Ain’t Them Bodies Saints. Really enjoyed this one. Love the soundtrack, trimmed down to strings and clapping. There’s some DNA of tense Texas slow-pursuit films like No Country for Old Men, crossed with strains of outlaw lover flicks like Badlands and parts of Days of Heaven.
Category: uncategorized
Any gifts and time you give to family members are investments in them as people, vs. investments in your relationship with them. It’s “I want the best for you” vs. “I want the best out of you” — a fine distinction, but an important one.
I Am Legend

I Am Legend. Ah, dude. This could have been so amazing. The early scene in the dark building has to be one of the most intense film moments ever, because Smith is not a commando and he is scared as shit. It’s also filmed just about perfectly. I love the early gut-clenching mood anxiety, and the exploration of the toll of solitude (see also: Moon, Alien, Solaris). The movie goes off the rails by the end. The CGI-fest is jarring enough, but the shift in tone is really disappointing. But man, 90% is incredible. David Bax puts it well:
There’s more to a movie than how it ends. Take, for example, Francis Lawrence’s I Am Legend, which spent an hour building one of the most daring and intense genre blockbusters in years before the third act from some other, dumber movie swooped in and delivered the automatic weaponry and explosions no one was asking for at that point. It’s a shame but it doesn’t obliterate the experience of what came before it.
Two (Sucked) Thumbs Up – NYTimes.com
How much can I trust the critical faculties in which I once had so much faith? Now that I see so few movies, every single one is an ecstatic experience. They all become impossibly brilliant and entertaining.
Who Will Prosper in the New World – NYTimes.com
A lot of jobs will consist of making people feel either very good or very bad about themselves.
Emmys: Jerry Seinfeld on Why He May Never Go Back to TV (Q&A) – The Hollywood Reporter
I made Comedians in Cars out of that show [The Marriage Ref]. If you look at it, you’ll see what I was going for on that show. I think it’s interesting to hear people talk about something that’s powerful and interesting to them out of the box. But I couldn’t make it happen. One of the big things I realized was that the audience is stopping these people from talking. The other thing I realized is that I was much more interested in comedians than I was in a lot of other people whom I thought I was interested in. So, in some ways, I took that pot, smashed it on the ground, took four or five pieces and re-glued them into another thing.
Emmys: Jerry Seinfeld on Why He May Never Go Back to TV (Q&A) – The Hollywood Reporter

Winners of Chimpanzee Art Contest Announced – The Humane Society of the United States. Art is subjective and all, but this one is definitely the best. Also, I’m feeling a lot of mixed emotions about many aspects of this.
An Impossible Number of Books: Matthew L. Jockers’s “Macroanalysis” –
Changing the canon — or even a proliferation of canons, as literary studies has fractured into a collection of increasingly well-defined subfields — takes us only so far. Readers are finite creatures, capable of making their way through only a tiny fraction of the millions of books published over the centuries. The problem, at this sort of scale, has less to do with canonical selection bias than it does with our inevitable ignorance of nearly everything that has ever been written. It’s one thing to claim that a particular book was influential in its day (though influence is a tricky matter, more sociological and economic than literary) or that a text has been treated as important in subsequent scholarship. It’s something else entirely to argue that the same book is “representative” of a genre’s or an era’s output, especially when even the best-informed critics have read almost none of the material in question.
An Impossible Number of Books: Matthew L. Jockers’s “Macroanalysis” –
Sleepless in Seattle

Sleepless in Seattle. ‘93 Meg Ryan, you guys. It’s uneven, but I love how the first hour or so everybody has to wrestle with dreamy wistfulness/“something’s missing” kind of feelings vs. carpe diem/“go get’em” bootstrapping.
Never attribute to something other than fear that which can be attributed to fear.
Tarantino and Spielberg: Two Visions of America – Bright Lights Film Journal
The villain is the slaveholder Calvin Candy. He is evil, and as loquacious as anyone in Spielberg’s film; he is suave, and he dispatches his slaves casually and horrifically. At the center point of the movie, he delivers a long, intimidating speech on phrenology. The difference between the races, he explains, is physiological: the construction of the African American skull reveals the construction of their brains, and it is this construction that makes them inferior. […] Here, we are at the epicenter of Tarantino’s vision: the villain is exactly as cool and violent as the hero. Given this tenuous balance, morality becomes a matter of keeping, and defending, a code. This is American history as a story in which the qualities of greatness are also the qualities of terror; it is a vision that understands the double-edged nature of our proclivity for violence and our existential belief in the individual.
Tarantino and Spielberg: Two Visions of America – Bright Lights Film Journal
The Act of Killing

The Act of Killing. It follows a few semi-retired Indonesian gangsters/mass-murderers as they make an increasingly bizarre movie about their youth. Probably the most intense documentary I’ve seen. And not at all because it’s graphic (It’s not – the most wrenching scene for me, spoiler, was when you see these guys go on a neighborhood shakedown for cash. It is completely heartbreaking.). It’s just morally rich and a really interesting text, excuse the academic-ese. All about storytelling, memory, forgetting; the influence of movies; youth vs. age. Totally worth it.
The Strange Ascent of ‘Strained Pulp’ – NYTimes.com
There was a time when just about anything — dumb commercial entertainment, ugly clothes, the weird dishes your grandmother used to serve — could be appreciated and appropriated in quotation marks. Strained pulp is not quite that — its celebration of the formerly marginal and disreputable is serious and sincere. The condescension is not overt but is latent in the desire to correct and improve the recipes retrieved from the past, to finish vernacular artifacts with a highbrow glaze. We’re going to make ’em — movies, cocktails, regional dishes, zombie novels, garage-rock anthems — just the way they used to, but a little bit better. This strikes me as a form of snobbery. But then again, maybe I’m the snob.
There has never been so much future in my life as at that time.
The Serengeti Lion
I’m trying to imagine how my 8-year-old self would have reacted to this. Pretty nifty.
The Case Against Eating Lunch Outside
Only on special “it’s such a nice day!” kind of days do people want to go outside. But what’s a nice day? Well, it’s a day when the temperature outside approximates the results of indoor climate control technology.
Deserve’s got nothing to do with it.
Not New York: Building Book Culture in Dallas, TX | Publishing Trendsetter
On the other side of the equation, I can’t bear the thought that people think they have to move to New York to work in publishing, especially when the future of this country, and the publishing industry, is going to be found outside of New York.
My buddy @WillEvans is the coolest.
Not New York: Building Book Culture in Dallas, TX | Publishing Trendsetter

