Todd Haynes’ documentary The Velvet Underground (2022) is as dense and illuminating as the band’s music, providing a kaleidoscopic account of the creative explosion in music, art and film in New York in the 1960s out of which the band emerged for a brief, transformative moment of cultural change.
The British have a tendency to indulge in miserablism, a characteristic that filmmakers have been turning into powerful dramatic art for decades. Bryan Forbes’ The Whisperers (1967) and Ray Davies’ Return to Waterloo (1984) approach it from very different directions, but both create powerful portraits of people living depressing lives.
A haunting version of New Order’s Blue Monday.
A brief survey of recent viewing ranging from classics to contemporary, from class to cheese: thrillers, sci-fi and horror featuring black magic, killer robots, demons, evil stepdads and retro-’50s rock-n-roll biker gangs.
I recently completed a music video for Winnipeg artist Töt Bête Lögn. The track is The Duel from his self-released album Noire.
David Byrne’s True Stories is a utopian vision of America as it would like to see itself, the mythic melting pot in which it’s possible for anyone to achieve fulfillment of their personal dreams. Criterion’s new Blu-ray release delivers a superb visual and audio treatment of this charming movie.
Claudio Simonetti’s Goblin ended their world tour with a dynamic show at Winnipeg’s Park Theatre on December 10, 2018, playing the entire score of Dario Argento’s Suspiria (1977) live, followed by more than an hour of Goblin’s greatest horror themes.
The ambitious and very expensive early sound-era musical King of Jazz, featuring Paul Whiteman and his band, gets a spectacular restoration which makes the most of the original two-strip Technicolor process on Criterion’s extras-packed Blu-ray.
One of the “advantages” of having a tedious day job which requires a certain amount of concentration but very little thought is that I can spend my shifts listening to my iPod. I’ve recently been addicted to old-time radio shows – among them The Shadow, Gang Busters, Escape, Inner Sanctum, Nero Wolfe, even an excellent […]
While watching Charles B. Griffith’s Eat My Dust! the other day, I found myself getting annoyed. Not by the sheer silliness of the film — a small-town sheriff’s son (a very young Ron Howard) steals a hot-rod to impress a girl and ends up in a cross-country chase which is merely an excuse for endless […]