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July 2003 Screening Log - click for reviews, when applicable. Titles of short films listed in bold.

 

01. The People Versus Larry Flint (Milos Forman, 1996) 74 [The rare message movie that manages to establish both a strong visual sensibility and a sense of liveliness that keeps it from ever feeling overly didactic. The most overtly Important moments take place in the courtroom, and thanks to Ed Nortonís commonsensical, casual delivery of his orations, even they are easy to bear. Courtney Love is a superb presence as well, and her Altheaís rise and decline unconditionally provide the tortured heart of the movie. Once sheís gone, a void is left. Thankfully, she sticks around for most of the running time. The actual message, which tells us we should embrace our societyís worst elements because they demonstrate our tolerance, and thereby flatter us, is a bit off-kilter, but thanks to the context it hardly matters.]

The Hot Chick (Tom Brady, 2002) 32 [Sporadically amusing (Ling-Lingís bling-bling was a genuine highlight), but too uninspired to ever really take off. Rob Schniederís imitation of the titular teen chick canít compare with Steve Martinís amazing All of Me stint, and the overall laugh level suffers as a result. Even given low expectations, it fails to live up to hopes. Few jokes arenít telegraphed way in advance, and as a result, thereís little surprising about the situation, and given that situation, thatís pretty damn odd.]

Who Framed Roger Rabbit (Robert Zemeckis, 1988) 90 [The stuff that movie dreams are made of, carried off with surprising aplomb. It will probably be some time before we again see this sort of synergistic corporate conflagration, so itís fortunate that the end product here is greater than the sum of the parts. I suppose using Chinatown as a template for a kiddie movie might alienate some of the target audience, but the genuinely adult sensibility that exists here, results in a childhood favorite for me that I can still fully embrace as an adult. Time will tell, I suppose, if this movie is considered by the masses a bona fide classic, but it meets the criteria for me.]

 

02. The Animatrix (VariousÖ, 2003) 40 [Much like the live action films that inspired it, itís far too wordy and dour for its own good. Here, in animated form, though, even the bit of star charisma that existed has been drained away, and only the empty husk of the genuinely impressive visual effects remains. I would take either of the two features over it, to be sure, and I donít exactly regret having seen it (though thatís more because I feel more in touch with the state of animatorís art than because I feel more versed in the Matrix universe), but itís entirely disposable and fairly obvious as a marketing gimmick.]

 

03. Punch-Drunk Love (Paul Thomas Anderson, 2003) 95 [Fourth viewing. I have stopped noticing new stuff, I suppose, but that makes the experience of watching no less enjoyable. The consistency of mood throughout combined with the brief run time make it a film that I expect to watch many, many more times. The use of Jon Brionís score is probably the most satisfying aspect here, but on every level it functions as a touching, funny examination of a wounded soulís confrontation of the hostile environment that enabled him to entrap himself.]

 

04. Ali, Fear Eats the Soul (Rainer Werner Fassbinder, 1974) 87 [Superior to both Far From Heaven and All That Heaven Allows, mainly because Fassbinder isnít trying to convince us on any level that any wide-sweeping social idealizations are true. I suppose itís a pessimistic film, but its pessimism comes from a cry for change, so it doesnít result in a torturous viewing experience. In fact, Iíd say itís the most upbeat of the Fassbinder films that Iíve seen. The moments that he allows the audience to feel hopeful for his protagonistsí future arenít just set-ups for their eventual fall (though they surely function as that too). Like the other directors to tackle this story, heís too perceptive a scenarist to simply allow his ďheroesĒ to be entirely free of the prejudices that surround them, and his argument gains as a result.]

 

05. Destry Rides Again (George Stevens, 1939) 85 [Charismatic as hell, and wildly entertaining to boot, at least until a plot-heavy third act slows things down a bit (especially since it moves into the same territory as the superior Rio Bravo). It peaks early with a peerless Dietrich / Stewart barroom brawl, but thereís the buzz of infectious fun throughout. I canít think of any time that Stewartís preachy delivery has been easier to handle, though I can think of several movies where Dietrich is more of a florid sex object.]

 

06. Hiroshima, Mon Amour (Alain Resnais, 1959) 82 [There are moments here pretentious enough that they verge on self-parody, I guess, but even they work to remind me how rarefied and fragile the emotional states of the two lead characters are. The meditations on memory, loss, and history are almost simplistic when compared to what some other filmmakers have put to film, but the immediacy demanded by the narrative through line and extraordinary level of intimacy achieved by the actors completely obliterates any such quibbles.]

