Why does Dominick Dunne hate Frank Sinatra? Because Ol' Blue Eyes once instructed a flunky to punch Dominick in the head as a lark. Yes, Dunne's career trajectory - from social climber to movie producer to "the defining voice of VANITY FAIR" - is weighed down by a torrential downpour of Old Hollywood name-dropping.
I don't really watch a lot of film, or TV, nor do I know enough about it to do any sort of adequate critique, but I will do my best here.
I recently saw 2046 by Writer/Director Kong Kar-Wai, which is about four years old now. It's a love story that ambles through the city of Shanghai following a couple different intertwined narratives.
When in doubt, revert to a classic. Well, that's what I say anyway. And there is nothing quite like the slasher film to end all slasher films, featuring one of the most infamous and haunting horror characters in cinematic history, not to mention an ‘80s cultural icon.
The story is simple enough.
Every Tuesday, Darlo Bar's projected wall gives alcoholics opportunity to experience defining moments in cinematic history. Beneath the flickering heaters on the open-air roof, well-curated cinematic stalwarts provide an interesting spin on the traditional cinemateque.
This event is for the free-film crowd; sweetened by free popcorn and not-so-expensive beer.
In 1986, before headbangers were (ironically) hip, when camera crews were still a novelty worth cavorting drunkenly before, a dude from D.C. borrowed some gear from the local TV station where he worked and went down to the sports arena before the big Judas Priest show. The rest is heavy metal history.
From its mid-20th Century heyday to popular neo-noir incarnations, film noir has proven that deep down we're all gloomily romantic at heart. Noir maintains its perverse appeal across national borders, budgets and genres, but is ultimately inseparable from its retro, post-war American crime context of bad dames, lonely gumshoes and dark alleys.
There are only a handful of cities around the world that popular culture won't stop mythologising. Yes, this is yet another film about Paris - but after an opening that looks like a slick travel infotainment show, a TV host asks "Who is Paris?" and immediately flubs his lines.
In PARIS, a charming French bakery is a site of casual, everyday racism.
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