text:
A Black-and-White Phone Book: Control
Watching Anton Corbijn's sumptuously shot Control, the wisdom of Werner Herzog filled my head.
Watching Anton Corbijn's sumptuously shot Control, the wisdom of Werner Herzog filled my head. Responding to charges that he took far too many liberties with real-life events in Rescue Dawn, Herzog responded that "if you're purely after facts, please buy yourself the phone directory of Manhattan. It has four million times correct facts. But it doesn't illuminate."
And this is the problem with Corbijn's film version of the life of Joy Division's doomed front man Ian Curtis, based on the book Touching from a Distance by his widow Deborah. On the surface, Corbijn seems the perfect choice to direct the material. After all, he was there—the photographer on the scene during Manchester's musical heyday, shooting Joy Division and other bands in the same signature style he'd later apply to music videos for Depeche Mode and U2 among others. But it turns out that this insider knowledge is actually Corbijn's Achilles heel. He's too close to his subject, so concerned with taking Ian Curtis down from the cross of rock martyrdom and returning him to everyman's land that he's unwilling to diverge from the absolute facts. Corbijn has given us a stark, tactile black-and-white phone book, his gorgeous near-noir lighting casting sharp shadows in lieu of illumination.
The result brings to mind Tom Kalin directing for the Lifetime network, the script never rising to the artistic level of the visual. Even Joy Division's complicated, transcendental music is reduced to simple accents on predictable scenes. "Love Will Tear Us Apart" is heard after Ian tells Debbie he doesn't love her. "Isolation" is played with Ian singing alone behind a soundproof window, isolated from his mistress Annik on the other side. "She's Lost Control" follows a shot of Ian writing the song's title in a notepad. And so on until Corbijn ends with "Atmosphere" (the video of which he himself directed after Ian's life ended). This is not a film. It's the visualization of a set list.
Ironically, Corbijn's noble impulse to drain the rock star out of Ian Curtis—to humanize through a straightforward narrative approach—has drained the life out of the man as well. Indeed, Control can be summed up by the equation "gloomy Manchester plus epilepsy plus bizarre love triangle equals suicide." Unfortunately, people are not that simple—and the epileptic, Bowie-worshipping poet who became the lead singer of a band whose influence continues to this day was most certainly not that simple. To portray things as they happened without delving beneath the surface, without letting fiction tease the truth from fact, does a disservice to Ian Curtis and Joy Division's music.
Todd Haynes knew better than to tackle Bob Dylan head-on in his forthcoming, nonlinear tribute to the musical chameleon, I'm Not There. I wonder why Corbijn didn't choose a similar path in portraying Ian Curtis. Alex Cox's Sid and Nancy and Michael Winterbottom's 24 Hour Party People both went beyond the cold dreariness of British life in the 70s to expose the explosive, communal spirit of its music scene, a force that shook youth around the world. Corbijn does show how powerful a figure Ian Curtis was by including a scene in which a riot occurs after Joy Division takes to the stage minus its mentally unstable front man. Unfortunately, we're never quite sure why Corbijn's "everyday bloke" is so venerated. (In fact, by minimizing band mates Bernard Sumner and Peter Hook as characters, Corbijn is actually elevating the mythic stature of Curtis.) That Ian Curtis was the "man behind the music" is absurd, evidenced by the birth of New Order after his death. What caused the riot was the splintering of the collective subconscious that was Joy Division, of which Ian Curtis was its face and voice. But this context is lost.
Corbijn wants the audience to relate to Ian Curtis, not to elevate him, but he takes such great pains to demonstrate how "normal" he was that his eventual suicide seems to come out of nowhere. The filmmaker shows us someone experiencing the ups and downs of life, but does not reveal the tipping point, that moment when depression turns to desperation. Curtis may have been unknowable, but then again, that's what art is for—to fill in those mysterious gaps. Control is a beauty to behold, but if it's illumination you're after, I suggest curling up with Touching from a Distance while listening to The Warsaw Demo.
Brooklyn-based writer Lauren Wissot is the publisher of the blog Beyond the Green Door, the author of the memoir Under My Master's Wings, and a contributor to The Reeler.
The 25 Best Films of 2019
Many of the best films this year are concerned with indulgent, unbridled madness, offering formal excess as a parallel to our modern cacophony.
This was a great, if bleak, year for cinema, full of mixed signals. As Disney consolidates a monopoly on popular culture, aided by a government that cheers corporate overreach, there are still too many scrappy, visionary films to count. Many such films were distributed by streaming sites like Amazon and Netflix, the latter of which is beginning to suggest 1990s-era Miramax, in terms of making fruitful risks that refute the mega-blockbuster mentality. But there's a growing disconnect, between what's available for most people to see and what critics champion, that parallels our era of growing political polarization.
More than ever, we live in an era in which people choose their own news and are hyper-focused on their own niches, which offers a paradox: While there's freedom in such a lifestyle, it's also deeply isolating. This context partially explains the exhilaration of Martin Scorsese's The Irishman and Noah Baumbach's Marriage Story, insular works that, in their popularity and acclaim, recall the audience-unifying glories of '70s-era American pop cinema, and of Once Upon a Time…in Hollywood, an intoxicating, perhaps reactionary fantasy that rues the fading of a diseased patriarchal life that was nevertheless responsible for the comforts of pop culture.
Quentin Tarantino's tender and transcendent film is, most explicitly, a paean to Hollywood's ability to control an undivided public's attention via he-men westerns and musicals and TV arcana. Tarantino, dangerously and daringly, glorifies a less obviously political cinema, implicitly regretting the divisions that would mark the '70s and the present. Such division fueled movies this year, that, while troubling, were undeniably in sync with America's bitter underbelly, such as Todd Phillips's Joker, Clint Eastwood's Richard Jewell, the Safdie brothers' Uncut Gems, and S. Craig Zahler's Dragged Across Concrete.
Many of the best films this year are concerned with indulgent, unbridled madness, offering formal excess as a parallel to our modern cacophony. One example is Harmony Korine's extraordinary, absurdly overlooked The Beach Bum, a lurid and beautiful poem of privilege and self-absorption. Another is Bong Joon-ho's smash hit Parasite, which suggests that every oppressed person oppresses someone lower on the food chain. This year, as political divisions deepen, cinema became more and more inventive with satirizing capitalism while simultaneously rendering its narcotic charms. There were also moments of immersive tranquility and introspection, offered by Donal Mosher and Michael Palmieri's The Gospel of Eureka, Bi Gan's Long Day's Journey Into Night, and Khalik Allah's Black Mother, among others.
Do we suffer from too much? Are there too many films, too many hot takes, too much detritus to wade through? In an age of endless excess, the critic's, and the audience's, job is to discern patterns and meanings, to whittle chaos down to manageable stimuli. The best films of the year found artists grappling with this very chaos, mining the emotion of the spectacle of the political. Chuck Bowen
Click here for individual contributor ballots and a list of the films that ranked 26–50.
25. The Gospel of Eureka
In 2014, Eureka Springs became the first city in Arkansas to issue marriage licenses to same-sex couples. Donal Mosher and Michael Palmieri's The Gospel of Eureka doesn't mention this fact, nor does it seek to explain why a town deeply rooted in Christian faith also has an outsized population of gay and non-binary citizens. The documentary isn't a study of juxtaposition so much as an exploration of how the many strands of a person or location's identity can't easily be disentangled. Eureka Springs, both haunted by and economically beholden to the legacy of noted Christian nationalist Gerald L.K. Smith, proves a vivid backdrop through which to explore how neighbors overcome difference and embrace progress. Like October Country, Mosher and Palmieri's latest is uniquely attuned to the fickle whims of history, politics, and biographical circumstance. Where their earlier film wondered how both the economics and personal trauma of war reverberated through a family struggling with decades of abuse, despair, and rebellion, this one communicates an atmosphere of persistent connection despite seemingly incongruous belief systems and lifestyles. The Gospel of Eureka's overriding theme is mutability, and its one true enemy seems to be any form of dogmatism. Christopher Gray
24. Chinese Portrait
As a recording apparatus, the camera no longer disturbs or announces its presence. It's a ghost in the room, as banal as a limb. Xiaoshuai Wang restores the exceptional status of that most revolutionary of technical devices in Chinese Portrait, a series of short-lived tableaux vivants for which the gravitational pull of the camera is re-staged. The simplicity of bodies barely moving before a camera that brings their quotidian temporality into a halt is nothing short of a radical proposition in our digital era—in the context of a culture obsessed with using cameras precisely as anti-contemplation devices, and a film industry still so invested in producing artificial drama in order to tell its stories. In Chinese Portrait, there's no need for storylines, tragedy, or spectacle for drama to emerge. The drama is in the minutia of the mise-en-scène, in the gap between bystanders who return the camera's gaze and those who don't. The drama is in the camera's de-escalating force, its ability to refuse the endless excitation it could provide in favor of one little thing: elderly people stretching in a park, black and brown horses in a field, two of them licking each other's backs. This is the camera not as a Pandora's box, but as a sharp laser beam with curatorial intentions. Diego Semerene
23. The Competition
Claire Simon's The Competition follows the rigorous selection process for Paris's iconic film and television school La Fémis, which every year accepts 60 new students, out of some 1,000 applicants. Throughout, Simon's camera quietly observes the various phases of the selection process, aware that to best capture the anxiousness of a moment is to not embellish it. As a result, we come to take great pleasure in watching the most menial of tasks, such as a committee member counting numbers or checking boxes on a form. While those responsible for the selection process keep things mostly courteous among themselves during deliberations, it's precisely when conflict emerges around a candidate that we realize how gracious Simon is with her subjects. It would have been easy to play up the drama or drum up miserabilist tales around the high hopes of candidates and the frustrations that follow. Simon focuses instead on how candidates trying to make a case for themselves are often self-contradicting, and as such difficult to truly assess; the film is also about the impossibility of objective criteria when it comes to such matters. The truly awful performances are never shown, only referred to in passing after they happened. This isn't some reality show that allows us to revel in schadenfreude or root for charismatic underdogs. Semerene
22. Ad Astra
Throughout Ad Astra, James Gray uses the grand metaphors of science fiction to mourn the distance between a father and son that's so often internalized as self-alienation. This repression, Gray underlines, has utility in a rationalized society: Roy McBride (Brad Pitt) is the perfect astronaut because nothing unnerves him, as testified to by his diligently recorded pulse rate, oxygen levels, and the other defining statistics of his thoroughly technologized body. The inhuman coldness his father, Clifford (Tommy Lee Jones), foisted upon him is precisely what enables him to survive his epic quest from Earth to Neptune. Among Ad Astra's more universal themes is coping with and moving beyond the sins of previous generations, with overtones that evoke the climate catastrophe that global capitalism has prepared for us. When Roy finally finds his elusive target, floating out there somewhere around the rings of Neptune, Gray captures a heartbreak that will be familiar to many: a confrontation between a grown son and his erstwhile hero, both appearing suddenly small, frail, and all too fallibly human. Pat Brown
21. Climax
Gaspar Noé's Climax reminds us how pleasurable it can be when a filmmaker essentially discards plot for the sake of unhinged formalism. The film works on two levels, as it's a celebration of body and movement, featuring astonishing and painful-looking choreography, as well as an examination of the sexual resentment that drives a mixed-race dancing troupe. In early passages, actors more or less speak to the camera, a device that suggests a blunt clearing of the air. Later, when the dancers succumb to the effects of LSD-spiked sangria, Climax becomes a brilliant fever dream, an orgy of raw, flamboyantly colored psychosis that's truer to the spirit of Dario Argento's Suspiria than Luca Guadignino's recent remake. Above all else, Climax feels pure, as Noé cuts to the root of his obsession with the intersection between sex, violence, and power. It's a horror musical of hard, beautiful nihilism. Bowen
Slant's Best Films of 2019: The Runners-Up and Individual Ballots
These are the films that just missed making it onto our list of the best films of 2019, and our contributors' individual ballots.
