“It’s an art movie. Doesn’t count. I’m talkin about movie movies.”
April 10, 1992
I have enjoyed some of Robert Altman’s movies over the years, but never became a full-on “he’s one of my favorites” convert like so many film buffs a little older than me. In fact the only ones I’ve ever reviewed are MCCABE & MRS. MILLER, POPEYE and NASHVILLE. POPEYE was definitely the first Altman movie I saw, since it starred my biggest childhood hero (not Robin Williams – Popeye). THE PLAYER was the first one I watched as a grown-ish person trying to see good movies for adults.
I don’t hear people talk about it that much these days, but it has an 86 on Metacritic, which they quantify as “universal acclaim.” And it has a Criterion Edition. I remember it being viewed as a major cultural event in the film coverage I read in magazines and alternative weeklies of the time. In his review, Roger Ebert brought up Wall Street scandals and said the movie “uses Hollywood as a metaphor for the avarice of the 1980s,” but in my memory people enjoyed it as a satire of Hollywood executives. My most specific memory about it was a certain cameo in a movie-within-the-movie meant to parody the “pat Hollywood endings” joked about throughout the movie. (read the rest of this shit…)
“This ‘weird creature’ is a human!”
I was recently interviewed on a podcast and this is a little different from any I’ve done before so I wanted to say something about it.
April 3, 1992
“Just like you said, the wind’s shifting. Everyone’s gonna get it.”
It doesn’t seem like it yet in my part of the world, but summer is almost here, and that means that I will once again be starting a summer movie retrospective. This year I’ve decided to look back at the summer of 30 years ago in a series I’m calling 1992 – WEIRD SUMMER. ‘Cause it was kind of a weird summer, you know? The overall selection of films was unusual, and a bunch of the movies – even the big blockbuster sequels – were not exactly aimed at the normal people with the normal tastes. I’ll try to review most of the major movies of interest, and when applicable I plan to zero in on the theme of weirdness (both intentional and unintentional), the artists who managed to push weirdness into major movies, and how people reacted to it at the time. 
RICKY POWELL: THE INDIVIDUALIST is a 2020 documentary about the late New York City photographer/scenester who documented the golden age of hip hop and the ‘80s New York City art scene. Most of us know of him because of a line in a Beastie Boys song – he grew up with Ad Rock and went with them on their tours for around a decade, hanging out and taking photos. He also took many famous pictures of Run DMC, LL Cool J and Public Enemy.
So far I have watched all the Marvelous Cinematical Unabomber motion pictures and related Disney+ streaming television works, and I have enjoyed the majority of them. But fuck all that. What’s important here is that DOCTOR STRANGE IN THE MULTIVERSE OF MADNESS is the first movie Sam Raimi has directed since 
RAGE AND HONOR II: HOSTILE TAKEOVER was released only a year later (1993), but it’s made by a whole new team. It’s the only narrative feature directed by Guy Norris, an Australian stunt legend who had been on the team for 
RAGE AND HONOR (1992) opens in black and white – first, grainy high contrast footage of the city, maybe 16mm, then camcorder footage with scanlines – following leather-jacketed Kris Fairfield (Cynthia Rothrock) in an empty high school class room, finishing up her day of work and heading home. I assumed this was a reference to the Michelle Pfeiffer tough-and-inspirational-inner-city-teacher movie 
