28 Film Discussion Threads Later

[ledfloyd]

i've always envisioned l'avventura projected silently on a wall.

[Skitch]

Yeah I don't want anything scary or horror, just beautiful either tranquil or high energy things. I like the Spirit of the Beehive idea but I think it may be a little too tranquil.

I thought of some others:

Mindgame
Tekkon Kinkreet
Soy Cuba
Shadows of Our Forgotten Ancestors
Maybe some Tarr, Angelopoulos, Tarkovsky, Fellini or Kurosawa.
Playtime

Brakhage might be a good idea but a lot of his stuff is just too short unfortunately. Don't think I'd want to throw on Dog Star Man. Animation tends to work quite well.
Also...Spring, Summer, Fall, Winter...And Spring.

[Yxklyx]

...Ever seen movies from Eliseo Subiela? T...

I liked his The Dark Side of the Heart a lot.

[Mysterious Dude]

I was wondering though if anyone could think of some other extremely visual films that would be good for this kind of thing. I was thinking Baraka, Koyanisqaatsi, Man with a Movie Camera, stuff like that, although the first two may be a little too tonally heavy in places. I'd like to stay away from films with a lot of shot/reaction shot conversations. Color is also preferable but not essential.
Consider Cleo from 5 to 7. It's got a lot of wandering around and great urban cinematography.

[Qrazy]

Thanks for the suggestions.

[jamaul]

Does anyone own a copy of David Bordwell's Poetics of Cinema? Is it worth paying $90 for?

[Raiders]

Does anyone own a copy of David Bordwell's Poetics of Cinema? Is it worth paying $90 for?

I haven't read it, but unless you must have the hardcover edition, I would recommend buying the $40 paperback.

[jamaul]

I haven't read it, but unless you must have the hardcover edition, I would recommend buying the $40 paperback.

Oh wow, Amazon only has the HC version?! Hmmm, thanks for pointing that out!

[balmakboor]

Does anyone own a copy of David Bordwell's Poetics of Cinema? Is it worth paying $90 for?

Is that the same as Ozu and the Poetics of Cinema? Because I can get you a copy of that on PDF.

[jamaul]

Is that the same as Ozu and the Poetics of Cinema? Because I can get you a copy of that on PDF.

Yeah, that you can download from his site. This is a different one. I think I'm going to pick up the new Farber on Film and buy the Bordwell book next month.

Oy this 50%-off Barnes and Noble Criterion sale is killing me.

[Raiders]

Oh wow, Amazon only has the HC version?! Hmmm, thanks for pointing that out!

No, they have both.

http://www.amazon.com/Poetics-Cinema-David-Bordwell/dp/0415977797/ref=tmm_pap_title_0

[monolith94]

Qrazy - consider The Legend of Suram Fortress in addition to Shadows of Our Forgotten Ancestors. Also, maybe Vampyr?

[Spun Lepton]

Apparently MGM is on sale. (http://io9.com/5404671/mgm-is-up-for-sale-but-whos-buying) So, Match-Cut ... if we pool our resources ... do you think we could ... live the dream? :pritch:

[Skitch]

Apparently MGM is on sale. (http://io9.com/5404671/mgm-is-up-for-sale-but-whos-buying) So, Match-Cut ... if we pool our resources ... do you think we could ... live the dream? :pritch:

:lol:

[Qrazy]

Qrazy - consider The Legend of Suram Fortress in addition to Shadows of Our Forgotten Ancestors. Also, maybe Vampyr?

Cool I've never seen that one, I'll have to check it out either way. Vampyr is too scary.

[Spinal]

Rep.

My favorite Bergman.

Bergman is great! Repped!

[megladon8]

Awwww...

On a related note, that was one of the very worst discoveries earlier this year when we had water damage on our DVD wall.

My $100 Fanny & Alexander Criterion box set was ruined. Well, the packaging and all the booklets were ruined - the discs still work.

It was le suck.

[soitgoes...]

I just watched my 1000th film released in this decade. It was Ip Man by Wilson Yip, and it was good. Not Kill Zone good, but still quite enjoyable for a biopic. Donnie Yen is a bad motherfucker.

[Qrazy]

I just watched my 1000th film released in this decade. It was Ip Man by Wilson Yip, and it was good. Not Kill Zone good, but still quite enjoyable for a biopic. Donnie Yen is a bad motherfucker.

Which way do you use to keep track of the films you watch? One time I poured through IMDB and made an extensive list but then my computer was stolen. Then I did nothing for a while. Starting this past May I began to record every film I've seen since then but I'd like to restart my comprehensive list... just looking for the best way to go about doing that. The IMDB way was a real pain in the ass... and probably all the more so now that there formatting has become complete garbage.

[soitgoes...]

Which way do you use to keep track of the films you watch? One time I poured through IMDB and made an extensive list but then my computer was stolen. Then I did nothing for a while. Starting this past May I began to record every film I've seen since then but I'd like to restart my comprehensive list... just looking for the best way to go about doing that. The IMDB way was a real pain in the ass... and probably all the more so now that there formatting has become complete garbage.
A combination of a blog and Excel. I had it all on Excel when my old computer fried, and I had neglected to back it up. Since then I figured the redundancy of the internet and Excel will save me from any future mishaps. My initial lists were made by going through IMDb year by year. It isn't too bad if you set certain parameters on their advanced search that weeds out all the TV shows and never seen films.

[Ezee E]

Fourth Kind spoilers, for those that may actually care. :)

So I saw that Fourth Kind movie, and while it's pretty freaky while watching as I believed that archived footage was real, I am pretty angered that it turns out none of it is true at all. It goes from being a pretty effective horror movie, to feeling like one big waste of time.

If they didn't put so much emphasis on it, I think it would've held on pretty good.

Ah well.

[Qrazy]

A combination of a blog and Excel. I had it all on Excel when my old computer fried, and I had neglected to back it up. Since then I figured the redundancy of the internet and Excel will save me from any future mishaps. My initial lists were made by going through IMDb year by year. It isn't too bad if you set certain parameters on their advanced search that weeds out all the TV shows and never seen films.

Ah crap, yeah that's what I did too but now their formatting is god awful. I think it will be an impossible task since you can't see the english titles of films without clicking on them.

[Yxklyx]

Ah, can't sleep!

Movies recently seen:

- Homicide (1991, David Mamet) 8
Not much of a fan of Mamet's style but here he has a refreshing story and it was well executed. It perhaps could have been even better with someone other than Mantegna in the lead.

- The Last Days of Disco (1998, Whit Stillman) 6
Another talkie film. It was ok for the most part - I like Metropolitan a lot more. Loved the disco music - needed more of that. Reminded me a bit of The Rules of Attraction but this was on Valium.

- Up (2009, Pete Docter & Bob Peterson) 8
It was fine - nowhere near as good as Wall-E or Ratatouille. I'm getting tired of the obligatory frenetic third acts in these Pixar films.

- The Year of Living Dangerously (1982, Peter Weir) 5
Ho-hum. The love story wasn't even needed here. I thought Linda Hunt was playing a woman for a while - would have been better if she actually was.

- Planet Terror (2007, Robert Rodriguez) 10
Cinematic Masterpiece.

- Why Worry? (1923, Fred C. Newmeyer & Sam Taylor) 9
Love this old live action looney tunes. I am still astounded by John Aasen's 8 foot 9 inch frame.

- The Lineup (1958, Don Siegel) 8
About a quarter of this is a rather boring Police Procedural with two dull cops that make Jack Webb and Harry Morgan look like Fred Astaire and Ginger Rogers. Fortunately, the rest of the movie features Eli Wallach and a cast of colorful criminals. Very violent (in typical Siegel fashion) and the best cinematic time capsule of San Francisco I've seen yet. Location shooting abounds and excellent ones at that. In glorious Black and White Widescreen.

- Cowards Bend the Knee (2003, Guy Maddin) 9
I don't like where Maddin's been going lately with his repetitive editing techniques but the story here is great and the movie is extremely unique.

- The Brothers Bloom (2008, Rian Johnson) 7
OK. A rather low 7. I much prefer Brick. Con game movies generally defy reality too much to enjoy. I wish I had been rewatching Nine Queens.

- Food, Inc. (2008, Robert Kenner) 6
I found this to be very tame and lacking in information. I was hoping to be as disturbed as I was while watching Blood of the Beasts but this movie is hampered by MPAA ratings it would seem.

[soitgoes...]

Ah crap, yeah that's what I did too but now their formatting is god awful. I think it will be an impossible task since you can't see the english titles of films without clicking on them.
A little searching has led me to this:

Go here. (https://secure.imdb.com/register-imdb/siteprefs)

Check off "Display acting credits sorted by type (name pages):"

Hit "OK" and all should be back to the way things were before. Obviously you need to log in to your IMDb account for this to work, but there you go!

[Watashi]

Yxklyx's strange cinematic obsession with Planet Terror is probably Match Cut's most oddest oddity.

And this board has seen a lot of oddities.

[Grouchy]

- The Brothers Bloom (2008, Rian Johnson) 7
OK. A rather low 7. I much prefer Brick. Con game movies generally defy reality too much to enjoy. I wish I had been rewatching Nine Queens.
The more I think about that movie (Nine Queens, I mean), the more I realize it's probably the best con movie of the last couple of decades. It's a shame that Bielinsky died after completing only his second film. He was one of the few Argentine filmmakers who could tell a coherent, engaging story.

[Grouchy]

So there are at least some grounds in which to defend Altman's Quintet. The actors are good in a distant, cold way; the future, eh, is originally conceived, I guess; it's consistent with its own slow pacing. But all that doesn't change the fact that it's nothing but two hours of Paul Newman walking through snow or in front of random giant photographs and keeping long, slow conversations about stuff that's complicated or near impossible to understand. The movie had an interesting first act and after the first plot point it completely fucking disintegrated. I also thought it was really lame that the game was never actually explained to the audience - not elliptic in an Altman kinda way, just stupid.

Qrazy, you know why it's ridiculous to say that the '70s as a whole were superior to the '80s? Because this very artistic movie is as bad as any '80s shitfest you can come up with. Good intentions not a good film make.

[Qrazy]

So there are at least some grounds in which to defend Altman's Quintet. The actors are good in a distant, cold way; the future, eh, is originally conceived, I guess; it's consistent with its own slow pacing. But all that doesn't change the fact that it's nothing but two hours of Paul Newman walking through snow or in front of random giant photographs and keeping long, slow conversations about stuff that's complicated or near impossible to understand. The movie had an interesting first act and after the first plot point it completely fucking disintegrated. I also thought it was really lame that the game was never actually explained to the audience - not elliptic in an Altman kinda way, just stupid.