Mysterious Object at Noon (Apichatpong Werasethakul, 2000) 66 [The approach here, which merges documentary study with fictional narratives collectively provided by the subjects, is a great idea, and itís unfortunate that the financial backing wasnít available to the director so that he might fully realize the project. I prefer this film to Blissfully Yours, I suppose, but after watching it, I want to go back and visit Yours a third time. To my eyes, AW, much like Kiarostami, still seems a better filmmaker in theory than in practice, but both of them seem capable of tossing out a masterpiece at any time.]

 

07. Laputa: Castle in the Sky (Hayao Miyazaki, 1986) 85 [The moments of calm that are commonplace here are almost completely absent from any domestic animated epic, and for all of the professed love that US animators have for Miyazaki, you would think some of them would notice how they go a great deal toward grounding spectacular action scenes when making their own films. Though it's aligned with such mega-budget spectacles as Titan A.E. and Treasure Planet in genre, it easily trounces them. The intense focus on nature and natural curiosity commonplace in all of Miyazaki's work can be found here as well. Perhaps this is his most accessible film of all. If you've never seen anything by him, it's a great place to start.]

Terminator 3: Rise of the Machines (Jonathan Mostow, 2003) 62 [There's an uneasy alliance here between the franchise's seriousness of intent and Mostow's insistence that it should be laughed at. The mammoth set pieces are relatively free of gags, though, and they're what most folks are watching for anyway, so since they deliver, it's pretty much impossible to declare the movie a failure. The script gives both Danes and Stahl some completely wretched scenes, but somehow through the convictions that they bring to their roles they both resemble genuine human beings, and that's probably the key component in the series. If Mostow can't quite get a handle on the portentous mood, but managed that, so be it.]

 

08. Flatliners (Joel Schumacher, 1990) 28 [Schumacher's endlessly zooming camera here is an embarrassment as is the insanely gothic set design. You can scarcely tell the dark fantasies that the characters experience from their realities since everything is so overwrought. The plot itself, which resolves as each character atones for their one and only sin (each one a clichť) is preposterous as well though, so maybe it didn't deserve better treatment.]

The Blob (Chuck Russell, 1988) 61 [Once the dopey characterization is out of the way, this movie delivers completely on its promise as a gory, effects-filled updating of an original that wasn't that great. I definitely prefer this one to the '50s version, and find the origin of the blob here a bit scarier than what was originally offered. The effects are still impressive in this era of CGI and the surprising amount of compassion that I felt for the characters must have meant that all the time I spent getting to know them was worthwhile.]

 

09. Pirates of the Caribbean: The Curse of the Black Pearl (Gore Verbinski, 2003) 52 [Surely watching Miyzaki's wonderful Laputa a few days earlier hampered my enjoyment here somewhat. Depp and Rush's oversized performances help a lot, but there's no denying that the film is too long for its own good. Verbinski tends to shoot his action scenes using so many close-ups that you lose a sense of space, and the vast amount of fog in the environments scarcely helps matters. For a while though, it's a heck of a lot of fun, and it has a tendency to not take itself seriously that keeps it likable, even as it starts spinning off more climaxes than it knows how to handle.]

 

10. Empire Records: Remix! Special Fan Edition (Allan Moyle, 1995) 67 [The oddball cast here grows increasingly likable as the film weathers on and before it's all over it achieves the undeniable feel of a good Howard Hawks hangout movie. I guess it's not working at the same high level of every Hawks film I've managed to see, but as a teen movie in that mold it's pretty impressive. It's undeniably optimistic, characters are defined by their approach to work, and before the day is done all of the romantic and psychic scars that existed at the start are somehow resolved. This cut is a full 16-minutes longer than the 90-minute theatrical release, so even if you've seen it before, it might be worth seeing again.]

 

11. Charlie's Angels: Full Throttle (McG, 2003) 75

The League of Extraordinary Gentlemen (Stephen Norrington, 2003) 22 [Though I guess I can't call it inept, I found this movie thoroughly unpleasant. The endless, supposedly impressive money shots of Captain Nemo's ships did nothing for me, though I guess you could say that about all of the lackluster effects. There's not enough background on any of the numerous characters to develop any kind of bond, so they never emerge as more than the gimmicks that they are.]

