- C.H.U.D. goes to the The Criterion Collection (NOT)
Criterion’s April Fools Day joke, may actually piss a few of the fans of that film off. I never looked to see if the website, Cinematic Happenings Under Development was miffed by this one, but either way, well played Criterion. Well played.
- Pixar’s full length feature, Totoro (NOT)
A well executed April Fools Day prank designed to get Ghibli fans and fanboys up in arms, especially on the heels of the bafflingly awful-looking Cars sequel that they actually went out and made. I may be the only one that would rather see Pixar take a stab at something like Totoro than churn out DTV-looking sequels.
- Slash and Earn: The Blood-Soaked Rise of South Korean Cinema
So why is it that such gory stories of vengeance have become – to western eyes at least – the dominant feature of Korean cinema? Kim himself contributed to the genre in 2005 with A Bittersweet Life, and there’s Park Chan-wook’s phenomenal revenge trilogy (Sympathy for Mr Vengeance, Lady Vengeance and Oldboy); and, though they’re not driven at their cores by revenge, it would be foolish to disregard the baroque bloodletting of films like Lee Myung-se’s Nowhere to Hide and Na Hong-jin’s The Chaser.
- The Toronto Star gives TIFF Lightbox its six month Check-up
“That’s close to six months, so we should be on target for somewhere between 600,000 to 700,000 admissions for the full year because, obviously, during TIFF we’ll have a lot of people coming in over the 10 days. That figure will spike. It will only get stronger.” Besides TIFF, the Lightbox will also be home this year for the first time for the Sprockets and Hot Docs festivals.”
- Capture the Flag (A Canadian’s take on Americanism in Film)
The Mad Hatter continues his thoughts on Saving Private Ryan and extrapolates to odd moments of patriotism in American Cinema. And gets a lively and stimulating comments section to (a)boot. “The direct culprit that rekindled this position is SAVING PRIVATE RYAN. Remember? The film I love that I was praising just seven days ago? In that post I left one thing out, the detail of the film that has always bugged me: the core story of SAVING PRIVATE RYAN – one of heroism, sacrifice, duty, and honour – is a universal story. It speaks to all of us in the west who live with the freedoms that we do. However for Spielberg, the core story needed to be more direct…it had to be specifically American. Thus the film begins and ends with that faded shot of the flag, and we pause after the opening act to take the whole story back to the homefront.”
You can now take a look at RowThree’s bookmarks at any time of your choosing simply by clicking the “delicious” button in the upper right of the page. It looks remarkably similar to this: