art
Artistic, musical, creative, and entertaining topics of art about all things geek.
Tenet review: ‘It feels like several blockbusters combined’
Christopher Nolan’s Tenet is the first new Hollywood blockbuster to be released in cinemas in almost six months. The good news is that it is so sprawling, so epic, so crammed with exotic locations, snazzy costumes, shoot-outs and explosions that you get six months’ worth of big-screen entertainment in two and a half hours. Clearly, it never occurred to Nolan to tone it down every now and then. Having directed Inception, Interstellar, and the Dark Knight trilogy, he’s not someone you associate with quiet, intimate indie dramas. But it’s still startling to see a film so over-the-top that when one character asks if the villains are planning a nuclear holocaust, another character snaps: “No. Something worse.”
By Cindy Dory3 years ago in Geeks
The Wanderers: The forgotten great coming-of-age film
ou know the sort of film, don’t you? Imbued with nostalgia, full of teenage boys at burger joints and diners and in wide-finned cars, donning white T-shirts and pomaded hair. The plots tend to revolve around the guys getting into mischief of some kind, chasing girls, bickering, and forming deep friendships; typically, these films are set against a joyous soundtrack of doo-wop and rock’n’roll oldies.
By Sue Torres3 years ago in Geeks
Five stars for I'm Thinking of Ending Things
Imagine if Meet the Parents was remade by the writer of Being John Malkovich, Adaptation and Eternal Sunshine of the Spotless Mind, and by the writer-director of Synecdoche, New York and Anomalisa, and you’ll have a fair idea of what to expect from Charlie Kaufman’s I’m Thinking of Ending Things. To put it another way, you won’t really know what to expect at all, because Kaufman’s films are always weirder, gloomier, and more unsettling than you might assume, and his latest, adapted from a novel by Iain Reid, could be the weirdest of them all.
By Cindy Dory3 years ago in Geeks
Why we no longer need superheroes
As you watch the new series of Amazon’s darkly comic superhero drama The Boys, you are compelled to reflect on what it means to be a hero and what, if any, meaning it has these days. In The Boys, which is adapted from the mid-2000s comic book series of the same name, the ‘supes’ (heroes with superpowers, all twisted derivatives of classic figures like Superman, Wonder Woman, and Batman, but by other names), far from being shining examples of nobility and courage, are mainly power-drunk self-regarding sociopaths. The ‘boys’ of the title are a gang of weakly human vigilantes who skulk around in the shadows trying to assassinate them.
By Sue Torres3 years ago in Geeks
A ‘lovely, elegant, funny little film’
The Bill Murray we know today has an image – droll, wise, sensitive – that was cemented by his role as a deadpan, world-weary actor in Sofia Coppola’s Lost in Translation. It was a breakthrough for Coppola and positioned Murray as a serious actor as well as a brilliant comedian. Seventeen years on, he is the shining centre of On the Rocks, Coppola’s lovely, elegant, funny little film with a throwaway plot.
By Cindy Dory3 years ago in Geeks
How teen movies became hooked on classic literature
It’s been 10 years since the celebrated teen comedy Easy A was released in cinemas. A knowing riff on Nathaniel Hawthorne’s seminal 19th-Century novel The Scarlet Letter, it translated its tragic tale of public shaming into an incongruously peppy 21st-Century high school comedy, with Emma Stone as Olive, a teen who, like Hawthorne’s Hester Prynne, finds herself branded a harlot by her intolerant peers – but unlike Prynne, decides to lean into the persona.
By Sue Torres3 years ago in Geeks
Pixar’s Soul is ‘a gorgeous muddle’
These days, Pixar is no longer synonymous with the finest in American animation; other studios turn out more entertaining and more technically impressive cartoons on a regular basis. But when it comes to mind-expanding concepts and existential enquiries, Pixar is still in a league of its own. Competitors may content themselves with rebooting The Addams Family or Scooby Doo. Pixar examines emotion (Inside Out), creativity (Ratatouille) and play (Toy Story). More often than not, its films are concerned with how we can lead meaningful lives – but their latest cartoon is the first to make that philosophical theme explicit. Directed by Pete Docter, and co-directed and co-written by Kemp Powers, Soul ponders nothing less than the purpose of existence itself. It isn’t as profound as it was clearly intended to be, and its breezy depiction of bustling city life can’t help but feel anachronistic in the middle of a pandemic. But still, which other studio would dare to attempt what Soul is going for?
By Cindy Dory3 years ago in Geeks
How Nashville captured the turbulence of 1970s America
Nashville, Tennessee is a storied city. It’s home to the Grand Ole Opry, the major ‘you’ve made it, kid’ live venue for country stars, and is widely thought of as the major incubator of country music in the United States. It was 45 years ago when Robert Altman and screenwriter Joan Tewkesbury cast their eye on the city as a backdrop to their 1975 film of the same name. Within an expansive near three-hour running time, they combined a realistic – if heightened – vision of the country music capital with their thoughts on a turbulent political era in the US, sewing their impressions of the star-spangled, hairsprayed, patriotic heartland into a ragged tapestry, and one that was beginning to fray at its edges.
By Sue Torres3 years ago in Geeks
