28 Film Discussion Threads Later

[balmakboor]

By "eclectic," I supposed he meant that he wanted to watch three films that were substantially different in tone and form and possibly period.

Well, I'm actually quite positive that that's what he meant. I just pointed out that I do indeed know how to read. Why again, exactly, did you accuse me of not being able to read? Are you having a bad day or something?

[Melville]

http://www.youtube.com/watch?v=u1DX3hw_9A0
What about this?
http://www.youtube.com/watch?v=NYXdOhSupok

IMDb also mentions The Parent Trap as a possible source for the square thing.

[Sycophant]

Are you having a bad day or something?

I'm feeling a touch combative, actually. Not sure why.

[Derek]

Well, I'm actually quite positive that that's what he meant. I just pointed out that I do indeed know how to read. Why again, exactly, did you accuse me of not being able to read?

I'll accuse you of not being able to read because Sycophant was referring to the several people, including myself, who recommended more than 3 films when trans specifically asked for 3 in the order he should watch them. In other words, lighten up. :)

[balmakboor]

I'm feeling a touch combative, actually. Not sure why.

Well, you know, I can understand that. I've had some sort of virus for 15 days now. And I haven't been anywhere near Mexico.

[balmakboor]

I'll accuse you of not being able to read because Sycophant was referring to the several people, including myself, who recommended more than 3 films when trans specifically asked for 3 in the order he should watch them. In other words, lighten up. :)

Well, I didn't follow instructions either. I only listed one.

[Sycophant]

What's really funny is I didn't even see your post specifically when I posted my thing about how you all suck.

[balmakboor]

Remember my almost getting "fired" by the local paper. Well, this is the latest email I got from them in response to my review of The Soloist:

Todd:

Received the review. Lately, we feel your reviews have become more esoteric. We feel our readers are looking for reviews that tell them if there's a good story and acting. If it's a movie for a date, a family, serious or just fun. We think the overall reader is less interested in the photography and comparisons to other movies. Basically, they want to know if it's worth spending money and time on.

We appreciate your passion for the movies. And you might not be interested in altering your reviews in the direction we are looking. That's your choice.

And, of course, we reserve the right to run them or not.

Any questions, contact me...

[Wryan]

I'm not sure why City Lights is on that list to begin with, frankly.

First smartass gets a pop to the face.

[Sycophant]

Ouch, Fas. Harsh.

[Wryan]

Remember my almost getting "fired" by the local paper. Well, this is the latest email I got from them in response to my review of The Soloist:

Todd:

Received the review. Lately, we feel your reviews have become more esoteric. We feel our readers are looking for reviews that tell them if there's a good story and acting. If it's a movie for a date, a family, serious or just fun. We think the overall reader is less interested in the photography and comparisons to other movies. Basically, they want to know if it's worth spending money and time on.

We appreciate your passion for the movies. And you might not be interested in altering your reviews in the direction we are looking. That's your choice.

And, of course, we reserve the right to run them or not.

Any questions, contact me...

I went the balance route myself. I tried to impart my personality and taste in my reviews, as well as a bit of well-disguised didacticism, but for the most part, I tried to keep them comprehensible to the person who wants to know if Michael Bay's latest film's midnight showings are all sold out yet or not.

But it's a well-worn debate.

[Wryan]

Also..."overall reader"? Is that like some strange, hybridized "umbrella" reader who experiences every emotion and thought that humanity has to offer simultaneously?

[balmakboor]

This is what I submitted by the way. Please criticize in any way you see fit including telling me if it's too esoteric:

Midway through “The Soloist,” Steve Lopez (Robert Downey Jr.) tells his ex-wife that he has just witnessed something he can’t describe. He then excitedly tries to do so and fails. She looks at him and simply says, “Sounds like grace.” This puts him at ease. Words couldn’t explain it, but one word could and did.

“The Soloist” is a movie about grace and how it can express itself in the unlikeliest of places. It’s very easy for a film to be about grace though. Many films could be said to be about grace, including many really bad ones. What this film accomplishes though is truly special. It allows the viewer to experience grace.

“The Soloist” tells the story of two men who happen into a relationship. Lopez is a Los Angeles Times columnist desperately in search of a story. He is self-centered and does things his way or not at all. We first see him riding a bicycle, the wrong way on a bike path, through a pack of other cyclists, up a hill. Returning home, his answering machine informs him – not once but twice as if rubbing it in – “You have no messages.”

One day, Lopez hears music in a city park and follows it to its source – a man named Nathaniel Ayers (Jamie Foxx) playing a beat-up violin with only two strings. Ayers – Lopez will later learn – is a Julliard dropout and once promising cellist who now lives in the street and speaks in manic soliloquies like someone who saves up things to say for years and then spends them all at once. He’s a schizophrenic. He’s musically touched by the wings of angels.

Lopez is a writer. He seeks subjects to fill the blank screen of his word processor. At one point, he sits waiting for Ayers and tape-records a homeless woman as she rants and raves, expressing her thoughts on the state of things. He exclaims, “This is amazing!” Of course, he’s not even listening to her, but he knows it’ll make great copy. Ayers will teach him to listen and to be a great writer.

Lopez lures Ayers into a safe haven – the Lamp homeless shelter in Los Angeles – with the gift of a cello donated by one of his readers. As Ayers settles in to sleep during his first night, he closes his eyes and recites the Lord’s Prayer as the camera takes flight – it truly becomes “on earth as it is in Heaven” – giving us a tour of the shelter and all of the troubled faces and trembling hands within its protective embrace. The effect is graceful, comforting.

In an effort to draw Ayers out of his shell, Lopez arranges for them to attend a rehearsal of the Los Angeles Philharmonic. As the music swells, Ayers appears near overflowing with happiness and again closes his eyes. And we experience the music as he does, as an abstract dance of light inspired by Disney’s “Fantasia.” It’s ecstatic and joyous. It was that experience of being in that auditorium on that day with Ayers that left Lopez speechless until “grace” came to the rescue.

Both of these scenes are realized so beautifully, so perfectly that they feel divinely inspired. They filled me with joy, a joy like what I imagine Ayers felt on that magical day when Lopez placed a cello back into his hands.

(Note: This is an on-going story. You can continue to read about it every week in Lopez’s Los Angeles Times column.)

“The Soloist” is rated PG-13 for thematic elements, some drug use and language.

[number8]

Yeah, I wouldn't say esoteric at all, but I can see why they rejected it if their needs is more towards the "MOVING AND MAGICAL, IT WILL LEAVE YOU LOVING MUSIC ALL OVER AGAIN" type of reviews.

This is what most newspaper reviews are moving towards, and their word count is getting smaller and smaller. That's if they're not axed completely, that is.

[D_Davis]

I'll rewrite your review:

Is The Soloist worthy of your time and money? Darn tootin'! It's a symphony for the eyes and ears. For one, it has Robert Downey Jr. in it. He is a good actor who has been any many good movies, movies like Iron Man - any we all know how good that was! It also stars Jamie Foxx - that's 'Fox' with two 'Xs', so you know he's cool! He was also in that awesome movie Ray; it won an Oscar, so you know that The Soloist is also going to be awesome, because it's about music, too! Together, Foxx and Downey Jr. create pitch-perfect harmony.

The movie is basically about a guy who plays music - a soloist. This is the perfect movie to take a date to because it is so uplifting, and because of the current economic situation we could all use a little break from the troubles of day-to-day life.

So in conclusion, The Soloist offers all of this and more. It is totally worthy of your time and money, the perfect date film, and it even has something for the most jaded viewer.

[Derek]

Remember my almost getting "fired" by the local paper. Well, this is the latest email I got from them in response to my review of The Soloist:

Todd:

Received the review. Lately, we feel your reviews have become more esoteric. We feel our readers are looking for reviews that tell them if there's a good story and acting. If it's a movie for a date, a family, serious or just fun. We think the overall reader is less interested in the photography and comparisons to other movies. Basically, they want to know if it's worth spending money and time on.

We appreciate your passion for the movies. And you might not be interested in altering your reviews in the direction we are looking. That's your choice.

And, of course, we reserve the right to run them or not.

Any questions, contact me...

I would recommend changing their review format into a checklist (and perhaps that they no longer run full stories, just the headlines and a short paragraph summarizing it since overall readers don't want to read the whole thing anyway).

Good Story: Y N
Good Acting: Y N
Serious/Funny: S F S&F
This Movie Is Family-friendly: Y N
This Movie Will Make Me Cry: Y N
This Movie Will Get Me Laid: Y N
I Should See This Movie: Y N

There's really no reason for you to waste time on complete sentences.

[balmakboor]

Thanks guys.

Btw, yay. It just got published to the new and improved Blogcritics.org.

http://blogcritics.org/video/article/movie-review-the-soloist/

[Sycophant]

If they decide to let you go, suggest Luke Hickman as your replacement.

And then start writing for Hollywood Bitchslap or something. They let Eric Snider in and he became a prominent reviewer, so you should be a shoo-in.

Hating on the local boys ITT.

[balmakboor]

Or, I should say, "new and improved" when it's working. Sometimes you just get: "Doh! The Technorati Monster escaped again."

[Qrazy]

I don't know. Maybe too whimsical and unsubstantial for my tastes. But by Gawd, was that film boring for me despite the occasional laugh.

I should clarify I'm really not a big Truffaut fan except for The 400 Blows and (to a reasonable extent) Jules and Jim. Everything else I've seen for him (The Bride Wore Black, The Last Metro, Fahrenheit 451, Adele H., the remaining Antoine Doinel films) has been very dull.

Well you're right about his later work EXCEPT for Shoot the Piano Player which deserves to be grouped with the first two. Day for Night is also pretty good.

[Qrazy]

Review

Oh noes you referenced Fantasia! Something the average viewer may not have seen! They will be lost!

*punches editor in the face*

[megladon8]

I can understand where the newspaper is coming from.

[number8]

I can understand where the newspaper is coming from.
Printers.

[MadMan]

Something tells me I'm one of the select few who thinks that Shoot the Piano Player is better than Jules and Jim. "J and J's" narration was annoying at times, and often stifled the movie, not letting certain scenes breathe and allowing the audience to simply think about the scene. "Player" is more tighter paced, and I prefer its plot and themes above "Jim's" more poetic/lyrical elements. Both are still good movies, however.

Trainspotting is all kinds of drug fueled rollercoster style awesome. I think the second half wasn't as good as the first, but the movie overall expertly combined dark comedy with bleak drama that works extremely well. The scene where Renton is coming off heroin stick out most in my mind, as they are very creepy and odd ball, which I imagine how it is to slowly flush out a highly addictive drug from ones' system. That said, if I ever saw a freaky, nightmarish drug induced mutant looking baby crawling on the ceiling, I'd go crazy.

[Stay Puft]

Wife! Be Like a Rose! was pretty good. That close-up of Kimiko near the end was like being punched in the heart. So, people, recommend more Naruse. Dude has 89 directing credits! That's overwhelming.

[chrisnu]

I have the following films available (in various forms) to watch. I want to watch three eclectic movies this weekend. Of the following, what should they be, and in what order? (I haven't seen any of them)
A Woman Under the Influence
Le Samourai
Playtime

[Derek]

Wife! Be Like a Rose! was pretty good. That close-up of Kimiko near the end was like being punched in the heart. So, people, recommend more Naruse. Dude has 89 directing credits! That's overwhelming.

I've seen 10 and recommend all of them, especially the first four. If you become obsessed with Hideko Takamine as I was/am, you have to see performance in Her Lonely Lane which is nothing short of bizarre as she goes balls-out method to the Brandoth degree.

