28 Film Discussion Threads Later

[MacGuffin]

Summer of Sam has its moments — it has been a while since I've seen it, but I remember two sequences with music by The Who standing out, wherein one of them, Spike Lee has a role as a news reporter. The other memorable sequence features the Son of Sam in his apartment, haunted by the barks of a dog outside. I especially remember that when we actually saw the dog, Lee used a distortion effect on the image and heavily-tinted colors.

[D_Davis]

One of life's biggest disappointments is when you decide to watch a certain film, and Fates conspire against you to make it impossible to finish. Bad discs, wrong discs, scratches, DVR's that don't record the entire film, pathetic subtitles, awful transfers, etc.

When T2 came out in the theaters, I tried to see it 3 times.

The first time the power when out in the theater about 15 minutes into the movie. The second time the projector broke. The third time I went to the drive in and my car battery died.

I hate that movie.

[origami_mustache]

Away We Go is pretty dreadful..

I think I hate Sam Mendes...I'll pass on this one.

[Bosco B Thug]

CAMPION. Still riding the The Piano high. Next step: Netflix Sweetie or just pick up In the Cut anywhere?

Didn't catch Larisa Shepitko in the female director discussion. She's probably my favorite female director at this point.

Mmm. I get pretty excited thinking about possible great female directors. I've got a head start now on Campion, Breillat, and Denis, and I feel as if my Netflixing Lucrecia Martel is imminent.

[MacGuffin]

CAMPION. Still riding the The Piano high. Next step: Netflix Sweetie or just pick up In the Cut anywhere?

Didn't catch Larisa Shepitko in the female director discussion. She's probably my favorite female director at this point.

Mmm. I get pretty excited thinking about possible great female directors. I've got a head start now on Campion, Breillat, and Denis, and I feel as if my Netflixing Lucrecia Martel is imminent.

I'm getting pretty sick of Breillat getting so much attention. She doesn't strike me as very talented at all, much less among the best female directors.

[B-side]

CAMPION. Still riding the The Piano high. Next step: Netflix Sweetie or just pick up In the Cut anywhere?

Sweetie is good. I liked it better than The Piano, though I didn't love either of them.


Didn't catch Larisa Shepitko in the female director discussion. She's probably my favorite female director at this point.

I should see some of her films.


Mmm. I get pretty excited thinking about possible great female directors. I've got a head start now on Campion, Breillat, and Denis, and I feel as if my Netflixing Lucrecia Martel is imminent.

What all have you seen from Breillat? I'm a huge fan of hers. I wasn't a big fan of The Intruder from Denis. From Martel, La Cienaga was quite good.

[MacGuffin]

I wasn't a big fan of The Intruder from Denis.

If that's the only movie you've seen by her, what the hell were you thinking making that your first Denis movie?

[B-side]

If that's the only movie you've seen by her, what the hell were you thinking making that your first Denis movie?

Heh. No idea. I didn't give it much thought. I just seen that a lot of people seemed to like it and I hadn't seen anything from her, so I gave it a go. I didn't hate it, but it didn't exactly thrill me either.

[Bosco B Thug]

I'm getting pretty sick of Breillat getting so much attention. She doesn't strike me as very talented at all, much less among the best female directors.

What all have you seen from Breillat? I'm a huge fan of hers. I wasn't a big fan of The Intruder from Denis. From Martel, La Cienaga was quite good. Well, I've only seen Fat Girl. But I thought it was pretty brilliant.

[B-side]

Well, I've only seen Fat Girl. But I thought it was pretty brilliant.

It's quite good. Likely my #2 Breillat after A Real Young Girl.

[MacGuffin]

Heh. No idea. I didn't give it much thought. I just seen that a lot of people seemed to like it and I hadn't seen anything from her, so I gave it a go. I didn't hate it, but it didn't exactly thrill me either.

It's understandable. But I think you would have liked it much more if you would have seen a few of her other movies first. That's generally regarded as her least accessible. Give I Can't Sleep a try. (I think L'intrus is a masterpiece.)

[B-side]

It's understandable. But I think you would have liked it much more if you would have seen a few of her other movies first. That's generally regarded as her least accessible. Give I Can't Sleep a try.

I figured as much. Trouble Every Day grabbed my interest. It's pretty high in my queue. I'll look into some other films of hers.

[origami_mustache]

I figured as much. Trouble Every Day grabbed my interest. It's pretty high in my queue. I'll look into some other films of hers.

I thought Trouble Every Day was rather crappy and left me not so enthused about watching her other work.

[Bosco B Thug]

It's quite good. Likely my #2 Breillat after A Real Young Girl.
Glad to hear there's a higher point in her oeuvre (in one person's opinion).

But she'll have to settle for Brief Encounter for a 2nd date, because I already got it today from Netflix.

[B-side]

I thought Trouble Every Day was rather crappy and left me skeptical about watching her other work.

Yeah, well, the day I let the likes of you dictate what I watch and don't watch is the day I--

sorry about that.

It's been recommended to me by a few folks. We'll see how it turns out.:P

[B-side]

Glad to hear there's a higher point in her oeuvre (in one person's opinion).

But she'll have to settle for Brief Encounter for a 2nd date, because I already got it today from Netflix.

:)

[MacGuffin]

Yeah, well, the day I let the likes of you dictate what I watch and don't watch is the day I--

sorry about that.

It's been recommended to me by a few folks. We'll see how it turns out.:P

It's a great movie, particularly because of Beatrice Dalle's chilling performance (she's even better here than she is in Inside), but I don't think it's one of Claire Denis' best movies.

[B-side]

It's a great movie, particularly because of Beatrice Dalle's chilling performance (she's even better here than she is in Inside), but I don't think it's one of Claire Denis' best movies.

Well, as long as I like it better than The Intruder, that'll at least keep me actively interested in her films.

[MacGuffin]

In fact:

I Can't Sleep ***
Beau travail ****
Trouble Every Day ***
Friday Night ***1/2
L'intrus ****

I have Chocolat checked out from the library. I still need to see Nénette et Boni, and I'm seeing 35 rhums next week.

[Spinal]

I'm getting pretty sick of Breillat getting so much attention. She doesn't strike me as very talented at all, much less among the best female directors.

Where is it that Breillat is getting a lot of attention?

[MacGuffin]

Where is it that Breillat is getting a lot of attention?

Well, whenever best female directors are brought up, it seems inevitable she's not too far behind, for whatever reason. Outside of that, she also is pretty popular because of her shock tactics. (Obviously I am not concluding that she has received mainstream attention, but I think with places like this one, a fair number of people know who she is and acknowledge her as a worthwhile director.)

[balmakboor]

Get on the Bus? You surprise me soori.

Crooklyn? You surprise me Wryan and Soori.

[Sycophant]

Is Crooklyn technically a family film? Because if so, it's one of the absolute best.

As it is, it's top-tier Spike Lee.

[Qrazy]

CAMPION. Still riding the The Piano high. Next step: Netflix Sweetie or just pick up In the Cut anywhere?

Didn't catch Larisa Shepitko in the female director discussion. She's probably my favorite female director at this point.

Mmm. I get pretty excited thinking about possible great female directors. I've got a head start now on Campion, Breillat, and Denis, and I feel as if my Netflixing Lucrecia Martel is imminent.

Ah yeah I actually started my reply with Shepitko in mind but forgot to put her name down. I think she's also my favorite.

[baby doll]

CAMPION. Still riding the The Piano high. Next step: Netflix Sweetie or just pick up In the Cut anywhere?You know, I saw The Piano a few months ago on the big screen, and though I liked it quite a bit, I wasn't that impressed by it. The feminist symbolism ("She's lost her voice," or something to that effect) was a bit on the nose for my liking, and Sam Neill as the villain is like something out of a D.W. Griffith melodrama--except not as awesome. Good film, but did it really deserve the Palme d'Or over King of the Hill, Ma saison préférée, Naked and The Puppet Master?

[Boner M]

w/e

Fanfare + Bert Haanstra shorts
Sonic Outlaws (Craig Baldwin)
some other shit

[Beau]

I quite liked Trouble Every Day. It's Claire Denis playing around with a schizophrenic conspiracy straight out of Rivette, adding lots of blood and emotional intensity, and mixing it up with Vincent Gallo and a contemplative gaze (this last point being expected). I don't know, that's good stuff to me.

My rankings:

1. L'Intrus
2. Trouble Every Day
3. Beau Travail
4. 35 Rhums

They're all impressive. I do agree L'Intrus is not accessible. I think the only reason I liked it was because at the time I was coincidentally interested in open-narratives (still am, but when I watched it I was just starting to throw the darts around).

[Bosco B Thug]

Ah yeah I actually started my reply with Shepitko in mind but forgot to put her name down. I think she's also my favorite. I hope her remaining and undistributed films are as powerful as The Ascent and Wings... and I hope they get distributed.


You know, I saw The Piano a few months ago on the big screen, and though I liked it quite a bit, I wasn't that impressed by it. The feminist symbolism ("She's lost her voice," or something to that effect) was a bit on the nose for my liking, and Sam Neill as the villain is like something out of a D.W. Griffith melodrama--except not as awesome. Good film, but did it really deserve the Palme d'Or over King of the Hill, Ma saison préférée, Naked and The Puppet Master? I totally expected Campion to drop the ball with the Sam Neill character, and I thought she had when he does the finger deed, but his send-off moment is pitch perfect. Also, The Piano = best demystification of hoop skirts ever. The film's realy a riot, I love it.

