However the huge compendium of Roer Corman’s massive body of work, “Roger Corman: Metaphysics on a Shoestring” has steadily convinced me that I’ve missed out on someone of great importance. I understood Corman’s legacy, and importance, and his great influence on film since he began making films, but I was never one who followed him as a fan would. What Silver and Ursini have done is give folks like me a reason to gain interest into the body of the work of Roger Corman. Anyone who still has a stigma of him as a man who made bad films would be better off to read this book that’s an encyclopedia, an analyses of Corman’s work, and a biography all rolled into one. It’s the perfect tool for anyone seeking a new interest in Corman’s unique filmography.
Tag Archives: Biography
Alexander Revisited: The Final Cut (DVD)
“Why a third version of Alexander? The best answer I can manage is, I couldn’t get it out of my system. It’s a film that’s been haunting me since the theatrical version first appeared in November 2004 in the U.S., followed by a Director’s Cut on DVD in July 2005.” – Oliver Stone
Jesus Christ, Mr. Stone, why? Why can’t you just leave that gaping wound alone? Why can’t you just let it heal? Why can’t you just leave well enough alone and accept that you made a really bad movie? You made a bad movie! There was no homophobic conspiracy, no boycott against you. You made a neo-“Caligula,” a film that takes itself so seriously it can’t even realize it has a huge “Kick My Pompous Ass” sign on its back. While we chortle in the distance, you’re still hung up on this figment that we just can’t accept a film about a hero who is bisexual. So, you grace us with three cuts of the same crappy film. Stone, know when to stop breathing air in the infectious cavity. You win some, and you lose some. You lost big with “Alexander” and you only help increase the sentiment with this “final” cut. You’re off your game, face it. And worst of all, Stone wants to cater to his audiences rather than accept defeat. There was the original cut (175 min.), then the trimmed down cut which increased the action and pulled back on the homosexual overtones (167 min.), and now there’s this “Final Cut.”
Dixie Chicks: Shut Up and Sing (2006)
I hate country music. In all of its forms. I think it’s a pro-conservative, right wing, antiquated form of music best suited for run down bars, filled with whiny, bitching, moaning, chaw chewing, cow poking “stars” who have no idea what good writing is (“Courtesy of the Red, White, and Blue” is proof positive), and is a genre so disgusted with itself it’s lost touch with its roots and instead has turned into another form of adult contemporary pop. That being said I like the Dixie Chicks. Not because of their music, granted, they have great voices, but because one day in a concert, they decided to exercise their freedom of speech and tell their fans what they thought of our government. And the fans, the red state hicks they are, hated that, and turned on them.
Beyond the Sea (2004)
You have to appreciate Kevin Spacey’s willingness to give a dedication to Bobby Darin. “Beyond the Sea” basically came and went into theaters, and is still an apparent work of love from the man. Sadly, it’s also a pretty bad film, and utterly grueling to sit through. This is not based on some close-minded thought just because it’s old music. This is because the film is actually quite bad. I like Bobby Darin’s music, but Spacey is basically all over the map with his pet project.
The Notorious Bettie Page (2005)
It’s as if someone took a picture of my fantasies and plastered them on-screen. Bettie Page in the form of Gretchen Mol. It’s almost like a gift to me, and yes I’m vain enough to think this film is a gift to me. It features two of the most beautiful women who ever lived combined, along with one hell of a fantastic movie to boot. I was glad this wasn’t just a case of watching Mol as Page for ninety minutes. There’s a story, there’s great direction, and there’s actual commentary. “The Notorious Bettie Page” is yet another ninety minute bit of speculation on Ms. Page’s life, because it’s a known fact, no one is very sure of what really happened in her life from a child to her disappearance from society’s mainstream. But then again, Harron’s film is not an attempt to delve into the secrets and demons of Paige, too much. It’s instead a sweet, risqué, and entertaining celebration of the woman known as Bettie Page. Page, as you should know by now, is quite possibly one of the most revered pin-up models of all time.
Lords of Dogtown (2005)
Director Katherine Hardwicke’s style affords “Lords of Dogtown” the necessary indie style that will appeal to the target crowd. “Lords of Dogtown” is a lot of fun, and this is due mostly to the energy of the great cast of indie actors like Emile Hirsch, Heath Ledger, Nikki Reed, and America Ferrara to only name a few. Hardwicke inspires entertainment in the teen melodrama and films some truly great skateboarding sequences. Most of all, Ledger is a scene stealer and looks like he’s having a lot of fun as the stoner/slacker/boarder.
Lipstick & Dynamite, Piss & Vinegar: The First Ladies of Wrestling (2004)
In a world where feminism wasn’t yet discovered, these women basically were the precedent for such an ideal. And they didn’t even know it. All they wanted to do was compete, perform, and basically beat the crap out of each other, all to gain some fandom and fame, and they weren’t aware that they were basically the predecessors of feminism and female empowerment. Thankfully, the documentary doesn’t bog itself down in girl power junk, and instead focuses on the female wrestling industry, one of the more unknown facets in sports–like the WNBA. I kid them.