Tag: Martin Scorsese (Page 10 of 10)

Entourage 6.9 – Security Briefs

Talk about wasted opportunities. Just when it looked like the writers were cooking up an interesting storyline for Vince involving a potentially dangerous stalker, it turns out to be a rush week prank by a bunch of sorority girls. Turtle is a little surprised that it’s his underwear they were after, but considering he’s dating Jamie-Lynn Sigler, he was bound to start getting more attention from ladies. Unfortunately, that’s only going to spell trouble for Turtle, who will likely find a way to screw up a good thing as Ms. I Only Wear Thongs continues to flaunt herself in front of him.

Getting back to the whole stalker subplot, it really did feel like a big fat waste of time. It might have been different had the storyline been contained to a single show, but the fact that it was drawn out over three episodes really made it seem like they were trying to turn it into something bigger. Perhaps that was the point, and the punch line is supposed to make light of how serious everyone has been reacting to it (namely Drama, who decides to interrogate Vince’s stalker himself), but it just didn’t have as much of an impact as it would have if the stalker really was a threat.

In fact, the only good thing that came of it was a funny little inside joke involving the caller ID on Eric and Drama’s phones. Instead of coming up “Vincent Chase” when he calls, it reads “Rupert Pupkin,” in reference to the lead character of Martin Scorsese’s 1982 film, “The King of Comedy.” For those of you who’ve never seen it, the movie is about an aspiring stand-up comic played by Robert De Niro (and named Rupert Pupkin) who begins stalking his idol (a late-night talk show host played by Jerry Lee Lewis) in an attempt to get his foot in the door. Admittedly, it’s a bit of a sick joke considering Vince could have really been in serious danger, and it’s ultimately going to prove even more troublesome for Eric. Ever since lying to her about Sloan, Ashley has been obsessing about every little thing Eric does. This isn’t going to help matters, as she now thinks Eric was speaking to someone named Rupert Pupkin when he told her he was talking to Turtle and Drama. Oh well, they weren’t going to last anyway.

While the stalker subplot ate up everybody else’s time, some progress was finally made between Ari and Lloyd involving the latter’s impending promotion. After Ari steals Zac Efron away from Adam Davies right in front of his face (well, technically, it was over the phone), Davies decides to fire back by offering Lloyd a job at his agency. Lloyd remains loyal at first, but after Ari goes all Principal Gleason on his ass by tacking on an additional 60 days to his original 100 Days of Hell, Lloyd decides that he’s had enough mistreatment and crosses over to the dark side. Ari can’t blame anyone but himself – he’s been a jerk in the past, but tonight he was a straight-up douche – and he’s already second-guessing his behavior. Can Ari even operate without Lloyd by his side? That’s what he was worried about when Lloyd first brought up the idea of becoming an agent, and it looks like we’ll finally get to see how he handles it.

Marty’s mad!

Yeah, I know, he doesn’t look angry — but trust me, there’s righteous movie-loving rage behind those smiling eyes.

Here in Southern California, we might have a health crisis like the rest of the nation, but amongst the burgeoning Cinephile-American community, the hot topic is the scheduled end of weekend film programming at the Los Angeles County Museum of Art (LACMA) later this summer. There’s been a lot of apt criticism — and in retrospect I feel I was bit too blithe/fatalistic about it in my first post about it.

A museum should not have to be slave to film fashion anymore than it should take down it’s Chagalls every time there’s an upsurge of interest in Picasso, or vice versa. If the world’s premiere film city can’t have a place — at a museum, for pity’s sake — that shows important films from the past, including ones with limited audiences, then maybe all of film is in danger of losing its sense of history and with it, most of its soul. It’s ironic that a still lingering sense of snobbish diminishment of film as a somewhat lesser art form might play into it. I thought we were well past that.

As Don Scorsese, il capo di tutti capi of film geeks put it:

I support the petition that is still circulating, with well over a thousand names at this point, many of them prominent…People from all over the world are speaking out, because they see this action – correctly, I think – as a serious rebuke to film within the context of the art world. The film department is often held at arms’ length at LACMA and other institutions, separate from the fine arts, and this simply should not be. Film departments should be accorded the same respect, and the same amount of financial leeway, as any other department of fine arts.

That petition is growing, by the way. Particularly if you live in Southern California, but if you care about movies and live anywhere, it’s time to step up and sign on the dotted line. Think of it as your proper obeisance to Don Marty.