Qrazy, you know why it's ridiculous to say that the '70s as a whole were superior to the '80s? Because this very artistic movie is as bad as any '80s shitfest you can come up with. Good intentions not a good film make.

Yes I've seen it and yes it's horrible, but no I don't agree with you. Bad movies were made in every decade, that's not really the point. The 70s are better than the 80s (for me) because there were more good movies made in the 70s (and the 60s) than in the 80s. And the average 70s film I like tends to trump the average 80s film I like. I've made the lists in the past (on my old computer before it was stolen) and it's no contest really. Based on your own taste these ratios may not be true for you.

[jamaul]

Anyone throw down on the new Wings of Desire dvd? Is it worth double dipping the Criterion if I already have the MGM release?

[megladon8]

Anyone throw down on the new Wings of Desire dvd? Is it worth double dipping the Criterion if I already have the MGM release?


My guess would be no.

The MGM release is a great transfer already and has some great features.

The only time I'll double-dip on a Criterion is if the transfer is greatly improved, or if the film is shown uncut/director's cut/some superior cut.

I don't even pay attention to features anymore unless it's a film I'm really interested in knowing more about. And even then, I watch the features once.

[Arthur Seaton]

Definitely NSFW.
Pixar's Up vs. Russ Meyer's Up! (http://fourfour.typepad.com/fourfour/2009/11/up-and-up.html#more)

[baby doll]

Definitely NSFW.
Pixar's Up vs. Russ Meyer's Up! (http://fourfour.typepad.com/fourfour/2009/11/up-and-up.html#more)This is probably the one case where I prefer the Pixar version to the Russ Meyer original. I mean, watching the Pixar Up, one can definitely feel the gears turning (in my head, I was making a Joseph Campbell check list of all the obligatory stages our hero would go through--call to action, return to the ordinary world, etc.--and then laddled on top of that is a sub-Spielberg father complex). But the Meyer version is in total flywheel mode. For the record, I generally find Meyer's post-BVD films less interesting anyway (the increasingly graphic sex and violence--intended I suppose to help Meyer compete with hardcore pornography--tend to spoil the fun for me), although Super Vixens has flashes of brilliance (the episode with the farmer's wife in particular), and I desperately need to rewatch Beneathe the Valley of the Ultra-Vixens. And despite being incoherent and dull, Up! isn't even Meyer's worst film from this period; if nothing else, at least it's not as unpleasant as Black Snake!, his slave plantation exploitation flick.

[Philosophe_rouge]

I love Up! My second favourite Meyer film after Beyond... Even though you don't seem warm on Beneath the Valley of the Ultra-Vixens I can't conceivably understand how anyone would rank it above a film as deliciously stylized and inappropriate like Up! Beneath, though it has some good ideas (the crazy religious stuff is fun, good in concept, shakey in execution) overall it's pretty uninspired, and forgive me but also completely limp.

[Philosophe_rouge]

I forgot about Pussycat, make that third favourite. Ranked!

1. Beyond the Valley of the Dolls
2. Faster Pussycat, Kill! Kill!
3. Up!
4. Vixen!
5. Lorna
6. Beneath the Valley of the Ultra-Vixens

[MadMan]

I forgot about Pussycat, make that third favourite. Ranked!

1. Beyond the Valley of the Dolls
2. Faster Pussycat, Kill! Kill!
3. Up!
4. Vixen!
5. Lorna
6. Beneath the Valley of the Ultra-VixensI've never seen a Russ Meyer movie. Its about damn time I finally did.

[Spun Lepton]

I've never seen a Russ Meyer movie. Its about damn time I finally did.

Beyond the Valley of the Dolls is an enjoyable piece of exploitation.

[Derek]

Its about damn time I finally...

You should create a thread with this title and make a list inside. That way we have all these in one centralized place instead of scattered throughout most of your individual posts. :)

[megladon8]

I hope Fast, Pussycat gets a DVD re-issue sometime soon.

I've been curious about it for such a long time.

[balmakboor]

Anyone throw down on the new Wings of Desire dvd? Is it worth double dipping the Criterion if I already have the MGM release?

The beaver did comparisons and the difference was like night and day. The Criterion looked ravishing.

[Boner M]

The Bride Wore Black feels like a Hitchcock homage made by someone whose seen every Hitchcock film but doesn't like them very much. The opening credit sequence of a sullen Moreau's portrait being mass-printed is both the best thing about the film and unfortunately a way of unflatteringly foreshadowing the film's tone of wan, joyless reproduction. A shame, since the last two Truffaut films I'd seen - The Soft Skin and Two English Girls - had edged me into the 'pro' camp, while this one embodies everything I find bothersome about him.

[The Mike]

Didn't Truffaut kinda worship Hitchcock and his films?

[Qrazy]

The Bride Wore Black feels like a Hitchcock homage made by someone whose seen every Hitchcock film but doesn't like them very much. The opening credit sequence of a sullen Moreau's portrait being mass-printed is both the best thing about the film and unfortunately a way of unflatteringly foreshadowing the film's tone of wan, joyless reproduction. A shame, since the last two Truffaut films I'd seen - The Soft Skin and Two English Girls - had edged me into the 'pro' camp, while this one embodies everything I find bothersome about him.

I found The Soft Skin to be mediocre as well, but I suppose I'll give Two English Girls a look.

[Boner M]

Didn't Truffaut kinda worship Hitchcock and his films?Yeah. You'd never tell from this film, though.

I hear his Mississippi Mermaid is a better homage to the Master, though.

[The Mike]

Yeah. You'd never tell from this film, though.

I hear his Mississippi Mermaid is a better homage to the Master, though.

Hmm. Been a long time since I saw it, perhaps I'm due for a revisit.

[MadMan]

You should create a thread with this title and make a list inside. That way we have all these in one centralized place instead of scattered throughout most of your individual posts. :)Nah. Where would the fun in that be? :P


Beyond the Valley of the Dolls is an enjoyable piece of exploitation.So I kept hearing.

[Qrazy]

Yeah. You'd never tell from this film, though.

I hear his Mississippi Mermaid is a better homage to the Master, though.

It is better, but also nothing special.

[Derek]

For lesser known/underappreciated Truffaut, I throw my vote to The Story of Adele H. Adjani is out of this world. Qrazy gives it a B-.

[B-side]

The Searchers (Ford, 1956) 88
Frontier of Dawn (Garrel, 2009) 46
Keane (Kerrigan, 2004) 58
Your Friends & Neighbors (LaBute, 1998) 62
Melinda & Melinda (Allen, 2004) 48
Precious (Daniels, 2009) 51
The Men Who Stare at Goats (Heslov, 2009) 47
The Terminal (Spielberg, 2004) 38
The Limits of Control (Jarmusch, 2009) 64
The Tin Star (Mann, 1957) 65

I was beginning to wonder when you were going to decide to watch something good.:P

[Qrazy]

For lesser known/underappreciated Truffaut, I throw my vote to The Story of Adele H. Adjani is out of this world. Qrazy gives it a B-.

I've never seen it.

[Dead & Messed Up]

I was just watching Labyrinth clips on Youtube, and I got a huge nostalgia flashback. Christ, I spent so much of my time watching this film over and over. I don't remember if it was the maze thing (I loved the Minotaur myth), a pre-adolescent fixation on Jennifer Connelly, or the exuberant imagination of the thing...probably a combination of all that. But I really want to watch it again now. See how it is.

Given how the film ends with her saying goodbye-but-not-just-yet to her childhood, this urge feels entirely appropriate.

[MadMan]

DaMU the last time I saw Labyrinth I was a kid, also. I recall the whole damn thing being insanely weird, and that David Bowie was really freakin' creepy. Plus Connelly being absolutely pretty, of course. Maybe one day I'll revisit it as well, although currently I'm more fixed on first time viewings.

[Dead & Messed Up]

DaMU the last time I saw Labyrinth I was a kid, also. I recall the whole damn thing being insanely weird, and that David Bowie was really freakin' creepy. Plus Connelly being absolutely pretty, of course. Maybe one day I'll revisit it as well, although currently I'm more fixed on first time viewings.

It's an acid trip, and it kinda suffers from the arbitrariness of similar "Wonderland" stories, but I loved it all the same.

I'd be very curious to do some kind of "childhood recap" thread, where I go back and watch all the movies that I loved as a very young person. Labyrinth, Masters of the Universe, Ghostbusters, Roger Rabbit, the whole woiks. Could be really fun.

But that'll have to wait until after my next thread hits.

[Derek]

I've never seen it.

I was merely predicting the inevitable future given your mehtitude towards Truffaut. ;) Honestly though, I'm not that big a fan either outside of my favorite 4 or 5 and Adele H. certainly played into my own fantasy of having Adjani track me down to the ends of the earth.


I was beginning to wonder when you were going to decide to watch something good.:P

Keane, Your Friends & Neighbors, The Limits of Control and The Tin Star are all good! The Searchers is a goddamned masterpiece.

[B-side]

Keane, Your Friends & Neighbors, The Limits of Control and The Tin Star are all good! The Searchers is a goddamned masterpiece.

A 58 is good? An 88 is a masterpiece? Me no comprende. I suppose I can't talk much, though. I can't think of a single film I'd give a perfect score to.

[Derek]

A 58 is good? An 88 is a masterpiece? Me no comprende. I suppose I can't talk much, though. I can't think of a single film I'd give a perfect score to.

Don't make me hurt you.

[B-side]

Don't make me hurt you.

I will eat your babies.

[baby doll]

I love Up! My second favourite Meyer film after Beyond... Even though you don't seem warm on Beneath the Valley of the Ultra-Vixens I can't conceivably understand how anyone would rank it above a film as deliciously stylized and inappropriate like Up! Beneath, though it has some good ideas (the crazy religious stuff is fun, good in concept, shakey in execution) overall it's pretty uninspired, and forgive me but also completely limp.BVUV has the scene in the dentist's office, which had me on the floor with laughter, and I love how at the end, the story fizzles out into scenes of Meyer talking to the camera.

Rated...

