28 Film Discussion Threads Later

[The Mike]

I'm making a blog roll for my own benefit, and I suppose, for others, if they happen to come across my blog. Does anybody here keep a blog or have a website besides Derek, Philosophe_rouge, baby doll, Israfel the Black, and fasozupow (only because I already have there's listed) about movies that they update frequently?
Had me till the last 4 words. :lol:

[MacGuffin]

Had me till the last 4 words. :lol:

Yours is a nice blog. I'll add it to my blog roll as incentive for you.

[chrisnu]

I refrained from watching Synecdoche, New York for some time, because I thought it was going to take a lot of work to process it, and I was right. This film felt over my head for most of the running time, and yet there's ideas in it which I appreciate very much. A desire for someone or something else, even a dramatic character, to connect with who you think you are. Having an image of someone that is what you want, and the farther they stray from that image (or from you), the more distorted your image of them becomes over time, and you wonder what went wrong. Feeling like a spectator of your own life, unable to perceive the good things that make the rest worthwhile until they've already past. Accepting failure and an inability to meet all your expectations as something that can be shared, and as something that can be beautiful. Its pain is very brutal, and there's little solace to be had, but that's what there is. Anyway, it'll probably take me at least two more viewings to digest everything I think was going on. It's probably brilliant.

[megladon8]

Here's a question about animated films/TV series'. I apologize in advance if it seems ignorant or has a very obvious answer.

Why does Japanese-produced animation almost always look slight choppier than American?

By "choppier" I mean, it's almost like they work with a smaller framecount, so the tiny gap between frames where a character's movement changes from one position to the next is more apparent.

For example, when I compare something like Akira with something like The Little Mermaid, the Disney film has a much more fluid look to it, even though they're both top of the line animated films from the same time.

What is the reason behind this?

[baby doll]

Here's a question about animated films/TV series'. I apologize in advance if it seems ignorant or has a very obvious answer.

Why does Japanese-produced animation almost always look slight choppier than American?

By "choppier" I mean, it's almost like they work with a smaller framecount, so the tiny gap between frames where a character's movement changes from one position to the next is more apparent.

For example, when I compare something like Akira with something like The Little Mermaid, the Disney film has a much more fluid look to it, even though they're both top of the line animated films from the same time.

What is the reason behind this?I'm not an expert, but I think they animate 12 frames per second and film each one twice to save time and money.

[D_Davis]

Here's a question about animated films/TV series'. I apologize in advance if it seems ignorant or has a very obvious answer.

Why does Japanese-produced animation almost always look slight choppier than American?

By "choppier" I mean, it's almost like they work with a smaller framecount, so the tiny gap between frames where a character's movement changes from one position to the next is more apparent.

For example, when I compare something like Akira with something like The Little Mermaid, the Disney film has a much more fluid look to it, even though they're both top of the line animated films from the same time.

What is the reason behind this?

Part of the reason is simply the way Japanese animators approach animation. Aesthetically, animation in Japan is seen as something more fluid than manga, the still image, and less fluid than Disney. The two are really trying to accomplish different things with the final product. If you compare the drawings you will notice that, typically, Japanese animation contains much more detail, and more intricate line work. This is where they tend to excel, while Disney tends to focus on the fluidity of the movement. I believe this aesthetic distinction is discussed on the Animatrix DVD if you want to learn more.

[Rowland]

Courtesy of Yahoo Answers:

Japanimation runs at an average of 24 frames per second, with main objects animated at 8 to 12 fps and background objects as low as 6 to 8 fps. (2) Japanimation often hide or use tricks to conceal that fact that nothing in the frame is being animated. Such as: the speaking character’s back is turned to eliminate the need to animate mouth movements, or a sequence such as someone running is simply looped animation, or a sideways moving shot or a shot zooming in on a character is not animated, but rather the camera moving over a single cel. (3) Japanimation makes no or little attempt to align the mouth movements to the actual dialogue. (4) Most anime cels are drawn in Korea.

[megladon8]

Cool, thanks so much for the answers everyone!

Would rep, but I'm out of points for today.

[number8]

Man, I saw a documentary on this particular subject recently, but I can't remember what it was.

Short answer: budget.

No Japanese studio has the money to pay Korean animators the way Disney or WB can for the number of cels required for fluid animation. I don't think it has to do with aesthetics at all. It's simply them trying to hit tight deadlines with limited resources, and they've been doing this for decades so it just becomes the standard work ethic. Quantity, timeliness and visual design are deemed more important than animation.

[D_Davis]

I don't think it has to do with aesthetics at all.

It does.

Maybe not in all cases, but it does.



Quantity, timeliness and visual design are deemed more important than animation.

Visual design = aesthetic decision.

[BuffaloWilder]

I'm making a blog roll for my own benefit, and I suppose, for others, if they happen to come across my blog. Does anybody here keep a blog or have a website besides Derek, Philosophe_rouge, baby doll, Israfel the Black, and fasozupow (only because I already have there's listed) about movies that they update frequently?

*cough cough*

*nudge*

[MacGuffin]

*cough cough*

*nudge*

Oh, yeah. How could I forget? :P

[D_Davis]

I got Juliet of the Spirits today from Netflix.

My first Fellini. I'll watch it sometime this week.

[Philosophe_rouge]

I got Juliet of the Spirits today from Netflix.

My first Fellini. I'll watch it sometime this week.
I saw this for the first time just a few weeks ago, so I'm interested in your thoughts as it's still fresh on my mind.

[Qrazy]

I got Juliet of the Spirits today from Netflix.

My first Fellini. I'll watch it sometime this week.

Nice!

[Qrazy]

I saw this for the first time just a few weeks ago, so I'm interested in your thoughts as it's still fresh on my mind.

Your thoughts?

[MacGuffin]

One name I have not seen nearly enough by from the French New Wave (a category I'm working on specializing in) is Claude Chabrol. I've only seen Le cérémonie, and was ambivalent towards it, but I'm almost certain I'll like it more a second time. Should I watch that again first, or go right to his earlier works? And if the latter, is Le boucher a good place to start?

[Qrazy]

One name I have not seen nearly enough by from the French New Wave (a category I'm working on specializing in) is Claude Chabrol. I've only seen Le cérémonie, and was ambivalent towards it, but I'm almost certain I'll like it more a second time. Should I watch that again first, or go right to his earlier works? And if the former, is Le boucher a good place to start?

I've only seen Le Boucher. It was solid. I'd say watch something else first, come back to it much later.

[soitgoes...]

One name I have not seen nearly enough by from the French New Wave (a category I'm working on specializing in) is Claude Chabrol. I've only seen Le cérémonie, and was ambivalent towards it, but I'm almost certain I'll like it more a second time. Should I watch that again first, or go right to his earlier works? And if the former, is Le boucher a good place to start?
Story of Women was my first Chabrol, and it is great. I would think either that or Le Boucher would be good choice.

[MacGuffin]

Story of Women was my first Chabrol, and it is great. I would think either that or Le Boucher would be good choice.

By the way, don't think I've forgotten about watching Harakiri. I'm either going to go watch it right now, or sometime this week (I may try to catch something a little shorter and less potentially dense tonight since I'm feeling a bit tired).

[Grouchy]

Le Boucher is my favorite from him. The closing shot is tremendous.

I like all of the Chabrol I've seen.

[MacGuffin]

Le Boucher is my favorite from him. The closing shot is tremendous.

I like all of the Chabrol I've seen.

Everybody mentions that closing shot... Gonna have to see for myself.

[Boner M]

One name I have not seen nearly enough by from the French New Wave (a category I'm working on specializing in) is Claude Chabrol. I've only seen Le cérémonie, and was ambivalent towards it, but I'm almost certain I'll like it more a second time. Should I watch that again first, or go right to his earlier works? And if the former, is Le boucher a good place to start?
Le cérémonie is my favorite of the 12 I've seen from him, so I don't know how that bodes for your future viewings, but I highly recommend Que la bête meure which is one of the best films about the mechanics of revenge that I can think of.

Can't wait for the consensus week and people see more of his. He has a lot of films with middling-ish reputations, but his plethora of goods ones makes him my favorite new-waver. Conventional, schmonventional!

[Philosophe_rouge]

Though Penn's filmmaking, which is at times obtrusive, and often "artless", prevents The Miracle Worker from being a truly great film, it still excels as a portrait of human strength through both Anne Sullivan and Helen Killer. The performances of these two characters have gone down as among the strongest in the American film tradition, and this is with good reason. Again though, there are very brief moment where Bancroft's false apart, this is due completely to the heavy handed flashbacks' put in place by the filmmaker. They are faded images upon the scene, we watch as Bancroft reaches out to her past, an obvious and tired visual associated with this kind of remembrance. It's such a brief moment of compromise however, that it does little to undermine the rest of her work. The film works largely on a literal level, Helen Keller is blind and deaf, and her parents have done little to teach and care for her. At the end of their ropes, they entertain the idea of sending her to an institution, but first try one more teacher, the stubborn and crude, Anne Sullivan, who is just twenty years old. Though she can see a bit now, Sullivan was born blind. She had a difficult life, and is a born survivor. She cannot abide how Helen Keller has been spoiled and indulged, but never doubts that she will be able to teach her.

Though blind and death, Helen Keller is an intelligent child, she has no other disabilities or problems that impair her understanding. It's only her lack of awareness of the world around her that prevent her from interracting with it. The film is a struggle for words, as Helen can mirror what she is taught, but never quite grasps what they mean. No one except Anne believes that she has the capacity to learn, and maintains patience and steadfastness throughout.

The screenplay, based on the play, adds an interesting theological level to both Anne's character, and the play's greater meaning. Even in the title, Anne is described as a "miracle worker", and more than once her ambition is equated with that of God. Some doubt that it's even God will's that Helen will "see", but Anne sees her will as being far more important. In a way, she puts herself in the position of God teaching Helen everything about the world. Opening her eyes and her soul to the world around her. There are even some interesting discussion between her and the Captain (Helen's father), about obedience without will or understanding, being a kind of blindness and even an imprisonment. It's an interesting commentary on human nature on a whole, and how Anne refuses to be blind and dumb to the world around her, and doesn't allow Helen to be the same. Even the final moments, as everything comes together for Helen, the sky opens and the sun shines down on her.

Of course, not much more can be said for Patty Duke's incredible turn as Helen. The only real problem with her work is that it may be too good, it's difficult to not stand back and think how good she is. Her vocal performance especially is stirring.

It also has to be said, I remember watching this film in school as a child. I remember parts of it quite vividly, the opening scene especially remains ingrained in my mind. Even today it is an incredible frightening and disturbing scene, as the realization that her daughter cannot see or hear dawns on her mother. The surrounding darkness, coupled with the screaming of both parents is potent, and will no doubt stay with me for a long time to come.

[Qrazy]

Wild at Heart - What a piece of crap.

[Raiders]

Wild at Heart - What a piece of crap.

Yes indeed.

[Grouchy]

Wild at Heart - What a piece of crap.
Bah. Nonsense. Bobby Perú, he don't come up for air!

