Brooklyn Rail. April 07.

"As Peckinpah undid the Western with The Wild Bunch, Altman undid film noir," writes David N Meyer in the April issue of the Brooklyn Rail. "Since so many films have subsumed its tone, The Long Goodbye no longer seems all that subversive. Its revolution has become canonical."

"Two productions this past month bring into focus the relationship between live art and cinema," notes Mathew Sandoval: "Miranda July's THINGS WE DON'T UNDERSTAND AND DEFINITELY ARE NOT GOING TO TALK ABOUT, which played at The Kitchen March 1 - 3, and Matthew Bourne's Edward Scissorhands, which opened March 14 at the BAM Howard Gilman Opera House. These productions are two sides of the same coin - one is a performance preparing to be adapted into a film, the other was a film that has now been adapted into a performance."

"Everyone's awesomely unrepressed in The Host, the masterful Korean monster movie by Joon-ho Bong," writes Sarahjane Blum, noting further in, "For all its hostility toward US presence in Korea, The Host is deeply inspired by American culture."

"Mouchette was made only one year after [Bresson's] masterpiece, Au Hasard, Balthazar, and the lack of preparation is evident in the final result," argues John Oursler.

Posted by dwhudson at April 9, 2007 12:54 AM