Method, Madness, and Metaphysical Mysteries

If you’re reading this you’re one of us. You see the patterns that no one else does. You find the answers to questions too bewildering for others to comprehend. But the deeper you dig, the more confusing things get. And then there are the shady characters who keep weaving through your journey. It’s a conspiracy, but you’re the only one who can see it! That path can lead only to madness. Or a movie. We all love a good conspiracy thriller, but we are mesmerized by a conspiracy plot where the answers one seeks may not exist in the material realm.

Under the Silver Lake, the latest film to explore a mystery that seems to defy the logic of science and reason, has been pushed back from its original June release date to December. Ostensibly it’s to give filmmaker David Robert Mitchell time to recut the movie. But could there be another, more sinister reason behind this delay? What exactly aren’t they telling us? Just who is really pulling the strings here?

Continue reading at Fandor

Twin Peaks gets “Psych”ed – The Best Twin Peaks Tribute EVER

Psych: The Complete Fifth Season (Universal)

James Roday and Dule Hill are back as Shawn (the fake psychic detective) and Gus (the best friend and frustrated sidekick) in the comic mystery series on USA, a show that (in its own, cheeky way) anticipated shows like “The Mentalist.” (Fake psychic. Real detective. Indeed.) Roday has a tendency to push flamboyant grandstanding to the point of annoying, but his chemistry with sardonic straight man and closet nerd Hill is terrific and responsible for the funniest moments of the show, and it’s nice to see him in love. Tim Omundson, Maggie Lawson and Kirsten Nelson co-star as the cops and Corbin Bernsen is Gus’s father, reluctantly keeping the secret of his fake psychic abilities.

But the fifth season stands out for one transcendent episode: “Dual Spires,” an inventively produced riff on David Lynch’s Twin Peaks, complete with a score seeped in Angelo Badalementi romantic overkill, a theme song reimagined by Julee Cruise and a half dozen veterans of the show (including Sherilyn Fenn, Sheryl Lee, Ray Wise, Dana Ashbrook and one-shot gag by “Log Lady” Catherine E. Coulson) shuffled through various roles in this marvelously imaginative parody of the show. Series star James Roday was a big fan of Twin Peaks—he originally pitched the script back in the show’s first season—and he scripts the episode with both loving affection and a “Psych” sensibility of pop-culture riffs and smart-alecky byplay. The “Super Extended Version” on the disc adds ten minutes of scenes, all packed with “Peak”-love and goofy humor. Damn fine cup of Psych!

Read more on “Psych: Season Five” and other TV on DVD releases at MSN Videodrone

Best DVDs of 2007 and more on Berlin Alexanderplatz

My list of the Best DVD releases of 2007 went up on MSN today.

If there is one glaring omission, it is due to the fact that my deadline arrived before the new “Blade Runner” box set did. Based on the little I have seen, it likely would have placed quite high on the list.

My top pick? Do you have to ask?

1. “Ford at Fox
Wipe the drool away, movie geeks. Fox is bucking for DVD sainthood with this astounding release…. Has there ever been a DVD release with such commitment to rescuing and showcasing both established classics and rarities and forgotten works (both major and minor) of a Hollywood master? In a word: No. Essential for Ford fanatics, classic film buffs and DVD completists alike.

And for TV:

1. “Twin Peaks: Definitive Gold Box Edition
David Lynch’s cult TV show had previously been available in incomplete chunks, and until now the pieces never added up to the entire run. Paramount finally cleared the complicated rights imbroglio surrounding the missing elements of the series, notably the original feature-length pilot (for so long available only as an import), and has pulled it together into a single set — including the home video debut of both the broadcast pilot and the extended European cut (complete with its alternate ending).

I have ten picks in movies and movie-related releases, five picks in TV, and honorable mentions. Here are some of the those mentions that, on other days, would have found their way onto the list:

Treasures III: Social Issues in American Film, 1900-1934

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The third collection of the brilliant “Treasures From American Film Archives,” which showcases 48 rarities made between the years 1900 to 1934, is loosely organized around themes of social issues and engagement and reveals a side of early cinema forgotten in the popularity of the comedy legends and silent screen heartthrobs. The four features are the highlights, but the totality celebrates the diversity of cinematic forms in early cinema: 30-second “actualities,” newsreels, cartoons, political tracts, documentary exposés, and more. It sprawls across genres, it tackles everything from prohibition to women’s voting rights, worker safety to unionism, police corruption to organized crime, and it showcases slices of our cinematic history that just don’t get seen outside of film archives and “educational” screenings. It turns out that they can be damnably entertaining. The four-disc box set also comes with a 200-page illustrated guide to the treasures within.

Cinema 16: European Short Films

Cinema 16

Cinema 16’s two-disc collection of some the best of short cinema from Europe is the most well-curated and compelling short film compilation I’ve seen on DVD. This set pays more attention to superior work than to familiar names and showcases some of the most inventive, powerful and provocative films you’ll see in the three-minute to half-hour format, including Roy Andersson’s brilliant and disturbing 1991 “World of Glory,” Virgil Widrich pitch-perfect high concept twist on Xerox art “Copyshop,” and Andrea Arnold’s searing piece of social realism, the Oscar-winning Wasp,” as well as early films by Christopher Nolan, Ridley Scott, and Lars Von Trier. Features sixteen shorts on all, with commentary on all but three of the shorts.

The Jazz Singer: 80th Anniversary 3-Disc Collector’s Edition

Warner

“Wait a minute, wait a minute, you ain’t heard nothin’ yet!” This newly restored version of the legendary hybrid silent film, the absurdly maudlin melodrama starring Al Jolson as a cantor’s son who mugs and shimmies his way through songs like “Toot-Toot-Tootsie Goodbye” and “Blue Skies,” is remastered from earliest surviving nitrate film elements and original Vitaphone sound-on-disc recordings. But the three-disc set as an entirety is a lavish tribute to the birth of sound and the early Vitaphone shorts (many of them featuring the kinds of acts that killed vaudeville). A true work of cinema archeology.

New at Turner Classic Movies:

Rainer Werner Fassbinder’s fifteen-hour-plus adaptation of Alfred Döblin’s novel, one of the most revered classics of German literature, is the German auteur’s most lavish and complex production ever. It’s also his most personal, a dream project with roots that reach back to Fassbinder’s youth, when he read the novel for the first time at age 14. Fassbinder, grappling with his own identity and his emerging homosexuality, saw himself in the character of Franz Biberkopf, the trusting, emotionally naïve, almost childlike hero who begins the novel wandering an alienated Berlin plunged into depression and enters into a destructive relationship with a cruel thug. Five years later he re-read the novel and “it became clearer and clearer to me that a huge part of myself, my behavior, my reactions, many things I had considered a part of me, were nothing other than things described by Döblin in Berlin Alexanderplatz,” he wrote in 1980. “I had, quite simply, without realizing it, made Döblin’s fantasy into my life.”

Berlin Alexanderplatz became Fassbinder’s touchstone throughout his career. He named the protagonist of Fox and His Friends, which he portrayed on screen himself, Franz Biberkopf, while the central characters of many other films were named Franz (including those played by himself in his first feature Love Is Colder Than Death and in The American Soldier). His own pseudonym used for editing credit, Franz Walsh, is a mesh of Döblin and the American director Raoul Walsh. Even the plots of two early films (Love is Colder Than Death and Gods of the Plague) have their roots in Döblin’s novel.

Read the complete piece on the film, its production, and the Criterion DVD at Turner Classic Movies.