MCN Curated Headlines Archive for August, 2016

“When, a quarter century from now, a pop-music visionary refers to Men Go to Battle or For the Plasma or Krisha or Viktoria or Kate Plays Christine or another under-the-radar low-budget film of imagination and ingenuity, woe unto the critics who were here at the time and didn’t pay attention.”
Richard Brody On “Why Movies Still Matter”

nymag

“It is fun to speculate how the famously comic Wilder might have interpreted the dramatic role of Rene Gallimard. But when I think of Gene, I am lucky to remember him as more than the brilliant performer who brought the world so much joy. I can think of him, not only as a major actor, not only a comic genius, but also, as a great lover.”
David Henry Hwang On Gene Wilder

“I came away believing that no other city in the United States would be a better setting, intellectually and artistically, for the Lucas Museum.”
After Rejection By Chicago, George Lucas Opens Part Of Art Collection To San Francisco Chronicle

LA Times

“I say this in full awareness that the only thing more tedious and predictable than sequels, remakes and reboots is a critic who complains about sequels, remakes and reboots.”
Justin Chang Chews Over Summer 2016 At The Movies

“What is there to say, really, when someone so uniquely good takes his final bow? ‘Thanks for the laughs’ doesn’t begin to cover it. Still: Thanks for the laughs.”
Michael Phillips On Gene Wilder

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“I was 15 when I first watched Sally Hardesty escape into the back of a pickup truck, covered in blood and cackling like a goddamn witch. All of her friends were dead. She had been kidnapped, tortured and even forced to feed her own blood to her cannibalistic captors’ impossibly shriveled patriarch. Being new to the horror genre, I was sure she was going to die. It had been a few months since I survived a violent sexual assault, where I subsequently ran from my assailant, tripped, fell and fought like hell. I crawled home with bloody knees, makeup-stained cheeks and a new void in both my mind and heart. My sense of safety, my ability to trust others, my willingness to form new relationships and my love of spending time with people I cared about were all taken from me. It wasn’t until I found the original The Texas Chain Saw Massacre that something clicked. It was Sally’s strength, and her resilience. It was watching her survive blows to the head from a hammer. It was watching her break free from her bonds and burst through a glass window. It was watching her get back up after she’d been stabbed. It was watching her crawl into the back of a truck, laughing as it drove away from Leatherface. She was the last one to confront the killer, and live. I remember sitting in front of the TV and thinking, There I am. That’s me.”
~ Lauren Milici On “The Final Girl”

“‘Thriller’ enforced its own reality principle; it was there, part of the every commute, a serenade to every errand, a referent to every purchase, a fact of every life. You didn’t have to like it, you only had to acknowledge it. By July 6, 1984, when the Jacksons played the first show of their ‘Victory’ tour, in Kansas City, Missouri, Jacksonism had produced a system of commodification so complete that whatever and whoever was admitted to it instantly became a new commodity. People were no longer comsuming commodities as such things are conventionally understood (records, videos, posters, books, magazines, key rings, earrings necklaces pins buttons wigs voice-altering devices Pepsis t-shirts underwear hats scarves gloves jackets – and why were there no jeans called Bille Jeans?); they were consuming their own gestures of consumption. That is, they were consuming not a Tayloristic Michael Jackson, or any licensed facsimile, but themselves. Riding a Mobius strip of pure capitalism, that was the transubstantiation.”
~ Greil Marcus On Michael Jackson