Wednesday, July 19, 2017

Here's Everything I've Written About Christopher Nolan (So Far)

I've written a lot about this fellow Nolan over the years, and people will occasionally ask me if there's a place where they can find links to all my pieces on him. So with Dunkirk opening, it seems like it might be a good idea to collect it all here. And while it seems fairly certain that I will write more about this guy in the future, for now, here's pretty much all of it:

-"Dunkirk Is the Movie Christopher Nolan Was Born to Make." My review of Dunkirk for The Village Voice.

 - "All 10 Christopher Nolan Films, Ranked." For Vulture.

-"Interstellar: The Loneliest Journey in Human History." My lengthy essay about Nolan's much-maligned by some, beloved-by-others sci-fi epic.

"Christopher Nolan and the Brothers Quay Hold Court at Film Forum." A report from a screening and Q&A at Film Forum, where the Quays and Nolan screened some of the brothers' most daring animated works, alongside a short documentary Nolan made about them.

-"You Must Become a Terrible Thought: Nolan, Batman, and Hope." An exploration of The Dark Knight Rises and how its theme of hope fits into Nolan's work.

-"Knight Falls on Gotham." My review of The Dark Knight Rises for the Nashville Scene.

-"What Is Christopher Nolan's Big Idea in The Dark Knight Rises?" This is, I think, the first piece where I lay out my theory that each Nolan film is a fugue built around a specific idea. Written before The Dark Knight Rises came out, I go from discussing the big ideas in his previous films to speculating on what the new film might be about. (I'm wrong.)

-"The Hidden Inception Within Inception." My slightly-deranged, personal theory, written for Vulture, about what's really going on in Inception. (I'm right.)

-"When It's Safe to Hit the Bathroom During Inception." Service journalism at its nerdiest. You need to take a leak. But you also don't want to miss any key information in a movie packed with data. Again for Vulture, I identify two brief moments in the film when you can run out and run back.

-"The Number of Times Each Character Dies in Inception." It's, like, a lot.

-"Six New Things We Learned from the Inception Blu-ray." I don't know if you noticed, but I was kind of obsessed with Inception once upon a time. Luckily, Vulture was there to enable me.

-"This is Probably Not the Last Piece I'll Write About Inception." Hilariously, it sort of was. (At least for now.) But this is also probably the closest thing I wrote to a review of Inception.

-"Christopher Nolan Opens Up at Tribeca." About a live 2015 filmmaker talk that Nolan gave at the Tribeca Film Festival.

Tuesday, May 24, 2016

"Wherever it hits me is where it's going to be": Reports from Cannes 2016

As those reading me at the Village Voice may know, I was at the 69th Cannes Film Festival over the past couple of weeks. Here, for your convenience, are all my reports from the festival (along with the films discussed), in one handy list o' links:

Tuesday, December 22, 2015

Spielberg and Horror

A conversation about Poltergeist today reminded me of something I’d been meaning to post about for a while. A couple of months ago I went through a Steven Spielberg binge – partly for this essay on his development as a political filmmaker, partly because, hey, Spielberg. But as I went back over his earlier work, it struck me just how much Spielberg’s filmmaking language owes to horror. Obviously, several of his earliest films – Duel, Something Evil, Jaws – actually are horror films. But I’m intrigued by how many of his other films rely on horror tropes.

Wednesday, December 16, 2015

Star Wars: The Force Awakens - A Galaxy Not-So-Far Away

One thing I always found interesting about George Lucas's Prequel Trilogy was the way he expanded the Star Wars universe by going back to his original well of inspiration for the first film: the popular movie genres of his youth. So if the first Star Wars (aka A New Hope) was an homage to old sci-fi serials and Westerns, then The Phantom Menace was a Biblical epic (complete with a chariot race), and Attack of the Clones a combination of noir and syrupy romance and sword & sandal flick, and Revenge of the Sith a gangster movie. Watching Lucas try and bring such oddball genre elements into his otherwise fairly well-defined sci-fi world was fascinating, even endearing -- and it's one of the reasons that I don't hate the Prequels like many others do. Though they're wildly uneven, they're still dazzling feats of imagination, and even their very unevenness feels like a result of a directorial personality at work.

J.J. Abrams, who directed The Force Awakens, comes from a different generation than Lucas, and he most likely didn't grow up with those genres. The good news is, he evidently grew up watching Star Wars. So, in his own way, he’s made a movie that homages the film genre of his youth. In other words, The Force Awakens feels very much like a Star Wars movie -- maybe even more so than the Prequels. It doesn't expand the universe so much as indulge in it.

Wednesday, November 4, 2015

Inside "Out 1": A Revisitation, Of Sorts

"Sadly, madame, today is not the day for private conversations."
Here’s another one from the archives. Back in 2006, I was lucky enough to catch a screening of Jacques Rivette’s 750-minute long, largely-unseen 1972 film Out 1, described by many at the time as a kind of Holy Grail of moviegoing. It’s a challenging film, to be sure, and despite the extreme patience involved in sitting through such a long film I realized it also warranted multiple viewings. Beautiful, haunting, and uniquely engaging, this seminal phantom of world cinema was no less mysterious to me, having seen it, than it had been beforehand. That still didn’t stop me from writing about it for at the time.

The film is now making a two-week stand at BAM. I was hoping to revisit it beforehand to try and write about it again, but, well, 13 hours and all that. (It was hard enough to see back in 2006, when I didn't have a family, or a life, or a job, or two.) So I thought I would re-run, with some modifications, the Nerve piece -- which I also revisited several years ago, when Out 1 made an appearance on German DVD. Enjoy.

Tuesday, September 29, 2015

The Duke of Burgundy: Discipline and Languish

It’s hard not to look at Peter Strickland’s portrait of domination and desire and not feel at times like it’s a corrective to how sexuality is portrayed in the mainstream. The Duke of Burgundy, which came out with a whimper earlier this year (right around the same time as Fifty Shades of Grey) but hits Netflix this week, even begins with a nod to the softcore films of the 70s: A beautiful woman in a cape, Evelyn (Chiara D'Anna), rides her bike through a woodsy setting as soft pop plays on the soundtrack. The colors are super-saturated, the credits are blocky and old-fashioned; we even get the occasional freeze-frame. But that self-aware opening belies the film’s deeply felt sense of place and passion – not to mention the rigor of the filmmaker’s vision.

Wednesday, September 9, 2015

Time Out of Mind: Watching Richard Gere Disappear

As a homeless man wandering the streets of New York in Oren Moverman’s Time Out of Mind, Richard Gere does the opposite of commanding the screen; he vanishes. Not in the way that an actor might “disappear” into a part: Gere isn’t that kind of transformative performer. He vanishes in a more basic sense. He cedes the frame, and the soundtrack, to the people and the city around him. His character has lost everything, and is quickly losing his sense of self as well. The very form of the film reflects that.