New issues, yes!
Slate officially introduces its "Summer Movie Week," which continues today with Edward Jay Epstein on how the only thing that’s really stopping Rupert Murdoch from completely mushing what remains of traditional movie rental with on-demand movies via digital video recorder is the might of Wal-Mart, which has maintained, through unwritten agreement and fear and trembling, a 45-day "video window" between a movie’s DVD release and its being made available on-demand. Also on Slate, former Salon critic Charles Taylor sings the praises of "The Bad News Bears," "both an antidote to the sentimentality that currently affects sports movies and the last hurrah for the glorious disreputability that characterized the genre in the late ’60s and early ’70s." And best of all is a seriously frazzled-sounding Grady Hendrix, head of the New York Asian Film Festival (which kicks off this Friday), writing about all of the terrible, horrible, no-good things that can and do happen to you as you plan a festival.
Two selections from the new issue of Cineaste are up online: Paul Arthur tackles the changing nature of the documentary, and Richard Porton interviews Pawel Pawlikowski, whose "My Summer of Love" opens in limited release this Friday.
The newest edition of Midnight Eye is also up. This time round they’ve got an interview with director Sogo Ishii, who was also an important figure in Japan’s punk scene of the 1970s and 80s; a detailed round-up and reappraisal of Kenji Misumi‘s films (he’s best known for his Zatoichi films, which (hey!) are currently airing Saturday mornings on IFC); and reviews of "Marebito," "Canary," "Linda Linda Linda," and Noel Burch’s "To The Distant Observer: Form and meaning in the Japanese cinema."
On top of this, the Village Voice has its own summer section with profiles of the three coolest freshmen of the season: Laura Sinagra talks to David LaChapelle about "Rize" ("It’s like, ‘Oh the
rich gay photographer goes into the ghetto to exploit the poor
children.’ But you know what? These kids want people to see their work.
As artists, they want people to see what they do."); Ed Halter is impressed by Miranda July ("The whole process was of me learning, oh, I can do my work in the world, with people. That I’m not as fragile as I thought I was."); Jessica Winter interviews Pawel Pawlikowski ("I try to be a bit documentary about everything, and think on my feet, to create a situation where cinema can happen. It’s not drama I’m talking about, or realism. I’m talking about a poetry of cinema."); and Matthew Ross examines the combination of cushy seats and controversy that is the new IFC Center.
Good lord, how’s a film blogger supposed to keep up?