 

12. Halloween 5: The Revenge of Michael Myers (Dominique Othenin-Girard, 1989) 45 [Fairly ineptly made, but it's scary, and for that I bow to it. The complete left turn at the ending is enough of a mindfuck that I have to give it props. It's almost indefensible as art, I guess, but I have seen it more times than I care to say.]

My Hustler (Andy Warhol, 1965) 68 [Essentially a two-act play transferred to the screen with a minimum of fuss, but it still is remarkably entertaining for an experiment. Three immoral layabouts engage in a competition to win a strapping young would-be hustler, and in their attempts to outmaneuver each other, they reveal much about themselves. Warhol creates an immoral world here where physical beauty is cheap but the only thing worth spending money on.]

Mr. Klein (Joseph Losey, 1976) 46 [It's essentially a stupid movie, asking us to agree when it damns its protagonist for the mildest of infractions, but Losey manages to do a fair job of getting us to go along for the ride anyway. The central mystery here unfolds with enough skill that it's frustrating when it is wrapped up in a series of almost random scenes. I understand the rationale behind the approach - it's the same sort of non-ending that graced Losey's The Criminal - but I'm not sure if I am able to appreciate it after sitting through a movie that kept promising me more.]

Legally Blonde 2: Red, White & Blonde (Charles Herman-Wurmfeld, 2003) 60 [A giant step up from the original and the first worthwhile movie Reese has made since becoming a household name. She's as wonderful as ever here, but it feels great to once again be able to enjoy the movie that she's in too. Her Elle Woods character is endlessly optimistic and chipper, but Witherspoon's momentary flashes of self-doubt and insecurity make her human. Thankfully, the film ditches any scenes that take seriously the idea that Elle might fail in her quest, and as a result the pace is far more rapid-fire than in the original. The dog gag is easily one of the funniest I've seen this year.]

 

13. Suddenly, Last Summer (Joseph L. Mankiewicz, 1959) 61 [Insanely overwrought, but worth watching because of it. If it were not so amped up it would probably be a mess. Everyone chews scenery. It's amazing to think that this must have been envisioned as a prestige project. As is, there's a certain camp appeal. The central concern is whether or not Elizabeth Taylor is brain damaged!]

Night and Fog (Alain Resnais, 1955) 50 [There's some haunting footage here, but I'm not sure that the film is still a total success now that Holocaust imagery has become something of a clichť. The use of black and white stock for all footage from the past and color for "present" ones seems oversimplified, especially when the narrator is telling us that the two can scarcely be differentiated. The score, too, strikes me as a miscalculation. It treats every image with the same droning conservatism and goes a long way toward deadening the impact of what's being shown. Whatever I might perceive as its weaknesses, though, I'd still take it over something maudlin like Schindler's List.]

 

14. The Pirate (Vincente Minnelli, 1945) 72 [For a while this struck me almost as a Sternbergian study of Judy Garland's blossoming sexuality, and that's an intensely exciting prospect. About two-thirds of the way through, before that angle got really interesting, it starts hedging its bets and toning things down, unfortunately. Still, there are numerous memorable sequences. One number, in which Garland's character is under hypnosis is intense, erotic and provocative in all the right ways. Another, in which she plays a bunny rabbit and Gene Kelly, the object of her affections, an exaggerated version of his strapping self, is an wildly distorted sex fantasy. When it expects us to settle at the end for the comparatively timid "Be a Clown" number (inferior to Singing in the Rain's "Make 'Em Laugh", which cribs liberally from it), it seems like a wild retreat into conventionality.]

Yolanda and the Thief (Vincente Minnelli, 1948) 46 [There's an unusually surreal vibe here, and at times the movie borders on the nonsensical. I'm not sure if this is an example of a director overindulging himself or one of him flailing to make a truly lousy script interesting somehow. Lucille Bremer, the female lead, is bland as can be. It would have been doubly surreal and doubly interesting if they let the oddball Mildred Natwick have the honors.]

 

15. Le Boucher (Claude Chabrol, 1969) 76 [Chabrol's movies skip by with such subtle intelligence that it's almost difficult to ascertain how good they are until they're over and done with. Even more, it seems that after they're over, it's hard to say if they're great because they're more perceptive than other genre flicks or just less boneheaded. Le Boucher is made with so little effort that it's easy to overlook the amount of depth that it contains. Its critiques of society are so tightly wound up in its structure that they feel invisible at times, allowing the movie feel more like a tale of stylized romantic yearning than anything.]

