I saw Eagle Eye on the plane back from England; it’s not as good as Singh is Kinng, which I also watched, but it’s not bad (except for Shia LaBoeuf’s acting; he’s like an ugly Keanu Reeves). I thought there was something kind of interesting about the central premise, which involves the Boeuf receiving orders from some mysterious agency that appears to have complete control of all electronic systems; sending text messages, looking through security cameras, derailing trains. The falsehood of this premise is pretty obvious; there is no homogenous system of “electronic equipment,” but a vast range of unconnected and incompatible electronic systems. The vague category of technology provides a materialization of the paranoid fantasy that is the traditional support of the conspiracy thriller, but it’s not less (and, I would imagine, no less obviously) a fantasy for all that. Read more↴

I saw Burn After Reading a few weeks ago, but I hadn’t planned on writing about it. It’s a funny, smart, film, but pretty straightforward. Or so I thought, until I read some reviews. The New Yorker and Peter Bradshaw in the Guardian lead the field, I think, with their surprising failures to get the film, but  it’s amusing that the widespread critical criticism of Burn After Reading seems to be the same as the popular criticism of No Country for Old Men: that the film doesn’t have a proper ending. Read more↴

According to IMDB, Amnesty International was “highly critical” of Harold and Kumar Escape from Guantanamo Bay; aside from being an amusing example of taking a film too literally, it’s an illustration of the way a certain sort of liberalism requires authoritarianism to define itself against. This is particularly a problem if you’re criticizing Harold and Kumar, as the film spends so much of its time exposing this idea of absolute authority as a fantasy, one held by liberals of the right wing (the neoconservatives) and the left wing (Amnesty). Who would have thought someone would make a film of Derrida’s Rogues in the form of a stoner comedy? Read more↴

I had no desire to see Mamma Mia! which in a way is odd as I like both Abba and musicals. But a friend prevailed on me to see it last week, and it turns out my initial instincts were correct; it’s not a very good film. Indeed, being a musical and using Abba songs are precisely where the film doesn’t work.

All the reviews I’ve seen have mentioned Pierce Brosnan’s terrible singing, but I haven’t seen  much criticism of Meryl Streep’s performance, which is much worse, and also does more to explain what’s wrong with the film. Read more↴

Two bad reviews of The Dark Knight: bad in the sense that they’re poorly executed reviews, as well as being highly critical of the film. There are a number of annoying things about John Pistelli’s review, but the politically important one is the claim that:

Batman, operating outside the law to protect the defenseless people, represents a kind of Bush/Cheney figure, doing what he has to do for the good of the homeland.

He seems to have somehow forgotten that George Bush is the president of the US, and so he can hardly be said to be “operating outside the law”; indeed, the Bush administration’s particular mode of employment of the law is one of its distinguishing features.

Lenin’s review also struck me as kind of wrong, but it took me a while to figure out why. Read more↴

The Pacific Film Archive is currently running a series on Soviet science fiction, surely the genre than which nothing greater can be thought. Today’s entry was the amazing 1924 Bolsheviks on Mars masterpiece Аэлита. Read more↴