3 things about Michael Winterbottom’s THE TRIP TO GREECE

The Trip to Greece [2020]

1. Dental implants.
2. Falsetto.
3. Willfully perverse music choices: cues from Winterbottom’s Wonderland, Philip Glass’s Satyagraha.

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3 things about Andrea Arnold’s RED ROAD

Red Road [2006]

1. To rile the waitress, he literally licks his plate clean.
2. Lava lamp reflected in the bedroom window.
3. She stuffs the clothes with other clothes, making a doll. She hugs it and says, “I’m sorry.”

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3 things about Paul Thomas Anderson’s PHANTOM THREAD

Phantom Thread [2017]

1. When it comes to porridge, cream makes all the difference.
2. Lace from the 1600s.
3. “I’m not moaning. I don’t want to be ignored.”
“No one does. But I don’t want to hear about it because it hurts my ears.”

3 other things.

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3 things about Paul Thomas Anderson’s PUNCH-DRUNK LOVE

Punch-Drunk Love [2002]

1. Dusty footfalls.
2. The way Luiz Guzmán says, “Which guy in Toledo are you talking about?”
3. Twilight Mai Tais on the beach at the Royal Hawaiian Hotel.

3 other things.

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3 things about Andre De Toth’s DAY OF THE OUTLAW

Day of the Outlaw [1959]

1. Grisly bullet removal.
2. He doesn’t want to dance. He holds her by the shoulders and says, “I want to look at you.”
3. “I’m not doing anything special. Just taking some bad men out of a good town.”

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3 things about Sergio Leone’s DUCK YOU SUCKER

Duck You Sucker [1971]

1. “Where there’s revolution there’s confusion, and when there’s confusion, a man who knows what he wants stands a good chance of getting it.”
2. His eyes complete the torn poster.
3. Incredible mobile shot detailing the carnage.

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3 things about Yorgos Lanthimos’s THE KILLING OF A SACRED DEER

The Killing of a Sacred Deer [2017]

1. General anesthesia.
2. Nice, clean, beautiful hands.
3. Pillowcases.

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3 things about Alfred Hitchcock’s VERTIGO

Vertigo [1958]

1. “It’s new and clean and waiting.”
2. “See? There’s an answer for everything.”
3. “I don’t think Mozart’s going to help at all.

A poem about Vertigo.

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3 things about James Mangold’s FORD V FERRARI

Ford v Ferrari [2019]

1. A tip of the hat.
2. Wonder Bread as weapon. Llama bite.
3. Mallet to the door.

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3 things about Justin Pemberton’s CAPITAL IN THE TWENTY-FIRST CENTURY

Capital in the Twenty-First Century [2019]

1. Graffiti: Liberté Egalité Beyoncé
2. Not one of the winners mentioned the fact they’d started the game with an advantage.
3. Comparing workers to horses.

What a disappointment. Wealth inequality is an urgent topic that all of us should be thinking about and discussing, especially right now, but this documentary’s pedestrian treatment does not rise to the challenge. Rather than finding new ways to illuminate its ideas it instead takes the lazy stock footage approach, throwing up endless connect-the-dots montages of ideologically charged images. Banal wallpaper. Especially galling are the many powerful moments lifted wholesale from Koyaanisqatsi; here’s hoping that Godfrey Reggio was at least well paid. It does take an international view of the problem–but, shockingly, Africa isn’t even mentioned! The moments of genuine epiphany, like a sequence involving a college study of Monopoly players, made me realize how much better the film might have been. What Adam Curtis could have done here! In conclusion, read the book or just wait till someone makes a decent podcast out of these ideas. That this documentary has garnered so much acclaim must be put down to the common practice of confusing a worthy subject with a mediocre exploration of it.

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