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I don't know who is singing, but I do know that the lyrics were written by Kaufman.

It's unfortunate how many things that trailer gives away.

It sounds like Mary Margaret O'Hara, which would be great news, indeed, but I am only going by my own ears, not hard fact. And thank goodness for tabbed browsing, or else I would have spoiled myself in seeing the whole trailer rather than just listening to it.

Great trailer. I hate to be the one to say this, but is that a Jennifer Jason Leigh nipple slip?

New poster.

Charlie Kaufman talks to Vice.

I thought this was pretty laborious, unfunny, and pointless. I've been a fan of Kaufman's other work, but I think it's clear that he needs a director to reign him in and bring out the pop in his screenplays. This was so dour and dreary, and worst of all, LONG. It only had one thing to say, and spent the entire 2+ hours saying it. Strong performances all around but in service of nothing.

Listen to Jon Brion's song on the film's Facebook page. The soundtrack goes on sale digitally on Tuesday.

The art of Synecdoche, New York.

It's flawed, frustrating, slightly overlong, and as glumly death-obsessed as All That Jazz (which in many ways it resembles, although unfortunately minus Fosse's dynamism). But ultimately I thought this a very brave, ambitious, and worthwhile film. It's certainly not for everyone, and almost impossible to pin down on first viewing (and mainstream critics will hate it for that very reason), but it's a film full of beautiful themes and ideas, even if Kaufman sometimes isn't quite able to nail them in the execution. Rich performances, some haunting imagery, and a few moments where a harsh, moving reality breaks through the meta-ness of it all. Well worth seeing.

Charlie and P.S. Hoffman were on Charlie Rose tonight - decent interview, although Charlie looks like he can't help but spit out soundbites that he has at so many other interviewers now (and looks annoyed at himself for not being able to stop himself), but Hoffman had some good things to say about working with him. They played a clip from the Fire House Date scene with Caden being told to beg for a kiss. Looked great.

Having read the script before hand, the entire film makes a lot of sense to me so I'm wondering how my enjoyment and understanding of the film will be once I see it and don't have to plow through the "What's Going On Here?" factor that most everyone else has to.

rs98762001 wrote:It's flawed, frustrating, slightly overlong, and as glumly death-obsessed as All That Jazz (which in many ways it resembles, although unfortunately minus Fosse's dynamism). But ultimately I thought this a very brave, ambitious, and worthwhile film.... ....Rich performances, some haunting imagery, and a few moments where a harsh, moving reality breaks through the meta-ness of it all. Well worth seeing.

If you remove the first sentence, this sounds as though it will be a modern classic judging by those statements. Perhaps... in time... it will be as a result

Antoine Doinel wrote:"I have hated every incomprehensible bucket of pretentious, idiot swill ever written by this cinematic drawbridge troll. But nothing that has belched forth from his word processor so far prepared me for a bottom feeder like this."

We now have an early frontrunner for the first annual Armond White Award for Excessive Histrionics in Film Criticism. Seriously, replace the words "Clint Eastwood" with "Steven Spielberg" in the review, add a few non sequiters about an old Godard or Truffaut film, and throw in some ad hominem attacks against the Romanian new wave filmmakers or Gus Van Sant, and you basically have an Armond White article.

It's nice though how he establishes clearly and thoroughly in the first two paragraphs of his review that nothing else that follows will be of any importance whatsoever.

Tom Hagen wrote:We now have an early frontrunner for the first annual Armond White Award for Excessive Histrionics in Film Criticism.

Ahem, the award is already called Steven Spielberg Presents The Pedantic Flamer Award For Excellence in Criticism

domino harvey wrote:Ahem, the award is already called Steven Spielberg Presents The Pedantic Flamer Award For Excellence in Criticism

Stipulated. As long as we keep track of these quotations and actually vote on the award at the end of the year. Armond White is banned from receiving nominations for the award, so as to allow others the opportunity. We should also do a separate award in the 'Rediculous' category as well.

They should use both Rex and Armond's equally negative reviews in the advertising, rather like Lost Highway's "Two Thumbs Down" endorsement.

Remember Rex Reed's Mulholland Dr. review where he said the only good thing in the film was seeing Ann Miller?

Wait till you see the film, some people around here are going to think this is that bad.

Armond is actually right on the money on this and Changeling.

I'm certainly no Kaufman buff so the film may very well be awful. I'm merely saying Rex Reed could tell me fire is hot and I'd want a second opinion.

tavernier wrote:Second opinion.

Armond White wrote:In Synedoche, Kaufman has been afforded a privilege he doesn’t deserve; his unimaginative imagery never comes close to the magnificence that visionary director John Moore creates in the turbulent tableaux of Max Payne.

The great thing about hating Armond White is that it's the gift that just keeps on giving

I should have had the foresight to substitute Todd Haynes for Gus Van Sant as the victim of the ad hominem attack in my hypothetical Armond White review above. Jesus Christ, he is so predictable.

In Manohla we trust.

Sorry, but Rex is right on this one. =D>

Tom Hagen wrote:In Manohla we trust.

It's tough when you have to choose Manohla over Rex and Armond. I'd bet it's somewhere in the middle.