Word: films
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Dates: during 2010-2019
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...Dylan Southern and Will Lovelace, “No Distance Left to Run” tells two stories simultaneously: an overview of the band’s original life from 1989 to 2003, and the story of their reunion, including their huge concerts at Glastonbury and Hyde Park. The film is structured rather curiously, frequently interrupting the narrative of the band’s career to show footage from 2009’s warm-up gigs and jumping from the youthful teenage version of the band writing their first album, “Leisure,” to the seasoned...
...dual narrative structure is absolutely critical to the film’s success. Frankly, if “No Distance Left to Run” had been purely chronological, it would have been rather depressing. As the film shows, being in Blur was far from an easy job. Despite the fact that they were one of the most successful bands of the 1990s, Blur seemed to have far more moments of resignation, anger, and bitterness than of elation. Early in their career they lashed out against their record company, the hollowness of grunge culture, and the pervasive influence of America...
What both the film and reunion gigs prove, however, is that all of these troubles no longer need to be dwelled upon. Through a series of interviews with the four band members, “No Distance Left to Run” probes their feelings on their career and reunion, clearly revealing how important getting back together was to all four members. On meeting with Coxon again, Albarn says, “All that rubbish on both sides seemed to have evaporated.” Bassist Alex James talks about playing “Tender” at Glastonbury...
...describes other people’s (and presumably his) experiences with heroin, right around the corner is another gig or interview of the band once again enjoying themselves. Though this focus on redemption could have been cheesy, in reality it’s entirely appropriate. Just as the film shows, Blur’s image was transformed by their reunion. Albarn’s final words at the end of the film perfectly place the focus on how Blur’s camaraderie was restored—“At the end of the day, what we have done...
...Modern Art to witness “24 Hour Psycho”—a video installation by Douglas Gordan exhibited during the summer of 2006—as he has supposedly done every day. As Gordan’s title implies, Alfred Hitchcock’s seminal film has been slowed, and the man relishes the new perspective, the ability to circle the projection screen, scrutinizing and observing in a typically unattainable way. Two men—one old, one young—walk in, and he imagines them to be kindred spirits, sorely interpreting their departure...