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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“The effect of the avalanche, and Tomas’ refusal to acknowledge his terror, seem to have devastating effects. But the interesting thing about Force Majeure is the sly suggestion that maybe this event could have a liberating effect on the family.”
~ Robert Horton 

 “Teaching how to make a film is like trying to teach someone how to fuck. You can’t. You have to fuck to learn how to fuck. It’s just how it is. The filmmaker has to protect the adventurous side of their self. I’m an explorer, I’m an inventor. Doc Brown is the character I relate to the most and he’s a madman. He’s a madman alone, locked up with his ideas but he does whatever he wants. He makes what he makes because he wants to make it. Yes, the DeLorean has to work in order for him to be a madman with a purpose—the DeLorean should work—but the point is I think everyone should try and find their own DeLorean. When Zemeckis was trying to get Back To The Future made, which he was for seven years, he was trying to get a film made where basically a teenager gets in a time machine, goes back to 1954 and almost —-s his mother. That pitch is extremely subversive and twisted in a way. My point is, he had a fascinating idea that no one had done before, but was clearly special to him and he stuck to it and made it what it was. When you do that you can create culture, but I think a lot of movies are just echoing culture and there’s a difference.”
~ A Girl Walks Home Alone At Night Filmmaker Ana Lily Amirpour