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Ray Pride

By Ray Pride


Taron Egerton as Elton John in Rocketman from Paramount Pictures.

Taron Egerton as Elton John in Rocketman from Paramount Pictures.

RocketmanRocketman, the biopic-jukebox musical strung upon the outpouring of songs written by Elton John and Bernie Taupin, is saved from its chock-a-block narrative impatience by the pure puppy-ness of Taron Egerton’s performance as Reg Dwight grown big and awful, rocketing toward his present twenty-eight years of sobriety. Camp is indicated more than embodied: the phantasm of Elton John’s feelings, both sad and flying high, plays as a deracinated version of a Baz Luhrmann canvas like Moulin Rouge than the Ken Russell bacchanal that would have incinerated the screen. (The script is by Lee Hall, who collaborated with John on the stage musical adaptation of his highly political Billy Elliot screenplay.) [More here.]

The-Souvenir-07.-By-Sandro-Kopp.-Courtesy-of-A24The Souvenir. Joanna Hogg’s The Souvenir is as mysterious as it is specific, tracing the drift of Julie, an intensely ambitious film student (Honor Swinton Byrne) who is distracted by a first true love affair, with Anthony (Tom Burke), a man who appears to take her seriously indeed. Set in the 1980s artistic era in which the writer-director grew up, Hogg’s fourth feature describes how a film narrative can flow around the range of thoughts and emotions that a shy young woman holds as she hopes to make art. Places and faces are equally expressive realms. Can imagination be mere delusion? What are her dreams? Hogg dreamt them, dreams them, again, as distanced onscreen memoir, and the dream is furthered by Byrne’s mesmerizing, fleeting performance. “Making the film, I’m allowing parts of my own biography to be re-imagined and expanded upon and changed,” Hogg has said. “I want it to become something else.” [More here.]

The-BRINK-2The Brink. Alison Klayman’s The Brink, an avatar of cinema-vérité observation, arrives in a hush and escalates with precision. Klayman records political consultant and purported intellectual powerhouse Stephen K. “Steve” Bannon after his dismissal from the arms of Trump power, and the rich result, captured by a filmmaker-cinematographer-sound recordist on their own, all on their own, is edited to a fierce ninety-minute form from day-after-day of close observation of a year in a life of wheeling and huffing and dealing and puffing. [More here.] iTunes, June 4.


Last Year At Marienbad. [4k restoration; Criterion Blu upgrade.] Furiously beautiful and fatefully unforgettable, Alain Resnais’ Last Year at Marienbad (L’année dernière à Marienbad), released in 1961 and written by Alain Robbe-Grillet in an absurdly detailed screenplay, is of its time. Its greatness lies in being a riotous puzzle box with silken and sheer and shiny surfaces that should dazzle, somewhat comforting in their concreteness as figures and objects, but discomfiture of memory and time and dream in its very form. A fantastic world of impossible wealth and improbable ennui and sculptured hair and Coco Chanel couture tacking through castle and courtyard in the shapeliest but least-definable of waking dreams: it is a thundercrack. (Robbe-Grillet said he was describing “a purely mental space and time—those of dreams, perhaps, or of memory, those of any affective life—without worrying too much about the traditional relations of cause and effect, or about an absolute time sequence in the narrative.”) [More here.]



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“We don’t have any idea what the universe is. Wise people have always told us that this is proof you shouldn’t think, because thinking leads you nowhere. You just build over this huge construction of misunderstanding, which is culture. The history of culture is the history of the misunderstandings of great thinkers. So we always have to go back to zero and begin differently. And maybe in that way you have a chance not to understand but at least not to have further misunderstandings. Because this is the other side of this question—Am I really so brave to cancel all human culture? To stop admiring the beauty in human production? It’s very difficult to say no.”
~ László Krasznahorkai

“I have a license to carry in New York. Can you believe that? Nobody knows that, [Applause] somebody attacks, somebody attacks me, oh, they’re gonna be shot. Can you imagine? Somebody says, oh, it is Trump, he’s easy pickings what do you say? Right? Oh, boy. What was the famous movie? No. Remember, no remember where he went around and he sort of after his wife was hurt so badly and kill. What?  I — Honestly, Yeah, right, it’s true, but you have many of them. Famous movie. Somebody. You have many of them. Charles Bronson right the late great Charles Bronson name of the movie come on.  , remember that? Ah, we’re gonna cut you up, sir, we’re gonna cut you up, uh-huh.


One of the great movies. Charles Bronson, great, Charles Bronson. Great movies. Today you can’t make that movie because it’s not politically correct, right? It’s not politically correct. But could you imagine with Trump? Somebody says, oh, all these big monsters aren’t around he’s easy pickings and then shoot.”
~ Donald Trump