[BuffaloWilder]

There's a French critic, Yannick Dahan, who hosts Operation Frisson - it's a serialized review show that's actually pretty popular over there. And, I've got a couple of his videos that a friend sent me - unfortunately, they are in French. And, I cannot make use of a translation service, because - well, it's a video.

Now, I may be talking entirely out of my ass-crack, but isn't there some audio translation program, out there? I'm sure I've seen something like that floating around somewheres. However, I may, in fact, be wrong and this may be totally illogical nonsense.

Still -

Also, other types of valid responses include: other possible solutions.


(This is semi-related to film, so I figured 'why not?')

[trotchky]

With all this talk of Bergman, I decided to jump onto the Bergman Bandwagon:

I fell asleep 30 minutes into Persona (exhausting couple of days) but already it's caused me to both ruin a pretty decent pair of jeans and break a hole through my television. The film seems to reveal itself the way a great novel might: With an insanely gripping opener that appears simply done because of the mastery behind it (is simple, indeed because it is the work of a master) and progresses at a logical thematic pace that keeps your mind working just enough for you to always think you know what's being done. I guess I'll have to watch the rest of it tomorrow! For now? Second viewing of The Hangover on hitflix dot net!

[Qrazy]

With all this talk of Bergman, I decided to jump onto the Bergman Bandwagon:

I fell asleep 30 minutes into Persona (exhausting couple of days) but already it's caused me to both ruin a pretty decent pair of jeans and break a hole through my television. The film seems to reveal itself the way a great novel might: With an insanely gripping opener that appears simply done because of the mastery behind it (is simple, indeed because it is the work of a master) and progresses at a logical thematic pace that keeps your mind working just enough for you to always think you know what's being done. I guess I'll have to watch the rest of it tomorrow! For now? Second viewing of The Hangover on hitflix dot net!

Um... so the film gave you a hard on which smashed your TV?

[trotchky]

Um... so the film gave you a hard on which smashed your TV?

Rep. You got it.

[Grouchy]

So I just saw all three Terminator movies back to back. Seriously. I'd obviously seen the first two a bunch of times as a kid and teenager, and it was a cool world to visit again, but this was the first time I saw the third one. It's significantly worse, I think, because until the very end it doesn't feel like an "earned" sequel, only a retread of typical Terminator scenarios and situations. Most of it is just played for homage and camp, and seeing that coming straight off the epic climax of the second one only makes it worse. I bet I would've liked it if I had gone to the cinema back in 2003. It's not offensively bad, just kind of a dull and predictable film to make. The worst part of it is that the John Connor character is turned into a retard. Where are his hacking abilities? Or his personality?

Those t-shirts are the cat's fucking pyjamas. I want one NOW.

[MacGuffin]

I'm the screenwriter around here. Scripts will be five pages long maximum and consist of the mere basics; dialogue and actual scenes will be purely improvised.

[MacGuffin]

This (http://www.criterion.com/films/1333) was already a must-buy when it was announced (I haven't seen it yet), but between the Adrian Martin commentary and all the written material, Criterion keeps adding extras that make it a potential DVD of the year along with Last Year at Marienbad, which I'll hopefully pick up soon after it comes out.

[ledfloyd]

i'm binging on animation.

[Qrazy]

i'm binging on animation.

I've been thinking of watching the Disney canon lately. I saw many only as a kid and there's still a large number I've never seen before.

[ledfloyd]

I've been thinking of watching the Disney canon lately. I saw many only as a kid and there's still a large number I've never seen before.
i haven't seen any of them since i was about 10. until the last week or so. pinnochio, fantasia and snow white held up really well. not sure if i'm brave enough to attempt tackling the entire canon. there are alot of duds in there.

[Watashi]

Animated films are for kids.

lol led

[ledfloyd]

Animated films are for kids.

lol led
...

[Watashi]

...
Aw, I still love you.

[ledfloyd]

Aw, I still love you.
i'm confused by what you were saying with teh last post.

[Watashi]

i'm confused by what you were saying with teh last post.
Goddammit led. I was making fun of you because you watch children movies.

[ledfloyd]

Goddammit led. I was making fun of you because you watch children movies.
but... you wa...

oh nevermind.

[balmakboor]

I get very few comments on my reviews at blogcritics.org (I need to promote them more or something) but when I do they are often pretty strange. I kind of got stuck reviewing a piece of junk recent version of Call of the Wild and some guy really took exception to my calling its director incompetent. (I almost replied back with something along the lines of "Plant" or asking him if he's Richard Gabai's brother. I suppose what I ended up saying in reply was a bit more tactful.)

http://blogcritics.org/video/article/movie-review-call-of-the-wild/

[trotchky]

Animated films are for kids.

lol led

Untrue.

Kid's films are for kids, though.

[baby doll]

I've been thinking of watching the Disney canon lately. I saw many only as a kid and there's still a large number I've never seen before.I watched Snow White and Alice in Wonderland again recently, and they were both boring as hell.

[kuehnepips]

Rohtenburg (2006, Germany) opened in German theatres yesterday.

[Mysterious Dude]

I caught some of Finding Nemo on TV the other day, and I thought it was pretty lame. Some of the "family" moments (Nemo swimming to his dad and hugging him sideways at the end) were really gag-inducing.

[Beau]

I bet I would've liked it if I had gone to the cinema back in 2003.

That didn't work for me, unfortunately.

[Beau]

I caught some of Finding Nemo on TV the other day, and I thought it was pretty lame. Some of the "family" moments (Nemo swimming to his dad and hugging him sideways at the end) were really gag-inducing.

This is the second most ridiculous paragraph I've read today, right behind "PETA is pissed off at Obama for killing a fly." What will they do next, ban all still-existing copies of Mario Paint?

[D_Davis]

I get very few comments on my reviews at blogcritics.org (I need to promote them more or something) but when I do they are often pretty strange. I kind of got stuck reviewing a piece of junk recent version of Call of the Wild and some guy really took exception to my calling its director incompetent. (I almost replied back with something along the lines of "Plant" or asking him if he's Richard Gabai's brother. I suppose what I ended up saying in reply was a bit more tactful.)

http://blogcritics.org/video/article/movie-review-call-of-the-wild/

I can't see the comments!

[balmakboor]

I can't see the comments!

Really? Near the bottom? I thought they were publicly viewable.

Anyway, here they are:

1 - Greg Wilson
Jun 15, 2009 at 9:32 am
Interesting that personal attacks are not allowed here yet they seem to be flying freely from the tongue and pen of Todd Ford. I'm writing this because ironically my kids and enjoyed Moto-x-kids and I just saw and really enjoyed Miracle Dogs Too on Showtime both of which were directed by Richard Gabai. I looked up those other movies on the internet - they are over 20 years old. We look forward to Call of the Wild. Heed your own message about personal attacks - you insult your readers sometimes when you insult a movie director that we enjoy.

2 - Todd Ford
Jun 19, 2009 at 7:02 am
Thank you for your feedback. I'm glad you have enjoyed some of Mr. Gabai's movies in the past and maybe you'll enjoy this one as well. I'm sure though that calling a director's abilities into question is perfectly acceptable critical method and certainly not what this site's "personal attacks" policy intends to curtail. Please do see the movie (I included some sugar with the salt in my review and it does have its merits) and then post a counter review. That's what critical discussion is all about. Cheers.

[D_Davis]

Nice response. You handled it well.

[Qrazy]

You should have subliminally included the words Fuck Off though.

[Mara]

Nice response. You handled it well.

Yeah. Considering that he's a nutjob.

[Qrazy]

Yeah. Considering that he's a nutjob.

STOP TALKING ABOUT GREG WILSON THAT WAY

[Spinal]

Interesting that personal attacks are not allowed here yet they seem to be flying freely from the tongue and pen of Mara.

[Mara]

Interesting that personal attacks are not allowed here yet they seem to be flying freely from the tongue and pen of Mara.

Spinal is a poopybutt.

[Mara]

Spinal is a poopybutt.

I wrote this without any use of tongue or pen.

Fingertips FTW.

[Spinal]

I would sue for libel, but I don't want to have to defend these allegations in court.

[Rowland]

Hmm, not sure I understand why Leo McCarey's The Awful Truth has such a sterling reputation. There is a lot to admire, but I feel there's nearly as much I could rag on. Agreeable enough, but a disappointment overall.

[MadMan]

I did see T3 in theaters, and I did enjoy it a lot. In fact I still prefer its chase scene to the one in Matrix Reloaded. Still it doesn't even come close to touching the first two, which are great films.

And I recently revisited most of Beauty and the Beast and found that even though I still don't like Bell at all, the rest of the movie is really wonderful. I think back then I let one annoying aspect almost ruin the rest of it for me. I'd probably rate it more in the low to mid 80s, especially since it features some great animation and the songs are pretty good as well.

[Dead & Messed Up]

I did see T3 in theaters, and I did enjoy it a lot. In fact I still prefer its chase scene to the one in Matrix Reloaded. Still it doesn't even come close to touching the first two, which are great films.