Outpost is quite solid. I was kind of jarred by how abruptly it began, but then I reflected - exactly what kind of exposition was I expecting? The guys are hired mercenaries on a mission. That's enough. It was kind of funny when Ray Stevenson's character was asked "what do you do when you're not fighting?", and he simply said "I drink". Totally in character answer. Once the supernatural part of the story kicked in, I found the movie totally absorbing. The praise here should go to the cinematographer, the composer (although the score was a tad overused), and the editor. The atmosphere their combined efforts create inside that little bunker is very strong. This is the best Nazi zombie movie you're likely to see. And the ending is perfect in context of what had gone before.

[balmakboor]

Wild at Heart - What a piece of crap.

Have you seen Six Figures Getting Sick? It's cartoon figures that catch fire, get fat as if pregnant, and then vomit.

That's Wild at Heart in a nutshell.

Between that and Eraserhead, Lynch must have some extreme childbirth and parenthood phobias.

That said, I think it is the least of Lynch's features, but I wouldn't quite say crap.

[megladon8]

I picked a bad time to start a new movie last night since I was so tired.

But the first half hour or so of Bad Day at Black Rock was wonderful.

[Qrazy]

Have you seen Six Figures Getting Sick? It's cartoon figures that catch fire, get fat as if pregnant, and then vomit.

That's Wild at Heart in a nutshell.

Between that and Eraserhead, Lynch must have some extreme childbirth and parenthood phobias.

That said, I think it is the least of Lynch's features, but I wouldn't quite say crap.

It's not like the worst thing ever made but I found it very weak. I would agree that it's the least of his features. I only have one left to see now... Inland Empire.

[Qrazy]

I picked a bad time to start a new movie last night since I was so tired.

But the first half hour or so of Bad Day at Black Rock was wonderful.

Can't say I'm much of a fan of that or The Magnificent Seven or Sturges in general. I do like The Great Escape. Those three are all I've seen so far.

[MadMan]

I picked a bad time to start a new movie last night since I was so tired.

But the first half hour or so of Bad Day at Black Rock was wonderful.Its a pretty badass movie, and Spencer Tracy rocks as the one armed man, even though its plainly obvious he's just hiding his arm the entire time, heh. If I recall Lee Marvin and Robert Ryan play some of the bad guys in it as well.

Body of Lies was fairly solid, even though I don't feel that Scott went deep enough into US foreign policy in the Middle East. Still Crowe and Leo turn in good work, and I liked its rather raw, unpolished style. Which means I still have yet to dislike a Ridley Scott film. Fanboyism still at 100% :P

Stranger Than Paradise is a movie that I liked, and I kind bought into the whole randomized theme it had going on. The feeling of loneliness and the randomness of life is rather captured, but I'm not sure if any particular goal was had in mind, or really what the movie quite accomplished. I have to say that to me its an extension of the cliched "Road Trip" film, and that much is built upon that premise and extended beyond such a simple plot device. If anything I feel like I need to watch this movie again (I had to return it yesterday to the library, unfortuantely) especially because the ending is still rather unclear to me. For the time being I find it to be highly ironic/amusing, however. Up next for me from Jarmusch is Broken Flowers, which stars the always awesome Bill Murray.

[Raiders]

Can't say I'm much of a fan of that or The Magnificent Seven or Sturges in general. I do like The Great Escape. Those three are all I've seen so far.

Wow. I am again in agreement with Qrazy.

[megladon8]

Well, it was a big step up from what I originally put on to watch last night - some 1998 comedy called Safe Men with Steve Zahn, Sam Rockwell and Paul Giamatti.

What a steaming load that one was. I couldn't get past 45 minutes.

[Qrazy]

Wow. I am again in agreement with Qrazy.

When and how and by virtue of what opinions did I acquire the categorization such that when people agree with me that agreement is rapidly followed by a state of shock.

[Sycophant]

Qrazy, it is not all that uncommon for me to agree with your opinions. I probably actually agree more with you than the average poster around here. Therefore, I don't express shock.

[Raiders]

When and how and by virtue of what opinions did I acquire the categorization such that when people agree with me that agreement is rapidly followed by a state of shock.

It's more of a personal reaction. I wasn't speaking for everyone.

[chrisnu]

Wild at Heart - What a piece of crap.
If I wasn't a Lynch fanatic, I would hate it. As it is, I can tolerate most of it, and like some of it. I think that being lurid pulp trash was part of the point; it doesn't make it a valid point, though.

I haven't seen, nor do I plan to see, Dune. I've seen the rest of Lynch's work, and Wild at Heart is definitely the least of his feature films. Some of the short film work (like The Amputee) was worse.

[Qrazy]

It's more of a personal reaction. I wasn't speaking for everyone.

You and Sven both agree with me more often than you realize. Perhaps the BSG thread has colored your view.

[Qrazy]

Qrazy, it is not all that uncommon for me to agree with your opinions. I probably actually agree more with you than the average poster around here. Therefore, I don't express shock.

Excellent.

[Sven]

You and Sven both agree with me more often than you realize. Perhaps the BSG thread has colored your view.

Oh, I realize how much I agree with you. I don't think I've ever commented on that. I sometimes disagree with your rationale and I do think that your rating system is pretty nebulous (a "B-" is "quite good" while a "D" is "crap"... that's confusing), but I do think you've got a pretty solid approach.

[Qrazy]

Oh, I realize how much I agree with you. I don't think I've ever commented on that. I sometimes disagree with your rationale and I do think that your rating system is pretty nebulous (a "B-" is "quite good" while a "D" is "crap"... that's confusing), but I do think you've got a pretty solid approach.

Well just the other day you said something such as 'I agree with Q here and that's the last time I'll ever say something to that effect'. Anyway I don't take offense or anything but when a couple people say similar things I begin to wonder which of my views are so extreme.

I probably should have given Wild at Heart a D- or an F but I find it hard to give out F's or A's.

[Sven]

Well just the other day you said something such as 'I agree with Q here and that's the last time I'll ever say something to that effect'.

Ah yes. What I said was "In any case, listen to Qrazy. That is the last time I will ever suggest that anybody do that." Which is a bit different than "agree." This was just a bit of fun referencing our heated past.

I understand what it's like to have people shocked when they agree with me. It's a reputation I spent many, many posts (and probably a couple of years) trying to eradicate. I think I've been fairly successful.

[D_Davis]

I really like Dune. It's by far one of the more interesting SF book-to-film treatments, even if it is a bit of a mess. Through extensive internal monologues and thoughtful direction, Lynch captures the literary quality of great SF that many other filmmakers fail to. It's not a great film, but it is an ambitious and interesting failure, and I appreciate it.

[Qrazy]

Ah yes. What I said was "In any case, listen to Qrazy. That is the last time I will ever suggest that anybody do that." Which is a bit different than "agree." This was just a bit of fun referencing our heated past.

I understand what it's like to have people shocked when they agree with me. It's a reputation I spent many, many posts (and probably a couple of years) trying to eradicate. I think I've been fairly successful.

Some day I'll put together my top 100 to clear up my general taste. If memory serves you're with Raiders and I concerning Sturges.

[Sven]

Some day I'll put together my top 100 to clear up my general taste. If memory serves you're with Raiders and I concerning Sturges.

Yes. Bland. Boring. I don't even like the Great Escape aside from the obvious draw of its cast.

[megladon8]

I guess I fail :sad:

[MacGuffin]

I wonder whose taste is most similar to mine on Match Cut.

[Wryan]

Yes. Bland. Boring. I don't even like the Great Escape aside from the obvious draw of its cast.

I like The Great Escape as filtered through Eddie Izzard.

[D_Davis]

With its cast and premise, The Great Escape should be one of the most exciting, tense, and, frankly, ass-kicking action films of all time. But in reality its actually kind of dull. I don't dislike it, and sometimes it's the perfect kind of movie for a lazy, rainy Sunday afternoon, but I would be lying to say that I wasn't a little disappointed with it.

[MacGuffin]

How do Dancer in the Dark and The Five Obstructions look against von Trier's others work?

[baby doll]

How do Dancer in the Dark and The Five Obstructions look against von Trier's others work?Dancer in the Dark is really good, but I don't consider it a mind blowing masterpiece like Breaking the Waves, Dogville or Manderlay. The Five Obstructions, like The Boss of It All, is a very minor film that Trier seems to made only to keep himself occupied between more ambitious projects.

[The Mike]

I picked a bad time to start a new movie last night since I was so tired.

But the first half hour or so of Bad Day at Black Rock was wonderful.

You're goddamn right it is. :pritch:

[megladon8]

I wonder whose taste is most similar to mine on Match Cut.


I don't think anyone has tastes similar to mine.

[Sycophant]

I don't think anyone has tastes similar to mine.

I can't tell whether this is serious or if I'm taking your post "too literally."

Here's a response in case it's serious.

http://match-cut.org/showthread.php?t=1924#2Here[/url], trans points out that you are ranked #5 in commonalities on your top ten list. A little further (http://match-cut.org/showthread.php?t=1924#14) down the same page, it is revealed that DaMU and Fezzik both agree with a lot of your tastes!

[baby doll]

I don't think anyone has tastes similar to mine.I agree with everyone all the time.

[MacGuffin]

Dogville or Manderlay.

I'm surprised you would even put these on the same level. Manderlay is great, but no where near the same ballpark as the groundbreaking Dogville.

[baby doll]

I'm surprised you would even put these on the same level. Manderlay is great, but no where near the same ballpark as the groundbreaking Dogville.I actually prefer Manderlay because the subject of American slavery and its legacy is even more interesting to me than Dogville's more general theme of exploitation, and Trier's take on the subject is really provocative.

[MacGuffin]

I actually prefer Manderlay because the subject of American slavery and its legacy is even more interesting to me than Dogville's more general theme of exploitation, and Trier's take on the subject is really provocative.

I won't deny that Manderlay is indeed provocative — and that along with some fantastic performances really elevate the material beyond what it may have been otherwise — but I think you are selling Dogville a little short by making generalizations. Surely you don't find the movie to be purely about exploitation? I don't think it's at all that general. Not only does it have things to say based on von Trier's research of America (in general, the Americans here are portrayed as unlikable, inconsiderate and selfish; which, quite frankly, isn't too far off judging from about 50% of the people in the town I am currently living in), but I think it also touches base on immigration (Grace is an immigrant to Dogville where she is, as you say, exploited and not appreciated), displays great female power (while Grace is portrayed as a strong female character, I am fairly sure that — even if I haven't watched the movie in a few years and should really correct this sometime soon — Grace does in fact take on "man's jobs" within the town of Dogville), but also comments on the era in which the movie takes place (the final reel of the movie with the burning down of the town followed by the intro to David Bowie's "Young Americans" is probably the greatest one-two punch in cinema this decade).