1. Floating Clouds
2. A Woman Ascends the Stairs
3. Scattered Clouds
4. Lightning
5. Yearning
6. Late Chrysanthemums
7. Her Lonely Lane
8. Repast
9. Sound of the Mountain
10. Flowing

[B-side]

I can't say I cared for Young Mr. Lincoln much at all. Not even sure why, it has some beautiful shots, and a decent enough story. Perhaps there's just something about Ford's dramatic tact and general tone that puts me off.

It's mostly Fonda's bravura performance. Also, the courtroom sequence.

[soitgoes...]

Wife! Be Like a Rose! was pretty good. That close-up of Kimiko near the end was like being punched in the heart. So, people, recommend more Naruse. Dude has 89 directing credits! That's overwhelming.
These:

Yearning
Sound of the Mountain
Floating Clouds
Every Night Dreams
Repast
When a Woman Ascends the Stairs

[soitgoes...]

Weekend possibilities:

Nobuko
Under the Bridges
Daughters, Wives and a Mother
A Man Vanishes
The Pornographers

[B-side]

Innocence was great. It creates such a tangible nightmare atmosphere. The way it explores budding femininity is wholly unique. It almost feels Lynchian. Hard to believe it was the director's first feature film, and only one to date. It's masterfully controlled and feels like the work of a director who is very confident.

[Boner M]

Guess I can never be captivated by Arthurian legend played straight, because Excalibur was boooooooorrrrrrring. Still excited to check out a few more Boormans for next week's consensus. Probably Hope & Glory or The Tailor of Panama.

Also for the weekend, Pialat's A Mouth Agape and JCVD.

[MacGuffin]

Glad you liked Martyrs, soitgoes... Let me know how The Pornographers is; I'm looking for a good starting point for that director and it seems like that or Vengeance is Mine are the most obvious choices.

[balmakboor]

Excalibur was boooooooorrrrrrring.

Really. I found it totally absorbing and visually dazzling. I watched it a second time this week last night and wanted to bump my rating up another notch, but then I realized that was impossible.

If I was to have any negative comments about it, they would be that some of the musical cues are dated and that one just can't watch a King Arthur movie now without thinking about Monty Python, and Excalibur is certainly no exception.

[Mara]

I think I have to rewatch Excalibur, because I remember it being extremely silly, on the level of Krull.

Actually, I just rewatched Krull, and it turned out to be fantastically, joyfully, wonderfully silly. (Whee!)

[balmakboor]

I should watch Krull.

[Raiders]

Exorcist II: The Heretic - A-


Does Svensos now have a bedfellow?

[Mara]

I should watch Krull.

I really wish Joel (or Mike) and the 'bots had taken a shot at it.

[Mara]

I'm totally also planning on taking another look at Beastmaster.

Take that, good taste.

[Grouchy]

Innocence was great. It creates such a tangible nightmare atmosphere. The way it explores budding femininity is wholly unique. It almost feels Lynchian. Hard to believe it was the director's first feature film, and only one to date. It's masterfully controlled and feels like the work of a director who is very confident.
I didn't like this one at all. I mostly felt it was pointless and that the closing scene was very clumsy on its visual symbolism. I agree that some parts of the production, like the sound design and the widescreen compositions, are worthy of praise, but it didn't speak to me.

The reason I'm answering your post, though, is that I just finished this novel, Kazuo Ishiguro's Never Let Me Go, which reminded me a lot of Innocence on its atmosphere, except the story is more logical and (very minor spoiler here)

sci-fi oriented

And, well, the message is completely different. It's just a general sense of atmosphere that reminds me of the film.

It's worth reading, and if you liked Innocence that much, I think it's the book for you.

[Wryan]

blah blah blah ooh siggy

Surely Sluizer's original version yes? Great movie.

[Sycophant]

Oh, man. I was hoping the thread created by spambot EnglishWarman "celebrity famous female model movie nude sex " was a lovejuice thread. :sad:

[Grouchy]

Surely Sluizer's original version yes? Great movie.
Yes, the Dutch version. Here (http://www.match-cut.org/showpost.php?p=155945&postcount=26720) are my extended thoughts on it.

[Raiders]

Oh, man. I was hoping the thread created by spambot EnglishWarman "celebrity famous female model movie nude sex " was a lovejuice thread. :sad:

I missed this one. He was not a Bot though. Just a sad, sad individual. I remember being on the fence about allowing that account. Looks like I chose poorly.

[soitgoes...]

Let me know how The Pornographers is; I'm looking for a good starting point for that director and it seems like that or Vengeance is Mine are the most obvious choices.Intentions of Murder

[MacGuffin]

Intentions of Murder

The only one that's not on Netflix; though I will put that Pigs, Pimps and Prostitutes box set in future consideration when I get some dough. (Second choice?)

[soitgoes...]

The only one that's not on Netflix; though I will put that Pigs, Pimps and Prostitutes box set in future consideration when I get some dough. (Second choice?)
Black Rain (again, if you can find it), Vengeance Is Mine and Ballad of Narayama are all great.

Netflix should get Intentions of Murder when the box set comes out next month.

[MacGuffin]

Black Rain (again, if you can find it), Vengeance Is Mine and Ballad of Narayama are all great.

Netflix should get Intentions of Murder when the box set comes out next month.

Cool, thanks.

[[ETM]]

I'm totally also planning on taking another look at Beastmaster.

Surely you mean Beast Wizard VII with George Laszlo?
http://i6.photobucket.com/albums/y216/sf_anime/MV5BMjEyNzk4NzE3N15BMl5BanBnXk FtZTc.jpg

[Russ]

I don't think that "loin-cloth" could contain any more innuendo if it tried.

[Ezee E]

Weekend:
Frost/Nixon
The Uninvited
Nothing But the Truth

[Watashi]

I honestly had to double check to see if that really was a loin cloth. :eek:

[Spinal]

The Beastmaster was a breakthrough film for ferret actors.

[[ETM]]

The information on the Irish/Belgian/French animated film Brendan and the Secret of Kells is inexcusably sparse, but Wikipedia says it's opening in the UK May 1st? Any of our lucky British members planning on seeing it?

[Philosophe_rouge]

Weekend
The Hypothesis of the Stolen Painting (1979)
Juliet of the Spirits (1965)
Shame (1968)
I fidanzati (1963)
Last Tango in Paris (1972)

[balmakboor]

Weekend:

Zoo
Dial H-i-s-t-o-r-y
Deliverance

And maybe X-Men so I can tell the people of Bismarck if it has good acting and if it's a good date movie and if it goes best with Popcorn or Milk Duds.

[SirNewt]

For any interested The Auteurs is hosting about six documentaries released through criterion for free including, General Idi Amin Dada and Harlan County USA.

[Thirdmango]

I finally watched the original Crank two days ago and of course loved it. It was very fun and satisfying. The sex scene was probably the best sex scene ever. Also the turtles having sex on the bathroom ceiling was too cool.

[B-side]

I didn't like this one at all. I mostly felt it was pointless and that the closing scene was very clumsy on its visual symbolism. I agree that some parts of the production, like the sound design and the widescreen compositions, are worthy of praise, but it didn't speak to me.

Pointless? Well, I don't know that there's much I can say in response to that. I don't think the film emphasized the visual symbolism very much, or not enough for it to feel clumsy, at least for me.


The reason I'm answering your post, though, is that I just finished this novel, Kazuo Ishiguro's Never Let Me Go, which reminded me a lot of Innocence on its atmosphere, except the story is more logical and (very minor spoiler here)

sci-fi oriented

And, well, the message is completely different. It's just a general sense of atmosphere that reminds me of the film.

It's worth reading, and if you liked Innocence that much, I think it's the book for you.

Interesting. Thanks for the rec.

[Mara]

;158058']Surely you mean Beast Wizard VII with George Laszlo?
http://i6.photobucket.com/albums/y216/sf_anime/MV5BMjEyNzk4NzE3N15BMl5BanBnXk FtZTc.jpg

I realize this is wonderfully, fantastically fake... but it looks very similar to Cavedwellers, which is one of my favorite MST3Ks ever.

[[ETM]]

I realize this is wonderfully, fantastically fake... but it looks very similar to Cavedwellers, which is one of my favorite MST3Ks ever.

I'm incredibly amused by the fact that Garret Dillahunt had to go into the woods dressed like that just to shoot a fake TV show scene for Terminator.:lol:

[MacGuffin]

Gonna probably check out Vengeance is Mine and Tout va bien as well as some stuff from last week and the movies I posted earlier that I picked up at the library.

[thefourthwall]

Last night dreamdead and I watch Point Blank* which was pretty sweet. Apparently it's in the 1001 Movies to See Before You Die because it is "unselfconsciously stylish." Did I watch the right film? I thought it was very pointed and aware about its cinematic nature, which is what makes it not just a heist/revenge film, but an arty heist/revenge film.




*which is not the same as Point Break, not having surfing or Keanu or Swayze, see how much the director's consensus can help you learn?

[balmakboor]

I'm really looking forward to James Gunn's Belcoo Experiment. I'm one of those who loved Slither and I thought his script for the Dawn of the Dead remake was terrific. I plan to watch Tromeo and Juliet on instant watch soon. (I actually started to watch it a while back and was enjoying it, but my connection was to slow at the time and I gave up.)

Plus I've heard that Jenna Haze is in the cast.

[Raiders]

Because of my love of Jonathan Demme, I gave Philadelphia another chance last night when it aired on TCM. Unfortunately, though I am more in tune now with the small touches Demme places in the film (not to mention it features some of his most extensive use of the straight-on camera shots), the film is still pandering nonsense for the most part. With the exception of a few graceful scenes (the opening montage, Hanks dancing to his favorite aria), the film by-and-large presents a rather misguided view of the AIDS pandemic, even for 1993. Instead of actually analyzing the disease itself or thoughtfully placing it into the overall perspective of society, Demme's film practically tells us what we think of AIDS, and more particularly homosexuals. Demme seems spurred by the criticisms of homophobia for The Silence of the Lambs, but that film was much more honest in its depiction of a transsexual as pained and outcast and featured a show-stopping central routine of the character dancing in all his naked glory, the beauty and the beast as one. Here, Demme's film trances the easy ground of making his gay protagonist easily packaged and his family the model of understanding. It is us, society, that doesn't "get it," and through our unease and discomfort we joke and, at worst, remove those portions of us we would like to forget exist. True, but also obvious to those who don't fit in to this mold and useless to those who do. The real problem is ultimately summed up by Denzel Washington's character, who often quips, "explain it to me like I was six."

[Dead & Messed Up]

I realize this is wonderfully, fantastically fake... but it looks very similar to Cavedwellers, which is one of my favorite MST3Ks ever.

:lol:

"Hey, why don't they get their capes?"
"Cause they got invisible blood on 'em."
"Oh, I can see th--HUH?!"

[Mara]

:lol:

"Hey, why don't they get their capes?"
"Cause they got invisible blood on 'em."
"Oh, I can see th--HUH?!"


"Wait, why is she limping?"

"Because she was shot in the chest, DUH."

[Qrazy]

Outland - It's High Noon in space! (sorta) Also, that second assassin has to be the dumbest mother effer in the history of assassins.

[Qrazy]

Which do you guys think would have been a better ending for Kill Bill. The current one or the daughter accidentally getting caught in the crossfire of a final duel and being killed? B would then have the death of her daughter on her hands as a result of her revenge and at the end she'd wander off Road Warrior style and/or commit harakiri.

[number8]

Which do you guys think would have been a better ending for Kill Bill. The current one or the daughter accidentally getting caught in the crossfire of a final duel and being killed? B would then have the death of her daughter on her hands as a result of her revenge and at the end she'd wander off Road Warrior style and/or commit harakiri.

The current one. Yours would be better if she was actively pursuing her daughter, thus giving it an ironic end where the means doesn't justify the end. But Beatrix didn't even know her daughter was alive, so that ending was there more for the moral choice, especially with the kid seemingly so close and happy with Bill. She could put her vengeance away, try and build a family again, or she could go through with it and, like in the Japan flashback, substitute her violence for motherhood. The irony is already there.

