Last month fellow blogger Eric brought you his top 10 ski movies of both the good and bad variety. Here’s a look at a soon-to-be-released flick that might end up deserving a spot on ski movie lists in the it’s-so-bad-it’s-good category. Coming out in March, Hot Tub Time Machine stars…
Barnaby Furnas: Floods. Furnas is a New York artist who’s been exhibiting his work since 2000, and this exhibit, in the MCA’s Large Works Gallery, is made up entirely of his large abstract paintings. A unique feature of Furnas’s personal history is his early embrace of watercolors as his medium…
“Colonialism is always part of the expansion of capitalism,” opines Bolivian vice president Álvaro García Linera in The End of Poverty?, director Philippe Diaz’s devastating, radical critique of the colonialist enterprise as inextricable from the current global economic model. While most state-of-the-world docs are content to map the state of…
The money is on the screen in Avatar, James Cameron’s mega-3-D, mondo-CGI, more-than-a-quarter-billion-dollar baby, and, like the Hope Diamond waved in front of your nose, the bling is almost blinding. For the first 45 minutes, I’m thinking: Metropolis! — and wondering how to amend ballots already cast in polls of…
The joke’s on someone in Werner Herzog’s awkwardly titled Bad Lieutenant: Port of Call New Orleans. Possibly Abel Ferrara who, exploding in fury when he learned that the German conquistador was planning to remake his 1992 career movie, opined that Herzog and his accomplices (among them, an original Bad Lieutenant…
In the last few weeks, my compatriot-in-bloggery Candace Horgan took you through a nice solid retrospective of climbing movies both good and bad. And, a few quibbles notwithstanding (K2 is good? Honestly? And where’s Cliffhanger?), I think she nails it. But she might have to make room for a new…
Allen True’s West. Allen Tupper True was Denver’s premier muralist during the first third of the twentieth century. Sadly, many of his commissions have been painted over or were lost when the buildings they were in were demolished. In an act of cooperation, the three big cultural institutions on the…
After undervalued supporting turns in Kiss Kiss Bang Bang, North Country and Gone Baby Gone, dainty girl-next-door type Michelle Monaghan finally and deservedly snags a star vehicle to show off her chops. Against the roadside Americana of writer-director James Mottern’s well-shot desert drama Trucker, Monaghan flips the bird to vanity…
All’s Well That Ends Well Aside from Morgan Freeman, who makes a fabulous Nelson Mandela, there’s this to savor about Invictus, a rosy tale of racial reconciliation neatly wrapped in a triumphalist sports movie: The film is blessedly free of Obama parallels. Also, we could use a happy global moment,…
Standing O The most significant American artist before Andy Warhol to take “the media” as his medium, Orson Welles lives on not only in posthumously restored director’s cuts of his re-released movies, but as a character in other people’s novels, plays, and movies — notably, Richard Linklater’s deft, affectionate and…
I could watch this trippy animation of a snowflake developing from SnowCrystals.com all day. (It’s even better if you’re listening to a simulated FM3 Buddha Machine or two.)The website is the brainchild of snowflake expert Kenneth Libbrecht, a physics professor at the California Institute of Technology. Besides this and a…
Allen True’s West. Allen Tupper True was Denver’s premier muralist during the first third of the twentieth century. Sadly, many of his commissions have been painted over or were lost when the buildings they were in were demolished. Now, the three big cultural institutions on the Civic Center are jointly…
Could Dave Foley prostitute his talent to amuse any further without actually becoming a prostitute? In a plunging step down from emceeing celebrity poker, Foley provides a recognizable face to Jameel Khan’s picked-over Goodwill bin of workplace comedy, The Strip. Foley’s Glenn is manager of a down-market Radio Shack-type store…
Don’t be misled by the cheesy, generic poster for Kirk Jones’s Everybody’s Fine, in which a grinning Sam Rockwell, Drew Barrymore and Kate Beckinsale pose with Robert De Niro (airbrushed almost to the point of unrecognizable) for their characters’ family photo in front of a Christmas tree. It’s a marketing…
John Woo spent a decade navigating the big-studio minefield — longer than most foreign auteurs last in Hollywood before throwing in the towel. Beginning in earnest with an above-average Jean-Claude Van Damme programmer (Hard Target), Woo then produced one decent facsimile of his hyperkinetic Hong Kong neo-noirs (Face/Off), rose to…
Last week, I wrote about some of the atrocities Hollywood had inflicted on the climbing community in their attempts at portraying the dramatic. These movies are so painfully bad, they make you want to throw food at the screen, and the list doesn’t even include all the ridiculous uses of…
Hollywood and climbing generally don’t go well together. While there are occasional climbing-themed films that don’t suck, more often than not Hollywood movies centering on climbing are written by some desk-bound moron who probably doesn’t know the difference between an ice screw and an ice axe. The scripts are concocted…
Allen True’s West. Allen Tupper True was Denver’s premier muralist during the first third of the twentieth century. Sadly, many of his commissions have been painted over or were lost when the buildings they were in were demolished. In an act of cooperation, the three big cultural institutions on the…
The Devil, apparently, lives in an out-of-the-way gingerbread Victorian, just past the cemetery, where college sophomore Samantha (Jocelin Donahue) is lured for overnight housesitting by an elegant, forbidding couple (Tom Noonan and Mary Woronov, both queerly over-intimate). Though its poster and opening-title freeze frames threaten ’80s kitsch, House of the…
The Road, Cormac McCarthy’s Pulitzer Prize-winning, Oprah-endorsed post-apocalyptic survivalist prose poem — in which a father and his ten-year-old son traverse a despoiled landscape of unspeakable horror — was a quick, lacerating read. John Hillcoat’s literal adaptation, which arrives one Thanksgiving past its original release date is, by contrast, a long,…
Another poor, massive, uneducated African-American teenager lumbers onto screens this month, two weeks after Precious and obviously timed as a pre-Thanksgiving-dinner lesson in the Golden Rule. But unlike the howling rage of Claireece Precious Jones, The Blind Side’s Michael “Big Mike” Oher (Quinton Aaron) is mute, docile, and ever-grateful to…
In her broad outlines, Claireece Precious Jones risks sounding like the epitome of ghetto cliché: an obese, illiterate sixteen-year-old; mother to a four-year-old Down syndrome daughter and now pregnant again; physically and psychologically abused by her mother; repeatedly raped by her father, who is, also, the father of her own…
