28 Film Discussion Threads Later

[balmakboor]

Just a random comment: I'm really looking forward to seeing The Girlfriend Experience and We Live in Public.

Oh, and I'm going to finally break down and see Zoo soon.

[Grouchy]

I think that most people don't realize is that no CGI does not mean that computers were not used at all. Because there are instances (such as the bugs under the skin and the arrows toward the end) where the computer is very clearly being used. However, it is not in an image-making capacity, per se.
OK, I know, but how does that explain the underwater elephant shots? Or the part where they're walking between mountains and suddenly they find a spot where the grass is all-green? I'd have to watch the movie again with the special effects in mind, sure, but even if those shots are theoretically possible without CGI, I don't think any producer would be crazy enough to fund them.

The Class was a very intelligent movie. When compared with other realistic looking dramas I've seen this year (Rachel Getting Married), I think this pales a little because of the obviousness of its message, illustrated specially in the final scenes with the student who claims she learned nothing and the empty classroom shots. Still, that message is a poignant one and the Cantet/Bégaudeau team doesn't offer an easy answer to the educational dilemma - the professor doesn't do anything wrong (except for his rage outburst near the end) yet it's not shown what exactly could he do that would instill on his students the idea that they should take their schooling seriously to improve their lives. In fact, I think the script argues that they know this, yet they consider that they're being educated to fit into a society that doesn't want them anyway, either because of their racial background or social status.

[Qrazy]

OK, I know, but how does that explain the underwater elephant shots? Or the part where they're walking between mountains and suddenly they find a spot where the grass is all-green? I'd have to watch the movie again with the special effects in mind, sure, but even if those shots are theoretically possible without CGI, I don't think any producer would be crazy enough to fund them.

http://thesift.atlblogs.com/images/water.jpg

Two producers crazy enough to fund it.

[lovejuice]

The Class was a very intelligent movie. When compared with other realistic looking dramas I've seen this year (Rachel Getting Married), I think this pales a little because of the obviousness of its message, illustrated specially in the final scenes with the student who claims she learned nothing and the empty classroom shots.
my thought exactly, and why i think in light of RGM, Palme D'Or's the class is rather heavy-handed. the treatment/introduction of family drama in RGM is as well, but at least demme knew it is the film's achilles heel. and he's dealing with it. Cantet seems pretty oblivious about that ending.

[balmakboor]

in light of other recent handheld horror films

How many films like this have there been? Handheld as if being shot by one of the characters.

Man Bites Dog
Blair Witch Project
Cloverfield
Diary of the Dead
Quarantine
Redacted (not horror I guess and only part of the film)

[Raiders]

Not sure how many others there have been, but...


Cloverfield
Diary of the Dead
Quarantine
Redacted (not horror I guess and only part of the film)

All released in the last three years. Plus, Quarantine is a remake of a foreign horror film with the exact same style.

[Dead & Messed Up]

Cthulhu - B-
There is something low budget about this in a cheap sort of way and it reminded me too much of Rosemary's Baby wearing new clothes. But it is undeniably interesting and creepy at times and the final 10 minutes makes the whole thing worth it.

I thought the strong visual sense kept the low budget from becoming too overt. It's one of the few recent horror films where the monochromatic palette (in this case, the blues and greys) works really well.

http://z.about.com/d/horror/1/0/4/U/-/-/Cthulhu5205.jpg

http://z.about.com/d/horror/1/0/6/U/-/-/Cthulu0002.jpg

[megladon8]

Anyone have thoughts on the Henry Fonda film The Long Night?

Considering watching it tonight.

[Melville]

my thought exactly, and why i think in light of RGM, Palme D'Or's the class is rather heavy-handed. the treatment/introduction of family drama in RGM is as well, but at least demme knew it is the film's achilles heel. and he's dealing with it. Cantet seems pretty oblivious about that ending.
I thought that The Class was easily one of the best movies of the year, and I preferred it to Rachel Getting Married. It had a more natural ease in its observation of its characters, and I found the less obviously structured plot more in tune with the aesthetic. And to me, the final few shots seemed more to invite contemplation than to make an overt didactic statement; the shots seemed to be saying "What does all this accomplish? Anything?" rather than saying "This accomplishes nothing."

[Russ]

Worth a viewing, if only for the art direction and cinematography. Mileage varies, depending on whether you buy into Fonda's tough guy role and Price's hamminess. Go for it!

[Amnesiac]

I just got Taschen's The Ingmar Bergman Archives. It's massive.

[soitgoes...]

soitgoes...,

Let me know what you think of Ishii's The Executioner. :)
I watched this earlier today, and I thought it pretty good. There were some great fight scenes, especially Chiba with paint on his feet. Anytime someone pulls a rib out of another person using their hands it's going to score well. It was a little corny at times, too much for its own good. Also a 3 pronged grappling hook stuck in a thigh as someone pulls themselves up the rope, has to be one of the most painful moments I've witnessed on film.

[Grouchy]

http://thesift.atlblogs.com/images/water.jpg

Two producers crazy enough to fund it.
What's that from?

I think more film producers should rent elephants. It makes movies better as a whole.

[Russ]

What's that from?

I think more film producers should rent elephants. It makes movies better as a whole.
It's from the performance documentary Ashes and Snow. Sucks that Netflix doesn't carry it, tho. It is available, however, from creator Gregory Colbert's website (http://www.ashesandsnow.org/press-room.php), albeit for a staggering $50!

[Stay Puft]

I watched this earlier today, and I thought it pretty good.

Glad you enjoyed it!

I haven't seen too many Sonny Chiba movies, but this one is tops for me so far. (For example, I still need to see the Street Fighter movies...)

[Watashi]

Um... I kinda dug The Spirit. A lot actually. It's pretty goofy and the script is bonkers, but it wears its charm on its sleeve even if it turns the original source into gritty slapstick. It's so bizarre and unlike the overdone Sin City, it has fun with itself. Definitely not for everyone.

[chrisnu]

I will take this opportunity to praise Damage. Juliette Binoche and Miranda Richardson are great in this, but Jeremy Irons is fantastic. What a wealth of character you get, just in his face. Must see more Jeremy Irons ASAP. Leslie Caron also gives an insightful (and creepy) supporting performance. I have no problem with the denouement. It's begging me to write more about it. I may. Anyway, see this film.

What's weird, to me, is that I'm viewing Louis Malle's filmography in reverse: I have Vanya on 42nd St. on DVD, and now this.

[B-side]

I have a sudden interest in all things Antonioni. I'm reading up on him more and I've just acquired his 1995 effort Beyond the Clouds. There's still something about his cinema that seems to be eluding my grasp. I've viewed 5 of his films(L'Avventura, L'Eclisse, Blow-Up, The Passenger and The Red Desert) and have liked all of them to varying degrees, with Blow-Up being the one I'm most fond of and, surprisingly, L'Avventura being the one I'm least fond of. I owe rewatches to all of these except The Red Desert as I just watched it.:P

I have issues with each of these films, but considering it's been so long since I've seen L'Eclisse, Blow-Up and The Passenger I couldn't speak of my issues with them as I may no longer have them. L'Avventura I thought hammered its point home. Really, that's the only big concern I can think of other than just not being entirely taken with it. Kinda felt The Red Desert did a bit of the same with its environmental take, what with all the ominous shots of polluted lakes and the camera being in love with any form of machinery. Still, I felt The Red Desert had a lot to offer in terms of ambiguity involving the primary colors and its more dream-like and surreal nature.

[Qrazy]

I have a sudden interest in all things Antonioni. I'm reading up on him more and I've just acquired his 1995 effort Beyond the Clouds. There's still something about his cinema that seems to be eluding my grasp. I've viewed 5 of his films(L'Avventura, L'Eclisse, Blow-Up, The Passenger and The Red Desert) and have liked all of them to varying degrees, with Blow-Up being the one I'm most fond of and, surprisingly, L'Avventura being the one I'm least fond of. I owe rewatches to all of these except The Red Desert as I just watched it.:P

I have issues with each of these films, but considering it's been so long since I've seen L'Eclisse, Blow-Up and The Passenger I couldn't speak of my issues with them as I may no longer have them. L'Avventura I thought hammered its point home. Really, that's the only big concern I can think of other than just not being entirely taken with it. Kinda felt The Red Desert did a bit of the same with its environmental take, what with all the ominous shots of polluted lakes and the camera being in love with any form of machinery. Still, I felt The Red Desert had a lot to offer in terms of ambiguity involving the primary colors and its more dream-like and surreal nature.

Watch La Notte. Beyond the Clouds can wait.

[balmakboor]

Um... I kinda dug The Spirit. A lot actually. It's pretty goofy and the script is bonkers, but it wears its charm on its sleeve even if it turns the original source into gritty slapstick. It's so bizarre and unlike the overdone Sin City, it has fun with itself. Definitely not for everyone.

That's a refreshing take.

[Grouchy]

Definitely not for anyone.
Fixed.

chrisnu, Damage is indeed great, and if you want to see another stand-out Jeremy Irons performance, you should try Dead Ringers.

[dreamdead]

I too rather enjoy Malle's Damage, albeit with reservation. Juliette Binoche never looked more androgynously attractive, and the sex scenes still have a fire to them that is utterly convincing. What doesn't work is the rather rote Freudian basis of the story, where the father sleeps with the son's lover. It comes off as contrived and the entire finale with the son stepping back does not feel earned, but instead comes off as too mechanical. On the other hand, Binoche here = :eek:

[Ezee E]

The Foot Fist Way is alright. It suffers from scenes going on much longer than needed, and some that don't have to be there at all. Danny McBride works well most of the time, but because it seems like we're watching the extended scenes, it usually ends up getting kind of tiring.

Enjoyed watching the complete mismatches in the fights though.

[Grouchy]

The Forbidden Kingdom is an amiable little movie. Not saying that it's good, just that it's fun to watch Jet Li and Jackie Chan playing off one another's distinctive Drunken Master / Silent Monk personas. The script reeks of the contrivances necessary for the star vehicle to work. For example, it's completely uncoherent that they're dragging an agonizing Jackie Chan into the massive fight at the end, but it's necessary so that he can fight alongside the others. They couldn't have found a more retarded Yankee eunuch to play the so-called "protagonist", though. Hated his non-existant fucking guts. Like in many recent Hollywood actioners I've seen, I thought the opening credits were by far the greatest achievement. Ultimately, though, these American "tributes" to the wuxia genre are bound to fail at some cultural level, even if the script here is co-written by Li. I think the best will always be Big Trouble in Little China because it doesn't really try.

[Boner M]

Anyone seen the Russian film, 4? Even after preparing myself for how bizarre and unclassifiable it was supposed to be, it still managed to do my head in. Liked it in general, but I'll have to sit on it for a while.

