Tuesday, October 20, 2009
Monday, October 19, 2009
Pocket Cinephile - Horror 2009
As we've done before, Pocket Cinephile has taken much of this month off to catch up on some of our favorite horror films, both old and new. Here's a list of what we've been watching while the leaves turn and the air crisps.
Carrie, Brian DePalma, 1976.
Poltergeist, Tobe Hooper, 1982.
Night of the Living Dead, George Romero, 1968.
The Texas Chain Saw Massacre, Tobe Hooper, 1974.
The Children, Tom Shankland, 2008.
The Changeling, Peter Medak, 1980.
Day of the Dead, Georeg Romero, 1985.
Near Dark, Kathryn Bigelow, 1987.
Evil Dead II, Sam Raimi, 1987.
Friday, October 16, 2009
Sneak Peek - Herzog's Bad Lieutenant: Port of Call, New Orleans
This is the second clip we've seen from Werner Herzog's forthcoming re-imagining of 'Bad Lieutenant.' Suffice it to say that both clips are high on intensity and long on lunacy, with Cage channeling his inner Kinski. In short, we can't wait.
Tuesday, October 06, 2009
Sunday, October 04, 2009
2000: A Decade in Film
As we approach the end of the aughts, an unquestionably great decade for cinema, here are 40 films from the decade we here at Pocket Cinephile think will stand the test of time:
1. Twentynine Palms, Bruno Dumont, 2003 / France
2. Zodiac, David Fincher, 2007 / USA
3. Mulholland Dr, David Lynch, 2001 / France, USA
4. The Assassination of Jesse James by the Coward Robert Ford, Andrew Dominick, 2007 / USA, Canada
5. Le voyage du ballon rouge (Flight of the Red Balloon), Hou Hsiao Hsien, 2007 / France
6. Das Leben der Anderen (The Lives of Others), Florian Henckel von Donnersmarck, 2006 / Germany
7. Vicky Cristina Barcelona, Woody Allen, 2008 / Spain, USA
8. Junebug, Phil Morrison, 2005/ USA
9. Cache (Hidden), Michael Haneke / 2005 / France, Austria, Germany, Italy, USA
10. La niƱa santa (The Holy Girl), Lucretia Martel, 2004 / Argentina, Italy, Netherlands. Spain
11. All the Real Girls, David Gordon Green, 2003/ USA
12. Elephant, Gus Van Sant, 2003 / USA
13. I'm Not There., Todd Haynes, 2007 / USA, Germany
14. Gosford Park, Robert Altman, 2001 / UK, USA, Italy
15. No Country For Old Men, Joel and Ethan Coen, 2007 / USA
16. Sous le sable (Under the Sand), Francois Ozon, 2000 / France
17. Y Tu Mama Tambien, Alfonso Cuaron, 2001 / Mexico
18. Before Sunset, Richard Linklater, 2004 / USA
19. Fa yeung nin wa (In the Mood For Love), Wong Kar Wai, 2000 / Hong Kong, France
20. Inglourious Basterds, Quentin Tarantino, 2009, / USA, Germany
21. Elsker dig for evigt (Open Hearts), Susanne Bier, 2002 / Denmark
22. You Can Count On Me, Kenneth Lonergan, 2000 / USA
23. Hable con Ella (Talk to Her), Pedro Almodovar, 2002 / Spain
24. 25th Hour, Spike Lee, 2002 / USA
25. The Man Who Wasn't There, Joel and Ethan Coen, 2001 / UK, USA
26. Japon, Carlos Reygadas, 2002 / Mexico, Germany, Netherlands, Spain
27. Manderlay, Lars Von Trier, 2005 / Denmark, Sweden, Netherlands, France, Germany, UK
28. The Saddest Music in the World, Guy Maddin, 2003 / Canada
29. Miami Vice, Michael Mann, 2006 / Germany, USA
30. Melinda and Melinda, Woody Allen, 2004 / USA
31. Ocean's Eleven, Steven Soderbergh, 2001 / USA
32. Kill Bill, Quentin Tarantino, 2003-2004 / USA
33. The Aviator, Martin Scrosese, 2004 / USA, Germany
34. Amores Perros, Alejandro Gonzalez Inarritu, 2000 / Mexico
35. Brokeback Mountain, Ang Lee, 2005 / Canada, USA
36. Dogville, Lars Von Trier, 2003 / Denmark, Sweden, Norway, France, UK, Finland, Germany, Netherlands
37. Harry un ami qui vous veut du bien (With a Friend Like Harry), Dominik Moll, 2000 / France
38. Police Beat, Robinson Devore, 2005 / USA
39. Dans ma peau (In My Skin), Marina de Van, 2002 / France
40. Open Range, Kevin Costner, 2003 / USA
Saturday, October 03, 2009
The Invention of Lying, Ricky Gervais & Matthew Robinson, 2009
The directorial debut of Gervais, an otherwise talented comic, writer, and producer, is nothing short of a colossal failure. Baffling story logic, nonsensical plotting, and general ineptitude on most every level make this high concept fable an excruciating undertaking. What's more, the directors borrow Woody Allen's patented Windsor serif font for the credit sequence, an unforgivable offense given the waste that follows.