[baby doll]

I won't deny that Manderlay is indeed provocative — and that along with some fantastic performances really elevate the material beyond what it may have been otherwise — but I think you are selling Dogville a little short by making generalizations. Surely you don't find the movie to be purely about exploitation? I don't think it's at all that general. Not only does it things to say based on von Trier's research of America (in general, the Americans here are portrayed as unlikable, inconsiderate and selfish; which, quite frankly, isn't too far off judging from about 50% of the people in the town I am currently living in), but I think it also touches base on immigration (Grace is an immigrant to Dogville where she is, as you say, exploited and not appreciated), displays great female power (while Grace is portrayed as a strong female character, I am fairly sure that — even if I haven't watched the movie in a few years and should really correct this sometime soon — Grace does in fact take on "man's jobs" within the town of Dogville), but also comments on the era in which the movie takes place (the final reel of the movie with the burning down of the town followed by the intro to David Bowie's "Young Americans" is probably the greatest one-two punch in cinema this decade).I don't know how much research von Trier did into life in the US beyond watching a lot of old movies. Furthermore, I don't think unlikeable, inconsiderate and selfish are specifically American traits.

With regards to the tasks Grace performs for the people of Dogville, most of them (if memory serves) were domestic chores.

[number8]

I don't know who my tastes are similar with, but I think everyone needs to agree with me or my depression kicks in and you'll all be responsible for my descent into meth addiction.

My opinions are important, dammit.

[Sycophant]

Oh, shit. I agree with you a lot. Like, I love Kim Ki-Duk, man.

But I also really want you to get addicted to meth. I AM CONFLICTED.

[MacGuffin]

I don't know how much research von Trier did into life in the US beyond watching a lot of old movies.

Well, as Godard says, "Cinema is truth, 24 frame per second". I don't know the extent of von Trier's research (except that he hasn't been to America), but I do know that nothing in the movie strikes me as immediately historically inaccurate; at least, no more than Manderlay may be.


Furthermore, I don't think unlikeable, inconsiderate and selfish are specifically American traits.

No, but von Trier, who says regarding the movie "evil can arise anywhere, as long as the situation is right", nonetheless seems to make the assumption that people like those found in Dogville can be found everywhere, which I basically have no reason not to believe, based on living in Washington (which is significantly more low-key and pleasant than the aggressive and mostly obnoxious California) and California. Greed plays a major role in Dogville, of course, as it may in any country, based on the people who live in any given city at the current time.


With regards to the tasks Grace performs for the people of Dogville, most of them (if memory serves) were domestic chores.

Are you implying men are incapable of performing domestic chores? I was mostly saying originally how I applauded von Trier's use of a strong female lead, and even if she doesn't take on man's jobs in the movie, she is still just as powerful as Tom Edison, or even her gangster father, as displayed by the final scene.

[baby doll]

Well, as Godard says, "Cinema is truth, 24 frame per second". I don't know the extent of von Trier's research (except that he hasn't been to America), but I do know that nothing in the movie strikes me as immediately historically inaccurate; at least, no more than Manderlay may be.In keeping with the chalk outlines and general level of abstraction in the story, the gangsters in the film are deliberately clichéd in their appearance (fedoras, Model Ts, tommy guns, etc.), as are the townspeople.


No, but von Trier, who says regarding the movie "evil can arise anywhere, as long as the situation is right", nonetheless seems to make the assumption that people like those found in Dogville can be found everywhere, which I basically have no reason not to believe, based on living in Washington (which is significantly more low-key and pleasant than the aggressive and mostly obnoxious California) and California. Greed plays a major role in Dogville, of course, as it may in any country, based on the people who live in any given city at the current time.I think, "as long as the situation is right," is the key phrase. The townspeople in Dogville have an advantage over Grace in that they know her secret (or think they do), and they use this information in order to abuse her. I don't see what that has to do with the relative obnoxiousness of people in California and Washington.


Are you implying men are incapable of performing domestic chores? I was mostly saying originally how I applauded von Trier's use of a strong female lead, and even if she doesn't take on man's jobs in the movie, she is still just as powerful as Tom Edison, or even her gangster father, as displayed by the final scene.I'm implying nothing of the sort--simply that in North American society, domestic chores (like those Grace performs in the film) have historically been relegated to women. In any event, empowered women aren't inherently more interesting as characters than disempowered women--which Grace is for the first two and a half hours of the movie.

[BuffaloWilder]

So, I'm a contributor for The Film of the Month Club blog - but, I'm skipping this month's film, "Thunderbolt and Lightfoot."

Speaking of blogs and blogrolls, does anybody else have a blog, aside from Clipper? I wonder if you all might like to participate in something akin to a round-table discussion of some George Miller film or another.

[Sven]

So, I'm a contributor for The Film of the Month Club blog - but, I'm skipping this month's film, "Thunderbolt and Lightfoot."

Why? You would enjoy this action-thrilling roadcar adventure!

[Winston*]

Why? You would enjoy this action-thrilling roadcar adventure/ gay love story!

Fixed

[BuffaloWilder]

Why? You would enjoy this action-thrilling roadcar adventure!

Oh, I'm not refraining from watching it - just from writing a piece on it. For the moment, anyhow. I may go ahead and give in. I'm weak-willed like that.

[MacGuffin]

In keeping with the chalk outlines and general level of abstraction in the story, the gangsters in the film are deliberately clichéd in their appearance (fedoras, Model Ts, tommy guns, etc.), as are the townspeople.

No argument here; I believe that's how gangsters dressed in the time. That's why it became so iconic in Hollywood.


I think, "as long as the situation is right," is the key phrase. The townspeople in Dogville have an advantage over Grace in that they know her secret (or think they do), and they use this information in order to abuse her. I don't see what that has to do with the relative obnoxiousness of people in California and Washington.

Well, obviously if you compare Dogville's size to that of California... But Dogville is a centralized idea of a town filled with the sort of people you might find anywhere. The "relative obnoxiousness" or just generally exploitive, greedy nature of people. You can find it everywhere; just watch the news: the newsreporters themselves are often astonishingly exploitive.


I'm implying nothing of the sort--simply that in North American society, domestic chores (like those Grace performs in the film) have historically been relegated to women. In any event, empowered women aren't inherently more interesting as characters than disempowered women--which Grace is for the first two and a half hours of the movie.

I never said they were more interesting than women with less power than men; I was simply portraying von Trier's portrayal of a strong woman and I think the idea of a strong woman facing a town of wrongdoers is just one of many themes I was trying to point out to refute your argument that Dogville had but one general theme.

[BuffaloWilder]

No argument here; I believe that's how gangsters dressed in the time. That's why it became so iconic in Hollywood.

They did.

http://www.marinasitalian.com/assets/images/al-capone.jpg

Take my word for it.

[Qrazy]

The Thunderbolt and Lightfoot rabbit scene needs to be seen to be believed. The rest of the film can be seen or not seen, I do not much care.

[Rowland]

I haven't seen, nor do I plan to see, Dune. I've seen the rest of Lynch's work, and Wild at Heart is definitely the least of his feature films. Some of the short film work (like The Amputee) was worse.I dunno, I like Dune more than some of Lynch's more celebrated works.

[Derek]

I don't know who my tastes are similar with, but I think everyone needs to agree with me or my depression kicks in and you'll all be responsible for my descent into meth addiction.

So the teeth in your avatar are yours. I knew it!

[Ezee E]

Manderlay is indeed better than Dogville.

[megladon8]

Tonight's movie: The Private Life of Sherlock Holmes.

[Rowland]

Over the next few nights, I hope for first time viewings of Michael Curtiz's The Adventures of Robin Hood, René Clair's And Then There Were None, aaaand maybe the new DTV The Grudge 3.

[Amnesiac]

Is the title Rebel Without A Cause entirely fitting? Didn't each of the primary rebels in the film actually have a cause for their rebellious attitudes?

Or maybe the title was referring to the confused, posturing, truculent attitudes of the characters, whose rebellion isn't so much a decisive cause they believe in with absolute conviction but just the inevitable behavioral result of their familial dysfunction... "You gotta do something". So, they're rebels, but not with a concrete and resolute game-plan or target, or an awareness of the justification of their rebellion. Instead, they exist as rebels merely because of an implacable sense of dislocation... but does this really fit Jim? I think it's more than just lashing out at nebulous problems he can't quite pinpoint or understand. He states exactly what is troubling him several times throughout the film. He states his cause.

I guess the title might make the most sense if seen from the POV of the clueless parents who only seem capable of trivializing the teenage angst around them.

Hm. I don't know, but something about the title isn't sitting right with me.

[Philosophe_rouge]

I think the title was most likely studio imposed/tested. Like all those Val Lewton films whose titles meant so very little. The Curse of the Cat People especially. It's a title that demands attention, but yea, it has little relevance to the film.

[Philosophe_rouge]

I love how Technicolor used to make films look. Pretty people looked especially good in it.

http://i574.photobucket.com/albums/ss181/missemmaknight/nandiaabg.jpg

[Amnesiac]

I think the title was most likely studio imposed/tested. Like all those Val Lewton films whose titles meant so very little. The Curse of the Cat People especially. It's a title that demands attention, but yea, it has little relevance to the film.

Maybe that's it. Well, at least I'm not alone in thinking that the title sits pretty dissonantly against the film itself.

[Raiders]

I don't think it is fair to say Jim always knows exactly what he wants or what he is rebelling against. It also is worth looking at the title as though from the viewpoint of everyone surrounding Jim who may not recognize what it is he is railing against.

Technically anyway, the title is taken from a book of the same name that was an analysis of the criminal psychopath. I think it is likely Ray took the title as he was giving a glimpse into the mind of the misunderstood, or at least misrepresented, teenage demographic and peeling back the parental and societal pressures that resulted in the rebellion. The title, as I imagine in the book, is more a play on perception as opposed to reality.

[Spinal]

Yes, I always took the title to be from the point of view of the authority figures. As if the title were saying ... "they think he's a rebel without a cause, but is he?"

[Amnesiac]

I don't think it is fair to say Jim always knows exactly what he wants or what he is rebelling against. It also is worth looking at the title as though from the viewpoint of everyone surrounding Jim who may not recognize what it is he is railing against.

Yeah, I considered the last part in my first post when I said: "I guess the title might make the most sense if seen from the POV of the clueless parents who only seem capable of trivializing the teenage angst around them." At this point, that makes the most sense to me as Jim seems to be pretty aware of his issues. He pointedly chastises his father several times for failing to be the authoritative and insightful paternal figure that he obviously needs. Since I saw parental inadequacy as being the root cause of a lot of the problems the characters went through in the film, Jim's awareness of these factors make him out to be much more than just a rebel without a cause. And he also goes on that rant about living up to the expectations of masculinity and its concomitant machismo. While he's unsure of how to act in response to the expectations of masculinity (pride, honor, etc.), he is still able to astutely pinpoint and articulate the issue as the cause of his angst. So, I don't really see Jim entirely fitting the bill as a true rebel without a cause. It's angst, but it's not unplaceable angst.



Technically anyway, the title is taken from a book of the same name that was an analysis of the criminal psychopath. I think it is likely Ray took the title as he was giving a glimpse into the mind of the misunderstood, or at least misrepresented, teenage demographic and peeling back the parental and societal pressures that resulted in the rebellion. The title, as I imagine in the book, is more a play on perception as opposed to reality.

Yeah, I knew about where the title was taken from but I didn't consider that he might be playing up the broader misconception first via the book title before offering the truth in the film. I suppose that's a nice explanation, and it pretty much ties in perfectly with the idea of the parents in the film not being able to grasp or respect the issues that Jim is going through.

