Ryan H.

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About Ryan H.

  • Rank
    Riding the crest of a wave breaking just west of Hollywood
  • Birthday 08/25/1986

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  • Website URL http://seenthatmovietoo.wordpress.com
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Profile Information

  • Gender Male
  • Location Philadelphia, PA
  • Interests Christian theology and practice, history, philosophy, and the arts, as well as the intersections between them.

Previous Fields

  • Occupation Nothing special.
  • About my avatar Orson.
  • Favorite movies Hitchcock's VERTIGO is tops. Everything else shifts, but you can always expect to see the following directors featured: De Palma, Kubrick, Leone, Resnais, Ruiz, Welles.
  • Favorite music Classical music, mostly (Shostakovich's Symphony No. 5 is my all-time favorite work), but David Bowie, Donald Fagen, and Tom Waits can be heard in home on a regular basis.
  • Favorite creative writing My shelves are dominated by the works of Bradbury, Burgess, Dostoevsky, Chandler, Ellroy, Fleming, Greene, Kazantzakis, Nabokov, Percy, and Poe.
  • Favorite visual art I have a long-standing affection for Rembrandt, but I also admire the work of Dali and Dore and Whistler.

Recent Profile Visitors

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  1. Preacher

    TURN is still around, so who knows.
  2. The Mermaid

    Oh, me too.
  3. Rear Window

    Tragically, mainstream cinema and television does not do much to develop a taste for or understanding of expressionistic film language in its viewers. Also, this thread is excellent. MLeary's observations on Hitchcock are as insightful as they are eloquent.
  4. New, well-regarded films from folks like Park and Verhoeven are more than enough to get me excited, but I'm very aware that not everyone likes those guys. Beyond those two, many great filmmakers had films at Cannes this year (Almodovar! Arnold! Assayas! Dardenne! Jarmusch! Kore-eda! Spielberg!). Minor films or no, this was a rare year when many films captured my attention.
  5. The lineup this year sounded excellent.
  6. A better film about...

    Yes. Much.
  7. Star Wars: Episode VIII - directed by Rian Johnson

    Wasn't that noteworthy fanfic script for Episode III titled Fall of the Republic? Somehow I doubt they'd use that title format here.
  8. I really don't want to be interested in this movie, but these sets are really cool.
  9. Star Trek 13

    The advertising has really shifted gears since that awful early trailer. First, there was that trailer--much better than the previous, even if it can't quite hide that dumb-looking motocross stuff--and now these (wonderful) official posters are pushing my Star Trek nostalgia buttons.
  10. Ashes of Time

    It is, indeed, very beautiful. Lots of strikingly strange, hypnotic images here.
  11. Ashes of Time

    David Bordwell does a nice job of exploring the various versions of Ashes of Time, as well as its interaction with wuxia tropes.
  12. The Nice Guys (2016)

    Nathanael, you need to make seeing De Palma's Blow Out a priority.
  13. Ashes of Time

    According to common consensus, Ashes of Time ranks as one of Wong's minor works (right alongside My Blueberry Nights) as an awkward and alienating foray into wuxia. I'll admit that after viewing it years ago, I more or less fell in line with the consensus. Ashes of Time plays with a kind of narrative abstraction that keeps it from being as immediately affecting as, say, Chungking Express or In the Mood for Love, the "popular" Wong films. But revisiting Ashes of Time today was revelatory. In the years since I first saw Ashes of Time, I've developed a passion for the literature of Borges, Calvino, Eco, Modiano, and Saramago, who, each in their own way, returns to the ambiguities of narrative and self through the concept of memory. Wong's filmography can be seen as something of an extension of that same strand, but Ashes of Time more than most, given its use of abstracted fables as a vehicle for these complex ideas and emotional tensions. Ashes of Time prefigures Wong's magnum opus, 2046, to the point that 2046 could rightfully be described as a remake. Both films offer an episodic labyrinth of desire and regret with the lingering memory of one aborted romance at its center (an aborted romance with Maggie Cheung, no less, whose brief monologue here is one of the high-points of Wong's career). If Ashes of Time doesn't quite encapsulate Wong's ethos to the extent that 2046 does, it nevertheless stands out as one of his most thematically and aesthetically unified films. It's a shame that a high-quality version of the original cut of the film no longer exists (there are low-quality bootlegs, but that's all there ever will be, since the original film elements were badly damaged). I would have liked to compare it to Redux.
  14. Is Artsandfaith.com dying?

    I wouldn't rebuff that claim, Joel. A&F can be a tough community to join, and has probably been even tougher to do so in the past few years, as active conversation has been declining.
  15. I have the pleasure and honor of kicking-off the revived film club. Given my personal enthusiasm for the film, and the interest expressed by many would-be film club participants, my selection for June 2016 will be Seijun Suzuki's Tokyo Drifter. You've (probably) never seen anything quite like it, though you'll probably all recognize that Tarantino took a page or two from Tokyo Drifter's book for Kill Bill. In Tokyo Drifter, Suzuki warps a standard-fare yakuza flick into a surreal, pop-art explosion. Suzuki's experimentation would later derail his career (in 1967's Branded to Kill, Suzuki abandoned conventional notions of narrative and established film grammar altogether, and the resulting uproar knocked him out of filmmaking for a decade). Manohla Darghis wrote a brief piece on Suzuki for Tokyo Drifter's Criterion release, and it's worth a look (there are no real spoilers for the film there). Tokyo Drifter is available on Hulu+ and for rent via Amazon Prime, so those are two easy ways to view the film. We'll commence "official" conversation on the film beginning at the start of June. I look forward to discussing Tokyo Drifter with you all!