[Derek]

Anyone seen the Russian film, 4? Even after preparing myself for how bizarre and unclassifiable it was supposed to be, it still managed to do my head in. Liked it in general, but I'll have to sit on it for a while.

Yeah, I liked it as well. For the first 20-25 minutes in the bar, I remember thinking the film was more normal, but boy does it get strange in a hurry from there.

[[ETM]]

but I'll have to sit on it for a while.

Hope it's not one of them DVD boxes with sharp edges.

[Ezee E]

Yeah, I liked it as well. For the first 20-25 minutes in the bar, I remember thinking the film was more normal, but boy does it get strange in a hurry from there.
I've had this on my instant queue for a long time now. Something I'd like?

[Rowland]

The Foot Fist Way is alright.

The Forbidden Kingdom is an amiable little movie.I didn't care for either of these. They're both ugly, thematically problematic, and tiresome, especially The Forbidden Kingdom, which had one of the most boring action-packed climaxes I can recall.

[Rowland]

I really dug the first half of 4, but it lost me a bit during that slog of a second half, which I know it's supposed to be, but it still didn't do anything for me. My favorite sequences were the bar conversation, which was exceptionally executed on every front, and the dreamy walk taken by the hooker to her town in the sticks.

[Qrazy]

Anyone seen the Russian film, 4? Even after preparing myself for how bizarre and unclassifiable it was supposed to be, it still managed to do my head in. Liked it in general, but I'll have to sit on it for a while.

Yes, pretty good. Although I wouldn't say it lost me in the second half per se I would say that some unfocused quality in the overall film kept it from greatness for me.

[Derek]

I've had this on my instant queue for a long time now. Something I'd like?

Probably not, but it's pretty singular in its terrifying, bizarre portrait of modern Russia. I'd say it's worth seeing even though as Rowland says some parts are middling and it's not always an easy film to sit through.

[Wryan]

Yes, pretty good. Although I wouldn't say it lost me in the second half per se I would say that some unfocused quality in the overall film kept it from greatness for me.

Tora-san 8 - C+
Tora-san 7 - C+
Tora-san 6 - C
Tora-san 5 - C
Tora-san 4 - C

I see a terrifying pattern. However, I'll have to watch Jim Carrey in The Number 23 about twenty more times to crack this chestnut...

[Stay Puft]

Watched Boorman's Excalibur last night. Kinda impressed. Monumental cast.

[Stay Puft]

Watched Boorman's Excalibur last night. Kinda impressed. Monumental cast.

In addendum to my brief nothing thoughts, my roommate and I were also discussing how it has some of the best armor design we've seen in movies. Gabriel Byrne's rhino armor was outstanding.

[Derek]

So wait, I have to post capsule reviews in the film's individual thread? Ok then.

[Raiders]

So wait, I have to post capsule reviews in the film's individual thread? Ok then.

Yes. Where else should you post it? What else would that thread be there for?

This thread is too often used as an end-all for any discussion.

EDIT: I mean, I'm not asking that you search for many pages back for a thread or even perform a search. But, these were both on the first page. It just made sense, especially if they're going to spark discussion, to be placed in the individual thread.

[Derek]

Yes. Where else should you post it? What else would that thread be there for?

This thread is too often used as an end-all for any discussion.

So this is a film discussion thread but should only used for discussing film's not currently playing in theaters? I understand wanting to keep discussions that veer off topic or even extended on topic discussions in another thread, but personally I prefer to throw capsules in here for all to read. I guess there's nothing I can do to prevent you from moving them, but I go to the individual film's thread for lengthy discussion and post capsules in here.

[Derek]

EDIT: I mean, I'm not asking that you search for many pages back for a thread or even perform a search. But, these were both on the first page. It just made sense, especially if they're going to spark discussion, to be placed in the individual thread.

I just figure that everyone reads this thread whereas not as many people will bother checking the Crank thread. It's not that big of a deal, just a little odd since people post there thoughts on recent films in here all the time. I'll shut up now though. :)

[Raiders]

So this is a film discussion thread but should only used for discussing film's not currently playing in theaters?

Yes, actually. Otherwise why even have a GD film-related forum? We would just put all discussion in here.


I understand wanting to keep discussions that veer off topic or even extended on topic discussions in another thread, but personally I prefer to throw capsules in here for all to read. I guess there's nothing I can do to prevent you from moving them, but I go to the individual film's thread for lengthy discussion and post capsules in here.

I don't intend to be a dictator, but honestly it just makes sense to me. I would prefer if we kept thoughts, however lengthy, about current films in their own thread. That's what they are there for. You never know when something you'll say will spark an Israfel response or something similar.

[Derek]

I don't intend to be a dictator, but honestly it just makes sense to me. I would prefer if we kept thoughts, however lengthy, about current films in their own thread. That's what they are there for. You never know when something you'll say will spark an Israfel response or something similar.

Thing is, I don't read that many individual film threads, especially if I haven't seen the film, so I like seeing thoughts in the FDT because it often sparks my interest in a film I otherwise would have never considered watching. I can understand wanting thoughts in the individual thread to spark discussion, but there's no need to delete them from here. I'll make a point of posting in both threads in the future.

[Sven]

Watched Boorman's Excalibur last night. Kinda impressed. Monumental cast.

This is the kind of thing that one can say and even if they don't mean it, I will rep them anyway.

[transmogrifier]

This is the kind of thing that one can say and even if they don't mean it, I will rep them anyway.

For kinda? You're far too generous.

In unrelated news, I find Werner Herzog kinda good.

[Sven]

For kinda? You're far too generous.

In unrelated news, I find Werner Herzog kinda good.

I figured it was one of those self-consciously tempering-to-the-effect-of-understatement applications of the term. Kind of like "not bad"

"Yeah, she's kinda hot." - said about a clearly hot woman
"Yeah, she's not bad." - said about a clearly hot woman

No?

[soitgoes...]

For kinda? You're far too generous.

In unrelated news, I find Werner Herzog kinda good.

Kinda? His loose trilogy Fata Morgana/Lessons of Darkness/Wild Blue Yonder is some of the best stuff ever laid down on celluloid. Sans Soleil comes close, but alas, nothing can top the 'zog.

:) That's how it's done.

[Sven]

Kinda? His loose trilogy Fata Morgana/Lessons of Darkness/Wild Blue Yonder is some of the best stuff ever laid down on celluloid. Sans Soleil comes close, but alas, nothing can top the 'zog.

:) That's how it's done.

Oh... oh you're good.

[Stay Puft]

I don't seem to be effectively communicating my intentions of late. I'll try this again: I thought Excalibur to be great. I enjoyed it immensely. And I assure you this is not a ploy to get Sven to rep me repeatedly.

[MacGuffin]

I'm back.

Top three movies I saw for the first time in my almost six-month abscene:
1. The Tingler (William Castle)
2. Martyrs (Pascal Laugier)
3. Venus in Furs (Jess Franco)

[Sven]

I'm back.

I missed you. For reals.

[Sycophant]

Hey, welcome back CSC!

[MacGuffin]

Ah, thanks guys. It's good to be back.

[Qrazy]

Tora-san 8 - C+
Tora-san 7 - C+
Tora-san 6 - C
Tora-san 5 - C
Tora-san 4 - C

I see a terrifying pattern. However, I'll have to watch Jim Carrey in The Number 23 about twenty more times to crack this chestnut...

Haha if you do feel like diving into the world of Tora-san the first two films are relatively solid.

[B-side]

Watch La Notte. Beyond the Clouds can wait.

Yeah, now that I think about it, I really should finish off the trilogy.
______________________________ _____________

I'm currently acquiring Providence, my 2nd Resnais after Hiroshima Mon Amour. Loved the first roughly 20 minutes of that one. Not so much the rest.

[Qrazy]

Kinda? His loose trilogy Fata Morgana/Lessons of Darkness/Wild Blue Yonder is some of the best stuff ever laid down on celluloid. Sans Soleil comes close, but alas, nothing can top the 'zog.

:) That's how it's done.

Wild Blue Yonder - C
Fata Morgana - C+

Sans Soleil - A

[Qrazy]

Ah, thanks guys. It's good to be back.

Have fun and post often. But only post things I agree with or I will become cruel and irritable.

[soitgoes...]

Wild Blue Yonder - C
Fata Morgana - C+

Sans Soleil - A
I've only seen Wild Blue Yonder and Lessons of Darkness, and they didn't impress me. Shh! Don't tell Sven.

[Sycophant]

Have fun and post often. But only post things I agree with or I will become cruel and irritable.

Can we get this added to the Terms of Service Agreement?

[Qrazy]

I've only seen Wild Blue Yonder and Lessons of Darkness, and they didn't impress me. Shh! Don't tell Sven.

Uhoh Spaghettio.

[Melville]

Oh... oh you're good.
Let me try. Sans Soleil, Lessons of Darkness, and Wild Blue Yonder are pretty but ultimately somewhat empty, all of them feigning more depth than they have. Also, in my estimation, Altman is the only director more overrated than Kurosawa...Wait, I don't think I'm doing this right.

[transmogrifier]

Let me try. Sans Soleil, Lessons of Darkness, and Wild Blue Yonder are pretty but ultimately somewhat empty, all of them feigning more depth than they have. Also, in my estimation, Altman is the only director more overrated than Kurosawa...Wait, I don't think I'm doing this right.

I agree about Wild Blue Yonder. Hated that film.

That Altman thing though....unforgiveable, even in jest.

[Raiders]

Let me try. Sans Soleil, Lessons of Darkness, and Wild Blue Yonder are pretty but ultimately somewhat empty, all of them feigning more depth than they have.

I agree about WBY, but you need to rewatch Marker's film, or something. Your opinion there just boggles my mind.


Also, in my estimation, Altman is the only director more overrated than Kurosawa

Altman, no. Kurosawa, a little. But only because he hogs so much of the spotlight from guys like Mizoguchi.

[Sven]

all of them feigning more depth than they have.

Discuss "feigning depth"!

[Sycophant]

I do not enjoy the word "overrated."

[Qrazy]

I agree about WBY, but you need to rewatch Marker's film, or something. Your opinion there just boggles my mind.

Altman, no. Kurosawa, a little. But only because he hogs so much of the spotlight from guys like Mizoguchi.

Agreed except not on the Kurosawa front. He can not be overrated.

[soitgoes...]

