"I hate compiling lists, and I hate polls," announces Mark Peranson, introducing Issue 42 of Cinema Scope, the centerpiece of which is "The Decade in Review," a top ten (#1: Jia Zhangke's Platform) supplemented by an outstanding collection of critical reflections on the 00s. Mark's editorial appears, too, under a top ten for 2009 (#1: Corneliu Porumboiu's Police, Adjective) and over a declaration of hope "that you'll pay closer attention to the words that our regular contributors and special guests have devoted to their favourite, underrated, and overlooked films and filmmakers from the past ten years. And that we can put this decade stuff to rest."
Also: Adam Nayman on Pedro Gonzalez-Rubio's Alamar, Christoph Huber on Peter Schreiner, once the "mystery man of Austrian cinema," Michael Sicinski on Frederick Wiseman's La Danse: The Paris Opera Ballet, Andréa Picard on Chantal Akerman, Robert Koehler on the "Sundance-Rotterdam-Berlin Express," Jonathan Rosenbaum's DVD column, always an essential guide for cinephiles, and a letter to the editor from Tony Rayns: "Shelly Kraicer's attack on Lu Chuan's City of Life and Death in Cinema Scope #41 is the most wrong-headed thing I've read in the magazine since some guy assured us that Miike Takashi's Visitor Q was a validation of the nuclear family."
The Spring 2010 issue of Film Quarterly is out and a few selections are online: Joshua Clover on James Cameron's Avatar, Paul Thomas on Jane Campion's Bright Star, Richard Beck on the BBC series, Planet Earth and Mark Fisher on John Hillcoat's The Road: "Post-apocalyptic fictions, as Fredric Jameson has noted, have often been pretexts for imagining utopia. Yet The Road — like Children of Men, perhaps the most interesting post-apocalyptic film of recent years — is instead a symptom of the inability to imagine alternatives to capitalism's entropic, eternal present."
The April 2010 issue of Sight & Sound features Mark Sinker on various cinematic interpretations of Lewis Carroll's Alice's Adventures in Wonderland, Lisa Mullen on Niels Arden Oplev's The Girl with the Dragon Tattoo, Michael Brooke on Jessica Hausner's Lourdes and Tim Lucas on Mad Dog Morgan, "a historical drama based on the exploits of Irish bushranger (outlaw) Daniel Morgan (Dennis Hopper), whose robberies of wealthy colonists and thwarting of police in mid-19th-century Australia made him a national hero among the burgeoning nation's working-class dispossessed.... It addresses history responsibly and also enshrines its star in a way that honours the then recent memory not only of Easy Rider but also The Last Movie.... Amazing work, really, from an actor who admits to preparing for the role by drinking so much of Morgan's pet demon, rum, that the alcohol levels in his blood were enough for the arresting officers of the Australian police to declare him legally dead."
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