The Immoral Mr. Teas (1959) / ***
Eve and the Handy Man (1962) / **
Wild Gals of the Naked West (1963) / **1/2
Lorna (1964) / **
Mudhoney (1964) / ***
Motor Psycho (1965) / **1/2
Faster, Pussycat! Kill! Kill! (1965) / ****
Mondo Topless (1966) / **
Common Law Cabin (1966) / **1/2
Good Morning... and Goodbye! (1967) / ***
Finders Keepers, Lovers Weepers (1967) / *1/2
Vixen! (1968) / ***
Cherry, Harry and Raquel (1969) / *1/2
Beyond the Valley of the Dolls (1970) / ****
The Seven Minutes (1972) / **1/2
Blacksnake! (1972) / *
Super Vixens (1975) / **1/2
Up! (1976) / *1/2
Beneathe the Valley of the Ultra-Vixens (1979) / I need to rewatch it first

[Killed_by_Smalls]

I was just watching Labyrinth clips on Youtube, and I got a huge nostalgia flashback. Christ, I spent so much of my time watching this film over and over. I don't remember if it was the maze thing (I loved the Minotaur myth), a pre-adolescent fixation on Jennifer Connelly, or the exuberant imagination of the thing...probably a combination of all that. But I really want to watch it again now. See how it is.

Given how the film ends with her saying goodbye-but-not-just-yet to her childhood, this urge feels entirely appropriate.

I actually just watched this for the first time last night, and I loved it. You describe it as an acid-trip, but my initial reaction was a feeling more along the lines of dream-logic. All the creatures are really fantastic. There's a level of expression and tangibility that I haven't yet seen accomplished with the use of CGI. I'm sorry I didn't see it as a child, as I'm sure I would have loved it. My only criticism is that some of Bowie's song-segments felt out of place. I plan on watching The Dark Crystal tonight for the first time.

[number8]

Hahaha, tonight I'm seeing New Moon over Broken Embraces.


Kill me now.

[angrycinephile]

Hahaha, tonight I'm seeing New Moon over Broken Embraces.


Kill me now.

I want to see New Moon simply to ogle Kristen Stewart and laugh at all the unintentional comedy.

[number8]

Nevermind. I got kicked out.

[Sycophant]

Nevermind. I got kicked out.

I want this story to be more exciting than it probably is.

Still! Dish!

[Derek]

Nevermind. I got kicked out.

Probably for the best.

[Marley]

Sorry to intrude, but I was hoping you guys/gals could help me out with an assignment. I need help trying to find a film that deals with any aspect of hegemony: gender, race, capitalism, culture, etc. I would really appreciate any suggestions. Thanks! :)

[Boner M]

I'm Gonna Explode (anyone seen this? Naranjo's drama/mex was a promising debut, but dunno if I can forking out the festival ticket price for this one)
A Serious Man
The Insect Woman
Intentions of Murder
Safe Conduct
Johnny Guitar (rpt, theatre viewing)

[number8]

I want this story to be more exciting than it probably is.

Still! Dish!

I was three steps away from entering the theater. Security was checking my bag when I noticed that he froze. I thought it was something in my bag at first. Shit, did I forget I have a stash of weed there? "Is something wrong?" I asked him. He didn't reply. That's when I noticed it—they were all frozen. I turned around to look at the people in line behind me. Same dead eyes, same stiff posture. Like looking at a crash test dummy site. "Hello?" I waved at the security guy's face. He looked past it, almost as if he's looking through me. Am I invisible? Is something wrong with me? I furiously checked my persons, to see if there's something on me that might be offensive or embarrassing. That's when I heard it.

A loud, piercing shriek roared through the hallway. It almost sounded like my name. I followed the sound, and I saw him. Standing against the windows, bathed in the uneven lights of adjacent buildings, Castor—youngest of the Barrigans, last of the purebloods—stood. Was he drifting? I couldn't tell, as my mind went hazy from the scent and my ears deafened by my throbbing heart.

"Castor," his name slipped out before I even realized it. "What are you doing here? I thought --" My mouth had a mind of its own.

"I came to see you," he whispered from a distance, yet his words sounded so close. "I had to see you again."

"Enough!" I threw my bag to the floor. "Let these people go!" My voice cracked. Was I nervous? Scared? Excited? Truth tends to have a few overlaps. In a blink and a catch of breath, Castor was already beside me, his hand reached for a strand of hair off of my forehead.

I pushed him.

Castor growled—I knew that sound all too well. It's a sound only few would hear in their lifetime, reserved for those who are very very lucky... or very very doomed. I wondered briefly which one I was.

Castor grabbed the security guy who was frisking me. "This man touched you," he hissed. His fangs made their way into the open. I closed my eyes. "Put them away, Castor. If you're really here to see me, you wouldn't show me this side of you." When I opened my eyes again, he already had his back to the window again, combing his stringy hair with his pale fingers.

"You know why I had to leave, Ary," Castor murmured, a twang of hurt roping the words together. "I didn't think you'd be so selfish as to deny me one last visit."

"Here? Like this?!" I shouted.

I didn't know why what he said made me so angry. I snatched a flashlight from another frozen security guard and threw it at Castor, harder than I've ever thrown anything. The look in his eyes as he saw it flying towards him—I might as well have thrown my heart. His skin blurred, and he was gone. The flashlight smashed against the window, but didn't break it. It left a crack that obscured the city view behind it.

I thought I heard a "goodbye" shooting past my ear. It quickly fluttered away behind me. That's when I heard conversations happening again, and once more I was surrounded by movement. "Hey!" I heard a man scream. Before I could respond, the security guy started twisting my left arm, shoving me into a wall.

I cried, but not from the pain.

[Qrazy]

I was merely predicting the inevitable future given your mehtitude towards Truffaut. ;) Honestly though, I'm not that big a fan either outside of my favorite 4 or 5 and Adele H. certainly played into my own fantasy of having Adjani track me down to the ends of the earth.


Hehe, you're probably right. Although out of curiosity what would you rate it on my scale (not as me but just on A-F)?

[Derek]

Hehe, you're probably right. Although out of curiosity what would you rate it on my scale (not as me but just on A-F)?

Adele H.? B+.

[Qrazy]

Adele H.? B+.

Cool.

[kuehnepips]

number8 is insane.

[angrycinephile]

Ebert reviews New Moon (http://rogerebert.suntimes.com/apps/pbcs.dll/article?AID=/20091118/REVIEWS/911199998)

Heh, he will get a lot of hate mail for this.

[Mara]

Sorry to intrude, but I was hoping you guys/gals could help me out with an assignment. I need help trying to find a film that deals with any aspect of hegemony: gender, race, capitalism, culture, etc. I would really appreciate any suggestions. Thanks! :)

I'm a big fan of the book and a moderate fan of the film: A Passage to India.

[Sycophant]

number8 is insane.

-ly badass!

[Adam]

Ebert reviews New Moon (http://rogerebert.suntimes.com/apps/pbcs.dll/article?AID=/20091118/REVIEWS/911199998)

I could give a shit about twilight, but isn't it a little silly we have 67 year old men reviewing these movies?

[Sycophant]

I could give a shit about twilight, but isn't it a little silly we have 67 year old men reviewing these movies?

No.

[Adam]

Oh, okay, just making sure

[Sycophant]

Glad to set you straight.

[megladon8]

I could give a shit about twilight, but isn't it a little silly we have 67 year old men reviewing these movies?


I don't understand the logic here at all...

[Adam]

I mean what's the point, you know?

Who's going to see/not see new moon based on that review? I realize there are "critic proof" movies and whatnot but this more than anything just seems like such a meaningless exercise to me

[Dead & Messed Up]

It's his job to review a film to the best of his ability so that others can make an informed decision about seeing it. If a lot of people still go, that hardly renders his review "meaningless."

[Sycophant]

I mean what's the point, you know?

Who's going to see/not see new moon based on that review? I realize there are "critic proof" movies and whatnot but this more than anything just seems like such a meaningless exercise to me

By this logic, film criticism can be pretty much rendered almost entirely irrelevant.

Somewhat relevant: Ebert gave Twilight 2.5 stars.

[Adam]

newspaper film criticism is almost entirely irrelevant

[Sycophant]

But Ebert and several of his peers are good, so I hope it never goes away.

So nyeah?

~OR~

Your face is almost entirely irrelevant.

[Eleven]

I once shot an irrelevant in my pajamas; how he got into my pajamas isn't important.

[megladon8]

I mean what's the point, you know?

Who's going to see/not see new moon based on that review? I realize there are "critic proof" movies and whatnot but this more than anything just seems like such a meaningless exercise to me


Like Sycophant said, this pretty much renders film cricism null and void. You'd then also have to say that Avatar is not worth reviewing. Nor are any comic book movies. Or romantic comedies. Or any big budget action/sci-fi movie.

Horror movies wouldn't be worth reviewing either, because horror afficionados will see them regardless.

And foreign/arthouse films aren't worth reviewing because the crowd that goes to those movies will see them regardless of what Roger Ebert has to say.

[Grouchy]

Ebert ... good
Oxymoron.

[Sycophant]

Oxymoron.

Btw, you don't have to go to the trouble of posting this anymore, since it's automatically implied any time anyone says the faintest positive thing about Ebert.

Y'know. Just in case you wanna save yourself some time.

[Adam]

Like Sycophant said, this pretty much renders film cricism null and void. You'd then also have to say that Avatar is not worth reviewing. Nor are any comic book movies. Or romantic comedies. Or any big budget action/sci-fi movie.

Horror movies wouldn't be worth reviewing either, because horror afficionados will see them regardless.

And foreign/arthouse films aren't worth reviewing because the crowd that goes to those movies will see them regardless of what Roger Ebert has to say.

I kinda sorta agree with most of your examples here; I'm just saying Twilight in particular has such a specific, built-in audience that doesn't care either way what a senior citizen thinks of the movie they're guaranteed to see, regardless. And if the review's not for them, who's it for?

If Avatar, for example, was deemed shitty by the overwhelming critical consensus, I think that hurts its bottom line, to one extent or another

New Moon, meanwhile, currently has a 50 on metacritic, but I don't think its box office returns would be any different if it netted an 85 or something. Tell me the kind of person who's going to wait for the reviews to decide if they want to see New Moon. Like I say, it just feels pointless. Sorry if that poops on the ideals behind film criticism but, again, in its current incarnation it is fast becoming irrelevant, anyways

[megladon8]

Ebert is still one of the best writers in the film criticism field.

[Adam]

I appreciate that he actually likes movies, at least

[megladon8]

I kinda sorta agree with most of your examples here; I'm just saying Twilight in particular has such a specific, built-in audience that doesn't care either way what a senior citizen thinks of the movie they're guaranteed to see, regardless. And if the review's not for them, who's it for?

If Avatar, for example, was deemed shitty by the overwhelming critical consensus, I think that hurts its bottom line, to one extent or another

New Moon, meanwhile, currently has a 50 on metacritic, but I don't think its box office returns would be any different if it netted an 85 or something. Tell me the kind of person who's going to wait for the reviews to decide if they want to see New Moon. Like I say, it just feels pointless. Sorry if that poops on the ideals behind film criticism but, again, in its current incarnation it is fast becoming irrelevant, anyways


This still doesn't make sense, though, because most every movie released ever has a built in audience who is going to pay money to see it regardless of what the critics say.

Your argument just doesn't have and solid footing.

[Adam]

This still doesn't make sense, though, because most every movie released ever has a built in audience who is going to pay money to see it regardless of what the critics say.

Your argument just doesn't have and solid footing.

Yeah, but see there's a difference between part of your audience being established beforehand and your entire audience being established beforehand. That's my point: Nobody's really on the fence about seeing New Moon like they maybe are with most movies

Either way though, yes, this argument is almost as irrelevant as my face

[Spun Lepton]

Watched Full Metal Jacket on Netflix Instant View last night. Haven't seen in in 10+ years. It holds up so well, so intense and engaging. All of the men in the field are grown children playing with big toys in a great big, ruined sandbox. The ending seems to suggest that the biggest casualties of war are women, children, and the grown children who fight them.

[baby doll]

Weekend:

Antichrist (Lars von Trier)
Bad Lieutenant: Port of Call New Orleans (Werner Herzog)

There are a couple more I'd like to see (Mary and Max, Where the Wild Things Are), but we'll see what I have time for.

[Spun Lepton]

Don't know if anybody here has the Blu-ray for Fight Club, but just a quick FYI. The menu system will pull a little prank on you. :lol:

http://consumerist.com/5407318/fight-club-blu+ray-messes-with-viewers

Tempted to buy the Blu-ray just for this dollop of awesome-sauce.

[number8]

Oh yeah, here's my interview with Joe Swanberg, if mumblecore tickles your fancy.

http://www.justpressplay.net/movies/movie-news/6173-interview-joe-swanberg-talks-qyoung-american-bodiesq-and-online-distribution.html

[Derek]

again, in its current incarnation it is fast becoming irrelevant, anyways

There is a difference between movie reviewing and film criticism. One is to give you little more than a barometer as to whether a film is worth seeing or not. The other is about much more and is often interesting and enlightening to read regardless of the film in question.

[MadMan]

Weekend:

*Repulsion
*This is England

Whatever else I can cram in while also dealing with idiotic Twilight fans and suffering from lack of sleep.

[Rowland]

Jerichow (Petzold, 2009) **½

Engaging but never absorbing, this revisionist noir reconfigures a commonplace noir template to make political points in response to East Germany's socio-economic woes, a milieu it admittedly captures with lean clarity. The narrative itself is tightly constructed, a point compounded by Petzold's precise formal execution, but it never elevates itself to a palpable tautness, at least until the final moments, which are both emotionally provocative and cleverly devised, retroactively shedding a new light over the preceding material. Nevertheless, it plays a bit like too little too late, and Petzold's carefully calculated games of misdirection are neither as quotidian-shattering or emotionally devastating as some hold them to be (WTF Sicinski? (http://academichack.net/TIFF2008.htm#Jerichow)), so while this is by all means a solid, smartly constructed po-mo noir, it's altogether too conventional for the majority of its running time, and airless in its self-consciously clean execution, to leave much of an impact.

[B-side]

You wouldn't happen to have any of those fancy analyses of yours cooked up for the Spongebob Squarepants Movie, would you?;)

I kid, of course. I'm a big Spongebob fan myself, so it's nice to see more adult fans.

[Boner M]

(WTF Sicinski? (http://academichack.net/TIFF2008.htm#Jerichow))
He elaborated upon his initial reaction in an excellent Cinema Scope (http://www.cinema-scope.com/cs38/feat_sicinski_jerichow.html) piece that did a substantial amount to raise my appreciation of the film.

[Rowland]

He elaborated upon his initial reaction in an excellent Cinema Scope (http://www.cinema-scope.com/cs38/feat_sicinski_jerichow.html) piece that did a substantial amount to raise my appreciation of the film.Whew, just scrolling down through the final block of text in that article made my eyes cross. Sicinski is often very hit-and-miss for me, but he's always eloquent and usually insightful even when I don't agree with him, so I'll read it later. Thanks for the link. :)

[Rowland]

You wouldn't happen to have any of those fancy analyses of yours cooked up for the Spongebob Squarepants Movie, would you?;)I think I wrote a not-so-fancy blurb about it several months back, but I may have more to add to those previous thoughts, if I feel like it.

But yeah, it makes me laugh more consistently than most comedies from the last decade. It's just a shame about the eye-rollingly ironic inclusion of Hasselhoff, which at least gets points for using him as a primarily visual gag for an imaginative set piece.

[B-side]

I think I wrote a not-so-fancy blurb about it several months back, but I may have more to add to those previous thoughts, if I feel like it.

But yeah, it makes me laugh more consistently than most comedies from the last decade. It's just a shame about the eye-rollingly ironic inclusion of Hasselhoff, which at least gets points for using him as a primarily visual gag for an imaginative set piece.

You know I love reading your thoughts, so feel free to divulge.:)

[B-side]

Ugh. Seeing those autopsy photos of Pasolini after he was murdered was not pleasant. Almost as bad as the Kennedy photos.:sad:

[kuehnepips]

Weekend:

The Fall

[balmakboor]

Watched The Girl Who Leapt Through Time with my anime obsessed daughter last night. She loved it. And I think I'm gradually starting to come around to anime as well.

[Skitch]

Weekend:

The Fall

Love love love it.

Superman Batman: Public Enemies was really good.

[Adam]

I wanted to like The Fall a lot more than I wound up liking it

[megladon8]

I wanted to like The Fall a lot more than I wound up liking it


Me too.

What an emotionally sterile bore it turned out to be.

[The Mike]

I still can't fathom that opinion of The Fall. :cry:

[Dead & Messed Up]

I find the film to gradually become the direct opposite of emotionally sterile.

[Rowland]

The Cat and the Canary (Leni, 1927) **

German expatriate Paul Leni, best known for directing Waxworks and The Man Who Laughs, made his stateside debut with this largely stale horror-comedy that plays like a mediocre Scooby-Doo episode padded out to 80+ minutes with the uninspired comedy routines of a third-rate Harold Lloyd knockoff, his budding "romance" with what I believe to be his hot cousin, and an all-around slack pace for some remarkably thin material. So why two stars? The first twenty minutes are a bravura exercise in expressionistic storytelling, as Leni lets loose with an arsenal of clever visual conceits infused with a thick gothic atmosphere, marking the film's set-up as its highlight, as he backpedals into a more standard approach for the remaining hour, with only the occasional glimmer of directorial inspiration, evocative set design, and some briefly amusing business involving trap doors holding any real interest. It's tolerable at worst, but the opening had me primed for more.

[Derek]

The Cat and the Canary (Leni, 1927) **

That's disappointing. This was listed in a Top 50 Silent Films book I have, so I always wanted to get around to it. At least now I know to move it to the bottom of the list.

[megladon8]

I still can't fathom that opinion of The Fall. :cry:


I find the film to gradually become the direct opposite of emotionally sterile.


I found the actress playing the little girl to be terrible, and the dialogue between her and the man hoaky to the point of being unintentionally funny at times.

Speaking of unintentionally funny, the acting in the story sequences was atrocious, and I found its use of the desert as a sort of "blank slate" upon which the story is painted to make it all seem quite garish (and not in the good, "visual delight" kind of way).

It's filmed with the style and flare of a clothing advertisement, and combining this with the many, many slow-motion shots of scantily clothed muscular men drenched in sweat, at times it was like watching The Movie Network at 2:00am on a Saturday night.

I'm being extreme to convey my thoughts, I admit it. The movie isn't terrible, I quite liked its opening and the overall concept of the thing. I just found it all really...blech.

[Grouchy]

Superman Batman: Public Enemies was really good.
Yes. Improves a lot on the comic, even.

Huh, I saw The Hurt Locker. Not as enthusiastic on it as most of you guys. I will post a review tomorrow, maybe.

[Derek]

It's filmed with the style and flare of a clothing advertisement

I'd go with perfume ad, but I agree with your sentiment.

[Rowland]

This was listed in a Top 50 Silent Films book I haveCurious. I'd be interested in reading this book's reasoning for such a lofty position.

[Dead & Messed Up]

I really liked The Cat and the Canary. Leni's tracking shots were fluid and insinuating, and the film's mix of comedy and suspense felt organic; reminiscent of what James Whale would do only a few years later. I thought it significantly better-paced and more enjoyable than contemporaries like The Golem, Waxworks, and Faust.

[megladon8]

I haven't seen The Cat and the Canary, but I thought Faust and The Golem (particularly the latter) were incredible.

The Phantom of the Opera remains my all-time favorite silent film.

[Rowland]

I really liked The Cat and the Canary. Leni's tracking shots were fluid and insinuating, and the film's mix of comedy and suspense felt organic; reminiscent of what James Whale would do only a few years later. His tracking shots were indeed fluid and insinuating, it's only a shame that he essentially abandoned them after the first act. As for its mix of comedy and suspense being organic, I'd agree if the film was either funny or suspenseful. James Whale's The Old Dark House, while no masterpiece itself, is certainly a far superior film.

[Dead & Messed Up]

His tracking shots were indeed fluid and insinuating, it's only a shame that he essentially abandoned them after the first act. As for its mix of comedy and suspense being organic, I'd agree if the film was either funny or suspenseful.

Funny, I recall finding much of the film suspenseful, albeit in that safe silent-film way where it's doubtful anything's really going to happen.


James Whale's The Old Dark House, while no masterpiece itself, is certainly a far superior film.

I agree with this. Whale remains my favorite horror director.

[Rowland]

A Tale of Two Sisters (Kim, 2004) **

I rewatched this for the first time since 2005 when I blind purchased it, and it still rubs me the wrong way. Granted, there are praises to be sung here, most in relation to its technical accomplishments and artful rendering, as well as how fully it embodies its subtext of female sexual awakening, but as a narrative contruct it's clunky and increasingly disconcerting in a manner less evocative than just awkward, the twists are alternatively obvious and gimmicky, and even its last few minutes are needlessly abstruse, doing as much to clarify as they do further mystify. Granted, I'm one to champion ambiguities when I feel they are successfully conveyed and organic, but here it just plays like a mess. In the end, a string of solid shocks tethered by lots of deliberately obscure reality shifting that amounts to little while pulling too much attention away from what works about the movie, and lord, enough with all the shrill shrieking!

EDIT: You know what I noticed while reading over this? My little blurb here could easily be applied to Silent Hill as a negative rebuke to my recent praise by someone who didn't appreciate that movie, and yet I enjoy it great deal. Funny how that works.

[Raiders]

I need to see it again (been years), but I think you're severely undervaluing the film's construct as well as the way it explores the central mystery. I remember finding it a particularly perceptive feminine horror film, the father being rendered completely useless.