From Chuck Bowen's introduction to Slant Magazine's Top 25 Films of 2019: "This was a great, if bleak, year for cinema, full of mixed signals. As Disney consolidates a monopoly on popular culture, aided by a government that cheers corporate overreach, there are still too many scrappy, visionary films to count. Many such films were distributed by streaming sites like Amazon and Netflix, the latter of which is beginning to suggest 1990s-era Miramax, in terms of making fruitful risks that refute the mega-blockbuster mentality. But there's a growing disconnect, between what's available for most people to see and what critics champion, that parallels our era of growing political polarization." Click here to read the feature and see if your favorite films of the year made our list. And see below for a list of the films that just missed making it onto our list, followed by our contributors' individual ballots.
The Runners-Up:
26. The Plagiarists
27. Portrait of a Lady on Fire
28. The Lighthouse
29. What You Gonna Do When the World's on Fire?
30. End of the Century
31. Ray & Liz
32. The Wild Pear Tree
33. Honeyland
34. In My Room
35. Agnès by Varda
36. Her Smell
37. Dragged Across Concrete
38. The Image Book
39. Diane
40. Asako I & II
41. I Lost My Body
42. Gemini Man
43. Shadow
44. In Fabric
45. Us
46. The Mountain
47. Our Time
48. Little Women
49. The Dead Don't Die
50. Diamantino
The Ballots:
Chuck Bowen
1. The Irishman
2. An Elephant Sitting Still
3. Her Smell
4. The Beach Bum
5. Diane
6. Once Upon a Time in Hollywood
7. Marriage Story
8. Pain and Glory
9. Climax
10. The Competition
Honorable Mention: High Flying Bird, One Child Nation, American Factory, The Souvenir, Grass, Ray & Liz, Dragged Agaainst Concrete, Uncut Gems, The Gospel of Eureka, Ash Is Purest White
Pat Brown
1. Portrait of a Lady on Fire
2. Uncut Gems
3. Peterloo
4. Marriage Story
5. Midsommar
6. The Gospel of Eureka
7. The Farewell
8. The Souvenir
9. Transit
10. Ad Astra
Honorable Mention: Last Black Man in San Francisco, The Irishman, Long Day's Journey into Night, Ash Is Purest White, John Wick 3: Parabellum, The Beach Bum, Knives Out, Luce, Synonyms, Us
Jake Cole
1. Ash Is Purest White
2. Uncut Gems
3. The Irishman
4. High Life
5. La Flor
6. The Souvenir
7. An Elephant Sitting Still
8. Parasite
9. Transit
10. Black Mother
Honorable Mention: I Do Not Care If We Go Down in History as Barbarians, Ad Astra, Long Day's Journey into Night, Pain & Glory, A Hidden Life, Asako I & II, The Wild Pear Tree, Little Women, End of the Century, A Beautiful Day in the Neighborhood
Clayton Dillard
1. Uncut Gems
2. Climax
3. Once Upon a Time…in Hollywood
4. La Flor
5. High Life
6. Ash is Purest White
7. Pain & Glory
8. In My Room
9. Gemini Man
10. The Competition
Honorable Mention: Ad Astra, Atlantics, The Beach Bum, A Beautiful Day in the Neighborhood, Black Mother, Diamantino, Marriage Story, Ray & Liz, The Silence of Others, Under the Silver Lake
Ed Gonzalez
1. Transit
2. Long Day's Journey into Night
3. A Beautiful Day in the Neighborhood
4. Black Mother
5. Ad Astra
6. Peterloo
7. The Competition
8. Ray & Liz
9. The Irishman
10. Climax
Honorable Mention: The Souvenir, An Elephant Sitting Still, Parasite, Asako I & II, End of the Century, Marriage Story, The Gospel of Eureka, The Beach Bum, Dragged Across Concrete, The Plagiarists
Christopher Gray
1. Transit
2. Atlantics
3. Parasite
4. Long Day's Journey Into Night
5. Once Upon a Time…in Hollywood
6. I Do Not Care if We Go Down in History as Barbarians
7. Us
8. End of the Century
9. Ash is Purest White
10. Dark Waters
Honorable Mention: Ad Astra, Asako I & II, A Beautiful Day in the Neighborhood, Black Mother, An Elephant Sitting Still, La Flor, Gemini Man, The Irishman, The Souvenir, Uncut Gems
Wes Greene
1. Uncut Gems
2. Marriage Story
3. Once Upon a Time…in Hollywood
4. La Flor
5. Transit
6. A Hidden Life
7. In My Room
8. Portrait of a Lady on Fire
9. End of the Century
10. Ash Is Purest White
Honorable Mention: Ad Astra, Diane, An Elephant Sitting Still, Her Smell, The Image Book, Parasite, Peterloo, The Plagiarists, The Souvenir, What You Gonna Do When the World's on Fire?
Oleg Ivanov
1. I Do Not Care If We Go Down in History as Barbarians
2. The Lighthouse
3. A Hidden Life
4. To Dust
5. Shadow
6. In Fabric
7. Pain & Glory
8. Aniara
9. Parasite
10. Rolling Thunder Revue
Honorable Mention: The Mountain, Diamantino, Rezo, The Wild Pear Tree, Marianne & Leonard: Words of Love, Her Smell, Birds of Passage, Hail Satan?, Leto, The Silence of Others
Joshua Minsoo Kim
1. The Plagiarists
2. An Elephant Sitting Still
3. Chinese Portrait
4. What You Gonna Do When the World's on Fire?
5. Uncut Gems
6. I Do Not Care If We Go Down in History as Barbarians
7. Parasite
8. Suburban Birds
9. Black Mother
10. Marriage Story
Honorable Mention: Atlantics, Grass, Honeyland, The Irishman, The Lighthouse, Non-Fiction, Our Time, Portrait of a Lady on Fire, Ray & Liz, Varda by Agnes
Carson Lund
1. Transit
2. The Irishman
3. The Souvenir
4. A Hidden Life
5. What You Gonna Do When the World's on Fire?
6. The Plagiarists
7. The Mountain
8. Ray & Liz
9. The Beach Bum
10. Dragged Across Concrete
Honorable Mention: The Hottest August, Dark Waters, Marriage Story, Atlantics, Empty Metal, Uncut Gems, Long Day's Journey into Night, Ad Astra, High Life, Our Time
Sam C. Mac
1. Ash Is Purest White
2. Once Upon a Time…in Hollywood
3. Waves
4. Chinese Portrait
5. The Beach Bum
6. Uncut Gems
7. Asako I & II
8. The Gospel of Eureka
9. A Hidden Life
10. Pasolini
Honorable Mention: Long Day's Journey into Night, Grass, 3 Faces, Peterloo, Our Time, Transit, The Plagiarists, Shadow, In Fabric, Suburban Birds
Niles Schwartz
1. The Irishman
2. Once Upon a Time…in Hollywood
3. The Souvenir
4. A Hidden Life
5. Pain & Glory
6. Peterloo
7. Atlantics
8. Climax
9. The Dead Don't Die
10. Transit
Honorable Mention: Ad Astra, Black Mother, Diane, Dragged Across Concrete, High Flying Bird, Marriage Story, Parasite, Portrait of a Lady on Fire, Rolling Thunder Revue, Uncut Gems
Diego Semerene
1. Agnès by Varda
2. The Wild Pear Tree
3. I Lost My Body
4. Ash is Purest White
5. The Competition
6. Chinese Portrait
7. Parasite
8. Sauvage
9. I Do Not Care If We Go Down in History as Barbarians
10. Honeyland
Honorable Mention: Long Day's Journey into Night, 3 Faces, Atlantics, What You Gonna Do When the World Is on Fire?, Knife + Heart, Non-Fiction, Celebration, The Image Book, Black Mother, Portrait of a Lady on Fire
Derek Smith
1. Uncut Gems
2. La Flor
3. Transit
4. The Souvenir
5. Parasite
6. Atlantics
7. Once Upon a Time…in Hollywood
8. Long Day's Journey Into Night
9. A Beautiful Day in the Neighborhood
10. The Beach Bum
Honorable Mention: Ad Astra, Ash is the Purest White, Black Mother, Diamantino, A Hidden Life, High Life, Honeyland, The Hottest August, The Irishman, Marriage Story
Keith Uhlich
1. Peterloo
2. A Beautiful Day in the Neighborhood
3. La Flor
4. The Irishman
5. Pain & Glory
6. Domino
7. The Gospel of Eureka
8. Chained for Life
9. Under the Silver Lake
10. Atlantics
Honorable Mention: The Dead Don't Die, The Farewell, Gemini Man, A Hidden Life, High Flying Bird, Knives Out, In Fabric, Our Time, Shadow, Transit
Keith Watson
1. Parasite
2. Uncut Gems
3. The Image Book
4. The Lighthouse
5. Once Upon a Time…in Hollywood
6. High Life
7. I Do Not Care If We Go Down in History as Barbarians
8. The Irishman
9. The Gospel of Eureka
10. Honeyland
Honorable Mention: Ash Is Purest White, Chinese Portrait, Climax, Cold Case Hammarskjöld, Hustlers, Long Day's Journey into Night, The Mountain, Our Time, Los Reyes, The Souvenir
Review: Seberg Is an Ill-Defined Ode to an Icon of the French New Wave
Throughout, the filmmakers occlude the most fascinating and potentially powerful elements of Jean Seberg's history.2
During her return to Hollywood in the late 1960s, Jean Seberg became a visible supporter of the Black Panther Party. This put her on the watch list of J. Edgar Hoover's F.B.I., and, hounded by their surveillance and muckraking, she would die of an apparent suicide in 1979. It's a tragic story, but on its face, it's not material for a political thriller, even if Benedict Andrews's Seberg tries halfheartedly to make it one.