And I recently revisited most of Beauty and the Beast and found that even though I still don't like Bell at all, the rest of the movie is really wonderful. I think back then I let one annoying aspect almost ruin the rest of it for me. I'd probably rate it more in the low to mid 80s, especially since it features some great animation and the songs are pretty good as well.

Why don't you like Belle? Belle's a smart, lovely young woman with a healthy dose of sass. She's a heroine for our generation.

:)

I really do believe that, but it's hard to say so without sounding smarmy.

[Mara]

Why don't you like Belle? Belle's a smart, lovely young woman with a healthy dose of sass. She's a heroine for our generation.

Yeah, Belle is probably my favorite Disney heroine.

[MadMan]

Why don't you like Belle? Belle's a smart, lovely young woman with a healthy dose of sass. She's a heroine for our generation.I know, but she just gets on my nerves for some reason. Not quite sure what it is, especially since I can appreciate that she's a modern woman written into a movie set in ye olden times.


I really do believe that, but it's hard to say so without sounding smarmy.Maybe. I'm not really sure.

[Rowland]

Great Moments in Movie History: Clips from films generally considered mediocre-to-bad, removed from context, presented without commentary.

http://www.theoffline.com/shows/gmimh/

Some of this is pretty hilarious.

[D_Davis]

Great Moments in Movie History: Clips from films generally considered mediocre-to-bad, removed from context, presented without commentary.

http://www.theoffline.com/shows/gmimh/

Some of this is pretty hilarious.

Oh God...The Happening. Man, how can one movie suck so much?

[MacGuffin]

Oh God...The Happening. Man, how can one movie suck so much?

If those scenes are indeed real, how can that movie even exist I think is the more pressing question.

[Spinal]

Fun concept. But shucks, I like those scenes from Dune. I used the 'oil shower' one for a presentation in a film class one time.

[Dead & Messed Up]

I still kinda like The Happening. It had a schlocky, self-serious charm and a wonderful mean streak. Sucks to be Spencer Breslin.

[Qrazy]

Fun concept. But shucks, I like those scenes from Dune. I used the 'oil shower' one for a presentation in a film class one time.

Uhhhh... ehhh... hrmmm.

[Spinal]

Uhhhh... ehhh... hrmmm.

You got a problem with the framing?

[D_Davis]

If those scenes are indeed real, how can that movie even exist I think is the more pressing question.

I had to remind myself while watching it that someone actually made it. It's baffling. It's so bad that it defies the imagination.

[D_Davis]

Fun concept. But shucks, I like those scenes from Dune. I used the 'oil shower' one for a presentation in a film class one time.

Me too. I actually like Dune.

[Sven]

I have no time for those that refuse the awesome of Dune.

[baby doll]

Weekend:

Les Anges exterminateurs (Jean-Claude Brisseau, 2006)
Bound for Glory (Hal Ashby, 1976)
Don't Come Knocking (Wim Wenders, 2005)
Radio On (Chris Petit, 1980)
Rhapsody in August (Akira Kurosawa, 1991)
Torn Curtain (Alfred Hitchcock, 1966)

[Rowland]

I like Dune better than several of Lynch's more heralded pictures.

[Qrazy]

You got a problem with the framing?

Yep.

[Winston*]

I have no time for those that refuse the awesome of Dune.

So you've got no time for David Lynch?

[baby doll]

I like Dune better than several of Lynch's more heralded pictures.The fact that the film he won the Palme d'Or for was Wild at Heart just gets more and more shocking the more I think about it.

[Rowland]

Weekend:

Indy II and III
2nd viewing of Synecdoche, NY
Lisa and the Devil
something off my DVR

[baby doll]

So you've got no time for David Lynch?He's hardly objective. Every time I read something he says about the film, it's always about what he wanted to do, and how much better it could've been, and not what he actually accomplished.

[trotchky]

He's hardly objective.

What human is?

[Winston*]

What human is?

Brad Bird?

[trotchky]

Brad Bird?

Lol.

[Spinal]

He who controls Brad Bird controls the universe!

[ledfloyd]

I watched Snow White and Alice in Wonderland again recently, and they were both boring as hell.
alice in wonderland was a big let down. yes, it was quite slow. my rating is probably high. snow white though, i loved.

[Ivan Drago]

For a critical writing for film class I'm taking now, I have to watch a non-American film and analyze a scene from that movie in a paper due on Monday. The films I've rented from the library are:

Pierrot Le Fou
Alphaville
Jules and Jim

I'll probably watch all three eventually, but which one do you guys think I should watch first and/or like the most?

[BuffaloWilder]

I'm a fan of the first few Disney films, from the Golden Age - Snow White, Pinocchio, Bambi - those are marvelous pieces of work. It's most of the stuff that comes after it I'm not sure about.

[Cult]

Saw The Magnificent Ambersons. Aside from the studio ending, which I'm sure we'll mostly agree craps on everything that came before it, I liked it. It reminded me of Barry Lyndon, and I'm sure it would have been as epic without the cuts.

I've been impressed with the Welles I've seen thus far. Maybe there really is something to this kid...!

[Boner M]

http://blogs.wnyc.org/culture/files/2008/12/guitare001.jpg

I Can No Longer Hear the Guitar - 2nd Garrel I've seen after Regular Lovers, which looks like a Michael Bay film in comparison. Long takes that straddle the line between establishing some sort of rhythm and saying 'fuck you' for even watching. Tormented passive people engaged in intense navel-gazing sessions. Some of the dourest interiors I've seen in a film in a while, rendered in unsparing natural light. Not a speck of humour in sight, and seemingly made to court the old 'art film parody' chestnut. Garrel seems so singlemindedly intent on excavating his most personal moments (the film is one in a long line of tributes to his ten-year relationship with Nico), in their starkest form that the film accrues a purity that is actually quite beautiful. And yes Raiders, I'm aware this sounds awful.

[Rowland]

I found large passages of Regular Lovers borderline-insufferable. Maybe I wasn't in the right mood that day.

[Boner M]

I found large passages of Regular Lovers borderline-insufferable. Maybe I wasn't in the right mood that day.
It only really clicked for me after the "This Time Tomorrow" dance scene, but from then on I was completely on Garrel's wavelength. I found the riot scenes more interesting to read about when described by Garrel champions than they were to watch, although a repeat viewing might change that.

[baby doll]

So, Away We Go. Maybe the rating is a little harsh because there's nothing terribly wrong with the movie: it's funny and entertaining, but also terribly bland. (The only thing I can seriously fault it for is the predictable bashing of feminism. So she doesn't want a stroller, what's the big deal? In Korea, they just carry the kids around on their backs.) It's a very low-key movie about nice, low-key people doing nice, low-key things, and even the laughs are very low-key--yet there were people in the theatre who were rolling in the aisles. I guess if you loved Sideways, this is a movie for you.

And speaking of American road movies by European directors, Don't Come Knocking has its pleasures, but they're mostly to do with Wenders' mise en scène (the desert landscapes and the garish neon lighting--particularly an epilepsy-inducing sequence in a casino), and a few lighter moments with the Tim Roth character. But the characters are all too thinly conceived for the actors to do much with them. I wasn't expecting this to be as good as Paris, Texas, but even on its own terms, this is a bit of a let-down.

[DavidSeven]

Pierrot Le Fou
Alphaville
Jules and Jim

You know, I don't really like any of these three films. I suppose Pierrot Le Fou is the most successful of this bunch.

[Philosophe_rouge]

I've been watching quite a bit of Joseph Losey as of late after discovering The Servant earlier in the year. Though none of the films I've seen since really lived up to that one, there has yet to be a miss, and I'm still anxious to see more. I have a hard time believing that he'll really excel without Dirk Bogarde, who seems to perfectly embody every mood or idea that's thrown at him. His talents as an actor, which capture an almost indecipherable nuance and contrasting set of emotions and ideas, work wonderfully in the cruel and often times absurd/extreme critiques of class. I'd even venture to say, stacked up alongside the rest of his commentary on the class system, and the expendable quality of the non-aristrocrat, his somewhat stagey but still gripping King & Country rivals Paths of Glory utilizing an almost identical premise. There seems to be a very acute understanding of the objectification of humanity through both war and class, as the different levels are presented as more or less valuable for petty, and often self-serving reasons.

This is similarly brought up in Sleeping Tiger, where a professor takes on a young criminal in the hopes of better understanding his motives and possibly reforming him. He gives him the alternative between staying as his ward and patient and going to prison, but there is no doubt it's never really an act of mercy, but one of curiosity and a cold detachment.

There is disdain for this behavior on all sides however, as the rich, though still sitting outside of the aristocratic class Bogart exploits William (York), for his own pleasures and mindgames in Accident. This is perhaps the film that comes closest to reaching the extreme levels of The Servant in both it's mood and extreme approach. I almost want to call it a thriller, as two men compete intellectually and emotionally against each other, in a careless pursuit for individual superiority. Their spars are rarely, if ever, overt, but it's a constant competition intellectually, socially and sexually, to see who will rise above. It's fascinating as we watch Stephen's (Bogarde's) restrained and seemingly morally guided approach failing, only to have him take advantage of an extremely morally dubious situation to put himself ahead.

I'm watching Losey's last collaboration with Harold Pinter tonight, The Go-Between, which should prove to be interesting. I'm unsure where I'll head afterwards, but there are still a number of his films that I'm looking forward to seeing at some point.