Heaven Can Wait (Warren Beatty & Buck Henry, 1978) 61 [Fairly enjoyable, but at the same time fairly slight and predicated on an almost shameless kind of self-glorification on Beatty's part. Everything is balanced on the notion that we'll embrace his scrappy, can-do attitude, and I suppose I was able to, but it tried my patience at times. Adequate supporting turns abound here, but there's no character that you're ever thrilled to see because Beatty isn't about to let anyone upstage him.]

Gay Purr-ee (Abe Levitow, 1962) 32 [Almost disposable, if not for the excellent vocal performance by Judy Garland, who makes the mediocre songs she's given worth listening to. The animation is amazingly unimaginative and unremarkable for most of the running time. The only time the movie displays real inspiration is during the clever number "The Money Cat" and in an overlong sequence that features an extended homage to the Impressionist painters. Otherwise, it fails to be the alternative to 101 Dalmatians that it so desperately wants to be.]

Midnight Run (Martin Brest, 1988) 68 [One of DeNiro's rare successful comic roles (though it's no King of Comedy) combined with a generally witty script results in a genuinely likable action/comedy. Grodin is great as the straight man and he has the same quiet, down to earth qualities that define the film's feel and keep it from feeling too formulaic. It chugs along like a machine, but you rarely hear the chugging.]

 

16. Vengeance is Mine (Shohei Imamura, 1979) 83

Where the Heart Is (John Boorman, 1990) 48 [Some superb sequences and a wonderful performance by Uma Thurman are almost completely sublimated by Boorman's quirkier touches here. His sensibility doesn't really feel like that of many New Yorkers that I know, and since the city is such a crucial part of his story here, that places the film in the realm of a modern fable. It's not really interesting on an allegorical level though (it's filled with way too many specifics), so it sort of fails as a fable. The closing scenes, which paint an idyllic family life in the same was as his Hope and Glory are definitely distinctive though. Big fans of the admittedly superior The Royal Tenenbaums might find something of interest here, though, since Boorman's tendency to frame his characters in literal tableaux and eye for background detail seem to inform Anderson's sensibility.]

 

17. I Never Promised You a Rose Garden (Anthony Page, 1977) 63 [Awkward in spots, but dominated by an intensity that's hard to deny. Clearly it's a low-budget production, but as an acting piece it's definitely worthwhile. Kathleen Quinlan gives what's usually described as a "brave" performance. The bravest element, to my eye, is her willingness to be unlikable. It's been a while since I've seen Cuckoo's Nest, but if I had to pick between the two, I'd take this.]

Nouvelle Vague (Jean-Luc Godard, 1990) 83

Dogville of My Childhood (Jeremy Heilman, 2003) 72 [With this, my first short film, I attempted to tackle the Godardian ideal of ďa film where there has been no writing, no editing, and no sound mixingĒ and if his A Woman is a Woman can be considered a neorealist musical, I like to think of Dogville as a documentary one. Iím not entirely pleased by the results, but I think itís about as good a short as I could make with around 30 minutes of work. After the fact, I realize that itís similar to Joseph Cornellís avant garde classic Rose Hobart (I hadnít seen it when I made Dogville, but similarly combines an external soundtrack with a narrative constructed through association of images), but where Cornell uses found footage from a narrative feature, I use footage from other peopleís home movies that Iíve literally found. The first semi-public screening of it was my first viewing of it (the editing process was accidental enough that I didnít have to watch it before screening it), so I feel that I was able to approach it as a fairly impartial viewer. The tendency to pay homage to other films (the titular ones, Novelle Vague, Monsoon Wedding, The Lizzie Maguire Movie, etcÖ) doesnít attempt to deny the power of images that I create or find on my own, but instead suggests that the images that appeal most to me are ones that Iím already familiar with.]

Trent (Jared Sapolin, 2002) 53 [Sharp black and white photography, a strong compositional sensibility and judicious editorial choices (which frequently cut off a scene mid-sentence) are the highlights in this student film. Thereís an attempt here to convey a sense of social alienation and dislocation that exists more in the stylistic overtones than the somewhat shoddy performances, but manages to peek through anyhow. Screened with intense reservation by its filmmaker, but a promising debut nonetheless.]

