u003c/b>, \u003cb>The Birds\u003c/b> and Dario Argento’s \u003cb>Deep Red\u003c/b> fall neatly in my all-time top ten), I am not a true member of this festival’s target audience. I looked over the schedule, trying to find a number of films to review and discovered that the line-up is chiefly populated with “chop em ups.” Films that make earlier versions of the psycho-killer-with-a-knife (or chainsaw) — \u003cb>Halloween\u003c/b>, \u003cb>Texas Chainsaw Massacre\u003c/b> and \u003cb>Friday the 13th\u003c/b> — look like Disney. The violence in them is brutal, agonizing, graphic and sadistic. I just don’t have the stomach for such chop suey. I thought Italian horror master, Dario Argento was extreme. I mean, when someone dies in one of his films, they’ve been killed several times over, dragged down the street and mashed into a pulp, but all in brilliant Italian primary colors! Many of the recent offerings (\u003cb>Hostel\u003c/b>, \u003cb>Saw\u003c/b>, et al) are like Dario Argento in a blender, and I don’t think viscera is that interesting to watch, nor the dismantling of the human body onscreen — in various creative ways — that compelling. That said, I’ve heard some great things about The Butcher Brothers’ film \u003cb>The Hamiltons\u003c/b>, which screens June 12.\u003c/p>\n\u003cp>But \u003cb>Rampo Noir\u003c/b> is an entirely different beast. Go see it. It will satisfy a horror fan’s thirst for blood, a noir fan’s need for twisty psychological states, and an experimental film fan’s hunger for anything that brings the camera inside the story and really pushes the medium’s descriptive power to dazzle the eye and bewitch the mind.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cp>\u003cb>Week in Review\u003c/b>\u003cbr>I actually saw two full length films in public this weekend. Last year this would have been no big news for me. But this year, with this project, I’m not going to the theater when I leave the house.\u003c/p>\n\u003cp>Friday night I went to the anniversary party of Red Hill Books in Bernal Heights, for which they showed two short films and a feature. Opening the night was a short about another Mission bookstore, that discourages people from knowing where they are or even buying books, so it doesn’t get a mention here. Shhh. Next up was Danny Plotnick’s \u003cb>Swinger’s Seranade\u003c/b>, a film that contains another smaller film inside it, which is about the making of the smaller film. I think I’ve explained this correctly. It may be available at Lost Weekend Video, Leather Tongue, or Le Video, but I’d recommend asking for it by name. Finishing the evening was \u003cb>IPO\u003c/b>, a story with multiple plotlines set in San Francisco’s Dot Com Era. There was one really interesting story in there, about a homeless couple who sneak their way into an idiotic company, but overall it was like they were trying to cram a TV season’s worth of ideas into one film. \u003cb>IPO\u003c/b>, was available for sale at the counter.\u003c/p>\n\u003cp>The night reminded me a lot of underground film screenings from 15 years ago, when three or four filmmakers got together with a few hours worth of their short films and showed one after another. Only this time, there were no Pixelvision epics or David Lynch knockoffs. \u003c/p>\n\u003cp>Saturday night I went to the Shattuck in Berkeley to see \u003cb>District B13\u003c/b>. If you liked \u003cb>The Transporter\u003c/b> or \u003cb>Unleashed\u003c/b>, you’ll like this one. It’s a Luc Besson production, directed by Pierre Morel.\u003c/p>\n\u003cp>Most stunning in the film is the Parkour style which is new to cinema. Parkour is known somewhat in the US as “Free Running.” One of its founders, David Belle, plays the lead. Parkour is a type of urban cross country running, in which the participants decide to go through, over, and under obstacles rather than going around. Think Jackie Chan with a destination, or Spiderman without the webs.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>The visual effect is stunning. It’s a new twist on an old idea: the chase. We’ve seen many brilliant car chases in the past, and some chases with different modes of transportation, such as the car chasing the train in \u003cb>The French Connection\u003c/b>, but never have running chases looked so good on the screen. This is a far cry from the days of William Conrad’s Frank Cannon leaping over fences to nab scumbags who were hopped up on goofballs.