Kurosawa, a little. But only because he hogs so much of the spotlight from guys like Mizoguchi.
That's not Kurosawa's fault though. I'm sure he wasn't making more westernized Japanese films in order to block the future distribution of other Golden Age Japanese filmmakers. In fact, because of him, could it be said that guys like Mizoguchi are as well regarded here in the West? Not just because of Rashomon's success being released in the West, but most people new to Japanese cinema, I'd think use Kurosawa as a starting out point. I know I did.

I know I'm making this a bigger deal than you were probably intending, but it's something I've been thinking of lately. Where does Kurosawa fit with me? I tend to place him behind Ozu and Naruse (Mizoguchi for you). But the fact remains, he made 3 films I'd rate a 10, and gave me a path to discovering Ozu and Naruse.

[Sycophant]

I do not enjoy the word "overrated."

Though I do wish that almost all Western discussion of Japanese cinema--particularly of the fiftiers and sixties--did not begin and end with Akira Kurosawa.

[transmogrifier]

I do not enjoy the word "overrated."

I do. It serves a specific linguistic function. I never understand why people get upset with it.

You could write "I don't think this is as good as the general consensus depicts" or you could write "I think this is overrated".

Hate the opinion, not the words used to convey it.

[Qrazy]

That's not Kurosawa's fault though. I'm sure he wasn't making more westernized Japanese films in order to block the future distribution of other Golden Age Japanese filmmakers. In fact, because of him, could it be said that guys like Mizoguchi are as well regarded here in the West? Not just because of Rashomon's success being released in the West, but most people new to Japanese cinema, I'd think use Kurosawa as a starting out point. I know I did.

I know I'm making this a bigger deal than you were probably intending, but it's something I've been thinking of lately. Where does Kurosawa fit with me? I tend to place him behind Ozu and Naruse (Mizoguchi for you). But the fact remains, he made 3 films I'd rate a 10, and gave me a path to discovering Ozu and Naruse.

Even after all my exploring, when I come back to the films of Fellini and Kurosawa, they still blow me away.

[Russ]

Have fun and post often. But only post things I agree with or I will become cruel and irritable.
I read this as "I will become cruel and inflatable."


I really like my version better.

[Raiders]

That's not Kurosawa's fault though. I'm sure he wasn't making more westernized Japanese films in order to block the future distribution of other Golden Age Japanese filmmakers. In fact, because of him, could it be said that guys like Mizoguchi are as well regarded here in the West? Not just because of Rashomon's success being released in the West, but most people new to Japanese cinema, I'd think use Kurosawa as a starting out point. I know I did.

I know I'm making this a bigger deal than you were probably intending, but it's something I've been thinking of lately. Where does Kurosawa fit with me? I tend to place him behind Ozu and Naruse (Mizoguchi for you). But the fact remains, he made 3 films I'd rate a 10, and gave me a path to discovering Ozu and Naruse.

Of course it isn't his fault. He isn't overrating himself. I just think that in the pantheon of Japanese directors, for me he isn't #1 but by and large he would almost certainly rank #1 in any given poll of the general public (by "general public" I mean people familiar with world cinema). I have always gotten the impression that he is almost the alpha and omega for many people trying to educate themselves on classic eastern cinema. This may be untrue, but it is just my impression.

[Qrazy]

Though I do wish that almost all Western discussion of Japanese cinema--particularly of the fiftiers and sixties--did not begin and end with Akira Kurosawa.

Well that's more an issue with new cineastes who haven't had the time to explore yet. Everyone has to start somewhere.

[Qrazy]

Of course it isn't his fault. He isn't overrating himself. I just think that in the pantheon of Japanese directors, for me he isn't #1 but by and large he would almost certainly rank #1 in any given poll of the general public (by "general public" I mean people familiar with world cinema). I have always gotten the impression that he is almost the alpha and omega for many people trying to educate themselves on classic eastern cinema. This may be untrue, but it is just my impression.

Top 5/10 Japanese filmmakers list time.

[Sycophant]

I do. It serves a specific linguistic function. I never understand why people get upset with it.

You could write "I don't think this is as good as the general consensus depicts" or you could write "I think this is overrated".

Hate the opinion, not the words used to convey it.

You have a point. I'm not all that interested in reactions to reactions, but prefer to read reactions to the material itself, though admittedly the former is unavoidable, especially when dealing with an artist or work that is so revered as Kurosawa.

The usage that bothers me most is not "Everyone likes this but I think it's stupid" but rather "Everyone likes this and I like it too but I think it's too well liked," which, admittedly, doesn't happen here often.

[soitgoes...]

Top 5/10 Japanese filmmakers list time.
Ozu
Naruse
A. Kurosawa
Imamura
Miyazaki
Kobayashi
Mizoguchi
Kitano
Shimizu
Miike

I might be missing someone, but I have to leave and that's the best I can come up with on the fly.

[Russ]

Ozu
Naruse
A. Kurosawa
Imamura
Miyazaki
Kobayashi
Mizoguchi
Kitano
Shimizu
Miike

I might be missing someone, but I have to leave and that's the best I can come up with on the fly.
Teshigahara, fool.


;)

[Sycophant]

Was that a projected list? I wouldn't expect Shimizu to have that many supporters.

I suspect Masaaki Yuasa and Katsuhito Ishii might make it onto our list before he would.

[soitgoes...]

Teshigahara, fool.


;)I've only seen 3 of his films. I went with a 5 film minimum.

[lovejuice]

Top 5/10 Japanese filmmakers list time.
define "japanese."
:P

[soitgoes...]

Was that a projected list? I wouldn't expect Shimizu to have that many supporters.

I suspect Masaaki Yuasa and Katsuhito Ishii might make it onto our list before he would.
Wrong Shimizu. Hiroshi Shimizu. My guy made films in the 30s and 40s.

[Sycophant]

Wrong Shimizu. Hiroshi Shimizu. My guy made films in the 30s and 40s.

That makes a lot more sense.

[Qrazy]

Was that a projected list? I wouldn't expect Shimizu to have that many supporters.

I suspect Masaaki Yuasa and Katsuhito Ishii might make it onto our list before he would.

I meant, people please post your individual favorites.

[soitgoes...]

That makes a lot more sense.
Validation is mine!!!

[Qrazy]

define "japanese."
:P

Define my foot up your ass.

[Qrazy]

I've only seen 3 of his films. I went with a 5 film minimum.

Yamanaka's corpse is crying.

[Sycophant]

I meant, people please post your individual favorites.

For some reason, I thought you were making a joke.

I'll make my list look like this for the time being:

1. Takeshi Kitano
2. Akira Kurosawa
3. Kiyoshi Kurosawa
4. Isao Takahata
5. Yasujiro Ozu
6. Takashi Miike
7. Hayao Miyazaki
8. Shunji Iwai
9. Katsuhito Ishii
10. Hideaki Anno

Dashed off in twenty seconds, so yeah.

And Mizoguchi should probably be here, but I've seen precisely one of his films.

[soitgoes...]

Yamanaka's corpse is crying.
It's his fault he died in a war he didn't want to be a part of, and didn't keep his films in a fire proof safe on the off-hand Tokyo would be firebombed years after he died.

[Qrazy]

It's his fault he died in a war he didn't want to be a part of, and didn't keep his films in a fire proof safe on the off-hand Tokyo would be firebombed years after he died.

You sir, have a heart of ice.

[Qrazy]

1. A. Kurosawa
2. Kobayashi
3. Mizoguchi
4. Miyazaki
5. Ozu
6. Shindo
7. Suzuki
8. Teshigahara (would probably be higher if I'd seen more than one of his films)
9. Takahata
10. Imamura

[megladon8]

Thank you, Qrazy, for quelling my fear that no one would list Seijun Suzuki.

[Sycophant]

I need to watch a lot more Seijun Suzuki. I've still only seen Branded to Kill and even that I can barely remember.

[megladon8]

I need to watch a lot more Seijun Suzuki. I've still only seen Branded to Kill and even that I can barely remember.

Tattooed Life - 9.5
Tokyo Drifter - 8.5
Youth of the Beast - 8
Branded to Kill - 7.5
Underworld Beauty - 6.5
Pistol Opera - 5.5


Pistol Opera was a little too abstract for my tastes. I'm sure I'll watch it again, though. It was definitely the best movie in the triple-pack I bought it in (this pack called "Art of the Gun" - the other two movies were freaking terrible).

[MacGuffin]

I need to watch a lot more Seijun Suzuki. I've still only seen Branded to Kill and even that I can barely remember.

Same. If the rest of his movies carry on the "stylistically innovative gangster action flick" ideals I saw in Youth of the Beast, then I definitely need to see more of them soon.

[Sven]

Page 666! (the way I've got it set up, anyway)

I haven't seen much Suzuki, but Tokyo Drifter immediately puts him as one of the best. Seriously, one of the best movies I've ever seen. That it's not in my top 100 is an oversight that will be corrected... right now.

[Raiders]

Page 666! (the way I've got it set up, anyway)

I haven't seen much Suzuki, but Tokyo Drifter immediately puts him as one of the best. Seriously, one of the best movies I've ever seen. That it's not in my top 100 is an oversight that will be corrected... right now.

Very good movie, but I prefer Pistol Opera.

I can't really create a list because I feel I have too many directors I either haven't seen at all or seen enough.

[Dead & Messed Up]

1. Hiyao Miyazaki
2. Kiyoshi Kurosawa
3. Yasujiro Ozu
4. Akira Kurosawa
5. Takashi Miike

[Sven]

First, my Beyond Thunderdome paper gets an A and an enthusiastic endorsement from the teacher.

Next, my Titticut Follies paper (5 pages, due Thursday, easycakes) is coming along at a rapid clip and I've never been more confident in my own writing before.

Not as amazing as last semester, where I couldn't keep the accolades away from me (even the formidable Foster Hirsch praised my writing as "far and above the rest of the class"), but still sweet nonetheless. If only I could bring a similar, more carefully constructed level of intelligence to this board.

[/own-horn tooting]

[transmogrifier]

If only I could bring a similar, more carefully constructed level of intelligence to this board.

Well, then, your first step must be to not discuss Peter Jackson anymore.

[Melville]

I haven't seen nearly enough Japanese films to make a list of favorite directors. My favorite Japanese films are The Woman in the Dunes, Vengeance is Mine, and to a lesser extent, When a Woman Ascends the Stairs.


I agree about WBY, but you need to rewatch Marker's film, or something. Your opinion there just boggles my mind.
Maybe the low quality and small size of YouTube video limited its ability to draw me into its rhythm. It seemed like much of the film's success would rely on the rhythm of the editing.


