If this trailer (for Oliver Stone’s W.) were just a joke, it would be a great joke. We’ll see what happens with the movie.
Music Video: Stars/”Bitches in Tokyo”
“This is what you’re worried about: something called The New York Dolls.”
Music Video: Vampire Weekend/”Oxford Comma”
It’s probably too soon for the Wes Anderson homage videos, but whatever.
Criterion Collection, High-Definition Division
Speaking of Wes Anderson, The Criterion Collection has just announced details on its November (delayed from October) opening salvo of Blu-ray Disc releases, and it’s a doozy. Bottle Rocket. Chungking Express. (Swoon.) The Third Man. The Man Who Fell to Earth. And The Last Emperor. Five solid selections from five great directors — and two films (the one with Faye Wong and the one with Orson Welles) that I absolutely adore. I am so there.
In a happy development for cult and genre-film fans, non-English-language offerings beyond the highbrow are continuing to trickle out on Blu-ray Disc. And while you can’t buy a HD copy of My Blueberry Nights in the U.S. (and with the dollar in the toilet, who can afford to import movies these days?), you can pick up this lesser-known Thai horror-fantasy from 2006. Directed by Pleo Sirisuwan, it’s a low-budget adventure about the various creatures — human, humanoid and otherwise — lurking deep inside the jungle. It’s one of those movies where the hero’s face gets more and more jacked up and bloody as it goes along.
Watching the quick-moving but grueling horror movie The Ruins [my original review is here] on its theatrical release — a bare three months ago! — was an intriguing enough experience that it sent me running immediately to grab a copy of the source novel that author Scott Smith adapted for the screen. Reading the book was somewhat confusing, since the characters’ fates were scrambled on the way to the multiplex and my brain struggled a little bit to keep the movie’s characters at bay as I dug into the novel. But it’s a more satisfying version of the story, owing largely to Smith’s literary tactic of shifting the narrative perspective, round-robin style, from character to character, a virtuoso move that the film (maybe wisely) doesn’t even consider emulating. The book lets you get far enough into the heads of its doomed characters — and telescopes the scope of the action across a long enough period of time — that their actions, and eventual insanity, become more understandable.