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Director Face/Off: Paul Thomas Anderson Vs. Quentin Tarantino (Part Two – Reusing Actors)

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This time, Director Face/Off pits two legendary visual storytellers against each other: Paul Thomas Anderson and Quentin Tarantino. While some may disagree, the two have some stuff in common – both directors were obsessed film fanatics at very young ages, broke into the industry humbly by way of short films and co-written screenplays, and then went on to make cinematic staples like Pulp Fiction and Boogie Nights. Both directors make solid, intriguing films held up by foundations of strong, colorful characters, nonlinear narrative continuity and plenty of violence. Who does it all better, though? 


Like our former Face/Off directors, Wes Anderson and Richard Linklater, Paul Thomas Anderson and Quentin Tarantino have a thing for reusing actors. Let’s find out who reuses their talent of choice better.

Battle 2: Reusing Actors

Round One:Recently Updated9

Philip Baker Hall

Anderson Filmography: Cigarettes & Coffee, Hard Eight, Boogie Nights, Magnolia. 

Michael Madsen 

Tarantino Filmography: Reservoir Dogs, Kill Bill Vol. 1, Kill Bill Vol. 2, Sin City (Tarantino was a “guest director) 

Anderson landed the talent of Philip Baker Hall in his debut short Cigarettes & Coffee, garnering them both a cult following that amassed even more following Magnolia, and Hall’s role as game show host Jimmy Gator. Michael Madsen is most notably remembered as Mr. Blonde in Reservoir Dogs, the guy responsible for the iconic “ear scene,” in which he also dances nonchalantly to Stealers Wheel. There’s no denying Madsen’s roles in Tarantino films are quite typically the lovable badass villain, as proven by his role as Budd in the Kill Bill series.

Winner: Michael Madsen/ Tarantino 

Round Two:

Recently Updated10

Joaquin Phoenix

Anderson Filmography: The Master, Inherent Vice

Uma Thurman

Tarantino Filmography:Pulp Fiction, Kill Bill Vol. 1, Kill Bill Vol. 2 

Anderson’s work has always been deep in story and subject matter, but at one point in his career, his work went from deep to really f-ing heavy, around the time that There Will Be Blood came out. Following the two and a half hour oil-drilling epic drama came The Master, where Joaquin Phoenix plays Freddie, a drifter haunted by inner demons and PTSD who follows a leader of a religious movement. Uma Thurman’s roles as Beatrix Kiddo in the Kill Bill series and Mia Wallace in Pulp Fiction are both pretty much legendary in cinema. With rumors of a third installment to the Kill Bill series in the works, there’s just no battle here!

Winner: Uma Thurman/ Tarantino

Round Three:Recently Updated11

Philip Seymour Hoffman

Anderson Filmography: Hard Eight, Boogie Nights, Magnolia, Punch Drunk Love, The Master

Samuel L. Jackson

Tarantino Filmography: Pulp Fiction, Jackie Brown, Kill Bill Vol. 2, Django Unchained 

 This is a very difficult round, due to the incredible talent of both Philip Seymour Hoffman and Samuel L. Jackson. While Jackson is a Tarantino staple, known for his righteousness, filthy yet quotable lines and just general badassity, Hoffman is just as worthy from his proven versatility and range in Anderson’s films alone.Between confessing unrequited love for Dirk in Boogie Nights or leading people into an inner circle of unconventional beliefs as a religious leader in The Master, Hoffman gives incredible, real performances. RIP Philip Seymour Hoffman!

Winner: Philip Seymour Hoffman/ Anderson

Subjective Winner: Tarantino Reuses Actors Better

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Join us next week for the next battle,  and check out prior segments:

Battle #1: Tell Offs

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Out in Theaters: UNEXPECTED

 Kris Swanberg gives a somewhat too conventional glimpse into unplanned pregnancy in Unexpected, co-written with Megan Mercier and Kris Williams. This marks Swanberg’s third feature film, and notably her first film with known actors and a budget that’s actually workable. While Swanberg said she wanted Unexpected to be a more realistic film, stripped of the usual comedy around unplanned pregnancy and the heightened melodrama of the environment of low income schools, the lack of both elements makes for a charming film of realism indeed, but one that’s too dramatically scarce.  Read More

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Director Face/Off: Paul Thomas Anderson Vs. Quentin Tarantino (Part One- Tell Offs)

QuentinvPTAPART1

This time, Director Face/Off pits two legendary visual storytellers against each other: Paul Thomas Anderson and Quentin Tarantino. While some may disagree, the two have some stuff in common – both directors were obsessed film fanatics at very young ages, broke into the industry humbly by way of short films and co-written screenplays, and then went on to make cinematic staples like Pulp Fiction and Boogie Nights. Both directors make solid, intriguing films held up by foundations of strong, colorful characters, nonlinear narrative continuity and plenty of violence. Who does it all better, though? 


