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Review: Pom Wonderful Presents: The Greatest Movie Ever Sold
Reviews
Lynch (One)
Utterly otherworldly
By
PEG ALOI
|
December 12, 2007
LYNCH (ONE)
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3.0
Stars
David Lynch
Filmed while David Lynch was making the inscrutable, haunting
Inland Empire
, this documentary chronicles the two-year project, which was inspired by photo shoots of Polish factories and friend/actress Laura Dern’s suggestion that he “needed to do something.” Produced by several Scandinavian filmmakers but with no credited director, only “blackANDwhite,”
Lynch (one)
portrays the famously hermetic Lynch as a passionate, impatient artist, sometimes plagued by self-doubt, but bursting with physical energy: building sets, dyeing costumes, lying on frozen asphalt to direct his actors, chainsmoking while he records his podcast in a dingy LA office. Interviewed by what sound like sycophantic film students, Lynch tells stories of giant desert rabbits and police brutality, describes a French film about a slaughterhouse, praises Transcendental Meditation, and proclaims that he is done with film (that is, celluloid). Non-linear, often surreal, and utterly fascinating, this film offers a an intimate look at the creative process of a man who has brought nightmares and dreams alive in cinema as no one before or since.
82 minutes | Brattle
Related
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Say ‘cheese’
,
Blue movie
,
Out to Lynch
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Say ‘cheese’
David Lynch celebrated “David Lynch Day” last Sunday in Harvard Square, where Inland Empire made its local debut at the Brattle Theatre. World without end: David Lynch’s dark and fertile film. By Peter Keough
Blue movie
When I first saw David Lynch’s masterpiece back in 1986, the undulating blue velvet curtain at the beginning — Is it cloth? Meat? Is it really blue? Fear and loving in Lumberton: Lynch's Blue Velvet . By Owen Glieberman Naked Lynch: Lending an ear to the director of Blue Velvet. By Owen Glieberman
Out to Lynch
The three decade nightmare on film
Fear and loving in Lumberton
This review originally appeared in the September 23, 1986 edition of the Boston Phoenix . Naked Lynch: Lending an ear to the director of Blue Velvet. By Owen Glieberman Blue movie: David Lynch’s Velvet revolution . By Peter Keough
Naked Lynch
This review originally appeared in the September 23, 1986 edition of the Boston Phoenix . Fear and loving in Lumberton: Lynch's Blue Velvet . By Owen Glieberman | Blue movie: David Lynch’s Velvet revolution. By Peter Keough
Seven heaven
Who are the world’s greatest living narrative filmmakers, what I call the Magnificent Seven?
Dreaming of celluloid
Of the handful of contemporary Asian shows on view in and around Boston this winter, that of Dinh Q. Lê should prove unique — if only because the Vietnamese condition is so far removed from the rest of East Asia’s cultural boom.
The future of an illusion
When I first realized that movies would, for better or worse, dominate my imagination forever, I really gave no thought to the forces at work creating these transfiguring images on a screen.
Perversion, introversion
Slavoj Zizek, the fuzzy-bearded Slovenian philosopher, seems a fun guy.
Dark matter
To paraphrase some wisdom from Jake "The Snake" Roberts, if a man has power, he never has to raise his voice. Jake was explaining why, unlike his adversaries, he didn't keep screaming gibberish. But it's a universal truth.
Review: My Son, My Son, What Have Ye Done?
Not so much Werner Herzog's return to his former persnickety, off-the-wall, idiosyncratic feature-film-making self as a reprise of his greatest hits, the overloaded My Son, My Son staggers and sometimes comes to a complete halt.
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ARTICLES BY PEG ALOI
REVIEW: THE FAIRY
| April 18, 2012
Belgian filmmaking trio Dominique Abel, Fiona Gordon, and Bruno Romy (L'Iceberg) have crafted a bittersweet, surreal urban fantasy set in the dreary seaside town of Le Havre.
REVIEW: KILL LIST
| February 28, 2012
Following up his impressive debut, Down Terrace , Ben Wheatley's Yorkshire-based crime thriller swerves with abrupt satisfaction into horror in its final moments.
REVIEW: THE INNKEEPERS
| January 31, 2012
Ti West's spook show is atmospheric (thanks to the terrific hotel setting) and frequently funny; but the plot line is choppy, the dialogue often unnecessary, and the scares too sparse.
REVIEW: THE BEST OF THE OTTAWA INTERNATIONAL ANIMATION FILM FESTIVAL
| January 24, 2012
The Canadians produce the best animation programs and prove it again with this international selection.
REVIEW: THE DEBT
| August 30, 2011
Based on the 2007 Israeli film Ha-Hov, the story weaves present and past together, with most of the action surrounding the fateful mission and the perilous web of duty, passion, and betrayal that still haunts the agents.
See all articles by:
PEG ALOI
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