[number8]

I just saw Machine Girl Lite. I think I found it funnier than the original.

[Winston*]

Not sure I've ever seen Runaway Train mentioned around here. This movie is totally great.

[Watashi]

Not sure I've ever seen Runaway Train mentioned around here. This movie is totally great.
I mentioned it.

Roberts and Voight are amazing.

[Sven]

Not sure I've ever seen Runaway Train mentioned around here. This movie is totally great.

Oh, it has been talked about. It has even been included in the top 100 of yours truly.

[Grouchy]

I just saw Machine Girl Lite. I think I found it funnier than the original.
What the hell is that? Some kind of dub?

And yes, I agree that Rebel without a Cause is sort of an ironic title, considering all the causes that are clearly explained throughout the movie.

[lovejuice]

I just saw Machine Girl Lite. I think I found it funnier than the original.

i don't like Machine Girl at all. a good example of how cult can only be found not made. when it's obvious they are trying to be cheesy, it's not anymore.

[D_Davis]

I didn't care much for Machine Girl either. Although I found Tokyo Gore Police amazing - it is far more subversive, and actually has something to say. TGP reminded me of another great flick, Stacy, in this regard.

[lovejuice]

I didn't care much for Machine Girl either.
interesting. what do you not like about it?

to me, mainly it's the acting. miike's django might not be my pet movie, but at least, the acting is pitch perfect for the kind of movie that it is. in MG, seem like they don't even try.

[balmakboor]

http://feareffect.files.wordpress.com/2007/10/241007deathgame1.jpg

I watched this last night. As a piece of documentary filmmaking, it'd get about a C-. Pretty much resembled found footage and images along with interviews with people I'd never heard of assembled together by someone using Windows Moviemaker for the first time. The first hour and a half could easily be cut by an hour.

But, as a horror film and as a work of conspiracy theory, it is something of a classic. I'd never heard of the Bilderberg Group, but Alex Jones is certainly committed to the idea that they meet in secrecy once a year to plan everything from 9/11 to oil prices to upcoming pandemics. Seems they are behind everything and plan to overtly rule the planet and reduce its population by 80% (to make it more manageable) by 2020.

It reminded me of Michael Moore meets Robert Greenwald gone completely paranoid.

I have always thought that Stanley Kubrick was intensely interested in such conspiracy theories and that many of his films including Dr. Strangelove, A Clockwork Orange, Barry Lyndon, The Shining, FMY, and EWS (especially EWS) depict a world that's like a pyramid with the very few "all the best people" sitting at the top, untouchable.

Watching this totally convinced me that this is the case -- the Outlook Hotel even looks a lot like the original Bilderberg Hotel -- and that, if any of this is true, his feelings that EWS was his best movie were probably based on things it covertly revealed. And the conspiracy theory that he was murdered over what EWS revealed would make some sense.

Can you tell I love conspiracy theories? I felt like crying when someone convinced me that the "moon landings were faked" theory was wrong. I think it would be way cool if they had been staged and filmed by Kubrick.

[number8]

What the hell is that? Some kind of dub?

It's the spinoff/sequel.

I didn't care for the original either, for the exact reason lovejuice stated. But Lite is hysterical because it veers into perversion. It's like the doujinshi of Machine Girl. Nearly every shot is a low-angle crotch shot.

All of the characters are the dead characters from the first one, who all apparently survived because someone stitched them up. I just lost it everytime one randomly shows up and goes, "IT'S ME! I, too, went through a big operation and survived!" followed by a flashback of their death from the first movie.

[balmakboor]

Good to see you liked The Limits of Control number8. I was getting a bit worried about it from the few reviews I'd read.

[Mara]

After a few minutes of googling Alex Jones, he appears to be a complete nut.

[Qrazy]

http://feareffect.files.wordpress.com/2007/10/241007deathgame1.jpg

I watched this last night. As a piece of documentary filmmaking, it'd get about a C+. Pretty much resembled found footage and images along with interviews with people I'd never heard of assembled together by someone using Windows Moviemaker for the first time. The first hour and a half could easily be cut by an hour.

Sounds like as a piece of documentary filmmaking it's really more of an F.

[balmakboor]

Sounds like as a piece of documentary filmmaking it's really more of an F.

I almost went back and adjusted the rating down a bit, but my love of these sorts of nutty ideas and a decent final hour stayed my hand.

[D_Davis]

interesting. what do you not like about it?

to me, mainly it's the acting. miike's django might not be my pet movie, but at least, the acting is pitch perfect for the kind of movie that it is. in MG, seem like they don't even try.

I was simply hoping for more, like something closer to Stacy. I wanted something that offered up good genre entertainment while also saying something about Japanese culture and pop-culture.

I got that from Stacy, and also from Tokyo Gore Police.

Machine Girl was just kind of bland.

[balmakboor]

After a few minutes of googling Alex Jones, he appears to be a complete nut.

Yep. There is a sequence where he runs up to people in the streets of Ottawa and tries to convince them that a meeting is going on in their town that will bring an end to Canada. Their baffled stares are priceless. I'm sure Jones included them because, to him, they were evidence of how uninformed the public is to these matters.

[balmakboor]

Oh hell, I made the downward adjustment anyway. I'll call it a C-.

[Grouchy]

It's the spinoff/sequel.

I didn't care for the original either, for the exact reason lovejuice stated. But Lite is hysterical because it veers into perversion. It's like the doujinshi of Machine Girl. Nearly every shot is a low-angle crotch shot.

All of the characters are the dead characters from the first one, who all apparently survived because someone stitched them up. I just lost it everytime one randomly shows up and goes, "IT'S ME! I, too, went through a big operation and survived!" followed by a flashback of their death from the first movie.
Ok, that sounds cool. There's a spin-off listed on IMDb but it's 22 minutes long and translated as Shyness Machine Girl. Is that it?

I agree with the majority here. Tokyo Gore Police wipes the floor with Machine Girl. The latter is a bit of a one-joke movie, and the joke isn't very good.

[number8]

Ok, that sounds cool. There's a spin-off listed on IMDb but it's 22 minutes long and translated as Shyness Machine Girl. Is that it?

Yes. A machine gun comes out of her ass and shoots bullets when she's bashful, which is when men ogle at her panties.

[Grouchy]

Yes. A machine gun comes out of her ass and shoots bullets when she's bashful, which is when men ogle at her panties.
Definitively an improvement.

[Mara]

Wow-- an off-the-cuff remark from a friend reminded me that not only have I seen the film Mannequin Too, but apparently some part of my brain actually stored the plot and a few key scenes for the last fifteen years.

And yet, every few years, I have to remind myself how to multiply fractions.

[lovejuice]

i probably watched mannequin and goonies about 20 times in total during my childhood.

[[ETM]]

I have just found Jarmusch's Stranger Than Paradise and Permanent Vacation in the 1€ bin. It's the two of his films that I haven't seen yet.

[balmakboor]

;162447']I have just found Jarmusch's Stranger Than Paradise and Permanent Vacation in the 1€ bin. It's the two of his films that I haven't seen yet.

It's probably best if Permanent Vacation stays that way. STP is great though.

[Wryan]

So.....Short Circuit or Batteries Not Included?

[Kurosawa Fan]

Short Circuit. No contest.

[D_Davis]

Ally Sheedy FTW.

[Wryan]

I'm torn myself. On the one hand, one of those little things was almost turned into a cheeseburger. On the other, Fisher Stevens.

"I have seen some strange, bizarre drivers, but you. You will be awarded a cake."

[Sycophant]

FISHER STEVENS.

[dreamdead]

Boyle's Sunshine is pretty much exemplary sci-fi. It's artful, it's compelling in its ideas and in its extrapolation of the future, and it uses its archetypal characters in studied, careful ways. And though the third-act interjection of physical horror comes off as slightly less interesting than the first hour, it doesn't feel like an entirely different film at any point. Boyle and Garland are a good team, and this film is one that I could see myself returning to time and again and savoring its images and words.

[megladon8]

Awesome, dreamdead. One of my favorites from 2007!

Did you have a problem with the flamboyantly gold space suits? It's something I've read several point out in their reviews/write-ups, but it never bothered me. It made sense within the context of the story - they're so close to the sun, they need to be able to reflect the light away from their bodies whenever possible.

And the "we only have one suit left" scene was a great revision of the scene from 2001: A Space Odyssey.

I would rank it alongside Kubrick's film, Soderbergh's Solaris and Blade Runner in the "best sci-fi of all time" category.

A great film.

[dreamdead]

Awesome, dreamdead. One of my favorites from 2007!

Did you have a problem with the flamboyantly gold space suits? It's something I've read several point out in their reviews/write-ups, but it never bothered me. It made sense within the context of the story - they're so close to the sun, they need to be able to reflect the light away from their bodies whenever possible.

And the "we only have one suit left" scene was a great revision of the scene from 2001: A Space Odyssey.

I would rank it alongside Kubrick's film, Soderbergh's Solaris and Blade Runner in the "best sci-fi of all time" category.

A great film.

Actually, I didn't read anything symbolic into the color choice of the space suits, but your analysis of their need to reflect sunlight makes perfect sense. Certainly not a stylistic choice that is unmotivated to me.

Things that interested me were the choice to have the Icarus 1 crew pictures montage over the camera lens when the Icarus 2 crew investigates the ship. Is it meant to just generate a brief scare and disorientation, or do you read it as a way to further allude to the "dust" all around them now? And is there any value to having key scenes recycle over the end credits? That felt clumsy and inexact to me.

Otherwise, it ended up being quite a surprise for me. Evans and Murphy are solid, and the images and score are equally magnificent.

[Sven]

I've said it before, I'll say it again: The White Diamond > Grizzly Man.

Both are great, but The White Diamond is rapturous. Its casting aside in favor of the more sensational picture was a pity.

[Qrazy]

Jesus Christ. I had no idea Morricone (http://www.imdb.com/name/nm0001553/) had scored almost 500 films.

[MacGuffin]

Wow, Laura was amazing. Might have to give this one the big 10, as I'm sure it will hold up to repeat viewings.

[Raiders]

I've said it before, I'll say it again: The White Diamond > Grizzly Man.

Both are great, but The White Diamond is rapturous. Its casting aside in favor of the more sensational picture was a pity.


Waaaaaaait a minute. I said this upon their release(s), and I swear you called me out for "Slant posturing." It was on the old site, but... I'm pretty sure I'm right.

Oh well. At least you've joined the ranks of the correct.

[BuffaloWilder]

Speaking of blogs and blogrolls, does anybody else have a blog, aside from Clipper? I wonder if you all might like to participate in something akin to a round-table discussion of some George Miller film or another.

So, nobody?

[Sven]

Waaaaaaait a minute. I said this upon their release(s), and I swear you called me out for "Slant posturing." It was on the old site, but... I'm pretty sure I'm right.

Oh well. At least you've joined the ranks of the correct.

It's possible. That was back when Slant was more central to the overall Match Cut dialogue than they are now (thankfully). I'm not sure how I rated them in the consensus, but I have been among the ranks for quite some time.

