The Bad Batch is a stark and stunning new film by Ana Lily Amirpour. And timely too, considering every effort by our current regime to cast those of seeming naught into the desperate oblivions of a world only slightly less unhinged than the one depicted in this film. With a nod to the current depravity of our day, the film opens (forgive my indulgence) in the wet dream of said regime whose spooging head is our ever-ranting, ever-pissy Child-in-Chief — let’s call him Boy — he who nightly wets his bed and in the dreamy slosh fingers blindly for his own plundered asshole. Were the Boy blessedly in this film, he’d be swiftly on a sizzling spit: fatted swine for its flesh-hungry natives. [Read more…]
There was a time when the term ‘summer blockbuster’ meant an original, thrilling ride. But as Transformers: Who Gives a Shit and Spider-Man: Yes, Another Reboot attest, nowadays those words tend not to be worth the promotional material they’re printed on. Which is why it is nothing short of a small wonder to have received a glimmer of hope this year in the form of British director Edgar Wright’s homage to heist films, Baby Driver. [Read more…]
1973. David Lynch had been shooting Eraserhead for roughly one year when he ran out of cash. The film was suddenly and indefinitely on hold. It was, he says, “a depressing time.” It was also this time that the American Film Institute asked a friend of his, Fred, to shoot a test using two different black and white video stocks to determine which stock was best, because, as Lynch tells it, “they were going to buy a bunch.” Lynch says when he heard AFI was buying video tapes, “it gave me a sadness, and I worried they were going to have to change the name of the place” (from American Film Institute to American Video Institute). “So I looked at Fred, and I got an idea, and I said, um, ‘Fred, does it matter what you shoot?’ And he said, ‘Well, what are you talking about?” And I said ‘Could you shoot anything you want? Twice. One with one stock and one with the other, and go like that, for the test?’ And he said, ‘Well, I don’t see why not.’ So I said, ‘Could I write something and make something for tomorrow?’ And he said, ‘Okay.’”
That evening Lynch wrote The Amputee. The next day he shot this video:
Directed By: Phuong-Cac Nguyen
Produced By: Alfredo Ritta
South American Cho-Low is a short documentary that examines the meeting point between cholo style and lowrider culture in Sao Paulo. The film features interviews with major personalities and icons from the movement such as photographer Estevan Oriol, Christopher “Duel” Hall, Antonio Carlos Batista “Alemão” Filho, Luiz “Gordo” Teixeira, Mariana de Paula Martins and Leandro Vinicius Pimenta Cabellos, who take viewers through the world of lowriders, tattoos, religion and cholo style as they recount why they’re so passionate about Chicano and lowrider culture, and why they relate so much to those living the life in East Los Angeles. South American Cho-Low shows that despite the violence associated with gang culture, the Brazilian interpretation — where violence is noticeably absent — provokes the deeper question of what it means to truly be a lowrider and maintain a Brazilian identity.
from the LA Times
Though his name was largely known only within the industry, Loren Janes appeared in “Spartacus,” the “Magnificent Seven,” “The Ten Commandments,” “How the West Was Won,” “It’s a Mad, Mad, Mad, Mad World,” “The Dirty Dozen,” “The Graduate,” “Planet of the Apes,” “The Poseidon Adventure,” “Back to the Future,” “To Live and Die in L.A.,” “Spider Man,” hundreds of movies and television shows in all.
He doubled for Jack Nicholson, Paul Newman, Frank Sinatra, Charles Bronson, John Wayne, Debbie Reynolds, Yul Brenner and McQueen over and over again.
The car chase scene in “Bullitt” — a jarring 10-minute adrenaline rush across the streets of San Francisco — became such a classic that it spawned its own subculture, websites, Google forums on where the scenes were shot, and an overlay for Google Maps that lets motorists retrace the chase route. In 2011, the Wall Street Journal even rented a Ford Mustang — albeit not the 1968 Ford Mustang GT used in the film — and took Janes on a slow-speed reenactment of the chase.
“Steve was a great driver, but he was only behind the wheel for about 10% of what you see on screen,” Janes confided during the reenactment. “He drove in scenes that required close-ups — but not in the ones that could kill him.”
–excerpted from Steve Marble’s LA Times obit
Cracked Actor (Live, Los Angeles ’74)
Sweet Thing/Candidate (Live, Los Angeles ’74)
In honor and in celebration of Cracked Actor, the new live release from David Bowie’s infamously depraved yet musically stellar ’74 tour (the new album narrows in on one evening, his September 5th show at Los Angeles’ Universal Amphitheater, which I had the blearied pleasure of attending!), Riot Material scratched up a BBC documentary from that same tour, titled Cracked Actor: A Film About David Bowie. The 1975 film, viewable below, is directed by Alan Yentob.
Nicolas Pesce’s new American gothic, The Eyes Of My Mother, is a spare, simmering vision of riptiding loneliness and grim pathology, and it is both beautiful and unconventionally good. Pesce gives us a protagonist we cannot know, nor scarcely bear, and delivers a film we can no less turn our eyes from, though considering the subject at hand this may be blindingly ill-advised.
Below is an official clip of the opening scene, followed with a bootlegged grab from a chilling encounter with, astonishingly, the least menacing character in the film.