The Infinite Man
Written and directed by Hugh Sullivan
Australia, 2014
There’s something painful about Dean. Cute, yes, by all means. Scruffy, also, as well as nerdy, Steve-Urkellian, and sweet — his run alone garners a continual snicker. But mostly there’s something painful about Dean, who is trying like hell to make things right with Lana.
More precisely, that cutely painful thing is a kind of teenage conviction so many shake before they move on to adulthood. It’s a familiar story, one that has the audience both cringing and laughing with and at him. Everyone’s tried really hard to undo some mistake at some unfortunate juncture. It’s an appallingly familiar sight to behold. Especially when, like many before him, he’s rolling on faith that the one that got away is the one. And while most of us eventually learn to accept an ending and move on,...
Written and directed by Hugh Sullivan
Australia, 2014
There’s something painful about Dean. Cute, yes, by all means. Scruffy, also, as well as nerdy, Steve-Urkellian, and sweet — his run alone garners a continual snicker. But mostly there’s something painful about Dean, who is trying like hell to make things right with Lana.
More precisely, that cutely painful thing is a kind of teenage conviction so many shake before they move on to adulthood. It’s a familiar story, one that has the audience both cringing and laughing with and at him. Everyone’s tried really hard to undo some mistake at some unfortunate juncture. It’s an appallingly familiar sight to behold. Especially when, like many before him, he’s rolling on faith that the one that got away is the one. And while most of us eventually learn to accept an ending and move on,...
- 7/27/2014
- by David Bradford
- SoundOnSight
Faults
Written and directed by Riley Stearns
USA, 2014
The irony of the penniless cult and mind-control expert is not lost on us. Ansel Roth’s got the tools to get your loved ones back within your grasp, he’s written them down for all to read, but here he is selling copies of his latest book one hotel conference room at a time, living out of an AMC Gremlin, fishing meal vouchers out of the trash, and shoveling ketchup in his mouth with a fork. He used to be a big shot with a bestselling book and a TV show, but that doesn’t stop him from getting beat senseless in front of a half-full room at a regional hotel. Nor will it stop The Wire and Toys R Me’s own Lance Reddick from showing up in the parking lot afterward, smilingly vicious as ever, asking for money his boss is owed.
Written and directed by Riley Stearns
USA, 2014
The irony of the penniless cult and mind-control expert is not lost on us. Ansel Roth’s got the tools to get your loved ones back within your grasp, he’s written them down for all to read, but here he is selling copies of his latest book one hotel conference room at a time, living out of an AMC Gremlin, fishing meal vouchers out of the trash, and shoveling ketchup in his mouth with a fork. He used to be a big shot with a bestselling book and a TV show, but that doesn’t stop him from getting beat senseless in front of a half-full room at a regional hotel. Nor will it stop The Wire and Toys R Me’s own Lance Reddick from showing up in the parking lot afterward, smilingly vicious as ever, asking for money his boss is owed.
- 7/22/2014
- by David Bradford
- SoundOnSight
The Boy Friend
Written by Sandy Wilson
Directed and adapted for the screen by Ken Russell
UK, 1971
Ken Russell pictures have a way of sneaking up on you. Many a young and not-so-young filmgoers have experienced a kind of shocked dry heave of wonderment after their first, or even seventh, Ken Russell experience. I recall a young man for whom the joy of first seeing The Devils nearly induced an anxiety attack. Talking in tongues is not altogether unlikely, either.
A maximalist by trade, and always as earnest as he is plain hyper and mocking, Russell’s musicals hold a special, especially cult-worthy place. The Boy Friend, his first musical, stands out as a novel, landmark take on musical adaptations. It stirred Roger Ebert’s more nearsighted of woeful jabs, when he called the camera work “joyless” and compared the film’s star, Twiggy, to “a Hummel figurine titled ‘Malnutrition.
Written by Sandy Wilson
Directed and adapted for the screen by Ken Russell
UK, 1971
Ken Russell pictures have a way of sneaking up on you. Many a young and not-so-young filmgoers have experienced a kind of shocked dry heave of wonderment after their first, or even seventh, Ken Russell experience. I recall a young man for whom the joy of first seeing The Devils nearly induced an anxiety attack. Talking in tongues is not altogether unlikely, either.
A maximalist by trade, and always as earnest as he is plain hyper and mocking, Russell’s musicals hold a special, especially cult-worthy place. The Boy Friend, his first musical, stands out as a novel, landmark take on musical adaptations. It stirred Roger Ebert’s more nearsighted of woeful jabs, when he called the camera work “joyless” and compared the film’s star, Twiggy, to “a Hummel figurine titled ‘Malnutrition.
- 7/13/2014
- by Ricky
- SoundOnSight
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