I remember first seeing the Garthim creatures in Jim Henson’s The Dark Crystal. I wasn’t a big fan of bugs, so they kind of scared the hell out of me. Well, cosplayer Ryan Wells has amazingly brought that creature to life with a costume he built. It took him two months to make, and it turned out wonderfully creepy. Below you can find some photos taken by Jeff Hinds and a video of Ryan walking around in his costume. In case you need a little background info on the Garth, here ya go!
The Garthim were the strike force of the Skeksis, powered by The Dark Crystal. They were created after the Skeksis discovered the prophecy revealing that a Gelfling would reverse The Great Division. The word “Garthim” is a plural noun, with no singular.
Via: Geeks Are Sexy...
The Garthim were the strike force of the Skeksis, powered by The Dark Crystal. They were created after the Skeksis discovered the prophecy revealing that a Gelfling would reverse The Great Division. The word “Garthim” is a plural noun, with no singular.
Via: Geeks Are Sexy...
- 7/23/2016
- by Joey Paur
- GeekTyrant
Yesterday was all about the Cannes lineup, so we've got quite a bit of news to catch up with today. First and foremost, Cinema Scope has relaunched its site with a healthy selection of pieces from Issue 50, which cinephiles lucky enough to be holding a print copy have been talking about for weeks now. Editor Mark Peranson: "So to commemorate 50 issues, I came up with the silly (not stupid) idea of deciding on the best 50 filmmakers currently working under the age of 50 (or the top, or the greatest — I've spent far too much time pondering this silly adjective). I'm anticipating heaps of criticism for this in the blogosphere, but I hope this leads to a little discussion outside of the pages of this magazine, and provides a snapshot of where cinema finds itself today."
20 of those 50 pieces are online. You'll find, for example, Raya Martin on Carlos Reygadas (and...
20 of those 50 pieces are online. You'll find, for example, Raya Martin on Carlos Reygadas (and...
- 4/20/2012
- MUBI
Nicole Brenez by Alexia Villard
Nicole Brenez is in New York and she's very, very busy. This evening, she's delivering a talk at Columbia University on Recent Developments in Political Cinema (with a response by Kent Jones), followed by another tomorrow afternoon, "An Incandescent Atmosphere": Internationalist Cinema for Today. Then it's off to Anthology Film Archives to launch the series Internationalist Cinema for Today, running through March 11. Off again to Microscope Gallery to introduce a screening of selected works by filmmaker, poet, musician Marc Hurtado (from the group Etant Donnés). And then on Saturday, she'll introduce two more programs in the Anthology series.
Cinespect's Ryan Wells has asked Nicole Brenez to explain the concept of Internationalist cinema and the ensuing interview's an engaging read, but for brevity's sake, I'm turning to her introduction to the Anthology series:
it is a way to move beyond the ego and think of others,...
Nicole Brenez is in New York and she's very, very busy. This evening, she's delivering a talk at Columbia University on Recent Developments in Political Cinema (with a response by Kent Jones), followed by another tomorrow afternoon, "An Incandescent Atmosphere": Internationalist Cinema for Today. Then it's off to Anthology Film Archives to launch the series Internationalist Cinema for Today, running through March 11. Off again to Microscope Gallery to introduce a screening of selected works by filmmaker, poet, musician Marc Hurtado (from the group Etant Donnés). And then on Saturday, she'll introduce two more programs in the Anthology series.
Cinespect's Ryan Wells has asked Nicole Brenez to explain the concept of Internationalist cinema and the ensuing interview's an engaging read, but for brevity's sake, I'm turning to her introduction to the Anthology series:
it is a way to move beyond the ego and think of others,...
- 3/1/2012
- MUBI
Robert Pattinson in Cronenberg's Cosmopolis
"As Berlinale comes to a close," writes Cineuropa's Fabien Lemercier, "professionals have turned their attention to the 65th Cannes Film Festival, to be held from May 16 to 27, and observers are already speculating about the films that will be selected this year by Thierry Frémaux." What follows is a list of over three dozen pairs of film titles and directors, all "potential contenders." Among the names: David Cronenberg, Abbas Kiarostami, Manoel de Oliveira, Hong Sang-soo, Koji Wakamatsu, Paul Thomas Anderson and last year's Palme d'Or-winner, Terrence Malick.
Also ranking a mention is Michel Gondry, whose The We and the I, as we noted yesterday, has been racking up distributors in Berlin. Today, the Playlist's Simon Dang notes that Omar Sy (Micmacs, Intouchables) has joined Audrey Tautou, Romain Duris, Gad Elmaleh and Léa Seydoux in Gondry's Mood Indigo (formerly known as The Foam of Days), an adaptation of Boris Vian's 1947 novel,...