[Philosophe_rouge]

I need to see it again (been years), but I think you're severely undervaluing the film's construct as well as the way it explores the central mystery. I remember finding it a particularly perceptive feminine horror film, the father being rendered completely useless.
Though I have to agree with Rowland on A Tale of Two Sisters, I've noticed that in the past ten years or so, the useless or on the other hand psychotic father figure has been a particularly prevalent motif in horror. To name a handful; 28 Weeks Later, The Stepfather, A Tale of Two Sisters/Uninvited, Pan's Labyrinth and to a lesser extent, Ginger Snaps.

Even Paranormal Activity, though not a father figure, definitely features a particularly ineffectual male character.

[dreamdead]

Holy Mountain starts off as a wonderful exercise in obfuscation and expressionism, layering remarkable images atop one another as commentaries on fascism, sexuality, and spiritual revelation. Those first twenty minutes have the feel of a revelatory experience, with the sensibility of a kind of poststructuralist approach to sign/signifier relationships, one where Jodorowsky continually experiments with layers of meanings and works to interrogate them. However, as the film continues, Jodorowsky becomes more of a playful surrealist, and what I had perceived to be the film's basic thesis becomes clouded in a tedious exercise of multiple symbolic worlds and gross-out aesthetics that more often disrupt rather than substantially add to the overall experience. It feels like a primer for the more ideological-rooted Salo, regardless of whether or not Pasolini ever saw this. Like in Salo, the last five minutes or so do justify the overall film, but I wish the middle half of the film had something weightier and fuller to say.

Enduring Love, a British adaptation of one of Ian McEwan's novels, is less of a challenge to view, which allows the film to succeed at the more occasional surrealistic image, where the central image of the hot air balloon factors into the introduction, and the direction of that sequence is surprisingly a standout. It captures full the contradictions of awe and fear that come with becoming airborne, where letting go can quickly equal death. And Daniel Craig plays a surprisingly solid academic, wherein his and Samantha Morton's relationship feels more fully realized than is typical for what amounts to a psychological thriller. Yet the early energy of the film is soon sublimated when the mechanisms of the root, where repressed trauma and psychosexual tension come to the fore, lacking the verisimilitude necessary to pull off the final arcs. It does make good use of slow motion, however, and successfully draws out what is in reality many an unsurprising twist. Surprisingly decent.

Park Chan-wook's Thirst is tomorrow. :pritch:

[Ezee E]

I don't see how comparing The Fall's cinematography to a perfume ad would be a bad thing.

[Derek]

I don't see how comparing The Fall's cinematography to a perfume ad would be a bad thing.

That's probably why we have opposing views on the film. I find the cinematography of both to be garish and shallow.

[B-side]

Has Match-Cut ever done a silent film consensus?

[Grouchy]

Just finished Oliver Stone's Salvador. I like Stone, and this movie is pretty entertaining in a gritty, intense way. Its political message is also strongly developed and explained, but sometimes I felt as if the movie was cleanly divided into political scenes and scenes with James Woods and John Belushi getting into trouble. However, it all works out pretty neatly in the end. That Stone made this and Platoon roughly during the same year is kind of incredible.

[soitgoes...]

Has Match-Cut ever done a silent film consensus?
Well, the yearly consensuses did the silent era grouped biannually. I don't think enough people here have seen a large amount of silent films in order to get interesting results for an individual silent film consensus. By interesting, I mean having a top 10 that isn't The Passion of Joan of Arc, Sunrise, Metropolis and a slew of Keaton and Chaplin films. Not that those aren't deserving, but they are hardly surprising, so what's the point?

[B-side]

Well, the yearly consensuses did the silent era grouped biannually. I don't think enough people here have seen a large amount of silent films in order to get interesting results for an individual silent film consensus. By interesting, I mean having a top 10 that isn't The Passion of Joan of Arc, Sunrise, Metropolis and a slew of Keaton and Chaplin films. Not that those aren't deserving, but they are hardly surprising, so what's the point?

True. I just thought if any forum would have a more interesting silent film list, it'd be this one. I'd certainly cram in preparation for one.

[soitgoes...]

True. I just thought if any forum would have a more interesting silent film list, it'd be this one. I'd certainly cram in preparation for one.
Well, you can always coordinate one and see what happens.

[B-side]

Well, you can always coordinate one and see what happens.

You know, I may just do that. I'll see if I can get some help with all of the numbers and such, then I'll see what I can cook up.

[Skitch]

The Fall emotially stale? Wow, I feel completetly the opposite.

Trick 'r Treat was interesting.

The Thirst should be here today.

[Rowland]

I need to see it again (been years), but I think you're severely undervaluing the film's construct as well as the way it explores the central mystery. I remember finding it a particularly perceptive feminine horror film, the father being rendered completely useless.You're quite right, it is very much a female-centric horror film, but speaking from my perspective, I didn't find it terribly effective. In the end, I found more to admire than I did to connect with, if you understand what I mean. Again, it's funny how I found the critically-derided Silent Hill a superior example of female-horror, and the point you made about the emasculated father being even more pungent in that underrated film.

[Spun Lepton]

New Moon broke The Dark Knight's record for biggest opening day box-office haul. Somebody cue the FAIL TRUMPET.

[Adam]

The Fall emotially stale? Wow, I feel completetly the opposite.

It did have the most devastating monkey death scene in the history of cinema

[Grouchy]

Huh, Whiteout fucking sucked. Worst whodunit mystery I've ever seen.

[Spun Lepton]

Huh, Whiteout fucking sucked. Worst whodunit mystery I've ever seen.

It was advertised here worth shit. Didn't seem like the studio had much faith in it. The trailer amounted to:

SNOW!!!!
KATE BECKINSALE!!
SNOW!!!!
SNOW!!!
KATE BECKINSALE!!
A PLANE CRASHES!!
SNOW!
KATE BECKINSALE!!!!!!

/joke never gets old

[BuffaloWilder]

Speaking of The Fall --

[BuffaloWilder]

Also, I'm liking Spike Lee's Malcolm X film a lot - but, goddammit. I can't understand a single word that the actor playing Elijah Muhammad is saying.

[Sven]

Also, I'm liking Spike Lee's Malcolm X film a lot - but, goddammit. I can't understand a single word that the actor playing Elijah Muhammad is saying.

Probably one of the ten most overrated films of all time.

[Kurosawa Fan]

Probably one of the ten most overrated films of all time.

Yeah, I'm not a fan at all.

[BuffaloWilder]

I am, so far.

What's your respective problems with it?

[megladon8]

Holy Mountain starts off as a wonderful exercise in obfuscation and expressionism, layering remarkable images atop one another as commentaries on fascism, sexuality, and spiritual revelation. Those first twenty minutes have the feel of a revelatory experience, with the sensibility of a kind of poststructuralist approach to sign/signifier relationships, one where Jodorowsky continually experiments with layers of meanings and works to interrogate them. However, as the film continues, Jodorowsky becomes more of a playful surrealist, and what I had perceived to be the film's basic thesis becomes clouded in a tedious exercise of multiple symbolic worlds and gross-out aesthetics that more often disrupt rather than substantially add to the overall experience. It feels like a primer for the more ideological-rooted Salo, regardless of whether or not Pasolini ever saw this. Like in Salo, the last five minutes or so do justify the overall film, but I wish the middle half of the film had something weightier and fuller to say.


"RUB YOUR CLITORIS ON THE MOUNTAIN!!"

:lol:

[Qrazy]

I like the first half of Malcolm X a fair amount but the second half becomes rote and tedious. The scene with the dad from Everybody Loves Raymond is especially crappy.

[BuffaloWilder]

The ending is great. Yes, the scene with Peter Boyle comes off kind of weird - especially with how he turns to the camera and just kind of says, "no man should have that much power" right to the audience. But, this is probably one of Spike Lee's better films, I say immediately after having finished it.

And, whoa Mandela in 1992.

[Qrazy]

The ending is great. Yes, the scene with Peter Boyle comes off kind of weird - especially with how he turns to the camera and just kind of says, "no man should have that much power" right to the audience. But, this is probably one of Spike Lee's better films, I say immediately after having finished it.

And, whoa Mandela in 1992.

Well I agree it's one of his better films but I don't think he's that great in general (except for Do the Right Thing).

[BuffaloWilder]

He has stronger ups and lower downs than most other filmmakers, I'll give him that.

[Qrazy]

He has stronger ups and lower downs than most other filmmakers, I'll give him that.

What are your top 5? I haven't really seen that many... probably about six.

[BuffaloWilder]

Top five? I got six, mang.

Do The Right Thing
Malcolm X
The 25th Hour
Summer of Sam
She's Gotta Have It
Inside Man



I also kind of liked Bamboozled, but that was mainly for Savion Glover, who gets too few onscreen roles in films these days. Miracle At St. Anna was okay.

[Qrazy]

I'll check out Summer of Sam, only one of those I haven't seen.

[BuffaloWilder]

Adrian Brody plays a transvestite.

[Sven]

Adrian Brody plays a transvestite.

WRONG

[BuffaloWilder]

Well, that's what I got out of it, anyway. What with that haircut, and all.

[Sven]

Well, that's what I got out of it, anyway. What with that haircut, and all.

A spiked mohawk? Transvestite? Er... are you sure you know what you're talking about? He is emulating British punk. And he does gay sex shows. But there is no transvestism.

[BuffaloWilder]

Anybody who dresses like that is obviously a transvestite.

So there.

[Sven]

Anybody who dresses like that is obviously a transvestite.

So there.

I guess if you're gonna roll with it...

[Boner M]

Summer of Sam is soooo good, my second favorite Lee behind DtRT.

[soitgoes...]

Hey Spike Lee has one of the top 10 documentaries from this decade. So there's that.

[Winston*]

Saw some of Rocky Horror Picture Show on TV tonight, confirmed my previous theory that this is a film that becomes unwatchable after exactly 10 minutes no matter at which point in the film the viewer begins watching.

[Ezee E]

Anybody who dresses like that is obviously a transvestite.

So there.
Weird.

[baby doll]

Saw some of Rocky Horror Picture Show on TV tonight, confirmed my previous theory that this is a film that becomes unwatchable after exactly 10 minutes no matter at which point in the film the viewer begins watching.I dunno, I watched it on TV this Halloween for the umpteenth time, and I think it holds up pretty well. To be sure, it's cleverness is almost entirely a matter of its pro-filmic content, as opposed to the filmmaking itself (I'm thinking in particular of the giant recreation of the RKO logo, and the way the lips on black over the opening credits rhymes with the glowing globe in the final sequence), but it's still enjoyable.