[Pop Trash]

For a critical writing for film class I'm taking now, I have to watch a non-American film and analyze a scene from that movie in a paper due on Monday. The films I've rented from the library are:

Pierrot Le Fou
Alphaville
Jules and Jim

I'll probably watch all three eventually, but which one do you guys think I should watch first and/or like the most?

Alphaville was a little inscrutable, but I should rewatch it. The others I love, especially Jules and Jim.

[Qrazy]

I'm watching Losey's last collaboration with Harold Pinter tonight, The Go-Between, which should prove to be interesting. I'm unsure where I'll head afterwards, but there are still a number of his films that I'm looking forward to seeing at some point.

I watched These Are the Damned recently. Quite good. I recommend it.

[Philosophe_rouge]

I watched These Are the Damned recently. Quite good. I recommend it.
Looks good to me, Losey and Reed. A nice combo.

[MacGuffin]

I might give A Snake of June a try tonight, along with maybe something else because that movie isn't very long.

[thefourthwall]

A Little Romance (Hill, 1979) is wonderful. Self aware of the magic created by movies and the need for fantasy and romance in our lives in a completely earnest way. The fact that Hill uses scenes from his two biggest films and his protagonist yearns to be Robert Redford doesn't even come across as self-important, but right. Laurence Olivier is delightful as an old man full of nostalgia who inspires and helps the young lovers live out their "little romance" that is actually pretty big.

[number8]

I might give A Snake of June a try tonight, along with maybe something else because that movie isn't very long.

Can't go wrong with that masterpiece.

[MacGuffin]

Can't go wrong with that masterpiece.

That good, huh? Okay, I'll go watch it now then. It's only 77 minutes, so even if it sucks, which I'm sure it won't considering Tetsuo: The Iron Man was at the very least interesting, I won't really be wasting that much time at all. I'll report back with thoughts.

[Qrazy]

That good, huh?

Nope, it's decent enough though.

[origami_mustache]

I'm a fan of anything Tsukamoto...and A Snake of June is one of his better films I think.

[number8]

I suppose if we're gonna use the literal meaning of "masterpiece", Tsukamoto's is Vital.

[MacGuffin]

I can't say that I cared for that all that much, but luckily, it was neither inherently bad, nor a waste of my precious time. The truth is I thought it had some pretty good visuals and I liked the blue tinting, and it was interesting for a while to see where it was going, but ultimately, the movie to me felt as if it began 1/3 of the way into the story; nothing is developed here and there is no exposition and this just made the themes feel to me as if, instead of them being fully explored, they were only sort of realized.

[origami_mustache]

Exposition and narrative in general aren't Tsuskamoto's strong points haha.

[MacGuffin]

Exposition and narrative in general aren't Tsuskamoto's strong points haha.

I still do have some interest in Vital, for what it is worth.

[origami_mustache]

I'd rank Tsukamoto's films in this order:

Haze (2005)
Bullet Ballet (1998)
Vital (2004)
A Snake of June (2002)
Tetsuo, the Iron Man (1989)
Tokyo Fist (1995)
Gemini (1999)
Tetsuo II: Body Hammer (1992)
Gemini (1999)
Nightmare Detective (2006)

Haze is only about 45 minutes, and almost perfect in my opinion. Bullet Ballet is flawed and is probably not his "best" film by most standards, but it's one of my favorites.

[number8]

I saw Haze in theaters at a festival, and man, that was something.

[number8]

Mine:

Vital
Bullet Ballet
Tetsuo
A Snake of June
Haze
Tokyo Fist
Gemini
Tetsuo 2
Nightmare Detective
Hiruko the Goblin

[BuffaloWilder]

What is an 'overstuffed' movie?

[MadMan]

What is an 'overstuffed' movie?Maybe overstuffed, like a stuffed turkey? Or stuffing? Mmm, delicious movie...

[Qrazy]

What is an 'overstuffed' movie?

Tries to do too many things at once and doesn't accomplish any or all themes, plot threads, etc fully.

[dreamdead]

So the ending of The Ballad of Narayama might be the most harrowing and heart-wrenching experience to watch since Come and See. Though Shohei Imamaura engages in lots of random shots of animal or nature juxtaposition with the main narrative arcs, he doesn't allow these moments to overdetermine our reading of the adjacent scenes. Instead, like the best of Nicolas Roeg's editing, he allows the contrasts to serve as merely one potential reading, one meta-narratalogical commentary. So although Imamaura elicits his usual earthy engagement with sexuality, the contrast when he goes away from it during the last section of the film is just transcendentally haunting.

[MacGuffin]

I saw this picture of Peter Greenaway on another forum. I guess it's from the New York Times and I thought it was cool enough that I'd post it here:

http://img83.imageshack.us/img83/2355/venice2650.jpg

Can anybody identify the painting?

[thefourthwall]

Can anybody identify the painting?

Paolo Veronese, The Wedding at Cana. Kept at the Louvre.

[Duncan]

Paolo Veronese, The Wedding at Cana. Kept at the Louvre.

Yeah, but what year was it painted?

[MacGuffin]

Well, When a Woman Ascends the Stairs was certainly awesome. It started out and I was thinking about how it wasn't really exploring a woman's emotional journey as she finds herself in society like I was expecting but rather, how others see women in society. Although, after Mikio gets sick, it quickly gravitates into an even more socially-aware statement on the treatment of women in society and the effects of such treatment. Takamine is really great in this; she gives a very expressive performance that adds depth to her character whenever she comes in contact with another male. My only major complaint is the soap opera element that the movie sometimes gets into — by the end, I was hoping she just didn't marry anybody, especially after we found out Kenichi was a liar and Mr. Fujisaki was married — although that's very minor, because the dialogue is really well-written. Recommendations for more Mikio Naruse? Immediately, he strikes me as a terribly underseen director of classical Japanese cinema.

[MacGuffin]

Paolo Veronese, The Wedding at Cana. Kept at the Louvre.

Thanks for the help. Why didn't you like Twentynine Palms, a favorite of mine?

[Dead & Messed Up]

Baraka was really something. I tried to watch it a few times unsuccessfully (I kept falling asleep), but then today I picked up at the Monkey Chant and watched to the end. A fascinating series of images, and it was a real pleasure watching how Fricke juxtaposed those visuals with music. Entire sequences devoted to religious ritual, death, the machinations of life. A lovely film, with extended shots that capture reality. Sometimes I wonder if this could be the truer, larger purpose of film - to avoid narrative and go for something simpler and deeper.

Towards the end, I kept thinking about "om," the Buddhist word that takes followers to clarity of mind. This film is om.

[trotchky]

Persona was amazing and pretty disturbing, something I did not expect from a movie over four decades old. Usually I approach Bergman flicks with a sort of detached intellectualism, but this one really pulled me in and got under my skin. Pretty incredible from all angles.

[MacGuffin]

Persona was amazing and pretty disturbing, something I did not expect from a movie over four decades old.

?

[B-side]

Baraka was really something. I tried to watch it a few times unsuccessfully (I kept falling asleep), but then today I picked up at the Monkey Chant and watched to the end. A fascinating series of images, and it was a real pleasure watching how Fricke juxtaposed those visuals with music. Entire sequences devoted to religious ritual, death, the machinations of life. A lovely film, with extended shots that capture reality. Sometimes I wonder if this could be the truer, larger purpose of film - to avoid narrative and go for something simpler and deeper.

Towards the end, I kept thinking about "om," the Buddhist word that takes followers to clarity of mind. This film is om.

Crazy. I watched it tonight, too. Loved it. Definitely superior to Koyaanisqatsi.

[trotchky]

?

I'm usually not very affected by pre-'70s flicks, for whatever reason. I can appreciate their craft, but they usually don't speak to me on a visceral level, you know? I feel like they're not for me, they're for...someone else. Actually I feel that way about Persona, as well, but it still really unsettled me. It reminded me a lot of Mulholland Dr.

[trotchky]

I should probably qualify the above two posts with this explanation: I am on drugs right now.

[Boner M]

I should probably qualify my posting history with this explanation: I am on drugs right now.
:D

[soitgoes...]

Well, When a Woman Ascends the Stairs was certainly awesome. It started out and I was thinking about how it wasn't really exploring a woman's emotional journey as she finds herself in society like I was expecting but rather, how others see women in society. Although, after Mikio gets sick, it quickly gravitates into an even more socially-aware statement on the treatment of women in society and the effects of such treatment. Takamine is really great in this; she gives a very expressive performance that adds depth to her character whenever she comes in contact with another male. My only major complaint is the soap opera element that the movie sometimes gets into — by the end, I was hoping she just didn't marry anybody, especially after we found out Kenichi was a liar and Mr. Fujisaki was married — although that's very minor, because the dialogue is really well-written. Recommendations for more Mikio Naruse? Immediately, he strikes me as a terribly underseen director of classical Japanese cinema.Well, I'm not sure how you acquire the films you watch, but if it's Netflix and/or the library then sadly your Naruse watching has probably come to an end. If you have other means of acquiring films then Wife! Be Like a Rose!, Floating Clouds, and Yearning are some of my favorites.

[Hugh_Grant]

Paolo Veronese, The Wedding at Cana. Kept at the Louvre.