[Rowland]

The cover for Film Freak Central's 2009 Superannual is awesome:

http://3.bp.blogspot.com/_JsD3RZNTOgk/SeyFIcSbzOI/AAAAAAAAAMU/4vBWyuZ7dck/s400/2009supersmall.gif

[Qrazy]

The current one. Yours would be better if she was actively pursuing her daughter, thus giving it an ironic end where the means doesn't justify the end. But Beatrix didn't even know her daughter was alive, so that ending was there more for the moral choice, especially with the kid seemingly so close and happy with Bill. She could put her vengeance away, try and build a family again, or she could go through with it and, like in the Japan flashback, substitute her violence for motherhood. The irony is already there.

Not sure I'm following the last part of your statement. She goes through with her vengeance but still gets to reap the reward, that is to say she gets her daughter back. Essentially revenge was the right choice for her after all. I guess I just prefer the revenge story archetype where things never work out for anyone involved. I feel like in order to exact your revenge you have to sacrifice something and the cyclical nature of revenge ought to be prevalent as well. Sure she sacrifices Bill and her former 'friends' but I'm not sure that's enough.

[baby doll]

Weekend: Steve McQueen's Hunger is opening in Halifax, so I'll have a chance to see it in theatres (as opposed to on my computer). And I rented Marcel Ophüls' Le Chagrin et la pitié. Woo, party!

[Stay Puft]

weekend:
Point Blank
maybe another Boorman if I get to the video store
maybe the Wolverine movie if I get to the theatres

[number8]

Not sure I'm following the last part of your statement. She goes through with her vengeance but still gets to reap the reward, that is to say she gets her daughter back. Essentially revenge was the right choice for her after all. I guess I just prefer the revenge story archetype where things never work out for anyone involved. I feel like in order to exact your revenge you have to sacrifice something and the cyclical nature of revenge ought to be prevalent as well. Sure she sacrifices Bill and her former 'friends' but I'm not sure that's enough.

She had a flashback of a mission in Japan where she found out she was pregnant. She could finish the job, still, or kill that assassin coming for her, but she decided to stop it right then and there, I think because she realized that it's the karma of it that would taint her idea of motherhood being something pure and wholesome, based on love rather than killing. I found it ironic, then, that the last scene of the saga is her having to choose between going back to what she escaped from in the first place (raising a kid with a monster like Bill), or finish her "roaring rampage of revenge," which she only started because she thought her daughter was taken from her.

And Tarantino did leave the cyclical nature of revenge open. Remember the scene in Vol 1 when she talks to Vivica Fox's daughter after killing her? "When you're all grown up, come find me." The irony is that at that point, Beatrix didn't know her own daughter was alive, thus she was essentially readying herself to be a victim of revenge herself. Now if that little girl then kills Beatrix, Beatrix's daughter would have to kill her, etc. Kill Bill is essentially making a case that motherhood and their kind don't work.

[BuffaloWilder]

So, commenter Richard thinks all three animated fables mentioned in my newest post were terrible. What do you think? Agree, disagree or undecided? Go and have your say on the blog below.


Gee, this is becoming my own little bulletin board.

[Qrazy]

She had a flashback of a mission in Japan where she found out she was pregnant. She could finish the job, still, or kill that assassin coming for her, but she decided to stop it right then and there, I think because she realized that it's the karma of it that would taint her idea of motherhood being something pure and wholesome, based on love rather than killing. I found it ironic, then, that the last scene of the saga is her having to choose between going back to what she escaped from in the first place (raising a kid with a monster like Bill), or finish her "roaring rampage of revenge," which she only started because she thought her daughter was taken from her.

Ah k, didn't remember that mission. I understand you now. Sure there's irony in both cases but that's not really what concerns me. It feels slightly reprehensible to me to make an epic about revenge where revenge was the proper path and led to the best possible result (given the circumstances) for the protag.


And Tarantino did leave the cyclical nature of revenge open. Remember the scene in Vol 1 when she talks to Vivica Fox's daughter after killing her? "When you're all grown up, come find me." The irony is that at that point, Beatrix didn't know her own daughter was alive, thus she was essentially readying herself to be a victim of revenge herself. Now if that little girl then kills Beatrix, Beatrix's daughter would have to kill her, etc. Kill Bill is essentially making a case that motherhood and their kind don't work.

Hence why the ending doesn't really work for me. It makes the case and then ignores the case it's making (with the mother and cub bit). Or perhaps ignores is too strong a word. She does lose Bill and Vivica's daughter and Elle may come back to avenge. So we do witness loss and the cyclical nature of revenge. I just don't think we witness enough of either one. Revenge ought to exact a harsher fee. A revenge story with a happy ending doesn't really work for me. This is of course a personal preference. I suppose revenge stories could have happy endings but it doesn't ring true to me.

[dreamdead]

Park Chan-wook's Sympathy for Mr. Vengeance is successfully disturbing, but despite the always apparent artistry that Park utilizes throughout, it is somehow a film that is too dependent upon its sadism to succeed. The shots of the electric shock treatment, or even of the sliced Achilles' heel, convey too much and simply beat me down emotionally. And while that certainly may have been Park's agenda, I find myself rejecting such treatment. In Joint Security Area, the sadism isn't preyed upon to this extreme, for the humanism of that film was transparent. Here, though, the nods to Korean politics and anarchy feel sandwiched in among the shots that fetishize Park's violence, and ultimately divorced the film from having any positive impact for me.

I'll still see how Lady Vengeance is, since I'm using Oldboy next semester for one of my classes, but of the first two in the trilogy, it's readily apparent which one is most successful.

[Spinal]

... the film by-and-large presents a rather misguided view of the AIDS pandemic, even for 1993.

Totally. I remember seeing it in the cinema and thinking that it was really behind the times.

[Grouchy]

I just spent all of Margot at the Wedding wondering when the hell was it ever going to end. Kidman and Leigh both surpass expectations with their acting. Jack Black is miscast and Turturro underused. But the movie overall is garbage. Its talky, self-conscious dialogues grow tiring and sometimes I found myself not even listening to the characters just to rest a little. I also think Bambauch went through great pains to make everything, from the murky, underlit look of the film to every plot twist and revelation as unpleasant as possible, and I don't think that worked very well for him. The editing was also clumsy and amateurish. On purpose, but it still was - shots don't flow off each other, not even in a contradictory way. Some comedy scenes make the film at least watchable every once in a while, like Kidman climbing the tree.

I might never watch another Bambauch movie again, since I don't think highly of Squid and the Whale either. But this one is way, way worse. I'd watch this movie back-to-back with Rachel Getting Married to see two films with more or less the same intentions, except one of them is an unwatchable failure and the other the best I've seen from US indie scene in years.

[baby doll]

I just spent all of Margot at the Wedding wondering when the hell was it ever going to end. Kidman and Leigh both surpass expectations with their acting. Jack Black is miscast and Turturro underused. But the movie overall is garbage. Its talky, self-conscious dialogues grow tiring and sometimes I found myself not even listening to the characters just to rest a little. I also think Bambauch went through great pains to make everything, from the murky, underlit look of the film to every plot twist and revelation as unpleasant as possible, and I don't think that worked very well for him. The editing was also clumsy and amateurish. On purpose, but it still was - shots don't flow off each other, not even in a contradictory way. Some comedy scenes make the film at least watchable every once in a while, like Kidman climbing the tree.

I might never watch another Bambauch movie again, since I don't think highly of Squid and the Whale either. But this one is way, way worse. I'd watch this movie back-to-back with Rachel Getting Married to see two films with more or less the same intentions, except one of them is an unwatchable failure and the other the best I've seen from US indie scene in years.Let's start with Jack Black being miscast. How? He's played a loser before in movies like Orange County, and here he takes that persona to the max: a loser who turns out to be a pedophile.

Turturro isn't on screen very long, and I'm sure it only took three days at the most to shoot all his scenes, but he's on screen long enough to make it clear that his character is compulsively nice (for instance, driving the woman to the hospital) and that Nicole Kidman's character resents him for it.

The cinematography is great. I mean, you mention Rachel Getting Married, which was just flat and ugly, but here, working on 35mm, Harris Savides, gets a whole range of tones. And the art direction is very strong just in terms of colour coordination. It's one of the best looking American films of recent years.

And I've heard this complaint that the characters are all horrible people before, but who goes to the movies to see people being nice to each other? That was the real problem with Rachel Getting Married, that none of the black characters were allowed to be interesting, flawed human beings, and the plot would come to a complete stand-still so that they could give these long, boring speeches about how happy they are and how great it is that everyone's here together and this is what heaven is like. Yawn.

The editing is fine. To defend it, however, I'd have to go all Bordwell and show how, for instance, the scene where Kidman climbs the tree contains numberous matches on action (I'll just attach one of Kidman turning to face the tree as she walks towards it), and how Baumbach uses close ups to show the shift Kidman undergoes emotionally from elation at climbing the tree to her realization that she can't get down.

[trotchky]

Both are great movies; Rachel Getting Married is better. Baumbach is primarily a comedy director though so the comparison is innately skewed; of course Margot at the Wedding looks cartoonish in comparison, but who cares? Different films, different goals.

NB: Demme's direction of the long boring speeches in Rachel Getting Married (I'm thinking specifically of the entire wedding rehearsal segment) alone should have netted him an Oscar.

edit: those two thumbnails baby_doll posted are really good.

[Spinal]

Just looked at the top 5 at this week's box office and realized that I have no idea what 4 of them are. I've heard of The Soloist. That's it.

[BuffaloWilder]

Let's all get terribly, terribly depressed with "The Plague Dogs," at the blog below.

:cry:

[Raiders]

and the plot would come to a complete stand-still so that they could give these long, boring speeches about how happy they are and how great it is that everyone's here together and this is what heaven is like. Yawn.

Have you ever been to a wedding before?

[thefourthwall]

To defend it, however, I'd have to go all Bordwell...

I <3 Bordwell, even got to have dinner with him when he came to speak at our school and he joked about coming to dreamdead and my's wedding...rep for you!

[Sven]

I should've had my head examined re:The Frighteners. What a terrible, terrible movie. Probably his worst.

[trotchky]

Have you ever been to a wedding before?

Precisely. The rehearsal segment, besides moving me to tears, stunned me with its realism. So did the actual wedding, although it didn't have the same affect.

[Raiders]

I should've had my head examined re:The Frighteners. What a terrible, terrible movie. Probably his worst.

Dude. Just... stop. Please.

[Qrazy]

I should've had my head examined re:The Frighteners. What a terrible, terrible movie. Probably his worst.

Vindication!

[megladon8]

Lady in the Water was actually kind of OK.

Such a great cast, but some poor writing and M. Night Shyamalan's casting of himself in a major role was a big problem, since he's quite the terrible actor.

I didn't think it was as terrible as some thought it was. Certainly isn't up there with Unbreakable, but I found more good than bad in the experience.

[baby doll]

Have you ever been to a wedding before?Yes, and they're incredibly boring. When I go to the movies, I don't want to see a lot of people smiling and saying nice things. Also, it seemed to undermine the whole "post-racial" vibe of the film, since clearly the filmmakers weren't interested enough in the black characters to give them interesting flaws or problems.

[lovejuice]

Yes, and they're incredibly boring. When I go to the movies, I don't want to see a lot of people smiling and saying nice things.
isn't that the point of naturalism though? it doesn't have to be proletariat-looking like ken loach's and dardenne's.

[Spaceman Spiff]

Let's all get terribly, terribly depressed with "The Plague Dogs," at the blog below.

:cry:

I've always thought it and Watership Down were both horrifically depressing books. The WD film is also pretty goddamn scary.