"As Berlinale comes to a close," writes Cineuropa's Fabien Lemercier, "professionals have turned their attention to the 65th Cannes Film Festival, to be held from May 16 to 27, and observers are already speculating about the films that will be selected this year by Thierry Frémaux." What follows is a list of over three dozen pairs of film titles and directors, all "potential contenders." Among the names: David Cronenberg, Abbas Kiarostami, Manoel de Oliveira, Hong Sang-soo, Koji Wakamatsu, Paul Thomas Anderson and last year's Palme d'Or-winner, Terrence Malick.
Also ranking a mention is Michel Gondry, whose The We and the I, as we noted yesterday, has been racking up distributors in Berlin. Today, the Playlist's Simon Dang notes that Omar Sy (Micmacs, Intouchables) has joined Audrey Tautou, Romain Duris, Gad Elmaleh and Léa Seydoux in Gondry's Mood Indigo (formerly known as The Foam of Days), an adaptation of Boris Vian's 1947 novel,...
- 2/16/2012
- MUBI
The Miners' Hymns (2011) is "an elegant, elegiac found-footage work from Bill Morrison, best known for his silent-film reverie Decasia," writes Manohla Dargis in the New York Times. "A miner himself of a type, Mr Morrison has dug into the archives of the likes of the British Film Institute to cull primarily black-and-white images so rich, so alive with dirty faces, shadows and the occasional pit pony that they resurrect a world that for many has long been lost to history." It screens from today through Tuesday at Film Forum with three of Morrison's shorts, previewed by Cinespect's Ryan Wells. Release (2010) "uses found footage of the 1930 release of Al Capone from Philadelphia's Eastern State Penitentiary," while Outerborough (2005) "gorgeously catches a ride on a trolley making its voyage across the Brooklyn Bridge from Manhattan. Morrison gives us a split screen with two perspectives: a camera facing Brooklyn, another looking back at Manhattan.
- 2/9/2012
- MUBI
"There have been lots of books that tell the history of the movies, but so far almost no films," Mark Cousins told indieWIRE's Peter Knegt last September. We should qualify that statement, of course. As Nick Pinkerton notes in the Voice, there have been documentaries on the history of cinema, though some might filter that history "through the director's particular prejudices or national heritage (Godard's Histoire(s) du Cinéma, finally released on DVD last December; Oshima's 100 Years of Japanese Cinema; A Personal Journey With Martin Scorsese Through American Movies). Or it might mean sticking to one facet of the timeline, as in historian Kevin Brownlow's extraordinary work on the medium's adolescence, Hollywood."
That point made, back to Cousins: "You can sit in a room to write a book about movies, but to tell the story of how a flickering Victorian novelty became a global art form on film, you have to travel the world,...
That point made, back to Cousins: "You can sit in a room to write a book about movies, but to tell the story of how a flickering Victorian novelty became a global art form on film, you have to travel the world,...
- 2/1/2012
- MUBI
Anthology Film Archives introduces its series, Anarchism on Film, opening today and running through December 23: "Although an entity called 'anarchist cinema' is almost impossible to define, anarchists with an interest in film have long been preoccupied with two interrelated strands: historical films that excavate a submerged anarchist history and films that synthesize an anti-authoritarian political impetus with innovative formal strategies. In this series, Jean Vigo's Zero for Conduct perhaps best embodies the latter tendency. In addition, Peter Watkins's La Commune (Paris, 1871) merges a powerful chronicle of the Paris Commune's anti-hierarchical legacy with a similarly egalitarian effort to democratize the film's casting and production process."
At the top of another fine roundup, this one on La Commune, Alt Screen notes that this "ultra-rare opportunity to see Watkins's 345-minute experimental documentary, which showed up on many recent Best of the Decade lists, on the big screen is one to be savored.
At the top of another fine roundup, this one on La Commune, Alt Screen notes that this "ultra-rare opportunity to see Watkins's 345-minute experimental documentary, which showed up on many recent Best of the Decade lists, on the big screen is one to be savored.
- 12/16/2011
- MUBI
Spanish Cinema Now opened on Friday with Nacho Vigalondo's Extraterrestrial (it screens again on Thursday) and runs through December 22. Blogging for the Film Society of Lincoln Center, Jeffrey Bloomer notes that this year's festival features a 10-film retrospective of films by the late Luis García Berlanga, "who helped fuel a resurgence in Spanish cinema in the desolate years following the Spanish Civil War…. Two of Berlanga's most acclaimed films screen back-to-back on December 11 and 15. His beloved debut, Welcome Mr Marshall! (1953) [clip above], follows a village's misbegotten attempts to finagle post-war American aid from visiting officials, while Plácido (1961) is a winking Oscar-nominated Christmas story about a town where affluent families each take in a poor person for the holiday. Both are considered to be among Berlanga's masterpieces."
