Archive for category: by Bruce Reid

The View Beyond Parallax… more reads for the week of March 27

27 March, 2015 (11:01) | by Bruce Reid, by Sean Axmaker, Links | By: Bruce Reid

“She’s exploring relationships that take years of self-reflection and conflict to reach a flawed but harmonious state. As a result, love at first sight doesn’t mean instant happiness; it’s simply the spark that inspires a long and thorny journey toward mutual connection, an endgame that transcends fleeting feelings like lust and infatuation.” Glenn Heath, Jr. […]

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The View Beyond Parallax… more reads for the week of March 20

20 March, 2015 (11:25) | by Bruce Reid, by Sean Axmaker, Links | By: Bruce Reid

Antonioni and P. T. Anderson are the chief subjects of the new Senses of Cinema. No need here to choose age before beauty: Hamish Ford argues the early-60s quartet blend modernism and realism in a way that makes writing their subject off as “ambiguity” far too simplistic a reading (“Once more, any distinction between modernist […]

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The View Beyond Parallax… more reads for the week of March 13

13 March, 2015 (09:22) | by Bruce Reid, by Sean Axmaker, Links | By: Bruce Reid

“With the woman’s dainty toes center screen, the foregrounded width of the image, and the lovingly worn texture of the film itself—one of Grindhouse’s gimmicks was that it would look like a crummy old 35mm print unearthed from some dusty, ill-maintained archive—Death Proof is from its very first shot the ultimate Tarantino fetish film.” Michael […]

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The View Beyond Parallax… more reads for the week of March 6

6 March, 2015 (11:02) | by Bruce Reid, by Sean Axmaker, Links | By: Bruce Reid

“But I like film. And I like visual storytelling. I’m sick of interviewing. I am really sick of it. I’m not gonna say I do it better than anybody else, but I do it differently than anybody else. I am good at it, for whatever reason. There are a lot of different reasons, but if […]

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The View Beyond Parallax… more reads for the week of February 27

27 February, 2015 (09:11) | by Bruce Reid, by Sean Axmaker, Links, screenings, Seattle Screens | By: Bruce Reid

“Yes, extras must meet a threshold level of professionalism; they must show up on time and do what they’re told; they must own a variety of clothing items (most bring their own wardrobe). But there are thousands of them, capable of showing up on time and walking when they’re supposed to walk. It’s unskilled labor […]

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The View Beyond Parallax… more reads for the week of February 20

20 February, 2015 (09:45) | by Bruce Reid, by Sean Axmaker, Links, Seattle Screens | By: Bruce Reid

Tough loners, intricate plots, and “irresistible” location work: Jonathan Kirshner takes a look at Melville’s Two Men in Manhattan, Le Doulos, and Le Deuxieme Souffle, three films that “can be dubbed [the director’s] “noir improvisations,” a nod to Bertrand Tavernier’s observation that Melville approaches filmmaking like a jazz musician, reinterpreting and experimenting with the standards—in […]

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The View Beyond Parallax… more reads for the week of February 13

13 February, 2015 (10:05) | by Bruce Reid, by Sean Axmaker, Links | By: Editor

The new Offscreen focuses on Iranian film, from avant-garde beginnings to compromised present. Roxanne Varzi salutes the poetic ethnography of Forough Farrokhzad’s 1962 documentary The House Is Black. (“[A]s we look at it years later it is no longer a documentary of the Leper colony but a poetic, interior, native documentary about a woman artist […]

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The View Beyond Parallax… more reads for the week of February 6

6 February, 2015 (09:53) | by Bruce Reid, by Sean Axmaker, Links | By: Bruce Reid

Dictatorships have always understood the power of film, and made efforts to use it to their own ends. But even in the sordid history of such relationships, Kim Jong-Il’s North Korea stands as an outlier. In an excerpt from his book on Kim’s kidnapping and forced employment of South Korean actress Choi Eun-Hee and director […]

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The View Beyond Parallax… more reads for the week of January 30

30 January, 2015 (09:53) | by Bruce Reid, by Sean Axmaker, Links, Seattle Screens | By: Bruce Reid

“For more than 30 years, people bought movie tickets to watch Hackman take charge. He was a molder of men: Hackman taught Redford how to ski, DiCaprio how to shoot, and Keanu how to play quarterback. As the culture’s perspective on Great White Males changed, so did cinema’s view of Hackman. If you want to […]

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The View Beyond Parallax… more reads for the week of January 23

23 January, 2015 (10:49) | by Bruce Reid, by Sean Axmaker, Links | By: Bruce Reid

“The problem is the six major studios that dominate the box office, the entertainment chatter and the popular imagination. Their refusal to hire more female directors is immoral, maybe illegal, and has helped create and sustain a representational ghetto for women.” Manohla Dargis lays down her sharpest attack yet on what’s become a preeminent concern, […]

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The View Beyond Parallax… more reads for the week of January 16

16 January, 2015 (10:48) | by Bruce Reid, by Sean Axmaker, Links | By: Bruce Reid

At The Guardian, two stories of comedians confronting a world that lives down to their expectations. Craig Brown’s article is primarily a tribute to Duck Soup, and its profound use of nonsense to attack and destroy the straight-laced and proper. (“After their arrival, nothing is allowed to remain in its rightful place, or to be […]

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The View Beyond Parallax… more reads for the week of January 9

9 January, 2015 (09:59) | by Bruce Reid, by Sean Axmaker, Links, Seattle Screens | By: Bruce Reid

“It’s an attitude that hits with the opening notes of David Shire’s score, a rolling atonal jazz-funk cacophany that can legitimately be called brassy because there’s a hell of a lot of brass in it. It’s a warning that this city is an irritable, stressed-out motherfucker, and you better watch yourself. This is a city […]

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The View Beyond Parallax… the Best Reads of 2014

26 December, 2014 (03:52) | by Bruce Reid, by Sean Axmaker, Links | By: Bruce Reid

Joseph McBride provided the best writing of the year on Too Much Johnson, showing how the footage looks back to Welles’s love of silent film and forward to the sexual frankness of his later films. His speculation on how the film went “missing” all those years, considering McBride’s the one who rediscovered The Hearts of […]

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The View Beyond Parallax… more reads for the week of December 19

19 December, 2014 (08:51) | by Bruce Reid, by Sean Axmaker, Links | By: Bruce Reid

“How many times is the word “love” uttered in Day of Wrath (1943), Ordet and Gertrud? Many, more than many—it is voiced so much one can’t look away, because when love is the overt subject of art (we should assume it is always the implicit subject) we know the artist is not afraid and certainly […]

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The View Beyond Parallax… more reads for the week of December 12

12 December, 2014 (10:29) | by Bruce Reid, by Sean Axmaker, Links | By: Bruce Reid

Grantland’s series of articles on Paul Thomas Anderson are timed to the release of Inherent Vice, but most are good enough to prompt the question: Why can’t every week be Paul Thomas Anderson week? In fact that’s already so; most of the articles getting attention (like Alex French and Howie Kahn’s oral history of Boogie Nights, […]

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