Month: October 2008 Page 1 of 2

Quiz: Guess the Horror Clips

So I’ve been wanting to throw some quizzes out there because I always enjoy when other blogs do that. But quote quizzes were overdone years ago, and everyone does screencap quizzes, so I decided to go the extra step: a video quiz. Which is more work than I originally intended, largely because I only have Windows MovieMaker – which is cool for clipping TV shows, but less than optimal for actually editing; actually, it’s a piece of crap. But it does accept Xvid-encoded .avi files, which a lot of higher-end editing programs don’t, so there’s that. Anyway.

Most of these are going to be REALLY easy for connoisseurs of horror movies, especially classic horror movies, because I didn’t want to get too obscure all at once, and because I’m still working on getting over my dislike of horror, so most of these are fairly well known. There might be a couple that’ll test you, though. And there’s at least one that anyone should get.

So here’s the deal. You get one point for each film in the montage you can name. I won’t tell you how many films there are total (but I will say there are multiple clips from each film, and they aren’t contiguous). And you get lots of points if you can name all the clips in order. Basically, if you do that, you win. :) There’s no prize, so it’s okay if multiple people win. Go ahead and guess in the comments, and I’ll edit the post with scores. And please, people, guess! I’d like to do things like this more often, but I probably won’t if no one cares.


Horror Montage from faithx5 on Vimeo.

Happy Halloween everybody!

Scoreboard:
Vonnie – 5
Kat – 4
Polter-Cow – 3
icubud – 3
logical extremes – 1 (got the other B&W film that no-one had guessed; I bet you knew some of the others, though, too)

Some music from here, released under an attribution Creative Commons license.

Edit: Also, I swear I hadn’t watched Jonathan Lapper’s latest Killfest video yet when I chose the last shot – it’s just the perfect ending shot to every murder/killing/horror movie montage, is all.

[If you’re reading this in a feedreader, you may need to click through to see the video.]

The Season So Far…

Now that most shows have had a few weeks to get going, let’s see how the must-watch lists are playing out. Spoilers for all aired episodes are likely.

Obsessing/Loving

These are the shows that a) get watched almost immediately, b) I anticipate every week, c) I whole-heartedly love every episode whether it deserves it or not.

Chuck
I am pretty much loving Chuck more than anything else right now. It’s one of the few shows I MUST WATCH the night it airs. I’m enjoying the slow progress in Chuck and Sarah’s relationship; sure, they’re stalling it with the whole “agent-asset no-dating” policy, but it’s working for me. They’re also making good use of Morgan this season – last year he got incredibly annoying for me, but this year they’ve got him on enough to bring the extra funny but not enough to be overkill. (I think giving him a girlfriend was the key.) And can we just talk about Casey? I’ve been an Adam Baldwin fan since Firefly, but he’s nearly as awesome here. Everything is awesome. Although, the Sarah vs. Nicole Richie fight in the last episode? Cool on one level, but in the locker room? With the showers on? Obviously written by men. ;)

How I Met Your Mother
The last episode made me really happy. Not that I have anything against Stella; I like her a lot. But any time I can grab any hope of Robin and Ted getting back together, even temporarily, raises my spirits. They’re my ‘ship, y’all. You can’t compete with that. Ooh, and Alyson Hannigan is apparently expecting a child with hubby Alexis Denisof – wonder if they’ll write that into the show?

Grey’s Anatomy
I know, I know. Grey’s was on probation at the beginning of the season. And would I say it’s really gotten a ton better? Some, maybe, but not a ton. But when I started watching the first episode this year, I went a little melty inside. Because they’re my people. And they are acting more in character than they have for a couple of years, so I’ll give them that. And Callie isn’t messing with George any more. (I was never a fan of that relationship, let’s just be frank. I don’t much care about her or Erica, so they can go do whatever and I can just largely ignore them. Keep them both away from my core group.) I can’t explain the comfort I feel just having Meredith, George, Izzie and Cristina on my screen, because it isn’t rational. That, more than any other reason, is why the show’s in the “obsessing” category.

30 Rock
In case you didn’t catch it, the premiere’s up on hulu now. Yay! It’s hard to say much about the season only one episode in, but Megan Mulally as a guest star is a great start. And the writing remains typically high quality, and Fey and Baldwin continue to play off each other perfectly (and if you didn’t see the cold open on SNL last week with Sarah Palin, and Fey and Baldwin, you should look that up on hulu too). Oh, I’ve missed you, 30 Rock! Please don’t stay away so long again.

Pushing Daisies
I’m still a little worried about how they’re going to continue the coy Ned-Chuck relationship, but when the show started up this season, I just fell in love with it all over again. The clown episode was pretty weak, but the others have all been interesting and well-balanced between monster-of-the-week and relationshippy stuff. So I’m glad I don’t write for it, but I’m more than willing to go along for the ride and go “aw” every ten minutes.

Enjoying

These are the shows that I consistently enjoy watching, often love, but for whatever reason aren’t grabbing me as much as the shows in the above category. Roughly in “most enjoying” to “least enjoying” order, but I’ve moved them around so many times I can’t guarantee that.

Ugly Betty
Betty‘s coming along nicely this year, I think. I like moving her down to the city (though her totally hot, guitar-playing next-door neighbor needs to make another appearance, stat), I like the arc with Daniel’s son (though I guess that’s over now), it’s good to see Gio back, and I even liked the stint at the other magazine. Not that I would’ve wanted Daniel and Betty to stay there, but it was a nice contrast to Mode. Bummer that I guess Alexis is out for a while (I suppose this is how they’re dealing with Rebecca Romijn-Stamos’s pregnancy). Suggestion – do more with Mark and Amanda!

The Office
I miss Pam. :( I mean, I know she’s around, but the lack of Jim-Pam interaction is getting me a little down. On the other hand, Michael + Holly? FULL OF WIN. Every time I see Holly, it’s hard for me to believe that it’s the same Amy Ryan that played the neglectful low-class mother in Gone Baby Gone. Maybe I should reevaluate my meh impression of her performance in the film. Anyway. I’m a little bored with the Dwight-Angela-Andy triangle, so I wish they’d finish that arc out somehow. And bring Pam back.

The Mentalist
I wasn’t even fully planning to watch this show, but I did, and it’s one of my favorite new ones of the season. It’s a procedural, and the main character has powers of observation and mental deduction that border on psychic power. But aren’t. Anyway, he’s also a really likeable character, and his partner is played by the girl who played Veronica on Prison Break (who I really liked before I stopped watching it). So it’s kinda like Psych, but less goofy, and doesn’t make me want to hit the main character half the time.

Crusoe
Honestly, I expected Crusoe to crash and burn (a primetime network series set in the 18th century?), but I just watched the 2-hour pilot and was really impressed. It’s like Swiss Family Robinson meets Pirates of the Caribbean, and I enjoyed pretty much every second – especially those seconds that had Friday in them, because Friday is awesome. If they can keep the interest level as high in future episodes as it was in the pilot, and figure out how to get people to watch a period piece, even a swashbuckling one, on Friday nights, I’m in for a while.

Survivor
I need help, people. I’ve been railing against reality TV, led by Survivor, for years. And I decided I’d never actually watched Survivor and I should, just to say I had. And now I can’t stop. Reality TV is like a contagious disease, and now I’m infected with Survivor, The Amazing Race, American Idol, So You Think You Can Dance, Project Runway, Top Chef, Hell’s Kitchen, Last Comic Standing, etc. HELP ME. Or don’t. Just let me go.

The Sarah Connor Chronicles
I’m actually a few weeks behind on this, because it’s up against Chuck and How I Met Your Mother (see above) and I haven’t been keeping up online as quickly as I should. But every episode I do watch I really enjoy. I think it’s found a good stride, I’m fascinated by the things going on with Cameron, and I like John’s newly found rebellious streak. Thankfully it did get picked up for the rest of the season; now if I can just sit myself down long enough to catch up.

House
Oh, House. It’s getting in a bit of a rut – it feels like they’re starting plot points that just sort of peter out or get unsatisfying resolutions. I’m not sure exactly what to do to really fix it, but the good news is that it’s not all the way broken, because it somehow remains enjoyable. I want them to make something good of the Thirteen storyline, but they need to give her more depth as a character. I’m kind of done with the House-Wilson feud, but I think maybe they are, too. Anyway, it’s not appointment TV anymore, but it’s still good next-day DVR viewing.

The Amazing Race
See above re: Survivor. Although I actually feel less bad about liking The Amazing Race because, hello, traveling around the world. I’d like to be ON The Amazing Race. It’s lower on the list this year, though, because honestly, the people racing this year are pretty boring. I like the mom and son team (they’re nice and know that being nice to other people tends to result in good karma for them) and the brother and sister team (um, because they’re pretty? And a strong team). I want the divorcees gone now, because they annoy me. Frat boys ditto. But really, the biggest drama these people can come up with is “OMG, she pushed my sports bra off the ledge!” Where’s Rob and Amber when you need them?

The Unit
I’ve never watched The Unit before; only started because my pastor keeps mentioning it (it’s filmed near where he lives). So I’m still jumping into learning about the characters and what all they’re doing. Honestly, right now, the sections dealing with the unit wives interests me more than the shenanigans the unit itself gets into. However, I do find all the characters interesting, and I expect once I’ve spent more time with them I’ll be a lot more into the show, which is pretty solid.

Dirty Sexy Money
I’m not sure where they’re going with this season (and I miss Juliet like whoa; she needs to come back stat), but then you pretty much watch Dirty Sexy Money just to go along for the ride. Narrative arc? What? :) It’s kind of like I don’t feel a driving need to start watching each episode (I do because my DVR fills up otherwise), but once I start, I always enjoy watching, just to see what crazy things will happen. And I really like pretty much all of the characters. I tell you what though, if Nick doesn’t start treating Lisa better, I’m going to smack him. Plus, I don’t know how much longer they can drag out the Lisa-vs-the-Darlings tension (which has been going on since the beginning of S1) before it gets REALLY OLD.

Desperate Housewives
Jumping ahead by five years actually seems to be working out. I’m enjoying Lynette’s dealing with her now-teenage twins, Bree’s new business, and Susan’s new boyfriend (yeah, I liked Mike a lot, but new guy is pretty hot, too). Not loving Gaby’s storyline, but neither is she, so maybe that works out. The big season mystery could turn out pretty interesting too – certainly Edie’s new husband is an intriguing character. It’s not first off the DVR anymore, but I’m still into it.

Bones
I’m not disliking this season, but I’m not hugely in love with it, either. It’s not even the lack of Zack that’s got me down. It’s nothing, really, except that I’m probably watching too many shows and the procedurals, as much as I enjoy them, are taking the worst of it. Plus it’s been on hiatus for the past few weeks (baseball? I don’t know) and so it’s not fresh in my head as I write this.

Watching

These are the shows I’m continuing to watch, but I’m not heavily invested in. I probably won’t cut any of them, but they’re weekend filler.

Numb3rs
Numb3rs is usually weekend filler, and there’s nothing wrong with that. I like Numb3rs a lot, but if I missed an episode, I probably wouldn’t go out of my way to acquire it before the next week.

NCIS
NCIS is another one, like Numb3rs, that is good weekend show. My enjoyment of the episodes largely depends on how much Abby there is (and Ziva, and their interactions with Tony and McGee). Looks like next week’s is going to be an Abby-in-danger episode, which pretty much guarantees I’ll be watching it sooner than usual.

Criminal Minds
I just started watching this after people told me I couldn’t claim to like procedurals and not watch Criminal Minds. And yes, it is good. I’d like to see some of the earlier seasons sometime. But having just started, I’m not invested in the characters enough yet, and two or three of the plots so far this year seem rather derivative of other things I’ve seen. (I can’t remember which other show did a polygamous cult episode a while back, but there was one, and the latest episode seemed pretty much like Vacancy or [insert other backwoods hotel torture-porn horror film here].)

Family Guy
As I said in my TV preview post, Family Guy is highly enjoyable filler. I don’t have to watch every episode and there’s no overall arc to get into, which is why it’s down here so low. Doesn’t mean I don’t LOL a lot while I watch it. (I’m also watching The Simpsons and King of the Hill this year, because hey, why not, but I’d pretty much say the same exact thing about them as I did about Family Guy, so I didn’t separate them out.)

Without a Trace
I watched the first season of Without a Trace on DVD and LOVED IT. Then the rest of the seasons took forever to come out on DVD, and I decided this year I’d just start where it was and see if I could catch up. It’s a good show, but I’m seriously thinking of dropping it and picking up with the DVDs again. I haven’t gotten the thread of the characters back yet. Plus I gotta say, looking at all these procedurals down here is mostly just making me want to finish watching The Shield (I’ve seen about half of the first season, but need to get back into it).

Fringe
I’m “this close” to dropping Fringe. It’s trying to be X-Files, but not quite making it. The backstory isn’t clear (probably purposefully, but it’s unclear in such a way as to be offputting rather than intriguing), the characters aren’t that likable (except for Walter, and crazy old man likable can only go so far), and it just doesn’t hang together that well. But I somehow keep hoping it will get better. And I like seeing Joshua Jackson, because he is pretty.

Quitting

Heroes
This was hard. It is so hard for me to give up on a show, especially after two years of persevering with it. See Grey’s Anatomy as an example. But I gave Heroes plenty of time to stop sucking and it didn’t come through. Instead, it brought in even more characters for me to not care about and added even further plot complications for me to not untangle. And really, when you have two characters who can do ANYTHING? (And I hear now one character who can stop anyone from doing anything…) You have multiple deus ex machinas running around, which just makes the whole thing pointless.

Private Practice
I never really started watching Private Practice this year, so it doesn’t really count as “quitting.” Its time-slot is overcrowded, and I don’t care enough about it to seek it out online. Bye, Addison. Come back and guest on Grey’s when you get the chance.

Knight Rider
Honestly, I didn’t hate the pilot of this, as I think most other people did (at least, people who write blogs about TV shows seem to universally hate it), and if it weren’t up against Pushing Daisies and Bones, I might’ve kept watching it. But obviously I didn’t like it enough, because even though I initially meant to, I never went and watched it online. Oh well.

Kath and Kim
I made it through fifteen minutes of the pilot. Pretty much up to the point where Molly Shannon’s boyfriend showed up and annoyed the heck out of me within ten seconds. Before that, I thought there might be some potential in Shannon and Blair, but not enough for me to put up with the show as a whole.

Guess Which Show’s Doing Hitchcock Again?

Yep, Pushing Daisies is at it again!

This week’s episode “Bad Habits” boasts a death-by-clocktower-fall that may be suicide or may be murder. In any case, it’s quite Vertigo-esque. That makes twice they’ve done Vertigo, twice (at least) for Psycho, and once for The Birds. I vote they do Rear Window and Notorious next.






I couldn’t verify for sure because it’s been forever since I’ve seen it, but was there maybe a hint of Black Narcissus in there, too? Oh, and I’m claiming an Assassin’s Creed reference in the nosedive into the haycart. ;)

Touch of Evil Aspect Ratio Outcry


I don’t really have anything to add to this discussion, but I have to love the fact that cinephiles are up in arms over the the new Universal edition of Touch of Evil, which has three different cuts of the film (the 1958 studio-cut theatrical version, a pre-studio-interference preview version, and the 1998 restored version), but fails to display any of them in the originally shot 1.37:1 aspect ratio, instead using the 1.85:1 widescreen ratio. Dave Kehr has a post with video clips showing the difference and his post has garnered some 350 comments arguing for one aspect ratio or another (I didn’t read them all, I admit). There’s also a ton of discussion, with screencaps, going on at Criterion Forum. Glenn Kenny joins in with a bit more info on the history of the multiple ratios.

I’m so used to arguing for widescreen over pan-and-scan when going from 1.85:1 or 2.35:1 theatrical formats to 1.33:1 televisions that it seems strange to hear arguments for fullscreen over widescreen. But sure enough, looking at the clips Kehr posted, there’s definitely a more claustrophobic feel to the widescreen one. On the other hand, several of the shots did look better framed to me in widescreen. According to Kenny, it seems likely that Welles intended to shoot 1.37:1, not taking into account that the film would be matted to 1.85:1 for release. Frankly, it’s a fantastic film in any form, but now I’m curious to see the whole thing in both ratios.

So apparently after two DVD releases of Touch of Evil, there’s still room for one more. :) I’ll be on the lookout for the 4-version edition.

The Last Picture Hero

The title of The Last Picture Show has an obvious referent within the film: the single movie theatre in the tiny Texas town Anarene (not a real place, but based on real places) closes during the course of the film, and two of the main characters attend the final show. Yet the actual fact of the cinema shutting down does not, on the surface, seem to be important enough to rate its titular status. The characters aren’t cinephiles. There’s no great outcry against the closing of the cinema. The characters only go to see one other movie during the film, and they spend the majority of it trying to make out with their girlfriends. But writer/director Peter Bogdanovich is not merely choosing a title and event sure to interest his cinema-loving peers. Rather, the closing of the picture show serves as a tangible sign of the shift in American cinema and culture that the film as a whole presents. That shift is most clearly seen in the death of Sam the Lion.

Ben Johnson won a Best Supporting Actor Academy Award for his portrayal of town entrepreneur Sam the Lion, who owns the cinema, cafe, and pool hall. The “supporting” designation is accurate, since the younger generation led by Sonny and Jacy are the clear protagonists. On the other hand, it’s a tiny bit misleading, because Sam the Lion is the central, the foundational figure in the town and in the film. Sam represents the last of the classic Hawksian or Fordian heroes. (It’s no accident that Hawks’s Red River, starring John Wayne, is the last picture show.) He doesn’t talk too much, but when he does, it’s worth it. He protects Billy, the young boy who’s not quite all there, from the other kids who bully him. He lets Miss Mosey keep her job at the cinema long after she’s ceased to be useful in it. He comes down hard on Sonny when he joins in a humiliating gag on Billy [see clip below], but is quick to forgive him when the time comes.

It’s far too simplistic to suppose that Sam the Lion’s death half way through the film is the catalyst for the breakdown of the town. Jacy was off chasing college men at risque parties and Sonny was carrying on with the coach’s wife long before that. Sam doesn’t particularly comment on these goings-on, in fact. He’s the moral center of the Anarene world, but he’s far from a sermonizing moralist. Yet there is a relationship between Sam’s death and the loosening behavioral mores. Sam’s passing is inevitable because he belongs to an earlier generation. Not a perfect generation, or a generation that never sowed any wild oats – his monologue about Jacy’s mother shows that [see clip below]. But a generation with the inner strength and sense of personal honor that characterizes the heroes of Golden Age westerns and war films. (It’s not quite just a generational thing – at the very end of the film, no-one in the town, from old men to sheriff, is willing to stand up for Billy. Only Sonny keeps a glimmer of Sam’s love for the boy alive.)

When Sonny and Duane go to Mexico, Sam gives them extra cash, even though he knows they’ll probably spend it unwisely. When they return, barely able to sit up, they immediately try to find Sam, knowing that he’ll know the best way to stop their illness [see clip below]. But the sight of Sam waving them off to Mexico, half-sad that he couldn’t go with them, half-worried about them, but knowing that they had to do crazy stuff in order to grow up, was the last one they’d ever have.

From that point on in the film, Sam’s absence is a gaping hole in the life of the town. It’s not that everyone talks about him incessantly, or that everything falls to pieces without him, or that very much happens that wouldn’t have if he were around (nearly all of the events at the end of the film are set almost inexorably in motion before Sam’s death), but his absence is felt constantly by characters and audience alike. Before, there was always Sam to go back to if things got out of hand.

Bogdanovich made The Last Picture Show in 1971, right in the middle of the “New Hollywood” renaissance in American film; it wasn’t his first feature, but it was his first major success as a filmmaker, after having been a noted film critic. He set it in the early 1950s, when the first post-World War II generation was coming of age. Thus, the film represents two crucial periods in American history – the shift in American culture in the 1950s and moving into the 1960s, as social mores started to change (see contemporary films like Rebel Without a Cause), and the shift in American filmmaking in the late 1960s and 1970s, led by Bonnie & Clyde, Francis Ford Coppola, and Martin Scorsese (among others). Sam the Lion is passing in both. He belongs to the pre-war generation as well as to Old Hollywood. A trademark of New Hollywood is the combination of respect for Golden Age directors with a desire to push the envelope and find new ways to make films. This was the first generation of filmmakers who grew up studying films – the first set of American cinephiles, if you will. They knew their Hawks, their Ford, their Nicholas Ray, but they also knew that for American filmmaking to compete artistically with the Europeans, they had to find new heroes for a new time. Bogdanovich’s nostalgia for a time when Sam the Lion could be a viable hero is palpable. In fact, it’s much stronger than his assumed nostalgia for small-town America – to me there doesn’t seem to be a lot of love lost between him and Anarene. About the only good thing about Anarene might be that Sam the Lion was there. Without him, there’s little left in the town and most of the main characters move away as quickly as they’re able.

So The Last Picture Show really is the last picture show – the visible sign of the toll that Sam’s death has taken on the town, the death knell of Old Hollywood, and the passing of a uniquely American type of hero. It’s nostalgic, but it accepts the inevitable.

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