In transforming Seberg's life into a plot-heavy narrative of secrets, intrigue, and betrayals, the filmmakers occlude the most fascinating and potentially powerful elements of her history. And, along the way, they do something of a disservice to the actress's memory by stopping short of depicting her tragic end—concluding the film, of all places, at the end of a redemptive arc for Jack Solomon, an F.B.I. agent played by Jack O'Connell.
Kristen Stewart plays Seberg as a basically honest but somewhat impulsive woman whose fragility is almost always apparent, given the unsteady gazes and fidgety movements that are Stewart's trademarks as an actor. It's a performance that lacks a certain specificity. Even if Seberg suffered from doubts, she could put on a certain small-town Midwestern solidness, as is apparent in interviews from the '60s. Stewart's indifferent imitation of the real Seberg's diction-coach-inflected Midwestern accent also sticks out for its inconsistency, constantly pulling the viewer out of 1968 and muddling our sense of who this woman is meant to be.
But if Stewart's Seberg is vaguely drawn, she's a Rembrandt portrait in comparison to the cardboard F.B.I. agent that Andrews and screenwriters Joe Shrapnel and Anna Waterhouse construct as the secondary main character. The film constantly intercuts between Seberg's activism and bid for Hollywood stardom and Solomon's surveillance of and growing sympathy for her. A decent, milquetoast G-man, Solomon essentially exists here to recuperate the image of the F.B.I., even as he's portrayed as being in charge of the campaign against Seberg. While his hypermasculine colleagues trade racist jokes and exploit their male privilege—patently illustrated in an extraneous scene in which his partner, Carl (Vince Vaughn), essentially commits domestic abuse over dinner—Solomon is set up as the idealized model of an F.B.I. agent, a consummate professional interested only in uncovering crimes.
Admittedly, some of the more interesting parts of Seberg come from Solomon's research: As he watches iconic moments from the actress's career, recreated by Stewart, he begins to assemble a portrait of a woman damaged by both Hollywood's and the federal government's efforts to control her life. In scenes that might have had more impact if either character had more definition, Seberg imprints herself on Solomon through black-and-white footage and surveillance tapes, and, at times, Seberg gestures toward a Hollywoodized version of The Lives of Others. Eventually, Solomon begins informing on himself, making anonymous phone calls to Seberg to tell her she's under watch. But Solomon is too conveniently good, too isolated from the reactionary "boy's club" culture of the F.B.I., for his transformation to carry much weight. Furthermore, this fabricated character functions to glom a handy moral redemption onto a story that would not appear to have many good feels readily available to it.
In fact, there's much here that feels too convenient. For one, the filmmakers downplay the radicalness of supporting the Black Panther Party and their allies in 1968. The story is told from a perspective in which lending such support is almost transparently the right thing to do, even if it flies in the face of Hoover's F.B.I. This is admirable, in a sense, but it gives us little impression of the tumult and uncertainty of American society in the late '60s. For a film about a period of unrest and the icon at the center of Godard's aesthetically groundbreaking Breathless, it's also markedly conventional. Andrews plays it safe with his framing and storytelling, not capturing much of a sense of atmosphere in his depiction of a society and a Hollywood institution undergoing waves of turmoil and reorganization.
Furthermore, the filmmakers' choices regarding narrative focus are telling: Solomon's half of the story drives the most important pieces of the plot—since it's the surveillance that ruins Seberg's relationships and fractures her sanity. Meanwhile, her lover, the black radical Hakim Jamal (Anthony Mackie), and his wife (Zazie Beetz) are turned into functionaries of the main white characters. Surely these historical figures, too, experienced mental anguish at the hands of the F.B.I.'s surveillance apparatus, but their oppression, when discussed here, becomes mere background to Seberg's breakdown. Once again, black liberation becomes white people's story, as Seberg's connection with a movement composed principally of black people is subordinated to the film's gratuitous interest in planting a good man in the F.B.I. Unable to imagine and unwilling to explore what oppression truly feels like, it contents itself with saying the right things and centering white people as the sole agents of history.
Cast: Kristen Stewart, Jack O'Connell, Anthony Mackie, Margaret Qualley, Zazie Beetz, Yvan Attal, Vince Vaughn, Stephen Root, Colm Meaney, Gabriel Sky Director: Benedict Andrews Screenwriter: Joe Shrapnel, Anna Waterhouse Distributor: Amazon Studios Running Time: 96 min Rating: R Year: 2019
Review: Black Christmas Takes a Simplistic Stab at the Battle of the Sexes
Sophia Takal's remake elides the thorny, complicated nature of the original's sexual politics.1.5
Bob Clark's 1974 Canadian horror classic Black Christmas depends, for effect, on the terrifying unknowability of its killer, and delights in a twisted web of psychosexual tensions. As a proto-slasher film set in a sorority house, it's also surprisingly celebratory of female agency and empowerment, particularly through its normalized depiction of women discussing abortion a mere five years after Canada officially legalized the procedure. Sophia Takal's remake, however, elides the thorny, complicated nature of the original's sexual politics, transforming what was once a terrifyingly ambiguous male threat upon unsuspecting women into an explicit and hackneyed embodiment of the patriarchy itself in the form of a fraternity of hooded, Skull and Bones-esque alpha males.
Takal and co-screenwriter April Wolfe obviously aim to update Black Christmas for the Me Too era, but they settle for hollow wish fulfillment rather than meaningful social critique. When Kris (Aleyse Shannon), the most politically active of the core group of sorority girls in the film, steps up to a group of emphatically evil frat boys—"You messed with the wrong sisters!"—it's apparent that the filmmakers are less interested in actually dissecting the precepts and effects of college rape culture and the patriarchal dominance still coursing through our institutions of higher learning than they are in clumsily upending that male authority with increasingly pedantic signposts of "don't tread on me" girl power.
It's a shame because Takal exhibits a deep sensitivity toward her main protagonist, Riley (Imogen Poots), which is particularly evident in the film's depiction of the young woman's trauma from being drugged and raped three years ago by Brian (Ryan McIntyre), the former president of DKO, Hawthorne College's most prestigious fraternity. It's both moving and amusing to see Riley, after years of not being believed, and several of her sorority sisters perform a clever twist on "Up on the Housetop" at DKO's Christmas party, for the way it calls out rape culture and deliberately embarrasses Brian upon his return to campus. But following this scene, Black Christmas's condemnation of toxic masculinity is dulled as it goes about painting both its male and female characters in broader and broader strokes.
Carey Elwes's misogynist Professor Gelson, who'd be twirling his mustache if he had one, is a virtual clone of acclaimed psychologist Jordan Peterson, and he's surrounded by a fleet of interchangeable, cartoonishly villainous dudebros involved in some shady dealings at DKO that shift from the harmlessly cliché to the patently absurd. The women of this remake don't exactly fare much better, as they're constantly lauded for their strength and loyalty—most ridiculously in a lengthy digression during which the sorority sisters are compared to ants—yet with the exception of Riley, they never rise above their paper-thin conceptions.
The filmmakers' overly simplistic depiction of good and evil is mitigated to some degree by the presence of Landon (Caleb Eberhardt), the awkward white-knight character whose compassion and respect for Riley serves as a much-needed, though muted, contrast to the rampant machismo and fragility that defines so many of the film's other male characters. But as the large horde of black-masked and hooded men spread across campus, slaughtering sorority girls with reckless abandon, Black Christmas builds to a strained confrontation between the sexes that doesn't fall into any sort of gray area when it comes to its depiction of male-female conflict. Instead, the film hammers home the same simplistic, however valid, points about male sovereignty on college campuses that it's already made at least a dozen times.
With this third act's introduction of supernatural elements linked to a mysteriously powerful black liquid that leaks from within the college founder's bust, Black Christmas goes completely off the rails, setting up an action set piece that makes the "Marvel Women assemble" moment from Avengers: Endgame seem slyly deployed by comparison. Takal is gleeful in her depiction of the patriarchy getting its comeuppance, but her expression of female empowerment is misguided for succumbing to revenge fantasy, suggesting that the path toward equality lies in the very same forms of violence that men have enacted upon women for centuries.
Cast: Imogen Poots, Aleyse Shannon, Lily Donoghue, Brittany O'Grady, Caleb Eberhardt, Cary Elwes, Simon Mead, Madelaine Adams, Zoë Robins, Ryan McIntyre Director: Sophia Takal Screenwriter: Sophia Takal, April Wolfe Distributor: Universal Pictures Running Time: 92 min Rating: PG-13 Year: 2019
Review: Jumanji: The Next Level Finds a Series Stuck in Repeat Mode
The moments in which the film's blockbuster stars play memorably against type are quickly subsumed by the ugly chaos of the action.1
Jake Kasdan's Jumanji: The Next Level visibly strains to justify its existence beyond the desire for profit. The wild success of its predecessor guaranteed another entry in the series, but there's so little reason for its characters to return to the video game world of Jumanji that this film struggles to orient them toward a collision course with destiny.
