Billed as “Dazed and Confused meets the ’80s,” Richard Linklater’s follow up to the widely acclaimed and award-winning Boyhood isn’t so ambitious, but it is familiar territory, which the director has honed through his earlier filmography.
If you are averse to change, and/or are prone to getting indignant when websites are updated with minute, seemingly inconsequential alterations to their interface/format, you might want to avoid Twitter for a while. The “star” denoting a “favorite” tweet has been replaced by a “heart” denoting a (Facebook-esque?) “like.”
“I located areas that I gravitated to, where there was a spark,” Jones says. “And it all had to do with the question of engagement with cinema, with moviemaking—what you’re drawn to, how deep you go, how you get there, and so on.” …Read More
The book that collected those interviews, originally published in 1966 in France as Le Cinéma selon Alfred Hitchcock and later printed in English under the title Hitchcock/Truffaut, become one of the most sacred texts in all of cinema; any film buff worth their salt has a copy on their shelf, dog-eared and highlighted. And now one of the foremost movie buffs in the country has turned that book into a film. …Read More
“But what I really wanna do is direct,” goes the cliché, and yet the skepticism that tends to greet a marquee actor trying their hand at directing isn’t altogether fair—after all, the first marquee director, D.W. Griffith, started out as an actor, and the legacy of actor/directors (from Chaplin to Eastwood to Allen to Affleck) is a daunting one.
Pot-smoking and pop-culture consumption go hand in hand: do the former, and you run the risk of only wanting to partake in the latter. So it makes some sense that pop culture has taken ample advantage of pot. At its funniest, it’s given us the stoner comedy of Richard Linklater, the Coen Brothers, Amy Heckerling, and Ilana Glazer and Abbi Jacobson. At its trippiest and most philosophical, it yielded some of the greatest art of (and set in) the ’60s and ’70s, from The Beatles to Dylan, Fear and Loathing to Inherent Vice. Then there are the more lively party-stoner creations, represented here by hip-hop touchstones The Chronic, Missy Elliott, and The Beastie Boys. Farther afield, we get the inadvertent stoner favorite, a diverse subset that ranges widely, from Adventure Time to David Lynch’s Eraserhead. Each of these categories is well represented in Flavorwire’s Stoner Canon, which we’re proud to present in celebration of …Read More