Lisandro Alonso

Sylvester Stallone in Cobra 2: Axing for Trouble

What is Casting Couch? It’s a news roundup that’s jam-packed with updates about big star doing big things. Look at this list of names! There’s barely a second-stringer on there. When you shoot as many people in the head and blow as many things up onscreen as Sylvester Stallone, every once in a while it’s nice to take a break from all of the insanity and do a quiet little indie drama. So, according to Variety, that’s exactly what he’s doing with his next film, Reach Me. Written and directed by Stallone’s Cobra co-star John Herzfeld, Reach Me is an ensemble piece about a group of characters who were all touched by a self-help book that was written by a reclusive football coach. There isn’t yet any word on what role Stallone will be playing, but, for the sake of his old knees, let’s hope it doesn’t involve any running. Those hobbling away from the explosion scenes in the Expendables movies are starting to look pretty painful.

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Culture Warrior

There has been a heated debate happening in the world of art cinema criticism, from the printed words of Sight and Sound to the blogspots of grad students, about the status and function of a continually dominating aesthetic known as slow cinema. The discussion basically goes like this: on one hand, slow cinema is a rare, unique and truly challenging methodological approach to film that exists to push the boundaries and expectations of plot and pacing to an extreme antithetical to expectations conditioned by mainstream filmmaking, disrupting the norm by presenting a cinema that focuses on details and mood – in a way that only cinema can – rather than narrative; on the other hand, slow cinema has become such an established and familiar formal approach witnessed in art houses and (especially) film festivals (like Cannes, where such films are repeatedly lauded and rewarded) that they have devolved into a paint-by-numbers approach to get an “in” into such venues rather than a sincere exploration of the potentialities of cinematic expression, and furthermore the repeated celebration of slow cinema devalues the medium’s equal potential to manipulate time by condensing it or speeding it up (‘fast’ cinema).

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