Now scattered to the winds of collegiate life, Spencer (Alex Wolff), Martha (Morgan Turner), Fridge (Ser'Darius Blain), and Bethany (Madison Iseman) keep in touch via group text as they plan a reunion over winter break. Kasdan shoots these moments with excruciating pauses that would seem a deliberate reflection of the awkward cadences of texting were the characters' in-person conversations not every bit as stilted and arrhythmic. It's hardly any wonder, then, that Spencer, already so anxiety-ridden, is driven to such insecurity over the possibility that the members of his friend group went their separate ways that he reassembles the destroyed Jumanji game in order to feel some of the heroism he did during the gang's earlier adventure.
Soon, Spencer's friends discover what he did and go into Jumanji to get him, the twist this time being that everyone gets assigned to a different player than they were last time, complicating their grasp of the game's mechanics. But making matters worse is that Jumanji also sucks in Spencer's grandfather, Eddie (Danny DeVito), who gets assigned Spencer's old hero, Smolder Bravestone (Dwayne Johnson), as well as Eddie's estranged business partner and friend, Milo (Danny Glover), who's placed into the body of zoologist Frankling Finbar (Kevin Hart).
The sight of Johnson and Hart shaking up their stale partnership by play-acting as old men briefly enlivens The Next Level after 40 minutes of laborious setup and leaden jokes. Watching the Rock scrunch up his face as he strains to hear anyone and speaking every line in a high, nasal whine with halting confusion does get old after a while, but there's an agreeable hint of his tetchy, anxious performance in Richard Kelly's Southland Tales to be found here.
Hart may be even better, tempering his exhausting manic energy by running to the other extreme to parody Glover's deliberate manner of speaking. The actor draws out every sentence into lugubrious asides and warm pleasantries even in the midst of danger. In the film's only laugh-out-loud moment, Milo spends so much time spouting asinine facts that he fails to prevent Eddie from losing a player life, prompting a baffled and anguished Milo to lament, "Did I kill Eddie by talking too slow, just like he always said I would?"
But such moments, in which the film's blockbuster stars play against type, are quickly subsumed by the ugly chaos of the action. There's no sense of escalation to The Next Level, with each set piece almost instantly collapsing into a busy spectacle of eluding stampeding animals, running across rope bridges, and taking on waves of enemies. There's no weight to any of these sequences, nor to the game's new villain, a brutal conqueror (Rory McCann) who embodies all the laziness of the writing of antagonists for hastily assembled sequels.
Likewise, for all the emphasis on video game characters who can be swapped out on a whim, it's the players themselves who come across as the most thinly drawn and interchangeable beneath their avatars. None of the kids have any real personality, merely a single defining quirk that makes it easy to identify them when their avatars mimic them. And when the film pauses to address some kind of character conflict, be it Spencer and Martha's ambiguous relationship or Eddie and Milo's attempts at reconciliation, it only further exposes the film's meaninglessness. The original 1995 film, disposable as it may be, finds actual pathos in its menacing escalation of horrors and the existential terror of contemplating a lifetime stuck in the game as the world moved on. The Next Level, on the other hand, is a moribund, hollow exercise, dutifully recycling blockbuster and video game tropes without complicating either.
Cast: Dwayne Johnson, Kevin Hart, Jack Black, Karen Gillan, Danny DeVito, Danny Glover, Ser'Darius Blain, Morgan Turner, Nick Jonas, Alex Wolff, Awkwafina, Rhys Darby, Rory McCann Director: Jake Kasdan Screenwriter: Jake Kasdan, Jeff Pinkner, Scott Rosenberg Distributor: Columbia Pictures Running Time: 123 min Rating: PG-13 Year: 2019 Buy: Soundtrack
Review: Chinese Portrait Is a Grand Reckoning with the Passage of Time
The drama here is in the gap between bystanders who return the camera's gaze and those who don't.3.5
As a recording apparatus, the camera no longer disturbs or announces its presence. It's a ghost in the room, as banal as a limb. Xiaoshuai Wang restores the exceptional status of that most revolutionary of technical devices in Chinese Portrait, a series of short-lived tableaux vivants for which the gravitational pull of the camera is re-staged.
The simplicity of bodies barely moving before a camera that brings their quotidian temporality into a halt is nothing short of a radical proposition in our digital era—in the context of a culture obsessed with using cameras precisely as anti-contemplation devices, and a film industry still so invested in producing artificial drama in order to tell its stories. In Chinese Portrait, there's no need for storylines, tragedy, or spectacle for drama to emerge. The drama is in the minutia of the mise-en-scène, in the gap between bystanders who return the camera's gaze and those who don't. The drama is in the camera's de-escalating force, its ability to refuse the endless excitation it could provide in favor of one little thing: elderly people stretching in a park, black and brown horses in a field, two of them licking each other's backs. This is the camera not as a Pandora's box, but as a sharp laser beam with curatorial intentions.
The drama here is also in Chinese Portrait's very concept, which is similar to that of Abbas Kiarostami's 24 Frames, where motion is born out of prolonged stillness, and to that of Susana de Sousa Dias's works on the effects of Portuguese dictatorship, Obscure Light and 48, where stillness is all there is, photographs namely, and yet so much moves. Wang's film also bears a kinship with Agnès Varda's later work, where a human being is made singular in a fast-moving world by standing still and recognizing the device that records them. Both Varda and Wang seem to see sacrilege in taking the camera for granted. A couple of tableaux in Chinese Portrait derail the notion of the individual embossed from their habitat by the camera's insistent gaze, as in a group of men kneeling down to pray, their backs to the audience, and a later segment of a crowd standing entirely motionless in the middle of an abandoned construction site, sporting scarves and winter jackets, staring at the camera in unison.
Something remains quite alive and oddly "natural" within the documentary's portraits as Wang's mostly still subjects inhabit the gap between staging and posing by appearing disaffected. Or perhaps they're stunned by modernity's deadlock. Everyone seems perpetually in transit yet perpetually stuck. Wang's fleeting portraits feature Chinese folk confronting the lens in their everyday environments, but not all of them react to the camera's might in the same way. Some stand still and stare while others look away, but they're all largely aware of the recording device singling them out as muses of the landscape.
The portraits offer evidence of differing temporalities in this numbingly fast world, too convinced of its universal globalism. Evidence of conflicting temporalities within worlds, too, as some subjects in the same frame bother to stop and others go on about their lives. In a provincial alleyway, various men sit on stoops from foreground to background. Some stare into the horizon—that is, a cemented wall, the film's most recurring motif. Others refuse to allow the viewers to be the only ones looking. Several bathers on a sandy beach stare at the off-camera ocean, except for one man wearing a large fanny pack, certainly staring at us behind his shades. At a construction site, an excavator digs while another worker sits on a slab of concrete, gawking at us as we gawk at them. A man rests his hands on his hoe to look at the camera with a half-smile, like someone from the 1980s, who may approach the cameraperson to ask what channel this is for and when he can expect to be on television.
Through the sheer power of blocking, the methodical positioning of elements in the frame, Wang reaches back to a time when there was an interval, a space for waiting and wondering, between an image being taken and an image being seen. Another temporality, indeed, captured by cameras, not telephones. That was back when sharpie scribbles would don the tail end of film reels, which are kept in the frame here by Wang, as one portrait transitions into the next. The filmmaker's urgent reminder seems to be that it's not all just one continual flow. Time can actually stop, and we can choose to look or to look away.
Director: Xiaoshuai Wang Distributor: Cinema Guild Running Time: 79 min Rating: NR Year: 2018
Review: Bombshell Is a Collection of Quirks in Search of a Trenchant Criticism
The film is too irreverent in tone and narrow in scope to place Roger Ailes's criminality in a larger, more meaningful context.1.5
With Bombshell, director Jay Roach and screenwriter Charles Randolph make heroes of the women who brought down Roger Ailes, the late chairman and CEO of Fox News who was accused by several former employees—including star anchors Megyn "Santa Just Is White" Kelly and Gretchen Carlson—of sexual harassment in 2016. The filmmakers keenly depict these women's courage and fixate on the toxic culture at Fox that fostered so much fear and intimidation, but Bombshell is too irreverent in tone and narrow in scope to place Ailes's criminality in a larger, more meaningful context.
The film begins in the summer of 2016 with the Republican Party presidential debate in Iowa, where Kelly (Charlize Theron), the moderator, confronts Donald Trump with highlights of his long history of misogyny. This grilling, and her increasingly—if relatively—feminist stance on the Fox News daytime program The Kelly File, is met by backlash from the ascendant Trump cult, as well as Ailes (John Lithgow), whose professional relationship with Kelly at first seems productive in spite of its combativeness. Meanwhile, Carlson (Nicole Kidman) is fired from another Fox program, The Real Story, possibly for her own newfound—if, again, relative—feminism, and counters by filing a sexual harassment suit against Ailes.
Waiting for colleagues to make similar accusations in order to bolster her case, Carlson is left twisting in the wind by a collective fearful silence—a silence that even fierce former victim Kelly obeys—while Ailes and his litigation team prepare a defense. A third storyline involves "millennial evangelical" Kayla Pospisil (Margot Robbie), a composite character representing the many ambitious young women who suffered Ailes's demeaning treatment in order to get ahead at Fox and the other organizations for which he worked.
Bombshell operates in a style that has become numbingly de rigueur since Oliver Stone's W., in which political and corporate corruption are presented in a dramatic yet amiably humorous style that takes the edge off any potentially trenchant critique. Fourth walls are broken, jokes punctuate scenes, and the ambiance remains oddly congenial despite the purportedly suffocating and repressive environment of the Fox News offices.
Thankfully, there are moments when the actors transcend the too-casual tone. Lithgow portrays Ailes not merely as a dirty old man, but as a pitiful control freak whose disgusting actions unwittingly reveal a deep insecurity. The tensely coiled Kelly is a mass of contradictions, and one argument that she has with her husband, Douglas Brunt (Mark Duplass), over an embarrassingly fawning follow-up interview with Trump is memorable for allowing Theron to reveal the strain imposed on Kelly by conflicting personal, professional, and political allegiances. Robbie—frequently playing off a versatile Kate McKinnon's co-worker/lover—moves from bubbly naïveté to painful humiliation with convincing subtlety.