[MacGuffin]

It's possible. That was back when Slant was more central to the overall Match Cut dialogue than they are now (thankfully). I'm not sure how I rated them in the consensus, but I have been among the ranks for quite some time.

What's wrong with Slant?

[Sven]

So, nobody?

I have a blog, but I update it but sporadically. Still, tomorrow is my last day of class, so I'll be free for a couple of weeks to do something like this. I'd love to talk about Miller. One of my favorites.

[Sven]

Oh, and Raiders... I apologize if it did happen.

[Raiders]

Oh, and Raiders... I apologize if it did happen.

I don't really care if it did and I'm certain you didn't say it harshly, I just find it funny we now agree.

[Sven]

I don't really care if it did and I'm certain you didn't say it harshly, I just find it funny we now agree.

I love the kid who does the moonwalk on the edge of the waterfall. THAT is ecstatic truth.

[BuffaloWilder]

I have a blog, but I update it but sporadically. Still, tomorrow is my last day of class, so I'll be free for a couple of weeks to do something like this. I'd love to talk about Miller. One of my favorites.

Cool buddy deal. Do you happen to have a link anywheres?

[Sven]

Cool buddy deal. Do you happen to have a link anywheres?

ijustknowit.blogspot.com

[Sycophant]

I have a blog, but I update it but sporadically. Still, tomorrow is my last day of class, so I'll be free for a couple of weeks to do something like this. I'd love to talk about Miller. One of my favorites.

You've got a great "in" tomorrow. ;)

Alas, I mean to talk about movies more on my blog, but in the three years I've been doing it, I've only done maybe a dozen reviews or lists.

[Sven]

You've got a great "in" tomorrow. ;)

I've been racking my brain trying to figure out how to relate Crank to penguins.

[Sycophant]

I've been racking my brain trying to figure out how to relate Crank to penguins.

I meant George Miller, you silly goose.

[BuffaloWilder]

ijustknowit.blogspot.com

Interesting posts. I like "Being: With Stathem," particularly.


Alas, I mean to talk about movies more on my blog, but in the three years I've been doing it, I've only done maybe a dozen reviews or lists.

Well, we can make this a three-way, if you're interested. Don't read too much into that, but there will be lube.


I've been racking my brain trying to figure out how to relate Crank to penguins.

"Miller's sequel to his 2006 musical will probably include a scene where Mumble is hooked up to a car battery, to jump start his feet."

:P

[MacGuffin]

What's wrong with Slant?

... if anything?

[Sven]

... if anything?

Why does one ever dislike a critic or publication? I frequently feel like their approach is wrong-headed and unproductive.

I do appreciate that they were one of the few publications that, on the film's release, called out United 93 as the terrible, manipulative, pointless movie that it is.

Edit: changed "people" to "publications." Forgive me. I'm doing a thousand things at once.

[BuffaloWilder]

You've got a great "in" tomorrow. ;)



Is there an in-joke I'm missing here?


See what I did there? That was clever.

[MacGuffin]

Why does one ever dislike a critic or publication? I frequently feel like their approach is wrong-headed and unproductive.

I do appreciate that they were one of the few people who, on its release, called out United 93 as the terrible, manipulative, pointless movie that it was.

Fair enough; I disagree, though. You get rep for that United 93 comment: a worthless piece of shit that movie was.

[BuffaloWilder]

Why does one ever dislike a critic or publication? I frequently feel like their approach is wrong-headed and unproductive.

I do appreciate that they were one of the few people who, on its release, called out United 93 as the terrible, manipulative, pointless movie that it was.

I enjoy Slant, some writers more than others, but that's par for the course with any publication.

[Sven]

I definitely don't want to suggest that I think that Slant's writers are intellect-deficient. They are just, in general, looking for something that I am not. Or I am looking for something that they are not.

[lovejuice]

So, nobody?
i have a book blog, written in thai. :P

[Sven]

John Carpenter's Elvis is absolutely remarkable.

[soitgoes...]

My weekend?

The Parson's Widow
Fanny (1932)
Floating Weeds
Devils on the Doorstep
Three Monkeys

Maybe another Dreyer too. I have Master of the House and Once Upon a Time.

[Derek]

The Parson's Widow

This is good stuff. Who knew Dreyer could do comedy?

[Sycophant]

Anyone watch Next Day Air? I wanted to see it, but it didn't open up in any of my neighborhood theaters, and it looks to be making a hasty retreat before I get the time to go out and catch it elsewhere.

[BuffaloWilder]

i have a book blog, written in thai. :P

Thai, you say?

[BuffaloWilder]

Anyone watch Next Day Air? I wanted to see it, but it didn't open up in any of my neighborhood theaters, and it looks to be making a hasty retreat before I get the time to go out and catch it elsewhere.

It's okay - Ebert hits on some of the higher notes in his review, but he misses out on the largest: Mos Def. Not one mention of him, and he was the highlight of the entire film. I wish he was in more stuff.

[soitgoes...]

This is good stuff. Who knew Dreyer could do comedy?I'm looking forward to it.

Speaking of which, does anyone have any input on what else to watch by Dreyer, outside of Passion, Vampyr, and his later works? Not much gets said around these parts about his earlier silents.

[baby doll]

Weekend:

Bird (Clint Eastwood, 1988)
Hélas pour moi (Jean-Luc Godard, 1993)
Lacombe Lucien (Louis Malle, 1974)

[baby doll]

I'm looking forward to it.

Speaking of which, does anyone have any input on what else to watch by Dreyer, outside of Passion, Vampyr, and his later works? Not much gets said around these parts about his earlier silents.Michael is pretty awesome.

[Philosophe_rouge]

Weekend
Twilight
Sweet Bird of Youth
Go Go Second Time Virgin
Faster Pussycat! Kill! Kill!

[Qrazy]

I'm looking forward to it.

Speaking of which, does anyone have any input on what else to watch by Dreyer, outside of Passion, Vampyr, and his later works? Not much gets said around these parts about his earlier silents.

Master of the House, Once Upon a Time and The Parson's Widow look good to me... haven't seen 'em though.

Furthermore this is funny to me... Dreyer... "The illegitimate son of a Swedish farmer and his housekeeper."

[B-side]

Star Trek was blissfully bombastic. It's the very definition of blockbuster. Abrams played with the archetypes so well. The lights, the lens flares, the camera work... delicious. I especially loved the camera shot that establishes Spock in front of the Vulcan council. It starts out on an angle and sweeps all the way to the front of him slowly turning to sit in front of him horizontally. I'm tempted to say I really loved it. Bana as Nero was completely one-dimensional, though. I'd be a bit more forgiving if his character weren't so utterly forgettable. Pine was a ton of fun. Quinto was the highlight. Perfectly played performance. Loved Nimoy's role.

[B-side]

As for my weekend, hopefully I'll be watching some of these:

Morning Patrol (Nikolaidis, 1987)
Aelita (Protazanov, 1924)
The Earrings of Madame de... (Ophuls, 1953)
The Voice of the Moon (Fellini, 1990)
The Gospel According to St. Matthew (Pasolini, 1964)
Beyond the Clouds (Antonioni, 1995)

[baby doll]

Star Trek was blissfully bombastic. It's the very definition of blockbuster.I haven't seen Star Trek, but as for the larger issue, is this really how we're defining blockbusters? Maybe I'm old fashioned, but I like to think of blockbusters as a big, ambitious movies on subjects presumed to be of interest to a wide audience with broadly melodramatic storylines. Some of my favorites are D.W. Griffith's Intolerance and Orphans of the Storm, Fritz Lang's Die Nibelungen (Nee-bell-loon-gen) and Metropolis, Akira Kurosawa's Seven Samurai, and more recently, Baz Luhrmann's Australia.

[MacGuffin]

Innocence (Hadzihalilovic, 2004)

Did you post thoughts on this? I'm gonna go through Gaspar Noé's filmography again myself this weekend probably in preparation for the insanely promising Enter the Void (has anybody seen those screenshots?), and he's married to the director of this. I've only seen a bit from the beginning, but it certainly looked promising. I don't think I finished it though because I was too tired or something.

[Qrazy]

I haven't seen Star Trek, but as for the larger issue, is this really how we're defining blockbusters? Maybe I'm old fashioned, but I like to think of blockbusters as a big, ambitious movies on subjects presumed to be of interest to a wide audience with broadly melodramatic storylines. Some of my favorites are D.W. Griffith's Intolerance and Orphans of the Storm, Fritz Lang's Die Nibelungen (Nee-bell-loon-gen) and Metropolis, Akira Kurosawa's Seven Samurai, and more recently, Baz Luhrmann's Australia.

I'll kick you in the nuts.

[B-side]

I haven't seen Star Trek, but as for the larger issue, is this really how we're defining blockbusters? Maybe I'm old fashioned, but I like to think of blockbusters as a big, ambitious movies on subjects presumed to be of interest to a wide audience with broadly melodramatic storylines. Some of my favorites are D.W. Griffith's Intolerance and Orphans of the Storm, Fritz Lang's Die Nibelungen (Nee-bell-loon-gen) and Metropolis, Akira Kurosawa's Seven Samurai, and more recently, Baz Luhrmann's Australia.

I'd say Star Trek fits that ideal for the most part. It's certainly big. Ambitious? Depends on how you define it. It's not doing anything new, but one could say bringing such a franchise back like Abrams did is pretty ambitious. Subjects of wide appeal? Absolutely. Space: the final frontier. Broadly melodramatic storylines? Definitely.

[Derek]

I haven't seen Star Trek, but as for the larger issue, is this really how we're defining blockbusters? Maybe I'm old fashioned, but I like to think of blockbusters as a big, ambitious movies on subjects presumed to be of interest to a wide audience with broadly melodramatic storylines. Some of my favorites are D.W. Griffith's Intolerance and Orphans of the Storm, Fritz Lang's Die Nibelungen (Nee-bell-loon-gen) and Metropolis, Akira Kurosawa's Seven Samurai, and more recently, Baz Luhrmann's Australia.

I prefer Edison's Electrocuting an Elephant and the Lumières Exiting the Factory. Fucking epic.

[MacGuffin]

I'll kick you in the nuts.

I was waiting for you to respond to that post. Reminds me of the time when you asked baby doll which movies he hadn't seen from the 1000 Movies list and he responded by literally listing in paragraph format (with directors, and date of release), every movie he hadn't seen.

[D_Davis]

I prefer Edison's Electrocuting an Elephant and the Lumières Exiting the Factory. Fucking epic.


KIDS

[Sycophant]

I'll kick you in the nuts.

Kickin' it oldschool in the FDT, y'all.

[B-side]

Did you post thoughts on this? I'm gonna go through Gaspar Noé's filmography again myself this weekend probably in preparation for the insanely promising Enter the Void (has anybody seen those screenshots?), and he's married to the director of this. I've only seen a bit from the beginning, but it certainly looked promising. I don't think I finished it though because I was too tired or something.

I don't know that I've really posted any serious thoughts, and I think by now the statute of limitations has happened as it's beginning to fade. I can say, however, that it's a great film. The director maintained such terrific mood and tonal control. It's bound to divide people what with the child nudity, the lack of any big revelatory expositions, etc. It's a pure mood film and the atmosphere is incredible. I can't wait until she does another feature.

