This week on IFC News:
In the podcast, we discuss "The Fountain" (we’re rather fond â€” and will be writing a review soonish â€” Matt is unfond but fascinated) and other films that might fall under what J. Hoberman referred to in his review of "Tideland" as "kamikaze auteurism."
In honor of the Thanksgiving holiday, the IFC News team rounds up their favorite dysfunctional family moments. We went for something from "The Lion in Winter" (though we were this close to attempting "Visitor Q") â€” other selection include "Julien Donkey-Boy," "Night of the Hunter" and "The Texas Chainsaw Massacre."
A brooding whorl of shadow, menace and sexual manipulation based on Wedekind‘s stories, Pabst’s film introduced â€” and for the most part epitomized â€” Louise Brooks, who as a man-eating Berlin prostitute immediately became one of cinema’s most enduring icons. (That black bob wig still shows up in films, whenever a female character is masquerading as a demimondaine.) From society-skewering slut-triumph to bad date with Jack the Ripper, Brooks’ Lulu may be a femme fatale paradigm, but Brooks herself remains one of the most mesmerizing â€” not merely beautiful â€” actresses to ever meet celluloid. To see her is to experience movies almost on a chemical level.
Matt reviews "The Fountain" while we review "History Boys," R. Emmet Sweeney revisits "ClÃ©o from 5 to 7," kicking off the Janus retrospective at the IFC Center, and Christopher Bonet rounds up what’s new in theaters this week.