From the Chicago Reader (September 7, 2001). — J.R.
Hit and Runway
Directed by Christopher Livingston
Written by Jaffe Cohen and Livingston
With Michael Parducci, Peter Jacobson, Judy Prescott, Kerr Smith, Hoyt Richards, John Fiore, and J.K. Simmons.
Hit and Runway – a comedy about a straight aspiring screenwriter in Greenwich Village taking on a gay playwright as a writing partner — comes from the writing team of Jaffe Cohen, who’s gay, and Christopher Livingston, who’s straight (he also directed). I knew nothing about this semiautobiographical movie until I saw it and nothing about the filmmakers until I looked at the press book, and I was fascinated to learn how semi the autobiographical aspects were.
That this movie exists at all deserves some consideration. It won a couple of festival prizes for best screenplay in 1999 and was copyrighted in 2000. I assume one reason it’s taken so long to get released — apart from being an independent feature without the clout of a major studio behind it — is the way it defies the assumptions of most publicists by refusing to address itself to either a straight or a gay audience to the exclusion of the other. It might not seem subversive for gay and straight viewers to watch the same comedy at the same time or even to laugh at the same jokes, but apparently this possibility conflicts with the way the big studios think about us as customers.… Read more »
This appeared in the August 26, 1994 issue of the Chicago Reader. —J.R.
Directed by Jacques Rivette
Written by Pascal Bonitzer, Christine Laurent, and Rivette
With Michel Piccoli, Jane Birkin, Emmanuelle Béart, David Bursztein, Gilles Arbona, Marianne Denicourt, and the hand of Bernard Dufour.
NATURAL BORN KILLERS
Directed by Oliver Stone
Written by David Veloz, Richard Rutowski, Stone, and Quentin Tarantino
With Woody Harrelson, Juliette Lewis, Robert Downey Jr., Tommy Lee Jones, Tom Sizemore, Rodney Dangerfield, Edie McClurg, Sean Stone, and Russell Means.
One of the more deceitful explanations for the compulsive repetition that informs most contemporary movies is that Hollywood is simply giving the public what they want. The idea that they even know what they want is pretty dubious to begin with — especially if one factors out all the publicity and hype that supposedly speaks for them. And the argument that moviemakers have any better sense of what the public wants is usually self-serving propaganda.
A more likely explanation for all the recycling is that it serves business interests — and contrary to what you read in Variety and Premiere, that is not necessarily the same thing as serving the public.… Read more »
From the January-February 2011 Film Comment. — J.R.
“In describing rarely screened movies like Lev Kuleshov’s The Great Consoler or Ritwik Ghatak’s Ajantrik,” wrote a Boston Globe reviewer of my latest collection, “Rosenbaum is like a restaurant critic describing the mouth-watering meal he had at a restaurant that just closed in another city.” Since both films are available on DVDs with English subtitles to anyone who knows how to Google, this is a dubious compliment at best. But it might apply to the following, from my 2000 book Movie Wars: “Having had the opportunity to see I’ll Do Anything as a musical, I can report that it was immeasurably better in that form — eccentric and adventurous, to be sure, but also dramatically and emotionally coherent.”
I hope that someday Brooks can find a way of releasing his original cut of this film on DVD, though I’m told that the cost of the song rights might make this prohibitive. (Nine of these original songs are by Prince, and at least two others are by Carole King and Sinéad O’Connor.) So what follows is an attempt to explain what I like about a movie you may never be able to see, which is still my favorite Brooks feature.… Read more »
Posted on Film Comment‘s blog, February 2, 2016. — J.R.
Consider the lengths of time between Jean Vigo’s death and the first appearances of Zéro de conduite and L’Atalante in the U.S. (thirteen years), or between the first screening of Jacques Rivette’s Out 1 and its recent appearances on Blu-Ray (forty-five years), and it becomes obvious that the popular custom of listing the best films of any given year is unavoidably a mythological undertaking. By the same token, film history in the present should be divided between important filmmakers skilled and successful in hawking their own goods, from Alfred Hitchcock to Spike Lee to Lars von Trier, and those who, for one reason or another, aren’t — a less definitive roll call that includes, among many others, Charles Burnett, Ebrahim Golestan, Luc Moullet, Peter Thompson, Orson Welles, and John Gianvito.
I haven’t seen Gianvito’s early shorts, one of which is called What Nobody Saw (1990), but its very title seems emblematic of his career — as does the epigraph from Cesare Pavese opening the first part of his first feature, The Mad Songs of Fernanda Hussein (2001), which introduced me to his work and remains my favorite: “Everywhere there is a pool of blood that we step into without knowing it.” His second and best known feature, Profit Motive and the Whispering Wind (2007), testifies to the same conviction, and his nine-hour documentary diptych, For Example, The Philippines, which he has working on for the past decade, is a epic demonstration of the wisdom of Pavese’s remark; Vapor Trail (Clark) (2010, 264 minutes) and now Wake (Subic) (2015, 277 minutes) concentrate on the human ravages left by the Clark Air Force Base and Subic Naval Base — for almost a century, the two largest U.S.… Read more »
From the Chicago Reader (November 3, 2000). — J.R.
Book of Shadows: Blair Witch 2
Directed by Joe Berlinger
Written by Dick Beebe and Berlinger
With Kim Diamond, Jeffrey Patterson, Erica Geersen, Tristine Ryler, and Stephen Ryan Parker.
Call me naive, but unlike many of my colleagues I thought the unexpected runaway success of The Blair Witch Project in the summer of 1999 was encouraging, not depressing. I saw it as an indication that contemporary teenagers are far from the hardened cynics media “experts” make them out to be and that special effects and a handful of stars aren’t their sole reasons for wanting to see a movie. Its appeal offered a clear challenge to the studios and even forced the film industry to let it play in malls — an astonishing accomplishment for an independent pseudodocumentary that cost only $30,000.
I don’t consider the movie any sort of masterpiece and fully acknowledge its primitive conceptual and technical aspects, but I still think it expresses something about its young fans that’s authentic and powerful: a feeling of helplessness about their isolation and ignorance in relation to the world that’s central to its impact as a horror movie. If that isolation and ignorance led some viewers to initially see it as a real documentary, this is a tribute to the movie’s effectiveness — which makes it similar in some respects to Jim McBride’s David Holzman’s Diary, a 1967 low-budget pseudodocumentary that also fooled many young viewers.… Read more »
“Doubtless this tale of spirit possession in Georgetown packs a punch, but so does wood alcohol,“ wrote Reader critic Don Druker in an earlier review of this. I wouldn’t be quite so dismissive: as a key visual source for Mel Gibson’s depiction of evil in T as well as an early indication of how seriously pulp can be taken when religious faith is involved, this 1973 horror thriller is highly instructive as well as unnerving. William Friedkin, directing William Peter Blatty’s adaptation of his own novel, aims for the jugular, privileging sensation over sense and such showbiz standbys as vomit and obscenity over plodding exposition. This 2000 rerelease runs 132 minutes, 11 minutes longer than the original; with Ellen Burstyn, Max von Sydow, Jason Miller, Linda Blair, and Lee J. Cobb. R. (JR)
… Read more »