[Ezee E]

Yes, and they're incredibly boring. When I go to the movies, I don't want to see a lot of people smiling and saying nice things. Also, it seemed to undermine the whole "post-racial" vibe of the film, since clearly the filmmakers weren't interested enough in the black characters to give them interesting flaws or problems.
Bride Wars may be more down your alley.

[BuffaloWilder]

I've always thought it and Watership Down were both horrifically depressing books. The WD film is also pretty goddamn scary.

I don't know if I'd call it 'scary,' I mean - as a kid, maybe.

[Watashi]

Bride Wars may be more down your alley.
It wouldn't shock me if baby doll likes it more.

[Sycophant]

I really don't see what injecting depth and flaws and conflict into the groom's family would've added to Rachel Getting Married.

[number8]

Margot at the Wedding = some of the worst cinematography I've seen in recent years.

[Sven]

Dude. Just... stop. Please.

I will say that Combs is the best thing about any Jackson film. So there's that. Also, I was strangely fond of the very cartoony special effects... it was almost like Warner Brothers. Everything else, from the lame-ass humor to the jettisoning of the most intriguing angle (that maybe Bannister is the killer and that the ghosts were his own projections), left me feeling annoyed and empty and sad.

Also, I'm doing this for class! I can't just stop.

[[ETM]]

jettisoning of the most intriguing angle (that maybe Bannister is the killer and that the ghosts were his own projections)

One of the things I like the most about the film is the fact that it doesn't take that tired and overused route and stays a pure and honest old school sci-fi horror thriller... comedy, whatever.

Didn't we see, like, a dozen films do the "I see dead people" schtick in the 21st century so far alone?

[Sven]

;158405']One of the things I like the most about the film is the fact that it doesn't take that tired and overused route and stays a pure and honest old school sci-fi horror thriller... comedy, whatever.

Didn't we see, like, a dozen films do the "I see dead people" schtick in the 21st century so far alone?

The problem, though, is that the film TRIES to do that, but only does a half-assed job. I am like you in that I find that kind of twist tiresome, but if you're going to introduce that tension, at least DO something with that tension instead of just leaving it at an awkwardly directed interrogation scene that lasts maybe two minutes.

Had it just stayed "honest old school," I probably would've liked it more. Or rather, been irritated with it less.

[Scar]

;158405']One of the things I like the most about the film is the fact that it doesn't take that tired and overused route and stays a pure and honest old school sci-fi horror thriller... comedy, whatever.

Didn't we see, like, a dozen films do the "I see dead people" schtick in the 21st century so far alone?

You like you could use some rep.

I laugh my ass off everytime I watch this movie. I'm so glad I decided to see it in theatres when it came out.

[B-side]

... assraped by a gang of rainbows...

Brilliant.:)

[[ETM]]

The problem, though, is that the film TRIES to do that, but only does a half-assed job. I am like you in that I find that kind of twist tiresome, but if you're going to introduce that tension, at least DO something with that tension instead of just leaving it at an awkwardly directed interrogation scene that lasts maybe two minutes.

Had it just stayed "honest old school," I probably would've liked it more. Or rather, been irritated with it less.

I don't know, I guess you just expected something else, and people (as in me and most people I know) enjoyed as hell what was actually on screen. While it isn't a complete success, there's so much to enjoy in it that I just don't care about the things that could have been different. I remember seeing it back when I wasn't really into films, and it stuck in my head for years after, until I saw it again, for totally non-teenage thinking reasons - not "dude, did you see how that guy..." but "wow, that hospital sequence was incredibly lit and edited... loved the cinematography...".

[Sven]

;158410']I guess you just expected something else

Actually, if you'll read what I wrote, you'll see that I'm responding to what the film presented, not my own expectations (which were forgiving, because I liked the film as a young teenager!).

[Winston*]

What other famous Kiwi films have you found yourself hating over the course of your Kiwi film course, iosos? Once Were Warriors? The Piano? Whale Rider?

[Sven]

What other famous Kiwi films have you found yourself hating over the course of your Kiwi film course, iosos? Once Were Warriors? The Piano? Whale Rider?

Once Were Warriors is okay. It's an uncomfortable straddling of realism and oversimplification. Temuera Morrison is pretty great.

The Piano I find myself liking more than I think I should. It has a sort of muted vibrancy that is hypnotic.

I make no apologies about my disdain for Whale Rider.

Have you seen Desperate Remedies? That was nutso. Didn't really get it. I was also unmoved by Maclean's Crush, though I wouldn't call it bad.

Smash Palace I really liked, and Utu I loved.

[Russ]

...and Utu I loved.
I even liked Murphy's previous film, Goodbye Pork Pie. Still haven't seen The Quiet Earth, tho...

[dreamdead]

The Piano I find myself liking more than I think I should. It has a sort of muted vibrancy that is hypnotic.


Darn tootin' it's vibrant. Though it treads a little too easily in ideas of feminism, in my eyes it uses its time period and all of the concurrent critiques of patriarchal structures better than any other film that attempts to interrogate the institutional oppression of women. Combine that with the artistry displayed with the various color schemes and it becomes an incredible viewing experience.

I finally checked out Boner's favorite film, O Lucky Man! What a bizarre and twisted journey this one is--full of capitalist critique that undermines how upper crust British society uses the middle-class individual to get ahead in the world. Brilliantly episodic, and Helen Mirren looks positively ravishing here. Sweet mother. Anyhoo, I need to think more on this one, cause it's definitely something special.

[Sven]

I even liked Murphy's previous film, Goodbye Pork Pie.

I saw about ten minutes and thought it was amazing. Once the class is over, I'm making it a point to borrow my prof's DVD.

[Sven]

Darn tootin' it's vibrant. Though it treads a little too easily in ideas of feminism, in my eyes it uses its time period and all of the concurrent critiques of patriarchal structures better than any other film that attempts to interrogate the institutional oppression of women. Combine that with the artistry displayed with the various color schemes and it becomes an incredible viewing experience.

My biggest pause when it comes to The Piano is that I don't think it deals satisfactorily with the ideas of indigenousness. The Maori/European tension is there, but it seems like a stillbirth almost. I mean... Harvey Keitel? What's going on there?

Still, I find myself transfixed at the film.

[baby doll]

isn't that the point of naturalism though? it doesn't have to be proletariat-looking like ken loach's and dardenne's.I'm not really talking about the style, but the narrative structure. The white family had interesting problems (one daughter was a recovering drug addict, the other daughter resented her, etc.), while the black family was happy and boring, and the movie kept stopping for these boring speeches.

[baby doll]

I really don't see what injecting depth and flaws and conflict into the groom's family would've added to Rachel Getting Married.It would've made them more interesting as characters.

[baby doll]

Margot at the Wedding = some of the best cinematography I've seen in recent years.Fixed.

[Ezee E]

Fixed.

Explain.

I like the movie and cannot think of that statement making sense at all.

[baby doll]

Explain.

I like the movie and cannot think of that statement making sense at all.What's to explain? But since pictures speak louder than words, I like this bedroom scene with Jennifer Jason Leigh and Nicole Kidman where the only light source is the sunlight coming in through the windows, especially because both actresses are constantly moving through the space. (I can only attach five pictures at a time, so I'll have to do this over two posts.)

[baby doll]

Continued from previous post:

[Qrazy]

Haven't seen the film but those pics are teh sux.

[SirNewt]

Can someone back up my thorough dislike of 'The Big Chill'.

[baby doll]

Can someone back up my thorough dislike of 'The Big Chill'.Haven't seen it, but what's the deal with the 4/10 rating for Eyes Wide Shut?

[SirNewt]

Haven't seen it, but what's the deal with the 4/10 rating for Eyes Wide Shut?

I kept getting the impression that I was supposed to find the whole sex cult thing scary but it seemed just kind of funny to me. I didn't feel any tension or anxiety from that whole encounter. The scenes with Pollack were awkward (especially the one in which he tries to intimidate Cruise) and Nicole Kidman acting high was almost as funny as any scene from 'Pineapple Express'.

[balmakboor]

Eyes Wide Shut - 4

:crazy:

I will back you up on The Big Chill though.

[balmakboor]

Looks down at his own sig and realizes he has a lot of potential :crazy: going on of his own.

[SirNewt]

Looks down at his own sig and realizes he has a lot of potential :crazy: going on of his own.


Well I wasn't going to mention it but since you bring it up. . .

:P

[number8]

Haven't seen the film but those pics are teh sux.

They're even worse in motion.

[MacGuffin]

I started writing this and then stopped.

...

Michael Reeves' 1968 horror film, Witchfinder General is the biographical story of the infamous Matthew Hopkins, a witch hunter, or self-proclaimed "witchfinder general" during the English Civil War, responsible for the deaths of hundred of people, men and women, along with his businessman, John Stearne. The film is much different than the standard biopic and should be applauded for its use of character — Reeves does a fantastic job crafting personalities from his leading players, especially Vincent Price, who, known for his lowbrow, yet unmatched charismatic performances turns in one of a considerably diabolic nature. His Matthew Hopkins is sinister to the utmost, and Price, who reportedly was not wanted by Reeves and who was ignored for the most part by Reeves on set, completely relinquishes the familiar persona he developed from horror classics like The Pit and the Pendulum and The Tingler. Where most modern biopics feature textbooks examples of a characters' life, Witchfinder General is refreshing in that it presents a sense of moody style and daring plot points that don't match the suggestions made by historians on the central characters' lives. In other words, the movie is exciting and terrifically realized.

The movie begins with a series of shots that suggest the hanging of townspeople in the mid-1600s, England, to be a common occurrence. First, we see shots of sheep laying in the fields, then a man building a hanging staff in the distant hills, and then a noisy shot of the townspeople bringing forward a screaming woman to be hung. Then cut back the man man building her fate in the hills. The sequence sets the tone for the aberrant nature of what lies ahead by juxtaposing shots of the scenic countryside (the film could stand as an example of why all 60s movies looked better when shot on location) with those of a discomforting nature. This is by and large a fine example of how sound meshes perfectly with images to provide equal understanding to the sight and sound. The dynamics of the soundtrack feature those of the loud quiet loud variety insomuch as we feel claustrophobic when we see the shot of the woman being brought forward, and we are also alarmed by the sounds of her screams and to then show us a shot of a man, not worrying, not feeling an evident remorse for what he is building; well, it suggests that this sort of thing was to be expected in this time period.

...

In other words, it's a great movie with some flaws, but I definitely recommend it to Vincent Price fans if they want to see a departure from his other works. He basically runs the movie though, which admittedly has the same great editing throughout and a pretty memorable score if I may say so myself.

[Thirdmango]

I have just now watched Requiem for a Dream for the first time. As I think about this movie both while I was watching and now a couple moments after, I'm trying to direct my thoughts in some manner and I keep thinking of how it portrayed it's message well and was a technically sound film with some minor flaws, and the fact that I didn't like the film while I was watching, and whether or not that was the overall intent. To say I didn't like the film is putting it mildly, I didn't enjoy the film and I felt uncomfortable and in agony as I watched it. I even at one point had to stop the film to take a breather before I could ultimately start it up again. I didn't feel any amount of enjoyment from the movie and I'm pretty sure I never want to see the movie ever again. On that same token however this movie was able to really evoke in me a lot of emotion; Fear, rage and agony being the top of the top. I felt queasy and sick during the film due to the things portrayed, and if this was the intention of the film then it pulled it off incredibly well.

The technical aspect of the film was quite good; Scene structure, movement, lighting, etc. The music I had some problems with but mostly due to the emotions I was feeling with it. The music would be amazing at moments but then it would become monotonous, doing the same movement over and over again just as the infomercial was played over and over again. The repetitiveness just amplified the feelings I was already having of discomfort.