Entourage 6.1 – Drive

Fans of “Entourage” know that season premieres have never been one of the show’s strong suits (they tend to act more like a prologue than an actual part of the story), but while tonight’s episode wasn’t particularly memorable, it did set up quite a few interesting arcs for the coming season. The most obvious of the bunch is Vince’s return to the big time after the colossal failure of “Medellin” nearly ruined him for good. Granted, working with Scorsese will usually do that for you, but it’s just nice to see Vince back in his old digs worrying about things like getting his driver’s license instead of how he’s going to climb his way out of debt.

It’s a shame we didn’t actually get to see any of the footage from the film (maybe next time), but he did talk with Jay Leno on “The Tonight Show” about his new gig: a biopic about Enzo Ferrari, hence the reason why he needs to learn how to drive. The actual exam didn’t go over quite as well as Vince’s confidence would have implied (he practically ran over the entire course of traffic cones), but he was still able to earn a passing grade after bribing the instructor with premiere tickets for his new film. Not exactly a sign that Vince has matured, but with everyone else in his life doing just as good as he is, it’s probably about time he starts.

After all, with Drama constantly working and Turtle always hanging out with Jamie-Lynn, the one person Vince has always been able to rely on is Eric. That’s all about to change, however, now that Eric has agreed to sublet a house from one of Sloan’s friends. Why he’d want to live in that house for only a year is beyond me, but Eric clearly understands that if he ever hopes to get a second chance with Sloan, he’s going to have to be a little more independent. Vince doesn’t seem to have a problem with it at the time, but now that he sees just how lonely life could be without anyone there to keep him company, it might just force him to reassess his bachelor lifestyle.

Meanwhile, with Vince back in the industry’s good graces, Ari is having the time of his life alongside his new partner-in-crime, Andrew, who’s settled into the agency quite well with a string of new clients. (Of course, if the writers knew that “My Name Is Earl” would be cancelled mere months after the episode was filmed, they probably would have chosen a different client for him to sign.) Okay, so maybe business isn’t exactly booming, but that doesn’t stop Lloyd from demanding his long-awaited promotion. Ari finally gives in to Lloyd’s constant bickering and offers him a deal: do whatever he says for 100 days and he’ll make him an agent. I’m really hoping Ari doesn’t follow through, though, because while Lloyd certainly deserves the promotion, the show would be better off maintaining that dynamic. It’s worked this long, so why mess with a good thing?

The Films of Michael Powell

England’s Michael Powell was a rare twofer as a director – both a great visual stylist and one of filmmaking’s most adept and original storytellers. While movie history played some very nasty tricks on Powell, depriving him of his rightful status alongside such contemporaries as Alfred Hitchcock and David Lean, his cult continues to grow. Indeed, after a day or two watching this package of two rare films making their long-overdue DVD debuts, you might be joining me for some genius-spiked Kool-Aid.

The first of half of this stunning double bill is 1946’s “A Matter of Life and Death,” one of a number of classics Powell made with Emeric Pressburger, his long-time filmmaking partner with whom he shared writing, producing, and directing credits. Originally released in the U.S. as “Stairway to Heaven,” this post-war romantic fantasy features a young David Niven as a downed RAF pilot whose apparently impossible survival and subsequent love affair with a sweet-natured American (Kim Hunter) arouses celestial interference from the heavenly powers that be – or, perhaps, that what he’s imagining, as a brilliant neurologist (Powell/Pressburger favorite Roger Livesey) grows increasingly concerned about his apparent hallucinations. This might sound like familiar romantic comedy-drama material, but there is a reason this was Powell’s personal favorite of all his films. It is a cinematic brew so rich and strange that on some levels it feels like a rom-com “Pan’s Labyrinth”; this one sneaks up on you.

“Age of Consent” isn’t on the same exalted level, but despite a shaky start and some unfortunate choices, it’s still aces. This rapturous, and often very funny, 1969 tale of initially semi-platonic May-December love stars then-newcomer Helen Mirren (“The Queen,” “Prime Suspect”), as a 17-year-old Aussie island waif, and aging star James Mason as a painter in need of inspiration. Far less giggle or squirm inducing than you could possibly imagine, “Age of Consent” appears to have been the first major-studio film to feature significant nudity (provided, of course, by Ms. Mirren). Despite hitting it big in Australia, it was butchered for its worldwide release and has been almost impossible to see ever since. Fortunately, this DVD does Powell’s last feature proud, including charming reminiscences from the now Queen-aged Ms. Mirren and Powell’s close late-life friend and number one fan, Martin Scorsese.

Click to buy “The Films of Michael Powell”

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