Read More

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Out in Theaters: LILA & EVE

Lila & Eve has the typical makings of a Lifetime Films production: sudden, out of context tragedy, crappy justice systems, female vigilantism, and unlikely friendships forged by way of grief. Starring Viola Davis as Lila, a mother who has lost her son in a seemingly accidental drive-by shooting, Lila & Eve is a film that can’t quite grasp a perspective and stick to it. Directed by Charles Stone III, most notably known for Drumline, his latest summer release falls short of being a thriller, yet has plenty of mind-numbing, shoot-’em-up action. Read More

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NETFIX: 9 Foreign Films to Watch Now That America’s Birthday is Over

The great thing about Netflix is that it gives you a lot of TV and movie watching options. The bad thing about Netflix is that it gives you…a lot of TV and movie watching options. To cut down on your Netflix search and discover time, Netfix aims to ease the process of parsing the good from the bad. The great from the not so great. From action films to foreign dramas, we’re raked the catalogs to offer only the finest that the preeminent streaming service has to offer. So settle in, get your remotes ready and prepare for the red wave of Netfix to wash over you.


 FORCE MAJEURE (Ruben Östlund, 2014)

Force-Majeure6
Ruben Östlund
‘s Force Majeure was a favorite at the 2014 Cannes Festival, boasting a talented cast, beautiful cinematography and an original balance betwixt thrills, suspense and comedy. When a Swedish family takes a holiday in the French Alps, an avalanche strikes, causing major upheaval in the psyches of Tomas and his wife, Ebba. A character study of morals, you could say, Force Majeure is an offbeat collection of misunderstandings and displaced desires in supposed paradise.

AMELIE (Jean-Pierre Jeunet, 2001)

It’s hard to have missed this quirky 2001 French comedy starring Audrey Tautou, but if you still haven’t seen it, prepare to be charmed out of your mind. Amélie tells the story of a whimsical, oddball woman who decides to bring people together in lovely ways through acts of kindness. If Wes Anderson were a French director, he might have made something like this film. Also, the soundtrack is supremely pleasant.

A GIRL WALKS HOME ALONE AT NIGHT (Ana Lily Amirpour, 2014)

Pretentious in a hipster kind of way, A Girl Walks Home Alone At Night is a wildly confident Iranian Vampire Western, filmed in black and white. Blending genres can be hit or miss, but in this case it’s most definitely a hit. The film follows a young female vampire, played brilliantly by Sheila Vand, as she roams the empty, silent streets of Bad City. The western vibes enter around the character of Arash, who offers the vampire a ride one night.

THE HUNT (Thomas Vinterberg, 2013)

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This expertly portrayed story of false persecution delves into the lonely life of Lucas, played to perfection by Mads Mikkelsen, following a disparaging misunderstanding between him and a student that costs him everything. Any further information would be too much information. Directed by Thomas Vinterberg, this is Danish cinema at its finest!

WE ARE THE BEST! (Lukas Moodysson, 2014)

1982 Stockholm is the world three preteen female protagonists live within in We Are the Best!, navigating through their angst, vastly different home lives and the 80’s punk scene. Friendship, gender equality and youthful rebellion are just a few topics this film touches on, and in the most charmingly adolescent way that smacks you with nostalgia, especially if you’ve ever cut all your hair off as a young girl, which I am certainly guilty of on more than several occasions.

LET THE RIGHT ONE IN (Tomas Alfredson, 2008)

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A young boy becomes friends with his next door neighbor and realizes she’s responsible for a few murders about town, yet this doesn’t scare him off. Adapted for the screen by original author John Ajvide Lindqvist, Let the Right One In is a creepily portrayed glimpse of adolescent angst. Americanized in 2010 as Let Me Inboth versions are certainly worth a watch. But watch this one first.

