ph: Carter Smith
Saturday, March 24, 2018
Toys From My Childhood
Slinky
A Slinky is a toy precompressed helical spring invented by Richard James in the early 1940s. It can perform a number of tricks, including travelling down a flight of steps end-over-end as it stretches and re-forms itself with the aid of gravity and its own momentum, or appear to levitate for a period of time after it has been dropped. These interesting characteristics have contributed to its success as a toy in its home country of United States, resulting in many popular toys with slinky components in a wide range of countries. [Wikipedia]
Friday, March 23, 2018
First Lines: Ishmael Reed - Yellow Back Radio Broke-Down
Folks. This here is the story of the Loop Garoo Kid.
The Shape of Water (2017)
At a top secret research facility in the 1960s, a lonely cleaning lady forms a unique relationship with an amphibious creature that is being held in captivity.
A homage to 50s monster movies with an assured sense of style winkingly manages to modernize (and romanticize) the old genre into a work of cinematic art.
The Librarian: Return to King Solomon's Mines (2006)
Librarian-turned-adventurer endeavors to find King Solomon's mines.
OK and harmless TV adventure, a bit in the vein of Indiana Jones.
First Lines: Lionel Davidson - A Long Way to Shiloh
I came out by the north, it has to be understood, and turned north, myself, ten men and twenty pack animals, with thirty days' rations.
Thursday, March 22, 2018
The Love Witch (2016)
A modern-day witch uses spells and magic to get men to fall in love with her.
Reminiscent of some Jesús Franco's works in style and occult plot this feminist reworking of an otherwise exploitative genre is entertainingly successful and convinces especially with it's beautiful cinematography and a great central performance by Samantha Robinson.
Wednesday, March 21, 2018
The Beguiled (2017)
The unexpected arrival of a wounded Union soldier at a girls school in Virginia during the American Civil War leads to jealousy and betrayal.
A remake of Don Siegel's movie of the same title with all the good parts left out; the intention of transforming the story into an example of feminine solidarity backfires by omitting all racial, erotic and social subtexts.
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