Monday, October 25, 2010

Viewing Log #55: September highlights

by Ryland Walker Knight

  • demonlover [Olivier Assayas, 2002] Look at this twitpic, and then read Glenn's thing maybe. Here, again, I risk the wrath of GK, and Kent Jones: it's a hoot, and largely fascinating, but also the owner of a rather empty punchline.
  • The Social Network [David Fincher, 2010] A problematic, thoroughly entertaining film I hope I never have to talk to anybody about ever again.
  • The Thin Red Line [Terrence Malick, 1998] # Here's some gushing and here's some mush-mouth. It's important to me.
  • The Last Picture Show [Peter Bogdonavich, 1971] As formal as it gets and so, so apt to anybody with an ear for confusion. You know, everybody.
  • A Brighter Summer Day [Edward Yang, 1991] Worth every minute. Loved how much of it's specifically about light, and shining lights (on things) and not seeing because of the lack of light, and how all the big acts of violence happen at night, in low light. If I see it again (and hopefully in a theatre again), I'll take real notes and maybe write a real poem about it.
  • Pretty much every single episode of Tim & Eric Awesome Show Great Job [T+E, 2007-2010] # Cuz I had to. And cuz I love it. Cuz they're the best. (Sure, it gets/got tiresome; but who gives a turd ya dingus?)
  • The Tim & Eric Awesome Show Great Job Crimbus Special and Tour Promo [T+E, 2010] The best thing in the world. Everything.
  • Enter The Void [Gaspar Noé, 2009] I tried to be positive at this joint and largely failed.
  • The first half of Season Three of The Sopranos [David Chase?, 2001] #, which is absolutely brutal and absolutely fantastic and rather often absolutely hilarious.
  • Danny Perez's visuals at the Panda Bear show; especially the wave and its square spots at the end.
  • Oedipus Wrecks [Woody Allen, 1989] A lot of fun, in part because it's "on the nose."
  • Life Lessons [Martin Scorsese, 1989] Rituals, process, it's all a lie to try to cover your patterns.
  • Will Success Spoil Rock Hunter? [Frank Tashlin, 1957] At the Castro, with Brian. The opening is my favorite part.

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