Discuss "feigning depth"!
They offered the appearance of depth by explicitly raising weighty philosophical issues via portentous voice-overs and soundtracks. Obviously I didn't think the points made were as deep as those portended. I would have to rewatch the films to more concretely state why the philosophical points seemed shallow to me. My main problem with Sans Soleil was the soft tone of the narrator's voice, which seemed irritatingly similar to a New Age self-help tape, which in turn infected the whole thing with an off-putting New Age vibe. (Of course, the tone actually helps Herzog's films, since he sounds awesome no matter what he's saying.)


The usage that bothers me most is not "Everyone likes this but I think it's stupid" but rather "Everyone likes this and I like it too but I think it's too well liked," which, admittedly, doesn't happen here often.
What about my usage, which is basically, "I like this significantly less than most people do"?

[Sven]

Well, then, your first step must be to not discuss Peter Jackson anymore.

I got on my prof's good side by saying I didn't like the Rings films. I got on her bad side by saying I didn't like Heavenly Creatures. Some people...

[Sycophant]

What about my usage, which is basically, "I like this significantly less than most people do"?

Sure.

[transmogrifier]

I got on my prof's good side by saying I didn't like the Rings films. I got on her bad side by saying I didn't like Heavenly Creatures. Some people...

I trust your professor doesn't actually put any weight on her students agreeing or disagreeing with her subjective stance on the quality of individual films.

And your professor sounds like your bog standard hipster anyway. Pre-fame director stuff = good! Post-fame director stuff-bad!

[Sven]

I trust your professor doesn't actually put any weight on her students agreeing or disagreeing with her subjective stance on the quality of individual films.

Yeah, she was being silly. As was I when I recounted the story.


And your professor sounds like your bog standard hipster anyway. Pre-fame director stuff = good! Post-fame director stuff-bad!

As though that's the only explanation. I can assure you this is not the case. By the way, what is "bog" in this context?

[transmogrifier]

Yeah, she was being silly. As was I when I recounted the story.



As though that's the only explanation. I can assure you this is not the case. By the way, what is "bog" in this context?

I guess bog standard is UK-derived slang...it means standard or unremarkable.

Bog by itself is slang for the toilet. Not sure whether there is any relation.

[Sven]

I guess bog standard is UK-derived slang...it means standard or unremarkable.

Bog by itself is slang for the toilet. Not sure whether there is any relation.

Still, she is kind of a hipster. Lives on the lower East side and everything.

[soitgoes...]

Of course it isn't his fault. He isn't overrating himself. I just think that in the pantheon of Japanese directors, for me he isn't #1 but by and large he would almost certainly rank #1 in any given poll of the general public (by "general public" I mean people familiar with world cinema). I have always gotten the impression that he is almost the alpha and omega for many people trying to educate themselves on classic eastern cinema. This may be untrue, but it is just my impression.

I suppose you are correct. I wonder if this will continue as future home viewers have more non-Kurosawa materials available. Criterion, as great as they are, has pretty much dictated that Kurosawa will be viewed most by releasing the lion's share of his filmography before delving far into those of others. I imagine, though, that his samurai films will always cater to the younger film novices than contemporary family melodramas. That said the best chanbara film isn't even a Kurosawa film.

[soitgoes...]

You sir, have a heart of ice.I'm pretty sure Yamanaka doesn't mind my cold words.

[balmakboor]

Personally, I don't think the world can have too many great writers who sing the praises of Mission to Mars, Popeye, and Zardoz.

[Sven]

Personally, I don't think the world can have too many great writers who sing the praises of Mission to Mars, Popeye, and Zardoz.

Perfect. Post.

Out of rep, fas, but I'll get you. Don't worry.

[balmakboor]

I suppose you are correct. I wonder if this will continue as future home viewers have more non-Kurosawa materials available. Criterion, as great as they are, has pretty much dictated that Kurosawa will be viewed most by releasing the lion's share of his filmography before delving far into those of others. I imagine, though, that his samurai films will always cater to the younger film novices than contemporary family melodramas. That said the best chanbara film isn't even a Kurosawa film.

Maybe I'm wrong and I'd count if I wasn't so lazy, but hasn't Ozu surpassed Kurosawa now in the Criterion catalog?

I'm not complaining, just saying.

[soitgoes...]

Maybe I'm wrong and I'd count if I wasn't so lazy, but hasn't Ozu surpassed Kurosawa now in the Criterion catalog?

I'm not complaining, just saying.
Counting Eclipse, I think it's 21 to 14.

[balmakboor]

Speaking of Kurosawa, I picked up the Ran Criterion last week out of fears of it going OOP and popped it in tonight knowing I only had 15 minutes to kill. Hot damn that thing looks good. I can't wait until the weekend to spin the whole thing.

(Note: I have seen it once before at the Egyptian in Seattle. Priceless.)

[B-side]

I'm very much lacking in the classic Azn film department. Hell, I'm lacking in Akira Kurosawa films having only seen Ran, Throne of Blood and Rashomon. Sad, I know.

[Sven]

Speaking of Kurosawa, I picked up the Ran Criterion last week out of fears of it going OOP and popped it in tonight knowing I only had 15 minutes to kill. Hot damn that thing looks good. I can't wait until the weekend to spin the whole thing.

(Note: I have seen it once before at the Egyptian in Seattle. Priceless.)

I've purchased this movie four times.

[Boner M]

If only I could bring a similar, more carefully constructed level of intelligence to this board.
That's kinda how I felt about my work last year. Got (the equivalent of) straight-A's for every paper I wrote in both film theory classes, but never felt compelled to replicate that level of thought for match-cut. I let you guys down. :sad:

Good luck with the T-Follies paper. Bet you've got a lot to write about the long shot of the inmate marching naked in his cell, followed by him revealing that he was once a high school teacher. Most devastating cut ever?

[soitgoes...]

I've purchased this movie four times.

:lol:

Next up in a Sven fire sale...

[B-side]

I didn't like 4 at all. A painful bore.

[megladon8]

Very good movie, but I prefer Pistol Opera.

I can't really create a list because I feel I have too many directors I either haven't seen at all or seen enough.


When I get back I'll re-watch Pistol Opera and report back :)

[soitgoes...]

I've seen one Suzuki film (Fighting Elegy), and it did nothing for me. I actually have Youth of the Beast ready to be watched. We'll see if it can make amends.

[Sven]

Bet you've got a lot to write about the long shot of the inmate marching naked in his cell, followed by him revealing that he was once a high school teacher. Most devastating cut ever?

Well, yeah, kind of. I'm talking about how the film is not as successful as he wants it to be. It is an interesting film precisely because he undermines "objective reality."

[baby doll]

Tony Manero: awesome. Gomorra: good. Sugar: worth seeing.

[Qrazy]

I got all A+'s and then won the lottery and became president.

[B-side]

I've seen one Suzuki film (Fighting Elegy), and it did nothing for me. I actually have Youth of the Beast ready to be watched. We'll see if it can make amends.

Same for me with Tattooed Life. Found it very bleh. Absolutely forgettable. I don't remember a thing about it and it was only a few months ago I watched it.

[Derek]

Well, yeah, kind of. I'm talking about how the film is not as successful as he wants it to be. It is an interesting film precisely because he undermines "objective reality."

Could you go into a bit more detail about this since, you know, turning on a camera and filming, let alone choosing where to point it, undermines objective reality. Don't need much detail - just curious where you're coming from.

[Qrazy]

Personally, I don't think the world can have too many great writers who sing the praises of Mission to Mars, Popeye, and Zardoz.

One is too many for those films.

[balmakboor]

I got all A+'s and then won the lottery and became president.

You should've stopped while you were ahead.

[Qrazy]

You should've stopped while you were ahead.

Not knowing when to quit, that's always been my problem.

[Sven]

...turning on a camera and filming, let alone choosing where to point it, undermines objective reality.

Well, that's precisely the point. All these documentarians, particularly those coming out of the 60s, have this lofty verite ideal. "Fly on the wall," etc. And there's this writer called Bill Nichols who classifies documentaries into six different modes of representation. Basically I'm talking about how it is possible to see Titticut Follies as representative of each of those modes of representation rather than simply the observational mode. This, then, cripples the idea that Titticut Follies is a piece of "observed reality."

[Raiders]

This, then, cripples the idea that Titticut Follies is a piece of "observed reality."

Yes, but it does not cripple the film. I never really classified it as such.

[Sven]

Yes, but it does not cripple the film. I never really classified it as such.

Right. But many others (in academia!) do. And this guy whose classification system I'm using does.

However, I am going quite a bit farther by saying the film also uses expository, poetic, performative, reflexive, and participatory modes. So my overall thesis is less about the film itself and more a deconstruction of Nichols's rigid classification system using the film.

[Boner M]

Right. But many others (in academia!) do. And this guy whose classification system I'm using does.
So wait, if you don't object to Raiders rebuttal then what do you find unsuccessful about Wiseman's film?

I tend to find myself agreeing with a lot of the criticisms toward verite documentary (Errol Morris' tirade, for instance) that I've been reading in my recent studies (doing a doco-making class this semester, and directing one too!), but I think I respond to Wiseman more than the Maysles or Richard Leacock films I've seen because I find the former exerts more of a palpable authorial voice in the structuring of his raw materials, regardless of his pretenses toward objectivity (or, as Raiders suggests, his relative lack thereof).

[Sven]

So wait, if you don't object to Raiders rebuttal then what do you find unsuccessful about Wiseman's film?

I find that the film succeeds despite Wiseman's own purported intentions. There is a certain speciousness to his approach, but the nebulous temporal and spatial powers if cinema infuse the film politically as well as aesthetically. It's a much more interesting movie than Wiseman had in mind, I think (from what I can gather from Wiseman's own words anyway). Though that's not the angle my paper takes, which is simply a refute of Nichols's system.

[Boner M]

I find that the film succeeds despite Wiseman's own purported intentions. There is a certain speciousness to his approach, but the nebulous temporal and spatial powers if cinema infuse the film politically as well as aesthetically. It's a much more interesting movie than Wiseman had in mind, I think (from what I can gather from Wiseman's own words anyway). Though that's not the angle my paper takes, which is simply a refute of Nichols's system.
Gotcha.

[Spinal]

I liked Milk a lot, but it pales in comparison to the extraordinary documentary, The Times of Harvey Milk. As riveting and strange as the story is, it becomes even more so when we see it played out in actual news clips and contextualized by the people who lived through it. The various perspectives we hear from are diverse, coming at Milk's personality from a multitude of angles. The footage that is selected to tell Milk's story is intelligently put together and, on more than one occasion, breathtaking - particularly the events in the wake of Milk's assassination (a part of the tale the Van Sant film does not cover in much detail). Even if the film was not particularly well executed, it would still be an important one due to the nature of Milk's meaning to the gay rights movement. However, it is indeed well executed and a fitting tribute to Milk's courage, tenacity and charm.