A HIJACKING (Tobias Lindholm, 2013)

While we’re on the subject of Americanized versions, A Hijacking, out of Denmark, was released the same year as Captain Phillips. The two could be considered companion films, although vastly different in portrayal. A Hijacking focuses evenly between the hostage protagonist, and the back and forth between the captors and the CEO of the freight company.

THE BABADOOK (Jennifer Kent, 2014)

Australian horror flick The Babadook is a psychological journey into the home life of a troubled young boy and his insomniac mother as they deal with personal demons. When an unsettling children’s book finds its way onto Samuel’s shelves, Amelia is forced to see her son’s unstable condition not as hallucinations or imaginative stories, but something real.

OLDBOY (Park Chan-wook, 2005)

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Oldboy follows Oh Dae-su as he’s inexplicably locked away in prison for fifteen years, only to be eventually released with no information on why he was ever incarcerated. Quirky, comic and full of revenge violence, this South Korean film of vengeance won the Grand Prix at the 2004 Cannes Festival, and rightly so. Rightly so.

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Director Face/Off: Wes Anderson Vs. Richard Linklater (Part Five – Their Other Stuff)

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Wes Anderson
and Richard Linklater –prominent writer/directors, Texas natives (both have roots in Houston) and coincidentally my two favorite humans. Their latest films were nominated for Best Motion Picture this year and, delving further, their careers have evolved at very similar rates, humbly paving the quaint dirt road that was the indie film scene in the ‘90s with
Slacker and Bottle Rocket. Onward, they transitioned to tastemakers, acquiring cult followings with Dazed and Confused and The Royal Tenenbaums. With each film Anderson and Linklater make, their toolbox gets a little bigger without compromising their eclectic and pridefully offbeat styles, one vastly different from the other, yet hauntingly similar. Which leads to the question, who does it better?

In past Face/Offs, we’ve pitted directors Anderson and Linklater against each other, comparing their very best films, their tried-and-true indie gems. This week we’re taking a slight departure from the directors’ most known work, to their little known work, or at least less known. In this final installment to pit Anderson against Linklater, we ask “Who does other stuff better?” Read More

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2015 Indie Summer Release Guide

While this summer has been thoroughly epic with the release of Jurassic World, Magic Mike: XXL and Mad Max: Fury Road, let us not forget our humble independent cinema either going straight to VOD or perhaps gracing arthouse cinemas this summer. It’s a strong season for independent film, with new releases from indie champs James Ponsoldt (The End of the Tour) and Noah Baumbach (Mistress America) as well as a few directing debuts by Marielle Heller (The Diary of a Teenage Girland Sarah Adina Smith (Midnight Swim). Get your fill of indie cinema below with a gateway guide. Read More

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Director Face/Off: Wes Anderson Vs. Richard Linklater (Part Four – Memorable Quotes)

WesVsDick4
Wes Anderson
and Richard Linklater –prominent writer/directors, Texas natives (both have roots in Houston) and coincidentally my two favorite humans. Their latest films were nominated for Best Motion Picture this year and, delving further, their careers have evolved at very similar rates, humbly paving the quaint dirt road that was the indie film scene in the ‘90s with
Slacker and Bottle Rocket. Onward, they transitioned to tastemakers, acquiring cult followings with Dazed and Confused and The Royal Tenenbaums. With each film Anderson and Linklater make, their toolbox gets a little bigger without compromising their eclectic and pridefully offbeat styles, one vastly different from the other, yet hauntingly similar. Which leads to the question, who does it better?

Wes Anderson’s oh-so-deadpan characters spout off some wise, sometimes just straight up madcap tidings, whereas Linklater’s characters go for the gold with philosophical revelations even too deep for Tiny Buddha, and one-liners that end up on t-shirts. Let’s compare the two directors’ most memorable quotes.

Battle 4: Memorable Quotes

Round One:

Swordsasda

“That’s what I love about these high school girls, man. I get older, they stay the same age.”
Linklater – Dazed and Confused

“Why would a reviewer make the point of saying someone’s *not* a genius? Do you especially think I’m *not* a genius? You didn’t even have to think about it, did you?”
Anderson – The Royal Tenenbaums

In Dazed and Confused, David Wooderson is a grown-up loser who still hangs out with high school kids. In The Royal Tenenbaums, Eli is a self-absorbed author of western books and also an endearing stalker who hangs out in closets wearing only his underwear. His prose is truly hilarious, as we discover when he reads an excerpt at a press conference: “And they rode on in the friscalating dusklight . . .” Both memorable characters, but Wooderson’s wacky wisdom lives on forever in frat houses across the world.

