Jimmy Page (Led Zeppelin), Jack White (White Stripes), Edge (U2).
From “It Might Get Loud,” discussing and riffing the chord structure from “Kashmir.”
How cool would it have been to be part of the camera crew listening to this…?
– Scott
Okay, so most people hear Akira Kurosawa and are flooded with black and white images of samurai. Fair enough. But Kurosawa was an amazing filmmaker, whether you’ve only seen the samurai or more of his impressive repertoire.
The Wexner Center will be celebrating the centenary of Kurosawa’s birth this June with a brief series of his films. Of course, included is his legendary film Seven Samurai, from June 4-10 at the Gateway Film Center. (For those less familiar with Kurosawa, you might recognize the story line from The Magnificent Seven–the American cowboy remake of his film, starring Yul Brynner, Steve McQueen, Eli Wallach, and Charles Bronson). And the film that really introduced America to Japanese filmmaking and Kurosawa, Rashoman will play June 17.
Toshiro Mifune starred in 16 of Kurosawa's films, including Seven Samurai, Rashoman, Stray Dog, Drunken Angel, and Yojimbo.
It’s also a bit of a Toshiro Mifune celebration, who acted in 16 of Kurosawa’s films, and appears in all of the Wexner series other than Sugata Sanshiro.
So, get ready for some of the most beautiful, innovative films that defined, and continue to influence, filmmaking for decades.
June 3: Stray Dog/Sugata Sanshiro
June 4-10: Seven Samurai (at the Gateway Film Center)
June 10: Drunken Angel
June 17: Rashoman
June 24: I Live in Fear
And as a quick side note, if you’re interested in more of Kurosawa’s non-samurai films, I would suggest checking out Ikiru. It’s one of my all time favorite films.
-Emma
A funny, accurate reflection of what life is like on a press tour, from director Jason Reitman (Up in the Air).
Lost In The Air: The Jason Reitman Press Tour Simulator from Jason Reitman on Vimeo.
- Scott
Yep. This is what you think it is. The soundtrack to New Moon. Yes, THAT New Moon. The New Moon of “Twilight” fame.
Wait, wait, wait!!! I know what you’re going to say! And let me just say: “me too”! It’s ridiculous, it’s more than a little pathetic, it’s completely overrated. But the soundtrack…is actually really good!
Check it out: Black Rebel Motorcycle Club, Thom Yorke, Bon Iver, Death Cab for Cutie, Muse, Editors, the Killers, Anya Marina…the list goes on!!
So, here’s my proposal: ignore the melodramatic teen angst, half-naked, glittery men, and crappy plot lines. (Ok, well, I’m keeping the half-naked, glittery men…) Remove the association of obsessive, emo tweens and just enjoy this soundtrack.
It’s really good. Honest!
And for good measure, and your reading pleasure:
-Emma
(also, Twilight fans, it’s all in good fun…please don’t hurt me…)
Because all movies should be as obvious and direct as possible, with no endings that make you think, here are some superb “endings” to films that left a few people scratching their heads.
And at the risk of being misunderstood, yes, I’m being sarcastic. (But the video is really great.)
I’m glad I’m not the only one who is tired of Michael Moore. I found this quote on NPR, re-printed from the Christian Science Monitor:
Moore is much better at indicting culprits than providing solutions. He might argue that coming up with answers is not his job, that he’s a grass-roots agitator. But the disconnect in “Capitalism” between his righteous agitations and his piddling remedies is vast. The real love story here is between Moore and his bullhorn.
http://www.publicbroadcasting.net/wosu/arts.artsmain?action=viewArticle&sid=8&id=1562450
© Copyright 2009, Christian Science Monitor
The first time I saw “Roger and Me,” I was entranced. I hadn’t seen very many documentaries at that point, so I suppose I was blown away by the director inserting himself into the story, the way Moore said the things that no one else was saying. or maybe his biting satire hit me just right.
I followed his bread crumbs through “The Big Hit” and “Bowling For Columbine” and “Fareinheit 911″ and “Sicko,” becoming less and less enthralled. For a paper, I broke down “Roger and Me” to show how he constantly pitted his ordinariness against the system, with him (representing the common man) always losing. He knows the guards aren’t going to let into the private elevator; why does he always do it?
I always love how Moore, the agitator, bounces between heart-felt angst, rage against the machine, and slapstick comedy. (A typical schtick: instead of “Cops” featuring angry black men being arrested, he features corporate white execs, sans shirts.)
His arguments are bad, fueled by Moore’s relentless hatred against the Bush administration(s), and a refusal towards presenting both sides to a story in favor of his own viewpoint. I re-watched “Columbine” a week agao, and felt let down. The good guy was Marilyn Manson. The bad was Charlton Heston. The point of the movie was that white Americans are afraid of angry black men, so them have armed themselves silly. Is that really profound? Does it even make sense?
I admire his spirit, but find his tactics of loaded questions and putting people on the spot dispiriting.
I still laugh at bits of his films, but I’m stupified why he chooses to make fun of some of the people he is supposedly “one of” (especially the rabbit skinner in “Roger and Me”).
The body of work will probably be studied for generations – and, yes, I think his approach is that interesting. But his act is thin, thin.
- Scott Gowans
Paranormal Activity scared the daylights out of me last night. At the show, and then again at home–when I heard creaking… Studio 35 has added extra showings tonight and Wednesday at 11. It’s worth staying out late on a weeknight for this one. The movie’s cool, and Studio 35 is super cool, AND last night they screened an employee short film in lieu of previews. www.studio35.com
-Eric
creepin' it up