One thing I noticed was that Sean Penn's portrayal employed a lot more flamboyance in personality than we see from the Milk in the documentary. I am hesitant to call this a criticism because the Milk we see in the doc is well-aware of being in the public eye and may very well have been crafting a "palatable" version of himself for straight voters. We don't really see what he is like in private moments. I just thought it was a bit interesting that Penn might have been "playing gay" (in other words, employing basic stereotypes) more than I had initially picked up on.

[Amnesiac]

Has anyone here seen Nuri Bilge Ceylan's Three Monkeys?

[balmakboor]

Awesome new banner! Who does those?

[Melville]

Awesome new banner! Who does those?
This one was made by Origami Mustache. At least I think it was. Either way, I repped him for it.

EDIT: there's a thread devoted to banners in the maintenance subforum.

[Derek]

Has anyone here seen Nuri Bilge Ceylan's Three Monkeys?

I have it, but haven't watched it yet. I haven't seen anything by him, although he seems like a director I'd connect with.

[megladon8]

Brian De Palma's Sisters was a fascinating thriller, and easily my favorite De Palma film so far.

Margot Kidder gives a great performance (despite an occasionally shoddy French-Canadian accent, but that's nitpicking really).

The conclusion was mind-bending and ultimately haunting, and I've been thinking about it since the film finished last night.

Inventive photography, and probably the best use of split-screen I've seen, combining both technical cleverness with thematic purpose.

A great movie.

[Amnesiac]

I have it, but haven't watched it yet. I haven't seen anything by him, although he seems like a director I'd connect with.

Yeah, I have it as well and I'm going to get around to watching it sooner than later. The publicity stills for the film are really arresting.

Also, the new banner is indeed awesome. For anyone who doesn't know, it's from Guy Maddin's recent film, My Winnipeg. I used the high-res image as my wallpaper for a while.

[soitgoes...]

I liked Milk a lot, but it pales in comparison to the extraordinary documentary, The Times of Harvey Milk. As riveting and strange as the story is, it becomes even more so when we see it played out in actual news clips and contextualized by the people who lived through it. The various perspectives we hear from are diverse, coming at Milk's personality from a multitude of angles. The footage that is selected to tell Milk's story is intelligently put together and, on more than one occasion, breathtaking - particularly the events in the wake of Milk's assassination (a part of the tale the Van Sant film does not cover in much detail). Even if the film was not particularly well executed, it would still be an important one due to the nature of Milk's meaning to the gay rights movement. However, it is indeed well executed and a fitting tribute to Milk's courage, tenacity and charm.

One thing I noticed was that Sean Penn's portrayal employed a lot more flamboyance in personality than we see from the Milk in the documentary. I am hesitant to call this a criticism because the Milk we see in the doc is well-aware of being in the public eye and may very well have been crafting a "palatable" version of himself for straight voters. We don't really see what he is like in private moments. I just thought it was a bit interesting that Penn might have been "playing gay" (in other words, employing basic stereotypes) more than I had initially picked up on.
I really feel that had I watched the doc before Milk I wouldn't have been nearly as impressed with the latter film. Much of Milk seemed to be lifted directly from the documentary. I'm sure it was to make Milk as realistic as possible, but it only made me question why Milk was made in the first place.

[Amnesiac]

I just subscribed to Sight & Sound for a year and they're also sending me a copy of Masters of Cinema's release of La Notte. It's a nice bonus, but it's Region 2 and now I have to figure out a way to get it to play...

[Sven]

I just subscribed to Sight & Sound for a year and they're also sending me a copy of Masters of Cinema's release of La Notte. It's a nice bonus, but it's Region 2 and now I have to figure out a way to get it to play...

Region-free DVD players are cheap cheap cheap. Just google.

[Amnesiac]

Region-free DVD players are cheap cheap cheap. Just google.

Thanks, I'll look into it.

[EyesWideOpen]

Thanks, I'll look into it.

You also can google your dvd player and see if it's possible to be easily hacked to play all region dvds.

I have a Phillips and in about 20 seconds using the remote and info online I was able to make it a region free player.

[Sycophant]

Amnesiac, you are one step closer to spending $50 on Japanese DVDs.

[Amnesiac]

Amnesiac, you are one step closer to spending $50 on Japanese DVDs.

I'm more excited about being able to finally breach the Region 2 barrier and finally take a look at the Masters of Cinema series... which I've ignored for a long time due to inaccessibility.

But I'm assuming that you import a lot of Region 2 Japanese fare. Which, I can imagine, can get quite expensive.

[Sycophant]

You're in North America, right, Amnesiac? Make sure you get a DVD player that does good PAL-to-NTSC conversion.

[Amnesiac]

I'll keep that in mind, thanks.

[Melville]

I wrote down a few thoughts about The Reader on another message board, and I figured I might as well post them here too. I liked the movie a lot more than most people on here did, though I thought its filmmaking was clunky and hamfisted (I'd give it 6/10). Anyway, here are the thoughts:

The ''mystery'' [that Winslet's character is illiterate] is relevant precisely because it seems so irrelevant. The point is that for Winslet's character, her illiteracy was defining and pervasive. Everything she experienced was experienced in terms of it. It was an essential component of her entire way of life--withdrawn and defensive, closed off from the world, going through the motions of living while in a self-induced state of perpetual guilt and isolation. Like Ralph Fiennes, we might wish that her guilt was related to her actions during the Holocaust rather than to her illiteracy. The whole point of the movie is that that's not the case, and that certain, perhaps seemingly trivial things weigh on us and define our mode of being--including our mode of being ethical creatures--whether we like it or not.

But the basic crux of the film is not Winslet's illiteracy or its importance to her mode of being. The basic crux is its importance, and that of Winslet in general, to Fiennes' way of being. His affair with her is definitive for him in the same way that her illiteracy is for her: it colors everything else throughout his life. And this is reinforced, and given a particular ethical character, when he withholds his evidence at her trial. He withholds it precisely because of her overwhelming importance to him, which he wants to overcome by ignoring her situation (and by getting it on with a sexy young girl)--but in doing so, he becomes burdened by his own guilt, and henceforth he becomes doubly defined by his relationship to her. He feels the need to finally free himself of her influence and absolve himself of his guilt by understanding her and helping her to remove her own guilt. He wants everything to be "cleared up" in this way; he wants to bring her out into a disclosedness, an ethical state in which she can look outside herself and accept her guilt for her role in the Holocaust and for her role in his life. And everybody could understand everybody and everybody could move past the past. But this is his goal. This is what weighs on him, not on her; she only wants to escape her isolated being in order to find love or companionship. And that difference, which in the end precludes the possibility of him understanding or forgiving her (and hence being able to forget her and forgive himself), is a significant portion of what weighs on him.

[baby doll]

As others have said, I'm likin' the new banner.

[B-side]

Gah, I love Roeg's style. I love his comparative editing. I love his zooms. I love his camera work. I love his flashbacks. I love the way he stages and films sex scenes. Acquiring Don't Look Now at the moment, will go to Walkabout after that, then... I'm not sure. Seems his well regarded films stop after the aforementioned two, Bad Timing and The Man Who Fell to Earth. Not counting Performance as it's Cammell's film, though Roeg apparently handled the technical aspect of it, which really, is a huge aspect of that film.

[Boner M]

Doomsday kinda rocked, even though it went from awesome-retarded to just plain retarded by the time Malcolm McDowell showed up. Dug how straight Marshall played the whole thing, though. Guess I should get around to Dog Soldiers...

Meanwhile, Teshigahara's Ako is a lovely little short in the same wayward-rhythms-of-adolescence vein of Clu Galager's A Day With the Boys, or even Paranoid Park. Doesn't offer much except an acutely sustained mood, but that's what shorts are for, I guess. Anyone seen any of the short docos on Criterion's Teshigahara DVD set? I'll watch 'em eventually, but I'm just curious.

Weekend:

A Mouth Agape (Pialat)
Eye to Eye: All About German Film
...and maybe something else, but the weekend's busy cos I'm MOVING OUT! SMELL YA L8ER MOM'n'DAD!!

[MacGuffin]

Because I liked Knocked Up, Netflix thinks I'll like Videodrome.

Anyways, weekend possibilities are:
Peeping Tom (Powell)
Witchfinder General (Reeves)
The Passion of Joan of Arc (Dryer)
a rewatch of GoodFellas (Scorsese)
Pineapple Express (Green)
and maybe a rewatch of Black Sunday (Bava)

[D_Davis]

www.videohelp.com has a list of all known region-hacks for just about every DVD player that has one.

Best site ever for anything having to do with audio or video.

Probably one of the most useful sites on the Internet.

[balmakboor]

Because I liked Knocked Up, Netflix thinks I'll like Videodrome.

I still thought their recommendation of Zanadu because I liked Wall Mart: The High Cost of Low Prices was the tops, until I realized they had the same friggin director.

[Stay Puft]

Witchfinder General (Reeves)

Yesssssss.

[Watashi]

My weekend consists of a double feature of Crank and Crank 2.

[Sycophant]

Weekend
I'll be seeing Crank 2 on Saturday. Might get to The Class on Friday or Sunday. Gonna try to watch Still Walking on Sunday.

[Stay Puft]

I have this feeling that I should actually watch something this weekend, but I have no specific ideas. I don't even know what kind of mood I'm in. I'm currently thinking I should tackle more of the stuff I've downloaded from KG, starting with the root folder.

Files in my KG root folder (that I haven't watched yet):
Dance Praty.avi (Dance Party USA with careless typo)
In Den Tag Hinein (The Days Between? I don't remember what this one's about.)
Mark of the Whistler
O Convento.avi (Manoel de Oliveira, but is that a good place to start?)
O Estado do Mundo.avi (The State of the World; anthology film)
Sangue.1989.Costa.avi (Pedro Costa's O Sangue / The Blood)
The Whistler
Vampire in Venice
Venus in Furs
Warum lauft Herr R. Amok.avi (Haven't seen any Fassbinder yet, either.)
WifeBeLikeaRose.avi (Naruse; see above)
Worldly Desires (Apichatpong Weerasethakul's contribution to that festival project of which Shinya Tsukamoto's Haze was also a part.)

Guide me, Match Cut.

[MacGuffin]

Is Venus in Furs the Jess Franco? If so, it's amazing, even for people who don't like Franco. It has a distinctive visual style and is very jazzy and also contains a lot of jazz! See it.

[Sycophant]

I loved Quiet City, but thought Dance Party USA was just kind of O.K. That's the only one there I've seen.

Haven't seen that Fassbinder, but he's good, so you should see that probably?

This "guidance" I'm giving is pretty worthless.

