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...place in the heart, at least a somewhat anxious acknowledgment that something is indeed going on here. Fast, funny and literally furious, the Elvis to Dr. Dre's Sam Phillips gives a whirlwind tour of a seriously conflicted young superstar's mind, while holding up an in-your-face mirror to the public's idolatrous expectations. His hostility comes off as personal beefs directed at particular individuals rather than undifferentiated hatred - there's as much confession here as declamation - and if the cinematic depictions of violence are disturbing, so are Martin Scorsese's, only Marty doesn't usually make...
...comedy that Soderbergh shot back home in Baton Rouge. It's become a kind of cult favorite on video, a thoroughly nonsensical piece of work written by, directed by and starring Soderbergh, who spends a long sequence in the movie contorting his normally deadpan face in front of a mirror. It also features two characters who speak gibberish to each other for no apparent reason. In other words, it's a film best enjoyed with a fast-forward button close at hand. But for Soderbergh, it was "my second first film. It was an explosion. I wanted to stop being...
Within 24 hours, the U.S. Supreme Court weighed in with a bitterly divided blockbuster of its own: a 5-4 order directing the Florida canvassing boards to halt the recounts. Once again, the reaction was divided and partisan, but flipped in a fun-house mirror. This time, it was the Bush camp's James Baker saying it was "very, very gratifying" that the U.S. Supreme Court had "indicated a willingness and an interest in hearing this very, very important case." And it was the Gore campaign charging that a court was trying to hijack the will of the people...
...look back...well, why look back? The technological revolution has no rearview mirror. We have not only seen the future, we've moved into it. Yesterday is history. Familiar forms will disappear. Who needs fiction when we have Survivor and the Florida Supreme Court? And new formats will change what designer Bruce Mau calls "the global image economy." Soon the multiplexes will go digital; "films" will no longer exist. We're already consuming e-books, e-movies, e-music. Egad...
After repeated listenings, however, it becomes apparent that while an undeniably solid album, Holy Wood is far too reminiscent of Antichrist Superstar. This is especially obvious in the syncopated, headbanger beat of current single "Disposable Teens," a near mirror-image of "The Beautiful People." Rather than reinvent his band a third time, Manson has instead chosen to tweak and polish that former album's brand of Gothic-flavored industrial riffage. Holy Wood's ultimate downfall is its refusal to take risks; as such, it's an anticlimactic conclusion to an interesting cycle. B- -Ryan...