The trouble I am having is how do I properly rate this movie. Because it feels like there are two opposing forces at work here, on one side there is the intent and result of the themes of the movie, versus my own enjoyment of the movie. This movie was properly able to bring out in me emotions and feelings all of which do not have enjoyment in them for me, and yet most of my movie and television watching is based on my own enjoyment of it. If I don't like a movie I tend to rate it as a lesser film or if I like it, it gets a higher rating. So as of now I'm not sure what to rate it because I don't think I've come to this particular crossroads before. There are many movies I have seen before which I didn't like which tried to evoke in me those emotions but it didn't quite do it. This one did it. It properly made me feel those emotions.

So overall, after thinking about it, writing this out and thinking about what I wrote. I like the fact that it was able to make me so uncomfortable, in this way it worked. I'm glad I watched it though I'm fairly certain I never want to see it again. Because of the fact that enjoyment for me is a very important part of my rating, I can not give this movie 4 stars, I don't know what I would have done to make it into a 4 star movie, and I can easily see how anyone else can make it this, but for me and how I view movies this movie is a strong 3.5.

[Grouchy]

Let's start with Jack Black being miscast. How? He's played a loser before in movies like Orange County, and here he takes that persona to the max: a loser who turns out to be a pedophile.
Well, he plays the character for laughs, so he somewhat spoils his own character arc. I always felt the guy was supposed to be a pathetic person but because it was Jack Black playing it for laughs, it was hard to consider him that seriously.


Turturro isn't on screen very long, and I'm sure it only took three days at the most to shoot all his scenes, but he's on screen long enough to make it clear that his character is compulsively nice (for instance, driving the woman to the hospital) and that Nicole Kidman's character resents him for it.
Yes, I got that, thanks. What I meant is precisely that, that his character was one-note and thus the fucking great actor was underused.


The cinematography is great. I mean, you mention Rachel Getting Married, which was just flat and ugly, but here, working on 35mm, Harris Savides, gets a whole range of tones. And the art direction is very strong just in terms of colour coordination. It's one of the best looking American films of recent years.
Hahahahahahah. Yeah, right. Well, no. It looks like shit, as most of your thumbnails show. It's obviously deliberate, since I find it hard to believe that a professional DP can be that bad, but it doesn't earn the film any points - it just makes it more difficult to watch.


And I've heard this complaint that the characters are all horrible people before, but who goes to the movies to see people being nice to each other? That was the real problem with Rachel Getting Married, that none of the black characters were allowed to be interesting, flawed human beings, and the plot would come to a complete stand-still so that they could give these long, boring speeches about how happy they are and how great it is that everyone's here together and this is what heaven is like. Yawn.
The characters in Rachel Getting Married are much more interesting, but not all of them are protagonists, hence you only meet some of them (like the groom's family) on a social level. The film focuses more on Hathaway's family. Regardless, at least they're characters and not machines of spitting up crap. It's like Bambauch decided that, to make his movie more adult, he had to remove every redeeming quality from the characters and make them all as cowardly and useless as possible. I don't go to the movies to see nice behavior, it's true, but I do go to see interesting behavior, and not some amateur writer trying to get his script an indie pass by making every character essentially the same.


The editing is fine. To defend it, however, I'd have to go all Bordwell and show how, for instance, the scene where Kidman climbs the tree contains numberous matches on action (I'll just attach one of Kidman turning to face the tree as she walks towards it), and how Baumbach uses close ups to show the shift Kidman undergoes emotionally from elation at climbing the tree to her realization that she can't get down.
Well, you aren't helping your case any here. I mean, matches on action? And yeah, generally close-ups are used to show emotions. Big deal. What I meant was how deliberately awkward the editing was, but in a very artless way, making every scene seem abrupt and random and skipping over the natural denoument of events.

[Winston*]

Forgetting Sarah Marshall - Fairly amiable. Sporadically funny. Totally unremarkable.

I think this guy should be the next Freaks and Geeks dude that Apatow makes a movie star.

http://quovadimus.blogspot.com/harris.jpg

Him or Linda Cardellini.

[Ezee E]

Martin Starr is getting his chance in Adventureland Winston... Doy.

Linda Cardellini needs a better agent, because she can be a star, but stuck with ER way too long.

Anyway, Dangerous Liasions is pretty good. Love how all the actors work with the dialog in the movie.

The Uninvited is a stylishly made horror movie, but follows every gimmick that has come out of 2000's horror. Elizabeth Banks is also pretty awful in this movie. Like whoever played the sister though.

[baby doll]

Well, he plays the character for laughs, so he somewhat spoils his own character arc. I always felt the guy was supposed to be a pathetic person but because it was Jack Black playing it for laughs, it was hard to consider him that seriously.Why is playing for laughs a bad thing? The scene where he tries to run away from a beating from the father of the girl he molested is clearly supposed to be funny.


Yes, I got that, thanks. What I meant is precisely that, that his character was one-note and thus the fucking great actor was underused.I think underused is a relative term. If he had a lot of screen time and we didn't learn anything more about his character, then I would say he's underused. But in what's essentially a cameo, you seem to expect the kind of nuance and complexity you'd find in a lead role.


Hahahahahahah. Yeah, right. Well, no. It looks like shit, as most of your thumbnails show. It's obviously deliberate, since I find it hard to believe that a professional DP can be that bad, but it doesn't earn the film any points - it just makes it more difficult to watch.I don't understand why everyone is so down on Baumbach's film for its cinematography. The reason I chose that sequence is that the actors are constantly in motion: the first three stills and the last four are each one shot. Instead of lighting each actor individually, Savides lights the space, so the actors are able to move more freely around the set, rather than worrying too much about hitting their marks. Declan Quinn does basically the same thing in Rachel Getting Married, except the quality of the digital video is a lot cruddier looking and the art direction isn't as attractive.



The characters in Rachel Getting Married are much more interesting, but not all of them are protagonists, hence you only meet some of them (like the groom's family) on a social level. The film focuses more on Hathaway's family. Regardless, at least they're characters and not machines of spitting up crap. It's like Bambauch decided that, to make his movie more adult, he had to remove every redeeming quality from the characters and make them all as cowardly and useless as possible. I don't go to the movies to see nice behavior, it's true, but I do go to see interesting behavior, and not some amateur writer trying to get his script an indie pass by making every character essentially the same.But they're not the same obviously. I don't think the Nicole Kidman character is being cowardly when she argues with the neighbors about them hitting their kid. Maybe she's sticking her nose where it doesn't belong, but clearly her intentions are good. And really that's why she's able to do so many horrible things is because she's convinced she's doing the right thing.


Well, you aren't helping your case any here. I mean, matches on action? And yeah, generally close-ups are used to show emotions. Big deal. What I meant was how deliberately awkward the editing was, but in a very artless way, making every scene seem abrupt and random and skipping over the natural denoument of events.Okay, I'm not helping my case, but what are you talking about? I don't think there's anything at all awkward about the editing.

[Derek]

Martin Starr is getting his chance in Adventureland Winston... Doy.

That picture is not of Martin Starr.

[Spaceman Spiff]

Martin Starr is getting his chance in Adventureland Winston... Doy.

That's Harris from F&G. Not Bill.

And yeah, I agree. He should be in more stuff. One of the best characters on the show. Wouldn't mind seeing more Sam and Neil, either. I'm really glad that the Schweiber is in the new Tarantino flick.

[Kurosawa Fan]

And yeah, I agree. He should be in more stuff. One of the best characters on the show. Wouldn't mind seeing more Sam and Neil, either. I'm really glad that the Schweiber is in the new Tarantino flick.

Sam (John Francis Daley) has a pretty significant role in the show "Bones" on Fox.

[Ezee E]

Ah. They do look somewhat alike. My bad.

Also, back to Dangerous Liasions. I doubt we'll ever have the opportunity to see Keanu Reeves in a costume drama ever again. I laughed out loud when he showed up.

[[ETM]]

I doubt we'll ever have the opportunity to see Keanu Reeves in a costume drama ever again.

With this sentence, you have just caused a rift in the time-space continuum which will directly cause the production of a Brothers Karamazov remake with Keanu as Dmitri, complete with fake Russian accent.

You should be more careful. For the sake of mankind.

[Qrazy]

Promise Me This - Even weak Kusturica is still fairly decent. A country boy leaves his grandfather to become a man in the big city. He meets two groups of thugs and side with one of them (his cousins) in order to save his future wife from prostitution. I have to agree with the imdb commenter who stated that this film is essentially a music video, or rather a series of protracted music videos. The overall plot is not very interesting. Scenes come and go and transiently correspond to one another, but nothing is ever really at stake. One gang altercation gives way to the next and one squabble over a girl is followed by another. Still Promise Me This is a cut above most other films of it's ilk, that is other zany crime films.

[The Mike]

;158671']With this sentence, you have just caused a rift in the time-space continuum which will directly cause the production of a Brothers Karamazov remake with Keanu as Dmitri, complete with fake Russian accent.

You should be more careful. For the sake of mankind.
I thought his next project was an 18th century Japanese samurai flick.

[BuffaloWilder]

Ah. They do look somewhat alike. My bad.

Also, back to Dangerous Liasions. I doubt we'll ever have the opportunity to see Keanu Reeves in a costume drama ever again. I laughed out loud when he showed up.

http://www.cinemagraphe.com/_imagery/_bram-stokers-dracula/carriage-ride.jpg

[[ETM]]

Promise Me This - Even weak Kusturica is still fairly decent. A country boy leaves his grandfather to become a man in the big city. He meets two groups of thugs and side with one of them (his cousins) in order to save his future wife from prostitution. I have to agree with the imdb commenter who stated that this film is essentially a music video, or rather a series of protracted music videos. The overall plot is not very interesting. Scenes come and go and transiently correspond to one another, but nothing is ever really at stake. One gang altercation gives way to the next and one squabble over a girl is followed by another. Still Promise Me This is a cut above most other films of it's ilk, that is other zany crime films.

Kusturica was at his best before he got major recognition. I haven't seen "Zavet" yet, but I can see you nailed most of the problems I've had with his recent work. When Father Was Away on Business (1985) is still his best, IMO, and a quintessential film for understanding Yugoslavia and the Balkans. Before his zany infatuation with the Roma culture, popular icons and music, it's incredible how layered and understated it is compared to his later work.

[Ezee E]

http://www.cinemagraphe.com/_imagery/_bram-stokers-dracula/carriage-ride.jpg
Donnie Darko meets Barry Lyndon?

[Qrazy]

;158682']Kusturica was at his best before he got major recognition. I haven't seen "Zavet" yet, but I can see you nailed most of the problems I've had with his recent work. When Father Was Away on Business (1985) is still his best, IMO, and a quintessential film for understanding Yugoslavia and the Balkans. Before his zany infatuation with the Roma culture, popular icons and music, it's incredible how layered and understated it is compared to his later work.

Hrm I like it but I think Underground and Time of the Gypsies are his masterpieces.

1. Underground
2. Time of the Gypsies
3. Do You Remember Dolly Bell
4. Black Cat, White Cat
5. When Father was Away on Business
6. Life is a Miracle
7. Arizona Dream
8. Promise Me This

[[ETM]]

Hrm I like it but I think Underground and Time of the Gypsies are his masterpieces.

1. Underground
2. Time of the Gypsies
3. Do You Remember Dolly Bell
4. Black Cat, White Cat
5. When Father was Away on Business
6. Life is a Miracle
7. Arizona Dream
8. Promise Me This

Yeah, that's pretty much how a foreigner's list alright.:) I'm not disagreeing with you, but Kusturica's work has always polarized the audiences based on cultural perspective. I love Gypsies and Dolly Bell, but Father clicks with me on many more levels. The extravagant audacity of Underground and Black Cat, White Cat, while perfectly fine in Gypsies, got old for me quickly, and Miracle was more of the same. I like Arizona Dream more as a wonderful anomaly than a movie.:) I like telling people "Do you know there is a Kusturica movie with Depp, Gallo, Dunaway, that features flying ambulances and fish, Iggy Pop music, and Jerry Lewis is an Inuit some of the time?"

