A look at what's new on DVD this week:
"Fubar: Balls to the Wall"
Directed by Michael Dowse
Released by Screen Media Films
Following up the 2002 cult comedy about lifelong metalhead pals Terry and Dean, this sequel, which recently premiered to much acclaim at SXSW, finds the duo down on their luck when they decide to head up north to work in the oil industry, but when their best laid plans go awry, Dean attempts to get on worker's comp, leading to the kind of exploits best enjoyed with a cold beer.
"Born to Raise Hell" (2011)
Directed by Darren Shahlavi
Released by Paramount
Steven Seagal not only stars as an Interpol agent named Samuel Axel in this Dtv thriller, but also wrote the script, so you know it has to be good. In it, Axel must bring down a gun trafficking ring in the Balkans where the stakes become personal...
"Fubar: Balls to the Wall"
Directed by Michael Dowse
Released by Screen Media Films
Following up the 2002 cult comedy about lifelong metalhead pals Terry and Dean, this sequel, which recently premiered to much acclaim at SXSW, finds the duo down on their luck when they decide to head up north to work in the oil industry, but when their best laid plans go awry, Dean attempts to get on worker's comp, leading to the kind of exploits best enjoyed with a cold beer.
"Born to Raise Hell" (2011)
Directed by Darren Shahlavi
Released by Paramount
Steven Seagal not only stars as an Interpol agent named Samuel Axel in this Dtv thriller, but also wrote the script, so you know it has to be good. In it, Axel must bring down a gun trafficking ring in the Balkans where the stakes become personal...
- 4/19/2011
- by Stephen Saito
- ifc.com
In the fall of 1946, Frank Stauffacher mounted a major, and very influential, retrospective of avant-garde film in the U.S. at the San Francisco Museum of Art. The series was called “Art in Cinema” and it featured ten different programs from filmmakers in the U.S., France, Germany and Canada.
By the mid-’40s, the avant-garde hadn’t taken a strong hold in the U.S. yet, so the majority of the films screened came from Europe, or by Europeans who relocated to the U.S. However, by that time also, the European avant-garde had pretty much completely petered out. Still, Stauffacher wanted to show that there was a continuity to avant-garde film history that, up until that point, had yet to be fully considered.
In conjunction with the series, the San Francisco Museum of Art published a catalog, pretty much like one would find with any major art exhibit.
By the mid-’40s, the avant-garde hadn’t taken a strong hold in the U.S. yet, so the majority of the films screened came from Europe, or by Europeans who relocated to the U.S. However, by that time also, the European avant-garde had pretty much completely petered out. Still, Stauffacher wanted to show that there was a continuity to avant-garde film history that, up until that point, had yet to be fully considered.
In conjunction with the series, the San Francisco Museum of Art published a catalog, pretty much like one would find with any major art exhibit.
- 12/15/2010
- by Mike Everleth
- Underground Film Journal
One:
Joe Baker and his arch-nemesis race across the virgin American wilderness and try to kill each other in a search for gold. One of about 61 films its director made that year (1912), 13 minutes long, silent, forgotten, and French, Jean Durand’s Le railway de la mort should be a great American classic. But maybe it could only be French: the two men, nearly indistinguishable from each other, occupy far backgrounds beyond swaying wheat stalks and shimmering swamps, as indifferent figures to the landscape as they are to Durand. The human tale is purely existential, in the pettiest ways—the men are nothing more than bodies trying to kill each other and get gold—as the nature ode is totally romantic in the sublimest.
Joe Baker and his arch-nemesis race across the virgin American wilderness and try to kill each other in a search for gold. One of about 61 films its director made that year (1912), 13 minutes long, silent, forgotten, and French, Jean Durand’s Le railway de la mort should be a great American classic. But maybe it could only be French: the two men, nearly indistinguishable from each other, occupy far backgrounds beyond swaying wheat stalks and shimmering swamps, as indifferent figures to the landscape as they are to Durand. The human tale is purely existential, in the pettiest ways—the men are nothing more than bodies trying to kill each other and get gold—as the nature ode is totally romantic in the sublimest.
- 1/4/2010
- MUBI
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