Old MCN Blogs
David Poland

By David Poland poland@moviecitynews.com

Screening Gotham: Sept. 22-24, 2006


A few of this week’s worthwhile cinematic goings-on around New York:
–I would like to think that there is such a thing as Reeler Karma, and that it blesses all of those who have ever contributedto or simply been kind to this blog. So when I heard about one-time guest writer Josh Horowitz’s Q&A with filmmaker Neil LaBute(right) tonight at the Astor Place Barnes and Noble, I thought, “There you go, score another one for Reeler Karma.” In actuality, though, Horowitz interviewed LaBute and something like 30 other filmmakers for his book The Mind of the Modern Moviemaker, so really, I got nothing. On the other hand, LaBute has never written here, and you can bet the Wicker Man second-guessing will be shattered-glass shrill. So who knows? The point is that you should go check out the discussion this evening at 7. We can figure out this karma business later.
–Call me contrarian, but I would like to go against conventional critical wisdom this weekend in recommending you check out All the King’s Men and avoid Old Joy. Neither film is especially bad nor especially good, but each lists farther than they desrve to either side of the hype spectrum. King’s Men, adapted by Steven Zaillian from Robert Penn Warren’s classic novel, takes its dueling meditations on idealism and power far too seriously (composer James Horner’s “soaring” score induces diabetic shock in people over 55) yet eventually comes into its own as kind of a fascinating, beautiful, A-list accident. Sean Penn is hammy but serviceable; Jude Law is better than anyone wants to admit, lest they lose ground in the tastemaking circle jerk of Rotten Tomatoes. It’s a tad difficult to follow, but hardly difficult to enjoy.
–Not so for Kelly Reichardt’s latest, Old Joy, which has left hard-to-remove come stains on seats at Sundance, New Directors/New Films and now in limited release at Film Forum. Daniel London and Will Oldham star as Mark and Kurt, longtime friends who pair up for a weekend in the woods only to discover they have nothing in common. In her readings of landscape and faces, Reichardt captures spatial and structural dynamics that her story just cannot support; even at 76 minutes, the film exhausts its premise and tension less than halfway through. Anyway, Yo La Tengo will join Reichardt to discuss the film after tonight’s 8:15 screening, which is sold out online but might have a ticket or two remining at the box office if you go down there, like, an hour ago. Trust me–you can wait.
Richard Sandler‘s documentary work arrives in Williamsburg this weekend, with five of his films–often shot over the stretches of years or even decades–screening until Sept. 27 at Monkey Town. The Guggenheim Fellowship-winning work includes the street-preacher portrait The Gods of Times Square, the subway chronicle Sway and Sandler’s 12-years-in-the-making glimpse at East Village gentrification, Brave New York. Programs run nightly at 7:30 and 10:30.

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“There are critics who see their job as to be on the side of the artist, or in a state of imaginative sympathy or alliance with the artist. I think it’s important for a critic to be populist in the sense that we’re on the side of the public. I think one of the reasons is, frankly, capitalism. Whether you’re talking about restaurants or you’re talking about movies, you’re talking about large-scale commercial enterprises that are trying to sell themselves and market themselves and publicize themselves. A critic is, in a way, offering consumer advice. I think it’s very, very important in a time where everything is commercialized, commodified, and branded, where advertising is constantly bleeding into other forms of discourse, for there to be an independent voice kind of speaking to—and to some extent on behalf of—the public.”
~ A. O. Scott On One Role Of The Critic

“Every night, we’d sit and talk for a long, long time and talk about the process and I knew he was very, very intrigued about what could be happening. Then of course, one of the fascinating things he told me about was how he had readers who were reading for him that never knew it was Stanley Kubrick. So if he heard of a novel, he would send it out to people. I think he did it through newspaper ads at the time. And he would send it out to people and ask for a kind of synopsis or a critique of the novel. And he would read those. And it was done anonymously. But he said there were housewives and there were barristers and all sorts of people doing that. And I thought, yeah, that’s a really good way to open up the possibilities. Because otherwise, you’re randomly looking, walking through a bookstore or an airport. I said, “How many people are doing this?” It was about 30 people.”
~ George Miller’s Conversations With Kubrick