[Stay Puft]

Is Venus in Furs the Jess Franco?

I think so, yes. I will contemplate it seriously now.

[Stay Puft]

This "guidance" I'm giving is pretty worthless.

I need all the help I can get.

[MacGuffin]

I think so, yes. I will contemplate it seriously now.

Let us know what you think if you watch it; assure Match Cut that not all Franco is bad! :)

[Derek]

Warum lauft Herr R. Amok.avi (Haven't seen any Fassbinder yet, either.)
WifeBeLikeaRose.avi (Naruse; see above)

The Fassbinder is great, but probably not the best place to start. It's a definite precursor to Dogme '95, but better than most of those films.

I haven't seen that particular Naruse but he's incredible and I believe soitgoes gave it a 10.

[Ezee E]

Hopefully I'll finally get around to Adventureland.

Otherwise, 49th Parallel.

[MadMan]

All That Jazz was really excellent. I penned a review of it today in class, but then realized that I didn't really mention how it also covers acting, although really that aspect of the movie is much smaller. Even though Roy Scheider showcases his acting chops here I still think the best role I've seen him play is Chief Broody in Jaws.

Weekend:

Jules and Jim
The Abyss
Tom Jones
Shoot the Piano Player

[Grouchy]

Fuck you, Larry Bishop and your stupid wannabe biker movie. When Tarantino told you your destiny was to write, direct and star in a biker movie, he probably meant a good one, you idiot. And where in the contract did it say that the entire script had to revolve around you having a bigger cock than Michael Madsen and Dennis Hopper? Who the fuck gave you the right to do that, you piss-pants eunuch?


Huh... I...

Fuck off and die.

*shoots Larry Bishop on the face*

[Mara]

Fuck you, Larry Bishop and your stupid wannabe biker movie. When Tarantino told you your destiny was to write, direct and star in a biker movie, he probably meant a good one, you idiot. And where in the contract did it say that the entire script had to revolve around you having a bigger cock than Michael Madsen and Dennis Hopper? Who the fuck gave you the right to do that, you piss-pants eunuch?



Fuck off and die.

*shoots Larry Bishop on the face*

Something vexes thee.

[Sycophant]

Grouchy, you come off awful violent sometimes.

[[ETM]]

The quote from Bishop really sells it.

[MadMan]

Fuck you, Larry Bishop and your stupid wannabe biker movie. When Tarantino told you your destiny was to write, direct and star in a biker movie, he probably meant a good one, you idiot. And where in the contract did it say that the entire script had to revolve around you having a bigger cock than Michael Madsen and Dennis Hopper? Who the fuck gave you the right to do that, you piss-pants eunuch?



Fuck off and die.

*shoots Larry Bishop on the face*Hilarious. Hell Ride is kind of a crappy guilty pleasure, a movie that had enjoyable elements while also being a lesser movie than it should have been. I couldn't really write a reivew of it anyways, seeing as I've already forgotten most of the movie after viewing it back in December. What I do recall is that Dennis Hopper had a pretty sweet ride, and that Michael Madsen was funny and awesome, which is what he usually does in most of his movies.

[soitgoes...]

WifeBeLikeaRose.avi (Naruse; see above)

Guide me, Match Cut.

This. The print isn't that great, but the film itself is absolutely wonderful. My favorite Naruse.

[Grouchy]

Dennis Hopper had a pretty sweet ride
Apparently that's his own ride.

Once again, Hopper is awesome and Bishop is a eunuch.

[soitgoes...]

Weekend:

Street of Shame
A Street of Love and Hope
A Man Vanishes
Coup D'Etat
Affairs Within Walls

[MacGuffin]

Youth of the Beast (Suzuki 63) - 7.5

Nice.

[soitgoes...]

Nice.
It helps wash out the bad taste Fighting Elegy left.

[Bosco B Thug]

Gah, I love Roeg's style. I love his comparative editing. I love his zooms. I love his camera work. I love his flashbacks. I love the way he stages and films sex scenes. Acquiring Don't Look Now at the moment, will go to Walkabout after that, then... I'm not sure. Seems his well regarded films stop after the aforementioned two, Bad Timing and The Man Who Fell to Earth. Not counting Performance as it's Cammell's film, though Roeg apparently handled the technical aspect of it, which really, is a huge aspect of that film. It's exciting that you've realized this before you've gotten to his two most recognized films! And they are definitely brilliant! I haven't seen Bad Timing, so I don't know if you're going up or down, but hopefully you can do no wrong.

That said, I started watching The Man Who Fell To Earth a while ago, but never got past the first 10 minutes. Not because I didn't like what I saw or anything, I guess the strange material was something I didn't feel I could get into properly that particular week.

Weekend: Wes Craven's Shocker, The Gleaners and I

[B-side]

It's exciting that you've realized this before you've gotten to his two most recognized films! And they are definitely brilliant! I haven't seen Bad Timing, so I don't know if you're going up or down, but hopefully you can do no wrong.

That said, I started watching The Man Who Fell To Earth a while ago, but never got past the first 10 minutes. Not because I didn't like what I saw or anything, I guess the strange material was something I didn't feel I could get into properly that particular week.

Weekend: Wes Craven's Shocker, The Gleaners and I

I highly recommend Bad Timing. I'd wager it's more playfully excellent in the editing department than the other 2 Roeg's I've seen. Garfunkel falters a bit, and the characters aren't as immediately compelling as they should be, but it's still technically terrific and gets gradually better and more complex as it goes along.


The Face of Another (Teshigahara 66) - 8.0

Seen any other Teshigahara?

[soitgoes...]

Seen any other Teshigahara?
Antonio GaudÃ* and The Woman in the Dunes are both great as well.

[Grouchy]

I've just realized, apart from Kurosawa, I'm very ignorant as far as classic Japanese filmmakers go. For example, I've only seen one Mizoguchi (Tales of Ugetsu) and one Ozu (Tokyo Story), and nothing from Naruse or Teshigara.

I have seen a lot more of current Japanese cinema, though.

[Raiders]

Weekend:

Hirokazu Koreeda's Distance
The Soloist
The Son
4

[MadMan]

Apparently that's his own ride.

Once again, Hopper is awesome and Bishop is a eunuch.That's not surprising, considering that Hopper stared in Easy Rider.

[Spinal]

Weekend:

The Wrestler
I've Loved You So Long

[[ETM]]

That's not surprising, considering that Hopper stared in Easy Rider.

Stared at what?

[Winston*]

Doomsday kinda rocked, even though it went from awesome-retarded to just plain retarded by the time Malcolm McDowell showed up. Dug how straight Marshall played the whole thing, though. Guess I should get around to Dog Soldiers...


I loved when the knights showed up.

Weekend
Raise the Red Lantern
Days of Being Wild
Wolfen

[Sycophant]

Hirokazu Koreeda's DistancePlease do share thoughts on this one, if you have them. I saw a it a couple years back and my memory's a little vague, but I'd be interested to get your take on it.

[EyesWideOpen]

I found out my local library has a ton of Criterion and Eclipse dvds. I checked out these:

Scandal (Kurosawa)
The Rules of the Game
Tokyo Story
Shadows in Paradise (Kaurismaki)
La Jetee / Sans Soleil

Any recommendation on what to watch first?

[Sycophant]

The Rules of the Game
Tokyo Story
La Jetee / Sans Soleil

I've seen these three, and they're all like the best movie ever. I can only assume the other two are as well. Watch them all when you're very awake though.

[EyesWideOpen]

I'm pretty excited since in just the first row of dvds I found between 30-40 criterion & eclipse dvds but I didn't want to check out too much at once.

[balmakboor]

I found out my local library has a ton of Criterion and Eclipse dvds. I checked out these:

Scandal (Kurosawa)
The Rules of the Game
Tokyo Story
Shadows in Paradise (Kaurismaki)
La Jetee / Sans Soleil

Any recommendation on what to watch first?

If you haven't seen any of these, I envy you for what you are about to experience. Tokyo Story and Sans Soleil are my faves, I guess.

[The Mike]

Fuck you, Larry Bishop and your stupid wannabe biker movie. When Tarantino told you your destiny was to write, direct and star in a biker movie, he probably meant a good one, you idiot. And where in the contract did it say that the entire script had to revolve around you having a bigger cock than Michael Madsen and Dennis Hopper? Who the fuck gave you the right to do that, you piss-pants eunuch?



Fuck off and die.

*shoots Larry Bishop on the face*

This is all very true. One of the most painful movies I've seen in recent times.

Was a blast to rip apart, though. :lol:

[Philosophe_rouge]

So Make Way for Tomorrow (1937) is one of the best films I've ever seen.

http://i574.photobucket.com/albums/ss181/missemmaknight/vlcsnap-00006-1.jpg

[B-side]

Antonio GaudÃ* and The Woman in the Dunes are both great as well.

Definitely see Pitfall if you haven't. I liked it better than Woman in the Dunes.

[dreamdead]

So Make Way for Tomorrow (1937) is one of the best films I've ever seen.


Yeppers. One of my best viewing experiences was watching the copy of this that Russ hooked me up with. It comes across initially as a simple melodrama, but its depth and range take it far beyond that scope. Though it's always economical in its film language, it nonetheless conveys its ideas powerfully.

[Philosophe_rouge]

Yeppers. One of my best viewing experiences was watching the copy of this that Russ hooked me up with. It comes across initially as a simple melodrama, but its depth and range take it far beyond that scope. Though it's always economical in its film language, it nonetheless conveys its ideas powerfully.
Yea, I was surprised by how touching and devastating it was. It started off simply enough, but built slowly and carefully on it's foundation until it hits about the mid poiint and everything just comes together perfectly.

[soitgoes...]

Definitely see Pitfall if you haven't. I liked it better than Woman in the Dunes.
Oh yeah, it's definitely my next Teshigahara. Thanks!

[balmakboor]

So Make Way for Tomorrow (1937) is one of the best films I've ever seen.

http://i574.photobucket.com/albums/ss181/missemmaknight/vlcsnap-00006-1.jpg

Isn't that the movie that was "remade" as Tokyo Story? I guess some material is just that good.

[Philosophe_rouge]

Isn't that the movie that was "remade" as Tokyo Story? I guess some material is just that good.
I'm pretty sure yes.

[Mara]

So a couple of months ago I got pulled into one of those marketing rooms in a movie theater so they could show me a trailer of that movie that's opening this weekend, "Fighting."

After the trailer, they asked what I liked about it and what I didn't. I said nothing and everything, respectively, and then they started wheedling and whining and asking about seventeen different ways what they could change about the trailer so that I would see it. I responded about seventeen different ways that I would sooner have my teeth pulled than go see some lame film about skinny white boys pounding on each other.

