A Cowpoke and His Cow

Buster Keaton plays a hapless cowpoke who tries to save a cow named Brown Eyes from the slaughterhouse in Go West (1925).

Peter Bogdanovich’s documentary homage, The Great Buster, is scheduled to open at theaters across the country in October 2018 and perhaps it might introduce a new generation of film-goers to the silent era legend. I would certainly recommend The General, Steamboat Bill, Jr. and The Cameraman to Keaton novices but even his less celebrated efforts are cinematic wonders brimming with visual poetry and imaginative sight gags like Go West (1925). Continue reading

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Teenage Science Geeks Might Save the World

2018 is turning out to be another great year for critically acclaimed and commercially successful documentary features that might end up as Oscar nominees in that category. Morgan Neville’s Won’t You Be My Neighbor? on children’s TV host Fred Rogers, Julie Cohen and Betsy West’s RBG, a portrait of Supreme Court Justice Ruth Bader Ginsberg and Three Identical Strangers, Tim Wardle’s disturbing odyssey of male triplets separated at birth are just a few of this year’s success stories and are still enjoying long theatrical runs in cities across the U.S. I also predict a similar enthusiastic reception for Cristina Costantini and Darren Foster’s Science Fair, an insider look at the annual Intel ISEF (International Science and Engineering Fair), which attracts the most gifted science students from high schools around the world. Continue reading

Dining in the Buff

The idea of a nude restaurant where the clientele and wait staff are composed of various members of Andy Warhol’s Factory crowd such as Taylor Mead and Viva wearing little more than skimpy black briefs may not sound like the most appetizing destination for dining. Yet, as a film, The Nude Restaurant (1967) is a lively, frequently hilarious and occasionally despairing communiqué from the underground for those who have always avoided or dismissed the experimental cinema of Andy Warhol as something boring and interminable based on seeing snippets of 1963’s Sleep (a 321 minute static camera study of John Giorno asleep in bed) or 1964’s Empire (a 485 minute single shot portrait of the Empire State Building from dusk until approximately 3 am) or just reading about them.  Continue reading