Back, though, for a moment to Extraterrestrial, "sci-fi comedy of cuckolding — a cynical and screwball study of love and suspicion," as Henry Stewart calls it in the L.
Back, though, for a moment to Extraterrestrial, "sci-fi comedy of cuckolding — a cynical and screwball study of love and suspicion," as Henry Stewart calls it in the L.
- 12/11/2011
- MUBI
"One of the most fascinating and entertaining asides in British cinema, Sabu is just meta-colonial enough to maintain relevance," writes Joseph Jon Lanthier in Slant, wrapping his review of the 30th package in Criterion's Eclipse series, Sabu!
Michael Koresky on Sabu's debut: "The seeds of Elephant Boy were sown in 1929, when [Robert] Flaherty, famous for his groundbreaking 1922 Eskimo documentary, Nanook of the North, approached Alexander Korda about doing a story, set in Mexico, about a boy and his bull. Korda wanted to work with Flaherty but changed the bull to an elephant, basing his idea on his favorite Kipling tale. When production began years later, Flaherty shot more than 55 hours of footage in India; meanwhile, Zoltán Korda was commissioned to direct the more story-driven scenes at England's Denham Studios, for which Sabu was flown in. What could have been a schizophrenic film instead became a masterful amalgamation of its two parts,...
Michael Koresky on Sabu's debut: "The seeds of Elephant Boy were sown in 1929, when [Robert] Flaherty, famous for his groundbreaking 1922 Eskimo documentary, Nanook of the North, approached Alexander Korda about doing a story, set in Mexico, about a boy and his bull. Korda wanted to work with Flaherty but changed the bull to an elephant, basing his idea on his favorite Kipling tale. When production began years later, Flaherty shot more than 55 hours of footage in India; meanwhile, Zoltán Korda was commissioned to direct the more story-driven scenes at England's Denham Studios, for which Sabu was flown in. What could have been a schizophrenic film instead became a masterful amalgamation of its two parts,...
- 11/30/2011
- MUBI
In 1997 — three years before Yi Yi would introduce Edward Yang to most of those who know him at all, and ten years before Yang succumbed to colon cancer at the age of 59 — Barbara Scharres staged what was at the time a complete retrospective of his work in Chicago, prompting a pretty magnificent piece from Jonathan Rosenbaum in the Reader. He begins by imagining a "new kind of cinema" that would, as opposed to the predominant mode of proposing "various escapes from modern life," instead "lead us back into the modern world and teach us something about it." And in 1997, he was "discovering clues about this new kind of cinema in two very different places, chiefly through the films of Abbas Kiarostami and Mohsen Makhmalbaf in Iran and Hou Hsiao-hsien and Edward Yang in Taiwan."
Needless to say, several intriguing paragraphs follow in which he compares and contrasts, pairs up...
Needless to say, several intriguing paragraphs follow in which he compares and contrasts, pairs up...
- 11/23/2011
- MUBI
"It seems curious that as little biographical information exists in the recent books about the ethnographic filmmaker Robert Gardner as in his movies featured in the partial retrospective of his work starting today at Film Forum," writes Manohla Dargis in the New York Times. "For much of a career that has spanned more than a half-century and circumnavigated the globe, Mr Gardner has trained the camera on people whose lives, rituals, beliefs and bodily ornamentation can seem so far from early-21st-century Western life as to be from another galaxy. Yet despite Mr Gardner's seeming reluctance to share personal details, the work in Robert Gardner: Artist/Ethnographer makes it clear that he's been telling his own story all along."
J Hoberman in the Voice: "A man of many worlds, Robert Gardner is a descendent of Boston aristocrat Isabella Stewart Gardner (as in the Museum), the founder (and funder) of Harvard's Film Study Center,...
J Hoberman in the Voice: "A man of many worlds, Robert Gardner is a descendent of Boston aristocrat Isabella Stewart Gardner (as in the Museum), the founder (and funder) of Harvard's Film Study Center,...
- 11/12/2011
- MUBI
"When I mentioned the writer Paul Goodman to an older friend," recalls Dan Callahan at the L, "he cried, 'My God, I haven't heard his name in years. In the 60s, you couldn't avoid him!' The tone of his second sentence was slightly exasperated, and based on Jonathan Lee's new documentary, Paul Goodman Changed My Life, Goodman was very adept at exasperating people. Novelist, poet, public intellectual, playwright, urban planner, Gestalt therapist, bisexual family man and inveterate cruiser of sailors, Goodman tried to be so many things at once that he didn't get the attention he felt he deserved until his book on male delinquency, Growing Up Absurd, made him famous in 1960. After that, Goodman spent a heady decade as a kind of rumpled professor Pied Piper of the 60s youth movement, but his engagement with that movement led to disillusionment before his death in 1972."
