If “Sunrise” was saccharine and “Sunset” was cosmopolitan, “Midnight” is idyllic.
Mostly leftover scraps from timhayes.eu
When you find yourself on the Internet when you’re supposed to be writing, you’ve already lost. It’s even beyond procrastination when you end up on the Internet. It’s like saying, “I’ll dabble in crack.
Noah Baumbach. (via twiststreet)
If someone at Disney ever gets a blow to the head and greenlights a Marvel movie designed around Paul Gulacy’s portfolio of Black Widow images from 1982, I’ll take back my moans about Iron Man Three.
Elsewhere, I reviewed Pedro Almodóvar’s I’m So Excited for Critic’s Notebook, and Steve Coogan’s version of Paul Raymond in The Look of Love at the same venue.
(Gulacy image from here.)
Lemniscate
Digital Painting on Canvas
Varnished & Framed
22” x 28”, Framed: 30” x 36”
If interested please contact POP Gallery-Santa Fe (505) 820 0788, artinfo@popsantafe.com
browsethestacks: Three images from Paul Gulacy’s Black Widow portfolio, 1982.
Soundtracked from Danger:Diabolik, hopefully.
“Well Sonia, that was classic intercourse.”
Paul Raymond was long gone from the Revue Bar by the time I ever got there, but squinting a bit it was still just possible to see his footprints in the shagpile. “Xanadu’s landlord leaves many stones to mark his grave,” I muttered, while the barmaid edged towards the nearest panic button.
I reviewed “The Look of Love” and its easy-going approach to the biopic business over at Critic’s Notebook.
“There is a house above the world where the over-people gather.”
Co-opting Joseph Kosinski’s new movie as a comic-book film just because he first planned it as a graphic novel would be a stretch, but if the next Superman film has as much sense of sky and flight and the authority of altitude as “Oblivion”, it’ll be doing well. If it’s as derivative and loosely plotted and filches its score from “Inception”, then not that. Place your bets.
“Oblivion” is at least a notable entry in Architecture Cinema, and I reviewed it here for Critic’s Notebook.
Elliot S! Maggin knows the score
“Let me give you a hypothetical case, Miss Lane. You, it is well known, have a sort of personal relationship with Superman. I take it he has actually saved your life more times than you can count.”
“I’m perfectly capable of counting that high, it’s just that I wasn’t keeping score.” It was a lame crack but it helped Lois avoid blushing.
“Say you were somewhere really out of the way, Miss Lane. In Zaire. In the abandoned shaft of a diamond mine. The mine caved in. You had about an hour’s supply of air. Absolutely no one knew where you were, and even if they did there would be no chance of getting you out in time. What goes through your mind?”
“I wish Superman would stop stalling. I’ve got a deadline to meet.”
“Exactly. You don’t make your peace with God or your conscience. You don’t cry. You don’t go mad. You wait impatiently for Superman to save you. That possibility now exists. No one needs despair any more. Superman plays adopted father to the world, ready to bail anyone out of trouble the way his father Jor-El bailed him out of a dying planet. The only evidence of significant social growth over the past ten years, I have found, has been among those outside law-abiding society.”
- from Superman: Last Son of Krypton, 1978.
Carmine Infantino, 1971.
Was any artist more responsible for dragging comics into the glimmering, cosmopolitan, ecstatic space age than Infantino?
