Thursday, March 21, 2013
MOON, United Kingdom, 2009
“In an age when our space and distance boundaries are being pushed way beyond the human comfort zone, how do we deal with the challenges of space in real time? How do our minds deal with long periods of isolation? Space is a cold and lonely place, pitiless and indifferent. What kind of a man would volunteer for this duty? What kind of a corporation would ask him to? Moon is a superior example of that threatened genre, hard science-fiction, which is often about the interface between humans and alien intelligence of one kind of or other, including digital. The movie is really all about ideas. It only seems to be about emotions. How real are our emotions, anyway? How real are we?” Roger Ebert, Chicago Sun Times.
Friday, March 22, 2013
ALIEN (The Director’s Cut), USA/UK, 1979
The re-release of Alien in a director’s cut 24 years after its debut turns out to be a great corrective to prevailing warps in movie space and time. In one dimension, the classic sci-fi thriller’s wide-screen grandeur and director Ridley Scott’s verve in filling his huge canvas with elaborate, abstract landscapes is an upside-the-head rebuke to home viewing. And the movie’s tantalizingly slow, oozing pace is a heartbeat-tripping reminder that today’s sped-up blockbuster conventions may improve on speed, but not on thrills. Even the rib-ripping birth scene unfolds at a tempo more familiar to a waltz than a rupture. Pay attention to the enhanced sound mix, which may be the most important cleaning job of all; silence and score have never twined so hauntingly.” Lisa Schwarzbaum, Entertainment Weekly. Best Effects Oscar, 1980. #40 of the World’s Top 250 Movies.
Saturday, March 23, 2013
2001: A SPACE ODYSSEY, USA/United Kingdom, 1968
“Stanley Kubrick’s 2001: A Space Odyssey is one of the greatest films of all time and it is the director’s most profound and confounding exploration of humanity’s relationship to technology, violence, sexuality and social structures. Kubrick’s philosophical inquiries about the nature of humanity are explored throughout all his films but here he explored his preoccupations by examining the place that humans occupy in the universe, asking questions about the way humanity has evolved and suggesting what the next stage of our evolution will be like. But the ultimate meaning of the film is as deliberately ambiguous as the motives and origins of the black monoliths whose gift of intelligence gave humanity the tools it needed to both survive and self-destruct.” Thomas Caldwell, Cinema Autopsy.
Best Effects Oscar, 1969. #92 of the World’s Top 250 Movies.
Eaton Conference Film, Friday April 12 and Saturday April 13
Spectres of the Spectrum USA 1999,
“No American filmmaker has taken more advantage of the sheer breadth of media including vintage 16- and Super-8mm than Craig Baldwin, whose movies stitch together huge ranges of material—B-movies, commercials, kinescopes, quiz shows, A-movies, industrial films—to create indictments of contemporary culture. All of Baldwin’s movies are about information technologies. This 1999 epic is simultaneously a partially coherent science-fiction parable and a re-telling of the development of mass media.” Tom McCormack, Fandor. This film is part of the Culver Screening Room Series and is being shown in conjunction with the UCR’s Eaton Science Fiction Conference. Culver Film Series
All films screen at 7 p.m.
$9.99 general admission and $5 for students with I.D.
Culver Screening Series