Showing posts with label WTF you guys. Show all posts
Showing posts with label WTF you guys. Show all posts

Thursday, July 28, 2011

Art House in the Middle of the Street #0: The End's Not Near, It's Here


The end is here. The Earth is one continuous, blighted landscape. Fossil fuels are as distant a memory as the great prehistoric beasts from which they originated. The wastes are ruled by marauding psychopathic biker gangs. Either that or a somewhat minor culture blog is calling it quits. I can't quite remember.

Ending a feature mid-stream as I'm doing with Art House is a somewhat disappointing resolution. Then again, I really only proposed the thing so I could have an excuse to watch a Janus movie every week. And because I still own the box, I could ostensibly keep doing that. Chances are, though, that I probably won't.

Why not? With a few purely enjoyable exceptions (Hitchcock's The 39 Steps, Cocteau's Beauty and the Beast), the movies contained in "Essential Art House" aren't what you'd qualify as "easy watches." They can be agonizingly slow (Ozu's Floating Weeds) or terrifyingly sere (Ichikawa's Fires on the Plain).
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Tuesday, July 12, 2011

Art House in the Middle of the Street #16: Fists in the Pocket



There's no grand philosophical project behind Charge Shot!!!'s new feature. Jordasch's mom got him Janus Films' absolutely untouchable Essential Art House box set, and he's going to watch the whole thing. It's a behemoth set, collecting 50 films released since 1956 by one of the first distributors to bring honest-to-goodness world cinema to U.S. shores. The films contained in the collection serve as a crash course in world cinema, encompassing everything from major works of the French New Wave and the Italian Neorealist period to films from lesser-known corners of the filmmaking world, including Brazil and Poland. The collection is 50 discs, weighs 16 pounds, it's dark, and we're wearing sunglasses. Hit it.

Fists in the Pocket (1965; dir. Marco Bellocchio)

Why It's Important: A bit tougher to tell with this one. It's easy to point at films like The Bicycle Thieves or Vertigo and explain the cataclysmic impact they had on the history of film. But with the lesser-known films in Janus' box set - and Fists in the Pocket is assuredly one of them - it's a tougher game. The film's Wikipedia entry tells us that author Rex Pickett (Sideways) cites it as a big influence, though similarities between Alexander Payne's 2004 version of Pickett's novel are tough to spot. Rovi hails it as one of the last great classics of the Italian neo-realist period, but the film's bracingly experimental editing and grim absurdity are a far cry from the level-headed reality of a film like The Bicycle Thieves. But other than that, the film is little-known outside of a small circle of dedicated film buffs and the filmmakers it influenced so heavily (Pier Paolo Pasolini, Bernardo Bertolucci). But they sure seem to love it.
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Saturday, July 2, 2011

Saturday Morning TV: Batdance

GET THE FUNK UP! 

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Wednesday, June 22, 2011

I Pledge Allegiance to the Ads: The Cannes Lions Festival

As anyone even remotely interested in the Advertising Industry should know, it's time for the Cannes Lions  International Festival of Creativity (formerly the Cannes Lions International Advertising Festival, but who wants to limit themselves these days?). As you read this, all the biggest of wigs from the most prestigious ad agencies around the world are gathering in the South of France for awards presentations, workshops, networking, partying, and general patting each other on the backs behavior.

And why not? Advertising is a $300 billion industry. It's the driving force behind what we watch on TV (and why it comes on when it does), what we see on billboards as we drive through the city, what we have to click through while we surf the web, what we hear during the breaks in our Internet radio stations, and what we have to avoid accidentally hitting with our thumbs while we use our mobile phones. It determines pop-cultural phenomena and, whether we like to admit it or not, seriously impacts our actions.

You hear it all the time: advertising is manipulation. But doesn't advertising make use of art (and creativity)? And isn't it true that all art is manipulation - of the mechanisms which trigger human emotion, (to paraphrase Robert Downey Jr. in Tropic Thunder)? But in advertising all that artistic and creative energy is used with the express purpose of supporting the machine of capitalism. Does that preclude advertising from being considered as a true art form? Probably. Does it make ads in themselves any less creative? Not in the slightest.

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Saturday, June 18, 2011

Saturday Morning TV: HBS

The Internet is weird, you guys.