[Grouchy]

Malcolm X is great. It has a lot of accumulative power, despite its long running time.

[amberlita]

Saw some of Rocky Horror Picture Show on TV tonight, confirmed my previous theory that this is a film that becomes unwatchable after exactly 10 minutes no matter at which point in the film the viewer begins watching.

It becomes unwatchable precisely when Meatloaf shows up.

[Mysterious Dude]

It becomes unwatchable precisely when Meatloaf shows up.
Oh, come on. Meatloaf appears out of nowhere for no reason, sings one song, and is then brutally murdered. What's not watchable about that?

[Spun Lepton]

Fitzcarraldo was much more engaging than I was anticipating. Kinski's performance consistently put a smile on my face. I was especially tickled by the scene at the party when he puts on the record to gather support for his opera house idea. The cinematography was quite nice, too, but I was already expecting that much.

Impressive that they actually hauled that fucking boat over the hill. Also impressive that the film crew was on-board that ship as it careened through the rapids.

Some of the scenes lingered a little too long, though. It didn't need to be 2.5 hours. The foreshadowing of the native's intentions was hammered on a little too much, amounting to false drama. OMG, natives are attacking the ship! Oh, never mind. Oh no, they all left, where'd they go?! Now what will we do?! Oh, never mind. Why are they in war garb, oh no!? Oh, never mind.

Overall, I enjoyed it quite a bit. 8/10

[Dukefrukem]

The Taking of Pelham 1 2 3 (2009), had tremendous potential to be a good remake. What happened? Was this filmed during the time of Travolta's kids death? If it was, it obviously affected his performance big time... He's usually a very convincing bad guy. Why did he have to say "mother fucker" so much?

[Sven]

So, say what you will about Crank and/or Armond, you've gotta admit that this is way awesome:

http://img.photobucket.com/albums/v350/iosos/Me/crank.jpg

[BuffaloWilder]

Is that yours?

[Sven]

Is that yours?

Yes, as is the grimy-nailed thumb holding the DVD in the bottom left corner.

Edit: I pledge allegiance...

[BuffaloWilder]

I see.

[number8]

Now that I know his signature, I'm going to have to sign it on every bad movie I can find in the dollar bin at the local supermarket.

[MadMan]

This is England was truly a great, moving experience. Despite having a seemingly standard "Coming of age" story, the film managed to move beyond those cliches and give us a rich, at times startling, tale that is also apparently based on Medows' own childhood, at least somewhat (according to IMDB.com if I remember correctly). Also I noted the clear homage to The 400 Blows, even though I've never seen that movie (but its a really famous, obvious scene), but here its reflected as pure uncertainity mixed with relief that a chapter in ones' life turned horrible has finally passed. A exorcism of demons, clearing of the mind and body. Up next is Dead Man's Shoes, which I've heard nothing but great things about.

[Fezzik]

Hmm...

So, have any of you ever had this happen:

You hear nothing but good things about a movie. I don't just mean "hey, this was good, I think you'd like it" but nothing but over-effusive praise. So much praise, in fact, that you dread watching it, fearing a crushing let down?

That happened to me this weekend.

I added "In the Mood For Love" to my NetFlix instant queue, but I can't bring myself to watch it.

Maybe I'm just psychotic.

[number8]

Fezzik, look at my face. This is the face of a man who will murder you if you don't grow a pair and watch that movie.

[Adam]

Of course everybody should see In The Mood For Love, but back to Spike Lee for a second: He Got Game is the greatest sports movie ever outside of Hoop Dreams and maybe Slap Shot

[Kurosawa Fan]

I consider In the Mood for Love one of the ten best films I've ever seen. If praise like that isn't enough incentive to watch the film, I can offer nothing better.

[Grouchy]

http://images.google.com.ar/url?source=imgres&ct=tbn&q=http://network.nationalpost.com/np/blogs/toronto/French%2520Connection.jpg&usg=AFQjCNHQiTthCx7T8Xrdwzwfql PYG4SznQ

Yesterday I saw The French Connection for the first time. Fucking brilliant. The '70s aesthetic and the grain really kill me - in a good way, I mean. Overall, there isn't much I have to say except that it's exciting, perfectly constructed and cynical as all hell. I expected a bit of police brutality from general culture about the character of "Popeye" Doyle, but I didn't expect a movie that painted the police force in such a cold, bitter light. The ending, which is typical Friedkin, was earth-shattering to me after all the cops-and-robbers stuff that had happened up to that point. Nowadays we have lame movies like The Hurt Locker that kiss the proverbial Man's ass while giving us a vanilla version of the words "controversy". Instead, this classic is a textbook example of pulling the rug under the audience's feet.

Praise for Hackman and Schneider goes without saying, but I'd like to point out that Fernando Rey is awesome too - his expression when he sees the police squad waiting for him is priceless. I'd like to see the sequel at some point since I really like Frankenheimer.

[number8]

Some days, I think French Connection 2 is better than 1.

[Sven]

Some days, I think French Connection 2 is better than 1.

This is the case with me. Only replace "some" with "all."

[Qrazy]

This is the case with me. Only replace "some" with "all."

I definitely need to watch this one seeing as I prefer Frankenheimer to Friedkin most of the time.

[kuehnepips]

Of course everybody should see In The Mood For Love, ...

No.

Now, This is England is a movie everybody should see.

[Skitch]

Some days, I think French Connection 2 is better than 1.

I concur.

[Spinal]

In the Mood for Love is just fine. Not spectacular. I don't really get its rabid following. But then, I don't really get Wong Kar-Wai in general.

[kuehnepips]

In the Mood for Love is just fine. Not spectacular. I don't really get its rabid following. But then, I don't really get Wong Kar-Wai in general.

I do. But this movie is by far his worst. I told Raiders ages ago this is a film about people who don't know what they want.

[Adam]

Nobody knows what they want. I've never seen a movie that just flat-out aches as much as In The Mood For Love does. That's gotta count for something. Also, food has never looked so good on screen. Wong Kar-Wai in general is hit-or-miss for me, but I like In The Mood For Love a lot and I mean the second half of Chungking Express is pretty much irresistibly wonderful

And French Connection 2 has a better ending than the first one and I guess you could say it's more exciting, but I think the biggest thing missing from 2 is just that infectious atmospheric grit that so nailed early '70s NYC. And that's what made The French Connection special to begin with, so I dunno. Either way, Hackman's great in both of those movies and, like everything else, it's really just a matter of taste

[Grouchy]

In the Mood for Love is the most powerful movie about romantic love I've ever seen. I think it's silly to disregard its characters because they "don't know what they want". They are two people caught in a juncture of life where they're confused by feelings they don't want to have, so they engage in these games or reconstruction of moments. It's not a very linear or story-based film, sure, but in any case, it's the characters who are confused, not the director.

I'm glad to hear the French Connection sequel is worth watching.

[kuehnepips]

Nobody knows what they want.

Nonsense.


I've never seen a movie that just flat-out aches ... That's gotta count for something.

Yeah, some Emo-nonsense.



..Also, food has never looked so good on screen.

Well, we had La Grand Bouffe when I was young ...

[Adam]

All right, I guess you win

At least admit how good it looks, though

[Raiders]

Now, This is England is a movie everybody should see.

True, but only once they have seen the even-superior Dead Man's Shoes.

Also, for In the Mood for Love, its praises are vast and easily Googled. For my part, I have simply never seen a film, with the possible exception of My Life to Live, that expresses so much emotion "physically," through every framing and movement of the characters' bodies. For a film about indecisive people and unrequited love, there's a striking amount of physicality and sensuousness.

[number8]

I've yet to see a Shane Meadows film I didn't like.

[MadMan]

Both The French Connection and In The Mood For Love are fantastic. I do want to see The French Connection 2, but its not a high priority at the moment.

Plus, I'm currently procrastinating on watching Rashomon *shifty eyes*

[thefourthwall]

Chan-wook Park's Thirst is pretty good. It does what successful vampire stories do in this glut of vampire narratives--it adds a somewhat unique idea (a vampire priest/vampirism as a disease), but doesn't get to far afield from canonical archetypes (I'm looking at you Blade II). Thirst also does a fair job at being a dramatic love story and even a black comedy. I'll admit it does drag at points, but overall it's extremely watchable. I'm surprised that it didn't have a wider release--we couldn't find any theaters nearby showing it.

[Ivan Drago]

So, say what you will about Crank and/or Armond, you've gotta admit that this is way awesome:

:eek:

:head explodes:

[Fezzik]

Yeah, some Emo-nonsense.


Am I the only one who gets really incensed at comments like this?

I can't even say "emotion" around people I know without someone bringing up 'emo.'

'Emo' used to mean one thing, now it seems to have devolved into a generic "OMG Not emotions! NOOO" retort.

Aren't emotions (even the less "positive" ones, like sadness and hate) - and the expression of them part of what makes us alive?

[MadMan]

Also, In The Mood For Love is not emo at all. Poetic and romantic, sure, but emo? Nah. Can't believe anyone could not be moved by that bittersweet ending, either.

[Qrazy]

No.

Now, This is England is a movie everybody should see.

In the Mood for Love is infinitely superior to the fairly standard This is England.

[MadMan]

In The Mood for Love-95
This is England-96

Both are great. Neither crack my Top 20 of the 2000s. Funny that we're comparing two movies that are quite different in almost every way.

[Fezzik]

Ok, you've all convinced me. After I finish my daily NaNoWriMo words, I'm gonna watch In the Mood For Love.

[Eleven]

I'm always in the mood for loving In the Mood for Love.

[megladon8]

Re-watched Saving Private Ryan. First time in about 8 years.

I still find much of the violence bothersome, but I was bothered by how hoaky and overly sentimental some of the film is (I kind of want to remove the bookends with the old man and his family visiting the graveyard). It also has some very cliché scenes and outcomes that betrayed the power of much of the other content.

But from a technical standpoint it's sublime. In fact I'd say it's among the greatest technical achievements we've ever seen in film. Particularly the sound design and editing, which may even be the best ever. I particularly loved the aural transition from the sound of raindrops to gunfire.

[balmakboor]

I do. But this movie is by far his worst. I told Raiders ages ago this is a film about people who don't know what they want.

I don't think there's anything wrong with making a film about people who don't know what they want. Sounds interesting actually.

[balmakboor]

Ok, you've all convinced me. After I finish my daily NaNoWriMo words, I'm gonna watch In the Mood For Love.

Oh damn. Did I miss out on NaNoWriMo again?

[Winston*]

Re-watched Saving Private Ryan. First time in about 8 years.

I still find much of the violence bothersome

What do you mean by this?

[Fezzik]

I don't think there's anything wrong with making a film about people who don't know what they want. Sounds interesting actually.

