Gregg Araki
28 connections found
View:
Connections, in both directions
And hey, that's good to know since Smith tells us that the idea of moviegoing will probably be dead in a few years -- a view accompanied by scenes from Bunuel's Un Chien Andalou .
A clip from Bunuel’s Un Chien Andalou – the straight razor slicing an eye open – plays out in successive gross-out scenes: A close-up of Smith having his shoes vomited on in the club; then later, our pretty hero stepping into dog leavings.
With this luridly beautiful film, Araki graduates into the company of such explorers as Todd Solondz ("Happiness") and Catherine Breillat ("Fat Girl").
Certains détails de la facture du film d’Araki ne sont pas non plus étrangers à la manière dont Todd Solondz souleva le cas de la pédophilie dans son foudroyant Happiness.
Despite all that hipness, this film lacks the wit and insight that made the extreme visions of youth in Joseph Kahn’s Detention, Gregg Araki’s Nowhere, and Bruce LaBruce’s The Misandrists such delirious, penetrating, and marvelous forecasts of cultural apocalypse.
What follows is an updated American Graffiti-style series of parallel couplings, misadventures, and tedious broodings about the meaninglessness of it all, punctuated by the odd alien abduction.
Aesthetically and tonally, Bones fits somewhere between John McNaughton’s Henry: Portrait of a Serial Killer and Gregg Araki’s nihilistic road flick The Living End .
Actually, one doesn�t seem to be suffering much: Neil (Joseph Gordon-Levitt, resembling Timothy Hutton circa Ordinary People), who realized he was gay while watching his mother give a boyfriend a blow job, relishes the attention that Coach (Bill Sage) showers on him that fatal summer.
Kaboom lives somewhere between that surrealist classic and Donnie Darko .
For his latest effort, the Skittles-colored "Kaboom," Araki not only reverts back to his old ways, but goes one notch lower with the kind of snarky, disingenuous filmmaking an amateur might create who's seen 2001's " Donnie Darko " far too many times.
It has similarities to Richard Kelly's great “Donnie Darko” (with which it shares a few plot elements) and his significantly less great “Southland Tales,” but Araki keeps his ambitions more modest.
It isn’t exactly irrelevant that the world is ending, a headless corpse has been discovered in a dumpster and Smith is being stalked by men in animal masks (a bit of an in-joke alongside Araki regular James Duval, who also played Frank, the six-foot rabbit in Donnie Darko (2001), another teen-centred movie with an apocalyptic bent).
The challenge of “Kaboom” will be to hold together even when it feels like some crazy mutation of “Donnie Darko,” “Juno” and “Scott Pilgrim vs. the World.”
Throw in occasionally striking pop art visuals, an animal-mask sporting cult and apocalyptic conspiracy theories and the ingredients are in place for a hipster Donnie Darko.
Sarah Lassez, whose indie resume includes Gregg Araki's "Nowhere," is enchanting as this demon turned sexy beast who dabbles in emotions she's never experienced before.
In the spirit of erstwhile teen-apocalypse king Gregg Araki (whose Nowhere belongs on Southland’s giant map of influences), Kelly compels unlikely sympathy for American Idle.
You can’t echo The Doom Generation and try wringing “girlboss” moments out of a heroic white cop.
Pineapple Express (2008)
Directed by David Gordon Green
influenced by Smiley Face (2007)
Themes Plot
The pot humor is tired, particularly when compared to 2007's underseen Anna Faris comedy "Smiley Face," but that fortunately takes a back-seat as the chase commences.
You have Richard Linklater's Dazed and Confused, Gregg Araki's Smiley Face , and now David Gordon Green's Pineapple Express.
"Pineapple Express," produced by comedy kingpin Judd Apatow, may be the high-profile stoner comedy this summer.
Hence the slider quest of the first Harold and Kumar movie, or Anna Faris’ bewildering trek across Los Angeles in the unaccountably ignored Smiley Face .
Hack exploitation filmmakers like Todd Solondz ("Palindromes") or Larry Clark ("Kids") will quake in their boots at Gregg Araki’s innovative cinematic rendering of a troubling story about the different trajectory of two boys molested by their Little League baseball coach (Bill Sage) in Hutchinson, Kansas.
With this luridly beautiful film, Araki graduates into the company of such explorers as Todd Solondz ("Happiness") and Catherine Breillat ("Fat Girl").
As Brian's mother, Elisabeth Shue stumbles about in the post "Leaving Las Vegas" hangover that has paralyzed her once promising career.
Mysterious Skin makes Midnight Cowboy look tame in comparison.
Johnson was lucky to land Gordon-Levitt for the role; a veteran of the sitcom 3rd Rock From the Sun, he's proved a formidable dramatic actor in indies like Manic (2001) and Mysterious Skin (2004), and in Brick he holds the screen as powerfully as Jack Nicholson in Chinatown.
Gordon-Levitt already proved in last yearâs Mysterious Skin his captivating command as a dramatic actor; with Brick he further demonstrates his remarkable dexterity and range.
Joseph Gordon-Levitt, remarkable in "Mysterious Skin," plays Brendan, a brooding high school loner mourning the loss of his girlfriend.
The uniquely talented Joseph Gordon-Levitt (formerly of "3rd Rock from the Sun" and more recently Gregg Araki's critical hit "Mysterious Skin") plays Brendan, a tough intellect and self-imposed loner who gets pulled into the teen fray when his ex-girlfriend Emily, in an undisclosed dire situation having something to do with a brick, begs for help.
Along with this film and last year's "Mysterious Skin," Gordon-Levitt is turning into one of the more dependable young performers.
It's as brilliantly interior a performance as was his extroverted performance in last year's breathtaking Mysterious Skin .
Ann is surprised to find Peter (Brady Corbet, "Thirteen," "Mysterious Skin") at her door asking to borrow eggs.
It is particularly surreal to watch so soon after “I Want Your Sex” (2026).
Just about the only thing he’s good at is riding a Segway, and still he’s able to snag a date with that twiggy redhead from Smiley Face who refuses to buy weed from Anna Faris.
Beginning as an ape on flashback nostalgia flicks along the lines of A Christmas Story, it proceeds with a wry equation of molestation with alien abduction--Todd Solondz territory without Solondz's measure of outrage and essential human tenderness.