Sidney Lumet’s Newark Pitstop: Find Me Guilty (2006)

To the best of my knowledge, Sidney Lumet only ever shot in Newark once, and not, lamentably enough, for his remake of John Cassavetes’ Gloria (whose Newark Penn Station scene I wrote about here)–a remake whose omission of Cassavetes from the credits still perturbs me.

Instead, it was for this Vin Diesel mediocrity:

find_me_guilty

Now, I really enjoy Sidney Lumet as a filmmaker. I always think of him as the pre-Soderbergh, reined in by a classical Hollywood leash that prevented any wildly idiosyncratic swerves like Schizopolis or Bubble, but still committed to an almost experimental craftsmanship in his willingness, eagerness even, to jump genres. We tend to remember Lumet for his gritty NYC canon, but dude made westerns, musicals, a really good and overlooked British spy thriller (The Deadly Affair, y’all!), a romcom, etc.

Of course, they weren’t all good. Continue reading

Curt McDowell, with Love and Leather

confessions

I’ve just finished a feverish four-day run of attending “Loads of Curt McDowell” at the Anthology Film Archives, truly a cinematic highlight of 2016 for me; I love McDowell’s work, and much of it is near-impossible to see, hence the exhausting commitment. McDowell arguably captured the queer, freewheeling sexual currents of 1970s San Francisco better than any other filmmaker, and the features and shorts included in “Loads” range from outright smut to ethnography, surrealism to musical to melodrama. It’s a beautiful, dizzying mixture, and I’m posting this fast and artlessly in the hopes of inspiring someone, anyone, to go check out the series as most of it repeats in the next few days.

As well, I’m posting some documents I came across in the archive on the very days of the screenings, a serendipity too delicious to pass up: Continue reading