By Nicole Funari & Spencer Davis. In the latest edition of the Movies That Matter podcast, we discuss the critically-acclaimed World War II film, Dunkirk, from director Christopher Nolan (The Dark Knight, Inception, Interstellar). It’s a decidedly unconventional summer blockbuster; though the subject matter and the production values put it squarely into Oscar bait territory, it plays like an action movie or even a disaster flick. Nolan’s pedigree as the thinking person’s crowdpleaser of choice make him the perfect filmmaker to tackle this topic, and he once again plays his usual tricks with time, utilizing a complex intersection of three different timelines to reframe the narrative on the key theme of cooperation in a time of crisis. The result is perhaps the first truly modern war picture—a complete stylistic break with the past. And the movie raises fascinating questions about how our history is written, how we talk about the virtues of military service and heroism, and the basic value of human lives during times that sacrifice them so cheaply. You can download the podcast here or via iTunes.
By Spencer Davis. One of the appeals of exploring foreign cinema is seeing how filmmakers from other countries are free to entertain story ideas that would never get the green light in Hollywood. It’s not necessarily that foreign directors are given more leeway to take risks; it’s that a plot device that seems absurd to us may, in the eyes of another culture, make total sense. With that in mind, let’s look at five more pictures from around the globe that redefine the boundaries of what movies can do. Continue reading
By Spencer Davis. For a kid whose love of rock music was originally sparked by the early 90s grunge movement, seeing Pearl Jam’s recent induction into the Rock And Roll Hall Of Fame was an odd sort of milestone in my own musical journey. Standing there together on stage, trying to find words to capture what the moment meant to their music and to their own personal lives, you could almost see Eddie Vedder, Mike McCready, Jeff Ament, Stone Gossard, and Matt Cameron—along with original drummer Dave Krusen!—mentally struggling to grasp the enormity of the past 25 years. There was a childlike shock at being there, as if their adult selves were momentarily jettisoned and replaced with six naive, energetic, swaggering kids from 1991. And from that perspective, the whole thing was no doubt impossible to compute.
But watching on the television, knowing as we do know that, as this was filmed, the world was just weeks away from losing yet another legendary Seattle frontman in Chris Cornell, the induction of Pearl Jam took on a wholly different kind of historical relevance. With so many of their grunge-era contemporaries—Soundgarden, Nirvana, Alice In Chains, Stone Temple Pilots—lost or fundamentally altered by premature death, and so many others rendered defunct by eternal squabbling, lineup changes, or on-again, off-again breakups, Pearl Jam is now the last band standing. And there’s a monumental lesson in that about the nature of fame, creativity, and indeed life—either as musicians or just as people. Continue reading
By Spencer Davis. Been taking a bit of a break lately, but don’t worry—S&N isn’t going anywhere! And what better way to come back after a recharge than with a brand new S&N mix? Well, I say “brand new,” but as you’ll see with this batch of tunes, newness can be relative. Because while these songs all come from 2017 releases, you’ll notice an obvious theme: they make what’s new sound old again. Tapping into a vibe that’s distinctly 80s, these artists skirt that creative line between looking back and moving forward. And they prove it’s not so much a line as a spectrum. Continue reading
By Spencer Davis. Yes, there will be subtitles. That’s the first hurdle you need to overcome when opening your mind to foreign film. But trust me, it’s worth it. You see, when you’ve only watched Hollywood movies, you unknowingly—through sheer repetition—become conditioned to believe that movies have to look and sound and feel a certain way. But popular art is influenced in all these subtle little ways by the culture that produces it. And just as there are distinctive stylistic differences between, say, American and British literature, or Italian and German opera, or even Japanese and Chinese food, the movie repertoire of a particular country takes on its own unique essence, flavored by the language and the history and the cultural values of the people who made it. That’s the magic of exploring foreign film: discovering how something so familiar as the American movie experience can, in new hands, become fresh and provocative and unexpected. Continue reading
By Spencer Davis. Today in our continuing series on the most iconic uses of music in film, we look at two recent transformative illustrations of the music-writing process, along with a small piece of Hollywood history, a slice of brilliant visual comedy, a brief musical interlude in war, and a tribute to a recently-lost icon. Continue reading
By Spencer Davis. Longtime readers of S&N might notice a surprising name missing from this edition of The Consumer: Ryan Adams. His latest, Prisoner, dropped last month, but I’m sad to say I can’t recommend it. Continuing in the vein of 80s power rock that he explored on his 2014 self-titled album, Adams can still pen a great song almost effortlessly—and having heard a few of Prisoner‘s tracks during his live acoustic tour last year, I can confirm that there are some great songs hiding here. But they’re buried under lackluster production and a muddled mix, resulting in an album that feels like a cheap imitation—not only of its more obvious 80s influences (like Springsteen or Petty), but of Ryan Adams himself. So what have I been listening to instead? Aside from some killer EPs by Middle Kids and Maggie Rogers, lots of contemplative songcraft from the likes of Spoon (pictured above), Laura Marling, Leif Vollebekk, and Rose Elinor Dougall. Continue reading