The co-op board at River House, once sufficiently exclusive to reject applications from Diane Keaton and Gloria Vanderbilt, has lately relaxed its standards in effort to attract more buyers amid an increasingly condo-friendly high-end market. (It also recently listed the River Club on the market as an ultra-luxe, standalone mansion.) In fact, things are so laid back these days that the gatekeepers at 435 East 52nd Street did not even look askance at Uma Thurman‘s application, despite the actress’s starring role in Lars Von Trier’s forthcoming Nymphomaniac, a two-part film oft-described as pornographic, and which features Ms. Thurman in—ahem—compromising positions.
Fortunately for the actress—and for any red-blooded male in residence at River House—Mr. Von Trier’s erotic epic remains in post-production, the chatter at whisper level, and Ms. Thurman has passed muster with the board. For the price of $10 million, she has become the proud new owner of a four-bedroom unit on the sixth floor, according to city records. (The sale was first reported in The Post.)
The loopy indulgences of deluded Danish nut Lars von Trier, who recently declared himself a bona fide Nazi in publicity-grabbing world headlines, are no longer called films, they’re considered provocations—shunned by discerning audiences worldwide and embraced by only a small gaggle of clucking, pretentious critics and film festival filmgoers. Melancholia is his latest pile of undiluted drivel, nauseatingly filmed by a wonky hand-held camera and featuring a crazy, mismatched ensemble headed by Kirsten Dunst, who won an acting award in Cannes last year for looking totally catatonic.
The Daily Transom
“Oh, well, you know, Lars,” Kirsten Dunst was saying to The Observer last night, at a party for Bulgari in Soho. “He kind of does his own thing. He doesn’t come to the States, he doesn’t –”
Crash! An errant arm had laid into the row of rosé glasses beside Ms. Dunst, interrupting our conversation Read More
Rapper Kanye West marked the occasion of his new album with Jay-Z to compare himself to a certain German dictator. At an English music festival, the rapper reportedly told the crowd: “I walk through the hotel, and I walk down the street, and people look at me like I’m f—ing insane, like I’m Read More
If the best way to critique a film is to make a film, then The Tree of Life officially has its soul-crushing rebuke. With this morning’s world premiere of Lars Von Trier’s Melancholia, the dour Dane punched a hole into the buoyant spirituality of Terrence Malick’s hymn to existence. Punched a hole? More like stuck Read More
It’s quantity over quality this weekend as a mere five films get released into the wild for your enjoyment. Add that to the even further expansion of Paranormal Activity and you’ve got yourself a logjam. As we do every Friday, here’s a handy guide to the new releases.
What’s the story: The only thing Read More
Early reports on Lars von Trier’s latest, Antichrist, are now actually terrifying. “Not for the squeamish!” cautioned Sara Vilkomerson in her New York Film Festival preview; “another loathsome barf job,” said Rex Reed after he saw it in Toronto. Mr. Reed’s summary: “pickle-faced Charlotte Gainsbourg, who always looks embalmed, prunes away Read More
The Boss of it All
Running time: 99 minutes
Written and directed by: Lars von Trier
Starring: Peter Gantzler, Jens Albinus, Iben Hjejle
Lxars von Trier’s The Boss of It All, from his own screenplay, gets him off America’s case for a while and onto Denmark’s as the 400-year-old colonial Read More
The Cary Grant centenary (1904-1986) is currently being celebrated in many venues. David Schwartz, the chief curator of film at the American Museum of the Moving Image, has provided an ultra-auteurist perspective with his “Cary Grant x 5″ series, focusing on Grant’s stellar appearances in films directed by Howard Hawks, Alfred Hitchcock, George Cukor, Leo Read More
Before I try to explain why I liked Lars von Trier’s Dogville more than I ever thought I would, I should provide a context as to why this film has become such a bone of contention-among critics and audiences alike-ever since it was unveiled at last spring’s Cannes Film Festival. Many Americans on the scene Read More