So the big movie right now is Almost Famous. A nicely crafted ’70s epic about a 15 year old kid named William who writes music reviews, and ends up having Rolling Stone magazine foot the bill for him to go on tour with a major rock band, to write an article. Written and directed by Cameron Crowe, for whom most of this shit REALLY went down, it is obviously a movie that is very close to his heart.
In a way it’s kind of a pisser that THIS would be the cherished personal project for a director. This guy is saying hey everybody, when I was fifteen I fell in love with one of the many beautiful groupies I had sex with on the national tour I went on with a famous rock band. But then we didn’t get together. Bummer, eh?
It’s kind of like on that radio talk show Loveline, when they get what they call a “my dick is too big to ride my bicycle” call. Where it is really more bragging than questioning. (read the rest of this shit…)
This was my final destination for VERN’S DOCUMENTARY WEEK, the BBC series that got so much attention a few months back when it played on the discovery channel. But who the fuck watches discovery channel, how was I supposed to know.
Hey folks, Harry here with a look at THE EXORCIST: THE VERSION YOU’VE NEVER SEEN BEFORE that has opened up in over 600 screens across the country…. Now, some of you good folks are concerned that it will never play in your little neck of the woods… Well, this rerelease is being handled in a ‘platform’ manner. What this means is this… between now and the middle of October, you will see THE EXORCIST open on more and more screens nationwide… the word has it, that it’ll be on around 2000 screens when all is said and done. Meanwhile, the reports I’m getting from this release thus far is that all nighttime screenings in San Diego have already sold out (according to ‘surfbrat’) I just got back in Austin from the World Premiere of this version… Which is actually a bit different than the test marketed film that played in Austin. But more on that later… Here’s Vern… now be really afraid… he’s scary…
In 1995, those of you who were living in the free world first discovered a talented young group of filmmakers who seemed to come out of nowhere with the phenomenally popular crime movie The Usual Suspects. I don’t think anybody thought the movie was profound, but it was a fun novelty, obviously made by a couple of film school whiz kids. If something with this much attention to detail and audience manipulation is their first movie (well, not counting the god awful Public Access, which at the time had only played film festivals) – what will they be doing, say, five years from now?
You know what, I got me a new theory. Look out people. If this theory pans out its gonna be in the textbook for Badass Cinematical studies for now on. It is about the difference between ’70s Badass filmmakers and ’90s Badass filmmakers.
(released overseas as Soapdish 2000)
that I am, I decided to go see it BEFORE this week’s Badass release, Way of the Gun. I would like to apologize right now for my lapse in judgement and lack of support for the Badass movement. What in fuck’s name was I thinking. I must have been suffering from temporary trauma induced delusions like the gal of the title.
For the first time in the one (1) year since I got out, I feel like someone has heard me as I shouted to the sky my feelings about the Cinema. Or at least came up with the same ideas seperately. Mr. John Waters is the filmatist in question and this gentleman has created one of the greatest movies EVER about the movies to come out in the last year at least from the ones I have seen. Which is not many but still. This is a must-see picture for Cinema Outlaws like you and me because it takes all of our arguments and wads them all up into a big ball and then molds them into the shape of an entertaining movie.
