buy Flomax no prescription Synthroid without prescription buy buspar buy Singulair online buy Prednisone online Amitriptyline lasix without prescription buy buspar online buy super Levitra online Prednisone without prescription buy trazodone without prescription Zithromax No Prescription Propecia Amoxicillin

Tag Archives: Keith Haring

Flick Clique: December 11-17

Asylum Seekers (2009). This fanciful/surreal indie was the one film that Christopher picked from the myriad discs on the DVD Talk reviewer pile. The debut feature of writer/director Rania Ajami takes place in a dreamlike insane asylum in which a single slot is jockeyed for by six candidates with various strange afflictions (a gender-bending rapper, a girl who is addicted to online life, etc.). The would-be inmates are put through various performing antics under the watchful eye of a forbidding nurse, and ultimately they receive judgement from a mysterious figure known as The Beard. Ajami does some nice things with the photography on a limited budget, and the basic story holds some promise as a Willy Wonka and the Chocolate Factory-like romp. Unfortunately, the characters are set up as cartoonish beings with little depth and the film drags on and on with subplots going off on their own tangents (it would have worked infinitely better as a live action short). What most undoes this frustrating little film is the fact that Ajami’s visual style more or less liberally borrows from Terry Gilliam, only with not nearly as much depth or emotional resonance.
Cell 211 (2009). Gripping Spanish drama is one of the better prison films I’ve ever seen, despite a few implausibilities. The film follows recently hired prison guard named Juan (played by Alberto Ammann) as he receives an orientation at the high security prison where he’s set to start work on the following day. He becomes injured by falling debris and is placed in a cell vacated by a prisoner who killed himself. Before help can arrive, however, one of the more heavily guarded inmates escapes and sparks a riot amongst all of the prisoners. The main proponent, a gravely voiced gent named Malamadre (Luis Tosar), takes Juan under his wing, mistaking the man for another inmate. The prisoners negotiate for better conditions with the guards, who are aware that Juan is their mole. Disregarding the far-fetched idea that Malamadre would immediately take on a guy he just met as his right hand man, this was an absorbing, well-made film that amps up the tension with each passing minute. Ammann was great, and I dug Tosar’s intense performance. I’ve read that this film is getting an American remake, which sort of fills me with dread. Stay with the original, it’s nearly always better than some cheap-o copy.
Hot Coffee (2011). Another excellent documentary. Hot Coffee takes a look at the notorious court case from the early ’90s in which a woman sued McDonalds when she spilled a cup of their coffee on herself. You may remember it being a punchline on talk shows and the like, but the case itself was quite a serious matter which McDonalds lawyers and PR spun into a campaign to decrease what they termed “frivolous” lawsuits by consumers. The film then delves into tort reform and the often nefarious ways that big companies use their money and influence to make it harder for individuals to seek litigation. One of the things it explores is how successful tort reform laws were in Texas under governor George W. Bush and Karl Rove (boo, hiss) and how Bush used it as a campaign point for his presidency. This led to more bargaining power for the U.S. Chamber of Commerce (which is not a government agency as I thought), right up to the Supreme Court’s disgusting “Citizens United” decision on campaign finance regulation from earlier this year. It’s totally fascinating and I can’t recommend it highly enough.
Over Exposed (1956). The other not-so-noir film on the Bad Girls of Film Noir disc I rented from Netflix. Like Women’s Prison, this film comes from the cheapie side of Columbia Pictures in the mid ’50s. Shapely Prison co-star Cleo Moore stars here as a sleazy but ambitious young woman who works her way up the career ladder with her feminine wiles and a camera. It opens with her being arrested on a clip joint bust. She befriends an older, alcoholic photographer (Raymond Greenleaf) who agrees to house her in his apartment/studio and teaches her the tricks of the trade. She moves to the big city and attempts to set up her own studio. While attempting to get her photos published, she befriends a reporter (Richard Crenna) who helps her get a job as a photographer at a swanky nightclub. Eventually she builds up her own successful commercial photography studio, but it all gets threatened when someone steals the photos she accidentally took of a local dowager’s death scene. An altogether forgettable film, but there are some snappy lines in the script to recommend it. Women’s Prison is the clear winner of the two.
The Universe of Keith Haring (2008). Straightforward but enthralling doc on the artist whose graffiti-inspired lines made for one of the indelible visual hallmarks of the 1980s. Director Christina Clausen interviewed an impressive array of people for this, including most of Haring’s family, contemporaries like Kenny Scharf, art dealers, scenesters, even the straight guy with whom Haring fell in love during the final years before his untimely death in 1990. It also has a ton of examples of his work, from full-scale murals to prints to objects from his Pop Shop empourium (remember that?). The film adequately conveys how incredibly prolific the guy was during a relatively short time. Neat doc, definitely worth seeking out on Netflix streaming (where I found it).

Radiant Baby

Being right in the middle of The Universe of Keith Haring, I thought I’d look for something interesting on the late graffito to share here. This mid-’80s news clip is typical of the stuff I used to see on him as an art-crazy teen. Back around circa 1986, he even made a short visit to Phoenix to work on a public mural. At the time, I remember hearing of a classmate who got Haring to draw a picture on his or her shoe.