HBS from Eric Fensler on Vimeo.

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Saturday, June 11, 2011

Saturday Morning TV: Windows 386

This was used to sell W-W-W-W-Windows to businesses.

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Saturday, June 4, 2011

Saturday Morning TV: E3 2010 Konami

This year’s Konami press conference wasn’t too exciting. Last year’s was amazing.

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Monday, May 30, 2011

I Climbed The Holy Mountain And All I Got Was This Stupid Blog Post

Growing up I had a friend, let's call him "Max Y." No, too obvious: "M. Yue". M. Yue and I formed what could probably only be described as some sort of buddy comedy, Odd Couple set up: I was the button-down, mild-mannered, all-American good kid and he the wild child, the guy who listened to punk rock and went to Perkins at midnight on weekdays. The kid who got himself and his friends into trouble but never Got In Trouble.

Besides the time I almost got into a fight with a guy at a college hockey game, M. Yue was probably responsible for introducing me to most of the cool things I've ever experienced. It was he who put Kyuss on a mixtape for me (probably the most romantic thing another human being has ever done for me), it was at his house that I first saw Akira. So basically, I take M. Yue's recommendations pretty highly.

He was also the one who forced me to watch Cannibal Holocaust.

This Memorial Day weekend, M. Yue was back in town on leave from the Army, and he asked me, nay he challenged me to watch a film in anticipation of his return. His challenge? The first class mindfuck that is Alejandro Jodorowsky's The Holy Mountain.

Seriously, watch the trailer.


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Saturday, May 28, 2011

Saturday Morning TV: Japanese Horse Racing

I’m still not sure what this is. Just look at those horses.

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Monday, May 16, 2011

A Decade of Dreck #52: Yu-Gi-Oh!: The Movie

Charge Shot!!! is celebrating the end of the decade in the most masochistic way we know how - by watching and writing about the 100 worst movies of the last ten years as defined by film review aggregator Rotten Tomatoes. Click here to see RT's complete list, click here for more information about the Decade of Dreck project, and click here to see all of the movies we've done so far.

I played trading card games in the younger days. Kid Boivin can confess to an out-and-out mastery of Magic: The Gathering, the Star Wars CCG, and Pokémon. Going along with these three games was what I suppose separated them from the standard card games of Poker, Blackjack, and the like: a story. Magic had it's players play the role of dueling wizards ("planeswalkers") and had it's post-Tolkien fantasy story played out through the art and "flavor text" of the cards; each expansion set was an advancement of the story with an accompanying novel, many of which I read. Star Wars and Pokémon of course were both based on pre-existing properties, allowing players to re-enact the events of their favorite stories how they saw fit ("I'm going to train Lando as a Jedi...a dark Jedi!").

I, of course, loved Star Wars to death and watched a whole lot of the Pokémon cartoon as well. So basically, I'm well versed in the sometimes goofy realm of the kids' card game cash-in. I was, however, not prepared for Yu-Gi-Oh!.

My brothers watched Yu-Gi-Oh! after I had outgrown the card game fad and when I was probably older than the anime's target audience so my memories of it consist of the weekly bellows of "BLUE EYES WHITE DRAGON!" emanating from my living room on Saturday mornings. I was expecting a simple tween-centered movie for the show's cinematic debut; I have nostalgia for Pokémon after all, maybe this would register with me in a way it didn't connect with the critics.

Wrong. So very, very wrong.
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Saturday, May 7, 2011

Saturday Morning TV: Japanese Ghost Prank

I think Japanese hidden camera shows are the best hidden camera shows.

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Saturday, April 30, 2011

Saturday Morning TV: Slo-Mo Baby Laughing

Here, I got you this nightmare.

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Wednesday, April 13, 2011

Art House in the Middle of the Street #10: Rashomon


There's no grand philosophical project behind Charge Shot!!!'s new feature. Jordasch's mom got him Janus Films' absolutely untouchable Essential Art House box set, and he's going to watch the whole thing. It's a behemoth set, collecting 50 films released since 1956 by one of the first distributors to bring honest-to-goodness world cinema to U.S. shores. The films contained in the collection serve as a crash course in world cinema, encompassing everything from major works of the French New Wave and the Italian Neorealist period to films from lesser-known corners of the filmmaking world, including Brazil and Poland. The collection is 50 discs, weighs 16 pounds, it's dark, and we're wearing sunglasses. Hit it.

