Ferris Bueller’s Day Off
We’ve professed our love for Gallery 1988, the pop culture-obsessed art gallery with locations in Melrose and Venice, so many times that we’ve all but become a fan site. But their work isn’t just for Los Angelenos; a couple of years back, they put out a coffee table book of their best stuff called Crazy 4 Cult, and like all big hits, it has prompted a sequel. Crazy 4 Cult: Cult Movie Art 2 is out now from Titan books, and Gallery 1988 has been kind enough to pass on some of the best movie and TV-inspired art from the book; click through to check it out. … Read More
Artist Scott Campbell (aka “Scott C.”) has a unique stock-in-trade: he creates downright winsome, child-like watercolors dramatizing the “great showdowns” in pop culture. In his collection Great Showdowns: The Return (out next Tuesday, with a foreword by Edgar Wright), he presents an all-new assortment of movie confrontations, drawing on everything from Hot Fuzz and Pulp Fiction to Teen Wolf and Nosferatu. And he was kind enough to share a selection of them with us; check them out after the jump. … Read More
As you may or may not have noticed, your Flavorwire didn’t bother covering this week’s maddening, seemingly frame-by-frame unveiling of the trailer for The Wolverine, a movie we’re not all that worked up over to begin with (seriously, didn’t we already do that once?). It was bad enough when we started getting 30-second teasers for movie trailers — an item that is, when you break it down, a commercial for a commercial. But Wolverine director James Mangold went a step further, first putting out a six-second Vine “tweaser” (yep, that’s what he called it), then the teaser, then the trailer, meaning that the Vine was a commercial for a commercial for a commercial and good God make it all stop please. But one good thing did come out of it: trailer editing house Tokyo got the nutty idea of recutting the trailers for eight modern classics into six-second form and posting them on Vine. The results are oddly captivating; check them out after the jump. … Read More
You may have noticed that we’re kinda David Lynch fanatics here at Flavorpill (we have an in-house band who do a live re-soundtracking of Twin Peaks, for Chrissakes), so we greeted the arrival yesterday of the fancy limited-edition double-LP Eraserhead soundtrack with unconstrained joy. The sound design on Lynch’s mind-bending debut is almost as important as the visuals, creating an atmosphere that echoes the film’s ominous, industrial setting. Until now, however, it’s been nigh on impossible to get a copy of, so in celebration of the fact that you can finally get it on vinyl, here’s a selection of other soundtracks that we had to wait way too long for — and some that we’re still waiting for. … Read More
So come to find out, people are very attached to their movie quotes. Last week, we wrote a post that gently suggested there are some movies that everyone’s heard quoted back to them quite enough times, thank you very much. As the comments rolled in, many readers disagreed, often in colorful language! But let’s not focus on them — many of you not only agreed, but had your own suggestions for movies that others (and yourselves) should put lid on.
We combed through the hundred or so comments the piece received (both here and on our partner site The Atlantic), and while several additional titles were nominated for inclusion in the “stop quoting club” — Fight Club, Scarface, 300, Menace II Society, Blue Velvet, Team America, Jaws, Spider-Man, Psycho, Airplane, Tropic Thunder, Full Metal Jacket, Billy Madison, Happy Gilmore, Caddyshack (I’m sorry, I just can’t diss Caddyshack; we all have our weaknesses) — several fine readers not only had suggestions, but mounted a case for the title at hand. After the jump, over a dozen more movies that you, the readers, insist we all stop quoting. … Read More
Happy 70th birthday, Sir Paul McCartney! (Oh, he’s a big Flavorwire reader, you didn’t know? Comments a lot. Really bad about the “first!” thing. ) The Beatles have been on our mind a lot lately, after their song “Tomorrow Never Knows” was used so hauntingly in the “Lady Lazarus” episode of Mad Men. Much of the subsequent chatter about the song’s appearance on the show was centered on its hefty price tag ($250,000), and indeed, the high cost of using Beatles songs is part of the reason why you hear so few of their original recordings in movies and on television (at least compared to, say, The Beach Boys). Producers will more often go the cheaper route of using covers or even sound-alikes, but a few films have made the effort to use the original Fab Four tracks, and to great effect. After the jump, we’ve compiled a few of our favorite Beatle moments in modern movies. … Read More
Anyone familiar with the filmography of the late John Hughes has heard and seen quite a bit of Shermer, Illinois, the North Shore suburb of Chicago where many of his films were set. However, as Jay and Silent Bob found out in Kevin Smith’s Dogma, Shermer isn’t a real place at all — it was a fictional suburb created entirely by the filmmaker. “The whole notion of Shermer came out of that heterogeneous kind of society, very extreme,” Hughes explained in a 1999 interview. “I mean, at one point I went from a school with 1100 students to one with thirty. I remember this one kid, an eighth-grader, who had his teeth rotted out. Eighth grade. It was like Deliverance. But then at the same time, you’d have the richest kid in town in your school as well, so even in this tiny setup, you had both ends of the economic spectrum, real extremes. I’ve always wanted to write a history of Shermer, because it’d be kind of the history of postwar America. Haven’t got around to it yet, though.”
Unfortunately, he never did. But Shermer has remained a point of fascination for Hughes fans and ’80s kids, and recently, film critic and Hughes enthusiast Brian Orndorf took a pilgrimage to the Chicago area to seek out the sights and sounds of Shermer. He’s posted photos of the locations from several Hughes films, as they are today, on his blog (along with stills of comparable shots from the film). After the jump, we’ve collected a few of our favorites; check out all of them here. … Read More
The good news, I suppose, is that he’s not actually playing Ferris Bueller. Still, there’s no question that the two-and-a-half minute Matthew Broderick-fronted, Todd Phillips-directed Honda CR-V Super Bowl ad that we told you about last week is positively loaded with Ferris Bueller’s Day Off references and iconography — more than two dozen of them, according to Honda’s “brand manager” (ugh), Tom Peyton. The ad went online Monday, with the predictable response pattern: snarky rage on Twitter, hand-wringing online, and then the required contrarian “In Defense of…” piece. It’s shaping up to be the big game’s most controversial ad (at least until Sunday, when we get the full-frontal assault of “women are nags” spots, but I digress).
So why do we care so much? It’s no longer a surprise to see pop culture icons shilling for big business; hell, I’m old enough to remember the giant controversy that followed the licensing of a Beatles song for Nike ad. (That uproar seems positively quaint these days, when a commercial deal is a giant coup for musicians of all stripes.) The commotion over Broderick’s Honda ad speaks not to “selling out” in general. It’s about the selling out of this character — and not just because he didn’t condone any “–isms” (including, presumably, capitalism). It’s about our connection with Ferris Bueller, who wasn’t just a protagonist. By taking us into his confidence and guiding us through his world, Bueller made us his co-conspirator. … Read More