A few nights ago, I took to the E Street Cinema in Washington, D.C., to watch the “lost” interview Steve Jobs gave to Robert X. Cringley for a 1996 PBS television series, “Triumph of the Nerds.” The series included ten minutes of the interview, the rest of which was never seen, and feared lost, until Cringley discovered the mastertape following Jobs’s death last month.
The thing to understand about In Time—the latest from Gattaca director Andrew Niccol—is that it isn’t a good movie. Characters lack compelling motivations, action set-pieces veer from boring to incoherent (In Time apparently takes place in a world where everyone is an expert marksman), and it’s hard to take Justin Timberlake seriously as an action hero.
Writing over at Mother Jones, Adam Serwer makes a smart point about ethnic revenge flicks like Inglorious Basterds and the forthcoming Django Unchained. “The true “revenge” of Inglorious Basterds,” Adam writes, “is in the banishment of a particular stereotype, the idea of the weak, fearful Jew who goes helplessly into the ovens.”
For Batman fans, this past week was a big one. In addition to the release of Arkham City – the sequel to Arkham Asylum, the world’s greatest Batman simulator – DC released its animated adaptation of Batman: Year One, the Frank Miller-penned story that would define Batman for the next two decades, and form the basis for Christopher Nolan’s interpretation of the character. Here’s a trailer:
Over at Alyssa Rosenberg’s blog, a post about the class differences between heroes and villains has become a thread over Batman and his methods. In particular, the commenters are working through one particular question: Is Batman crazy?
As the argument goes, it’s not that Batman is insane, per say, but that he has a monomaniacal focus on justice that manifests itself as a sort of pathology, in which his life derives it’s only meaning from the pursuit of criminals.
Andrew Sarris, the influential film critic and champion of the director's voice in filmmaking, died on June 20 at age 83. In this essay from our June 2010 issue, Harold Meyerson explains the critic's role in teaching him to love movies.