“Genius: A word with a long and complicated history, as this
information from the OED shows. In Latin, the word usually meant “The
tutelary god or attendant spirit allotted to every person at his
birth, to govern his fortunes and determine his character, and finally
to conduct him out of the world”; in later Latin, it often meant “A
demon or spiritual being in general.” A common English sense beginning
in the seventeenth century was “With reference to a nation, age, etc.:
Prevalent feeling, opinion, sentiment, or taste; distinctive
character, or spirit.” Another seventeenth-century development was
“Natural ability or capacity; quality of mind; the special endowments
which fit a man for his peculiar work” (first attested in Milton’s
Eikonoklastes, 1649).”
freeze-frame on joy-jump,
roll credits; this is how we do
psychic blind kids/meatwad pac men
monch up your whole crew
It seems like everytime Sci-Fi reruns this movie, I keep catching the last 5 minutes when they reappear in the airport. Quite possibly the worst 5 minutes in film history. No one seems to know how to act, and deliver their terribly written dialogue awkwardly. The fat guy wants to eat. Dean Stockwell and David Morse just look embarassed to be there at all. Patricia Wettig babbles like a 12 year old hippie after her first bong hit, and then they go skipping out of the airport and into a freeze frame straight out of a 60′s sitcom.
Wettig’s clearly ad libbed “I’m so happy!” as they’re running out is just hilariously awful.
Nonononono, “I’m talking about DAISIES!!!!!!!!!” Shut the f up Laurel.
-Rubberbandgirl
To cultivate good taste in the bad, or to simply have bad taste… a fine line, Mädchen und Jungen. But if anything from 1995 were going to serve both types of losers, it’d be ol’ Langoliers (that or Evolver).
And if you sit through the whole 3 hours of it, you’re given witness to the best worst final shot in the history of cinema. (more…)
Tied with La Belle et la Bête as my favorite Cocteau film, Orphée takes from the Greek myth of Orpheus. Every character is surprising in their own way, and there are some awesomely cool henchmen who ride motorcycles (see below).
The poet journeys
into the underworld
to find Death
Psychedelic, irreverent, adults-only animated film based on underground artist Robert Crumb’s cartoon of ultra-hip cat. Cult favorite for its cynical look at ’60s counterculture. Entertaining for those who lived through era. — reel.com
Bakshi‘s feature film debut. His three major films from this late ’60s/ early ’70s period are each pretty raw, highly personal, and controversial. (I’ve now only Heavy Traffic left to see from this era, and I’m expecting it to be the best of the lot.)
“L’Éloignement des pays répare en quelque sorte la trop grande proximité des temps.“
“The distance between countries compensates somewhat for the excessive closeness of time.” — Jean Racine
Poetic, highly personal documentary incorporates footage from around the world into uniquely philosophical essay. Mainstream viewers may be baffled and bored, but fans of experimental documentary will enjoy tremendously.
Passolini’s last film before his murder. Widely considered to be the most controversial film of all time. Based on Les 120 journées de Sodome ou l’école du libertinage, by Donatien Alphonse François, Marquis de Sade.
fascist sadism
exemplary punishments
lots of sodomy
