Last American hero.

Watched on May 17…

It’s a road movie. It’s an action movie. It’s anti-authority and nihilistic. It’s Vanishing Point, a movie that makes me wish I were a more eloquent writer.

They don’t make many movies like Vanishing Point anymore. On the surface, it’s an exploitation movie with a hip (well, hip for 1971) soundtrack, a cool and fast car (a white 1970 Dodge Challenger R/T), some terrific auto chases, and a random naked girl.

However, long stretches of Vanishing Point are quiet and contemplative. And several elements of the movie, including the protagonist’s back story and motivations, are left open for interpretation by the viewer. When’s the last time somebody made a movie where every detail wasn’t explained and then re-explained? Actually, The American is pretty ambiguous in many respects, and I was reminded of that movie while watching Point.

I haven’t even talked about the flick’s cast and cinematography, both of which are excellent. I know it’s 40 years old at this point, but Vanishing Point is the best movie I’ve seen in 2011.


My pal Hugo turned me on to these amazing Depression-era color photos. Here’s an example…

Depression-era color photo

These photos led me to this Wikipedia article about the history of color photography.

I’m a little obsessed with this Bohannons song: “Are You on Drugs?”

More info about Mirasol’s phone/tablet screen technology, which might be available in the real world sometime later this year.

It looks like Comic-Con has inspired a Slamdance-ish competing con.

Here’s a nice piece of satire about our litigation culture.

I think I read this when I was a kid: Superman: Miracle Monday.

Inspiration Studios’ amusing pitch for Sony’s F3 video camera.

The strangest episode of NPR’s Fresh Air I’ve heard in some time: “Area 51 ‘Uncensored’: Was It UFOs Or The USSR?”


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