Updates from the Beyond

I was honored to be invited by Paul Clark and Steve Carlson to participate in this year's Muriel Awards. A sort of alternative to the mostly boring Critics Circle Awards (as well as the certainly not boring Skandies), the Muriels includes a number of cinephiles voting in categories of 2012 film that range from the simple (acting, writing, editing) to the esoteric (Best film of 1987, Body of Work, Scene). I'll be writing about two of the winners, so look for that soon, and follow the awards here!

If you check out the latest issue of Film Matters, I review the very strange and wonderful book on John Carpenter's They Live by Jonathan Lethem. It's good!

I also have a couple of reviews out there: a longer piece on Like Someone in Love and a new piece on Night Across the Street. Read those at their respective locations here and here.

If you haven't been following The Cinephiliacs, check out episodes with Keith Phipps, Kevin B. Lee, and C. Mason Wells.

I have a long piece on Soderbergh's Side Effects and his relationship with Scott Z. Burns that I really hope to have published soon, but it currently sits in editing limbo.

You can follow my haikus on Letterboxd, which is now open to the public.

I usually tend to post my favorite "filmic discoveries" of each month on Twitter. I totally forgot to do January, so I'm listing them here in order (excluding 2013 releases):
1. Hi, Mom! (De Palma, USA, 1970)
2. The Story of the Last Chrysanthemums (Mizoguchi, Japan, 1939)
3. The Ceremony (Oshima, Japan, 1970)
4. Sunday Too Far Away (Hannam, Australia, 1975)
5. Petulia (Lester, USA, 1968)
6. Blast of Silence (Baron, USA, 1961)
7. King Lear (Godard, France/Switzerland, 1987)
8. Face/Off (Woo, USA, 1997)
9. They're a Weird Mob (Powell, Australia, 1966)
10. Three on a Match (LeRoy, USA, 1932)

Also of note: Cairo Station (Chahine, Egypt, 1959), Greetings (De Palma, USA, 1968), The Tarnished Angels (Sirk, USA, 1957), In the Shadows (Arlsan, Germany, 2010), Slacker (Linklater, USA, 1991), and The Moderns (Rudolph, USA, 1988).

NYFF: KidCritiz Writings

The above pictured Victoria Guerra ("wtifu...") was more than enough to keep my attention during Lines of Wellington, the semi-spiritual sequel to Mysteries of Lisbon that would have been the next film by Raul Ruiz before his passing last year. Over at the Film Society blog, I write about Wellington and Ruiz's final film, Night Across the Street, as well as the filmmaker's legacy. Check that out here.

Over at Criticwire, I explore three films that use digital imagery in unique ways, including Passion, Holy Motors, and You Ain't Seen Nothin' Yet! Check that out here.

Both these posts are in conjunction with Indiewire's KidCriticz Academy (more on that here).