Ed Halter

  • film November 19, 2008

    Comic Genius

    TO UNDERSTAND JERRY LEWIS the performer, simply rewatch a handful of his sixty-odd films, from the self-described “handsome man and a monkey” comedies made with Dean Martin in the 1950s, through the movies Lewis directed at the height of his gooney powers like The Bellboy (1960), The Nutty Professor (1963), and The Family Jewels (1965), up to his late-career revival via the angsty slapstick of Hardly Working (1980) and Cracking Up (1983), and the disturbingly unfunny reflexivity of his performance in Martin Scorsese’s The King of Comedy (1982). But to understand Lewis the thinker—the theorist,

  • film October 27, 2008

    Outward Bound

    WHEN IT WAS BLUE (2008), Jennifer Reeves’s new 16-mm film performance with live musical accompaniment, will be presented at the Kitchen in New York this week, marking the culmination of a work that took more than four years for the artist to create. Its scale is appropriately epic: With a running time of just over an hour, the piece consists of two films projected one atop the other on a single screen, each reel containing a constant stream of images captured from the landscapes of Canada, the United States, Central America, Iceland, and New Zealand, frequently optically printed into high-contrast

  • film October 01, 2008

    View Finder

    “AVANT-GARDES HAVE ONLY ONE TIME; and the best thing that can happen to them is to have enlivened their time without outliving it.” Guy Debord throws down this critique near the end of his last film, In girum imus nocte et consumimur igni (1978), a 100-minute Niagara of images stolen from cinema and magazines, détourned into illustrative counterpoint for an anti-masscult philippic interwoven with autobiographical self-reflection. Debord’s films have long been banished to a shadow economy of bootlegs, but now In girum resurfaces at the New York Film Festival’s “Views from the Avant-Garde” sidebar