And yet, Bombshell is predicated on several dubious ideas that ultimately blunt its power. The film relishes the downfall of a public figure, as well as the growing chaos of a divided Fox News. By the end of the film, we're expected to feel righteous satisfaction when justice comes to Ailes in the form of a disgraceful resignation. But such a response can only feel hollow when the country continues to suffer from widespread problems cultivated by Fox from the same sexist, callous, and exploitative worldview at the root of Ailes's behavior. The film only briefly and tangentially explores this worldview, and mostly uses it to simply highlight conservative hypocrisy and the general sliminess of the Fox organization.
Bombshell also delights in referencing battles fought among high-profile public figures, emphasizing the kind of inside baseball that the media routinely focuses on instead of more complex and endemic manifestations of national issues. Rather than understand Ailes's harassment in relation to the sexism so deeply embedded in American corporate media and culture, the filmmakers reduce that sorry tradition to the confines of the Fox News offices and elite legal channels. This approach allows viewers to understand the organizational and legal pressures that made it so hard for Carlson and others to speak out about Ailes, but once Carlson files her charges, the abuse that she and others endured becomes overshadowed by competitive backroom negotiations and maneuverings.
The film reinforces this emphasis with gratuitous appearances by actors playing famous Fox News personalities (Geraldo Rivera, Neil Cavuto, and Sean Hannity) who are tangential to the narrative, as well as cutesy direct-address segments meant to make us feel in the know about the world of Fox. This is the stuff that Roach, who's mostly directed broad comedies, and Randolph, who co-wrote The Big Short, clearly relish, but rather than connecting with the viewer through these strategies, Bombshell mostly feels insular, remote, and superficial. It would be nice if for once an accessible mainstream film took on the institutional powers that detrimentally shape our world with anger and incisiveness rather than a bemused concern.
Cast: Charlize Theron, Nicole Kidman, Margot Robbie, John Lithgow, Kate McKinnon, Mark Duplass, Connie Britton, Rob Delaney, Malcolm McDowell, Allison Janney, Alice Eve Director: Jay Roach Screenwriter: Charles Randolph Distributor: Lionsgate Running Time: 108 min Rating: R Year: 2019
Review: Richard Jewell Leans Into Courting Conservative Persecution Pity
Ironically, Clint Eastwood is as condescending of Jewell as the bureaucrats he despises.2.5
Marie Brenner's 1997 Vanity Fair article "American Nightmare: The Ballad of Richard Jewell" is a detailed cataloging of rushed judgements, lazy assumptions, and unforgiveable abuses of power. Richard Jewell was the security guard who spotted an Alice pack loaded with pipe bombs under a bench at the 1996 Summer Olympics in Atlanta, Georgia. The bombs exploded, directly killing one woman and injuring over a hundred others, but Jewell's preemptive actions undeniably reduced the scope of atrocities. Jewell became a national hero, though a tip from a bitter former boss led the F.B.I. to aggressively investigate him as the prime suspect in the bombing. The news outlets ran with this information, leading to a "trial by media" that ruined Jewell's life. In Richard Jewell, director Clint Eastwood uses this story as fodder for what he clearly sees as a fable of the evil of the F.B.I. and the media, who take down a righteous, implicitly conservative hero out of classist spite.
Richard Jewell is a political horror film that serves as a microcosm of the "deep state" conspiracies that the Republican Party trades in today. The media is represented here by essentially one person, a reporter named Kathy Scruggs (Olivia Wilde) who learns of Jewell's investigation by sleeping with an F.B.I. agent, Tom Shaw (Jon Hamm), who serves as the film's more or less singular representation of our domestic intelligence and security service. As such, the media and the F.B.I. are literally in bed together, and they see in the overweight, naïve, law-enforcement-worshipping Jewell (Paul Walter Hauser) a readymade patsy.
Like most auteurs, Eastwood's films are animated by his politics, in his case often featuring singular heroes who're targeted by bureaucrats who know nothing of in-the-field work, but the productions are often complicated by the magnitude of his artistry. Sully takes simplistic swipes at regulations that save lives, glorifying the notion of the individual, but its most muscular scenes serve as startlingly beautiful celebrations of community, suggesting an ideal of a functional state that nearly refutes Eastwood's own beliefs. By contrast, Richard Jewell finds the filmmaker more comfortably mining MAGA resentments. The film is rife with conservative Easter eggs. When we see Jewell's attorney, Watson Bryant (Sam Rockwell), in his office, Eastwood highlights a sticker in a mirror that says "I Fear Government More Than I Fear Terrorism." The film is dotted with guns, Confederate flags, and religious artifacts. And the real perpetrator of the bombing, Eric Randolph, a bigoted domestic terrorist who might interfere with Eastwood's conservative reverie, is kept almost entirely off screen, reduced to a shadow.
Of course, Richard Jewell is set in the Bible Belt, and many of these details are pertinent. As Brenner's article states, Bryant is a libertarian, and so that sticker accurately reflects his beliefs. But Eastwood and screenwriter Billy Ray rig the story so severely, in the service of courting conservative persecution pity, that even truthful details feel contextually false. Per Brenner, Jewell was a victim of many colliding interests, from the fading power of The Atlantic-Journal Constitution, which employed Scruggs, to internal clashes within the F.B.I.
In the film, the cops and journalists are desperate elitists just looking to finish a job, and their power is uncomplicatedly massive. The timing of Eastwood's insinuation is unmistakable, suggesting that Jewell, the conservative Everyman, was railroaded by the government and the media in the same fashion as Trump, for possessing an uncouthness that offends "tastemaker" ideologies. The notion of political convictions as informed by image, particularly of culture and attractiveness, is a potentially brilliant one, and Eastwood's portrait of liberal condescension isn't entirely invalid, but he keeps scoring points at the expense of nuance.
In Brenner's article, the F.B.I. is embarrassed to search the house of Jewell's mother, Bobi (played here by Kathy Bates), where he lived. In the film, though, the officers storm the house in a smug and self-righteous fashion. Jewell was once actually in law enforcement and had many friendships and even a few girlfriends, while in the film he's a pathetic wannabe eager to screw himself over for the sake of flattery. Sentiments that are attributed to Jewell in the article are transferred over to Bryant in the film, so to as to make the protagonist a more poignant fool. Ironically, Eastwood is as condescending of Jewell as the bureaucrats he despises. (The filmmaker also, weirdly, elides real-life details that would serve his demonization, such as the F.B.I. lying about there being a "hero bomber" profile.)
Even with Eastwood so explicitly grinding an ax, Richard Jewell has the visceral power of his other recent political fables. Eastwood refines a device from The 15:17 to Paris, surrounding an unknown, unpolished camera subject, in this case Hauser, with attractive famous actors so as to inherently express the profound difference between the ruling class—embodied to the public in the form of celebrities—and the eroding working class. This idea is particularly evocative when Hauser is paired with Hamm. Hauser is painfully vulnerable as Jewell, as there's no distance between him and the character, no sense that he's "acting." And this impression of defenselessness, when matched against Hamm's polish, is terrifying. Such juxtapositions fervently communicate Eastwood's furies, however hypocritical they may be.
Eastwood continues to be a poet of American anxiety. The Atlanta bombing is boiled down to a series of chilling and uncanny details, from the public dancing to the "Macarena" before the explosion to the scattering of nails along the ground in the wake of the pipe bomb's blast. When Scruggs pushes for the Jewell story to be published, her eyes glint with anger between the shadows of window shades—an intellectually absurd effect that emotionally sticks, embodying Eastwood's conception of a national castigation as a noir conspiracy set in shadowy chambers populated by a mere few. Later, when Jewell is free of his ordeal, he weeps with Bryant in a café booth, a moment that Eastwood offers up as an embodiment of America stabilizing right before reaching a cultural breaking point. As stacked and calculating as Richard Jewell is, it's a fascinating expression of the divided soul of a gifted and troubling artist. It's a rattling expression of American bitterness.
Cast: Paul Walter Hauser, Sam Rockwell, Olivia Wilde, Jon Hamm, Kathy Bates, Nina Arianda, Ian Gomez Director: Clint Eastwood Screenwriter: Billy Ray Distributor: Warner Bros. Running Time: 131 min Rating: R Year: 2019
Review: Cunningham Obscures the Voice That It Wants to Celebrate
This colorful but remote-feeling documentary functions almost as though it were taking orders from the late Merce Cunningham.2.5
Alla Kovgan's colorful but remote-feeling documentary about modern dance legend Merce Cunningham functions almost as though it were taking orders from the late choreographer himself. The film quotes him saying in various forms that he didn't feel it appropriate or necessary to describe what his dances were about, and as such it feels appropriate that Cunningham leaves it to the dancing to deliver his story. But the problem with that approach is that it's likely to leave many viewers, especially those who aren't already dance aficionados, feeling somewhat at a remove from the subject matter.
Focusing on Cunningham's works dating from 1942 to 1972, and his longtime collaborations with composer John Cage and other artists from Robert Rauschenberg to Andy Warhol, Kovgan balances loosely sketched biography with artistic recreation. The former sections are in some ways more engaging, as their often scratchy-looking archival footage provides at least some context for the sparse, ascetic, cold-water-flat milieu Cunningham was operating in. The latter sections, in which Kovgan stages a number of Cunningham's pieces in settings ranging from a subway tunnel to a forest and are filmed in 3D with luscious colors, have a look-at-me showiness that cannot help but feel something like a betrayal of their source's intentions.
Ascetic in approach but sometimes playful in execution, Cunningham in many ways functioned as the tip of the spear for avant-garde dance from the time he started producing work in the '40s. As related by the archival interviews played in the film, he didn't appear to have much of a grand unifying theory behind his style. Rejecting the idea that he was some kind of modernist pioneer, he insists to one interviewer that he was simply "a dancer" and that he was really more interested in expanding the repertoire of movements available to performers by combining the techniques of ballet with what was already happening in modern dance in the postwar era. Quoting Cage in an old audio clip, Cunningham states with an emphatic flourish that "I have nothing to say and I am saying it."