\u003c/p>\n\u003cp>You read it here first, kids. Parkour in cinema starts with this film, but within a few years it will be in the stable of Hollywood tricks, the same way John Woo’s bullet ballets have been assimilated into American action. Rumor is that the opening for the \u003cb>Casino Royale\u003c/b> remake, the James Bond film, will open with a Parkour sequence.\u003c/p>\n\u003cp>\u003cb>Pick of the Week\u003c/b>\u003cbr>There wasn’t much to pick from this week. Most of what I got was nothing more than mediocre. I expected more from John Turturro and Peter Boyle in \u003cb>Men of Respect\u003c/b>. Heath Ledger’s performance in \u003cb>Ned Kelly\u003c/b> was decent but not great. Christopher Lee and Klaus Kinski were barely part of the \u003cb>Circus of Fear\u003c/b> cast. Richard Widmark was better off playing the bad guys than playing the protagonist in \u003cb>Panic in the Streets\u003c/b>. Audrey Hepburn was so cute in \u003cb>Sabrina\u003c/b>, I almost picked that film for the week. The role that captured my imagination was Robert Blake in \u003cb>Electra Glide in Blue\u003c/b>.\u003c/p>\n\u003cp>Robert Blake plays a self-righteous motorcycle cop looking to work his way up through sweat and integrity. But it seems his only way to advancement is roughing up hippies. That’s what all the other cops like to do.\u003c/p>\n\u003cp>The scenery is almost another character in the film. There are all those old westerns in which the cowboys stare off into the desert, and this is much like that. The desert shots are stunning. Instead of motorcycles, they have horses. Blake plays his character with the absolute morality of a man in a white hat. The rest of the characters are morally ambiguous.\u003c/p>\n\u003cp>There’s a director’s commentary, but I didn’t have time to listen to it. Maybe next year.\u003c/p>\n\u003cp>\u003cb>The Pace\u003c/b>\u003cbr>Since there was no mail on Monday, I didn’t get any DVDs until Wednesday, with no time to watch them as I was up in San Rafael all evening. I ended up with 9 for the week. That’s 200 DVDs in 155 days, leaving me at 300 DVDs left for the next 210 days, which leaves me at an average of 9.99 movies per week. Still under 10!\u003c/p>\n\u003cp>I don’t know if I got a return in before the weekly pickup, so I may not get DVDs again until Wednesday this week. Hopefully, I’ll be able to watch 2 on Wednesday and get them replaced before the weekend.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cb>Swaps\u003c/b>\u003cbr>People are constantly telling me what I “have to” see, since I’m watching 500 DVDs this year. Add it in, they say. I have…no more…room. But then again, I can always take things out. I’m losing my patience with some TV shows, as their discs can be over 3 hours long, and also my ability to read subtitles. Silent films, that I once thought interesting, have lost their sparkle.\u003cbr> \u003cb>Added\u003c/b>:\u003cbr>\u003cb>Cigarette Burns\u003c/b>, \u003cb>Chocolate\u003c/b>, \u003cb>Dreams in the Witch House\u003c/b>, \u003cb>Be Here to Love Me\u003c/b>, \u003cb>Jarhead\u003c/b>, \u003cb>I Love Your Work\u003c/b>, \u003cb>Running Scared\u003c/b>.\u003cbr>\u003cb>Subtracted\u003c/b>:\u003cbr> \u003cb>Alfred Hitchcock Presents Season 1\u003c/b>, and \u003cb>King of Kings: Roadshow Version\u003c/b>.\u003c/p>\n\n",
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"excerpt": "\u003cb>Week in Review\u003c/b>\u003cbr />I actually saw two full length films in public this weekend. Last year this would have been no big news for me. But this year, with this project, I'm not going to the theater when I leave the house.",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003cb>Week in Review\u003c/b>\u003cbr>I actually saw two full length films in public this weekend. Last year this would have been no big news for me. But this year, with this project, I’m not going to the theater when I leave the house.