Performance

Criterion Files

The 1980s proved to be an interesting and difficult time for auteurs of the 1960s and 1970s. Directors like Copolla, Scorsese, De Palma, Altman, etc. offered works that were far from their classics of the previous decade, but many of these films have aged well and proven to be compelling entries within the respective ouvres of these directors precisely because they aren’t part of their canon. While British director Nicolas Roeg did not play a central part in New Hollywood in the same way as the directors I listed, his 1970s work was certainly part and parcel of this brief countercultural revolution in narrative storytelling. I see Roeg as something of a British equivalent to Hal Ashby: someone who made brilliant entry after brilliant entry throughout a single decade, only to fade out of the spotlight once the 1980s began. But unlike the late Ashby, Roeg has continued making films during these years, and The Criterion Collection has taken one of his most perplexing entries from the era of Reagan and Alf out of obscurity. Insignificance (1985) is a strange film about a strange time. Based on the play by Terry Johnson, Insignificance stages an impossible meeting between iconoclastic minds as the likenesses of Marilyn Monroe (Roeg’s then-wife Teresa Russell), Albert Einstein (Michael Emil), Joe DiMaggio (Gary Busey), and Sen. Joe McCarthy (Tony Curtis) move in an out of a hotel room as they share a variety of 50s-topical dramatic scenarios.

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Everyone loves and hates lists. They reduce and compare movies that don’t deserve it, but they also celebrate greatness in a convenient, digestible form that can do a lot to encourage movie fans to discover new and old greats even better than long, drawn out columns can. Time Out has decided to do the mother of all lists and chose to do it by going all out. The publication sought out the opinions of 150 movie industry experts (ranging from acting, to directing, to producing, to criticism) to pick the 100 Best British Films.

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Culture Warrior

This time last month, critics across the web and in print were compiling their mandatory best-of lists. While I often get annoyed when some lists with grander goals are given a degree of resonance they don’t in fact deserve (I’m looking at you, AFI), I do see the fun of the end-of year list ritual and honestly enjoy reading and writing such lists myself. But the thing is, I’m not primarily a critic for FSR, I’m a columnist. Thus, it’s nowhere near mandatory that I see everything released in a given year. I’ve been generously given the privileged position here of seeing what I want to see and writing about what I find interesting to write about week-in and week-out. While I receive occasional screeners for indie flicks and docs, I no longer live in a town that holds press screenings, so any new releases I choose to write about come into fruition because I, like your average cinephile (take note, Kevin Smith), have paid to see a movie that I think deserves my time, words, and money. This long digression is to ultimately say that my critical opinion of a given year at the end of that calendar year doesn’t ultimately mean all that much. My annual Top 5 contributions are based on comparatively few films seen by December 31. It’s typically not until sometime in February that I have anything resembling a top 10 list of my own that I can stand by, having finally seen former limited […]

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published: 12.18.2014
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published: 12.17.2014
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published: 12.15.2014
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published: 12.12.2014
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