I saw some of those screenshots from Noé's film. Gorgeous. I've seen nothing from him, sadly. I'll definitely be rectifying that sooner rather than later. I might download my first today.

[B-side]

I liked Star Trek more than Australia, definitely.

[soitgoes...]

I haven't seen Star Trek, but as for the larger issue, is this really how we're defining blockbusters? Maybe I'm old fashioned, but I like to think of blockbusters as a big, ambitious movies on subjects presumed to be of interest to a wide audience with broadly melodramatic storylines. Some of my favorites are D.W. Griffith's Intolerance and Orphans of the Storm, Fritz Lang's Die Nibelungen (Nee-bell-loon-gen) and Metropolis, Akira Kurosawa's Seven Samurai, and more recently, Baz Luhrmann's Australia.A blockbuster is something that does well, exceedingly well, at the box office. Those films you listed are epic, not blockbusters. Jaws is generally considered the first, but that isn't necessarily correct as Gone with the Wind should also be considered as one too.

[Derek]

I was waiting for you to respond to that post. Reminds me of the time when you asked baby doll which movies he hadn't seen from the 1000 Movies list and he responded by literally listing in paragraph format (with directors, and date of release), every movie he hadn't seen.

Actually, responding with a list like that isn't all that crazy since many of us here are listoholics anyway. Ignoring the fact that Jaws essentially started the rise of the Hollywood blockbuster along with the prevalence of multi-plexes and phrases like "summer movie season" is simply being obtuse and contrarian just for shits and giggles.

[MacGuffin]

Brightside: For Noé, it's best to watch his movies in order, from what I've heard. The Butcher makes an appearance in every one of them and the only one I haven't seen is Carne. Myself, I need to rewatch all of them to earn a better understanding of what he is trying to do thematically; I already know he's a near master of formalism, even if what is onscreen is utterly nauseating.

[BuffaloWilder]

I liked Star Trek more than Australia, definitely.

This is not strange. Australia was - well, it was Australia.

[MacGuffin]

Actually, responding with a list like that isn't all that crazy since many of us here are listoholics anyway. Ignoring the fact that Jaws essentially started the rise of the Hollywood blockbuster along with the prevalence of multi-plexes and phrases like "summer movie season" is simply being obtuse and contrarian just for shits and giggles.

I just thought it was a bit odd to respond in such a way, especially considering the comment. (http://www.match-cut.org/showpost.php?p=128305&postcount=5)

[B-side]

Brightside: For Noé, it's best to watch his movies in order, from what I've heard. The Butcher makes an appearance in every one of them and the only one I haven't seen is Carne. Myself, I need to rewatch all of them to earn a better understanding of what he is trying to do thematically; I already know he's a near master of formalism, even if what is onscreen is utterly nauseating.

Yeah, I just started downloading I Stand Alone. Do you have links to good quality streams of any/all of his shorts?

[B-side]

This is not strange. Australia was - well, it was Australia.

Well, it was kinda in response to baby doll liking Australia. I didn't hate it, but it was kinda meh.

[MacGuffin]

Yeah, I just started downloading I Stand Alone. Do you have links to good quality streams of any/all of his shorts?

No, sorry.

[BuffaloWilder]

Well, it was kinda in response to baby doll liking Australia. I didn't hate it, but it was kinda meh.

That was my response to it, as well. I enjoyed the second half a lot more than the first, though.

[B-side]

No, sorry.

Ahh. Darn. I just got done reading this article (http://archive.sensesofcinema.com/contents/directors/03/noe.html) on Noe. Rather informative. It talks about him utilizing the "cinema of attractions" techniques and ideas of directors like Eisenstein. The "cinema of attractions" belief set seems to be the cinematic equivalent of Brecht's "epic theater". I wonder which was theorized first as it would be pretty odd to think they were developed with no knowledge of the other.

[MacGuffin]

Ahh. Darn. I just got done reading this article (http://archive.sensesofcinema.com/contents/directors/03/noe.html) on Noe. Rather informative. It talks about him utilizing the "cinema of attractions" techniques and ideas of directors like Eisenstein. The "cinema of attractions" belief set seems to be the cinematic equivalent of Brecht's "epic theater". I wonder which was theorized first as it would be pretty odd to think they were developed with no knowledge of the other.

Yeah, it's a great article. Also look out for Rosenbaum's review of I Stand Alone. That's also a good one.

[Sven]

What's the point of the pronunciation guide for Nibelungen? Similarly, a while back, what was the point of telling us that the footage playing during Kingsley's narration in A.I. was "B roll"?

I think I'm starting to see this alleged pompousness of yours that everyone goes on about. I think you're great, make no mistake, but you've got to tone down the smarty-pantsiness a bit.

[Ezee E]

Yeah, if anyone around here has links to Noe's shorts, it would be well appreciated.

[Ezee E]

Hmm... Apparently Marty is going to do a Frank Sinatra biopic.

Eh.

Well, who should play him?

[Winston*]

I was thinking the other day that Michael Shannon should've played Howard Hughes in The Aviator. That would've been good.

[Sven]

John Carpenter's Elvis is absolutely remarkable.

Seriously, maybe best biopic ever? Has anyone else seen this? The Mike? Grouchy?

[B-side]

Yeah, it's a great article. Also look out for Rosenbaum's review of I Stand Alone. That's also a good one.

I'll go check it out now.

After posting that bit about Brecht, I realized that Brecht would've only been 24/25 when Eisenstein wrote his article detailing "cinema of attractions". Perhaps Brecht took the idea and expanded and formed it to fit better with theater.

[baby doll]

What's the point of the pronunciation guide for Nibelungen? Similarly, a while back, what was the point of telling us that the footage playing during Kingsley's narration in A.I. was "B roll"?

I think I'm starting to see this alleged pompousness of yours that everyone goes on about. I think you're great, make no mistake, but you've got to tone down the smarty-pantsiness a bit.I think "Nibelungen" is fun to say, and when I describe something, I like to describe it as accurately as possible.

[B-side]

I'm sure this has been brought up 56871585185 times already, but it's always bugged me: what's with listing every film of foreign descent in its original language? When I have to look up the film in your sig or whatever just so I know what one you're talking about, there's a problem. Films like L'Avventura are spoken of almost solely in their original language, so those should be listed as such, but Last Year at Marienbad is rarely referred to as "L'année dernière Ã* Marienbad" and Time Regained as "Le temps retrouvé" and so on. I understand and sympathize with the intent, but come on, it gets a bit silly.

Sorry, I had to say it.

[baby doll]

I'm sure this has been brought up 56871585185 times already, but it's always bugged me: what's with listing every film of foreign descent in its original language? When I have to look up the film in your sig or whatever just so I know what one you're talking about, there's a problem. Films like L'Avventura are spoken of almost solely in their original language, so those should be listed as such, but Last Year at Marienbad is rarely referred to as "L'année dernière Ã* Marienbad" and Time Regained as "Le temps retrouvé" and so on. I understand and sympathize with the intent, but come on, it gets a bit silly.

Sorry, I had to say it.I only do it for French films. And maybe it's a Canadian thing, because I took French in school, but how hard is it to figure out that L'Année dernière Ã* Marienbad is Last Year at Marienbad? I mean, even if you don't know the French words for last (dernière), year (année) or at (Ã*), how many films have Marienbad in the title?

[The Mike]

Seriously, maybe best biopic ever? Has anyone else seen this? The Mike? Grouchy?

Haven't found it yet. :sad:

[B-side]

I only do it for French films. And maybe it's a Canadian thing, because I took French in school, but how hard is it to figure out that L'Année dernière Ã* Marienbad is Last Year at Marienbad? I mean, even if you don't know the French words for last (dernière), year (année) or at (Ã*), how many films have Marienbad in the title?

You're skirting the issue. Obviously, those two I know the English title to, but the point still stands.

Also, for those interested, piratebay has 2 Noe shorts.

[Sycophant]

Dude, welcome to Match Cut 2007.

[baby doll]

You're skirting the issue. Obviously, those two I know the English title to, but the point still stands.I started doing it with just films where the title didn't really translate into English (like Les Quatre cents coups), but I found it helped build my French vocabulary (I found it easier to grasp "ce," "cet," "cette" and "ces" because I remembered that Luis Buñuel's last film is called Cet obscur objet du désir), so I started doing it for all French movies.

If it makes you happier, I've decided to start referring to Vérités et mensonges as F for Fake again (and Le Procès as The Trial) because the film is in English.

[Rowland]

Boyle's Sunshine is pretty much exemplary sci-fi. It's artful, it's compelling in its ideas and in its extrapolation of the future, and it uses its archetypal characters in studied, careful ways. And though the third-act interjection of physical horror comes off as slightly less interesting than the first hour, it doesn't feel like an entirely different film at any point. Boyle and Garland are a good team, and this film is one that I could see myself returning to time and again and savoring its images and words.Indeed, Sunshine is one of the last few years' most underestimated films. I'm still flabbergasted by how Slumdog Millionaire was deemed by so many as a return to form for Boyle after Sunshine, when I feel the latter may be his best picture, whereas the former is such a pandering, vacant, tedious mess. The very fact that I found Slumdog so vacuous has tempted me to reconsider my position on Sunshine, but posts like these give me hope that it'll stand up to repeat viewings. I wrote some thoughts about it here: http://www.match-cut.org/showthread.php?p=115293&highlight=sunshine+boyle#post1 15293

[Philosophe_rouge]

I'm with Baby Doll, maybe it IS a Canadian thing. I usually use the english (or in cases like La Dolce Vita, the most popular spoken one), unless it's french, when I usually list the original language. It's far more comfortable to me, and often times I'm watching the film without subs, so it seems weird to write the title in English. I understand the complain, and maybe I'm making too much of an assumption as to people's knowledge of the french language, but it's more natural for me, and I don't see why I have to adjust that to please other people. Especialyl when I'm also listing the director/year.

[baby doll]

I'm with Baby Doll, maybe it IS a Canadian thing. I usually use the english (or in cases like La Dolce Vita, the most popular spoken one), unless it's french, when I usually list the original language. It's far more comfortable to me, and often times I'm watching the film without subs, so it seems weird to write the title in English. I understand the complain, and maybe I'm making too much of an assumption as to people's knowledge of the french language, but it's more natural for me, and I don't see why I have to adjust that to please other people. Especialyl when I'm also listing the director/year.You tell 'em, Red Philosopher.

[Philosophe_rouge]

You tell 'em, Red Philosopher.
I'm so furious at this conversation, I'm not evne going to bother spell checking. The mistakes are a statement.

[MadMan]

Weekend:

*Pi(1998)
*Mystery Science Theater 3000: "The Atomic Brain" and "The Unearthly"
*Days of Heaven(1978)

All library rentals. Not sure if I'll like "Heaven," but I did enjoy The New World. It will be my second Malick. If I have time I'll also try and get to Le Cercle Rouge, which is going to be my first time Melville. My library has a solid amount of Criterions, and I'm going to try and watch as many of them as possible.

