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Joshua Wilson

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  • Favorite movies
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    Schumann, Ives, Berlioz, Bach, Bartok
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    Richard Powers, Gene Wolfe, Tolkien
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    Paul Klee

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  1. Besides all the continuity issues you all are mentioning, my annoyance with the MCU series is mainly on the character level. 1. Spider-Man looking up to Stark as a mentor flat out doesn't work for me. And more annoying is the fact that his Stark suit makes his superpowers a moot point, as he becomes a clone of Iron Man with a different coat of paint. 2. Peter has already noted the inconsistent development of Captain America in this film. It's played for cheap laughs here. 3. Over the course of the MCU, Thor has less of a character arc, and more of a character rollercoaster. In every movie they opportunistically change not just his look, but his mannerisms, speech style, and fundamental personality, somewhat in order to serve time plot, but mostly again for cheap laughs. I've seen the same phenomenon in high school plays from young actors a thousand times. Getting a cheap laugh is easy (especially when the audience is already your fan), but building real characters is hard. 4. I think they did more or less the same thing with Pepper's character. In her case it was more of a gradual thinning out until she really only served the purpose of making Tony's death more "heroic" and "poignant." The fact that she has an Iron Woman suit at the end is stupid, but you can see that it was the only way for them to get her to the battlefield for Tony's death scene.
  2. I'm embarrassed that I missed the second round of voting! I wanted to wait till the last minute, but I was incredible busy the last couple weeks, so that wasn't a great choice. Anyways, I'm still happy to write blurbs for the two films Ken assigned after Round 1. I'd also be interested in writing an essay for your potential book, though I need to think about what I would best be able to discuss.
  3. Everyone should go read Joel Mayward's most recent essay on SILENCE, which is on Bright Wall/Dark Room, but is also the featured piece from that online magazine on RogerEbert.com at the moment! https://www.rogerebert.com/balder-and-dash/bright-walldark-room-april-2019-religious-cinema-for-non-believers-scorseses-silence or https://www.brightwalldarkroom.com/2019/04/10/martin-scorsese-silence-2016/ Congrats on a wonderful piece on this important film, Joel.
  4. Hi Ken, I would be happy to write about: 1. Limelight 2. The Gleaners and I 3. The Life and Death of Colonel Blimp (and though you said 3...) 4. Madadayo 5. Make Way for Tomorrow
  5. https://variety.com/2019/film/news/agnes-varda-dead-dies-director-french-new-wave-1203175854/ Share your thoughts on this irreplaceable filmmaker here. We've lost not only a unique vision, and a unique female vision, but a unique elderly vision. We don't get to experience enough art made by those in their late years, when experience and wisdom have accumulated. And when that is processed through the vision of a true artist, it gives us something profound in a way which is different from and more rarified than the art of the young or middle aged.
  6. I nominated Make Way for Tomorrow, which finds the characters and the audience confronting the aging process in at least 3 stages of life. First, there is the Old couple, who are facing the heartbreaking fact of having to leave their home, and be separated for the first time ever. Then there are the adult children and their spouses, in the prime of life, and busy with social and work activities, yet having to deal with the added burden of taking care of their aging parents. Finally, there are teenage children, grandchildren of the old couple, who are finding their way on the cusp of independence, and are straining against the bonds of childhood in a search for independence and freedom. The film deals with these competing family claims with grace and humor, but with an unsparing honesty that allows us to sympathize with each generation's difficulties, but without letting them off the hook for their choices. I also nominated Tokyo Story, which is a sort of remake of Make Way for Tomorrow, yet set in Japan, and with a Japanese set of family dynamics. I advance it for similar reasons to the McCarey film. I nominated Madadayo as well. In this swan song of Kurosawa, he revisits many of the themes of aging that are present in earlier works, including the loneliness of old age, the sense of loss when you have retired from your livelihood, the romanticism of nostalgic recollection, and the defiance of intending to live even longer. "Not Yet!" In Chaplin's Limelight, I think there is a profound exploration of what it means to be past your prime, especially in a performance profession, where you are only as good as your most recent success. There is also a tender look at the phenomenon of trying to recapture youth through a relationship with someone much younger. In The Life and Death of Colonel Blimp, we get the full scope of a man's adult life, from brash and romantic youth, to cautious and set-in-their-ways old age. The sense that the world may be passing you by as you get older, and the reflection on the contrast between the boldness and certainty of the young with the experience and wisdom of the old has never been made better.
