Busy week of movie and TV watching for me beyond seeing Mama (read my review here) and The Last Stand (read my review here) in theaters. I watched Criterion's new Blu-ray for Andrei Tarkovsky's Ivan's Childhood, which I really liked and am already halfway done with my review and will have finished by Tuesday or Wednesday depending on how long it takes me to finish writing up the 2012 RopeofSilicon Awards. If you're not familiar with what the RopeofSilicon Awards are, this will be the fifth year I've declared my own selection of awards and you can see the previous four years right here. This year I am also going to bring back the vote for the best film of 2012 as I did in 2010 and 2009 and neglected to do last year. Here were the results from 2010 and 2009: 2009 2010 Inglourious Basterds Avatar Up Star Trek The Hurt Locker Up In the Air...
- 1/20/2013
- by Brad Brevet
- Rope of Silicon
For a self-described "reactionary" filmmaker, Monte Hellman is remarkably forward-thinking. Road to Nowhere (reviewed here), his first feature since 1989, is a film shot digitally that's partly about cinema in the digital age; from its very first shot—where a character pops a DVD-r with the film's title on it into a laptop—on, Road to Nowhere is a film about the slipperiness of digitally created, manipulated and viewed images. Written by longtime Hellman collaborator Steve Gaydos, it stars Shannyn Sossammon as Laurel, an inexperienced actress who is cast in a true crime drama also called Road to Nowhere (directed by one “Mitchell Haven” and written by one “Stephen Gates”); in this film-within-a-film, Laurel plays femme-fatale-ish Velma Duran, though the whole thing is ambiguous enough (in terms of structure, characterization, aesthetics, etc.) that at least one character begins to suspect that Laurel and Duran are in fact the same person.
Hellman is erudite and easygoing.
Hellman is erudite and easygoing.
- 7/26/2011
- MUBI
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