Great painting, in the same room as the Mona Lisa, but far more impressive.

So...if you ever wanted to ask Werner Herzog a question, here's your chance:
Forum: Submit Questions for Werner Herzog (http://www.pbs.org/newshour/art/blog/2009/06/forum-werner-herzog.html)

[Dukefrukem]

I watched Batman Begins yesterday. First time watching it since Dark Knight was released. I found myself a little annoyed at the Tumbler chase sequence. The rooftop to rooftop jumping made the movie very cheesy; I understand that was the reason the Tumbler was created to begin with (jumping) but the effects and models do not age well. And the whole stealth mode makes no sense. What was causing the helicopter to miss shining the light on the Tumbler?

[Qrazy]

I watched Batman Begins yesterday. First time watching it since Dark Knight was released. I found myself a little annoyed at the Tumbler chase sequence. The rooftop to rooftop jumping made the movie very cheesy; I understand that was the reason the Tumbler was created to begin with (jumping) but the effects and models do not age well. And the whole stealth mode makes no sense. What was causing the helicopter to miss shining the light on the Tumbler?

Stealth mode is just turning off the lights and reducing the noise of the engine, this makes the car harder for a helicopter to find. It works.

This is real. (http://www.youtube.com/watch?v=-21Ic399S3E)

[Dukefrukem]

Stealth mode is just turning off the lights and reducing the noise of the engine, this makes the car harder for a helicopter to find. It works.

This is real. (http://www.youtube.com/watch?v=-21Ic399S3E)

Does he turn off the lights at 4:56?

[Dead & Messed Up]

After Baraka last night, I finished up Silent Running, and that was also very affecting. Bruce Dern communicated the sense of loneliness and growing neurosis that would affect someone in his position, but what really surprised me was the growing concern I had for the robots, Huey and Dewey. They're less expressive than R2-D2, and yet I found them more compelling. The implications of the ending are sad as hell.

Although I do think it odd that a significant plot point is:

Dern learning that plants need sunlight! You'd think a gardener would be up on that kind of info.

It's probably one of the best "hard" sci-fi films I've ever seen.

[Qrazy]

Does he turn off the lights at 4:56?

I think so.

[Qrazy]

After Baraka last night, I finished up Silent Running, and that was also very affecting. Bruce Dern communicated the sense of loneliness and growing neurosis that would affect someone in his position, but what really surprised me was the growing concern I had for the robots, Huey and Dewey. They're less expressive than R2-D2, and yet I found them more compelling. The implications of the ending are sad as hell.

Although I do think it odd that a significant plot point is:

Dern learning that plants need sunlight! You'd think a gardener would be up on that kind of info.

It's probably one of the best "hard" sci-fi films I've ever seen.

Oh man I can't stand Silent Running.

[Dukefrukem]

I think so.

That's pretty awesome then. It's up for debate whether or not there is a helicopter involved or not.

[Qrazy]

That's pretty awesome then. It's up for debate whether or not there is a helicopter involved or not.

It's true, that clip is not ideal. He has many full videos where it's clear police copters are involved. They're better quality elsewhere but here's another youtube link (http://www.youtube.com/watch?v=QiCYRAoqitY).

[Dukefrukem]

It's true, that clip is not ideal. He has many full videos where it's clear police copters are involved. They're better quality elsewhere but here's another youtube link (http://www.youtube.com/watch?v=QiCYRAoqitY).

Isn't that the same video?

[Qrazy]

Isn't that the same video?

I don't know, didn't watch the whole thing, but this one is significantly longer. I just know I've seen a video with him where you can see the copter more clearly.

http://en.wikipedia.org/wiki/Ghost_Rider_(motorcycle_stuntm an)#The_Ghost_Rider_videos

[Dead & Messed Up]

Oh man I can't stand Silent Running.

Seriously? What'd you dislike about it?

I mean, things I noticed that might bother people include (a) Bruce Dern's one-sided attitude that plants > people, (b) the awkward model work, and (c)...

...the suicide at the end seemed a little pat.

[Sycophant]

(Stephen) Chow Day 2009 was a lot of fun yesterday. Flirting Scholar was even better than I remembered it being. Totally, relentlessly funny. Mad Monk is a weirdass movie--Johnnie To trying to achieve cool shots and some interesting Buddhist philosophy into a mo lei tau comedy, creating a bizarre film in which giant bull demon gods, Ng Man Tat acting like a literal manbaby, wacky puns, and murder, rape, and suicide all exist in the same ten minutes.

The newer DVD I've obtained of Love on Delivery actually makes it look like it was made for more than ten bucks, and makes the entire thing more redeable and understandable (though seeing a Brokeback Mountain reference wedged into the translation of a 1994 film is disorienting), even though the technically better translation lacks some of the awkward charm of the old disc.

It's still absolutley one of the most perfectly funny films I've seen.

[megladon8]

I just cannot get into Lynch's Dune.

The constant internal thoughts, the awful editing (though this may be due to it not being the full 190 minute version)...it's just not capturing my imagination the way I it's supposed to.

[Mara]

I just cannot get into Lynch's Dune.

The constant internal thoughts, the awful editing (though this may be due to it not being the full 190 minute version)...it's just not capturing my imagination the way I it's supposed to.

It's okay to admit you like Sting in a hawk-shaped loincloth.

Shhh. It's going to be okay.

[megladon8]

It's okay to admit you like Sting in a hawk-shaped loincloth.

Shhh. It's going to be okay.



Hey I never said otherwise.

There's a reason why I kept watching for more than an hour even though I wasn't enjoying the movie :)

[D_Davis]

The constant internal thoughts...

I liked the internal monologues. They mirrored the literary qualities of the book. Sure, it's not subtle, and for Lynch VO might even be seen as a bit lazy, but in this instance I think it worked. So much of Dune's drama is internal; it's an interesting examination of spiritual and physical warfare, and I do think that the VO is needed to convey this.

[lovejuice]

It's okay to admit you like Sting in a hawk-shaped loincloth.

Shhh. It's going to be okay.
a picture's worth thousand words.
http://snarkerati.com/movie-news/files/2007/12/8864_0027.jpg

[Qrazy]

Seriously? What'd you dislike about it?

I mean, things I noticed that might bother people include (a) Bruce Dern's one-sided attitude that plants > people, (b) the awkward model work, and (c)...

...the suicide at the end seemed a little pat.

A didn't bother me but B and C and the general camerawork, also the overall flow, pacing and structure of the story. I kept waiting for it to amount to something and then it just didn't.

[Qrazy]

I liked the internal monologues. They mirrored the literary qualities of the book. Sure, it's not subtle, and for Lynch VO might even be seen as a bit lazy, but in this instance I think it worked. So much of Dune's drama is internal; it's an interesting examination of spiritual and physical warfare, and I do think that the VO is needed to convey this.

I'm not totally against voiceover. I think it can be used well, but in general I find that if a film adaptation of a novel does not transfer internal drama/character psychology/literary rhythm and themes into it's aesthetic and instead relies on voiceover, than it usually has not been wholly successful. Then again voiceover is the least of Dune's problems.

[megladon8]

I liked the internal monologues. They mirrored the literary qualities of the book. Sure, it's not subtle, and for Lynch VO might even be seen as a bit lazy, but in this instance I think it worked. So much of Dune's drama is internal; it's an interesting examination of spiritual and physical warfare, and I do think that the VO is needed to convey this.


So much of it was completely unnecessary, though. The characters say things internally that we can see they are feeling from both the circumstances they are in, and their body language.

One that really irked me was when we first meet Kyle MacLachlan's character, and he has the knife fight with Patrick Stewart.

Before the fight begins, the mother leaves worriedly.

When the fight is over, she returns to the room,and we hear her inner monologue say something along the lines of "Thank God, my son is still alive!"

This was totally unnecessary. It's already been established in the narrative that the mother cares for her son deeply. We didn't need that line telling us that she's glad he survived a knife fight - of course she's glad.

It breaks the first rule of screenwriting - show, don't tell. There are other ways to convey the literacy of a work other than making the film flow like a novel. We already have the visual element in place to convey these emotions. The only explanation I can think of is that Lynch didn't trust his own actors to be able to convey these thoughts and feelings effectively through their acting, so he had to have them tell the audience every time their mood changes.

[D_Davis]

It breaks the first rule of screenwriting - show, don't tell. There are other ways to convey the literacy of a work other than making the film flow like a novel. We already have the visual element in place to convey these emotions. The only explanation I can think of is that Lynch didn't trust his own actors to be able to convey these thoughts and feelings effectively through their acting, so he had to have them tell the audience every time their mood changes.

Yes it does break a golden rule, but I think it works in this case. I believe that Lynch was trying to do something a bit different with his adaptation. Books often employ a similar technique, in which the characters think about things, and while this doesn't normally work in cinema, I like its use here. It's a little odd, and kind of stilted, but I think it adds an interesting quality to the film.

I'm usually not a big fan of VO, but with Dune I like what it adds.

[D_Davis]

but in general I find that if a film adaptation of a novel does not transfer internal drama/character psychology/literary rhythm and themes into it's aesthetic and instead relies on voiceover, than it usually has not been wholly successful.

