From Moving Image Source (May 18, 2009). — J.R.
I wouldn’t say that video art per se makes me break out in hives. I even like some examples of it, including work by Thom Andersen, Gregg Bordowitz, Joan Braderman, Pedro Costa, Adam Curtis, Steve Fagin, Jean-Luc Godard (for me, his best work over nearly the past two decades), Ken Jacobs, Jia Zhangke, Abbas Kiarostami, Alexander Kluge, Mark Rappaport, Raúl Ruiz, Aleksandr Sokurov, Michael Snow, Leslie Thornton, and Bill Viola. But when it comes to most early American video art, I have an allergic reaction. A dozen years ago, while co-teaching a course with video artist Vanalyne Green at Chicago’s School of the Art Institute called “Film and Video: What’s the Difference?” I even tried -— without much sustained success — to combat this allergy homeopathically.
More recently, I’ve tried again by attempting to come to terms with the Video Data Bank’s multiregional DVD box set, Surveying the First Decade: Video Art and Alternative Media in the U.S. — a mammoth compilation curated by Christine Hill, encompassing eight discs, 68 titles, and over 16 hours, produced for institutional rather than consumerist use. (The cost is otherwise prohibitive: $1,350 before September 1, $1,500 afterward, and postage is extra.)… Read more »
From the Chicago Reader (August 6, 1999). — J.R.
The Thomas Crown Affair
Rating ** Worth seeing
Directed by John McTiernan
Written by Alan R. Trustman, Leslie Dixon, and Kurt Wimmer
With Pierce Brosnan, Rene Russo, Denis Leary, Frankie R. Faison, and Faye Dunaway.
By Jonathan Rosenbaum
Seeing an original movie and its remake in reverse order is a bit like reading a novel (as opposed to a novelization) after you’ve seen the movie. It usually distorts your sense of priorities, forcing you to see the ideas and images of the original in terms of the remake. That’s why I suspect I’ll never know whether the remake of The Thomas Crown Affair is inferior to the 1968 original. Both are entertaining pieces of trash, but look at them in succession — in either order — and they start to undermine each other.
Both are about a classy investigator for an insurance company (Faye Dunaway in 1968, Rene Russo in 1999) going after a debonair zillionaire (Steve McQueen then, Pierce Brosnan now) who pulls off elaborately planned, outrageous robberies with hired helpers just for the fun of it. In the original, set in Boston, he robs a bank; in the remake he steals a Monet from New York’s Metropolitan Museum and then, just to show how cool he is, replaces it without getting caught.… Read more »