In toto, Errol Morris’ First Person doesn’t feel scattershot; it comes together at the end in mysterious, alchemic, and near-miraculous ways. The television series is a composition of disparate moods, tones, and colors, touching on myriad extremities of the human condition and containing multitudes, but it also has an elusive quality of oneness.
Neither Red Eye nor The Skeleton Key would survive my typical level of indoor scrutiny, but neither sucked, which made the pairing perfect for a Saturday night outdoors with pizza and beer.
I rarely complain that a movie is too short, but Paul Haggis’ Crash is too short. I don’t mean that I didn’t want it to end — quite the contrary. Instead, I mean that at 113 minutes it’s overcrowded, rushed, and skeletal, all to the degree that it’s only intermittently credible.
Forget about the shit, piss, vomit, semen, vaginal mucus, blood, burst boils, incest, abortions, anal sex, oral sex, fisting, bestiality, sex with wounds, anal musical talent, and other pleasantries in The Aristocrats. I wanna talk about editing!
The Constant Gardener is about a guy who finally finds a spine. And he’s part of a film that never does.
The wife and I commissioned a painting of our dog. We asked not for a portrait, but for a painting that included Bad Dog Ginger. This is what we got.
Short-Film Week: The Bar at the End of the Line