This is true. And while I do like Dune, I mainly like it because it is a very flawed, but highly interesting failure. I like it because of Lynch's odd way of handling almost everything about it. It could have easily been just another post-Star Wars sci-fi flick, but because of Lynch's somewhat misguided choices it is instead a film that I am fascinated by.

I guess I like it because of its flaws.

[Qrazy]

This is true. And while I do like Dune, I mainly like it because it is a very flawed, but highly interesting failure. I like it because of Lynch's odd way of handling almost everything about it. It could have easily been just another post-Star Wars sci-fi flick, but because of Lynch's somewhat misguided choices it is instead a film that I am fascinated by.

I guess I like it because of its flaws.

I'm the opposite. I think it has moments of skill and insight unfortunately thoroughly buried beneath bad decisions, studio interference and self-indulgence. The art design and world building has potential but it stumbles at nearly every turn.

[megladon8]

I would've liked to see Ridley Scott's version, with all the production design by H.R. Giger, as was originally planned.

And Christopher Reeve was supposed to play Paul Atreides.

[Qrazy]

I would've liked to see Ridley Scott's version, with all the production design by H.R. Giger, as was originally planned.

And Christopher Reeve was supposed to play Paul Atreides.

I would have liked to see Jodorowsky's Dune.

Although Scott is at his best when he's doing sci-fi and Jodorowsky veers into the intentionally cheesy domain frequently so Scott's film would probably have had much more gravitas.

[MacGuffin]

Well, I'm not sure how you acquire the films you watch, but if it's Netflix and/or the library then sadly your Naruse watching has probably come to an end. If you have other means of acquiring films then Wife! Be Like a Rose!, Floating Clouds, and Yearning are some of my favorites.

Those all look pretty good, thanks for the recommendations.

[thefourthwall]

Yeah, but what year was it painted?

...I think that's sarcasm...I laughed at any rate...1563...


Thanks for the help. Why didn't you like Twentynine Palms, a favorite of mine?

I will preface my thoughts with the fact that I watched it over a two month period in 10-20 min sections, so probably not the experience the film was tending to convey.;)

However, even if I'd done it all in one go, I don't think I'd have liked it. I like 'boring' films as much as, if not more than, the next person, but this one was exceedingly so. Without much plot, all we're left with is characters, neither of which I liked. I occasionally felt sorry for both of them at different points, but felt like they didn't behave too well generally, so I wasn't too sorry for them. That's for the majority of the film in which they act meanly towards each other and are hurt in return.

The end. I was aware that it had a "shocker ending" so the only part that was mildly surprising to me is that the two most likely end twists I'd guessed both occurred.

Why is it one of your favorites?

[Qrazy]

...I think that's sarcasm...I laughed at any rate...1563...



I will preface my thoughts with the fact that I watched it over a two month period in 10-20 min sections, so probably not the experience the film was tending to convey.;)


I think the only way the film can be approached with enthusiasm is as a treatise on sex and violence in American cinema. Personally I'm lukewarm on the film. I found there to be some things of value and others which felt indulgent.

[MacGuffin]

Why is it one of your favorites?

I was kind of shocked by the ending the first time that I saw the movie. The second time I saw it, I picked on more of the movies' many subtleties. I wouldn't call the movie boring at all actually, because underneath every scene is tension between the two leads and a driving sense of empowerment. I think it's as much a movie about post-9/11 fears as much as it is a movie about the lead males' effort to maintain his masculinity and show dominance over his girlfriend. I think it is an interesting disintegration and deconstruction of this relationship, and I think it can even be said that these characters are supposed to be as unrealistic as possible. But then again, I'm a Bruno Dumont fan from the ones that I've seen (although I didn't care for Flandres when I saw a while ago), but it's been too long since I last saw this, so that's probably all I should say about that.

[MacGuffin]

I think the only way the film can be approached with enthusiasm is as a treatise on sex and violence in American cinema. Personally I'm lukewarm on the film. I found there to be some things of value and others which felt indulgent.

I think there's more going on in the movie than you are giving it credit for, although that's one way to approach it, of course.

[thefourthwall]

... a movie about the lead males' effort to maintain his masculinity and show dominance over his girlfriend[....] I think it can even be said that these characters are supposed to be as unrealistic as possible.

If they're not supposed to be realistic, then I don't see how a reading of the interpersonal relationships are much help...I can sort of see the 9/11 reading, maybe...and as Qrazy notes potentially a critique of Hollywood, but a lame one because merely trying to out-do the sex and violence to show how prevalent it is seems to add to the issue more than being a helpful critique.

[MacGuffin]

If they're not supposed to be realistic, then I don't see how a reading of the interpersonal relationships are much help...I can sort of see the 9/11 reading

Yeah, maybe that was poor wording on my part, although I do remember the characters acting a lot like aliens. I think, as someone on IMDb noted, they're supposed to be relatively dry in order for the audience to focus more on the power struggle. As for the 9/11 reading, I'm not so much suggesting it, as I am declaring it. I'm pretty sure Dumont admitted the movie as to being about this, although I cannot remember. Just think: the Hummer, the fact that is was situated in a city where a Marine Corps. training ground actually resides, the fact that David has shaggy hair and asks his girlfriend: "Should I shave my head and become a Marine?" or something to that affect; there are hints all over the place, and I'm sure there's much more. That's why I love this movie: it's themes are so subtle in how they are placed throughout the movie, it's as if every little detail has a purpose be it asserting the theme or foreshadowing.

[Qrazy]

I think there's more going on in the movie than you are giving it credit for, although that's one way to approach it, of course.

Not really since I'm not not giving it credit, of course there's more going on in the film than I put in my three sentence post. My point is that that and the aesthetic were the only elements that drew me into the work. So on a narrative level it's really not interesting. Even individual scenes and moments are by and large disposable (getting ice cream for instance). And as thefourthwall points out, the characters aren't very interesting either... not because they're unlikeable, but because they're uninteresting. However, the dynamic between the characters and the role played by tedious scenes in order to explore this dynamic are of some value... and thus the exploration of their relationship in relation to norms of sex and violence (as usually portrayed in the cinema) becomes interesting. Despite all this I'm lukewarm on the film because I'm not a fan of the contemporary minimalist movement in cinema and it's penchant for blatant truths and extraordinarily banal dialogue. But at least Dumont has a semi-unique aesthetic.

[Qrazy]

If they're not supposed to be realistic, then I don't see how a reading of the interpersonal relationships are much help...I can sort of see the 9/11 reading, maybe...and as Qrazy notes potentially a critique of Hollywood, but a lame one because merely trying to out-do the sex and violence to show how prevalent it is seems to add to the issue more than being a helpful critique.

Nah, the goal as I see it is to examine the violent side of sexuality (and why that violent element exists... as an extension of emotional frustration, objectification by both parties, culturally inculcated, perhaps a feature of sexuality itself, etc) and then to move from the violence present in their relationship and to further demonstrate the purely brutal and ugly element of violent behavior.

Violence is not glorified at all in the film, that is Dumont's commentary on violence in American cinema. There's also no wish fulfillment. It's Deliverance without the revenge segment. But sexuality is the throughline here. The guy can not bear that his girl witnessed his rape, that she saw him in weakness and so there is revenge in a sense in that he takes his revenge out on her.

[MacGuffin]

I can't really agree with you Qrazy because I thought it was a very interesting movie, if only because of the detail put into the thematic presentation. How do you feel about Bruno Dumont's other movies?

[Qrazy]

I can't really agree with you Qrazy because I thought it was a very interesting movie, if only because of the detail put into the thematic presentation. How do you feel about Bruno Dumont's other movies?

Right but that is precisely what I'm saying I find interesting about the film. But it's perfectly reasonable that you don't embrace my lack of interest in contemporary minimalism. Oh aside from sexual/violence commentary and aesthetic the film does succeed for me in another department and that's what you noted about the ending. It succeeds as horror, or a deconstruction of the horror genre. Horror as horrifying rather than thrilling. Or perhaps it only partially succeeds because much of the film is tedious rather than horrifying... but the tedium is an integral element of the final horror so... yeah.

As to his other films I've seen Life of Jesus and Humanity. I saw the latter first and still like it the most of all his films. I suppose I just find his style most suited to that story and that story the most engaging of all his narratives without losing anything in relation to the expression of his aesthetic content. Life of Jesus was also interesting. He's a strong formalist so it's easy to find something to like in all of his films. I'm not a huge fan but he has a valuable voice.

[MacGuffin]

Okay, cool. I've actually called the movie a horror film a few times and have picked up some flak, but who says there can't be such thing as naturalist horror?

[Dead & Messed Up]

Not really film discussion, but anyway:

I was just doing a mail pickup at Universal City, and I walked right into Don Cheadle. I didn't realize until he said, "Sorry" and walked away. He's not a tall guy.

It was a few minutes later that I realized I "crashed" into Cheadle.

:lol:

Here's to hoping he felt something.

[The Mike]

Dune assured that I'd never get a boner via Alicia Witt again. :sad:

[The Mike]

Here's to hoping he felt something.Speaking of boners....

;)

[Dead & Messed Up]

Speaking of boners....

;)

The best moment from Ocean's 11.