Puce Moon Rising [fragments] (Sky Hirschkron, 2003) ~ [Tragically, beset upon by technical difficulties, my screening of this short was hampered, but I thankfully still was able to see the dazzling finale, which takes emotional free association and pushes it to a pace that would make Brakhage sweat. Awesome credits too...  Iíll reserve further commentary for when I see a more complete version.]

 

18. How to Deal (Claire Kilner, 2003) 67 [Though itís plagued by too much narrative incident for its own good, a remarkably grounded cast makes this comic teen drama a pleasure. Mandy Mooreís character is too petulant and skeptical to be considered conventionally likable, but too sharp to be ignored. She inhabits her with a sense of reality that slaps the rest of the unfocused elements here into place. While the movie largely sides with her characterís point of view, the moments when it distances itself from it are its most persuasive. Many of her behavioral contradictions arenít underlined too boldly, so it comes as a genuine surprise when she begins to exhibits change. The moments of subtlety here, hidden behind the melodramatic plot twists, give the movie a contemplative air that is tough to dislike. Though it isnít quite All the Real Girls, it shares with that film a down-to-earth, faith-driven and inquisitive attitude toward love thatís all but absent in most Hollywood productions.]

Bad Boys 2 (Michael Bay, 2003) 34

 

19. Night of the Day of the Dawn of the Son of the Bride of the Return of the Revenge of the Terror of the Attack of the Evil, Mutant, Alien, Flesh Eating, Hellbound, Zombified Living Dead Part 2: In Shocking 2-D (Loewll Mason, 1991) 25 [Quite simply, it was funnier when I was 15Ö]

Swimming Pool (Francois Ozon, 2003) 58 [A wry sense of humor invigorates and redeems this essentially disposable examination of a womanís psychosexual wish fulfillment. In a way, itís a sunny-side-up inversion of Under the Sand, with Ozon once again staring at Ramplingís face, waiting for her to snap, so he can detect a hint of perversion. Is it the classic grace of her exterior that makes the idea of a titillating interior so thrilling to Ozon? If so, a bit of that motivation seems to exist in the depiction of Ramplingís character as she recoils at the mates that the nubile Sagnier recruits. Ozon seems utterly convinced that underneath it all, weíre all just dying to get it on, and though I canít really buy into that, the general lack of other motivation in his movies makes them consistently pleasurable. Rampling and Sagnier are both solid.]

My Neighbors the Yamadas (Isao Takahata, 1999) 61 [It's undeniably cute and sporadically touching, but the cumulative effect of this episodic animated family film is exhausting. The art style, which reminded me of watercolor and pencil drawings that might be found in a children's book, is fairly unique, at least for a feature, and infuses everything with a bit more charm than it would otherwise have. Of all the Ghibli films I've seen, it's one of my least favorite, and of the three Takahata films I've seen, it's my least favorite, but that's just a testament to the quality that the can be routinely expected from the studio.]

Near Dark (Kathryn Bigelow, 1987) 71 [Some of the special effects have dated a bit, I suppose, but Bigelow's style hasn't. By photographing wide open spaces like John Ford, she captures the nervous loneliness and displacement that seems to be the prime torment in the vampires' lives. The best moments, such as the extended barroom slaughter, demystify the vampires by accentuating the mind-numbing routine of their existence. It doesn't quite compare with Trouble Every Day (especially in the score department), but it's definitely a distinctive and exciting entry in the genre.]

 

20. Dogville of My Childhood (Jeremy Heilman, 2003) 73 [On the second viewing, my impression of my film improved due to external circumstances. A serendipitous accident (similar to the Dali's fit of jealousy after the first screening of Rose Hobart) resulted in the master copy of the tape getting mangled, so that the ending, which follows a zoom into digital pixelization and then the abyss, now resembles a Two-Lane Blacktop-style deconstruction of cinema. This conclusion to the film only enhanced its intertextuality and puts its function as film criticism and a meditation on the medium to the fore.]

Once Upon a Time in America (Sergio Leone, 1984) 63 [Elaborate, impressive sets and cardboard characters dominate the landscape of this sweeping, supposedly somber epic. Spending about an hour with the children that would eventually turn into the miserable adults does little to shed any light on what it is that's got them so down (especially since the kids aren't particularly good actors), and most of their shenanigans feel as if they're being remembered fondly, which is sort of counterproductive when you consider the tone of the rest of the film. The relationships between DeNiro's character and the other leads are the key element here. I wish that Leone had better developed them. Though there seems a genuine attempt to make this an emotional experience, Leone can't help but resist amplifying everything so it feels more "movielike". It's definitely not a bad thing, but it insures that the film has a hollow center.]

