DO YOU KNOW WHERE HIS MOUTH'S BEN ? seems like we can't respect each others opinion.are all gays anally retarded...hey dude love the first comment.man they really do get upset when you dont share thier stank lifestyle.
SHUT UP I KNOW YOU LIKE IT.
What the fuck are you talking about?
so hard to believe poor,poor,jim carey what has happen to you i guess you say if you can't beat 'em join 'em,sorry jim thiers not enough money in thissssss lifetime .
Knowing Mark through one of his right hand guys, he once drew several pieces of artwork on a napkin for me. Underneath the hype that he created, he is an extremely talented artist. The people who work(ed) in his factory did so willingly. Perhaps one could say that he hid his talent behind the factory walls because he was uncomfortable being himself. He did say Picasso was minor artist...which is exactly how he felt about his talent. That would put them in the same (brilliant) category. Hmmm.
You make me want to see this movie!
SEX IN SILVER BODY PAINT! WHOOOOOOOOOOOOOOOOOOOOA
To my way of thinking; you have failed to grasp the actual reality behind the common misperception of who and what Mark Kostabi is! This was less of a review of "Con Artist" than a seeming debasement and superficial attack against Mark. Reminds me of the movie "Ridicule". In any case; perhaps you might fancy reading my own Review of this movie at my own Blog site (Just go to the links page at The Free Advice Man website: which is easy to find by simply placing "The Free Advice Man" in either Yahoo or Google search engines.
I wonder what you will do to me when "The Guru of Greenwich Village" comes out!
On a positive note: I found your pseudo-review interesting enough to comment on.
The Original NYC Free Advice Man
Shirley Clarke's last film, documentary about Ornette Coleman
video on demand stream
theres a nice site for putting together a movie hopping schedule, http://theatertag.com
Love this stuff, and your essay. First time I was ever questioned by a psychologist (drugs, was a teen, go figure) I was asked if I ever heard voices. I said, well, after The Exorcist something repeated in my 6 year old or so brain; it said "You love the Devil," ad nauseum. Which I fought off with some kind of Star Wars ontological mantra methods. Didn't we all??? I said?... He didn't like that answer. HA! Bravo Ben.
Have you guys seen these Chat Roulette reactions to the Last Exorcism prank? HAHA I haven't laughed this hard in a while this is f-ing great! http://bit.ly/catJ8g
Rarely does a review grab my undivided attention; however, this review of "Suicide and the Indian Farmer" held my complete attention -- very refreshing, unique and well-written piece! Looking forward to seeing the film based on this insightful, interesting review by John Sylva.
Enter at http://cheguevara-fanclub.blogspot.com/ and leave a comment about Che Guevara
Your comment will be published in a book about Che Guevara
Best comment will receive a free book
Fanclub Che Guevara
You're an idiot.
What happened here? Were all the writers who don't completely despise Ken Russell busy? Granted, you don't have to be a drooling fanboy or anything, but maybe a little less vitriol is warranted in a three page article.
It's totally possible to like both Ken Loach AND Ken Russell films, by the way.
I'm sorry you can't appreciate the self-evident visual brilliance of Russell's films; TOMMY, which you dismiss as "diverting spectacle," is one of the most beautifully orchestrated color films ever made. Your other objections seem either wrong (you're so preoccupied with the "crudity" of his shock effects that you fail to notice his use of complex tonal counterpoints and intriguingly ambivalent characterizations) or just absurd (how can you possibly dismiss his symbolist fantasy sequences for violating "factual fidelity"? That would have been a laughably philistine reaction in 1970).
And Ken Russell has much more than "a few" admirers: filmmakers as different as Derek Jarman (his former set designer), David Lynch, Leos Carax, Todd Haynes and Baz Luhrmann have referenced Russell's films in their own work. It saddens me that this review will end up convincing a few people not to see these films, while adding little to our critical understanding of Russell.
Pretty sure we skipped a reel. Reels were clocking in at around 40 minutes each, Bradley told us one projector was at 16 fps and the other was at 18.5 fps. SO the speed was definitely correct, when you project at 24 fps reels run for 30 minutes. We finished about 45 minutes short- at about 8:45. So, can anyone confirm that in one reel, after the lights go off, they come back on for about 10 minutes and then go back off again? I'm pretty sure I saw this happen at LPR screening earlier this year. Maybe I was dreaming, but that's the one reel that we didn't see at Anthology...
In any case thanks to Anthology for throwing this party, there were about 20 people who sat through the whole thing, it was better than Inception!
Do walk across the street to the W.C. Fields Exhibit at the New York Public Library for the Performing Arts at Lincoln Center.
The glorious Hollywood on Hudson series was screened at the 27th Pordenone Silent Film Festival, where all our grandfather's silent films were featured. "So's Your Old Man" after viewing in Italy, became the latest film of our grandfather added to the National Film Registry of the Library of Congress.
How glorious we have such riches among us now this summer in New York.
Do visit our Official W.C. Fields Web site www.wcfields.com for more information.
Dr. Harriet A. Fields (only granddaughter)
© 2013 The L Magazine
Website powered by Foundation