As you watch the dances staged in Cunningham, you may find it hard to argue with that perspective. In describing the reaction to one of his dances, Cunningham says with a barely concealed glee that "the audience was puzzled." After a performance in Paris, food was hurled at the dancers (Cunningham joked that he looked at the tomato on the stage and wished it were an apple: "I was hungry"). Confusion about the lack of an underlying story or intent to deliver a singular emotion is understandable. Making less sense is the dismissal noted in the documentary of many of Cunningham's pieces as "cold" and "passionless" (a charge that's leveled at boundary-pushing art to this day). The pieces staged here by Kovgan are indeed sometimes airy and insubstantial or gangly and jagged. But just as often they're lush and buoyant, like in "Summerspace," in which the dancers' fluid pivots spill over with a joy that is heightened by the bright spotted costumes and Rauschenberg backdrop.
In some of those segments, it's hard not to feel as if Kovgan is aiming for a big splash that could introduce the rarely seen work of an oft-cited avant-garde pioneer to a wide audience, as Wim Wenders aimed to do with Pina. But unlike that 3D extravaganza, with its cunning staging and breathtaking moves, Cunningham is simply working from less accessible source material. Even when Cunningham's work is less abstracted, such as that bouncy floating maneuver that is something of a signature, it doesn't exactly catch one's attention.
Time and again in the film, we hear or see Cunningham reiterate his principle that the dances aren't intended to reference anything. Interpretation is up to the audience, he said. In this way, he isn't far from the take-it-or-leave-it sensibility of Warhol, whose silver balloons he incorporated into one piece. But by amplifying Cunningham's dances with sun-dappled backdrops and 3D gimmickry, Kovgan deviates from their creator's principle in a way that almost seems to betray their original intent. By taking so much focus away from the dancers, the film's stagings come close to obscuring the voice it's trying to celebrate.
Director: Alla Kovgan Distributor: Magnolia Pictures Running Time: 93 min Rating: PG Year: 2019
Review: The Two Popes Carefully and Dubiously Toes a Party Line
There isn't anything in the bleeding-heart positions espoused by Jorge Bergoglio that complicates Pope Francis's public persona.1.5
Fernando Meirelles's The Two Popes is quick to acknowledge that Jorge Bergoglio (Jonathan Pryce) is a humble man of the people. The film opens with a scene that fades in on Bergoglio, recently anointed Pope Francis, as he attempts to order a plane ticket over the phone. Assuming she's being pranked when the caller gives his name and address, the Italian operator hangs up on the generously bemused head of the Catholic Church. After centuries of pomp, the scene suggests, the world's Catholics were unprepared for a genuine article like Francis, a corrective to an episcopal hierarchy that had drifted too far away from the people. So goes the thesis of The Two Popes, reiterated in a number of subsequent scenes: Unlike previous generations of pontiffs, Francis engages with the actual state of the world, watches soccer, listens to pop music, and speaks to economic inequality.
This brief prologue's slight humor and documentary-style presentation give an accurate idea of where the film is headed, both thematically and formally. Throughout, Meirelles embellishes the screenplay's often dry conversations with pseudo-improvised camerawork—unsteady framing, sudden tilts, and emphatic snap zooms—familiar from his prior films, most notably City of God and The Constant Gardner. But what seemed, in the early aughts, fresh and well-suited to gangster movies and spy thrillers, feels dated and out of place in a film that amounts to two powerful octogenarians having a series of conversations. By abruptly adjusting the lens's focal length at almost arbitrary moments, Meirelles transparently attempts to add dynamism to a film in which powerful actors are stuck reciting staid, safe dialogue.
The hagiographic Two Popes shuffles through moments in Bergoglio's life. Some scenes are set in Argentina in the 1970s, a tumultuous time for the country, but the film mainly focuses on the development of Bergoglio's relationship with Joseph Ratzinger (Anthony Hopkins), Pope Benedict XVI, during the early 21st century. Flashing back to eight years before the prologue, the camera travels through the narrow alleys of Buenos Aires, arriving at an outdoor sermon that Bergoglio is delivering. Unattached to the air of benevolent superiority Catholic priests are expected to exude, Bergoglio tangentially speaks of his support for the San Lorenzo soccer team, at which revelation his congregation feels comfortable booing their diocese's bishop.
Meanwhile, John Paul II has died, and as a cardinal, Bergoglio must return to Rome to help elect a new pope. There he encounters Ratzinger, at the time a conservative Bavarian cardinal who haughtily insists on speaking to Bergoglio in Latin when they meet in a Vatican bathroom, and who turns up his nose when the Argentinian begins humming ABBA's "Dancing Queen" to himself while washing his hands. The inclusion of an ABBA song makes for a lighter tone that The Two Popes will unevenly revive at various moments across its running time; the film will transition between scenes using out-of-place lounge jazz and '60s pop, then abruptly drop the levity for dialogic lessons on the state of Catholic theology.
The dogmatic Ratzinger's election as pope later that year would signal an end to years of liberalization within the Catholic Church, a back-to-basics gesture that ultimately failed. His short reign would be dominated by controversy, as members of his inner circle were indicted for financial crimes and a long-brewing scandal over church cover-ups of sexual abuse came to the fore. Meirelles handles this historical context through aural and visual montages of archival news reports, which fill the gap as the story fast-forwards to a moment in 2012 when Pope Benedict calls Bergoglio, his unofficial rival from the church's liberal wing, back to Rome.
Benedict aims to convince the bishop not to resign, as it would look to the outside world—as Benedict professes it does to him—that the liberal Bergoglio is renouncing his cardinalship in protest. Strolling through the lush gardens of the Vatican, or speaking in low, strained voices in its resplendent halls, the two debate their opposing theological and political philosophies. A mutual respect develops between them, with Benedict gradually opening himself to the outside world from which he has stayed aloof; one scene has Bergoglio teaching him about the Beatles, and in another the Argentine convinces the stiff German to try out the tango.
That's all very cute, surely, but it's also evidence that, despite courting a gritty reality effect with its documentary-inspired aesthetic, The Two Popes is carefully toeing a party line rather than exposing any hidden truths. Though it includes (rather hammy) flashbacks to Bergoglio's morally ambiguous interactions with the Argentinian military dictatorship of the '70s, there isn't anything in the bleeding-heart positions espoused by Bergoglio that complicates Pope Francis's public persona. For his part, Ratzinger comes off as the best version of the man one could imagine, given the turmoil that marked his tenure: old-fashioned but authentic, perhaps just a bit too aged and attached to the institution to weed out its excesses.
As, in scene after scene, the heads of the world's most powerful religious institution neatly summarize their philosophies to one another, the viewer may sense a misdirect: What happened to the corruption? Where are the meetings about how to handle the child-abuse scandals? Such issues, which presumably would have been the subject of many a Vatican City discussion, turn out to be little more than background material to the individualized and sentimentalized story of two men with differing views becoming friends. Even when they do come up, our attention is directed elsewhere. The flashbacks to Bergoglio's spotted past begin soon after the sexual abuse scandals are first mentioned, redirecting our piqued concern with institutional sins toward the drama of an individual man's fateful misjudgment.
The second time the pair's conversations drift toward the simmering abuse scandal, Meirelles actually drowns out the dialogue with a high-pitched whine on the soundtrack, and for no discernable story reason. It's as if Bergoglio's hearing has been impaired by the explosive truth. The moment feels less like the filmmakers protecting us from a truth too awful to hear, and much more like them shielding us from one too dangerous to be heard.
Cast: Jonathan Pryce, Anthony Hopkins, Juan Minujín, Sidney Cole, Thomas D. Williams, Federico Torre, Pablo Trimarchi Director: Fernando Meirelles Screenwriter: Anthony McCarten Distributor: Netflix Running Time: 125 min Rating: PG-13 Year: 2019


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Nick Cannon rants over Carey report
Nick Cannon has hit out at reports of trouble in his marriage to Mariah Carey.
The America's Got Talent host denied that he had said that there was "trouble in paradise".
Reports emerged last month that Nick had said he and Mariah, who wed in 2008 and have twins together, had been living in separate houses.
Now Nick has tweeted: "I have personally been absent from social media for the past few months for obvious reasons but I feel the need to finally speak up."
He said that he had never made a statement about his marriage.
Nick admitted that the pair are going through a "difficult time" and asked fans to "respect my family and this process".
But he said: " What infuriates me most is to hear people slander @MariahCarey . I will forever be in debted to her for blessing me with our children...
"I will always love her unconditionally for this and so much more. @MariahCarey is an amazing mother and I trust her wholeheartedly."
He added: "I love @MariahCarey and that will never change!!!
"'Trouble in Paradise' is the dumbest phrase I've ever heard! I would never say that s**t."
PA Media

subset: commoncrawl


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|George Cazakoff (about 1949)
Michael knew very little about this open-face pocket watch, except that it was in working condition, had belonged to his grandfather, was probably old, and had probably been in the family for a long time. He rarely looked at the watch, but kept it safely stored in his dresser until the day he would pass it on to our son Nicholas.
About a year ago, in April 2012, our local library hosted "Antiques in the Attic". Three appraisers looked at family heirlooms and antiques. They gave their professional opinions as to the worth or value of the items, tips on how to care for them, and where to get more information. Michael and I decided to attend this free event and chose two items for appraisal: a serving platter that my Mom bought when she was first married and Michael's grandfather's pocket watch.
It was our first time at an "antiques roadshow" and we looked forward to having our family treasures valued. We also wondered what interesting details the pros would share with us.
|George Cazakoff's pocket watch (2012)
After a brief look, the appraiser checked his antique collectors' handbook, but couldn't find a listing for this "Solar - Birkdale" watch. He then carefully opened the back cover for a closer inspection. The case was 10K gold filled, made in Canada, with the mechanism housing made in Switzerland. The chain wasn't gold, but maybe brass. He estimated that the watch was made in the 1940s. The appraiser explained that about five years ago, it might have been worth about $300.00, but since there were so many similar watches on auction sites like eBay, it now had a market value of about $100.00.
In the end, the fact that the pocket watch is of relatively recent manufacture and of modest value doesn't matter to Michael. What's really important is that the pretty timepiece has great sentimental value and has been in his family for three generations.
Copyright © 2013, Yvonne Demoskoff.


