Sol Yurick RIP
(January 18, 1925 – January 5, 2013)
Sol Yurick, a writer whose best-known work, the 1965 novel “The Warriors,” recast an ancient Greek battle as a tale of warring New York street gangs and earned a cult following in print, on film and eventually in a video game, died on Saturday in Manhattan. He was 87. The cause was complications of lung cancer, said his daughter, Susanna Yurick.
This is the original Warriors back patch.
I hope that one day this will be released on Blu Ray in it’s original format, without those terrible animations that were in the DVD release for some unknown ridiculous reason.
WaxandMilk: I don’t think we talk enough about the robot pimps in Sylvester Stallone’s Cobra
Or robot pimps in general.
“We thought it was our judgement, we thought it was our doom.”
Ken Burn and his haircut have collaborated on a new documentary film
The kids are all so good in this movie! This is 40 rambles a bit at times but it more than makes up for it with a heap of hilarious dialogue, and I love how it portrays relationships in a realistic way. Check it out.
This is a great interview with Judd Apatow, he’s a damn ruler.
This is a very scrappy trailer for Dead Man Down directed by Niels Arden Oplev who seems to have really lifted his game style wise since that Dragon Tattoo film. Hopefully the excellent cast can save it from winding up another generic Jason-Stathom-esk shoot em up. It’s low res and out of sync but you can get the gist of it…
El Bulli: Cooking In Progress scored number nine of Mubi’s top film posters of the year
A film about food as art needs a poster that is a work of art in itself. While the original festival poster for this documentary about the titular Michelin-starred Spanish restaurant cleverly channeled Picasso, it was the British quad by a company called Fluid, based on a photograph by El Bulli’s star photographer Francesc Guillamet, that conveyed the invention and joie de vivre (or joie of cooking) of Ferran Adrià’s creations. A poster in which the pull quotes, always an annoyance for poster designers, become an essential ingredient.
Here’s the newish UK trailer in case you missed it.
A lot of very serious looks are exchanged. I heard smiling is forbidden.
From Miguel Gomes’ Tabu
Baby I Love You —The Ramones
Calling this as the second best film of 2012
As with Gomes’ other films, pop music pays a big part of the film, most notably a gorgeous Portuguese-language cover of “Be My Baby” that proves to be the crucial link between the film’s first and second half. Much of these song moments come courtesy of Mario’s Band, the snappily-dressed group that hero Ventura, and his best friend Mario, belong to. Ventura is sleeping with the beautiful Aurora, married to a powerful local man, and is starting to reach the end of his tether. At a local party, Ventura drums along to a mimed, deeply anachronistic version of “Baby I Love You,” the Ramones’ cover of the Phil Spector hit. The band lined up alongside a half-empty swimming pool, as if to drive home the chasm between Ventura and Aurora, who dances on the other side. It’s a great reminder of a somewhat overlooked track by the seminal punk band, and is one of those times when it makes perfect sense, historical accuracy be damned.
'And this idea of thinking that what the characters are missing—more than the loss of the Portuguese Empire or the land loss of the land—I think its their youth. I think that cinema, also, in a way is missing its youth. Back then in the youth of cinema, the viewers would be more available, there would be a larger ability to believe in things. It’s like the process of aging as you were talking, there is a moment when you believe in Santa Clause or whatever and then you grow up and see—no, it does not exist. But in a way, cinema can restore this belief even if you’re believing in unbelievable things, which is I think is far more moving to believe in unbelievable things. So you know it’s fiction, it’s a lie but somehow it gets you back in time into the moment where you believe these things. I think that, for instance, people that were seeing 1920s Morneau’s films, maybe they had a larger ability to believe in these vampires and these love stories. Because cinema is now more than 100 years old, it’s much tougher to believe and we are much more aware of things. This is a problem for us to believe in a very direct way.'