Spike Lee's inspiration for his documentary on Kobe Bryant is derived from another sports documentary that focuses on the french soccer icon Zinedine Zidane. Like Kobe Doin' Work, Zidane: A 2st Century Portrait is filmed in real time with 17 cameras. They were able to capture the footballer, more popularly known as Zizou, during the Spanish Liga Real Madrid vs. Villarreal CF game on April 23, 2005. The film debuted at the 2006 Edinburgh International Film Festival and touts a soundtrack created by the British band, Mogwai. Definitely going to get my hands on this one, both because it looks great and also because (and Ehrlich you may agree) Zizou reminds me of a cross between Arnold Vosloo and Hitman. I said Arnold Vosloo even though I could have said Billy Zane but Arnold Vosloo is way more obscure and I feel good about myself on days I can make Arnold Vosloo references.
I remember watching this movie on Saturdays when I was like 5 years old and thinking I was the luckiest boy in the world. However, let me preface any further commentary by saying: THIS MOVIE IS NOT GOOD. Rather, I feel it's important to be aware of it's existence if only as a indicator of how different the theatrical landscape is today. Yes, if you read that statement right, this thing was released in theaters! 1,000 screens. It actually made some noise at the box office. sh*ts crazy. Compound that with the fact that it was produced by Berry Gordy just to be able to synch his latest tracks to a some film product. Still, we stand awe and amazement that something like this once had a chance to light up the silver screen. Also, I just double checked Wikipedia's claim of a remake in the works with Samuel L. as "Sho-nuff the Shogun of Harlem." Apparently it's real. Guess that line about change in the theatrical landscape wasn't very well founded (hands in my pockets, kicking dirt as i walk slowly into obscurity)
This trailer is insane. Watch it with someone you love while taking the poisoned growth. Have a nice weekend.
All great westerns have a common denominator. Stellar headwear. Val Kilmer in Tombstone? Sick hat. Sam Elliott, Conagher? Sick hat. Actually, now that I think about it, Sam wears the exact same hat in every movie he does (see Tombstone, Conagher, Golden Compass?)
Mr. Tom Hirt, hat maker to the stars, is the man behind all those wonderfully hand-crafted brims we see on screen. However, Tom considers himself part of a dying breed with an estimated 50 hatmakers left in the U.S. that he holds as masters of the trade. Which is why, according to his site, he plans to start teaching a hat making course sometime this year to pass along this undervalued craft to generations who never knew they needed to learn it. It's also why we've posted about Tom here.
Oh, I forgot to mention. If you're looking to reach Tom, whether for a nice beaver felt Dakota or just to catch up on his hustle, Tom says, and I really quote "I don't check my email very often. And I'm probably out riding, roping, or dancing with the ladies, so if you want to reach me, why don't you just give me a call."
Many of you may already be familiar with YouTube poster Pruane2Forever, otherwise known as Sexman to his devoted fanbase. If not, it might be because you fantasize about the Maltin Minute or pick up the NY Times only to read A.O. Scott reviews. Picking up where his contemporaries left off, Sexman applies his youthful charm in a no nonsense approach to film, music, and pop culture criticism. No topic is taboo, no actor above reproach. Sexman is honest, thorough, insightful and represents what I believe to be the new breed of media critic. One that speaks to the masses and looks at his or her subject at the level it was meant to be consumed, not from some elitist perch. Real talk. Also, I've heard whispers that some people think we bare some resemblance to one another. Only when the sun is at certain points in the sky though. And hopefully, only when he's not smiling.
Here's a sampling of some of Pruane's most memorable critiques (the Rambo review above is a personal favorite):
Directed by Stuart Gordon, and starring Gary Graham, Anne-Marie Johnson, and Paul Koslo, Robot Jox takes place fifty years after a nuclear holocaust. Conflict in the form of open war is forbidden by the surviving nations who have merged into two socio-political super-nations- the American-influenced Western Market, and the Russian Confederation. To resolve conflicts over land and resources, the two factions agree to hold gladiator-like matches where human "robot jox" battle each other in giant robotic warrior machines. I'm convinced this film simply suffered from being before it's time. What kind of world do we live in where society no longer accepts theatrical product that pits giant warrior robots in battle to decide national disputes? Dudes were on to something.
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