[Qrazy]

;158703']Yeah, that's pretty much how a foreigner's list alright.:) I'm not disagreeing with you, but Kusturica's work has always polarized the audiences based on cultural perspective. I love Gypsies and Dolly Bell, but Father clicks with me on many more levels. The extravagant audacity of Underground and Black Cat, White Cat, while perfectly fine in Gypsies, got old for me quickly, and Miracle was more of the same. I like Arizona Dream more as a wonderful anomaly than a movie.:) I like telling people "Do you know there is a Kusturica movie with Depp, Gallo, Dunaway, that features flying ambulances and fish, Iggy Pop music, and Jerry Lewis is an Inuit some of the time?"

Don't make me 'foreigner's list' you for every American director we disagree about.

Actually now that I think about it Kusturica's filmography reminds me a bit of Fellini's. Only in terms of a general trend. Time of the Gypsies and Underground are his La Dolce Vita, 8 1/2... Do You Remember Dolly Bell and When Father Was Away on Business are his lower key but also excellent La Strada/Nights of Cabiria/I Vitelloni and his later work represents his completely zany, unbridled period... Life is a Miracle/Black Cat, White Cat and Satyricon/Amarcord/etc.

[[ETM]]

Don't make me 'foreigner's list' you for every American director we disagree about.

That would be lots of fun, actually, but I haven't seen nearly enough films in general to be able to participate in serious discussion on that scale. Except for Jarmusch and the mainstream directors, I've not seen enough of any director's work to rate their films in a list. I mainly come here to read about stuff you guys watch and educate myself on the choices out there.

Kusturica is different, he's "local". I've even been at his ethnic-village place in Serbia, where his films are shown for free around the clock every day of the year.:P

[Grouchy]

Someone's Watching Me! is an excellent TV film and a John Carpenter classic I didn't know existed. Filled with Hitchcockian references (from the overall plot being a version of Rear Window to the dolly/zoom shot from Vertigo), the film is a thriller made with the skill of an old professional master and not a young director about to direct his second theatrical feature. It's not exactly a very original story, but it's told with grace and original details. The sexy Lauren Hutton plays a news anchorwoman who receives threatening phone calls and presents from a stranger who seems to know everything about her. Adrienne Barbeau plays her lesbian friend - it's nice and somewhat advanced for the times that her sexuality is only a character trait and not a major issue. Really, the film is a gem. It shows its TV roots every once in a while, but it's more engrossing and well-directed than any theatrical thriller released in the last couple of years.

[Qrazy]

;158720']That would be lots of fun, actually, but I haven't seen nearly enough films in general to be able to participate in serious discussion on that scale. Except for Jarmusch and the mainstream directors, I've not seen enough of any director's work to rate their films in a list. I mainly come here to read about stuff you guys watch and educate myself on the choices out there.

Kusturica is different, he's "local". I've even been at his ethnic-village place in Serbia, where his films are shown for free around the clock every day of the year.:P

I've procured his earliest TV films... Buffet Titanic and The Brides are Coming as well as Maradona so I'll probably watch those relatively soon. Unfortunately I was flipping through Maradona and it looked pretty bad.

[The Mike]

Someone's Watching Me! is an excellent TV film and a John Carpenter classic I didn't know existed. Filled with Hitchcockian references (from the overall plot being a version of Rear Window to the dolly/zoom shot from Vertigo), the film is a thriller made with the skill of an old professional master and not a young director about to direct his second theatrical feature. It's not exactly a very original story, but it's told with grace and original details. The sexy Lauren Hutton plays a news anchorwoman who receives threatening phone calls and presents from a stranger who seems to know everything about her. Adrienne Barbeau plays her lesbian friend - it's nice and somewhat advanced for the times that her sexuality is only a character trait and not a major issue. Really, the film is a gem. It shows its TV roots every once in a while, but it's more engrossing and well-directed than any theatrical thriller released in the last couple of years.
I need to revisit this one. Carpenter's my god, but I didn't fall for it as much as I wanted to.

[[ETM]]

I've procured his earliest TV films... Buffet Titanic and The Brides are Coming as well as Maradona so I'll probably watch those relatively soon. Unfortunately I was flipping through Maradona and it looked pretty bad.

I wish he'd go back to his roots, and leave the politics, pop culture, (relatively) big budgets and biopics behind. He's got enough cred in Europe to make a "small" film on whatever he wants, but it's like he's went wacko in the nineties and never looked back.

One thing of his I'd really be is the interested in seeing is the Paris musical production of "Time of the Gypsies". It was incredibly popular with the audiences there, I hear.
http://www.youtube.com/watch?v=JUQCNlHYDBo

I can't believe they built a detailed replica of the front of the Milan cathedral for the finale. I wish he'd also tone down his obsession with the No Smoking Orchestra. Nele Karajlić is an awesome character, but his voice is terrible for this.

[Dead & Messed Up]

For all:

A horror movie montage (http://www.youtube.com/watch?v=lbJ9UWGhFEY) from a site concept I abandoned four or five months ago. The image is small because it was just a test.

But I kinda like it.

[The Mike]

For all:

A horror movie montage (http://www.youtube.com/watch?v=lbJ9UWGhFEY) from a site concept I abandoned four or five months ago. The image is small because it was just a test.

But I kinda like it.

Very nice. :)

[Raiders]

After finishing Al Reinart's For All Mankind, I realized that maybe I am simply not terribly awed or fascinated by films dealing with space and the celestial. I had a similar response to the documentary In the Shadow of the Moon a couple years back. Certainly Reinart's exhaustive efforts to compile the footage and edit it together are worthy of praise, particularly in his splicing of multiple missions to form almost one distinct arc from the earth to the moon and back while giving a range of the emotions (ranging from scared, playful, awed and tired) and possible events along the way. And Brian Eno's aural accompaniment adds to the wondrous images on display. But, afterwards, I found myself respecting the effort without really being all that interested. I guess maybe it is just a personal preference, but none of the actual footage lured me in the way Kubrick's fictitious-yet-elegant constructs scored to classical music were able to.

[megladon8]

Wow. Smokin' Aces is one of the worst movies I've seen this year - maybe even among the worst I've ever seen. Certainly if I'm just looking at big, wide-release movies...that was just awful.

[megladon8]

http://ecx.images-amazon.com/images/I/51c0vb9d6WL._SS500_.jpg

The Legend of Fong Sai Yuk directed by Corey Yuen is the latest release from Dragon Dynasty.

Shall be released May 26th.

[number8]

Today, I saw the restored Once Upon a Time in the West in a movie theater. Huge screen, awesome speakers.

It was sublime. I should just throw out my DVD copy because the experience will never be the same again.

[BuffaloWilder]

I propose that Match-Cut should band together and buy a small theater in Dallas, where we can propagate the works of Sergio Leone, Stanley Kubrick, Tarsem and George Miller, in a 'midnight movies' fashion, as is best befitting.

Please, just throw your money into the hat.

[Sycophant]

Why Dallas, when we can build it on THE MOON?

[BuffaloWilder]

Why Dallas, when we can build it on THE MOON?

I considered it, at first. But, who's on the moon? Nobody. Who's in Dallas?

Everybody.

[Sycophant]

I considered it, at first. But, who's on the moon? Nobody. Who's in Dallas?

Everybody.
I have never been to Dallas. And because of this post, I intend to keep it that way.

[BuffaloWilder]

I have never been to Dallas. And because of this post, I intend to keep it that way.

But - but I'm in Dallas -


- oh.

:sad:

[Winston*]

Sycophant, if you're going to keep up this posting storm, can you please change your avatar to something more palatable?

[Sycophant]

No.

[Spinal]

I refuse to donate money towards supporting Tarsem.

[BuffaloWilder]

I refuse to donate money towards supporting Tarsem.

You don't enjoy The Fall?

I mean, The Cell I can understand, because of everything other than the visual layer, but - how did it come to this?

[megladon8]

The Cell > The Fall

[Spinal]

You don't enjoy The Fall?

I mean, The Cell I can understand, because of everything other than the visual layer, but - how did it come to this?

http://www.match-cut.org/showpost.php?p=101747&postcount=133

[BuffaloWilder]

The Cell > The Fall

I disagree. When it's not inside the antagonist's head, it's bogged down to a pretty by-the-numbers 'we have to find the serial killer before time runs out' plot. Of course, I don't think the plot was really the point, but The Fall finds a better balance.

[BuffaloWilder]

http://www.match-cut.org/showpost.php?p=101747&postcount=133

This kind of reminds me of an Ebert quote from the most recent Answer Man column:

"“It reminds me of a helpful lecture I supplied to a young film critic for a Chicago TV station who was new at the job: “Film criticism is all opinion, and always subjective. There is no right and no wrong. That having been said, Phil, it is nevertheless WRONG for you to state that ‘The Valachi Papers’ is a better film than ‘The Godfather.’ ”

[megladon8]

I found The Fall an emotionally unengaging and very superficial film.

The Cell was pretty much based on its visuals, too, but they were more interesting here, and since The Fall was attempting to be profoundly moving, the fact that it failed to do so with me made Tarsem's earlier film more successful for me.

[BuffaloWilder]

I found The Fall an emotionally unengaging and very superficial film.

I can't fault you for finding it emotionally unengaging, but superficial? How so?

[BuffaloWilder]

Well, if we could always just play The Road Warrior and Happy Feet back to back, if all else fails. When The Wind Blows and The Plague Dogs on alternates, when we're feeling deliriously depressed.

[megladon8]

I can't fault you for finding it emotionally unengaging, but superficial? How so?


For all the striking compostions, there was nothing beneath them. A very simplistic form of symobolism, but that's it.

And frankly, I didn't even find the visuals that stunning. They looked so artificial, and the acting in the fantasy world was pathetically bad.

I found this movie more indicative of "music video style" than anything by Michael Bay or Tony Scott.

[chrisnu]

Today, I saw the restored Once Upon a Time in the West in a movie theater. Huge screen, awesome speakers.

It was sublime. I should just throw out my DVD copy because the experience will never be the same again.
I was able to do the same thing a few years ago. It was the first time I saw the film. Top five film-going experience for me. I agree that re-visiting it on DVD doesn't compare.

[Sycophant]

I also saw Once Upon a Time in the West projected 35mm, looking as gorgeous as any film I'd ever seen.

But if I ever want to rewatch it (which I will), it'll probably have to be on DVD, so I'll keep my copy.

[BuffaloWilder]

For all the striking compostions, there was nothing beneath them. A very simplistic form of symobolism, but that's it.

See, I'm torn - because on the one hand I could say 'that's kind of what surrealism is,' and on the other I could talk about the various scenes where there was multitextual intent (but, then - that's kind of the entire film). I don't know which way to go.


And frankly, I didn't even find the visuals that stunning. They looked so artificial, and the acting in the fantasy world was pathetically bad.

Bad, or purposefully exaggerated? Because, they were supposed to be larger-than-life characters - except for Roy's avatar, I think.


I found this movie more indicative of "music video style" than anything by Michael Bay or Tony Scott.

I don't know where Michael Bay comes into this, or Tony Scott - but, Tarsem was a music-video and commercial director. He'd just come off fresh when he started The Cell.

[Watashi]

Apparently, Quentin Tarantino is currently writing a 20 page review of Superman Returns.

[Sycophant]

Do want.

[Watashi]

Do want.
He's extremely passionate about the film.

[Ezee E]

Ugh, could only imagine the headache for the editor.

[number8]

Yep.