So if any of these wow me, I'll finally write another review. I haven't seen a movie really worth reviewing since 28 Days Later. I also discovered that I failed to avoid discussing some key spoiler plot points in my write up for All That Jazz. Although the back of the cover of the copy of the film I obtained mentioned some major moments in the movie, thus spoilering parts for me anyways.

[baby doll]

Also, I can't count how many times I've seen people refer to The Celebration as Festen. Is there a big Danish sub-community on Match Cut that I wasn't aware of?

[MadMan]

Also, I can't count how many times I've seen people refer to The Celebration as Festen. Is there a big Danish sub-community on Match Cut that I wasn't aware of?Well I'm part Danish as well as German and Norwegian :P

[Sven]

Also, I can't count how many times I've seen people refer to The Celebration as Festen. Is there a big Danish sub-community on Match Cut that I wasn't aware of?

You're either being willfully ignorant or intensely naive. Even you know that there are some films that skirt the translation issue. Such as La Haine, which is popularly known over here as "La Haine."

[baby doll]

You're either being willfully ignorant or intensely naive. Even you know that there are some films that skirt the translation issue. Such as La Haine, which is popularly known over here as "La Haine."But Kassovitz's film was released in North America under its original title. Vinterberg's was given the English title The Celebration by its US distributor, yet people use both the Danish and English titles without any confusion.

[Sven]

But Kassovitz's film was released in North America under its original title. Vinterberg's was given the English title The Celebration by its US distributor, yet people use both the Danish and English titles without any confusion.

Sometimes it just works out that way. The film is popularly known as both, even in the States. The same way that La règle du jeu is interchangeable with Rules of the Game. You've just got to stay observant and take each title as it comes.

For the record, I've never given you a hard time about the French title thing. I know you're in Canada, I know that French is an official language of Canada. What you do bothers me no more than people that insist on bolding film titles, followed by a parenthetical with the last name of the director and the year.

[Sycophant]

people that insist on bolding film titles, followed by a parenthetical with the last name of the director and the year.

Is this a point of contention 'round here?

[megladon8]

I refer to movies by the title people are most likely to know them by. More specifically, the people I am talking to about said movie(s).

[Sven]

Is this a point of contention 'round here?

Not really. I'm just saying that baby doll's preference affects me in the same way that the aforementioned formatting does. Being little to nil. Personally, I think it's a little weird that some cannot simply write the title of the film in the way most people understand it without the hassle of parentheticals, dates, or italics, but hey... whatever floats people's boats.

[B-side]

Not really. I'm just saying that baby doll's preference affects me in the same way that the aforementioned formatting does. Being little to nil. Personally, I think it's a little weird that some cannot simply write the title of the film in the way most people understand it without the hassle of parentheticals, dates, or italics, but hey... whatever floats people's boats.

For me, bolding the title ensures that people know it's a film title and not just another part of the conversation or the title of a book, CD -- whatever. It's kinda like putting quotes around a song title.

[megladon8]

For me, bolding the title ensures that people know it's a film title and not just another part of the conversation or the title of a book, CD -- whatever. It's kinda like putting quotes around a song title.


Yes. I use bold for movies. Everything else gets quotations.

And if there's any possibility of a mix-up (say there are two different films with the same title, or a remake(s), or something like that) I'll but brackets after the title, with the film's year.

[B-side]

Yes. I use bold for movies. Everything else gets quotations.

And if there's any possibility of a mix-up (say there are two different films with the same title, or a remake(s), or something like that) I'll but brackets after the title, with the film's year.

Yup. I either do that or include the name of the director. It just helps maintain clarity. Basically, the opposite of referring to F for Fake as "Vérités et mensonges".:)

[Sycophant]

Elvis. Biopic. John Carpenter.

This just sunk in. Oh my God, I need to see this.

EDIT: Sven, for reals, you need to tell me how to see this thing.

EDIT 2: I mean, Kurt Rusell as Elvis Presley, for Christ's sake!

EDIT 3: I WAS BORN ON THE FOURTH ANNIVERSARY OF THIS FILM'S DEBUT.

[megladon8]

I was really surprised with Beowulf & Grendel.

Beautiful photography, some nice performances, and overall a great, atmospheric treatment of the Norse tale.

Enjoyed it.

[Sven]

Yup. I either do that or include the name of the director. It just helps maintain clarity. Basically, the opposite of referring to F for Fake as "Vérités et mensonges".:)

Clarity nonsense. When would we be saying "F for Fake" NOT in reference to the movie? Or Psycho with a capital "P"? Plus, baby doll wouldn't call it "Verites et mensonges" because he knows it as F for Fake. It's so much extra work to highlight the title and click the "B" button. Then, on top of that, looking up the year and typing out the whole parenthetical... jeez.

You know what I watched today? Whale Rider.

See?

Anyway, done.

[Sven]

Elvis. Biopic. John Carpenter.

This just sunk in. Oh my God, I need to see this.

EDIT: Sven, for reals, you need to tell me how to see this thing.

EDIT 2: I mean, Kurt Rusell as Elvis Presley, for Christ's sake!

EDIT 3: I WAS BORN ON THE FOURTH ANNIVERSARY OF THIS FILM'S DEBUT.

I just got it from Barabarga's evil twin site. The quality is far from great, but it reminded me of those late nights I would spend sneaking in viewings of old VHS tapes I would rent in the middle of the night from Hollywood Video. Good times. It helps that I'm not a videophile. Still, movie is goddamn excellent. Any Russell fan owes it to himself to see it. Sometimes his performance is uncanny.

[Amnesiac]

Eisenstein wrote his article detailing "cinema of attractions".

I always thought Tom Gunning coined and articulated that term. I wasn't aware that Eisenstein also used the term, although I'm assuming he probably discussed something different than Gunning.

[baby doll]

Clarity nonsense. When would we be saying "F for Fake" NOT in reference to the movie? Or Psycho with a capital "P"? Plus, baby doll wouldn't call it "Verites et mensonges" because he knows it as F for Fake. It's so much extra work to highlight the title and click the "B" button. Then, on top of that, looking up the year and typing out the whole parenthetical... jeez.

You know what I watched today? Whale Rider.

See?

Anyway, done.I just type in the [ i ] myself while I'm typing. F for Fake. Vérités et mensonges (the film was made in France and that's how it's called on IMDb). As far as it being too much extra work to bold or italicize titles, that's the exact same excuse I get from friends and family members who don't use capitals and periods when typing an instant message.

[MacGuffin]

Oh, Criterion might be releasing Jeanne Dielman, 23 Quai du Commerce, 1080 Bruxelles in September along with that Wim Wenders flick, Wings of Glory, which I haven't seen and some other stuff, I think. I might buy the former if the features are nice, seeing as it's a masterpiece and all.

Also, word on the street is Criterion is announcing some Roberto Rossellini movies tomorrow, which is good, because I haven't seen anything by him either. I think Rome, Open City was one of them, and I know the movies are war-related.

[Spinal]

Nothing wrong with crisp, clean formatting. It also helps me when I eventually transfer the films into my archive of 'films seen' on my blog.

[baby doll]

Also, word on the street is Criterion is announcing some Roberto Rossellini movies tomorrow, which is good, because I haven't seen anything by him either. I think Rome, Open City was one of them, and I know the movies are war-related.Yeah, I need to catch up on my Rossellini big time. I bought Open City and The Flowers of St. Francis in Korea for four thousand won a piece (about four dollars Canadian), but apart from those two, the only other film I've seen is La Prise de pouvoir par Louis XIV, which I thought was a major disappointment. It's beautiful but hard to follow (it took me the better part of an hour to figure out who Colbert was because they only talk about him when he's not in the room). And on top that, it's just so dry and monotonous.

[BuffaloWilder]

So, after all this time, Criterion finally gives in and decides to go ahead and release another film from one of the larger studios, after quite a while, and what do they pick?

Benjamin Button.

Sigh.

[MacGuffin]

So, after all this time, Criterion finally gives in and decides to go ahead and release another film from one of the larger studios, after quite a while, and what do they pick?

Benjamin Button.

Sigh.

Old news? They need some way of making an occasional mass income? It's not exactly a surprise. Far less people are going to buy 2 or 3 Things I Know About Her then they are The Curious Case of Benjamin Button. Besides, it's a split deal with the main distributor (Fox?), who is putting out the single-disc, and who I assume is splitting the income with Criterion.

[Sven]

As far as it being too much extra work to bold or italicize titles, that's the exact same excuse I get from friends and family members who don't use capitals and periods when typing an instant message.

Hey, like I said, I don't really care. No capitalization and no periods is fine with me--it's a totally legit (new) mode of communication. Books are being written about it. As long as the message gets across, things are gravy. It's too much work for me because I don't like to spend time formatting. Type, send, voila. The fewer keys hit, the better. I guess I write like I feel like I would talk. And when talking, I do not bold or italicize things, save for circumstances of emphasis.

[BuffaloWilder]

Old news? They need some way of making an occasional mass income? It's not exactly a surprise. Far less people are going to buy 2 or 3 Things I Know About Her then they are The Curious Case of Benjamin Button. Besides, it's a split deal with the main distributor (Fox?), who is putting out the single-disc, and who I assume is splitting the income with Criterion.


I know it's not 'news,' but it's - disappointing. Not that Button is a bad film, but -

d'oh, well.

[megladon8]

They have to release a film like that every once in a while, so they can continue their incredible output of lost films/lesser known flims/foreign oddities.

And their treatment of Benjamin Button is supposed to be top notch.

Personally I think it was a good choice on their part - something well known and recent, but still with some artistic merit and by a director who is popular in both the general public and arthouse circles.

Or would you rather they release a Criterion of Transformers before the new one comes out?

[The Mike]

Or would you rather they release a Criterion of Transformers before the new one comes out?
YESSSSSSSSSSSSSS!!!!!!!!!!!!!! !!!!!! :pritch::pritch::pritch: :pritch::pritch::pritch::pritc h: :pritch:

[BuffaloWilder]

They have to release a film like that every once in a while, so they can continue their incredible output of lost films/lesser known flims/foreign oddities.

I'm not complaining about them releasing larger budget films - I wish they'd do it more often. But, I mean, what about all of the other films that have been out for a while, that were even better received than Button, like Children of Men or something like that? Not as well known as Button, sure, but it's certainly not as obscure as I Am Curious (Yellow).


And their treatment of Benjamin Button is supposed to be top notch.

I kind of want to pick it up, actually.



Or would you rather they release a Criterion of Transformers before the new one comes out?

Well, you know -

http://ecx.images-amazon.com/images/I/71JK1HZJE3L._SS500_.gif

[megladon8]

Yeah, that's what I was getting at.

Can't we agree that David Fincher's film getting the Criterion treatment is > Michael Bay?

[BuffaloWilder]

Yeah, that's what I was getting at.

Can't we agree that David Fincher's film getting the Criterion treatment is > Michael Bay?


Oh, there's no doubt about that. I still wonder how Criterion managed to live that one down.

[megladon8]

Oh, there's no doubt about that. I still wonder how Criterion managed to live that one down.


Let's just say that of the DVDs in my collection that were damaged by the water leak in my house 2 weeks ago, the two that got the most damage were my Criterion of Armageddon, and my $5 copy of Back to School.

I was more angry about the latter.