\u003c/p>\n\u003cp>Friday night I went to the anniversary party of Red Hill Books in Bernal Heights, for which they showed two short films and a feature. Opening the night was a short about another Mission bookstore, that discourages people from knowing where they are or even buying books, so it doesn’t get a mention here. Shhh. Next up was Danny Plotnick’s \u003cb>Swinger’s Seranade\u003c/b>, a film that contains another smaller film inside it, which is about the making of the smaller film. I think I’ve explained this correctly. It may be available at Lost Weekend Video, Leather Tongue, or Le Video, but I’d recommend asking for it by name. Finishing the evening was \u003cb>IPO\u003c/b>, a story with multiple plotlines set in San Francisco’s Dot Com Era. There was one really interesting story in there, about a homeless couple who sneak their way into an idiotic company, but overall it was like they were trying to cram a TV season’s worth of ideas into one film. \u003cb>IPO\u003c/b>, was available for sale at the counter.\u003c/p>\n\u003cp>The night reminded me a lot of underground film screenings from 15 years ago, when three or four filmmakers got together with a few hours worth of their short films and showed one after another. Only this time, there were no Pixelvision epics or David Lynch knockoffs. \u003c/p>\n\u003cp>Saturday night I went to the Shattuck in Berkeley to see \u003cb>District B13\u003c/b>. If you liked \u003cb>The Transporter\u003c/b> or \u003cb>Unleashed\u003c/b>, you’ll like this one. It’s a Luc Besson production, directed by Pierre Morel.\u003c/p>\n\u003cp>Most stunning in the film is the Parkour style which is new to cinema. Parkour is known somewhat in the US as “Free Running.” One of its founders, David Belle, plays the lead. Parkour is a type of urban cross country running, in which the participants decide to go through, over, and under obstacles rather than going around. Think Jackie Chan with a destination, or Spiderman without the webs.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>The visual effect is stunning. It’s a new twist on an old idea: the chase. We’ve seen many brilliant car chases in the past, and some chases with different modes of transportation, such as the car chasing the train in \u003cb>The French Connection\u003c/b>, but never have running chases looked so good on the screen. This is a far cry from the days of William Conrad’s Frank Cannon leaping over fences to nab scumbags who were hopped up on goofballs.\u003c/p>\n\u003cp>You read it here first, kids. Parkour in cinema starts with this film, but within a few years it will be in the stable of Hollywood tricks, the same way John Woo’s bullet ballets have been assimilated into American action. Rumor is that the opening for the \u003cb>Casino Royale\u003c/b> remake, the James Bond film, will open with a Parkour sequence.\u003c/p>\n\u003cp>\u003cb>Pick of the Week\u003c/b>\u003cbr>There wasn’t much to pick from this week. Most of what I got was nothing more than mediocre. I expected more from John Turturro and Peter Boyle in \u003cb>Men of Respect\u003c/b>. Heath Ledger’s performance in \u003cb>Ned Kelly\u003c/b> was decent but not great. Christopher Lee and Klaus Kinski were barely part of the \u003cb>Circus of Fear\u003c/b> cast. Richard Widmark was better off playing the bad guys than playing the protagonist in \u003cb>Panic in the Streets\u003c/b>. Audrey Hepburn was so cute in \u003cb>Sabrina\u003c/b>, I almost picked that film for the week. The role that captured my imagination was Robert Blake in \u003cb>Electra Glide in Blue\u003c/b>.\u003c/p>\n\u003cp>Robert Blake plays a self-righteous motorcycle cop looking to work his way up through sweat and integrity. But it seems his only way to advancement is roughing up hippies. That’s what all the other cops like to do.\u003c/p>\n\u003cp>The scenery is almost another character in the film. There are all those old westerns in which the cowboys stare off into the desert, and this is much like that. The desert shots are stunning. Instead of motorcycles, they have horses. Blake plays his character with the absolute morality of a man in a white hat. The rest of the characters are morally ambiguous.\u003c/p>\n\u003cp>There’s a director’s commentary, but I didn’t have time to listen to it. Maybe next year.