Baghead (2017, Alberto Corredor) (3)
The Stop Button Posted by on Jun 27, 2019
Baghead ends up feeling a little exploitation-y, even though it’s rather classy. Great production design from Marie Boon—it takes place in a dank pub and then a danker pub cellar—and great photography from John Wade. Hollie Buhagiar’s music is classy too. Corredor isn’t a sensational director read more
Actual Newsletter Reading
The Stop Button Posted by on Jun 27, 2019
I started using the new NetNewsWire this week. I knew about it being back, but I hadn’t investigated it because… Feedly. Also in the post-Google Reader world, my RSS reading has failed. But I got curious about NNW again. It’s got Feedbin support and I love Feedbin. Feedly I don’t love, but read more
Baghead (2017, Alberto Corredor) (4)
The Stop Button Posted by on Jun 27, 2019
Baghead ends up feeling a little exploitation-y, even though it’s rather classy. Great production design from Marie Boon—it takes place in a dank pub and then a danker pub cellar—and great photography from John Wade. Hollie Buhagiar’s music is classy too. Corredor isn’t a sensational director read more
Mesmerize Me (2009, Kate Hackett) (2)
The Stop Button Posted by Andrew Wickliffe on Jun 25, 2019
Mesmerize Me is frustratingly middling. It keep seems like it has to be going somewhere, only for it to go nowhere. It’s not a short short—it’s twenty-four minutes—and there’s a disjointed act structure. The third act is way too short, leveraging the “twist” ending way too much. Only it’s read more
Mesmerize Me (2009, Kate Hackett) (1)
The Stop Button Posted by Andrew Wickliffe on Jun 25, 2019
Mesmerize Me is frustratingly middling. It keep seems like it has to be going somewhere, only for it to go nowhere. It’s not a short short—it’s twenty-four minutes—and there’s a disjointed act structure. The third act is way too short, leveraging the “twist” ending way too much. Only it’s read more
Mesmerize Me (2009, Kate Hackett) (3)
The Stop Button Posted by on Jun 25, 2019
Mesmerize Me is frustratingly middling. It keep seems like it has to be going somewhere, only for it to go nowhere. It’s not a short short—it’s twenty-four minutes—and there’s a disjointed act structure. The third act is way too short, leveraging the “twist” ending way too much. Only it’s read more
Mesmerize Me (2009, Kate Hackett) (4)
The Stop Button Posted by on Jun 25, 2019
Mesmerize Me is frustratingly middling. It keep seems like it has to be going somewhere, only for it to go nowhere. It’s not a short short—it’s twenty-four minutes—and there’s a disjointed act structure. The third act is way too short, leveraging the “twist” ending way too much. Only it’s read more
Malcolm (1986, Nadia Tass) (2)
The Stop Button Posted by Andrew Wickliffe on Jun 23, 2019
Malcolm has strange plotting. The film runs just ninety minutes—like you don’t really believe that official ninety minute runtime and it doesn’t feel like they’re rounding up from eighty-nine either. The film’s light and it seems to be coming from the drama. There really isn’t any. There’s read more
Malcolm (1986, Nadia Tass) (3)
The Stop Button Posted by on Jun 23, 2019
Malcolm has strange plotting. The film runs just ninety minutes—like you don’t really believe that official ninety minute runtime and it doesn’t feel like they’re rounding up from eighty-nine either. The film’s light and it seems to be coming from the drama. There really isn’t any. There’s read more
Malcolm (1986, Nadia Tass) (1)
The Stop Button Posted by Andrew Wickliffe on Jun 23, 2019
Malcolm has strange plotting. The film runs just ninety minutes—like you don’t really believe that official ninety minute runtime and it doesn’t feel like they’re rounding up from eighty-nine either. The film’s light and it seems to be coming from the drama. There really isn’t any. There’s read more
Malcolm (1986, Nadia Tass) (4)
The Stop Button Posted by on Jun 23, 2019
