On Video

Monday, January 21, 2013

Cosmopolis and the incredible shrinking theater

Posted by Ben Sachs on 01.21.13 at 04:00 PM

Robert Pattinson, bigger than life and confined to an ant farm
  • Robert Pattinson, bigger than life and confined to an ant farm
One way that David Cronenberg's Cosmopolis improves upon the Don DeLillo source novel is that it balances DeLillo's cerebral prose with an exacting sense of corporeality. The stretch limo in which much of the book (and even more of the movie) takes place is an impossible space—and seeing it rather than imagining it makes one better appreciate the brilliance of the conceit. Eric Packer's 22-foot-long chassis is decked with monitors that feed him information about anything he could possibly want to know; the dialogue, which blithely mentions trips to Arizona, Kazakhstan, and European villas, heightens the feeling that this car somehow contains the whole world. A symbol of outsize consumption and godlike omniscience, Packer's ride is also eerily claustrophobic. Compared to the controlled inside environment, any outside phenomenon seems profoundly unreal. Cronenberg's framing constantly reminds you that Packer and his rotating guests are boxed inside the vehicle, granting comparable amounts of the frame to the ceiling or tinted windows as to faces.

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Tuesday, January 15, 2013

Further discoveries in the criminal files of Claude Sautet

Posted by Ben Sachs on 01.15.13 at 10:47 AM

Ottavia Piccolo plays the title character in Claude Sautets Mado
  • Ottavia Piccolo plays the title character in Claude Sautet's Mado
Claude Sautet's Max et les Ferrailleurs, playing this week at the Gene Siskel Film Center, is a fascinating hybrid of pulpy crime fiction and moral dramas. If you're looking for more of the same—and haven't exhausted Claude Chabrol's massive body of work—I'd recommend Mado, which Sautet made a few years later. The film shares a number of strengths with Max: an impressive lead performance from Michel Piccoli, an engrossing depiction of complex legal procedures, plenty of sex appeal, and a plot that snakes unpredictably from one quiet revelation to another.

Piccoli again plays a lonely, calculating professional who comes to plot a crime, though the similarities end there. Max was cold and emotionally distant; Simon Léotard, as the title character notes, wants to be loved by everyone. A modestly successful investor, Léotard has devoted his life to the family business, enjoying the camaraderie of his partners as well as the respect (and occasional favors) of district judges. He may have only experienced emotional intimacy with high-priced mistresses, but that's better than nothing, and staying single has given him more time to work.

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Friday, January 11, 2013

Tumblr comes alive in new Deathface video

Posted by Miles Raymer on 01.11.13 at 03:35 PM

A juggalo
  • A juggalo
Juggalos, twerking, fake blood, asymmetrical haircuts, Mishka t-shirts—the new video for "Six Feet Deep" by Deathface, aka sometimes-Chicagoan techno-sleaze button-pusher Johnny Love, looks kind of like my Tumblr dashboard come to life. Small surprise considering that it's a collaboration with Lil Internet, the Twitter celebrity best known for dreaming up the #seapunk hashtag that inspired its own microculture.

Love has always had a thing for gnarly 90s electro mall-goth—it made perfect sense when he was hired to remix Marilyn Manson last year—and the combination of aggressively noisy synthesizers, overdriven scream-rapping, and small-town nihilism fits him nicely. Check out the video after the jump.

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Friday, January 4, 2013

There's no good music news so we're watching a Taco Leg video

Posted by Miles Raymer on 01.04.13 at 03:28 PM

Taco Leg impersonates Indiana Jones
  • Taco Leg impersonates Indiana Jones
It's a slow news day for music, which isn't surprising since this is the slowest time of year for music news. There's stuff being reported on, since the machine has to keep grinding away even when there's the slimmest amount of raw material for it to chew on, but none of it's any good. Two up-and-coming female rappers in New York City, Azealia Banks and Angel Haze, are beefing over a tweet that Banks wrote about how rappers who weren't born in the city (Haze, for instance) can't claim it, which is stupid. (It's also reinforced the seriously unpleasant streak in Banks's persona, which is a shame because I like her as a performer.) R. Kelly released a song dedicated to the victims of the mass shooting in Newtown but, for as much as some of us are willing to give Kelly a pass for some of his past behavior, hearing him singing with a children's choir is too icky to want to deal with. Yesterday a ton of dangerously understimulated music fans flipped out over the rumor that Lil Wayne was being cast for a Pixar movie, which turned out to be every bit as unlikely as it seemed. The most exciting thing to come into my inbox today was a 500-word-long press release about a joke that Marlon Wayans made to a third-rate celebrity-gossip blog about Kanye and Kim's baby that managed to be the least funny of the literally hundreds of unfunny jokes I've seen on the topic.

