SciFi, Horror, Crime and Justice, and a little Jarmusch

That's what makes a good Friday at casa konstruksjon!

Welcome again friends around the world. Many good things cooking! Upcoming interviews later this month include some time with the lovely Carol Morley, the innovative Sheldon Candis, the makers of the excellent Norwegian documentary "Til Ungdommen" (don't worry, I'll translate) AND! a sneak-peak at some of the projects I'm working on that I'll be putting out a call to fellow film freaks about. It's a packed fall!

For now, let's dance:

Looper - I was watching an episode of Letterman not too long ago with the always-good-looking Bruce Willis promoting the film. I'm not big on scifi, I'm more a spec fiction kind of girl, and I guess this may fall somewhere in between. But with a cast like this, I don't really care WHAT the story is about. I am so happy for Joseph Gordon Levitt, I remember watching this oooooold sitcom in the 90's called "The Powers That Be" that he was on, and he was always pretty funny. It's cool to see how his career has exploded and his talent has grown like crazy. Bruce is very much Bruce in this one, and still an earnest, captivating action man. Enjoy the neat premise that lies behind Looper:

LUV: Sheldon Candis's Sundance hit stars Common, Michael Kenneth Williams, Meagan Good, Danny Glover and the brand-new Michael Rainey Jr. This gorgeously sad coming-of-age tale has a Training Day-like setup, where it follows a day in the life of Common's character and his young nephew who looks up to him fiercely, despite his not really being the kind of guy he should be looking up to. For a directorial debut the story is solid and the cinematography is fantastic. With great reviews from the Hollywood Reporter and a standout cast this film is sure to set many a screen on fire. Can someone tell me WHO the hell does the song playing in the trailer? It's awesome. I will have to ask Sheldon when I talk to him. Enjoy LUV:

Insensibles: I need to get on more films in my native tongue of Spanish. I sometimes forget how fucking good Spanish films can be. I'll let the film's pre-cooked description give you the breakdown:

"Set in Catalonia, Painless weaves two stories: in one, starting during the Spanish Civil War and running through to the '60s, a secret asylum facility attempts to rehabilitate children who feel no pain...In the second, in the present time, a brilliant neurosurgeon who needs a bone marrow transplant, discovers this dark past when he searches for his biological parents."

I think I know where this story is going from that description. Not only is the cinematography chilling and the story twisted, I think the most frightening is that Max von Schrek-y creature that appears at the foreboding question, "Who is Berkano?!" Enjoy the frightening Insensibles through your fingers:

End of Watch: Finally, Jake Gyllenhaal is back in something I like, answering my once-whispered prayers of wearing  a cop uniform, and doing a kickass job in a film that looks like one insane ride. In End of Watch, Jake and his partner, played by Michael Peña, are a successful duo of crime-squashing cops on the not-so-nice side of Los Angeles. Apparently they make the "wrong" bust and end up on the Mexican cartels' most wanted list. Director David Ayers' part-film camera, part-handheld camera style really develop the sense of speed, danger, and wild-west violence that'll be expected in this kind of film. I'm excited!

This week's oldies-but-goodies:

The Talented Mr. Ripley: This is one of my very favorite films. Everyone knows I am a huge Patricia Highsmith fan, and I have adored this version of the story for many years. Anthony Minghella's Hitchcockesque style is not to be missed. Matt Damon is the BOMB in this film. One oddly overlooked performance here is Jack Davenport as Peter Smith-Kingsley. He's fantastic. If you haven't seen this film, or haven't seen it in a while, rescue your soul and enjoy The Talented Mr. Ripley

Night on Earth: The first time I saw this movie, I was 15, it was 4 in the morning in the summer, and I was watching the then-glory that was the Bravo channel, with all its rare, cool, edgy, and plain good films in its programming. The film had been out for 5 years by then, and it was something people weren't talking about anymore but a film that it felt like everyone in my then small but cool art-kid circles had seen but me. I didn't "get it" the first time, and I definitely didn't get why anyone would like the sound of a singing, dying hound dog (aka Tom Waits, whom I love now). On later viewings when I was in college, after I had travelled some and become even MORE of a New York night owl than I was at 15, I "got it", and Jarmusch's style has been dear to my heart ever since. Simultaneously longing, comical, miserable, full of the dark corners of the "what if," Night on Earth is seriously a shiny gem among the matte colors of the 90s. Enjoy the portmanteau awesomeness with a cigarette and a coffee:

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