Wednesday, July 21, 2010

The Pantheon (2010)

Jon's Picks
Rollie's Picks


1. The Third Man (-) Carol Reed, 1949
2. 2001: A Space Odyssey (-) Stanley Kubrick, 1968
3. Citizen Kane (-) Orson Welles, 1944
4. City Lights (-) Charlie Chaplin, 1931
5. Taxi Driver (+2) Martin Scorsese, 1976
6. The Passion of Joan of Arc (+12) Carl Th. Dreyer, 1928
7. Apocalypse Now (-2) Francis Ford Coppola, 1979
8. Rear Window (+1) Alfred Hitchcock, 1954
9. Vertigo (-1) Alfred Hitchcock, 1958
10. Magnolia (+4) P.T. Anderson, 1999

Tuesday, July 20, 2010

The Geometry of the Grey Matter

 Inception
Directed by Christopher Nolan
Three Stars

What we find in Christopher Nolan's "Inception", when we burrow our way tangibly into the landscape of the human dream, is not dormant emotions or suppressed memories or any other nakedness of the soul, but rather places. Surfaces. The cold, drab exteriors of modern architecture. Our subconscious populates these empty streets with meaningless faces, and when reality shifts, it is entirely literal. Buildings shift or explode, time slows, but the chronology of events remains strictly linear. "Inception" suggests a sterile dreamscape indeed. I am reminded of Stanley Kubrick, who over the course of his illustrious career created a body of work that suggested that the human soul, our desires, our memories, our very nature, could be deconstructed in such a way as to reveal a being as mechanical and clinical as turning gears (Consider "A Clockwork Orange", "Full Metal Jacket", "Barry Lyndon", and of course "2001: A Space Odyssey" among the rest of his work). Nolan however, has constructed for himself and for his film a set of intellectual rules that map the human psyche like layers in an onion, not so much for the exploration of the mind but simply for the purpose of creating an action thriller, and where Kubrick's films made bold assertions, Nolan merely ponders.


Friday, July 9, 2010

It's That Time of Year

Me and Jon are circling the drain of the annual Pantheon Draft, wherein we utilize a highly advanced and complicated system of back-and-forths, averaging, compromising, and eliminating to create a hybrid list of elite "favorite" movies. Last year's list can be found here. The lists, after probably the first five, will be radically different. This is not because the movies have so fluctuated in quality over the course of a single year, but because the term "favorite" is abstract and fluid and impossible to approach consistently. I think of Ebert's definition - which movie do I want to see again right now, right this very moment (in preferential order from one to a hundred)? I think of Jonathan Rosenbaum's definition - which great film is freshest in my mind, right now, right this very minute? Even the slightest variation in approach to our "favorite" movies can alter the substance of our list radically. More than a collection of great movies (indeed the greatest), Ghost on Screen's Pantheon is more an illustration of the way that our personal tastes develop, change, evolve and, again, fluctuate. Expect the new list to materialize sometime by the end of the month.

Tuesday, July 6, 2010

The Tragic Debris of Maturity




Toy Story 3
Directed by Lee Unkrich
Four Stars

Toy Story 3 might be the first family film made with people in their early 20s specifically in mind. I was nine years old when the first Toy Story movie was released. Most of the current crop of children weren't even a lustful thought in their father's mind when the first two Toy Story films were made. How fitting it is that this sequel is, in part, about the painful transitory period from childhood to adulthood, a period in which we shed our dependence, our awkwardness, and -- most tragically of all -- our toys.