\u003c/p>\n\u003cp>\u003cb>The Pace\u003c/b>\u003cbr>Since there was no mail on Monday, I didn’t get any DVDs until Wednesday, with no time to watch them as I was up in San Rafael all evening. I ended up with 9 for the week. That’s 200 DVDs in 155 days, leaving me at 300 DVDs left for the next 210 days, which leaves me at an average of 9.99 movies per week. Still under 10!\u003c/p>\n\u003cp>I don’t know if I got a return in before the weekly pickup, so I may not get DVDs again until Wednesday this week. Hopefully, I’ll be able to watch 2 on Wednesday and get them replaced before the weekend.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cb>Swaps\u003c/b>\u003cbr>People are constantly telling me what I “have to” see, since I’m watching 500 DVDs this year. Add it in, they say. I have…no more…room. But then again, I can always take things out. I’m losing my patience with some TV shows, as their discs can be over 3 hours long, and also my ability to read subtitles. Silent films, that I once thought interesting, have lost their sparkle.\u003cbr> \u003cb>Added\u003c/b>:\u003cbr>\u003cb>Cigarette Burns\u003c/b>, \u003cb>Chocolate\u003c/b>, \u003cb>Dreams in the Witch House\u003c/b>, \u003cb>Be Here to Love Me\u003c/b>, \u003cb>Jarhead\u003c/b>, \u003cb>I Love Your Work\u003c/b>, \u003cb>Running Scared\u003c/b>.\u003cbr>\u003cb>Subtracted\u003c/b>:\u003cbr> \u003cb>Alfred Hitchcock Presents Season 1\u003c/b>, and \u003cb>King of Kings: Roadshow Version\u003c/b>.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>\u003cb>Week in Review\u003c/b>\u003cbr>Back in January, I was filling up my queue for the \u003cb>Experiment\u003c/b>, I picked actors and directors I liked, and picked from what was available. There were also a lot of films that I had heard of, some, like Fellini’s \u003cb>8 1/2\u003c/b>, I even pretended to have seen at one point in my life. There are a few films I have watched over and over: \u003cb>The Godfather\u003c/b>, \u003cb>Goodfellas\u003c/b>, and \u003cb>Rounders\u003c/b>, among others. Why do I watch these films repeatedly when there are so many I haven’t seen? Part of this project was to explore films I should like but don’t know about. Three of these came up this week, directed by Brian DePalma.\u003c/p>\n\u003cp>Even if you haven’t seen his most notable film, no doubt you’ve heard some \u003cb>Scarface\u003c/b> reference or have seen a Tony Montana (Al Pacino’s character) shirt that is so popular nowdays, even if you haven’t seen the movie. Although not his best film by far, millions have seen \u003cb>Mission: Impossible\u003c/b>. Many also saw \u003cb>The Untouchables\u003c/b>. There were two fine Sean Penn roles in \u003cb>Casualties of War\u003c/b> and \u003cb>Carlito’s Way\u003c/b>. And if you haven’t seen \u003cb>Carrie\u003c/b>, I’d be surprised if you hadn’t seen one of the many films that stole from it.\u003c/p>\n\u003cp>But still, there’s more from this director that you should check out that I bet you’ve missed.\u003c/p>\n\u003cp>\u003cb>Phantom of the Paradise\u003c/b>\u003cbr>Why this isn’t as well known as \u003cb>The Rocky Horror Picture Show\u003c/b>, I’ll never understand. It’s a glam rock retelling of \u003cb>Phantom of the Opera\u003c/b>. Paul Williams is the evil Satanish baddie, and yes, he’s totally evil.\u003c/p>\n\u003cp>\u003cb>Obsession\u003c/b>\u003cbr>If you like Hitchcock’s \u003cb>Vertigo\u003c/b>, you’ll enjoy DePalma’s homage to the film, written by Paul Schrader. John Lithgow steals the show in an early role of his as the cunning and ruthless antagonist.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003cb>Sisters\u003c/b>\u003cbr>Margot Kidder stars in this film that’s the third creepiest twin movie ever, after David Cronenberg’s \u003cb>Dead Ringers\u003c/b> and Mary Kate and Ashley’s \u003cb>New York Minute\u003c/b>.\u003c/p>\n\u003cp>\u003cb>The Fury\u003c/b>\u003cbr>Another film in the vein of \u003cb>Carrie\u003c/b>. Shy, isolated teenagers in the ’70s were prone to having psychic powers, sometimes dangerous and powerful abilities. Kirk Douglas and John Cassavetes square off in a fight for control of the Telekenetic Teens.