In your festival, who won best director?
Bryan Singer for ‘‘Superman Returns.’’ I am a big fan of ‘‘Returns.’’ I’m working on what is now a 20-page review of that movie, and I’m not done yet.

[Ezee E]

Nothing But the Truth has a great cast of actors that almost tricks me into thinking that it's a good movie I'm watching. Too bad it's incredibly conventional, and once a murder happens, it only gets moreso.

Anyone else see this? If so, what'd you think of the final scene?

[Spinal]

Ugh, could only imagine the headache for the editor.

Especially when he insists on calling it Superman Reterns.

[Spinal]

This kind of reminds me of an Ebert quote from the most recent Answer Man column:

"“It reminds me of a helpful lecture I supplied to a young film critic for a Chicago TV station who was new at the job: “Film criticism is all opinion, and always subjective. There is no right and no wrong. That having been said, Phil, it is nevertheless WRONG for you to state that ‘The Valachi Papers’ is a better film than ‘The Godfather.’ ”

The Godfather is a better film than The Fall. I trust this is not controversial.

And just so we do not end on a sour note, I consider Happy Feet to be the best children's film of the last 10 years.

[Dead & Messed Up]

Apparently, Quentin Tarantino is currently writing a 20 page review of Superman Returns.

And it still won't be as bloated and dull as Superman Returns.

[megladon8]

That's really cool. I can't wait to read it.

I could easily write 20 pages on that movie. It's a fascinating film.

[[ETM]]

And just so we do not end on a sour note, I consider Happy Feet to be the best children's film of the last 10 years.

Children's film? Love it plenty, but I was stunned how dark and upsetting it can get.

[Spinal]

;158884']Children's film?

Happy Feet is a film for children. I can't believe that this is a point of contention.

[Winston*]

That's really cool. I can't wait to read it.

I could easily write 20 pages on that movie. It's a fascinating film.

I think I could write 6 pages, but it would probably just be the word "BORING" typed in page-sized letters

Saw City of Ember tonight. Liked it. Not as much as Monster House but still a pretty classy kid's film. Kind of over-streamlined though, could've used some more breathing room I think, especially at at the start; get to know the world and all.

[[ETM]]

Happy Feet is a film for children. I can't believe that this is a point of contention.

It is not. It was made for children.

[Grouchy]

See, I can understand writing 20 pages on Superman Returns, because I think it's a very "full" film, bursting with its themes and an authentic desire to understand and reinvent the character for modern audiences. But from what I can remember it's deeply flawed and downright ridiculous at times. I think of it as a good idea gone wrong.

That said, I'll fucking read that review when it gets on the 'net. First thing on the morning.

[Raiders]

I'm a big fan of Superman Returns and love reading positive remarks on its behalf. However, the thought of reading a 20-page review from Tarantino makes me a little nauseous.

[Grouchy]

The Heart is Deceitful Above All Things is a hard film to swallow. On the one hand, it's very well directed with a couple of stand-out sequences (the LSD trip in the car, the Marilyn Manson tease and rape scene) that prove that Asia has talent of her own. But it's also very disjointed and at times it seems as if it's wasting its actors (like Peter Fonda and Ornella Mutti) into hammering their lines and acting out stereotypes instead of creating more complex characters. Then again, perhaps Asia just wanted those bible-thumping stereotypes since the story is told from a very unilateral point of view. I dunno, I enjoyed the film for what it was and never got bored with it despite a couple of scenes near the end overstaying their welcome. The ending is very good. I'm willing to bet its better than its source material only from the glimpses of the original novel that appear on screen during the credits. Quirky little film, indulgent as all hell, but compulsively watchable.

http://www.dvdtown.com/images/displayimage.php?id=3623

Now, Malcolm X. That's a fucking biopic. It's engrossing from the very first shot until the last. It's a monster elephant of a movie, absolutely epic and devastating to watch. Denzel Washington is so good as Malcolm, I thought it was him instead of the real thing on the footage near the end. I really didn't know much about Malcolm X before watching the film and I only thought of him as an extreme version of Martin Luther King - forgive my brutality. I found all of it fascinating, and it's indicative of Spike's talent that despite it being a "big issue" film it retains humanity at all times. We perceive Malcolm's strong personality and we sense the deep changes he goes through, understanding what motivates him to do every action. That's really the very best you can say about a biopic of a controversial historical figure. There are so much issues the film tackles - racism, religion, the pressure of public life, etc. - that it's almost a miracle that they can all fit in the same film and gain the time they deserve. Still, I would've liked a couple of scenes showing how Malcolm went from stopping people getting out of church to being recognized by the public. This is the most over-reaching, ambitious and yet the most succesful of all the Spike films I've seen so far, although I do owe Do the Right Thing a rewatch.

I was also thinking that Spike must fucking hate Morgan Freeman. His two biggest movies lost the Oscar to movies in which he starred. And one of them was Driving Miss Daisy. Hah!

[lovejuice]

Happy Feet is a film for children. I can't believe that this is a point of contention.

i too think it's a children film, but the tap dance, music and environmental message will probably fly over their head.

(and i hate the word, "message." why the hell is it written "message" but read like "mass-sege"? :frustrated:)

[Raiders]

(and i hate the word, "message." why the hell is it written "message" but read like "mass-sege"? :frustrated:)

It's pronounced like "mess-sege" with the first part being pronounced like it looks (just like the word "mess").

[balmakboor]

I just submitted a list to this guy. In case anyone else is interested:

http://1linereview.blogspot.com/2008/09/one-line-review-presents-50-greatest.html

[Qrazy]

Well, if we could always just play The Road Warrior and Happy Feet back to back, if all else fails. When The Wind Blows and The Plague Dogs on alternates, when we're feeling deliriously depressed.

No.

[Spinal]

i too think it's a children film, but the tap dance, music and environmental message will probably fly over their head.

I disagree with this. Just because they might not be able to summarize their feelings in a capsule review doesn't mean that films like this can't impact them. At the very least, it opens up an opportunity for parents to have a discussion.

[Ezee E]

Hmm... Has Spike Lee ever worked with Morgan Freeman? Can't think of a movie where they've worked together.

[Sycophant]

Hmm... Has Spike Lee ever worked with Morgan Freeman? Can't think of a movie where they've worked together.

IMDb says no.

[number8]

People underestimate children too often.

[Sycophant]

It's true. Children want Spike Lee to direct Morgan Freeman.

[number8]

In my fantasy, Spike Lee directed the Spiderman skits on Electric Company.

[BuffaloWilder]

;158884']Children's film? Love it plenty, but I was stunned how dark and upsetting it can get.


Happy Feet is a film for children. I can't believe that this is a point of contention.

It was only a children's film in the same way that something like Watership Down was, I think. Or Golden Era Disney, and particularly Pinocchio, which Miller's cited as an inspiration for both this and the second Babe film.


It is not. It was made for children.

Only partly, by the director's own admission. Of course, saying it like that makes it sound like every other Dreamworks-esque animation, but that's the most pared down definition I can think of, just short of finding a relevant quote.

There's an audio interview where Miller goes into it, quite extensively. It's either KCRW's The Treatment, or the Leonard Lopate Show. One of those.

[BuffaloWilder]

The Godfather is a better film than The Fall. I trust this is not controversial.

And just so we do not end on a sour note, I consider Happy Feet to be the best children's film of the last 10 years.

There's no reason to end on a sour note, there. Don't leave mad.

[[ETM]]

Only partly, by the director's own admission. Of course, saying it like that makes it sound like every other Dreamworks-esque animation, but that's the most pared down definition I can think of, just short of finding a relevant quote.

My initial reaction was related to what the words "children's film" evoke. I was utterly surprised at how much what Happy Feet is trying to say is clearly not meant for the child audiences that devour stuff like Madagascar. Of course, being two films at once, the cracks show - the childish simplified plot points undermine the "serious" messages and vice versa.

In the end, I played the film for my family - 5yo niece and my parents. The kid got bored with realistic visuals rather quickly and left, and my folks stayed glued to the screen till the end, and simply loved it.

[Duncan]

I watched Everything is Illuminated last night. It took what was best from the book (the humour) and made it suck. And what was worst about the book, all the driving around getting nowhere and then a sudden burst of exposition at the end, it emphasized all the more. And it dropped the whole shtetl story altogether, which is a shame. And it came up with a whole bunch of random plot changes that make the story less interesting or powerful. Not that I'm a fan of the book, really, but this was a pretty bad movie.

The Science of Sleep was way better than I expected. If Stephane wasn't quite so creepy I think I could have really liked it. I mean, Charlotte Gainsbourg, I'd watch anything with her in it. It gets very music video-y at times, but I don't think there's necessarily anything wrong with that. Yeah...I guess it was something I'd even watch again.

[Qrazy]

I watched Everything is Illuminated last night. It took what was best from the book (the humour) and made it suck. And what was worst about the book, all the driving around getting nowhere and then a sudden burst of exposition at the end, it emphasized all the more. And it dropped the whole shtetl story altogether, which is a shame. And it came up with a whole bunch of random plot changes that make the story less interesting or powerful. Not that I'm a fan of the book, really, but this was a pretty bad movie.

The Science of Sleep was way better than I expected. If Stephane wasn't quite so creepy I think I could have really liked it. I mean, Charlotte Gainsbourg, I'd watch anything with her in it. It gets very music video-y at times, but I don't think there's necessarily anything wrong with that. Yeah...I guess it was something I'd even watch again.

I agree on both counts except that I haven't read the former book.

[BuffaloWilder]

;158990']My initial reaction was related to what the words "children's film" evoke. I was utterly surprised at how much what Happy Feet is trying to say is clearly not meant for the child audiences that devour stuff like Madagascar. Of course, being two films at once, the cracks show - the childish simplified plot points undermine the "serious" messages and vice versa.

I don't know about that - I thought it was particularly clever how Miller used the "childish" and the "serious" themes to compliment each other, particularly in the first third. This kind of dissipates once the main character left the colony, though.



In the end, I played the film for my family - 5yo niece and my parents. The kid got bored with realistic visuals rather quickly and left, and my folks stayed glued to the screen till the end, and simply loved it.

Oh, you'll get 'em when they're older.

[[ETM]]

This kind of dissipates once the main character left the colony, though.

Yes. The resolution with his return and the helicopter in particular is childish and a bit of a letdown. As Sven would say, it was too cute.

[BuffaloWilder]

;159003']Yes. The resolution with his return and the helicopter in particular is childish and a bit of a letdown. As Sven would say, it was too cute.

Oh, I thought that was one of the best scenes of the film, myself. I can't really see how that was particularly childish, or cute. A tidy wrap-up, maybe. But -

No, I was talking about how that simultaneous child/adult thematic development dissipates, in the second third. Since we've followed the character into adulthood, it only seems right.

[Qrazy]

So, speaking of animated films which are not Happy Feet, I'll probably watch The King and the Mockingbird in the next few days. I've heard both Miyazaki and Norstein speak highly of it.

[Spinal]

What's with this adult/child dichotomy? The serious themes are there for the children. Just because adults get into fights over the themes on CNN doesn't mean that they aren't intended to reach a young viewer.

[Qrazy]

Here's a compromise. They are 'family films'.

[[ETM]]

So, speaking of animated films which are not Happy Feet...

...I still can't believe no one has seen Brendan and the Secret of Kells, nor knows anything about it.

[BuffaloWilder]

What's with this adult/child dichotomy? The serious themes are there for the children. Just because adults get into fights over the themes on CNN doesn't mean that they aren't intended to reach a young viewer.

Well, this kind of goes back to that Lopate/KCRW interview - while Miller does say that it was never meant purely as a children's film (those would be his Babe films), he does talk a lot about Bettleheim the child psychologist, and the influence he's had on his latter two films.

