Engage in holiday self-care with some movies that put a stake in the heart of romance.
Even if you're in a content, stable relationship, Valentine's Day can often feel like a bit of a joyless slog. Like a lot of holidays in the internet era, it's become less a day of celebration, and more another excuse to engage in conspicuous consumption and endless games of one-upmanship. Who got the biggest flower arrangement at the office? Who cares?
Whether single or not, you may understandably feel as if all the fun and romantic flair has been squeezed out of the day. In keeping with that, consider this short list of bleakly funny, sad, or just plain horrifying cinematic takes on romance to get you in the anti-spirit. Continue Reading →
There’s something to be said for a ramshackle film that delights in itself and doesn’t take anything especially seriously. Unfortunately, what a filmmaker and their fans find fun may read as piffle or drudgery to less dialed-in audiences. Case in point: Kaboom. Continue Reading →
Watching the first cut of Richard Kelly’s ultra-ambitious Donnie Darko follow-up is like riding a wave of mutilation.
Southland Tales, director/writer Richard Kelly’s apocalyptic epic of a world gone berserk in the run-up to a paranoia-riven presidential election, is at long last a little closer to completion. Thanks to the fine folks at Arrow Films, the 158-minute cut of the picture that played at Cannes – as opposed to the 145-minute theatrical cut – is now widely available for the first time. Compared to the theatrical cut, The Cannes Cut lays out Kelly’s bigger picture more clearly and deepens the (famously odd) ensemble’s work.
For good and ill, The Cannes Cut is still Southland Tales. It’s one of the great whatsit movies of the early 21st century, an artifact of the mid-to-late Dubya years that captures the specific tenor of the United States’ anxieties and fears from that time in amber. It’s a kinky, surreal Armageddon wounded by its early-aughts-sour-bro treatment of its ensemble’s leading women. It is, in other words, an extremely 2006 movie. In its best moments, it describes and invokes the overwhelming sensation of being alive at a time when everyone and everything has come undone. Continue Reading →