This entry was posted on Thursday, June 25th, 2009 at 6:13 pm and is filed under 1, Uncategorized. You can follow any responses to this entry through the RSS 2.0 feed. You can leave a response, or trackback from your own site.
Selected Films
Carefully Selected From The Pool Of Greats
Camp
The principle behind this film looks good and, unusually for this kind of theater, and has some interesting characters (with a couple very talented cast). However, at this point, the quality dropped severely.
The major plot twists were completely developed, some of the unusual, the development of a fundamental misunderstanding of human nature, and the plot twists that were consistent with the character can be seen by next 
miles and fit into the typical clichés of the genre: the fat girl, the parents finally discovered their true value and beauty, when she heard singing, and “ugly” finally found a girl he liked her for it. In general, my impression is that the last time the writer was desperately trying to maintain their own interest in the film die with life - had little hope for mine!
7 Responses to “Camp”
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June 26th, 2009 at 5:58 pm
Dear all
There are thousand shocking heart wrenching pictures from Iran. The questions is how to keep the momentum of the movement.
June 29th, 2009 at 11:56 am
I said Americans don’t have much of a culture, not that the country lacks one altogether. As a matter of fact, in the past, it had a pretty vibrant culture, but that’s been dying off ever since the advent of TV… slowly, at first, but now it’s really getting to the point of no return. Let me just bring up Hollywood films as an example: you used to be able to see all sorts of stuff in the theaters… action, comedy, drama, deep movies, shallow movies, stuff for adults, stuff for kids, cerebral and philosophical stuff, "fun movies", etc. There was something for everyone. However, with the advent of the blockbuster, the tastes of the audience seemed to change, Hollywood got into its "pander to the lowest common denominator" cycle, and now we’re left with mostly crap. Much of American culture (not all, mind you) is going the same way.
July 1st, 2009 at 2:14 am
Modern cinema loves a good drug tale and we have seen everything from the cautionary to the straight up encouraging so just who are the top 10 drug dealers to have pushed their product on audiences across the world…? stoltz … Franco got his break in Judd Apatow’s short-lived cult comedy Freaks and Geeks alongside many Apatow regulars (Rogen, Jason Segel, Martin Starr) and if Pineapple Express is any indication, he should dip his toe in the comedy pool more often. …
July 2nd, 2009 at 6:13 am
Those rules are absolutely horrible.
they are just giving more excuses to kids who don't do their work in the first place and make it completely unfair to the children that work hard for the grades they deserve.
that is flat out wrong.
July 4th, 2009 at 5:20 pm
For the love of God, can no one differentiate a movie with music && a movie musical? They aren’t breaking out into song && dance.
I suggest you read the LA Times article with Todd Graff, maybe then it will enlighten you on what the movie actually is.
Here - learn something.
July 7th, 2009 at 9:28 pm
LONDON - IDS has signed up Momentum Pictures to sponsor content across its Watch, Living and Yesterday channels to promote the DVD release of The Young Victoria in a deal estimated to be worth £100,000.
July 8th, 2009 at 5:55 pm
I think that Wood is on to something, but he paints in overly broad strokes. He scores several very good individual points, but he doesn’t tie them together terribly well.
Its difficult to think of one top-tier painting that aims for a literal, realistic portrayal of reality. Starry Night, the Luncheon of the Boating Party, the Mona Lisa - they all take some recognizable aspect of reality and stylize it for effect. DeLillo’s Mao II and Underworld, Rushdie’s The Ground Beneath Her Feet, and Tom Wolfe’s A Man In Full are no different, really. They’re not all great novels, but all of them are interesting and challenging in their own way. They are art. 1997-1998 was a watershed for American fiction - Philip Roth’s American Pastoral, Don DeLillo’s Underworld, Tom Wolfe’s A Man in Full, Thomas Pynchon’s Mason & Dixon, Cormac McCarthy’s Border Trilogy, and David Foster Wallace’s Infinite Jest, along with Charles Frazier’s Cold Mountain, Michael Chabon’s The Adventures of Kavalier and Clay, and Jonathan Franzen’s The Corrections, which were to come a few years later, marked a sea change in the American novel. For decades, the leading American novelists wrote either metafiction or else small, writerly, ‘navel-gazing’ novels of the sort written by Marilynne Robinson. I happen to love Marilynne Robinson, but things go in and out of fashion, and beginning in the late 90’s it became very fashionable to write big, ambitious, somewhat surreal novels that engaged the social questions the country was facing at the time.
I’m rambling. James Wood makes some good points, but I think he misses the big picture. Then again, he was writing when this was happening, instead of almost a decade later, with the benefit of hindsight. But I’ve enjoyed the direction the American novel has taken, and I think a lot of people are with me on that.