\u003c/p>\n\u003cp>\u003cb>Pick of the Week: They Live!\u003c/b>\u003cbr>There were a lot of good films to pick from this week. I thoroughly enjoyed the director’s cut of \u003cb>Donnie Darko\u003c/b>. \u003cb>McCabe and Mrs. Miller\u003c/b> was without flaw. Ron Howard was never more fun than in \u003cb>Eat My Dust!\u003c/b> But the pick of the week is the one I watched late night on Sunday, John Carpenter’s \u003cb>They Live\u003c/b>.\u003c/p>\n\u003cp>I saw \u003cb>They Live\u003c/b> at a drive in theater. We filled up Don Bailey’s van with freaks and then filled up our brains with LSD. I don’t know why we thought cramming as many people as possible in the van on All You Can Fit In Your Car — $10 Tuesdays and then dosing everyone was a good idea. More so, I don’t know why we picked \u003cb>Child’s Play\u003c/b>.\u003c/p>\n\u003cp>I kept getting distracted by the other screen, which was showing \u003cb>They Live\u003c/b>. But I had the audio from \u003cb>Child’s Play\u003c/b>. Don had a tricked out stereo system, and we could hear Chuckie running under the seats. Some jerk thought that the van was floating down a river and freaked out and wouldn’t let anyone get out. \u003c/p>\n\u003cp>The movie made a lot more sense with this viewing. It’s my pick for several reasons: it’s an awesome sci-fi action film (think \u003cb>The Twilight Zone\u003c/b> with gratuitous fighting and gunplay), it has social commentary, and you may otherwise pass it off as a hacky ’80s sci-fi flick if I don’t highly recommend it to you. “Rowdy” Roddy Piper, of WWE (née WWF) fame plays the lead as a down-on-his-luck guy who puts on a pair of strange sunglasses and for the first time, sees the world how it REALLY is.\u003c/p>\n\u003cp>THE PACE\u003cbr>13. Count ’em, slacker! 191 DVDs through May 28. 309 left in the next 217 days. For a weekly average of 9.96 … under 10 once more!\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>I was able to get to more DVDs this week as I still had two left from the week before on Monday, a day that I’m often without DVDs at all. Two Monday, Tuesday, and Wednesday, Which all got replaced by the weekend. I still have one left for Monday as well. However, with the Memorial Day leaving us without mail, I probably won’t get DVDs on Tuesday. I may have to wait till Wednesday. I’m not sure what I’ll get yet.\u003c/p>\n\n",
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"excerpt": "Back in January, I was filling up my queue for the \u003cb>Experiment\u003c/b>, I picked actors and directors I liked, and picked from what was available. There were also a lot of films that I had heard of, some, like Fellini's \u003cb>8 1/2\u003c/b>, I even pretended to have seen at one point in my life. There are a few films I have watched over and over: \u003cb>The Godfather\u003c/b>, \u003cb>Goodfellas\u003c/b>, and \u003cb>Rounders\u003c/b>, among others. Why do I watch these films repeatedly when there are so many I haven't seen? Part of this project was to explore films I should like but don't know about. Three of these came up this week, directed by Brian DePalma.",
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"title": "Q-500 Experiment: I have one that can SEE! | KQED",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003cb>Week in Review\u003c/b>\u003cbr>Back in January, I was filling up my queue for the \u003cb>Experiment\u003c/b>, I picked actors and directors I liked, and picked from what was available. There were also a lot of films that I had heard of, some, like Fellini’s \u003cb>8 1/2\u003c/b>, I even pretended to have seen at one point in my life. There are a few films I have watched over and over: \u003cb>The Godfather\u003c/b>, \u003cb>Goodfellas\u003c/b>, and \u003cb>Rounders\u003c/b>, among others. Why do I watch these films repeatedly when there are so many I haven’t seen? Part of this project was to explore films I should like but don’t know about. Three of these came up this week, directed by Brian DePalma.