Apparently, they weren't used to this, because eventually the guy's manager came and took over. He had a silky, coaxing voice, and I'm pretty sure he would have married me if I had given him any hint that the film looked like something other than visual pain.

Eventually, they refused to finish the survey, clicked out, and thanked me for my time.

This is everything you need to know about Hollywood marketing.

[number8]

Hey, I saw that movie you were marketing. :P

[NickGlass]

Yeah, Hollywood marketing is brutal. Just brutal. It's really disheartening to see, first hand (and not just through theory, which is what we constantly do), how a handful of mainstream films are made.

Now imagine dealing with film publicists on a regular basis.

[Dead & Messed Up]

What I cannot - repeat - cannot stand is the use of those dials so studios can monitor people's immediate reactions to a film. You know. If you're not responding to something immediately and in a positive way, they'll note that and suggest it be "fixed." Cause, you know, it didn't test well.

When that wormed its way into the presidential debates, with those CNN real-time graphs that gave reactions, I got sick to my stomach.

[Grouchy]

Yeah, Hollywood marketing is brutal. Just brutal. It's really disheartening to see, first hand (and not just through theory, which is what we constantly do), how a handful of mainstream films are made.

Now imagine dealing with film publicists on a regular basis.
Heh. For some reason I was reminded of how Scorsese was promised a much larger budget for Mean Streets if he made it about Black people instead of Italians. Hollywood is just ruthless. RUTHLESS, I SAY!

I'd love to get involved on an early marketing screening of a movie or trailer.

[number8]

Now imagine dealing with film publicists on a regular basis.

Are yours that terrible? The ones I have contact with here (I've got 3 agencies that I deal with on a regular basis) are really nice and they're always looking out for me. They also have no loyalty to the movies they're representing, so I can easily talk candidly about movies with them. They'll even openly criticize a lame movie at their screenings.

[Watashi]

What I cannot - repeat - cannot stand is the use of those dials so studios can monitor people's immediate reactions to a film. You know. If you're not responding to something immediately and in a positive way, they'll note that and suggest it be "fixed." Cause, you know, it didn't test well.

When that wormed its way into the presidential debates, with those CNN real-time graphs that gave reactions, I got sick to my stomach.

Focus Group Guy: All right, thanks for participating in our focus group, kids. Today, we're gonna show you some Itchy & Scratchy cartoons.
[the kids cheer]
Nelson Muntz: Cool!
Focus Group Guy: We want you to tell us what you think. And be honest because no one from the show is spying on you.
[a man behind the mirror sneezes making the mirror shake]
Lisa Simpson: Why is that mirror sneezing?
Focus Group Guy: Look, it's just an old creaky mirror, you know. Sometimes it sounds a little like it's sneezing or coughing or talking softly.
Lisa Simpson: [suspiciously] Hmm.
Focus Group Guy: [holds his thumb up to the mirror] Now, you each have a knob in front of you. When you like what you see, turn the knob to the right. When you don't like what you see, turn it left.
Ralph Wiggum: [with his knob in his mouth] My knob tastes funny.
Focus Group Guy: [taking the knob out of Ralph's mouth] Please refrain from tasting the knob.

[NickGlass]

Are yours that terrible? The ones I have contact with here (I've got 3 agencies that I deal with on a regular basis) are really nice and they're always looking out for me.

Surprisingly, I found the publicists in Boston to be worse than the ones in New York City. Then again, I had to work more exclusively with the ones in Boston than I do in NYC. Being an editor is certainly a more difficult position to deal with them from than just being a writer, that's for sure. Some were very friendly, sure, but there were three bitchy publicists I had to deal with frequently.

I still get moderately annoyed when I'm asked what I thought of a movie before the review has been written. It's not entirely necessary or ethical. What do they think they're going to do--change my mind? The review will be out in a week or so.


They also have no loyalty to the movies they're representing, so I can easily talk candidly about movies with them. They'll even openly criticize a lame movie at their screenings.

I find this shocking, awesome, and completely unbelievable. I knew I loved San Francisco for a reason.

[Grouchy]

http://img229.imageshack.us/img229/2931/spoorloosii6.jpg

The Vanishing is probably the most downright cruel thriller I've ever seen, and I've already experienced stuff like Audition and Funny Games. It's made even worse by the fact that the whole film has this otherworldly feel about it, although it's not exactly a supernatural story. I loved it, and at the same time I was fucking floored by it. The script builds suspense on its unique structure of flashbacks which gives us a lot of information about the mystery, far surpassing the protagonist's knowledge, and yet leaves the more devastating experiences for the ending. This is an incredible achievement and, even if it's already a pretty famous movie, I believe it deserves even more recognition. It's a shocker on the league of Psycho, if only subtler and more alluring. I wonder if the remake is as good, although most people seem to agree it is not.

I seriously had to pop in something more cheerful after Vanishing, and I chose to watch Bringing Up Baby from the 'net. The reason is that I'd seen a pretty large portion of it on TCM, turning it off barely before the ending to see the whole thing. What can I say here? Kath Hepburn is a goddess, one of the most beautiful, wittiest screwball actresses, and Grant's comedy timing is unsurpassed. The film has barely any music - like His Girl Friday, the entire soundtrack seems to be made of dialogue. Enjoyed it a lot and laughed like a maniac as the thing got more and more convoluted. And yet The Vanishing never completely left my mind.

[number8]

Speaking of trailers, my screenwriting teacher used to work for a trailer company back in the 80's. He told us a great story once.

He was at home when his partner called him up and said, "How soon can you get to the studio? Come quick." So he rushed, not knowing what the deal was, and apparently a bunch of producers want to screen him a new movie. He sat down next to his partner in the screening room, the film started, and it was Ishtar. Fifteen minutes in and he whispered to his partner that the movie is a piece of shit, but then Warren Beatty suddenly walked in and sat down right behind them. So for the rest of the movie, they sat upright and didn't dare to give any indication that they're not thoroughly enjoying the movie.

When the movie was finally over, Beatty leaned in between them, put his arms around them, and grinned, "So guys, what do you think?" All the heads in the room turned to them. My teacher looked at his partner, his partner looked at him, and before their silence gave it away, my teacher quickly nod his heads and said, "I think we got ourselves a trailer."

[MadMan]

;155650']Stared at what?Heh, I meant starred. I should use my laptop more often than school computers, as it actually has automatic spell check on it when I post online.

Revolver, was, um, "Interesting" to say the least. If that's really an apt enough description. While I did enjoy it and found it overall to be one of Guy Ritchies' best films (that's not saying much, even though I like his body of work minus that movie he did with Madonna), a great film was in there somewhere. Maybe. It almost got lost and bogged down by philosophical bullshit, but I did like how it dived into its main theme of ego, and how being egotistically driven to the point of single mindness can lead to one's downfall. If that's what the movie was really saying. I'm honestly not sure. The badass hitman was cool, but he really felt out of place here. Still I'd rather see more of this from Ritchie than something like RocknRolla, which was decent but not really anything special.

[number8]

I still get moderately annoyed when I'm asked what I thought of a movie before the review has been written. It's not entirely necessary or ethical. What do they think they're going to do--change my mind? The review will be out in a week or so.


I find this shocking, awesome, and completely unbelievable. I knew I loved San Francisco for a reason.

Well that's why I don't get annoyed when they ask me my opinion as I'm walking out a screening. I don't have a problem telling them it sucks, because if they agree with me they'll say so, and if they don't, they'll just smile and take notes. It's kind of fun.

I got into a long discussion with the publicists and several other critics after Defiance, and I think one of the publicists liked it even less than I did. :lol:

[Kurosawa Fan]

http://img229.imageshack.us/img229/2931/spoorloosii6.jpg

The Vanishing is probably the most downright cruel thriller I've ever seen, and I've already experienced stuff like Audition and Funny Games. It's made even worse by the fact that the whole film has this otherworldly feel about it, although it's not exactly a supernatural story. I loved it, and at the same time I was fucking floored by it. The script builds suspense on its unique structure of flashbacks which gives us a lot of information about the mystery, far surpassing the protagonist's knowledge, and yet leaves the more devastating experiences for the ending. This is an incredible achievement and, even if it's already a pretty famous movie, I believe it deserves even more recognition. It's a shocker on the league of Psycho, if only subtler and more alluring. I wonder if the remake is as good, although most people seem to agree it is not.


The remake is an abomination. It's so bad, I can only assume Sluizer sabotaged it on purpose. Glad you liked this one. It's truly an amazing experience.

[[ETM]]

Heh, I meant starred. I should use my laptop more often than school computers, as it actually has automatic spell check on it when I post online.

Doesn't help, since both words are correctly spelled, and one of them is wrong.;)

[MadMan]

;155954']Doesn't help, since both words are correctly spelled, and one of them is wrong.;)I'm still using a library computer though. And I'm still too lazy to go and use Microsoft Word to spell check :P

PS: What's the word on Tom Jones around these parts? It won Best Picture back in 1963, and there's a blurb from Newsweek on the cover saying its the best comedy ever made. And yet, I don't recall ever hearing it discussed online.

[NickGlass]

PS: What's the word on Tom Jones around these parts? It won Best Picture back in 1963, and there's a blurb from Newsweek on the cover saying its the best comedy ever made. And yet, I don't recall ever hearing it discussed online.

I haven't seen this, even though I have been meaning to (duh); Tony Richardson is a pretty hit-or-miss director with me, but his humor always hits big time. The Loved One is wonderful--but, then again, the Evelyn Waugh source material is brilliant to start.

[Mara]

PS: What's the word on Tom Jones around these parts? It won Best Picture back in 1963, and there's a blurb from Newsweek on the cover saying its the best comedy ever made. And yet, I don't recall ever hearing it discussed online.

It's one of my favorite books. One of the funniest and smartest novels ever written.

The film suffers a little bit by trying to condense a massive, 800-page novel into 2 hours. The plot coincidences fly thick and fast in order to try and trim the fat.

With that said, it's a rollicking good time. The humor is a mix of scathing, high-minded social satire and cheerfully vulgar double entendres. Albert Finney looks like he's having the time of his life, and that kind of fun is infectious.

Still, there's not much to push it into classic territory. It's fun, you'll laugh, you'll enjoy it, and you'll forget it a week later.

[Mara]

I haven't seen this, even though I have been meaning to...

Wait, weren't you in love with Joan Greenwood? Or who was that? Monolith?

She's great in it.