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Equilibrium Pilates, LLC is proud to offer you the highest quality of Pliates instruction in the Philadelphia area. Winner of many awards including Philadelphia Magazine's "Best of Philly" and City Paper's "People's Choice Award" for three years running, we offer a fully equipped and sunny studio just off beautiful Head House Square.
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ROCKFORD — East High School, 2929 Charles St., will host its Celebrity Softball Game fundraiser at 6 p.m. May 29.
The game will feature East High School coaches and staff vs. RPS 205 staff and Rockford Celebrities. The game will include food and opportunities to win cash prizes each half inning.
Cost: $5 per person. For information: 815-229-2110.


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text: Practice your visual thinking A successful career in academia needs a solid foundation. Certainly innovative and creative ideas. Information overload, daily tasks and deadlines can make your creative spirit suffer. Using the right methods you can learn how to approach problems in a more creative way, how to increase your brainpower and reach decisions more efficiently. Trainings 05.12.2018 Visualizing my literature review │Details und Anmeldung


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LeAnn Rimes has been staking her claim as country's resident fashionista for a while, appearing in glamorous gowns on the red carpet and becoming a front row fixture at New York Fashion Week. And last night, she did not disappoint at all at the CMAs, appearing in three flawless dresses. She hit the red carpet in a blush Monique Lhuillier gown, changed into a sleek one-shouldered Herve Leger sheath to introduce a performance, and then performed in a slinky navy charmeuse J. Mendel. We think LeAnn looks fabulous in all three of her looks, but we want to know which one you like best! Tell us: Which of LeAnn's dresses do you like best on her? The pink gown, the one-shouldered sheath or the navy v-neck?
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Aryabhata (Sanskrit: ??????; IAST: ?ryabha?a) or perhaps Aryabhata My spouse and i[1][2] (476–550 CE)[3][4] was the initially in the distinctive line of great mathematician-astronomers from the time-honored age of Indian mathematics…...
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Purdue University student-athletes Lindsey Rains and Lauren Grant are spending their final months as college students 4,400 miles from campus. The softball teammates chose to spend the summer before their graduation in Berlin, Germany; it's an experience that, both insist, has enriched their lives.
"I hope this isn't the only time I get to travel like this, but you never know. So I appreciate what I was given as a student-athlete."
Both Boilermakers completed internships last summer, which allowed them to use this break to meet final requirements for their respective majors. Each needed to fulfill six elective hours and wanted to spend time immersed in another culture.
"The language barrier here really exposes you to a different culture and challenges your ability to communicate," Grant said. "I think getting a well-rounded experience is important and this is something I can take with me into my future career."
The seniors are taking an introductory German language class together. Through only a few weeks, Rains and Grant pride themselves on their newfound ability to order food and ask for directions in German.
Grant, hailing from Louisville, Ky., had never been out of the United States before her trip across the Atlantic Ocean. She admits that studying abroad never crossed her mind when she first arrived at Purdue. Now, she views the trip as a once-in-a-lifetime opportunity.
"It's not something every student-athlete, let alone student, can say they were able to do during college," Grant said. "I hope this isn't the only time I get to travel like this, but you never know. So I appreciate what I was given as a student-athlete and I don't know that I could have financially managed this trip without softball, so it's been a blessing."
Rains, a native of Fullerton, Calif., was encouraged to take part in the study abroad program by her future employer, Marriott. Following graduation in August, Rains is set to begin her career as a hotel manager.
"Anything I learn here I'm going to be able to use in my career," Rains said.
Both Rains and Grant agree that being a student-athlete is appealing to companies. Now, though, the Boilermakers will have even more to talk about in future job interviews.
"In (an unexpected) way, softball was preparing us for life," Grant said. "Now, studying abroad is another résumé-building opportunity we could take advantage of with our scholarship."
The two have relied on each other throughout their journey overseas, just like they did on the softball field.
"It's definitely been a team effort, which we're used to," Rains said. "In terms of traveling together on weekends, there's no way we could have done it without each other."


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Be a part of a unique online community that connects post production professionals and film academics worldwide.
You'll have access to personalize your news feed, access to Live Post Talks and much more. Contribute to the community by posting interesting post production content.
June 24, 2019, 6:24 am
Gordon sits down with Michelle Miller to discuss the makeup of PEN15
November 11, 2019, 10:07 pm
Whether you need to expand the number of USB ports, transfer files or connect to extra displays up to 4K, D-Link has a solution for you, with the new, take anywhere, lineup of USB-C hub adapters.
November 11, 2019, 10:06 pm
THX® Certification is a globally recognized assurance of a product's audio or visual fidelity. Products that are THX Certified must meet very strict performance tolerances, and endure hundreds of qualitative and functionality tests to ensure uncompromising audio and visual entertainment.
November 11, 2019, 1:42 pm
This week marks the release of Disney+'s Lady and the Tramp, a film that utilizes live action and CG animals – which talk.
November 11, 2019, 1:42 pm
There's often something of a gap between the introduction of a new technique and the ready availability of the tools required to work with it. Other than stereo 3D, HDR is one of the best examples of this: it can require an entirely new transformation, monitoring and display chain. Within that requirement, we're also going to need converters between formats, controls to adjust the video, and ways to solve compatibility problems. These tools are the things which tend to trickle out of the factory gates only once we've identified the problems that need to be solved, and, sure enough, one such device is helping power the uptake of HDR across a range of productions from live television to narrative cinematic projects.
November 10, 2019, 3:07 pm
Did you know that you will not be able to use AAX DSP Plugins with the new Dolby Audio Bridge Workflow via Core Audio when using the new in-the-box workflow with Pro Tools 2019.10 and the Dolby Atmos Production Suite?
November 10, 2019, 3:07 pm
As part of the DVD/Blu-ray release of Hobbs & Shaw, a number of official featurettes have been released. I wanted to share three of those here that specifically go into the stunts of the film.
November 10, 2019, 3:06 pm
Jarred Land posted today on REDUser about REDCODE (RED's compressed RAW codec) withstaning the patent challenge by Apple.
November 8, 2019, 5:58 pm
New to After Effects and trying to figure out how to use the masking tool? Let's dive in to what masks do and how you can include them in your projects...
November 8, 2019, 5:58 pm
Ready to do some packages delivery? Don't miss this CG commercial made by the teams of French studio Unit Image for DEATH STRANDING...
November 8, 2019, 2:34 pm
Gordon sits down with Spencer Averick to discuss editing "When They See Us" and his working relationship with Ava DuVernay.
Gordon sits down with Jeffrey Ford and Matthew Schmidt to discuss the editing of Endgame.
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|By Jeremy Geelan
Article Rating:
|July 23, 2013 09:00 AM EDT
Behind every cloud service or cloud-based solution, there are real people...
A robust ecosystem of solutions providers has emerged around cloud computing. But who are the CEOs & CTOs behind those providers, who are the internal and external entrepreneurs driving companies involved in the Cloud, who are the leading engineers, developers, analysts, researchers, marketing professionals, authors...who, in short, are the people behind the cloud?
This list will be updated weekly between now and November 4-7, 2013, when 13th Cloud Expo | Cloud Expo Silicon Valley opens its doors in the Santa Clara Convention Center, in the heart of California's Silicon Valley. Here are some highly prominent "Cloud People" to kick off with...
RANDY BIAS | @randybias
"Randy Bias is visionary. He sees things others don't." [Emphasis added.] That is how
A vocal open systems advocate for more than two decades, before Cloudscaling Randy was the technical visionary at GoGrid and at CloudScale Networks. He led the open-licensing of GoGrid's APIs, which inspired Sun Microsystems, Rackspace Cloud, VMware and others to follow.
He was also an early and vocal supporter of the OpenStack project, and led the teams that deployed the first public OpenStack storage cloud (Swift) outside of Rackspace, and the first public OpenStack compute cloud (Nova). He is a founding Board Member of the OpenStack Foundation. He also popularized the cloud server "pets vs. cattle" meme.
JONATHAN BRYCE | @jbryce
Jonathan Bryce is Executive Director of the OpenStack Foundation. (OpenStack is 3 years old now.) He has spent his entire career building the cloud and gave the opening keynote at 11th Cloud Expo | Cloud Expo Silicon Valley, held at the Santa Clara Convention Center, Santa Clara, CA, November 5-8, 2012.
The OpenStack Foundation promotes the development, distribution and adoption of the OpenStack cloud operating system. As the independent home for OpenStack, the Foundation has already attracted more than 7,000 individual members from 100 countries and 850 different organizations, secured more than $10 million in funding and is ready to fulfill the OpenStack mission of becoming the ubiquitous cloud computing platform.
Previously Jonathan was a founder of The Rackspace Cloud. He started his career working as a web developer for Rackspace, and during his tenure, he and co-worker Todd Morey had a vision to build a sophisticated web hosting environment where users and businesses alike could turn to design, develop and deploy their ideal web site – all without being responsible for procuring the technology, installing it or making sure it is built to be always available. This vision became The Rackspace Cloud. Since then he has been a major driver of OpenStack, the open source cloud software initiative.
REUVEN COHEN | @rUv
Reuven Cohen is (still) young, yet Reuven Cohen has been part of the Cloud Computing vanguard from the very beginning.
Pictured below talking to me on SYS-CON.TV at the first ever Cloud Expo, in November 2008, Ruv founded Enomaly in Canada in 2004, to exploit the same concept - "elastic computing" that Amazon so famously exploited when it launched EC2 (its Elastic Compute Cloud) in August 2006. Enomaly was among the first to develop a self-service infrastructure as a service (IaaS) platform circa 2005, as well as SpotCloud (2011), the first commodity style cloud computing Spot Market. In December 2011 Enomaly was acquired by Virtustream, where Ruv acted as Sr. Vice President of Community Clouds until August 2013, when he was appointed by Citrix to the newly created role of Chief Cloud Advocate.
He writes "The Digital Provocateur column for Forbes Magazine, is the co-founder with DAVE NIELSEN of CloudCamp (300+ Cities around the Globe), an unconference where early adopters of Cloud Computing technologies exchange ideas and is the largest of the 'barcamp' style of events. He is also the co-host of the DigitalNibbles Podcast sponsored by Intel. He has served as a board member to the Information Technology Association of Canada as well as a strategic adviser to Sun Microsystems, Amazon, York University, The Government of Canada's Department of Foreign Affairs & International Trade (DFAIT).