[Boner M]

Emergency Kisses – Another deeply personal Garrel joint, albeit compared to the tormented I Can No Longer Hear the Guitar this is a pretty fleet family affair with the entire Garrel clan stepping in front of the camera for some musings on love and art, which seem to be the only things that Garrel cares about but hey I ain’t complaining. Felt a little more passive towards this one compared to the two Garrels I’ve seen – not so much taking in the specifics, but rather the general vibe and Garrel’s surefooted poetic rhythm – but I can see it being more rewarding upon a revisit.

The Lineup – Only really kicks into gear as soon as Eli Wallach and co. show up, but as soon as they do, we’re in badass crime-film nirvana. Siegel has a real knack for making the set pieces upsetting, that go beyond simply following rote genre requirements and tap into the primal sense of some kind of social order being thrown uncomfortably out of whack. All the violence here takes place at hotels, public saunas, ice-skating rinks… and this upset even occurs among the criminals, with that awesome final confrontation between Dancer and ‘the man’. Tightly paced as ever, with a satisfying climax and tactile, lived-in locations… Siegel rocks.

Fanfare – Largely unfunny if admirably humanistic farce. One of those films, like Forman’s The Fireman’s Ball, where a giant cast all bluster a sole character trait into the ground at the service of some state-of-the-nation allegory. Kinda feel like a grump for disliking something so gentle and warm-hearted, although the complete lack of maliciousness is probably why it doesn’t work as a satire. Beautifully photographed though… might wanna check out some of Haanstra’s doco/non-narrative film at this current gallery retrospective.

[Rowland]

Dianne West's voice-over at the end of Synecdoche is the single most devastating stretch of cinema I've seen from last year. It's fearlessly, almost embarrassingly direct, but it's earned, and it hurts with such a visceral beauty, misery as cathartic self-realization.

[B-side]

I loved Twentynine Palms. Israfel wrote a pretty great blurb about it a while back. I think I started a thread on it or something and he responded.

[monolith94]

Am I the only one who'd like to see a David Lynch film with Brian Blessed in it?

[Grouchy]

I bought Superman: The Animated Series Season 1 on DVD and I hadn't realized before that a huge staple of the DCAU is characters destroying TV sets when they don't like the news. I wish someone with more spare time than me would count all the times someone blasted the TV on this and the Batman show.

[Spinal]

Am I the only one who'd like to see a David Lynch film with Brian Blessed in it?

It hadn't occurred to me until now, but that is an inspired idea.

[Bosco B Thug]

The Game was too fantastic and didn't have the eccentricity to properly make it work, but it's a sleek film that at least (before the reveal) doesn't ever betray its most persuasive angle as a nightmare fantasy about invisible grand larceny in the impersonal electronic age.

Smiley Face was... weak, even by its standards. It's good the performances and the idea behind it all is inherently conceptual and buoyant and candy-colored for the "heightened" meta-viewing, because funny-when-you're-high, predictable gags are just predictable when you're grounded. It's also irritatingly nonsensical. Why are ALL THOSE PEOPLE looking for her at the end of the movie???? Oy.

[MacGuffin]

Smiley Face was... weak, even by its standards. It's good the performances and the idea behind it all is inherently conceptual and buoyant and candy-colored for the "heightened" meta-viewing, because funny-when-you're-high, predictable gags are just predictable when you're grounded. It's also irritatingly nonsensical. Why are ALL THOSE PEOPLE looking for her at the end of the movie???? Oy.

Yeah, Jane Lynch and the people looking for her at the end were the only funny parts for me. It's a really mediocre movie, overall. I don't think Gregg Araki will ever make a good movie.

[Winston*]

I don't think Gregg Araki will ever make a good movie.

I think Greg Araki has already made a great movie.

[MacGuffin]

I think Greg Araki has already made a great movie.

If you're talking about Mysterious Skin, I don't consider that a good movie.

[trotchky]

I don't think Gregg Araki has ever made a bad movie.

[MacGuffin]

Well, I just saw one of the best movies ever made.

[Dukefrukem]

Well, I just saw one of the best movies ever made.

Boy Meets Girl?

[MacGuffin]

Boy Meets Girl?

Yeah.

[Boner M]

Yeah.
It's a good one, but wait til you see Carax's Mauvais sang before you make that designation.

[Qrazy]

It consistently impresses me how little overlap (aside from new releases) there seems to be in peoples signatures (and by association we witness the enormous output of an art form only about a century old). We've all definitely seen many of the same films and yet there's so much content out there that we can simultaneously explore completely separate seas in the ocean of cinema.

[NickGlass]

I believe that Gregg Araki has made two very successful movies (Smiley Face, The Doom Generation) and one hit-and-miss film (Mysterious Skin). My opinion on his oeuvre, however, tend to run contrary to even what his fans think.

I really, truly do not understand how anyone can call Smiley Face predictable. Gags? It's a freewheeling film about post-collegiate waywardness, which is completely nailed by Anna Faris' tragicomic performance.

[Sven]

Attempted to rewatch The Quick and the Dead with Kristen the other night. Had to stop because it is goddamn terrible.

[baby doll]

Boy Meets Girl (Leos Carax, 1984) 5/5Yowsers, Inspector Gadget! If you liked that, wait until you see Les Amants du Pont Neuf.

[Ezee E]

It consistently impresses me how little overlap (aside from new releases) there seems to be in peoples signatures (and by association we witness the enormous output of an art form only about a century old). We've all definitely seen many of the same films and yet there's so much content out there that we can simultaneously explore completely separate seas in the ocean of cinema.
It doesn't shock me that much. After all, if someone has similar taste, and they see a movie that their friend enjoyed greatly, they'll check it out in hopes of the same response.

[Qrazy]

It doesn't shock me that much. After all, if someone has similar taste, and they see a movie that their friend enjoyed greatly, they'll check it out in hopes of the same response.

?

"It consistently impresses me how little overlap."

[Derek]

By my count, Gregg Araki has made one great movie and one awful movie.

[Ezee E]

?

"It consistently impresses me how little overlap."
Oh... I think we overlap quite often, minus a few.

[Qrazy]

Invasion of the Body Snatchers (Kaufman) - Questions:

1. How do the pods absorb the memories and consciousness of people. Sometimes they touch them and other times they don't. Are we to assume they just need to be in a 50 foot proximity or something? Even if they used pheromones to transfer info. it seems like that would only reach the human host and not feedback to the pod to give the pod the info. it needed to duplicate.
2. Why can the Snatchers be fooled sometimes but not other times.
3. If a Snatcher can be fooled why can't pods? How do pods know they are only replicating humans and not already snatched humans.
4. Why can some Snatchers show more emotion when they communicate than others. If that is their defining characteristic why do they not all exhibit it (married woman, Leonard Nemoy).
5. Not really a question but Donald Sutherland is pretty gullible. He's taken in by new Snatchers (taxi cab driver) regularly when he should be on the alert at least after the second time.

[Qrazy]

By my count, Gregg Araki has made one great movie and one awful movie.

Brighton Rock thoughts?

[Raiders]

Ride Lonesome (Boetticher, 1959) ***
B, when we going to get a few sentences on this?

[Derek]

Brighton Rock thoughts?

I loved how Pinkie's amorality becomes increasingly terrifying as the film goes on. Attenborough's stone-faced intensity more than makes up for the rather simplistic, though engaging, plot. Rose and Ida were both a tad underdeveloped in terms of the motivations behind their more drastic actions, but that's a relatively minor complaint. It's beautifully shot and quick as a whip - a solid recommendation.

[Boner M]

B, when we going to get a few sentences on this?Hey, it only entered my sig a few hours ago. First half kinda boring, Randolph Scott boringer, supporting cast awesome and play off Scott's boringness wonderfully, Karen Steele's jugs amazing, 'scope photography among the best I've seen, final shot a metaphoric wonder, OK maybe I should watch this again.

[Qrazy]

I loved how Pinkie's amorality becomes increasingly terrifying as the film goes on. Attenborough's stone-faced intensity more than makes up for the rather simplistic, though engaging, plot. Rose and Ida were both a tad underdeveloped in terms of the motivations behind their more drastic actions, but that's a relatively minor complaint. It's beautifully shot and quick as a whip - a solid recommendation.

Yeah I really like the cadence of the film. There's a compelling flow to the drama and dialogue. And Attenborough's performance definitely seals the deal. I'd like to see some of his directorial efforts. I saw most of Gandhi in 7th grade years ago but I should rewatch that and give Chaplin a look.

[Grouchy]

I'd love to discuss your Body Snatchers questions because I thought that movie was fucking fantastic, but I think I don't remember it well enough for it. Which means I should watch it again.

[Bosco B Thug]

Yeah, Jane Lynch and the people looking for her at the end were the only funny parts for me. I know it is supposed to be absurd, but it irritated me so much!

FTR, I liked Mysterious Skin but it needs a re-watch.


It consistently impresses me how little overlap (aside from new releases) there seems to be in peoples signatures (and by association we witness the enormous output of an art form only about a century old). We've all definitely seen many of the same films and yet there's so much content out there that we can simultaneously explore completely separate seas in the ocean of cinema. Nice thought.


