Monthly Archives

March 2015

#KickingtheCanon by Carson Lund Film

The Cook, the Thief, His Wife, and Her Lover | Peter Greenaway

March 30, 2015

From the start we’re reminded of Kubrick. Atop a lovely bed of Michael Nyman’s strings, the camera ascends gracefully from a basement of snarling canines to a foggy parking lot high above, landing in a symmetrical widescreen framing of the first of many amoral spectacles: Albert (Michael Gambon), the monstrous mobster owner of upscale restaurant Le Hollandaise, and Mitchel (Tim Roth), his pathetic henchman, finishing up the last bit of some criminal business.…

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#KickingtheCanon by Jonathan Keefe Music

Dixie Chicks | Wide Open Spaces

Wide Open Spaces can be counted more as a reboot than as a debut. Sisters Martie Seidel and Emily Robison had originated the Dixie Chicks with vocalist Laura Lynch as a cowgirl-themed act who played bluegrass and Western swing on a series of independent albums during the…

March 27, 2015
#KickingtheCanon by 
Drew Hunt Film

Se7en | David Fincher

With a title sequence that references both Stan Brakhage and To Kill a Mockingbird, David Fincher’s Se7en announces itself as a decidedly progressive genre text. Throughout his career, but particularly in this early masterwork, Fincher’s consumed the fleeting styles of Hollywood and mainstream film — in this case, film noir — and…

March 23, 2015
#KickingtheCanon by Josh Hurst Music

Bob Dylan | Bob Dylan

The debut album from America’s greatest songwriter contains a scant two originals alongside 11 covers, ensuring that it will always be somewhat overlooked or written off as a curiosity, in some circles perhaps regarded with the same vague condescension that one might regard Michael…

March 20, 2015
by Matt Lynch Film

The Gunman | Pierre Morel

Hey look, another movie about a former black-bag operator whose past moral lapses catch up to him when some former colleagues attempt to have him assassinated. In The Gunman, it’s Sean Penn, and he’s enlisted Taken director Pierre Morel in what can’t help but be seen as a play…

March 19, 2015
#KickingtheCanon by Veronika Ferdman Film

Night Tide | Curtis Harrington

Curtis Harrington’s Night Tide screened in 1963 as the second half of an Edgar Allan Poe inspired double bill alongside Roger Corman’s The Raven. It is almost unfathomable that a film as guileless and pure and innocent (but not naive) as this could ever be made today. Harrington’s…

March 16, 2015
#KickingtheCanon by Jason Gubbels Music

Cecil Taylor | Cecil Taylor Unit

In a career marked by artistic triumphs, one might just as easily track Cecil Taylor’s long journey by highlighting his periods of exile. He was still scrubbing dishes in a food joint even while Down Beat gushed over his performances. The Five Spot Cafe kicked him to…

March 13, 2015
#BlockbusterBeat by Matt Lynch Film

Run All Night | Jaume Collet-Serra

Jaume Collet-Serra’s last two films, Unknown and Non-Stop, were both now-patented Liam Neeson thrillers and Hitchcock-ian wrong man transmissions. In the former, Collet-Serra’s patient, often static camera infused its twin cases of mistaken identity and kidnapping with a powerful sense of dread and alienation, even as the…

March 12, 2015
#KickingtheCanon by 
Drew Hunt Film

Drugstore Cowboy | Gus Van Sant

What Woody Allen is to New York — or, more accurately, what John Waters is to Baltimore — Gus Van Sant is to Portland. His films, particularly Mala Noche, Drugstore Cowboy, and My Own Private Idaho (known collectively as the “Portland Trilogy”) played a seismic role in cementing the city’s counterculture identity,…

March 9, 2015
#KickingtheCanon by Ryo Miyauchi Music

EPMD | Strictly Business

Erick Sermon and Parrish Smith nicked expensive names to big up their first effort as EPMD on debut Strictly Business. That was just how it was done back in 1988, a much-touted golden age; the scene resembled the wild West when it came to label-funded creative freedom. Still…

March 6, 2015
In Review | Online film and music criticism