Ruv is currently very active in International trade as a liaison with various governments helping define IT policy, definitions (NIST) and agendas. Some of his recent participation include the governments of the United States, Canada, United Kingdom, Brasil, Israel, Japan, South Korea, Philippines, Taiwan, and China
BERNARD GOLDEN | @bernardgolden
Bernard is VP of Enterprise Solutions at Enstratius. At Enstratius, he works with enterprises throughout the world to help them achieve greater agility and improved IT economics. His work with enterprises includes opportunity evaluation, best practices recommendations, economic analysis, and process streamlining. Bernard was previously CEO of HyperStratus, a Silicon Valley cloud consulting firm helping its clients plan, design, and implement cloud initiatives. HyperStratus clients included the KT (Korea Telecom), Chunghwa Telecom, Trend Micro, and Pepsi.
He is the author or co-author of three books on virtualization and cloud computing, including Virtualization for Dummies, the most popular book on the subject ever published.
MÅRTEN MICKOS | @martenmickos
Describing himself succinctly on his Twitter account as a "Finn in Silicon Valley", Mårten Mickos is CEO of Eucalyptus Systems. According to no less an authority than BusinessWeek, he "has a track record of building global disruptive businesses."
No surprise then to find Mårten right at the heart of the Cloud. He joined Eucalyptus, purveyor of private AWS-compatible clouds, as CEO in March 2010, having from 2001-8 been CEO of open source database maker MySQL AB, which was famously bought by Sun in 2008 for $1 billion. In September 2009 he become Entrepreneur in Residence at Benchmark Capital, and anyone who understands how VC works in the Valley should have noted that, when he left Benchmark to take up the chief executive office at a Cloud company...that confirmed that Cloud Computing was certain to become huge.
Mårten Mickos spoke at 9th Cloud Expo / Cloud Expo Silicon Valley (November 2011)
DAVE NIELSEN | @davenielsen
One of five cloudsters who put on the first ever CloudCamp - the other four being Sam Charrington, Jesse Silver, Sara Dornsife and REUVEN COHEN - Dave Nielsen has done for "unconferences" what Wordsworth did for daffodils: put them on the map.
Several of the five had experience with the Open Space unconference format which had been around since the early 80s and it seemed to them like a good fit for the then still emergent phenomenon known as Cloud Computing. The first CloudCamp, accordingly, was held June 2008 in San Francisco. The aim then as now was to provide a common ground for the introduction and advancement of cloud computing. The agenda at a CloudCamp is never completely set until the attendees arrive and set it.
Since a participant-driven unconference like this can not only run on its own but also within a larger conference, Cloud Expo invited Dave to run a CloudCamp @ Cloud Expo for the first time in 2009 and there has been one held at every Cloud Expo since.
MARK SKILTON | @mskilton
Mark Skilton is a Global Director, Strategy Office, Capgemini Infrastructure Services. He is the Technical Leader for the Group Government Cloud Portfolio and is the author of the "Cloud Computing Education" and "Infrastructure Strategy" Courses at the Capgemini University. He is also Co-Chair of the Cloud Computing Work Group at The Open Group, an International Standards Body. SMark has spoken and published internationally on the subject of Cloud Computing, and spoke at 11th Cloud Expo | Cloud Expo Silicon Valley on the subject of "Maximizing Business Value in a Cloud Enabled Ecosystem."
SEBASTIAN STADIL | @sebastianstadil
Founder of the Silicon Valley Cloud Computing Group (SVCCG) and of Scalr. The SVCCG was founded Sep 11, 2007, by Chief Organizer Stadil and Assistant Organizer Ferhat Hatay. As of this writing it has 8,697 members and counting, and has held 104 meetups.
Sebastian has been a Cloud developer since 2004, starting with web services for e-commerce and then for computational resources. He founded Scalr, a software-project-turned-startup that scales website infrastructure automagically. Scalr's CTO is Igor Savchenko and Marat Komarov its Director of Engineering. Ever thoughtful and prescient, his Master's Thesis at the Ecole supérieure de Commerce de Lille in France was on "Signal Oriented Marketing: establishing trust among mutually distrustful parties using insights from Evolutionary Biology and Game Theory."
WERNER VOGELS | @werner
Vice-President & CTO at Amazon, Werner Vogels - who keynoted the very first Cloud Expo and indeed the second one too - is responsible at Amazon for driving the company's technology vision, which is to continuously enhance the innovation on behalf of Amazon's customers at a global scale.
Prior to joining Amazon, Werner worked as a researcher at the Computer Science Department at Cornell University where he was a principal investigator in several research projects that target the scalability and robustness of mission-critical enterprise computing systems. He holds a Ph.D. from the Vrije Universiteit in Amsterdam and has authored many articles for journals and conferences, most of them on distributed systems technologies for enterprise computing.
- Cloud People: A Who's Who of Cloud Computing
- Ulitzer Names the World's 30 Most Influential Cloud Computing Bloggers
- Cloud Expo New York Call for Papers Now Open
- Cloud Expo Europe 2009 in Prague: Themes & Topics
- 4th International Cloud Expo: Photo Album
- Cloud Expo New York to Attract More Than 8,000 Delegates
- Merrill Lynch Estimates "Cloud Computing" To Be $100 Billion Market
- Cloud Expo Europe to Take Place May 18-19 2009 in Prague
- Industry Experts Discuss the State of Cloud Computing
- Twelve New Programming Languages: Is Cloud Responsible?


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Earlier this week, SI.com's Peter King got people guessing about who the team is that reportedly has already put a first-round pick on the table for Kevin Kolb.
King wrote that the Eagles were now looking for a team that possessed a higher first-round pick, leading many (including yours truly) to guess that he was probably originally talking about the Seahawks, who have the 25th pick in the first round.
But today, King Tweeted that he's hearing the Seahawks are not the team that put the first-round pick on the table.
A point that I (and several others) have made multiple times is that the Eagles are in great position because there are so many QB-needy teams this offseason. By my count, there are 14. If we take away the Seahawks (per King's Tweet) and the Raiders (who do not have a first-round pick), here are the 12 teams remaining, along with where they pick in the first round:
Panthers (1), Broncos (2), Bills (3), Bengals (4), Cardinals (5), Browns (6), 49ers (7), Titans (8) Redskins (10), Vikings (12), Dolphins (15) and Jaguars (16).
As you can see, nine of the teams that pick in the top 10 could use a quarterback, so it's hard to figure that the Eagles would be looking for a higher pick if they had a top-10 selection on the table, but then agian, you never know.
The Vikings could be the team King's talking about. They pick at No. 12 and have pieces in place where they could probably take a nice leap with the help of a good QB. Minnesota coach Leslie Frazier spoke glowingly about Kolb to reporters, including the Inquirer's Jonathan Tamari, earlier this week.
While it's fun (for me, at least) to try to figure out which team King is talking about, don't be surprised if the team that emerges as Kolb's most aggressive suitor is a surprise. Remember a year ago when no one thought the Eagles would trade Donovan McNabb within the conference, much less the division? Or a couple Augusts ago when the Eagles, with two quarterbacks in place, decided to take a shot on Michael Vick? This is a guarded franchise that has had the tendency to surprise us in recent years.
Some other Kolb links and notes to pass along...
* CBS analyst Rich Gannon told The Sporting News that a team with other pieces in place should take a serious look at Kolb.
"Then you're maybe a little more anxious to pull the trigger on a guy like Kevin Kolb as opposed to rolling the dice with a quarterback in the draft and hoping the guy turns out to be a franchise quarterback," he said.
* The Dolphins have Carson Palmer atop their quarterback wish list, according to Armando Salguero of The Miami Herald. I have to say, I don't really see it. Palmer will turn 32 next season and has thrown 57 interceptions in his last 52 regular-season starts. When the reports about Palmer wanting a trade surfaced, I wrote that I didn't think it wold affect Kolb's value much because teams would prefer Kolb over Palmer. But maybe I was wrong?
* NFL.com's Michael Lombardi thinks the Titans could make a move for Kolb:
The Titans will have to sign a veteran free agent regardless of which round they select a quarterback. Tennessee is another team that might have to make a call to Washington to check on the asking price for McNabb, as well as a team that might be in constant dialogue with the Eagles concerning Kolb.
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|NEW YORK, NY - APRIL 30: Ironworkers Adam Cross (L) and Steven Cross connect a steel beam at the top of One World Trade Center to make it New York City's tallest building on April 30, 2012 in New York City. The cousins are from the Kahnawae native american reservation in Quebec, Canada. One World Trade Center is being built to replace the twin towers destroyed in the Sept. 11 attacks. It reached just over 1,250 feet on Monday. That's just taller than the observation deck on the Empire State Building. (Image credit: Getty Images via @daylife)
|Comparison of skyscrapers in New York (Photo credit: Wikipedia)
It was a historic day today in New York City, with the topping off of One World Trade Center, making it the tallest building in New York and the reclaiming the glory that was before that fateful day now over 10 years ago.
It was a good night for the Phillies as well, when they rallied back to beat the Cubs and split the series with them as they head to Atlanta for a 3 game series.
Placido Polanco came through tonight, and he was really overdue to have something good happen for him and the Phillies. Polanco was 2-8 going into tonight's game in the series with the Cubs and now he only needs 16 hits to make 2,000 in his career. He got the game winning hit tonight to make the hometown fans happy after this game.
Jimmy Rollins brought in a .182 BA (in series with the Cubs) in this brief home stand, and he picked up 2 hits in the game along with 1 BB and 2 runs scored.
Hunter Pence brought with him a .167 BA (in series with the Cubs) into tonight's game with the Cubs, he had 1 H and 1 RBI in the game.
Carlos Ruiz drove home 2 RBI in this team effort victory.
Laynce Nix flashed some glove in the outfield, and made a great catch on the night.
Together, all of these players clicked and produced a win for the Phillies on the night, a much needed win by a score of 6-4. Hard to believe we're celebrating a split with the Cubs though.
On to Atlanta, it's the Hotlanta Braves for 3 games with Cole Hamels on the mound on Tuesday night at 7:10 PM.