Kristen Stewart's Ghost Bro ( ... )
Flea markets are (finally) back, baby.
Still your resident Tsundoku Master. 📚
“How splendicious!” - Vivian Vadim (Erica Prior)
An exhaustive distillation of the early aughts CD-ROM disk mag aesthetic, complete with artist and song credits that fade up in the lower left of the screen. An ode to commercialism. A blatant, self-referential ‘sex sells’ advertisement.
Also: impromptu cage fights; sassy lesbian limo drivers; yacht parties; vicarious arousal by way of online portals; a snobby burger fetishist; a fashion first approach to filmmaking; a frankly abnormal amount of rabbits, for some reason; precognition, but limited to bedroom ventures; moped jewel thieves; and so, so, so much more.
Michelle: "Do you live alone?"
Mark: "Everybody lives alone."
Quite possibly the greatest, least discussed, and nearly forgotten film about Los Angeles and its beautifully, tragically endemic culture of twenty-somethings who have abandoned family, friends, and the comforts of home in pursuit of big city dreams. It is a reality that everybody secretly recognizes, but that few would ever openly admit to one another. Life in LA is frequently difficult, at times it is utterly unmanageable, and by default requires…
(Alleged) Worst of 2023 - A Continuing Series to Satisfy Curiosity
Earlier this year, this alleged Bonnie and Clyde coattail-rider played for a week at the Laemmle NoHo (if memory serves). I was tempted to make the trek to go see it, in part because of its rare and remarkable 0% rating on Rotten Tomatoes. I am typically a moth to such flames. Alas, something came up and I didn't end up making it out to see it in during…
Pretty little thing, in want of nothing, except for a sense of self. <3
As composed as both film and subject are, there are other forces at work. In one case, a chemical dependency. In another, the real-life subject as an executive producer. As a result, there's unfortunately almost exclusively only a single point that it seeks to make: Elvis bad. While I don't have any allegiance one way or another, I do question the source and the high potential…
Rewatch with Vincent Gallo’s commentary track from the Japanese home video release. He talks a lot about the start-to-finish booing of the unfinished version exhibited in Cannes; how he positioned a monitor just out of frame, but to match his eyeline, so as to allow himself to compose the shots and serve as cinematographer; and he openly ponders what drove him to spend three years creating a film that (almost) nobody liked, that didn’t make any money, and that has since…