Terry Zwigoff’s landmark 1995 film is an intimate documentary portrait of underground artist Robert Crumb, whose unique drawing style and sexually and racially provocative subject matter have made him a household name in popular American art. Zwigoff candidly and colorfully delves into the details of Crumb’s incredible career, as well as his past, including his family of reclusive eccentrics, some of the most remarkable people you’ll ever see on-screen. At once a profound biographical portrait, a riotous examination of a man’s controversial art, and a devastating look at a troubled family, Crumb is a genuine American original.
Crumb is being reissued by Criterion Collection and includes a
New, restored high-definition digital transfer
2010 audio commentary with Zwigoff
2006 with Zwigoff and critic Roger Ebert
Outtakes and deleted scenes
Stills gallery
and A booklet featuring an essay by critic Jonathan Rosenbaum
Why must every film on the internet look like sofia coppola puked in my face. I’m sick and tired of seeing beautifully shot boring people staring out of windows while some fucking band that has been popular for all of two minutes plays in the background. Am I supposed to spend time thinking about what this “character” is feeling? I am supposed to give a shit? Please bring back people who give a damn. I don’t care if they make bad movies I just want them to mean it so damn much that it pours off the screen. Instead of looking like everyone else’s idea of what an American Apparel ad should look like.
anyway…here’s a really great movie blog by an awesome dude:
“You know, we can’t help the way we’re born. Moving to a new school can be a jarring experience, particularly if you are a sock. A tale of identity, sex and thread count. It only gets weirder.” - Toronto After Dark crew
(1) Can James Franco possibly be for real? (2) If he is, then—just logistically—how is all this possible? He’s just flown back from Berlin this afternoon, he says, and he has a 35-page paper due tomorrow. Next weekend he has to shoot a student film, because in two weeks he’ll be flying out to Salt Lake City to start acting in a movie called 127 Hours, director Danny Boyle’s follow-up to Slumdog Millionaire, in which Franco will play a hiker who gets pinned by a boulder and has to amputate his own arm. Revisions are due soon on his book of short stories, which will be published in October by Scribner. He’s trying to nail down the details of an art show that will be based, somehow, on his recent performance on the soap opera General Hospital. Also, he has class every day, which—since he’s enrolled in four graduate programs at once—requires commuting among Brooklyn, Greenwich Village, Morningside Heights, and occasionally North Carolina.
The legendary electronic dance music duo Daft Punk are creating the soundtrack for the reboot of Disney’s TRON Legacy. Here is a taste of six instrumental bits they composed for the film.
Ingmar Bergman went so far as to say, “Tarkovsky for me is the greatest [director], the one who invented a new language, true to the nature of film, as it captures life as a reflection, life as a dream.” And Akira Kurosawa acknowledged his influence too, adding, “I love all of Tarkovsky’s films. I love his personality and all his works. Every cut from his films is a marvelous image in itself.”
Shot between 1962 and 1986, Tarkovsky’s seven feature films often grapple with metaphysical and spiritual themes, using a distinctive cinematic style. Long takes, slow pacing and metaphorical imagery – they all figure into the archetypical Tarkovsky film. (Watch the scene from Stalker above.)
Thanks to the Film Annex, you can now watch the complete collection of Tarkovsky films online – for free.