Like I said previously - you could certainly call it a children's film, but only in the same way you'd call Watership Down or Pinocchio one. Even then, a better label for these three would be --


Here's a compromise. They are 'family films'.

Exactly that.

[BuffaloWilder]

;159015']...I still can't believe no one has seen Brendan and the Secret of Kells, nor knows anything about it.

Being Irish, I probably should've been keeping up with it - but, the only real thing I can muster up any excitement for from Ireland is Father Ted, unfortunately.

[Sycophant]

Father Ted led to several of my friends saying "feck" a lot for a few months. It was annoying.

The little bit of the show I watched was alright, though.

[[ETM]]

Being Irish, I probably should've been keeping up with it - but, the only real thing I can muster up any excitement for from Ireland is Father Ted, unfortunately.

I adore the look and the music of Secret of Kells, I'm literally aching to see it at this point.

http://www.thesecretofkells.com/
http://twitchfilm.net/site/view/brendan-and-the-secret-of-kells-review/

[BuffaloWilder]

Father Ted led to several of my friends saying "feck" a lot for a few months. It was annoying.

The little bit of the show I watched was alright, though.

http://soapboxrants.files.wordpress.c om/2007/10/father-ted-careful-now.jpg

[Spun Lepton]

Troll 2 -- With Rifftrax playing. I was laughing my head off. WOW, what a fantastically bad flick. 1/10 for quality. 7/10 for laughs.

Red Cliff -- Part one. Historical piece that's apparently John Woo's first Hong Kong film since '93. Three families and their armies go to war. I could barely follow what was going on, there were so many names that I lost track within a half-hour of who did what and when and lost interest soon after that. Perhaps had I known more about Chinese history (or folklore), I would've been better suited. 3/10

[Spun Lepton]

Father Ted led to several of my friends saying "feck" a lot for a few months. It was annoying.

The little bit of the show I watched was alright, though.

Father Ted is hilarious, I can watch that show over and over again.

[baby doll]

The Godfather is a better film than The Fall. I trust this is not controversial.I'll go out on a limb and say I prefer The Fall. I guess there's no connection (both tell stories about immigrants in America set in 1930s?), but damn, were the visuals ever sweet. Also, it moved me to tears, and Coppola's film, for all its fluidity as storytelling, has never come close.

[Winston*]

So, speaking of animated films which are not Happy Feet, I'll probably watch The King and the Mockingbird in the next few days. I've heard both Miyazaki and Norstein speak highly of it.

That movie is great.

[Ezee E]

I'll go out on a limb and say I prefer The Fall. I guess there's no connection (both tell stories about immigrants in America set in 1930s?), but damn, were the visuals ever sweet. Also, it moved me to tears, and Coppola's film, for all its fluidity as storytelling, has never come close.

Should The Godfather bring one to tears though?

[Qrazy]

I'll go out on a limb and say I prefer The Fall. I guess there's no connection (both tell stories about immigrants in America set in 1930s?), but damn, were the visuals ever sweet. Also, it moved me to tears, and Coppola's film, for all its fluidity as storytelling, has never come close.

I guess there's no accounting for taste.

[Qrazy]

That movie is great.

Awesome sauce.

[Russ]

I'll go out on a limb and say I prefer The Fall. I guess there's no connection (both tell stories about immigrants in America set in 1930s?), but damn, were the visuals ever sweet. Also, it moved me to tears, and Coppola's film, for all its fluidity as storytelling, has never come close.
I don't think baby doll is necessarily off his rocker here. The Fall, compared to The Godfather (sprawling, and yes, indulgent at times) seems downright succinct in comparison. However, I do think they're both pretty great films and to draw comparisons between them (which I did, naughty) probably does a disservice to each.

I'd look at the subject matter and frankly, I'd rather rewatch The Fall any day. It goes back to the emotional connection that bd describes...

[Rowland]

So, From Russia With Love is commonly considered one of the best Bond movies, if not the best? Uhh... no. On the contrary, I found it quite convoluted and dull for the most part, without as much of the kitsch that makes the older entries I've seen so amusing, and without enough cinematic craft or dramatic heft to make up for it, despite a few game attempts at rooting the character and his international escapades in something approaching a convincing reality. It picks up in the final act, but not enough to salvage the whole. Total mehsville in other words, so I'm pretty baffled by its reputation.

[Winston*]

I'd like to read your thoughts on Donkey Punch: The Movie, Rowland.

[baby doll]

Should The Godfather bring one to tears though?Touché.

[Raiders]

Total mehsville in other words, so I'm pretty baffled by its reputation.

Indeed. And yet, it is still one of the best Bond films I have seen.

[Qrazy]

I don't think baby doll is necessarily off his rocker here. The Fall, compared to The Godfather (sprawling, and yes, indulgent at times) seems downright succinct in comparison. However, I do think they're both pretty great films and to draw comparisons between them (which I did, naughty) probably does a disservice to each.

I'd look at the subject matter and frankly, I'd rather rewatch The Fall any day. It goes back to the emotional connection that bd describes...

http://blog.dreamhost.com/wp-content/uploads/2006/05/bizarro.jpg

[Sycophant]

I have seen The Fall three times, while I've seen The Godfather just once. This probably has as much to do with the run times as anything else.

[soitgoes...]

This comparison of The Fall to The Godfather only is a great disservice to Tarsem's film. The Godfather is one of the best films I've seen, and The Fall is merely great.

[MacGuffin]

I saw two minor Godard works that he did as a part of his Dziga Vertov era, along with Jean-Pierre Gorin, Tout va bien (All is Well) and Letter to Jane. The former is an interesting movie in concept, but it is all over the place, unlike Week End, which seems to be a bit more focused of a political movie. This starts out by talking about the movie making process in funds, then casting, then love, then workers' strikes, then capitalism, then Marxism, then leftism, then Capitalism, etc., etc. There are some striking scenes of course such as the monologues (which, I have been told were written mostly by Gorin; the film's technical aspects were handled more so by Godard) and the supermarket scene, which recalls a famous shot from Week End, and while the movie is good, it just doesn't feel very cohesive as a whole and more of a minor work for Godard, political or otherwise.

While Letter to Jane is more focused, it is a bit more slight and humorous in a condescending way. Godard and Gorin make some smart, satirical comments about the picture of Jane Fonda in Vietnam that was popular in the early 70s, remarking about the stills' composition (with Fonda appearing much taller than the Vietnam people — addressing the issue of class which Godard and Gorin admit to also touching upon in Tout va bien), the idea that Fonda is merely listening and relate this concept to Brecht's "I think, therefore I am...", suggest that she is not a revolutionary simply because she visits Vietnam, and in short summary, she is somewhat of a fake. Again, slight, but you could say the same thing about many celebrities who take this false positioning of themselves politically. It's also kind of funny how they find ways to sneak in comments about capitalism here. Worth seeing, but minor.

[baby doll]

Indeed. And yet, it is still one of the best Bond films I have seen.Well, allow me to ask, what (if anything) does that mean? The whole thing is an adolescent, consumerist, chauvinist fantasy if there ever was one--a two-hour version of one of those Axe cologne ads where X consumes product Y (in this case, BMW cars, martinis and other products associated with Bond), and the inevitable outcome is X screwing hot broads. I get that it's escapism (meaning the films are perfect for thirteen year old boys and anyone looking for something more sophisticated can take a hike), but if you've seen one you've seen them all, so why do people keep going to see them? Even the opening credit sequences are embarrassingly predictable: some forgettable theme song set to silhouettes of naked women.

[megladon8]

I'm trying to hold back from neg repping that post.

[Rowland]

I'd like to read your thoughts on Donkey Punch: The Movie, Rowland.As a low-budget thriller, it's a reasonably effective and disciplined affair, spinning a standard template that recalls Philip Noyce's Dead Calm into an unexpectedly intriguing direction, less concerned with demonizing sexuality and drugs than it is with condemning the culture of hedonistic chauvinism resulting from our instant-porn age that has distorted ideas of masculinity in the younger and more impressionable. Indeed, the movie suggests in its intoxicatingly scored first act that sex and drugs are a natural, even beautiful rite of passage that has been corrupted by the mainstreaming of smut. If it grows increasingly predictable as it progresses, credit is due to the filmmakers for keeping the production under control tonally with sober filmmaking, convincing performances, and few developments that strain credibility, without cynically encouraging bloodlust in the viewer. Indeed, by the end I was suitably downcast, which suggests that the picture works as it's intended. All that said, there isn't anything exceptional about the picture, but it's better than much of its ilk.

[Raiders]

Well, allow me to ask, what (if anything) does that mean? The whole thing is an adolescent, consumerist, chauvinist fantasy if there ever was one--a two-hour version of one of those Axe cologne ads where X consumes product Y (in this case, BMW cars, martinis and other products associated with Bond), and the inevitable outcome is X screwing hot broads. I get that it's escapism (meaning the films are perfect for thirteen year old boys and anyone looking for something more sophisticated can take a hike), but if you've seen one you've seen them all, so why do people keep going to see them? Even the opening credit sequences are embarrassingly predictable: some forgettable theme song set to silhouettes of naked women.

My post essentially meant this (though the styles between the earlier Connery films and Moore's later films are quite distinct if still both offering many of the same "pleasures"). That From Russia With Love, in all its mediocrity, is still among the best in the franchise I have seen.

I do think they got something right with 2006's Casino Royale, even if it still suffered some of the same flaws, but they're starting to go wrong again with Quantum of Solace, albeit in a different wrong direction than before.

[Dead & Messed Up]

Well, allow me to ask, what (if anything) does that mean? The whole thing is an adolescent, consumerist, chauvinist fantasy if there ever was one--a two-hour version of one of those Axe cologne ads where X consumes product Y (in this case, BMW cars, martinis and other products associated with Bond), and the inevitable outcome is X screwing hot broads. I get that it's escapism (meaning the films are perfect for thirteen year old boys and anyone looking for something more sophisticated can take a hike), but if you've seen one you've seen them all, so why do people keep going to see them? Even the opening credit sequences are embarrassingly predictable: some forgettable theme song set to silhouettes of naked women.

Sometimes it's okay to come down and join us plebeians for a cheeky, enjoyable action picture.

[Rowland]

From Russia With Love seems to attempt a more serious tone than most of the series, by subverting or at least spinning some of the Bond conventions... and yet it remains largely conventional, as well as flat and inert. If it's anything to go by, I prefer my old-school Bond campy.

[Raiders]

Sometimes it's okay to come down and join us plebeians for a cheeky, enjoyable action picture.

Just as it is OK to criticize the Bond pictures and to not enjoy that sort of movie. Right?

[megladon8]

I'm more than happy to admit that many of the Bond films are pretty trashy, with regurgitated plots and characters.

But the best of the series also represents some of the very best action films out there.

Not to mention the way they have both reflected and commented on popular culture of their respective times.

[Spinal]

I actually agree with baby doll on this point. I find Bond films to be repetitive, unimaginative drivel. I do not understand the need for people to keep this dead horse on its feet.

[baby doll]

Sometimes it's okay to come down and join us plebeians for a cheeky, enjoyable action picture.Well, obviously I'm all for a cheeky, enjoyable action pictures if they're well made. It's one thing to have variations on a formula, but here there's no room for surprise whatsoever.

[Dead & Messed Up]

Just as it is OK to criticize the Bond pictures and to not enjoy that sort of movie. Right?

No, Raiders. That is not right. My post was an order, not a lighthearted suggestion.

[Spinal]

I am wearing my Clash of the Titans avatar to ward off any potential charges of elitism. :)

[soitgoes...]

I am wearing my Clash of the Titans avatar to ward off any potential charges of elitism. :)Every time your avatar looks at me I get hard as a rock.

:eek:

:pritch:

[Sycophant]

From claims of the inarguable superiority of The Godfather over The Fall to exempting the James Bond films from criticism.

This is your FDT.