This week on IFC News:
They’re a bit more serious. That was something that was extraordinary, was how difficult it is to get humor in them. Chris Evans got some in for us because he’s very deft at that, but it’s fucking difficult. [laughs] When you look back at those other ones, they’re very serious. The whole film passes without a laugh, some of them. You can’t have romance in them, either. We had obvious candidate roles; Cillian‘s could easily have gone romantic, or Chris’ relationship. And we tried that at script stage, it didn’t work. Just laughable. They kiss, and you think "Fuck off, that’s nonsense!" They tried it in "2010," and it didn’t work there. You watch it, and it’s slightly embarrassing and weird. We had an amazing sex scene worked out, but we didn’t shoot it [because] it was inappropriate.
On the podcast, we go over a selection of cerebral sci-fi films.
Michael Atkinson has some great musings on "the snark hunt":
[T]he desire for the maudit, music or books or films that have been largely scorned or misunderstood or forgotten or all three, but which, it is held by the lone, courageous voice crying in the wilderness, are in fact sublime and subversive and ultracool. We all know of movies like this ("cult" is the too-often applied term in the U.S.), and we all also nurse ardor for some unique examples ourselves (OK, me: Kalatozov’s "The Letter Never Sent" (1959), Fassbinder’s "Whity" (1970), BuÃ±uel’s lowliest Mexican films, Friedkin’s "Sorcerer" (1977), Jean Rollin’s "The Living Dead Girl" (1982), the Bill Murray version of "The Razor’s Edge" (1984), Alex Cox’s "Walker" (1987), and so on).
It leads into a look at Harry KÃ¼mel‘s "Malpertuis," out on DVD next week, and "Tideland," which hit the shelves a few months ago and seems, as Atkinson observes, "just waiting for its historical moment, decades from now, when someone makes a case for it as a neglected masterpiece."
We chat about the shape of Asian cinema with Grady Hendrix, the head of the New York Asian Film Festival, and interview the not-quite-loquacious "Suicide Circle" and "Exte" director Sion Sono in this video (fancy!) interview.
Dan Persons interviews Javier Bardem, who stars in Milos Forman‘s "Goya’s Ghosts" and who will likely be getting some serious awards attention again when "No Country For Old Men" rolls out in November, friendo.
Matt Singer reviews "Sunshine" here ("Boyle’s grip on our emotions is so precise it’s nearly as frightening as the film itself: few filmmakers are as adept at wringing terror out of an empty room or a simple pile of dust.") and "Cashback" here ("’Cashback’ actually plays sexual assault for romance (it plays it for comedy later, too).").
And Christopher Bonet has the rundown of what’s new in theaters.