I really, truly do not understand how anyone can call Smiley Face predictable. Gags? It's a freewheeling film about post-collegiate waywardness, which is completely nailed by Anna Faris' tragicomic performance. Okay, but the film completely fails to raise itself to that level of meaning. Araki seems to go to great lengths to make this film badly made - camp and/or pothead sensibility, sure, but it's ultimately just lazy. 2nd, I understand its freewheeling willingness to just watch Jane's situation aggregate into something increasingly transcendent/disillusioned, but while conceptually good, the screenplay falls short. The film is one of those "on-autopilot" films, which is probably what I meant by "predictable." There are large sections where it's not delightfully bonkers, it's just coasting uninspiringly on its extended punchline, or falling back on jokes everyone who's smoked weed has probably thought up already. Scenes with John Krasinski are particularly a dead zone.

I didn't hate the film - it's frequently amusing and ultimately likeable.

[Spinal]

I liked Smiley Face and I do not smoke pot. I don't know if it's a great movie so much as a great showcase for Anna Faris, who I think is perhaps the top comedic actress of her generation. And that was good enough for me.

[Derek]

I know it is supposed to be absurd, but it irritated me so much!

I didn't hate the film - it's frequently amusing and ultimately likeable.

Not sure how it can be irritating and likeable, but I'm with your first statement. Outside of Farris's performance, there was nothing about this film I liked.

[Raiders]

Hey, it only entered my sig a few hours ago.

OK. I'll give you some time to think it over then.

[Pop Trash]

By my count, Gregg Araki has made one great movie and one awful movie.
This is true. Mysterious Skin and The Doom Generation, respectively.

[Bosco B Thug]

Not sure how it can be irritating and likeable, but I'm with your first statement. Outside of Farris's performance, there was nothing about this film I liked. Understandable. I just found it watchable and entertaining enough. The candy colors

EDIT: and the part where Farris is tracing smiley faces in the sky.

[Pop Trash]

Understandable. I just found it watchable and entertaining enough. The candy colors

EDIT: and the part where Farris is tracing smiley faces in the sky.
I enjoyed it enough. I'm a fan of stoner comedies in general and it was nice that the stoner "hero" was a female for once. Plus, ya know, Anna Farris.

[Qrazy]

All the King's Men (Rossen): God I wanted Anne to die. I don't really understand why Jack stayed with Stark for so long after she cheated on him. Also the ending was weird. He has an 'important' monologue telling her they have to tear down Stark but then Stark dies immediately after. Meh.

[MacGuffin]

It's a good one, but wait til you see Carax's Mauvais sang before you make that designation.

Yeah, I was thinking about that. Honestly, I watched Boy Meets Girl because it's a prerequisite to that in the Alex trilogy. But this movie just amazed me. It's so hauntingly beautiful and heartbreakingly tragic. Plus, Denis Lavant might be my favorite actor.

[Ezee E]

top comedic actress of our generation... Anna Faris?

Hmm... I'll have to think about that.

[Spinal]

top comedic actress of our generation... Anna Faris?

Hmm... I'll have to think about that.

Of her generation. And by that I mean actresses within about 10 years of her age.

[Derek]

Of her generation. And by that I mean actresses within about 10 years of her age.

I wouldn't argue with that. I just wish she were in better movies.

[Ezee E]

I wouldn't argue with that. I just wish she were in better movies.
This mostly.

I'm just trying to think of a comedic actress that may be better. Nobody's coming to mind immediately, so you may be right.

[Spinal]

Up (Spinal, 2009) 48

:P

[Winston*]

Who are the other competitors for this title? Tina Fey? Amy Adams? That Kristen Wiig?

[Raiders]

Kristen Wiig.

[megladon8]

Not of her generation I don't think, but I find Amy Sedaris funny as hell.

[Spinal]

Who are the other competitors for this title? Tina Fey? Amy Adams? That Kristen Wiig?

Fey and Wiig are legitimate choices, though primarily TV actors. Not that I made that distinction. Need to see more Amy Adams.

And with Fey, I would value her writing over her performance.

[Winston*]

Need to see more Amy Adams.
She is unbelievably great in Enchanted (a movie that would probably be terrible if it were not for her).

[Watashi]

Amy Adams is hot.

[Sven]

She is unbelievably great in Enchanted (a movie that would probably be terrible if it were not for her).

Blech, blech, blech.

Cute mugging is never less than obnoxious.

[Sycophant]

Blech, blech, blech.

Cute mugging is never less than obnoxious.

I did not know you saw and did not like Enchanted.

I could hug you.

[Sven]

I did not know you saw and did not like Enchanted.

I could hug you.

I could've sworn that I told you about it. I remember seeing it roughly a week before you did (I think... I saw it on Thanksgiving weekend with in-laws) and I remember you not liking it and thinking that I could hug you.

[Sycophant]

I could've sworn that I told you about it. I remember seeing it roughly a week before you did (I think... I saw it on Thanksgiving weekend with in-laws) and I remember you not liking it and thinking that I could hug you.

It is possible that I once knew, but have forgotten. Still, I get to experience the joy in sharing this opinion with you all over again. Kind of want to burst into song about it.

[Sven]

It is possible that I once knew, but have forgotten. Still, I get to experience the joy in sharing this opinion with you all over again. Kind of want to burst into song about it.

Let's not. Because then we'd be doing what Enchanted wants us to do.

[Watashi]

I've hated Enchanted before all of you guys.

[Watashi]

In other Sven-related news, I recently saw Hollow Man. The critics are loony, that film fucking rocks.

[Raiders]

Oof. I've watched The Hollow Man twice and hated it equally both times. And I'm a pretty big Verhoeven supporter.

[Mara]

Leslie Mann is quite funny. Allison Janey, when she chooses to do broad comedy, is hilarious. Cheryl Hines.

I've only ever seen Jane Lynch in bit parts, but she cracks me up every time.

[Derek]

Leslie Mann is quite funny.

Ugh. Nails on a chalkboard for me.


I've only ever seen Jane Lynch in bit parts, but she cracks me up every time.

Great call on this one though. Not the same generation as Faris, but I'd put her up there for her generation of comediennes.

[Pop Trash]

So Broken Flowers is even better the second time around.

[DavidSeven]

Do TV personalities get funnier than Julia Louis-Dreyfus?

[/1990's perspective]

[megladon8]

Julia Louis-Dreyfus is sexy as hell, too.

[Spun Lepton]

Oof. I've watched The Hollow Man twice and hated it equally both times. And I'm a pretty big Verhoeven supporter.

Same. I was astonished at how invisibility also made him superhuman, able to take a crowbar in the head and still get up fighting. Self-indulgent Verhoeven at his worst.

[Spun Lepton]

I like Sarah Silverman quite a bit. Her show is hilarious.

[DavidSeven]

Does Silverman do anything besides say really raunchy things with indifference followed by a cutesy smile/shrug?

I haven't seen her show.

[megladon8]

I'm not a Sarah Silverman fan.

I find her comedy often crosses the line into being pretty mean.

[Qrazy]

The only time I've seen Sarah Silverman not be awful was when she used to be on The Larry Sanders Show.

Also...

Portia De Rossi deserves a mention.

[Sven]

In other Sven-related news, I recently saw Hollow Man. The critics are loony, that film fucking rocks.

You're just asking for rep, aren't you? Well you got it. Why isn't it in your sig?


And I'm a pretty big Verhoeven supporter.

No you're not. You're the wrongest of wrongs ever.


Ugh. Nails on a chalkboard for me.

Absolutely correct.

I, too, quite like Lynch. She's better than anyone else mentioned, save maybe Fey. I can't stand Wiig or Faris.

[Derek]

Does Silverman do anything besides say really raunchy things with indifference followed by a cutesy smile/shrug?

I haven't seen her show.

Her show's pretty hilarious, though definitely hit or miss. There's really not much to her acting for sure.


I find her comedy often crosses the line into being pretty mean.

Mean to who?

[Dead & Messed Up]

Does Silverman do anything besides say really raunchy things with indifference followed by a cutesy smile/shrug?

I haven't seen her show.

That's pretty much it: the disconnect between her presentation and material.

I did like "I'm F**king Matt Damon." The first time.

[megladon8]

Mean to who?


Whoever the act is pointed towards.

She tries to be edgy and push buttons but instead of coming across as clever and witty, she just seems like a bitch.

As much as I dislike Paris Hilton, Silverman's jab at her a year or two ago at that awards show was in pretty poor taste IMO.

[Dead & Messed Up]

As much as I dislike Paris Hilton, Silverman's jab at her a year or two ago at that awards show was in pretty poor taste IMO.

My dislike for Paris Hilton > My dislike for Sarah Silverman

So I laughed pretty hard. I may have even pointed an accusatory finger at the TV as I rejoiced in Paris's misery.

[megladon8]

My dislike for Paris Hilton > My dislike for Sarah Silverman

I agree with this, completely.

I still thought it was a mean thing to say. At an awards show.

Ribbing is fun and expected from a comedian, but that was mean.

[DavidSeven]

Meg, didn't you call Megan Fox a "worthless person" because she's 10 pounds too light? Just sayin'.

[megladon8]

Meg, didn't you call Megan Fox a "worthless person" because she's 10 pounds too light? Just sayin'.


No, I didn't.

[Raiders]

I can't stand Wiig

What were you saying about "wrongest of wrongs?"

Also, I haven't seen much from Silverman, but Jesus is Magic is both hilarious and genius. There's a ton more there than mere dichotomy between her "cuteness" and her slurs.

[DavidSeven]

Um, Ellen. I'll say it.