It was actually that description that raised my interest level to "Ok, I have got to see this now."

I think its much more interesting to make a movie about people who don't know what they want than it is to make one about...well, you know.

There's more to explore, more to comment on, and yes, usually more emotion to tap into.

[megladon8]

What do you mean by this?


The first time I watched the movie I could barely get through it. I found the Omaha Beach sequence to be more disturbing, horrific and generally unpleasant than any horror movie/gore sequence I'd ever seen.

I guess you could say "mission accomplished" for Senor Spielbergo, but I didn't (scratch that, wasn't able to) watch the movie again until just now.

[Dead & Messed Up]

Re-watched Saving Private Ryan. First time in about 8 years.

I still find much of the violence bothersome, but I was bothered by how hoaky and overly sentimental some of the film is (I kind of want to remove the bookends with the old man and his family visiting the graveyard). It also has some very cliché scenes and outcomes that betrayed the power of much of the other content.

I kinda love the ending. I think it's meant to challenge the audience, not to reward them - millions of people died, and we cannot take that for granted.

It's clear that Ryan is dubious that his life justified their deaths. When he says, "Tell me I'm a good man," I get choked up, because that's really the question. And his wife's placating words don't close the wounds. They can't begin to.

Also, what an incredible cast. Funny how a lot of those "unknown" grunts ended up being now-established actors like Jeremy Davies, Giovanni Ribisi, Vin Diesel, Barry Pepper, and Adam Goldberg.

[Glass Co.]

I still find much of the violence bothersome, but I was bothered by how hoaky and overly sentimental some of the film is (I kind of want to remove the bookends with the old man and his family visiting the graveyard). It also has some very cliché scenes and outcomes that betrayed the power of much of the other content.


Most of the film's problems would've been solved with a better script. One of Spielberg's biggest weaknesses over the past fifteen years has been in his inconsistent selection.

[megladon8]

I see what you're saying, DaMU, and I understood the intent...but everything was just so overly sentimental, it didn't feel genuine. I was surprised at how alike this and Tae Guk Gi are - they both pander way too much to making stuff that's already emotionally devastating even MORESO by having that stereotypical low hum of horns in the background and a few waving American flags.

I could practically picture tears rolling down the cheeks of the horn section in John Williams' orchestra. It's just so overdone that it loses its power.

In fact I was getting ready to blast this movie to pieces at a few points because I thought it was coming dangerously close to an almost Team America-esque "AMERICA FUCKIN' RULES, DUDE! WE'RE THE ONLY COUNTRY WITH TRUE BROTHERHOOD AND COMPASSION!" But luckily it saves itself before falling into that trap.

[Adam]

I have all the same qualms that everybody else seems to have with Saving Private Ryan, but tell you what: Take out those graveyard bookends, Jeremy Davies and maybe Ed Burns and that movie jumps up from like a B- to at least a high B+ for me

[megladon8]

I quite liked Jeremy Davies and Edward Burns. They were both great.

The cast is not a problem at all.

[Fezzik]

I think my favorite line reading from Saving Private Ryan is still from Hanks, while listening to the German propoganda being blasted on the loudspeakers:

"The Statue of Liberty is kaput. Well, thats disconcerting."

As a film, I like it a lot but yeah, the script was rather by the numbers.

The best scenes in the move were near the end, with them just sitting around talking in that ruined french town.

Damon's monologue about his brother and the ugly girl in the barn, Hanks telling Upham what he did for a living, etc, rang pretty true to me based on stuff I've heard from the uncles and cousins who were marines and army rangers.

But some of the other stuff...eh....

The violence, surprisingly, didn't bother me at all. Was it tough to watch? Hell yes, but that was the point. It did everything it could to NOT glorify war and to present it as it was.

I agree w/ Meg about its technical achievements, though. I know it's used at FSU's film school in the sound editing classes.

[Adam]

Jeremy Davies is the worst

[megladon8]

Jeremy Davies is the worst


Good post.



Fezzik, I also really liked the scenes with the men sitting and talking in the French town before the final battle.

I particularly liked the segment where Davies is translating the Edith Piaf song for the others. A beautifully filmed sequence, as well - the blocking is perfect.

[Winston*]

I want to like Jeremy Davies but then he'll be in a movie and be acting badly in it and I'll be like "Grrr, Jeremy Davis. You and your hand gestures".

[Fezzik]

Good post.



Fezzik, I also really liked the scenes with the men sitting and talking in the French town before the final battle.

I particularly liked the segment where Davies is translating the Edith Piaf song for the others. A beautifully filmed sequence, as well - the blocking is perfect.

Overall, thats my favorite sequence of the film, hands down.

[megladon8]

I want to like Jeremy Davies but then he'll be in a movie and be acting badly in it and I'll be like "Grrr, Jeremy Davis. You and your hand gestures".


I quite liked him in Solaris.

Then again that film's in my top 10 of all time, so who am I to judge fairly?

[Dead & Messed Up]

Also, I find it amazing that Spielberg created two absolutely stunning action sequences that functioned in completely different ways. The opening is stunning in its stubborn lack of cohesion, and the finale is an example of expert action geography/choreography, engaging and easy to follow.

[megladon8]

Also, I find it amazing that Spielberg created two absolutely stunning action sequences that functioned in completely different ways. The opening is stunning in its stubborn lack of cohesion, and the finale is an example of expert action geography/choreography, engaging and easy to follow.


Yes, I liked the final sequence much more than the initial Omaha Beach sequence. I thought those two battles were much more effective bookends to the film than the present day stuff with the old man.

Though I have to admit feeling a little bit dirty and sacreligious referring to either of those sequences as "action sequences", because it seems to betray the point by definition. That is, I don't think the primary goal of the Omaha Beach sequence was to get you excited and munching on your popcorn, which is something I associate with the usual idea of an "action sequence".

It'd be like if John Woo directed a scene where Nazis are throwing people into giant ovens, and we commented on how Woo's incredible eye for action choreography was on full display...it'd just feel weird and creepy.

[Dead & Messed Up]

Though I have to admit feeling a little bit dirty and sacreligious referring to either of those sequences as "action sequences", because it seems to betray the point by definition. That is, I don't think the primary goal of the Omaha Beach sequence was to get you excited and munching on your popcorn, which is something I associate with the usual idea of an "action sequence".

Yeah, I know what you mean. So my new term for such sequences shall be "kinetic cinema." I expect everyone to start using it now.

[Winston*]

I quite liked him in Solaris.

Then again that film's in my top 10 of all time, so who am I to judge fairly?
Twitch.
Twitch.
Twitch.
Twitch.
Twitch.

He haunts my dreams, meg. He haunts my dreams

[megladon8]

You haunt my dreams, meg. Haunt my dreams


It's funny how quickly I got used to hearing this from you.

[megladon8]

Yeah, I know what you mean. So my new term for such sequences shall be "kinetic cinema." I expect everyone to start using it now.


I'm glad you understood what I meant.

I was kind of expecting an onslaught of "what the fuck are you talkin' about, meg?"

[Qrazy]

Trying to generate some traffic on the 80s thread Eleven, Polonaise and I put together on RT. If anyone has an RT account and is interested in checking it out, it's here (http://www.rottentomatoes.com/vine/showthread.php?t=703347). Basically about 15 or so other posters all did a top 30 list of the decade. We're doing a list of the films they did not list.

[Spun Lepton]

I haven't logged into RT since they changed their forums.

[Spinal]

Before I check out the RT threads, I wanted to see what I would come up with. Here it is:


Top 30 of the 80s

1. Amadeus
2. The Vanishing
3. A Zed and Two Noughts
4. This is Spinal Tap
5. The Cook, The Thief, His Wife and Her Lover
6. Raising Arizona
7. Ran
8. The Elephant Man
9. Brazil
10. Blue Velvet
11. The Atomic Cafe
12. Poltergeist
13. Henry V
14. The NeverEnding Story
15. Death in the Seine
16. The Last Temptation of Christ
17. Drowning by Numbers
18. Santa sangre
19. Shoah
20. Do the Right Thing
21. The Secret of NIMH
22. Prick Up Your Ears
23. Raiders of the Lost Ark
24. The Brave Little Toaster
25. Time Bandits
26. Zelig
27. Talk Radio
28. Betty Blue
29. Evil Dead 2
30. 28 Up

[Stay Puft]

Trying to generate some traffic on the 80s thread Eleven, Polonaise and I put together on RT. If anyone has an RT account and is interested in checking it out, it's here (http://www.rottentomatoes.com/vine/showthread.php?t=703347). Basically about 15 or so other posters all did a top 30 list of the decade. We're doing a list of the films they did not list.

I can't give you rep on RT, so here's some for Shanghai Blues.

[Eleven]

Before I check out the RT threads, I wanted to see what I would come up with. Here it is:


Top 30 of the 80s

1. Amadeus
2. The Vanishing
3. A Zed and Two Noughts
4. This is Spinal Tap
5. The Cook, The Thief, His Wife and Her Lover
6. Raising Arizona
7. Ran
8. The Elephant Man
9. Brazil
10. Blue Velvet
11. The Atomic Cafe
12. Poltergeist
13. Henry V
14. The NeverEnding Story
15. Death in the Seine
16. The Last Temptation of Christ
17. Drowning by Numbers
18. Santa sangre
19. Shoah
20. Do the Right Thing
21. The Secret of NIMH
22. Prick Up Your Ears
23. Raiders of the Lost Ark
24. The Brave Little Toaster
25. Time Bandits
26. Zelig
27. Talk Radio
28. Betty Blue
29. Evil Dead 2
30. 28 Up


I'm listing two of those and honorably mentioning a third.

[soitgoes...]