[BuffaloWilder]

Let's just say that of the DVDs in my collection that were damaged by the water leak in my house 2 weeks ago, the two that got the most damage were my Criterion of Armageddon, and my $5 copy of Back to School.

I was more angry about the latter.


But - but Michael Bay is so pretty...

http://www.imperialsquid.com/comics/20080120/michael_bay.jpg

[The Mike]

Can't we agree that David Fincher's film getting the Criterion treatment is > Michael Bay?

No.

[Ezee E]

I remember when Media Play accidentally printed the Criterion Cover of Armageddon and The Rock being on sale for $9.99. They took them off the shelf.

But Best Buy price matches.

I sold Armageddon, but I like The Rock enough.

[Boner M]

My weekend:

Payday (Rip Torn as a sociopathic folk singer! Anyone seen this one? Sven?)
Pat Garrett & Billy the Kid
The Flower of Evil (Chabrol)
Nayak (S. Ray)

[B-side]

I always thought Tom Gunning coined and articulated that term. I wasn't aware that Eisenstein also used the term, although I'm assuming he was probably discussed something different than Gunning.

It's synonymous with "primitive cinema".


The concept of a 'cinema of attractions' comes from recent scholarship on early film, most notably that of Tom Gunning. The term is generally used as a replacement for what was considered the derogatory term, 'primitive cinema'. Both of these terms are meant to provide a category opposite narrative cinema, but current scholarship, particularly that of Lea Jacobs and Ben Brewster, has tended to see early cinema in terms of an evolutionary continuum as opposed to a system of narrative and opposition to narrative. Regardless of the use of the term 'cinema of attractions', it has given film scholars a way to discuss a category of film that, to quote Gunning, “directly solicits spectator attention, inciting visual curiosity, and supplying pleasure through an exciting spectacle� (13). The term 'pleasure' in Gunning's definition, however, is somewhat problematic in that the desired response of the cinema of attractions is not always pleasure. He goes on to explain that some of the attractions contained in early cinema include “recreations of shocking or curious incidents�, including executions (14). Now, it may be argued whether or not witnessing an execution actually elicits pleasure, but perhaps a better way of defining a cinema of attractions is filmmaking that is intended to elicit a primal response from the spectator in some way apart from the narrative. In point of fact, this definition is actually much closer to the original intent of the originator of the term 'attractions' in relation to the performing arts, Sergei Eisenstein.

In his 1923 essay on theatre, “The Montage of Attractions�, Eisenstein proposed a system of 'attractions' – aggressive actions in the presentation of a theatrical work – that subjected the audience “to emotional or psychological influence… calculated to produce specific emotional shocks in the spectator� (15). These shocks were intended to undermine the absorption of the spectator into the narrative and to keep the spectator thinking objectively about what they were watching being performed on the stage. The idea came from the presentational performances of the Grand Guignol and the traditional circus – low forms of entertainment in opposition to the high art of realist representational theatre (16). The concept of attractions in theatre was not motivated merely by a desire to, as Gunning puts it, épater le bourgeois (17). It was motivated out of a desire to make the political message of the theatrical piece clearer, more direct, and without the trappings of narrative including melodrama, allegory, and audience identification with the characters or their situation. But how do the attractions of the stage translate into the attractions of the screen?

[Amnesiac]

It's synonymous with "primitive cinema".

I see. I've known about Gunning's use of the term for a while, but I don't recall ever seeing it dated back to Eisenstein. Although, from reading that senseofcinema excerpt, it does look like there are some marked differences between the way they each tackled the term. Either way, good to know.

[MadMan]

Pi(1998) was pretty goddamn awesome. Really I don't have anything else to offer at the moment, seeing as it demands a full review and I'm still digesting what the hell I saw. The open ended finale is quite curious, and is nicely left to interpretation. The fact that he may have killed himself with the drill and its all a dream, or that it was a metaphor for him extinguishing the quest to understand Pi from his mind is a debate that will probably never be solved.

Also I got more satisfaction out of it than all of the Matrix movies combined. Pretty bitchin' techno soundtrack as well. I loved the use of black and white, as it only added to the feeling of paranoia. Not sure what to rate this, either, but so far Darren Aronofsky is 2-2 in my book.

[Rowland]

I watched most of the second half of Death Wish 3 today. :lol:... seriously. :lol:

[megladon8]

I watched most of the second half of Death Wish 3 today. :lol:... seriously. :lol:


Is that the one where he plants a chain gun in the middle of a highway?

[Spinal]

Hey, like I said, I don't really care. No capitalization and no periods is fine with me--it's a totally legit (new) mode of communication. Books are being written about it. As long as the message gets across, things are gravy. It's too much work for me because I don't like to spend time formatting. Type, send, voila. The fewer keys hit, the better. I guess I write like I feel like I would talk. And when talking, I do not bold or italicize things, save for circumstances of emphasis.

Punctuation is not about your convenience, you silly, silly man. It's about the reader's convenience.

[Ezee E]

There's probably no better way to do a documentary about Mike Tyson then to let Mike Tyson just explain it all himself. Good stuff.

[megladon8]

There's probably no better way to do a documentary about Mike Tyson then to let Mike Tyson just explain it all himself. Good stuff.


Good to hear this.

The trailer looked like it could be good, but I was also afraid that much of it may have been written in a sugar-coated manner to make him seem more sympathetic. You can tell in some of the excerpts that he's reading his lines, so this was one of my fears.

[soitgoes...]

Has anyone here seen any of Pagnol's Marseilles Trilogy? Hilarious stuff. I've seen Marius and am about halfway through Fanny, and I have to say the writing in these films is some of the best stuff from the 30's (that's saying a lot). It's a shame the actress who plays Fanny, Orane Demazis, is not that great.

[Sven]

Punctuation is not about your convenience, you silly, silly man. It's about the reader's convenience.

I don't disagree. But comprehension is a cultivated thing. And it is frequently cultivated by the process by which we adapt to modes of communication. And it so happens that instant written conversation promotes a level of excision of figures. And we learn to understand it. It's like shorthand.

srsly

[Winston*]

Greg Mclean's Giant Crocodile (Mclean, 2007) was pretty good. He's got him some character empathy and a little bit of that Herzogian nature awe. A little too much characters doing stupid things for the sake of narrative convenience and screechy musical crescendos though.

[Ezee E]

Good to hear this.

The trailer looked like it could be good, but I was also afraid that much of it may have been written in a sugar-coated manner to make him seem more sympathetic. You can tell in some of the excerpts that he's reading his lines, so this was one of my fears.
There's bits where he is reading stuff, basically an interlude as it goes from one stage of his life to another. Mostly it's him just stating his opinion, and boy is it funny sometimes to hear it from him, because he doesn't really sugarcoat it. After he received a championship, "I believed I was God. I had parties, and had tremendous amounts of sexual activity."

[Scar]

I watched most of the second half of Death Wish 3 today. :lol:... seriously. :lol:

I watched about 20 minutes, near the end, on AMC. More or less in shock while watching it!

[Mara]

Punctuation is not about your convenience, you silly, silly man. It's about the reader's convenience.

I believe in punctuation, although I'm notoriously bad about doing anything to film titles except capitalizing them.

This (http://www.amazon.com/Eats-Shoots-Leaves-Tolerance-Punctuation/dp/1592402038/ref=sr_1_1?ie=UTF8&s=books&qid=1242391865&sr=8-1) book, which is awesome, describes punctuation not as a convenience, but a courtesy. It's like saying "please" and "thank you"... omitting punctuation isn't lazy, it's rude.

[Spinal]

I believe in punctuation, although I'm notoriously bad about doing anything to film titles except capitalizing them.

This (http://www.amazon.com/Eats-Shoots-Leaves-Tolerance-Punctuation/dp/1592402038/ref=sr_1_1?ie=UTF8&s=books&qid=1242391865&sr=8-1) book, which is awesome, describes punctuation not as a convenience, but a courtesy. It's like saying "please" and "thank you"... omitting punctuation isn't lazy, it's rude.

I got that book for my mom for her birthday one year. :)

[Benny Profane]

Despite some cool iconic photography, I was pretty underwhelmed by Night of the Hunter. I found most of the acting to be appalling, and the screenplay had the subtlety of a car crash.

[Grouchy]

Seriously, maybe best biopic ever? Has anyone else seen this? The Mike? Grouchy?
Same as Mike. If I found it, I'd watch it. On the interview with Carpenter on the Someone's Watching Me! DVD, he says he's very proud of it and wishes it would be seen more.

I'm 100% noob at downloading movies, but I'm starting to torrent Superman: Doomsday and Valkyrie. I'm gonna seek this one too.

[Rowland]

I hope The Grudge 3 isn't indicative of Toby Wilkins' talent as it pertains to last year's Splinter, because this was about as underwhelmingly mediocre as they come. It's not really bad in itself, just generic and flat for the most part, with few interesting set pieces or style, too much exposition and attempted drama, new actors for the killer mom and kid ghosts (they couldn't find any Japanese actors for these parts?!), and a fresh reminder regarding some stupid additions to the Grudge mythology from the previous film that are expounded upon here, only to be proven utterly pointless at film's end, besides introducing a new apparition that makes for a pretty neat, if nonsensical, climax. If a second DTV sequel is produced, it'd be in the film's best interest to drop the pretensions of maintaining Shimizu's subdued style in favor of a slasher-esque freakout that the filmmakers were obviously inching towards here with the notable increases in violence and blood.

[Wryan]

I'm an editor professionally. I use Chicago Manual of Style all the livelong day. It italicizes movie titles. Thus do I, out of habit and because I happen to think it looks better and cleaner. OCD a little.

[Qrazy]

Despite some cool iconic photography, I was pretty underwhelmed by Night of the Hunter. I found most of the acting to be appalling, and the screenplay had the subtlety of a car crash.

I wouldn't go that far but I was similarly underwhelmed.

[Rowland]

Despite some cool iconic photography, I was pretty underwhelmed by Night of the Hunter. I found most of the acting to be appalling, and the screenplay had the subtlety of a car crash.An all-time Top 20 for me. I can understand your reaction, the film is more of an acquired taste than its reputation suggests.

[Dead & Messed Up]

I'm an editor professionally. I use Chicago Manual of Style all the livelong day. It italicizes movie titles. Thus do I, out of habit and because I happen to think it looks better and cleaner. OCD a little.

I was taught in school to underline book titles, film titles, etc. Has that changed?

[Mara]

I was taught in school to underline book titles, film titles, etc. Has that changed?

In high school I was taught to underline if I was writing long-hand, and to italicize if I was typing.

[balmakboor]

I'm an editor professionally. I use Chicago Manual of Style all the livelong day. It italicizes movie titles. Thus do I, out of habit and because I happen to think it looks better and cleaner. OCD a little.

Something that annoys the heck out of me is the newspaper I run reviews in requires movie titles to be in quotes. And the online magazine blogcritics requires them to be italicized. I have to format each review twice.

[Qrazy]

Something that annoys the heck out of me is the newspaper I run reviews in requires movie titles to be in quotes. And the online magazine blogcritics requires them to be italicized. I have to format each review twice.

What if you quote and italicize?