"'Anarchism is an attitude,...
"'Anarchism is an attitude,...
- 10/20/2011
- MUBI
This year's New York Film Festival seems to have fulfilled its brief so well you have to wonder what the programmers will come up with for its 50th anniversary edition next year. 2012 will also mark Richard Peña's 25th year as programming director of the Film Society of Lincoln Center and chairman of the Nyff selection committee — and, as he's just announced, his last. "It's been a terrific ride," he told the New York Times' Larry Rohter on Saturday, "but I've had other interests, and it got to the point where I got to thinking about what I want to do with the rest of my working life. It's a good thing for me personally, and also for the organization, because change is good, and it will be good for the organization to have fresh eyes and ideas and new ways of doing things."
For now, though, the 49th edition.
For now, though, the 49th edition.
- 10/17/2011
- MUBI
"Like last month's Where Soldiers Come From, director Danfung Dennis's Hell and Back Again seeks to document the personal experience of war with extreme and sustained intimacy," writes Michelle Orange in the Voice. "The nightmare-vivid combat footage Dennis shot over the so-called Summer of Decision in 2009, while he was embedded with a Marine battalion behind enemy lines in southern Afghanistan, is only one part of that experience. Back on the home front, injured 25-year-old sergeant Nathan Harris becomes the nexus of an essential documentary that deploys a boldly cinematic arsenal to penetrate the indifference Dennis, a veteran of sorts himself after years spent as a photojournalist in Iraq and Afghanistan, believes most Americans feel toward the forever wars."
"The film cuts back and forth between Mr Dennis's visceral battlefront footage and Sergeant Harris's rehabilitation, to jolting effect," finds Neil Genzlinger in the New York Times. "You can feel just...
"The film cuts back and forth between Mr Dennis's visceral battlefront footage and Sergeant Harris's rehabilitation, to jolting effect," finds Neil Genzlinger in the New York Times. "You can feel just...
- 10/5/2011
- MUBI
Invigorated by the hope that "a new world is possible and latent already in the old one," the editors of the multi-lingual journal La Furia Umana launch Issue 10. Among the dozens of features, you'll find Fred Camper on Stan Brakhage, Joe McElhaney on Terrence Malick (and Lawrence French recalls meeting the director in 1978), Michael Guarneri's interview with Raya Martin, a roundtable discussion of the "post-cinematic" in the Paranormal Activity series and Cristina Álvarez López's photographic and textual essay on Bergman's Persona and Lynch's Inland Empire.
Bit by bit, the October issue of frieze is appearing online. Issue 142's "Life in Film" column comes from Deimantas Narkevičius, whose exhibition Restricted Sensation is on view in Paris through October 22. Also: Chris Wiley on Ryan Trecartin, Katie Kitamura on Cory Arcangel and Dan Kidner introduces a conversation: "In recent years, artists in the UK have increasingly turned to narrative cinema and mainstream TV,...
Bit by bit, the October issue of frieze is appearing online. Issue 142's "Life in Film" column comes from Deimantas Narkevičius, whose exhibition Restricted Sensation is on view in Paris through October 22. Also: Chris Wiley on Ryan Trecartin, Katie Kitamura on Cory Arcangel and Dan Kidner introduces a conversation: "In recent years, artists in the UK have increasingly turned to narrative cinema and mainstream TV,...
- 10/1/2011
- MUBI
"Ah, the pungent odor, the fermented esprit, the sulfurous insanity of the New York Asian Film Fest!" exclaims Michael Atkinson, introducing his overview of the lineup in the Voice. "It's a new year for the city's favorite attack of the imported-irrational, and as always, the jejune state of the late-spring/early-summer box office gets a shot in the ass. The pulp is especially ripe this year, particularly from Japan, where manga-ness seems to have gone from a national pastime to a mass psychosis."
For R Emmet Sweeney, writing for TCM, "most of the revelations in this year's slate came in the Nyaff sidebar, Sea of Revenge: New Korean Thrillers, so I'll focus there." Michael J Anderson splits the difference, concentrating on Takashi Miike's Ninja Kids!!! and Na Hong-jin's The Chaser (image above). Time Out New York's got a slide of "titles worth cutting class for." Cinespect's Ryan Wells picks...
For R Emmet Sweeney, writing for TCM, "most of the revelations in this year's slate came in the Nyaff sidebar, Sea of Revenge: New Korean Thrillers, so I'll focus there." Michael J Anderson splits the difference, concentrating on Takashi Miike's Ninja Kids!!! and Na Hong-jin's The Chaser (image above). Time Out New York's got a slide of "titles worth cutting class for." Cinespect's Ryan Wells picks...
- 6/30/2011
- MUBI
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