The Cultural Gutter

building a better robot builder

"We are all in the gutter, but some of us are looking at the stars." -- Oscar Wilde

The Dark Knight and the ACME Bomb: Batman and realism part I

The ending to The Dark Knight Rises left my wife doubled over laughing in the parking lot of the theatre. I tried to take a picture for posterity, but it was too dark. Given that no one else in the audience seemed affected in the same way, I expect I’ll need to explain why: simply […]

RIP, Kaneto Shindo

Director and screenwriter Kaneto Shindo has died. He lived past 100 and made masterpieces including Onibaba, Kuroneko, Children of Hiroshima, Lucky Dragon No. 5 and The Naked Island. He also wrote the screenplays for Seijun Suzuki’s Fighting Elegy, Yasuzo Masumura Irezumi, Kinji Fukasaku’s Under the Flag of the Rising Sun, Seijiro Koyama’s Hachi / Hachiko […]

Red Skies: Soviet Science Fiction

A thorough and well-illustrated look at Soviet science fiction, from the 1920s through the 1980s. (via SF Signal)

A Cinematic History of the Future

SFSignal has Handshake Magazine’s cinematic history of the future. The timecode in the upper right hand corner.

Stick Man vs. Liquid Man

Maybe an homage to the Japanese Atomic Age movie, The H-Man. Maybe not. “Stick Man vs. Liquid Man.”

Wrangling Watchmen

Read everything you wanted to about the Watchmen movie? Let us wrangle you a little more. Marc Hirsch argues for the comic as its own form and Andrew O’Hehir is shocked to be writing that it “way out-darks The Dark Knight and immediately leaps near the top of the list of apocalyptic pop-culture operas.” Meanwhile, […]

Would You Let Your Daughter Marry Godzilla?

Serious as radiation poisoning

When Godzilla first waded out of the ocean to trample Odo Island in 1954, he was a monster for the times, serious as radiation poisoning. Japan was still rebuilding in the wake of WWII. Wartime traumas were still fresh. The bombings of Hiroshima and Nagasaki were only nine years past, and there was a new […]

Godzilla vs MechaRealism

Yes, it

A while ago I watched some Godzilla movies with some people who don’t exactly appreciate the aesthetics of suitmation / kigurumi, or, in less technical language, a guy in a rubber suit. One of the things I like best about Godzilla movies is that as soon as I glimpse Godzilla rising from the depths or […]

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  • Of Note Elsewhere

    John Ostrander writes about the upcoming animated feature of The Killing Joke, his reaction to the assault on Barbara Gordon and his and Kim Yale’s reinvention of Barbara Gordon as Oracle. “The last story that Kim and I worked on together before she died was Oracle Year One, drawn by the wonderful Brian Stelfreeze. We showed that year as Barbara made the transition from broken hero to dynamic Oracle. She became a strong and much loved icon for the disabled community. In making her a hero again, Oracle allowed others to heal with her. The reader healed with her.” (via @profmdwhite)

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    deMilked has a gallery of lovely superhero watercolors by Blule (Clementine Campardou). (via S. L. Johnson)

     

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    In honor of director Mario Bava’s birthday, Shudder TV is having a Bava-thon with nine of his classic horror films chosen by friend of the Gutter Colin Geddes streaming free online all weekend. See the line-up here and watch here.

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    There’s a set of Star Wars cards autographed with amusing comments by Mark Hamill at imgur.

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    The Projection Booth watches Night Moves (1975) with special guest host the Gutter’s own Carol. “Arthur Penn’s Night Moves (1975) stars Gene Hackman as Harry Moseby, a private eye trying to find himself in a post-Watergate America. We’re joined by Nat Segaloff, author of Arthur Penn: American Director and Carol Borden of the Cultural Gutter.”

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    At Graveyard Shift Sisters, Ashlee Blackwell considers love in Ganja & Hess. ” It is up to the viewer to map a path that suits their understanding. What writer/director Bill Gunn (who plays Dr. Hess’ assistant) wanted was a disruption of mainstream fare. Gunn didn’t seem too interested in what Hollywood desired, and like many writers, wrote a screenplay that felt personal and needed to be written. It tackles so many themes, it’s almost difficult to begin. While most rely on it being vampiric and about addiction, it’s important to note the journey that Hess and Ganja embark on together. Their romantic entanglement may by one of the most fascinating aspects of the film that is commonly overlooked because it is challenging to simplify.”

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