 

21. Chinese Roulette (Rainer Werner Fassbinder, 1976) 52 [My least favorite Fassbinder to date, but still okay. He has tendency in his work to temper his radicalism by making his radical characters do stupid things that show why they aren't successful radicals. It usually is the element that keeps his movies from being didactic, but he uses that trope here to the point where it makes that facade crumble, and the mechanics of the movie become too exposed.]

 

22. Legally Blonde (Robert Luketic, 2001) 48 [Witherspoon is better than the material, but that's not hard, I suppose. The amount of energy that she puts into humanizing her character here is admirable. The courtroom drama never really feels like an organic extension of the school outcast material though, so the film has difficulty maintaining momentum.]

Legally Blonde 2: Red, White & Blonde (Charles Herman-Wurmfeld, 2003) 57 [Better than the first because it doesn't tease us by taking seriously the possibility that Witherspoon might fail, but watching it again, I see that it's not that well-made in spots, and that it has a heavier reliance than the first film on cute doggy reaction shots (which are somewhat forgivable given the dogs' prominence in the plot). I still laugh a lot and still admire Witherspoon's ability to exhibit pluck under any circumstances though.]

May (Lucky McKee, 2002) 44

The Far Country (Anthony Mann, 1954) 61

 

23. Drumline (Charles Stone III, 2002) 47

Northfork (Michael Polish, 2003) 56

 

24. You Only Live Once (Fritz Lang, 1937) 89

The Shop Around the Corner (Ernst Lubitsch, 1940) 82

The Wedding Planner (Adam Shankman, 2001) 33 [Happy Birthday J-Lo!]

 

25. Clockers (Spike Lee, 1995) 64

Pleasantville (Gary Ross, 1998) 62

Seabiscuit (Gary Ross, 2003) 43

Lara Croft Tomb Raider: The Cradle of Life (Jan de Bont, 2003) 39

 

26. The Guys (Jim Simpson, 2002) 56

Camp (Todd Graff, 2003) 52

 

27. Another Day in Paradise (Larry Clark, 1998) 70

Vampires (John Carpenter, 1998) 54

Batman: Dead End (Sandy Collora, 2003) 33

 

28. A Florida Enchantment (Sidney Drew, 1914) 68

The Docks of New York (Josef von Sternberg, 1928) 82

Condemned to Live (Frank R. Strayer, 1935) 44

I Shot Jesse James (Samuel Fuller, 1949) 73

The Desert Fox (Henry Hathaway, 1951) 54

Come Drink With Me (King Hu, 1966) 74

The Rescuers (Lounsbery, Reitherman & Stevens, 1977) 66

Street Smart (Jerry Schatzberg, 1987) 51

Fetishes (Nick Broomfield, 1996) 39

Barbershop (Tim Story, 2002) 42

Raw Deal (Anthony Mann, 1948) 65

The Patchwork Girl of Oz (J. Farrell MacDonald, 1914) 47

 

29. Rose Hobart (Joseph Cornell, 1936) 85

Lift (DeMane Davis and Khari Streeter, 2001) 45

Dazed and Confused (Richard Linklater, 1993) 79

 

30. Closely Watched Trains (Jiri Menzel, 1966) 68

 The Cranes are Flying (Mikheil Kalatozishvili, 1957) 51

Umberto D. (Vittorio De Sica, 1952) 75

Bugs Bunny Nips the Nips (Friz Freleng, 1944) 17

All This and Rabbit Stew (Tex Avery, 1941) 9

Rabbit of Seville (Chuck Jones, 1950) 53

Rose Hobart (Joseph Cornell, 1936) 85

The Fall of the House of Usher (James Sibley Watson & Melville Webber, 1928) 63

OffOn (Scott Bartlett, 1968) 68

Themis - Composition 1 (Dwinell Grant, 1940) 45

 

31. Chelsea Walls (Ethan Hawke, 2001) 28

 

 

 

75 Features, 14 Shorts

January 2003 - February 2003 - March 2003 - April 2003 - May 2003 - June 2003 - July 2003 - August 2003