  7. Second Star Trek II: The Wrath of Khan and The Life Aquatic with Steve Zissou
  8. I nominate: Title: Make Way for Tomorrow Director: Leo McCarey Year: 1937 Language: English IMDB Link: https://www.imdb.com/title/tt0029192/?ref_=nv_sr_1 YouTube Link (a clip of/trailer for the film): https://www.imdb.com/title/tt0029192/?ref_=nv_sr_1 Link to the A&F thread on the film (if there is one): Title: Tokyo Story Director: Yasujiro Ozu Year: 1953 Language: Japanese IMDB Link: https://www.imdb.com/title/tt0046438/?ref_=nv_sr_1 YouTube Link (a clip of/trailer for the film): Link to the A&F thread on the film (if there is one): Title: The Life and Death of Colonel Blimp Director: Michael Powell and Emeric Pressburger Year: 1943 Language: English IMDB Link: https://www.imdb.com/title/tt0036112/?ref_=fn_al_tt_1 YouTube Link (a clip of/trailer for the film): Link to the A&F thread on the film (if there is one): Couldn't find one. Director: Akira Kurosawa Year: 1993 Language: Japanese IMDB Link: https://www.imdb.com/title/tt0107474/?ref_=nv_sr_1 YouTube Link (a clip of/trailer for the film): Link to the A&F thread on the film (if there is one): Couldn't find one Title: Limelight Director: Charles Chaplin Year: 1952 Language: English IMDB Link: https://www.imdb.com/title/tt0044837/?ref_=fn_al_tt_1 YouTube Link (a clip of/trailer for the film): Link to the A&F thread on the film (if there is one): Couldn't find one. Title: A.I. Artificial Intelligence Director: Steven Spielberg Year: Language: IMDB Link: https://www.imdb.com/title/tt0212720/?ref_=nv_sr_1 YouTube Link (a clip of/trailer for the film): Link to the A&F thread on the film (if there is one):
  9. Just belatedly chiming in to say that I hope this idea continues to move forward. I would be interested in contributing if it was desired.
  10. I thought you all might appreciate the experience I had tonight, seeing PARIS, TEXAS at the Museum of Fine Arts, Houston. Hunter Carson, the Mydolls (a band which featured in a cameo upstairs at the "Peep show" location) and a couple more crew members were on hand for a post-screening discussion. Highlights of the evening included: *Mydolls band members reminiscing about doing odd jobs during the production, like picking up rental cars and driving them to El Paso, and about riding out Hurricane Alicia in Downtown Houston, with Claire Denis on her very first visit to the US! *Crew members giving anecdotes about filming and how they would run out of money and Wim would have to return to France to get more. *The casting/Texas location director who was on hand talked about how hard they worked to get this local Mexican singer, who had an astonishing long-bearded appearance to be in the film, even convincing him to cross the river illegally on his burro. The scene was cut from the film. *He also talked about how Robby Mueller had crafted a perfect looking shot by breaking all the lighting rules in using flourescent light, etc, and then intentionally not telling the film lab how he had shot it, knowing that when they processed it it would turn out the way he wanted it. *They said that they watched the daily rushes and worked on the script in the very theater we were in. *The audience was very appreciative—clapping at names during the opening credits! And really responsive especially to the funny moments, which brought out to me just how much humor is in the film in addition to the great pathos. *Something Hunter Carson said about how the film has changed for him over the years, or more properly, how his viewing of it had changed as he got older: He said that what affected him most now on recent viewings was the scene where Travis is trying to determine how to act like either a rich Dad or a poor one. He saw it in the light of being a dad himself now, and watched Harry Dean Stanton acting as his character's dad in the film, while imagining his own Dad, Kit Carson, writing the scene. Lots of layers of meaning! *For me, it was interesting to see Hunter, the character in the film, watching old home movies of his younger self, while at the same time I was looking at Hunter Carson a couple rows ahead of me, watching this old movie of his younger self... *And here's a tidbit for you Criterion nerds—the lady in front of me had the same idea as me to get him to sign the disc booklet, and while he was doing it, he said he'd never seen the Criterion Disc before!
  11. Nice, Evan. I'm holding out for the sweet MAGNIFICENT AMBERSONS release at the end of the month. If I can swing another title, I will go with something on my long list of coveted favorites...
  12. My time here has been brief, and my participation sporadic and of doubtful value to the community, but I've enjoyed the contributions of you all, and I'm glad that this site will continue. Thank you, Ken.
  13. Posted this on Facebook—just thinking out loud, but a few that come to mind, but may or may not meet your definition are: NETWORK THE MOSQUITO COAST Pretty much any Panahi film Maybe BARRY LYNDON
  14. I was only going to get one disc due to financial prudence, but due to an unexpected refund, I was able to get the Dietrich-Von Sternberg set and ONLY ANGELS HAVE WINGS.
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