Category: Essays

Everything You Ever Wanted To Know About Brian De Palma (But Didn’t Care Enough to Ask)

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When I was in junior high school, Scarface was the most talked about movie in the hallways.  It was 2000, and those hallways were a reflection of the culture at large.  One time a kid asked me, “Who directed Scarface, Scorsese?”  He had never heard of Brian De Palma.

There’s a popular book called Easy Riders, Raging Bulls.  It’s a gossipy, oral history of 60s and 70s American movies.  In the back of the book, they summarize the directors integral to the movement and give a filmography for each. Spielberg, Coppola, Scorsese, Lucas, and Malick are featured, but not Brian De Palma—despite being mentioned heavily in the book.  You’d think the guy that gave Robert De Niro his first on-screen appearance (The Wedding Party, 1969) and gave him steady work way before Scorsese ever did, would be important enough to mention.
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What Roger Ebert’s Death Means

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R.I.P. Roger Joseph Ebert. June 18, 1942 – April 4, 2013

Today, John D’Amico was supposed to wax poetic about obscure zombie movies. That piece has been moved to next week. I don’t think anyone wants to read about zombie movies right now, or read about anything to do with movies, for that matter, unless it has to do with Roger Ebert. At least, I certainly don’t.

I expect that over the next few days, weeks, months, I will binge on everything Ebert. Episodes, books, interviews, etcetera. That’s the kind of death this is. A death where you are left speechless and searching, grasping for the artist’s soulful air as though it will wisp away into the ether if you don’t. But of course, it won’t. It will live on forever, and there is all the time in the world to experience and re-experience it. But the impulse is unavoidable.
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I Don’t Like Jokes, I Don’t Think They’re Funny

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Jokes, almost inherently, aren’t funny.  We all know scores of  ‘classic’ jokes from the aristocrats to dead babies to chickens crossing roads.  None of them are funny.  But, in the right context, we’ll laugh at them, because the joke isn’t what’s funny—the idea of the joke being told is.  It’s that extra layer, that prefix, that meta, that deeper meaning, which gives a joke life, and makes it funny, and makes you truly laugh.  (Laughing simply because you’re ‘supposed to’ is why sitcoms are popular, despite their unfunniness.)
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Shelley Duvall: And All At Once I Knew

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By and large, the film community has a frustrating habit of undervaluing some of our less conventional actresses. Great talents like Viveca Lindfors, Alfre Woodard, and Catherine Burns tend to promise more than they’re ever really allowed to deliver. We embrace the hell out of our oddball actors like Walken, Goldblum, and Buscemi (and with good reason, what a harvest of incredible parts those three yield), but it seems to me that things are tougher out there for a woman who’s not conventional enough to be a romantic lead.

So, I’d like to take a moment here and profess my appreciation for one of the rare talents of all of cinema, a woman who, despite major criticism, consistently gave some of the best and most memorable performances in film history.
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A Rebuttal to a Rebuttal: Favorite Equals Best, or, Why Back To The Future is Better Than The Godfather

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John,

I’ve been interested in movies for as long as I can remember.  The story I tell is that Jurassic Park started it all.  It certainly didn’t hurt, but movies had definitely been on my mind for way longer than that.  And my parents and grandparents were both movie buffs, so when the AFI released their ill-conceived 100 Best Movies of the First 100 Years of Movies, it was the talk of our family for an entire Thanksgiving dinner.  I was ten or twelve at the time.  By the time I was fifteen, I had seen 92 of the movies listed.
Continue reading A Rebuttal to a Rebuttal: Favorite Equals Best, or, Why Back To The Future is Better Than The Godfather