Malcolm has strange plotting. The film runs just ninety minutes—like you don’t really believe that official ninety minute runtime and it doesn’t feel like they’re rounding up from eighty-nine either. The film’s light and it seems to be coming from the drama. There really isn’t any. There’s read more
Heatwave (1982, Phillip Noyce) (1)
The Stop Button Posted by Andrew Wickliffe on Jun 22, 2019
Heatwave is not a film noir. It seems like it ought to be one, but it’s not. It’s got all the pieces to be a film noir, but the way director Noyce assembles them doesn’t result in noir. There are occasionally these heavily stylized slow motion sequences. Sometimes Noyce and editor John Scott emphas read more
Heatwave (1982, Phillip Noyce) (2)
The Stop Button Posted by Andrew Wickliffe on Jun 22, 2019
Heatwave is not a film noir. It seems like it ought to be one, but it’s not. It’s got all the pieces to be a film noir, but the way director Noyce assembles them doesn’t result in noir. There are occasionally these heavily stylized slow motion sequences. Sometimes Noyce and editor John Scott emphas read more
Heatwave (1982, Phillip Noyce) (3)
The Stop Button Posted by on Jun 22, 2019
Heatwave is not a film noir. It seems like it ought to be one, but it’s not. It’s got all the pieces to be a film noir, but the way director Noyce assembles them doesn’t result in noir. There are occasionally these heavily stylized slow motion sequences. Sometimes Noyce and editor John Scott emphas read more
Heatwave (1982, Phillip Noyce) (4)
The Stop Button Posted by on Jun 22, 2019
Heatwave is not a film noir. It seems like it ought to be one, but it’s not. It’s got all the pieces to be a film noir, but the way director Noyce assembles them doesn’t result in noir. There are occasionally these heavily stylized slow motion sequences. Sometimes Noyce and editor John Scott emphas read more
Sum Up | Clearing Moorings: James Horner and the Wrath of Khan (2)
The Stop Button Posted by Andrew Wickliffe on Jun 21, 2019
It’s impossible to imagine Wrath of Khan without the James Horner score. When Star Trek II came out in 1982, it was the third of the late seventies, early eighties sci-fi franchises. Star Wars and Superman were both looking forward to their third films in 1982, while Trek was recovering from its tr read more
Sum Up | Clearing Moorings: James Horner and the Wrath of Khan (3)
The Stop Button Posted by on Jun 21, 2019
It’s impossible to imagine Wrath of Khan without the James Horner score. When Star Trek II came out in 1982, it was the third of the late seventies, early eighties sci-fi franchises. Star Wars and Superman were both looking forward to their third films in 1982, while Trek was recovering from its tr read more
Sum Up | Clearing Moorings: James Horner and the Wrath of Khan (4)
The Stop Button Posted by on Jun 21, 2019
It’s impossible to imagine Wrath of Khan without the James Horner score. When Star Trek II came out in 1982, it was the third of the late seventies, early eighties sci-fi franchises. Star Wars and Superman were both looking forward to their third films in 1982, while Trek was recovering from its tr read more
Sum Up | Clearing Moorings: James Horner and the Wrath of Khan (1)
The Stop Button Posted by Andrew Wickliffe on Jun 21, 2019
It’s impossible to imagine Wrath of Khan without the James Horner score. When Star Trek II came out in 1982, it was the third of the late seventies, early eighties sci-fi franchises. Star Wars and Superman were both looking forward to their third films in 1982, while Trek was recovering from its tr read more
The Song of Styrene (1959, Alain Resnais) (2)
The Stop Button Posted by Andrew Wickliffe on Jun 19, 2019
The Song of Styrene is gorgeous. The way director Resnais showcases the plastic press-styrene becomes plastic through chemical processes (Song of is an industrial promotional film)—it’s a solitary object, removed from the factory setting and just amazing and new looking. Even when something’s read more