So we're just going to say "fuck that" to current events and watch Taco Leg's video for their song "Raiders." I discovered the Perth, Australia, trio late in the year, but their deliberately brain-dead take on postpunk—imagine Mark E. Smith as a chronic inhalant abuser—was an unexpected treat that landed a spot on my year-end Spotify playlist. The video for "Raiders," like the song's lyrics, is a shoddy, low-budget recreation of an iconic scene from The Raiders of the Lost Ark. It's dumb, but at least it's entertaining, which is more than you can say about Marlon Wayans.

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Thursday, December 20, 2012

The trashy brilliance of Trailer War

Posted by Miles Raymer on 12.20.12 at 03:38 PM

TW_Poster.jpg
I am a big fan of all kinds of "bad" cinema: big-budget Hollywood disasters, Wingnut Internet conspiracy documentaries, straight-to-video Nigerian morality plays, canine martial arts movies, Nic Cage vehicles, and especially grind house exploitation fodder of every sort. Some of the pleasure I get from grind house movies comes from an MST3K-ish sort of superficial irony, but I have a deep, genuine appreciation for much of it. I genuinely admire the audaciousness, the transgression, and the drive to squeeze the maximum amount of outrageousness out of every budgeted dollar that this kind of filmmaking embodies.

But the moments that deliver this kind of transcendence tend to come amid a whole lot of straight-up awfulness. You generally have to wade through a lot of shit before you get to the jet pack fight or whatever.

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Wednesday, December 19, 2012

Have a Terrible holiday!

Posted by Ben Sachs on 12.19.12 at 01:00 PM

Everything_Is_Terrible_header.jpg
This Friday at 7:30 PM the merry pranksters of Everything Is Terrible! will present their latest mash-up of kitschy, embarrassing, and otherwise bizarre video footage at Lincoln Hall. As might be expected, the theme is not the holidays but the "end of days," as the group apparently felt it had to do something for the Mayan apocalypse. (I wonder which scene(s) of Schwarzenneger's End of Days will make it into the stew.) The gang promises plenty of Christmas-related footage too, along with "puppets, sing-a-longs, candy, fake snow, and a visit from the big man himself."

It's been a big year for the local video-art collective. In January several members embarked on a nationwide tour to promote its latest feature-length DVD just as YouTube took down the group's channels in response to a copyright infringement claim. This fall the Everything Is Terrible! live show made its debut in Ireland (via Skype) before touring the U.S. again; and throughout the year, the group presented midnight movies at the Music Box and the Logan Theatre. At present some members have begun work (with a few writers and crew people from the IFC show Food Party) on a new project called Channel 2020, which purports to "take you to the not-too-distant future and show you the real faces of the reptilian overlords who are responsible for nearly every aspect of our daily lives."

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Wednesday, December 12, 2012

Vintage video of an out-of-place Royal Trux

Posted by Miles Raymer on 12.12.12 at 04:17 PM

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True story: This past weekend Royal Trux played their first show in over a decade at Saint Vitus, a bar in Greenpoint, Brooklyn, that specializes in metal shows, reasonably priced beer-and-shot combos, and delicious Asian-inspired vegan snacks. Due to a number of issues I didn't make it out to the show, but despite how much I love that band I wasn't exactly shattered, since a) vocalist Jennifer Herrema wasn't taking part, and she's one of the group's best elements, and b) because guitarist Neil Michael Hagerty was playing Twin Infinitives, an album that's not in my top three by the band, in its entirety.