Lists? Well usually I object to list making. /sarcasm

Top 30 of the 80's:

1. Raiders of the Lost Ark
2. The Man Who Planted Trees
3. Landscape in the Mist
4. Grave of the Fireflies
5. Empire of the Sun
6. Hollywood
7. The Seventh Continent
8. Aliens
9. Down by Law
10. The Atomic Café
11. Manon des Sources
12. Cinema Paradiso
13. Story of Women
14. The Last Temptation of Christ
15. The Empire Strikes Back
16. Raging Bull
17. A Short Film About Killing
18. My Left Foot
19. Do the Right Thing
20. Once Upon a Time in America
21. Violent Cop
22. Black Rain
23. Where Is the Friend's Home?
24. Fanny and Alexander
25. Jean de Florette
26. Yellow Earth
27. The Unnameable Little Broom
28. El Sur
29. Crac!
30. Karen's Face

[Raiders]

I won't post anything at RT, but if I were to do an 80s top 30:

1. SANS SOLEIL (Chris Marker, 1983)
2. DEAD RINGERS (David Cronenberg, 1988)
3. MAN WHO PLANTED TREES, THE (Frederic Back, 1987)
4. GREEN RAY, THE (Eric Rohmer, 1986)
5. WHITE DOG (Samuel Fuller, 1982)
6. COME AND SEE (Elem Klimov, 1985)
7. SOMETHING WILD (Jonathan Demme, 1986)
8. MY NEIGHBOR TOTORO (Hayao Miyazaki, 1988)
9. STREET OF CROCODILES (The Quay Brothers, 1986)
10. CRIME WAVE (John Paizs, 1985)
11. BLOW OUT (Brian De Palma, 1981)
12. BIG RED ONE, THE (Samuel Fuller, 1980)
13. DISTANT VOICES, STILL LIVES (Terence Davies, 1988)
14. SPEAKING PARTS (Atom Egoyan , 1989)
15. SOUTHERN COMFORT (Walter Hill, 1981)
16. PURPLE ROSE OF CAIRO, THE (Woody Allen, 1985)
17. SUPERSTAR: THE KAREN CARPENTER STORY (Todd Haynes, 1987)
18. MS. 45 (Abel Ferrara, 1981)
19. SHOAH (Claude Lanzmann, 1985)
20. PARIS, TEXAS (Wim Wenders, 1984)
21. SANTA SANGRE (Alejandro Jodorowsky, 1989)
22. SHERMAN’S MARCH (Ross McElwee, 1986)
23. ZED & TWO NOUGHTS, A (Peter Greenaway, 1985)
24. OPERA (Dario Argento, 1987)
25. NINTH CONFIGURATION, THE (William Peter Blatty, 1980)
26. HOUSEKEEPING (Bill Forsyth, 1987)
27. NIGHT OF THE SHOOTING STARS (Paolo & Vittorio Taviani, 1982)
28. TIME TO LIVE AND THE TIME TO DIE, THE (Hou Hsiao-hsien, 1985)
29. EMPIRE OF THE SUN (Steven Spielberg, 1987)
30. THING, THE (John Carpenter, 1982)

[Qrazy]

Have you seen Hill's The Long Riders Raiders? I liked it a fair bit. I'm probably going to honorable mention either it or Southern Comfort or both.

Most of the films you guys mention were listed in previous posters top 30's but you've hit on a couple that will be making it into my list.

[Qrazy]

I can't give you rep on RT, so here's some for Shanghai Blues.

Thanks :)

[megladon8]

Here's my list...

01 - Blade Runner
02 - Ran
03 - Star Wars Episode V: The Empire Strikes Back
04 - Fanny & Alexander
05 - Ghostbusters
06 - Amadeus
07 - The Thing
08 - Indiana Jones and the Last Crusade
09 - Dead Ringers
10 - Die Hard
11 - Back to the Future
12 - Evil Dead II
13 - Videodrome
14 - Superman II
15 - Akira
16 - Raiders of the Lost Ark
17 - The Abyss
18 - The Little Mermaid
19 - An American Werewolf in London
20 - RoboCop
21 - A Fish Called Wanda
22 - The Shining
23 - The Purple Rose of Cairo
24 - Duel to the Death
25 - This is Spinal Tap
26 - Paris, Texas
27 - Empire of the Sun
28 - Grave of the Fireflies
29 - Who Framed Roger Rabbit?
30 - Poltergeist

[Boner M]

Here's my list.

1. JEREMY DAVIES SUXXX
1. JEREMY DAVIES SUXXX
1. JEREMY DAVIES SUXXX
1. JEREMY DAVIES SUXXX
1. JEREMY DAVIES SUXXX
Real list coming later

[ledfloyd]

paris, texas, my dinner with andre, fanny and alexander, and hannah and her sisters are the best films of teh 80s.

[number8]

Not a single mention of Commando. You all fail.

[The Mike]

I've decided that it's not humanly possible for me to narrow the '80s down to 30 films. There's no way to contain that decade's awesome in 30 slots.

[Beau]

I did an 80's list once. It didn't turn out too well, yo. A top thirty (not really in order) would look like:

Blade Runner (Ridley Scott, 1982)
Aliens (James Cameron, 1986)
The Sacrifice (Andrei Tarkovsky, 1986)
Toute Une Nuit (Chantal Akerman, 1982)
Wings of Desire (Wim Wenders, 1987)

L'Argent (Robert Bresson, 1983)
Landscape in the Mist (Theo Angelopoulos, 1988)
Fanny and Alexander (Ingmar Bergman, 1982)
Come and See (Elem Klimov, 1985)
The Empire Strikes Back (Irvin Kershner, 1980)

The Decalogue (Krzysztof Kieslowski, 1989)
Cinema Paradiso (Giuseppe Tornatore, 1988)
Brazil (Terry Gilliam, 1985)
Days of Eclipse (Alexander Sokurov, 1988)
O Sangue (Costa, 1989)

The Sidewalks of Saturn (Hugo Santiago, 1986)
Life is a Dream (Raul Ruiz, 1986)
Sur (Fernando Solanas, 1988)
Morning Patrol (Nikos Nikolaidis, 1987)
Koyaanisqatsi (Godfrey Reggio, 1982)

The Thing (John Carpenter, 1982)
Pixote (Hector Babenco, 1981)
Kin-Dza-Dza (Georgi Daneliya, 1986)
The Terminator (Cameron, 1984)
Full Metal Jacket (Stanley Kubrick, 1987)

Esperando la Carroza (Alejandro Doria, 1985)
Grave of the Fireflies (Isao Takahata, 1988)
Le Pont du Nord (Jacques Rivette, 1981)
The Lonely Voice of Man (Alexander Sokurov, 1987)
Piece Touchee (Martin Arnold, 1989)

[Beau]

I've decided that it's not humanly possible for me to narrow the '80s down to 30 films. There's no way to contain that decade's awesome in 30 slots.

It's an awesome decade I've found, yes.

[B-side]

18. Santa sangre


3. Landscape in the Mist


2. DEAD RINGERS (David Cronenberg, 1988)
4. GREEN RAY, THE (Eric Rohmer, 1986)
9. STREET OF CROCODILES (The Quay Brothers, 1986)
18. MS. 45 (Abel Ferrara, 1981)
21. SANTA SANGRE (Alejandro Jodorowsky, 1989)
24. OPERA (Dario Argento, 1987)


13 - Videodrome


hannah and her sisters

Yes.

[Derek]

It's an awesome decade I've found, yes.

Yup, the 80s is unfairly shat upon.

[Mysterious Dude]

1. The Elephant Man
2. The Man Who Planted Trees
3. Testament
4. Come and See
5. Ballad of Narayama
6. Reds
7. E.T. The Extra-Terrestrial
8. The Return of Martin Guerre
9. Zelig
10. Jean de Florette / Manon des sources

[Ezee E]

Yup, the 80s is unfairly shat upon.
That's because there is lots of it.

[Derek]

That's because there is lots of it.

Of course there's a lot of shit just like any decade. There's also a lot of great films, many of which go unrecognized. There's also a ton that I've heard great things about which I've yet to see. It probably is the worst decade for film, but not by near as wide a margin as some people make it out to be.

[Adam]

Maybe my favorite decade in film


Here's what my top 30 looks like right now. The bottom 15 or so are interchangeable with another 100 movies, depending on my mood, and of course I still have a ton of stuff I need to see. I also cheated a little with two ties, but really who gives a flip

Brazil
Do The Right Thing
Modern Romance
Something Wild / Married To The Mob
Down By Law
The Princess Bride
Raiders Of The Lost Ark
Raising Arizona
Miracle Mile
Vampire's Kiss
Crimes & Misdemanors
Stop Making Sense
Withnail & I
Blow Out
The Mosquito Coast
The Vanishing
My Dinner With Andre
Throw Mama From The Train
Popeye
Matewan
Mona Lisa / The Long Good Friday
Empire Of The Sun
A Fish Called Wanda
Alice
One Deadly Summer
After Hours
Broadcast News
The Last Metro
Dirty Rotten Scoundrels
Caravaggio

[Boner M]

Lots of overlap with Raiders’ list. Asian cinema is unfortunately under-represented, as I haven’t seen nearly enough of the Taiwanese new wave and HK action films that usually pepper these lists.

1. Love Streams (John Cassavetes, 1984)
2. Paris, Texas (Wim Wenders, 1984)
3. The Vanishing (George Sluizer, 1988)
4. Do the Right Thing (Spike Lee, 1989)
5. A nos amours (Maurice Pialat, 1983)
6. After Hours (Martin Scorsese, 1985)
7. Mauvais sang (Leos Carax, 1986)
8. Once Upon a Time in America (Sergio Leone, 1984)
9. The Thing (John Carpenter, 1982)
10. Stranger Than Paradise (Jim Jarmusch, 1984)
11. Ferris Bueller’s Day Off (Hughes, 1986)
12. The Shining (Stanley Kubrick, 1980)
13. Nostalghia (Andrei Tarkovsky, 1983)
14. O Sangue (Pedro Costa, 1989)
15. Sans Soleil (Chris Marker, 1983)
16. The Green Ray (Eric Rohmer, 1986)
17. Ms. 45 (Abel Ferrara, 1981)
18. Blood Simple (Joel Coen, 1984)
19. Evil Dead 2 (Sam Raimi, 1987)
20. Sherman’s March (McElwee, 1986)
21. Fanny & Alexander (Ingmar Bergman, 1982)
22. Dawn of an Evil Millennium (Damon Packard, 1988)
23. The Big Red One (Sam Fuller, 1980)
24. To Live and Die in L.A. (William Friedkin, 1985)
25. L’Argent (Robert Bresson, 1983)
26. Laputa: Castle in the Sky (Hayao Miyazaki, 1986)
27. Come and See (Elem Klimov, 1985)
28. Stardust Memories (Woody Allen, 1980)
29. Something Wild (Jonathan Demme, 1986)
30. Phenomena (Dario Argento, 1985)

[soitgoes...]

Yup, the 80s is unfairly shat upon.

Well like any decade, there is bound to be many examples of greatness. The problem with the 80s, and it's something I think Qrazy hit on early in this thread or another, there is just something about that decade that screams dated in the most unpleasant of ways. That "something" is generally the music. Many a film has been dragged down by an awful synth score. What is unfair about shitting upon the 80s is that every decade has its drawbacks.

[soitgoes...]

Of course there's a lot of shit just like any decade. There's also a lot of great films, many of which go unrecognized. There's also a ton that I've heard great things about which I've yet to see. It probably is the worst decade for film, but not by near as wide a margin as some people make it out to be.Yeah, or this. :)