Ways to be philosophical with your movie:

Way 1: Talk about philosophy a lot. Quote from the Bible, preferably the book of Revelation. Have your characters discuss the meaning of life and death. Include a character to personify the latter. Have the death character and the main character interact in some achingly allegorical way. See Seventh Seal, The.

Way 2: Talk about philosophy less. Put together a film that has some philosophical weight but could just be a romping good action movie. Make sure the sum total of your plot points form some kind of coherent philosophical project. Co-opt a beloved modern folk hero. See Dark Knight, The.

Way 3: Don't talk about philosophy. Assemble a beguiling, mysterious scenario. Let us see it from four different perspectives, each as plausible yet doubtable as the next. Give us no hint as to which one is the truth. Tinker with the way we perceive the language of film. See Rashomon.

Seriously, see Rashomon.

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Monday, April 11, 2011

We're as Sad as Hell and We're Not Gonna Take This Anymore! - R.I.P. Sidney Lumet

By now any of you out there with any sort of connection to the wider world will have heard the news that legendary director Sidney Lumet passed away this weekend at the age of 86. He leaves behind one of the most solid and astonishing filmographies of any Hollywood director in the past half decade. 12 Angry Men, Serpico, Dog Day Afternoon, The Verdict, the list goes on. Lumet established himself as one of the best directors for confronting capital i Issues through the use of cinema. And yet he never won an Oscar (except for a lifetime achievement award from the Academy a couple years ago, which is nice I suppose).

By far the most iconic and oft-referenced of Lumet's movies is 1976's television satire Network. Owing much to Peter Finch's famous-for-a-reason "Mad as hell" speech, you see this one get brought out every couple years or so at Oscar montages, and like I said, it's famous for a reason: it's so damn good.

Network is centered around the story of Howard Beale, the primetime news anchor at "UBS" the lowest-rated network in the country. When he receives the word that he's been fired, he suffers what seems to be a nervous breakdown; or is it a prophet's revelation?


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Wednesday, March 16, 2011

Album Review: The Strokes - "Angles"


The Strokes have always been a nostalgia act. Problem is, now they're a nostalgia act for themselves. When the Stroke debuted in early 2001, they sounded like they'd stepped directly out of a time machine bound from the late 60s, when proto-punk acts like Television, the Velvet Underground, and Richard Hell were (not) ruling the airwaves. Frontman Julian Casablancas' songs were always more tuneful than those of his musical forefathers, but they surely shared the same DNA: clipped guitars, tinny drums, those mumble-sung vocals.

But unlike those that came before, the Strokes got big. Really fucking big. I distinctly remember seeing the video for "Last Nite" so many times on MTV (!!!) that I can still remember how many times Fab Moretti hits his drum mic before he knocks it over (3). NME and the rest of the histrionic British music press helped the album rocket to number 2 in the U.K. and number 33 in the States. What was intended as an invocation of good times three decades past became a soundtrack for a new generation's adolescence. The band followed the album up with Room on Fire, a similar-sounding but nonetheless very good record, in 2003.

And then things got weird.

First Impressions of Earth was at best a slight evolution in the Strokes' sound, at worst a muddled, schizophrenic mess, but mostly just weird. Angles takes one more step into crazytown.

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Saturday, February 26, 2011

Saturday Morning TV: We Dare

We Dare is a new game from Ubisoft. It will be released for the Wii, and a two-player version will be available for the Playstation 3.

According to Ubisoft’s press release, We Dare invites players to “use the controllers in the most unusual ways... and enjoy the unique game play designed specifically for the use of the Wii-mote or the Move controller.” Keyword: ‘enjoy.’

You can watch the confusing* trailer below. Then hit the jump for two of my favorite “We Dare” remixes.

The Original
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Thursday, February 10, 2011

Detroit In Peril, Needs RoboCop

robocopWhen the Great Recession laid waste to the American economy, no city was considered a bigger victim than Detroit. The home of the nation’s auto industry suffered greatly as car manufacturer after car manufacturer flew their CEOs on expensive jets to Capitol Hill to beg for money. Even though economists and politicians alike claim we’ve weathered the worst of the storm, things aren’t all hunky-dory in Detroit yet.