While Twin Infinitives has had a respected position in the indie canon ever since it was released, I'm far more partial to the group's later efforts, when they decided to stop making formless junkie noise and start making groovy junkie rock 'n' roll. I'm especially partial to their 1995 album Thank You, their first recording for Virgin Records after signing the kind of ridiculously fat contract that exemplified the mid-90s run on bands with any modicum of indie credibility. On Thank You Herrema and Hagerty focused on their long-standing obsession with capital-letter Classic Rock—which had initially expressed itself in Hagerty's first band, Pussy Galore—famously deconstructing the Stones' landmark Exile on Main St. in a fit of punkish idol killing. Thank You evolved into a genuine attempt to revive the kind of unapologetically swaggering rock attitude that Pavement-era indie rockers sneered at.

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Thursday, December 6, 2012

The Insect treatment: an interview with Nate Cunningham

Posted by Ben Sachs on 12.06.12 at 12:44 PM

From Eric Marcianos The Age of Insects
  • From Eric Marciano's The Age of Insects
If you've seen a movie at the Gene Siskel Film Center in the past several years, you've probably met Nate Cunningham. One of the theater's longtime employees, Cunnningham can be found at the Siskel on most weekends inside the box office or behind the concessions stand. I've been saying hello to him for years; I know I can depend on him for a good book recommendation or a funny story about Abel Ferrara.

This month Cunningham takes on the role of film programmer. On Saturday at 7 PM at the Nightingale, he'll present a rare underground film called The Age of Insects (shot in New York on a variety of video formats throughout the 1980s), and on Sunday, December 16, at 7:30 PM he'll present a documentary about Lyme disease (Under Our Skin, from 2008) at the Siskel. Cunningham himself has been afflicted with that condition for more than a decade; these two screenings are to raise money for his medical treatment. I spoke with him the other day about living with Lyme disease and how he discovered The Age of Insects.

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Monday, November 19, 2012

Chicagoans selling German cars in Argentina

Posted by Miles Raymer on 11.19.12 at 03:36 PM

Buying fuel-efficient German cars is so romantic
  • Buying fuel-efficient German cars is so romantic
Local baroque pop outfit the 1900s is currently on an "indefinite hiatus," in the words of front man Edward Anderson, much to the consternation of Chicago's many baroque pop fans who are having to do without the leading light in that particular scene. But despite the break you can still find a lot of good pop coming from the group's individual members, like singer/tambourinist Jeanine O'Toole's work in Bare Mutants and Anderson and Caroline Donovan's Mazes, which released an excellent album, Blazes, a few months back.

Anderson and Donovan also have a side hustle in selling cars in Argentina, or at least writing songs for commercials intended to sell cars in Argentina. Today Anderson debuted a commercial called "Casamiento" on his Facebook page that features him and Donovan harmonizing sweetly over a delicate acoustic-based arrangement. It manages to tap into the naively-sincere vibe that ad agencies are so fond of these days, but avoids the cloying tweeness that has made car-commercial-indie-rock the most irritating subgenre of the moment.

Check out the song and commercial after the jump.

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Wednesday, November 7, 2012

Riff Raff still not president, releases "Michelle Obama" anyhow

Posted by Miles Raymer on 11.07.12 at 03:30 PM

Not the president. Yet.
  • Not the president. Yet.
All in all I'm pretty happy with how Election Day turned out. The evil robot man with the scary hairdo isn't president, the terrible men who said terrible things about rape got their asses handed to them, a couple of states legalized it, and Maine not only came through on gay marriage (as did Maryland, Minnesota, and Washington) but also elected a level-85 World of Warcraft orc to the state senate. On the downside, the massive write-in campaign to elect Internet rapper Riff Raff president that I was hoping for never materialized. (Confused voters writing in "@JODYHiGHROLLER may be to blame.)

Last night Riff Raff and former Kreayshawn associate Lil Debbie released their "Michelle Obama" video, though, which kind of makes up for it. The beat is sick, Riff Raff's as compellingly nonsensical as ever, and Lil Debbie slightly exceeds the extremely low expectations I had for her. Check out the video after the jump, and vote Riff Raff in 2016.

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