Tarantino, Tim Burton & the Top 10 LA Weekly Film Stories of 2010
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10. "How to Hallucinate Without Drugs"
By Karina Longworth
September 23, 2010
We're sure the popularity of this review of the new Gaspar Noe film Enter the Void has everything to do with the Irreversible director's fanbase, and nothing to do with its servicey title, nor with the phrase, "impregnate his sister and suck on her tits":
Enter the Void may, in the end, be an extremely elaborate formal exercise about every man's desire to crawl back into the womb, turned up a loud notch visually and adapted into every brother's apparently latent compulsion to both impregnate his sister and suck on her tits. But, dude, I could stare at this movie for days and not get tired of the sensation.
9. "Driving Mr. Greenberg"
Photo by Kevin Scanlon
By Karina Longworth
March 11, 2010
In this interview, the director of Kicking and Screaming, The Squid and the Whale and Greenberg discussed learning to drive at age 40, mentoring the mumblecore generation, and the sick allure of the Manic Pixie Dream Girl:
"Those characters are always presented as saviors, but the reality is, they're getting some neurotic, perverse fulfillment, or lack of fulfillment, by getting involved with this asshole," Baumbach notes. And for a man caught in a real-life Florence's web, "those women are generally much more interesting because they're depressed and fucked up."
8. "Movie Reviews: After the Cup, Shrek Forever After, Sex and the City"
By Various Authors
May 27, 2010
Since this story compiled a number of short film reviews at one URL, it's hard to pinpoint the big draw, but if we'd have to guess, we'd give credit to Ella Taylor's blistering takedown of Sex and the City 2:
Sarah Jessica Parker is now 45 years old, and, frankly, I cannot stomach another moment of the simpering, mincing, hair-tossing, eyelash-batting little-girl shtick she's been pulling ever since L.A. Story.
By Karina Longworth
February 5, 2010
This dispatch from the Sundance Film Festival includes first looks at some of the year's biggest indie hits--The Kids Are All Right, Cyrus, Blue Valentine--and also chronicles the event's effort to rise out of the ashes of the recession:
This year, free stuff was generally harder to come by. But while the Main Street party scene suddenly slowed midweek, theater crowds stayed steady (a screening of buzzy social-media doc Catfish on the festival's second Thursday filled every seat, with dozens of wait-listers turned away). In the festival's final days, films began to sell, which was a surprise. After endless "hard times" hype, every sale announcement had the aura of a tiny miracle.
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