Invitations and warrants
You and your pets are invited to the grand launch of Pupil’s second album Wildlife tomorrow, November 9, from 8pm onwards at Eastwood City Central Plaza. You’re encouraged to wear red, black, and white; pet outfits optional. The album is now in stores.
Watch James Gray’s terrific new film We Own The Night (motto of the New York Police Department) starring Joaquin Phoenix, Mark Wahlberg, and Robert Duvall, and discuss: Why do most of today’s good movies look like they were made thirty years ago? Did American cinema peak in the 1970s?
In totally unrelated news, a priest has been arrested for stalking and harassing Conan O’Brien, the talk show host and father of my eldest cat, Koosi O’Brien. Apparently the priest had been following Conan’s career since they were at Harvard. In his letters he made reference to the Virginia Tech shooter and to the gangster Frank Costello, who was shot in the Manhattan building where Conan lives. The priest is said to have been turned on to religion by Fellini’s La Dolce Vita. Which tells us that maybe something’s not quite right there. But I would understand people who get the calling after seeing La Strada.
Answers to questions you might be asking, unless you wandered onto this site purely by accident >>>
November 8th, 2007 at 23:15
peter biskind’s book “easy riders, raging bulls” pretty much says, yeah, the ’70s were the best time for american cinema. i don’t know if i agree (or disagree, for that matter), but it is a great read. sooo much gossip.
November 10th, 2007 at 15:56
Will go with my puffer fish.
November 15th, 2007 at 13:03
[…] Jessica Zafra calls it “terrific.†Then she asks further: Why do most of today’s good movies look like they were made thirty years ago? Did American cinema peak in the 1970s? Fellow blogger Oggs Cruz hands down and proclaims it “tremendous,†“a brilliant piece of work, †and “probably one of the year’s best.†It has been a long time since I last saw a Hollywood film in cinema and enjoyed it at the same time. Convinced, I rushed to see it — alone and lowly — and came to realize the enormity of superlatives that this film is getting. Without any hint of disappointment, James Gray’s We Own The Night is fantastic — it is cooked medium-rare and somehow I can sense a chunk of genius at work, a modest film whose virtues can easily be ignored, and though I am not as ecstatic as Oggs and Jessica, I believe this film is damn good. […]