Film Fatale Archive for December, 2007

What '24' Would Have Looked Like in '94

If Fox runs out of episodes of 24, the network can run this top secret, never before seen pilot: what the deadly game of spies vs. terrorists would have looked like in 1994.
Produced by College Humor
(Thanks to Andrew Hearst of Panopticist for the link)

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Horse-Happy Film Critic Rescues Racehorses

seabiscuit1.jpg

The Boston Globe reports today on one of its former film critics, Michael Blowen, whose post-reviewing life has taken a surprising turn. A horse lover, he learned that many retired racehorses were sold for slaughter. (He saw the practice firsthand as a volunteer stableman at Suffolk Downs, where older, losing thoroughbreds went to their doom for mere $500.)
So after Blowen left the Globe, he founded a nonprofit organization called Old Friends to fund retirement home for old racehorses.
Read about Old Friends, Dream Chase Farms, a true paradise for horses — and a truly standup guy, Michael Blowen.
“There’s even a movie star on the farm. Popcorn Deelites was one of eight horses who played Seabiscuit in the Academy Award-nominated movie. Pops – as Blowen calls him – is in every scene where Seabiscuit breaks from the gate.”

Read the full article »

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Quote Unquotesee all »

“I don’t believe in the Nietzschean notion that what doesn’t destroy you makes you stronger. You see these soldiers come back with PTSD; they’ve been to war and seen death and experienced these existential crises one after the other. There are traumas in life that weaken us for the future. And that’s what’s happened to me. The various slings and arrows of life have not strengthened me. I think I’m weaker. I think there are things I couldn’t take now that I would have been able to take when I was younger.”
~ Woody Allen

“Hitchcock films the story with a wide-eyed, astonished, fascinated, and disturbed camera stare that seems to shudder and tremble every time Hedren is onscreen. Even the director’s cameo—in which he watches Hedren walking down a hotel corridor and then turns back to look at the camera, shamefacedly caught in his own leer—suggests his self-aware sense of visual carnality. The images offer an extraordinary swing between blasts of heat and an eerie chill, sometimes bringing the two together. Even the film’s exterior locations have a fluorescent buzz that captures an ambient sense of derangement.”
~ Richard Brody on Marnie

 

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