New From Me: PARTY GIRL and THE SPY WHO LOVED ME
He-he-HELLO!, and welcome back! It struck me that I've been remiss in letting you know about two new pieces of film writing by me that went up at different sites in the last week. I'd never want all 19 followers of this blog (is it still 19 on the Blogger count list? I haven't checked in ages) to be bereft of good reading, so allow me to rectify that now.
Over at RogerEbert.com, I wrote about The Spy Who Loved Me, the best of the Roger Moore Bond films, which celebrated the 40th anniversary of its U.S. release last week. That we're roughly the same distance from this dizzy, effervescent delight as it was from, say, Hitchcock's Young and Innocent is rather surreal-- the Bond films so often feel of-the-moment to me, regardless of how old they are--but the anniversary allowed me to go logorrheic on one of my favorite fantasy adventures, and why Moore's brand of tongue-in-cheek elegance feels so essential to this moment, cinematic and otherwise.
Party Girl (1995) offers a different, but no less crucial, sort of effervescent escapism. I wrote about Parker Posey's star vehicle for Bright Wall/Dark Room's 50th issue, whose theme is "Survival Kits." The film functioned that way for me as I drifted through the post-collegiate, pre-grad school years of the mid-90s, a period I anecdotally explore in tandem with the film, with Posey as my cinematic avatar.
Thanks to Ebert's Matt Zoller Seitz and Brian Tallerico, and everyone at BWDR for allowing me the space to explore two of my favorite movies. Now, don't let them down-- go, read!
Over at RogerEbert.com, I wrote about The Spy Who Loved Me, the best of the Roger Moore Bond films, which celebrated the 40th anniversary of its U.S. release last week. That we're roughly the same distance from this dizzy, effervescent delight as it was from, say, Hitchcock's Young and Innocent is rather surreal-- the Bond films so often feel of-the-moment to me, regardless of how old they are--but the anniversary allowed me to go logorrheic on one of my favorite fantasy adventures, and why Moore's brand of tongue-in-cheek elegance feels so essential to this moment, cinematic and otherwise.
Party Girl (1995) offers a different, but no less crucial, sort of effervescent escapism. I wrote about Parker Posey's star vehicle for Bright Wall/Dark Room's 50th issue, whose theme is "Survival Kits." The film functioned that way for me as I drifted through the post-collegiate, pre-grad school years of the mid-90s, a period I anecdotally explore in tandem with the film, with Posey as my cinematic avatar.
Thanks to Ebert's Matt Zoller Seitz and Brian Tallerico, and everyone at BWDR for allowing me the space to explore two of my favorite movies. Now, don't let them down-- go, read!
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