ElectroLund

There’s something extremely fascinating about those rare individuals who function on a higher plane, however dysfunctional or detached from the rest of society. The art world, as any other, knows its prodigies and outsiders alike. Here a few good documentaries that cover a wide range of such people.

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Rating: vs. Rating:
I suppose the comparison was inevitable, if not obvious. The new documentary Protagonist by Jessica Yu finds a good template in Errol Morris’ opus Fast, Cheap & Out of Control.

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Here are a series of reviews I started as a bit of a challenge. The idea was to write the entire review in ten (hence, “decuple”) words or less. I considered the movie title to count as only one word. Oh, and sometimes I had to get clever with hyphenated words to keep the word count down as well. Much harder that it seems.
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It’s been a long time since a movie scene made me honestly cringe under my collar out of anxiety.
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Leave it to comic books and American noir to spark an international dialog.

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Both are arty, but differ in delivery: vague impressionism versus creepy surrealism.
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The difference between these films is like the difference between mere artistic license and historical revisionism: pageantry and fraud.
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Where Dark City is visual escapism, The Matrix is testosterone brain candy!
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If anyone can make 70s Italian splatter movies mainstream, Hopkins can.
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If I had any idea what I was in for with this double feature, I would never have entered the theater.
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Fortunately, filmmaking is generational. Scorsese’s baton has not fallen by Fincher.
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These films find disparate people in desperate situations, and the frailty of human standards and spirits.
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When they call Election “wicked satire,” they mean it. Rushmore wasn’t half as crass yet twice as funny.
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That both of these successful films are independent gives one a giddy sense of grass roots pride.
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Ushering in the new millennium of horror movies, one of these films is mighty, the other mediocre.
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