[Amnesiac]

http://img229.imageshack.us/img229/2931/spoorloosii6.jpg

The Vanishing is probably the most downright cruel thriller I've ever seen, and I've already experienced stuff like Audition and Funny Games. It's made even worse by the fact that the whole film has this otherworldly feel about it, although it's not exactly a supernatural story. I loved it, and at the same time I was fucking floored by it. The script builds suspense on its unique structure of flashbacks which gives us a lot of information about the mystery, far surpassing the protagonist's knowledge, and yet leaves the more devastating experiences for the ending. This is an incredible achievement and, even if it's already a pretty famous movie, I believe it deserves even more recognition. It's a shocker on the league of Psycho, if only subtler and more alluring. I wonder if the remake is as good, although most people seem to agree it is not.


Nice. I've had access to this for a while now and I've been hoping that it would turn out to be the type of disconcerting, strange kind of film that you're describing.

[Sycophant]

According to my settings, this page of posts is pretty elite.

[Mara]

According to my settings, this page of posts is pretty elite.

Egotist.

[megladon8]

The Vanishing is one I just wasn't all that taken with. I didn't find it shocking or frightening at all - in concept, yes, but in execution it was kind of bland.

I liked the idea of presenting much of it from the killer's perspective, though.

[Spinal]

The Vanishing is supposed to be frightening? I don't think so. Haunting is more like it. Unsettling. Best suspense film ever.

[megladon8]

The Vanishing is supposed to be frightening? I don't think so. Haunting is more like it. Unsettling. Best suspense film ever.


I suppose this is what I was meaning by frightening.

I wasn't particularly haunted or unsettled by it.

As I said, in concept certainly...but the execution was lukewarm for me.

[chrisnu]

Weekend viewing:

Damage (re-watch)
Dead Ringers
Synecdoche, New York

[balmakboor]

W/E

Exorcist II: The Heretic
Excalibur
Role Models
Mock Up on Mu
Earth
The Soloist

Ok, maybe not all of them.

[Philosophe_rouge]

Weekend
Tokyo Story
Female
Three on a Match
A Tale of Two Sisters

[B-side]

Dead Ringers

Enjoy this. Currently sits in my top 10.

[The Mike]

Weekend possibilities:
The River's Edge
Jezebel
Ride the High Country
The Wrestler
Breathless
Midnight Cowboy
MST3K: The Wild World of Batwoman

[Mysterious Dude]

I think I may have seen all the great movies.

There may be some movies I haven't seen yet that I will like a lot, but how many of them will be truly great? I was looking at my Netflix queue today. 447 titles, but I see very little potential for greatness.

Maybe it's time to start revisiting the classics.

[BuffaloWilder]

I offer up my review of Pasolini's "The Gospel According to St. Matthew" as a discussion starter.

[B-side]

I offer up my review of Pasolini's "The Gospel According to St. Matthew" as a discussion starter.

I read your review. Nicely written. What's strange is that I had just downloaded it last night and then here you come with a review of it.:P

[BuffaloWilder]

I read your review. Nicely written. What's strange is that I had just downloaded it last night and then here you come with a review of it.:P


Perhaps I'm a mutant.

[B-side]

Perhaps I'm a mutant.

Perhaps not. Perhaps it's just a bit of coincidence and shouldn't at all be misconstrued as anything of special note. Perhaps it's an act of God. Perhaps I've taken this joke too far.

[BuffaloWilder]

Perhaps not. Perhaps it's just a bit of coincidence and shouldn't at all be misconstrued as anything of special note. Perhaps it's an act of God. Perhaps I've taken this joke too far.

You were joking?


Oh. Well.


So was I.


:lol:

[B-side]

You were joking?


Oh. Well.


So was I.


:lol:

My initial post wasn't a joke.

Wait, did I just ruin the joke?

[BuffaloWilder]

My initial post wasn't a joke.

Wait, did I just ruin the joke?


Oh, pish-posh.


There's also a piece - not by me - somewhere on there about "Happy Feet" that you all might like. I'm also writing a piece of my own, but it won't be finished for a while, and it'll be a fair bit different.

Still, worth a read, I think.

[Ezee E]

I think I may have seen all the great movies.

There may be some movies I haven't seen yet that I will like a lot, but how many of them will be truly great? I was looking at my Netflix queue today. 447 titles, but I see very little potential for greatness.

Maybe it's time to start revisiting the classics.
I've been thinking about the same thing. Although I'm sure to love a few movies that are "hidden classics," I think I should go back to the true classics I've only seen once. Like 8 1/2.

[Philosophe_rouge]

Pretty dissapointing movie night, neither film I saw was bad, but they could have been much better.

A Tale of Two Sisters is a visually a spectacular film, the set pieces and the use of coloured light are incredible. Especially early in the film, it works to really create a sort of otherwordly mood in that house. Aside from the hospital intro, and a sly reference here and there to illness, there is little hint of wrongdoing or "evil" in the film, but the deep colours in those dark rooms make for a very uncomfortable setting. That being said, the visuals were not enough to sustain the film for me, and there even came a point where the leering atmosphere started to die out. Though there may have been one too many twists, I like the final one, and the overall effect of the final few scenes. Still, the film didn't quite work for me on a whole.

Second film was a pre-code, Female (1933). Pre-code film is fascinating to me, though it's perhaps the most inconsistent and unreliable era for American film in my experience. I can rarely except or anticipate what will be appealing, what will work and what won't. This one works for about 60% of it's narrative, before falling apart towards the end. The film reaches an interesting high point when Ruth Chatterton pulls the wool over her catch's eyes with a fake persona, she asks him which version of her he likes best and which he thinks is real, and he chooses the weakest and most vulnerable, which is so far from what she is. I think it could have been interesting to explore this deception, and though his understanding of the so called "real her" doesn't quite pan out, the conclusion is still as unsatisfying as if they didn't address the issue at all. Just frustrating, since it had the potential to be great, but wastes it just as it was really getting good.

[Derek]

You guys are nuts. I will never be worried about a shortage of great films. My Netflix queue is constantly at the max and I always find new stuff to get from Karagarga. Outside of my top 100 films, I've barely rewatched anything I own in the past couple years because there are so many potentially great films that I want to see.

[Qrazy]

You guys are nuts. I will never be worried about a shortage of great films. My Netflix queue is constantly at the max and I always find new stuff to get from Karagarga. Outside of my top 100 films, I've barely rewatched anything I own in the past couple years because there are so many potentially great films that I want to see.

Yeah, I agree. Unless someone has been watching a film every day for the last 30+ years there will always be some great director out there, they haven't experienced yet, with a singular and powerful vision.

[Amnesiac]

http://img201.imageshack.us/img201/1574/howtobe.jpg

[Watashi]

When critics said that Crank was more like a video game than a movie, they weren't kidding. :lol:

Can't wait to see the sequel.

[Ezee E]

http://criterion_production.s3.amazon aws.com/release_images/2242/11_box_348x490.jpg

Love this cover.

[Dead & Messed Up]

The Vanishing is supposed to be frightening? I don't think so.

Correct.


Haunting is more like it.

Good.


Unsettling.

Yes...


Best suspense film ever.

Damn it. I was so close to completely agreeing with one of your posts.

[Rowland]

The Broken (Sean Ellis, 2009) 50

This sophomore feature by British director Sean Ellis, whose first effort was the much-derided (besides by Spinal IIRC) Cashback, has been positioned as the headliner for the third After Dark Horrorfest festival, and while it isn't anywhere near as sophisticated or elegant as the grossly undervalued The Abandoned, it remains a reasonably competent chiller more concerned with exuding menace through form than its undercooked, nigh-incompetently devised narrative. It plays distinctly like a movie-movie, clearly made by a young, impressionable filmmaker more concerned with applying his own sincerely wrought spin to the movies that inspired him than elaborating any unique vision, which in this case results in a pastiche of cribbed horror signifiers and often-dialogue-free set pieces resembling a more self-contained take on The Invasion of the Body Snatchers, with a faintly clever but wholly predictable Shyamalan-ian twist tacked onto the ending which, for all it's worth, isn't a cheat, nor however does it appear to have any thematic relevance. Indeed, Ellis seems unconcerned with any thematic pretenses, unless an opening Poe quote and a photograph of Richard Jenkins (!!) posing with Bill Clinton are meant to signify some sort of existential concerns or political commentary, neither which the picture ultimately appears to pursue. Approach this instead as a (sometimes excessive-bordering-on-hackishly) slick patchwork of horrors past, with a few semi-interesting spins on the material, a bevy of creepy imagery, and a clever touch or two, my favorite being a subtle wraparound twist involving cat-scans that proves much more satisfying and creepy than the main twist. I'd like to give Ellis the benefit of the doubt in regards to his hole-infested narrative, but I'm not convinced this was an intentional or at least successful opacity, especially given that a much more resonant picture is only a few rewrites away, so the particulars are best left politely ignored. If I'm being overly kind to this (which feels overlong and redundant even at 82 minutes), it may be because I sense potential in Ellis, who clearly has an eye for the macabre (unsettling slow-motion flashbacks to a brutal car-crash recall no less than the climax to Argento's Four Flies on Grey Velvet) and some degree of taste in his cinematic inspirations, so I only hope he directs someone else's material for his next project, and sheds some of the formal bombast that reflects the picture's weaker moments. A faint recommendation to those looking for potential up-and-comers, those searching the detritus of the horror genre for signs of talent, and Jenkins fans who'd like to see him stalked by his own doppelganger.

[Amnesiac]

Moving on from that hilariously horrendous poster which apparently nobody found hilariously horrendous.... :confused:

Here's a bit of good news that may excite some of you or that some of you may feel entirely indifferent towards. Let's see what happens. Personally, I'm quite excited because PTA has finished working on the Punch-Drunk Love Bluray (http://www.cinematical.com/2009/04/24/exclusive-pta-working-on-punch-drunk-blu-ray/). Absolutely awesome news, I have been waiting for this announcement for a long time.

[Rowland]

Moving on from that hilariously horrendous poster which apparently nobody found hilariously horrendous.... :confused:Yeah, I hate to be the one to say it, but you're way off base. Hell, I may consider investing in a copy for myself.

[Amnesiac]

Yeah, I hate to be the one to say it, but you're way off base. Hell, I may consider investing in a copy for myself.

:sad:

[MacGuffin]

http://criterion_production.s3.amazon aws.com/release_images/2242/11_box_348x490.jpg

Love this cover.

And how about Criterion releasing both Made in USA and 2 or 3 Things I Know About Her?

[Grouchy]

Something incredible happened yesterday. We were walking with my friend when we stumbled across eight garbage bags filled with old VHS. There was everything in there, from hilariously titled porn (Catgirl and Batwoman) to obscure '70s and '80s classics. So we started shuffling around and soon we were walking with two full bags. I'll be making a return to VHS technology just to watch all this stuff.