Winner: Linklater/ Dazed and Confused

Round Two:

ElectricGuitarfish

“I have been touched by your kids… and I’m pretty sure that I’ve touched them.”
Linklater – School of Rock
“I’ve never seen so many electric jellyfish in all my life!”
Anderson – The Life Aquatic

Both School of Rock and The Life Aquatic with Steve Zissou have ample amounts of hilarious, memorable quotes. Nothing beats that awkward moment at the parent-teacher conference when Dewey Finn says that perverted quote without even realizing. Ned Plimpton, in his nasally, southern accent-y voice, declares his quotes in a state of enamored fascination. Quotability, in my opinion, is based on if you can shout an obscure quote at a dinner party totally out of context and have people laugh, rather than stare are you questioningly.

Winner: Anderson/ The Life Aquatic

Round Three:

MaxFishcering

“You know how everyone’s always saying seize the moment? I don’t know, I’m kind of thinking it’s the other way around, you know, like the moment seizes us.”
Linklater – Boyhood

“I saved Latin. What did you ever do?”
Anderson – Rushmore

Linklater’s most recent coming of age opus Boyhood is ripe with wisdom and heartfelt realizations. So is Anderson’s Rushmore, which follows a confused kid as he gets caught up in an obsession with a teacher at his school. I could be biased here, since I’ve been quoting Rushmore avidly for years, but there is just so much angst-filled honesty in Max Fischer, such vulnerable truth.

Winner: Anderson/ Rushmore

Subjective Winner: Wes Anderson’s Quotes are Better

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Join us next week for the next Wes/Dick showdown and check out prior segments:

Battle #1: Reuse of Actors
Battle #2: Locations
Battle #3: Music

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Director Face/Off: Wes Anderson Vs. Richard Linklater (Part Three – Music)

RichvsWes3.jpg
Wes Anderson and Richard Linklater –prominent writer/directors, Texas natives (both have roots in Houston) and coincidentally my two favorite humans. Their latest films were nominated for Best Motion Picture this year and, delving further, their careers have evolved at very similar rates, humbly paving the quaint dirt road that was the indie film scene in the ‘90s with Slacker and Bottle Rocket. Onward, they transitioned to tastemakers, acquiring cult followings with Dazed and Confused and The Royal Tenenbaums. With each film Anderson and Linklater make, their toolbox gets a little bigger without compromising their eclectic and pridefully offbeat styles, one vastly different from the other, yet hauntingly similar. Which leads to the question, who does it better?

For Anderson and Linklater, a film’s soundtrack seems to be equally as important as cinematography or plot. Anderson uses music to form a specifically cultured aesthetic shaped from a balance of scores by Mark Mothersbaugh and rock ‘n’ roll. Linklater uses era-defining music as a sort of bookmark for time, shaping his stories around cultural happenings as defined by what was playing on the radio.

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Director Face/Off: Wes Anderson Vs. Richard Linklater (Part Two – Film Locations)

ricwes2.jpg
Wes Anderson
and Richard Linklater –prominent writer/directors, Texas natives (both have roots in Houston) and coincidentally my two favorite humans. Their latest films were nominated for Best Motion Picture this year and, delving further, their careers have evolved at very similar rates, humbly paving the quaint dirt road that was the indie film scene in the ‘90s with Slacker and Bottle Rocket. Onward, they transitioned to tastemakers, acquiring cult followings with Dazed and Confused and The Royal Tenenbaums. With each film Anderson and Linklater make, their toolbox gets a little bigger without compromising their eclectic and pridefully offbeat styles, one vastly different from the other, yet hauntingly similar. Which leads to the question, who does it better? 

Both Texas boys, Anderson and Linklater began their film careers humbly and close to home, filming in Ft. Worth, Houston, Austin, and other Texas towns. Their horizons expanded as their budgets and reputations did, eventually allowing them to make what are popularly regarded as their opuses, The Grand Budapest Hotel, filmed in Germany, and Boyhood, Linklater’s “love letter to Texas.” But, allow me to ask, whose film locations are better?

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