They still need RoboCop.

According to an article in the Detroit Free Press, a Twitter user contacted Detroit Mayor Dave Bing (no relation to Chandler, I’m told) to suggest using tax dollars for a statue commemorating Peter Weller’s turn as a cyber-lawman. Bing swiftly dismissed the idea on his Twitter, not knowing that the user intended it as a joke.

Well, Detroit certainly doesn’t think it’s a joke. Not willing to take the Mayor’s “No” for an answer, citizens of the Motor City are mobilizing to raise money for a RoboCop statue. John Leonard is one of a handful leading the charge (join the cause here) and with good reason, as he told the Free Press:

“RoboCop is something that people have a really strong emotional connection to. This really is going to happen.”

I hope you’re right, John, or else you better starting cracking on that Terminator statue for LA.

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Wednesday, January 26, 2011

Art House in the Middle of the Street #2: The Seventh Seal


There's no grand philosophical project behind Charge Shot!!!'s new feature. Jordasch's mom got him Janus Films' absolutely untouchable Essential Art House box set, and he's going to watch the whole thing. It's a behemoth set, collecting 50 films released since 1956 by one of the first distributors to bring honest-to-goodness world cinema to U.S. shores. The films contained in the collection serve as a crash course in world cinema, encompassing everything from major works of the French New Wave and the Italian Neorealist period to films from lesser-known corners of the filmmaking world, including Brazil and Poland. The collection is 50 discs, weighs 16 pounds, it's dark, and we're wearing sunglasses. Hit it.

One of the biggest pitfalls of taking on a project like this is how well-tread some of the ground is. Last week's entry covered a little-seen Polish film by a director who isn't Roman Polanski, so I had some more room to stretch. Nobody's going to fault me for seeming trite in my discussion of a film that practically no one has seen.

That is far from the case with Ingmar Bergman's canonical 1957 film The Seventh Seal. So much ink has been spilled picking apart the metaphorical import of the film's images: the knight's chess game with Death; Death leading his charges in the danse macabre at the end of the film; the knight's confession in the country church. Some of these images are so indelible, in fact, that they've been parodied in films and TV shows mostly watched by people who've never heard of Ingmar Bergman. So what to do, other than continue to flog an already battered dead horse?
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Saturday, January 22, 2011

Saturday Morning TV: Phoenix Jones

Oh man, Phoenix down!

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Wednesday, January 12, 2011

Stop, stop, stop, stop hurting America's movies


The A.V. Club is reporting that Hollywood's latest arcade-inspired abortion to be foisted upon unsuspecting Americans is an adaptation of Atari's I-guess-you-can-call-it-legendary Missile Command. I know what you're thinking: the game must have some heretofore unrevealed backstory involving political intrigue or offer philosophical musings on the role of artificial intelligence in national defense, a la Philip K. Dick.

Well, fictional reader, you're dead wrong. Missile Command is still the arcade game probably none of our readers remember playing at the arcade where you use the trackball to shoot down a never-ending stream of ballistic missiles from what the A.V. Club calls the "vaguely mammarian" command center (that means it looks like a tit). It's a relic from a time when video game storytelling was considered sophisticated if the games, you know, had a story.

So it's perplexing that 20th Century Fox has decided to adapt the game for film. Perplexing, but not altogether surprising. After all, it's the latest in a line of inexplicable adaptations of arcade games/properties with no discernible narrative, including Peter Berg's adaptation of Battleship (starring Rihanna and LIAM NEESON GAH HOW IS THIS A THING) and Asteroids. Screenwriters Matt Sazama and Burk Sharpless (apparently taking a break from antagonizing the Power Rangers) are slated to pen the script. They're responsible, by the way, for the upcoming reboot of Flash Gordon and the sure-to-not-defile-a-classic Dracula: Year Zero.

The whole thing seems completely unfathomable until you take a look at the producers' credits. Direct your complaints to Peter Chernin, the erstwhile COO of News Corp. and current corporate director of American Express. Who else could come up with such a terrifically shitty idea and have the money to bankroll it but a corporate mogul with no film experience?

Come on, Pete. Hollywood has enough of a problem making adaptations of video games with stories successful. Let's not make things even worse for ourselves. Continue...