\u003c/p>\n\u003cp>Even if you haven’t seen his most notable film, no doubt you’ve heard some \u003cb>Scarface\u003c/b> reference or have seen a Tony Montana (Al Pacino’s character) shirt that is so popular nowdays, even if you haven’t seen the movie. Although not his best film by far, millions have seen \u003cb>Mission: Impossible\u003c/b>. Many also saw \u003cb>The Untouchables\u003c/b>. There were two fine Sean Penn roles in \u003cb>Casualties of War\u003c/b> and \u003cb>Carlito’s Way\u003c/b>. And if you haven’t seen \u003cb>Carrie\u003c/b>, I’d be surprised if you hadn’t seen one of the many films that stole from it.\u003c/p>\n\u003cp>But still, there’s more from this director that you should check out that I bet you’ve missed.\u003c/p>\n\u003cp>\u003cb>Phantom of the Paradise\u003c/b>\u003cbr>Why this isn’t as well known as \u003cb>The Rocky Horror Picture Show\u003c/b>, I’ll never understand. It’s a glam rock retelling of \u003cb>Phantom of the Opera\u003c/b>. Paul Williams is the evil Satanish baddie, and yes, he’s totally evil.\u003c/p>\n\u003cp>\u003cb>Obsession\u003c/b>\u003cbr>If you like Hitchcock’s \u003cb>Vertigo\u003c/b>, you’ll enjoy DePalma’s homage to the film, written by Paul Schrader. John Lithgow steals the show in an early role of his as the cunning and ruthless antagonist.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cb>Sisters\u003c/b>\u003cbr>Margot Kidder stars in this film that’s the third creepiest twin movie ever, after David Cronenberg’s \u003cb>Dead Ringers\u003c/b> and Mary Kate and Ashley’s \u003cb>New York Minute\u003c/b>.\u003c/p>\n\u003cp>\u003cb>The Fury\u003c/b>\u003cbr>Another film in the vein of \u003cb>Carrie\u003c/b>. Shy, isolated teenagers in the ’70s were prone to having psychic powers, sometimes dangerous and powerful abilities. Kirk Douglas and John Cassavetes square off in a fight for control of the Telekenetic Teens.\u003c/p>\n\u003cp>\u003cb>Pick of the Week: They Live!\u003c/b>\u003cbr>There were a lot of good films to pick from this week. I thoroughly enjoyed the director’s cut of \u003cb>Donnie Darko\u003c/b>. \u003cb>McCabe and Mrs. Miller\u003c/b> was without flaw. Ron Howard was never more fun than in \u003cb>Eat My Dust!\u003c/b> But the pick of the week is the one I watched late night on Sunday, John Carpenter’s \u003cb>They Live\u003c/b>.\u003c/p>\n\u003cp>I saw \u003cb>They Live\u003c/b> at a drive in theater. We filled up Don Bailey’s van with freaks and then filled up our brains with LSD. I don’t know why we thought cramming as many people as possible in the van on All You Can Fit In Your Car — $10 Tuesdays and then dosing everyone was a good idea. More so, I don’t know why we picked \u003cb>Child’s Play\u003c/b>.\u003c/p>\n\u003cp>I kept getting distracted by the other screen, which was showing \u003cb>They Live\u003c/b>. But I had the audio from \u003cb>Child’s Play\u003c/b>. Don had a tricked out stereo system, and we could hear Chuckie running under the seats. Some jerk thought that the van was floating down a river and freaked out and wouldn’t let anyone get out. \u003c/p>\n\u003cp>The movie made a lot more sense with this viewing. It’s my pick for several reasons: it’s an awesome sci-fi action film (think \u003cb>The Twilight Zone\u003c/b> with gratuitous fighting and gunplay), it has social commentary, and you may otherwise pass it off as a hacky ’80s sci-fi flick if I don’t highly recommend it to you. “Rowdy” Roddy Piper, of WWE (née WWF) fame plays the lead as a down-on-his-luck guy who puts on a pair of strange sunglasses and for the first time, sees the world how it REALLY is.\u003c/p>\n\u003cp>THE PACE\u003cbr>13. Count ’em, slacker! 191 DVDs through May 28. 309 left in the next 217 days. For a weekly average of 9.96 … under 10 once more!\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>I was able to get to more DVDs this week as I still had two left from the week before on Monday, a day that I’m often without DVDs at all. Two Monday, Tuesday, and Wednesday, Which all got replaced by the weekend. I still have one left for Monday as well. However, with the Memorial Day leaving us without mail, I probably won’t get DVDs on Tuesday. I may have to wait till Wednesday. I’m not sure what I’ll get yet.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"tagline": "Where conversation and cultura meet",
