A look at the life and work of American publisher Barney Rosset, who struggled to bring controversial works like "Tropic of Cancer" and "Naked Lunch" to publication. . You can read more in Google, Youtube, Wiki
A look at the life and work of American publisher Barney Rosset, who struggled to bring controversial works like "Tropic of Cancer" and "Naked Lunch" to publication.
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Charlie M (gb) wrote: This movie starts as rags to riches for both David & Jackie Siegel but through sheer ignorance and willpower they find themselves back at rags again. That's the sad sickness of a consumer culture where they can't help themselves, no matter how dire times become they'll keep spending money on things they don't need simply so they can have it. They attempt to build the largest house in America, but then the financial crisis hits and the skeletal mansion becomes a taunting spectre. It's comically sickening watch, but if you stare long enough, the Siegels are bizarrely human. They're no different than your neighbors in the suburbs, they just have more money and terrible taste.The schadenfreude comes from the words of these people themselves who view this life as normal and take pride in their views. David proudly admits to helping George W. Bush get elected, and Jackie proudly puts her dead, stuffed Pomeranians on display. This is the pinnacle of with a reality show hubris, and by the end you won't be sure whether to laugh or scream.
Robert B (us) wrote: Kak Yay Provel Etim Letom (Aleksey Popogrebskiy, 2010)The great thing about the Russian drama/thriller Kak Yay Provel Etim Letom, released in English-speaking countries as How I Ended This Summer, is that it is absolutely unapologetic in feeling the need to take its sweet time in getting where it's going. In many cases, that can be a bad thing; in this one, it is not. The pace of the film reflects well the desolate surroundings in which the movie takes place, not to mention the absolute bleakness of the motives and emotions of its principal characters. On the other hand, the awful, awful thing about Kak Yay Provel Etim Letom is that "where it's going" is at once bewildering and overwrought, a kind of minimalist melodrama, if that makes any sense.Sergey (Simple Things' Sergey Puskepalis) has been a monitor at a weather station in a remote part of Siberia for years-exactly how many years, we don't know. But he is close to retirement, and thus he has had an apprentice forced on him, Pavel (4 Days in May's Grigoriy Dobrygin). Pavel is not the best of workers, to say the least. He's young, naturally rebellious, sloppy, and prefers to wander off alone and hang out by the vents, or stare over the coastline to a different, now abandoned, weather station on a nearby cliff. The only regular contact they have with the outside world is their daily radio call with the next station down the line to relay the numbers from their instruments. Life goes on like this. And then, at some point, something-the ennui?-starts the both of them making horrible, horrible decisions. Sergey, despite having very little confidence in Pavel's ability to do his job, is more and more willing to leave the hourly checking of the instruments to Pavel while he goes off and fishes. This willingness increases tremendously when Sergey gets a bit of good news. Then comes horrific decision number two: while Sergey is off on one of his fishing expeditions, Pavel, on radio duty, gets an important message for Sergey...and then spends the next almost-hour of film time not telling Sergey about it. When these two problems collide, "melodrama" is one way to put what happens.Maybe it's just me. I don't know. But both of these things strike me as being entirely unbelievable. Sergey is passionate about the job and its importance. We have it demonstrated to us repeatedly during the opening sequences of the movie not only that Sergey has no confidence in Pavel's ability to do the job, but that he's absolutely right in this. I get that he feels conflicted, almost fatherly, towards Pavel, but still, these two things seem to be at odds, and I can't imagine him leaving for an entire day-much less a five-day fishing jaunt-and letting Pavel tend the farm, as it were. And then, on the other hand, when I say Pavel gets an important message (trying not to be spoilery here), I mean it's a VERY important message. Simple rebellion against authority would not be enough reason for Pavel to withhold the information unless he was deliberately malicious; we have no evidence that such is the case. From this pair of absurdities, everything spirals out of control. I'm not using the word "melodrama" lightly here.If you get past the script, though (which is kind of like saying "other than that, Mrs. Lincoln...", but still), there's a great deal to like about the film. Both of our principals are given ludicrous roles to play, but they play them very well. And the camerawork is superlative here. Cinematographer Pavel Kostomarov does an excellent job capturing the beauty in the bleakness in their little portion of the Arctic Circle. The cinematography alone makes the film worth seeing, for my money, and once the crazy stops (which it eventually does towards the end), things settle back in, and the movie takes on that lulling quality again. The first thirty minuts of this movie, and roughly the last fifteen, are fantastic; if Popogrebskiy had kept to that tone the entire film, this would have been one for the ages. As it is, it's still worth your time. *** 1/2
Glen B (ag) wrote: Most of this film i will admit was pretty boring and ordinary but as it came to its end i began to get somewhat excited and got into the film and was pleased with the slightly predictable ending.
Alfonso d (au) wrote: Unrealistic, cheesy, literally plagiarizes Forrest Gump in the last hour: including the history of an afroamerican woman called "Mama Jenny" in some town in Georgia ( are you kidding me???? Why not Alabama??? Why not call her "Bubba's mom"???) just for the lack of originality is not a worthy movie.
Patrick B (jp) wrote: Interesting at first, until it drops its documentary roots and resorts to action movie cliches. (Oh yes, that camera just dramatically followed a gun in the hands of Werner Herzog. That really did just happen.) I wish it could have better explored the themes it set up in the beginning.
Ryan D (nl) wrote: Damon Wayans made this watchable. W/o him this would have stunk to high heaven.
Andrew M (it) wrote: The best-looking movie ever made in the "amorous trio slicing peoples stomachs and stuffing them with rocks" category.
Scott J (ru) wrote: Weirdos and bad people being weird and bad.
Jordan A (gb) wrote: Bad acting and unintended comedy fill this stupid horror movie. It took itself way too seriously and it did not provide very many thrills. Overall very poorly made. 1.5 out of 5 stars.
Darren H (jp) wrote: Though far from a dramatic masterpiece (and it doesn't help the film's weighty material is carried by an amateur cast), the film works fine as a Powell and Pressburger-ish technicolor documentary on the slummy side of 50s Rio during a big Carnival event.
ScubaSteve Walter M (fr) wrote: So much for sequels, you can throw this out right out the window, but I have to say the Gay version of The Rock, really had me for a load of laughs.
JoEy M (de) wrote: Interesting story but I don't think the actual movie looks good.
Bryan C (au) wrote: Not quite sure what to make of this movie. It's filled with great actors delivering great individual moments and dialogue, but there's nothing compelling to tie the scenes together or make you care at all about what they are discussing. I also suspect it hasn't aged well (through no fault of its own). The business world depicted in the movie -- no cell phones, no computers -- is so foreign to a modern audience that it is hard to relate.Grade: B-
Ps G (nl) wrote: Awesome performances from the whole cast.
Timothy J (br) wrote: A meandering strange little film. A road movie of sorts. Though I am not sure what it was trying to say. The characterless were so out there. The characters seemed so detached from reality to make any real statement about the American condition. And the subplot of finding the aging Nazi had such an odd undertone it never really took off. Sean Penn's character was so whiny and uninteresting.