"info": "What kind of no sabo word is Hyphenación? For us, it’s about living within a hyphenation. Like being a third-gen Mexican-American from the Texas border now living that Bay Area Chicano life. Like Xorje! Each week we bring together a couple of hyphenated Latinos to talk all about personal life choices: family, careers, relationships, belonging … everything is on the table. ",
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"info": "The Political Mind of Jerry Brown brings listeners the wisdom of the former Governor, Mayor, and presidential candidate. Scott Shafer interviewed Brown for more than 40 hours, covering the former governor's life and half-century in the political game – and Brown has some lessons he'd like to share. ",
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"marketplace": {
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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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"order": 12
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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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"planet-money": {
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"info": "The economy explained. Imagine you could call up a friend and say, Meet me at the bar and tell me what's going on with the economy. Now imagine that's actually a fun evening.",
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"politicalbreakdown": {
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"title": "Political Breakdown",
"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.",
"airtime": "THU 6:30pm-7pm",
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"possible": {
"id": "possible",
"title": "Possible",
"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.",
"airtime": "SUN 2pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Possible-Podcast-Tile-360x360-1.jpg",
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"pri-the-world": {
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"title": "PRI's The World: Latest Edition",
"info": "Each weekday, host Marco Werman and his team of producers bring you the world's most interesting stories in an hour of radio that reminds us just how small our planet really is.",
"airtime": "MON-FRI 2pm-3pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/The-World-Podcast-Tile-360x360-1.jpg",
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},
"radiolab": {
"id": "radiolab",
"title": "Radiolab",
"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": {
"id": "reveal",
"title": "Reveal",
"info": "Created by The Center for Investigative Reporting and PRX, Reveal is public radios first one-hour weekly radio show and podcast dedicated to investigative reporting. Credible, fact based and without a partisan agenda, Reveal combines the power and artistry of driveway moment storytelling with data-rich reporting on critically important issues. The result is stories that inform and inspire, arming our listeners with information to right injustices, hold the powerful accountable and improve lives.Reveal is hosted by Al Letson and showcases the award-winning work of CIR and newsrooms large and small across the nation. In a radio and podcast market crowded with choices, Reveal focuses on important and often surprising stories that illuminate the world for our listeners.",
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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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"source": "kqed",
"order": 16
},
"link": "/podcasts/rightnowish",
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},
"science-friday": {
"id": "science-friday",
"title": "Science Friday",
"info": "Science Friday is a weekly science talk show, broadcast live over public radio stations nationwide. Each week, the show focuses on science topics that are in the news and tries to bring an educated, balanced discussion to bear on the scientific issues at hand. Panels of expert guests join host Ira Flatow, a veteran science journalist, to discuss science and to take questions from listeners during the call-in portion of the program.",
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},
"snap-judgment": {
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