28 Film Discussion Threads Later

[BuffaloWilder]

Hey, my article on Happy Feet for the 'best of the decade project' was just selected by The Dancing Image as one of their picks for best pieces of blog writing on film of '09. Cool (http://thedancingimage.blogspot.com/2009/12/blog-09.html).

[ledfloyd]

i like the class commentary via mise-en-scene in the headless woman.

[soitgoes...]

So if it's a Summer movie, you either wait 2 months to rent the DVD or the end of the year to download a screener. Nice.
No, screeners are available all year, generally at the halfway point between a film's release in theaters and its DVD release. While screeners are fine I guess, I hardly ever watch them (never for a film I know I can wait and see in a couple months). I can wait the month or two. Foreign films are a different beast. They get their DVD release in their country of origin, while it can sometimes take a couple years or more to get an American release. This is where torrents are king.

[Sycophant]

Or import (in my case, $20 Hong Kong and $50 Japanese) DVDs are your friends.

[megladon8]

There's no movie I want to see bad enough that I'd pay $50 to get a Japanese import DVD, rather than wait a couple of months and rent it or buy it for less than half that cost.

[Sycophant]

But sometimes the movie just never comes. Or sometimes it's announced for American distribution the day after you buy it. But I cannot be expected to wait or merely hope to wait for a Takeshi Kitano film.

[Watashi]

I got halfway through The Limits of Control before I shut it off.

I'm pretty sure the second half is the same as the first half.

[Derek]

I'm pretty sure the second half is the same as the first half.

Yup, it's also pretty awesome.

[megladon8]

I sometimes feel like Jim Jarmusch and Guy Maddin are two sides of the same coin.

I love them both.

[number8]

I don't see the similarity.

[Watashi]

Jarmusch is kinda hit and miss for me. I love Dead Man and Ghost Dog, but Stranger than Paradise, Coffee and Cigarettes, and now Limits of Control bore me to tears.

His recent one was bordering on self-parody. If it wasn't for the nudity, I don't think I would have gotten even to the halfway point.

[Adam]

His recent one was bordering on self-parody. If it wasn't for the nudity, I don't think I would have gotten even to the halfway point.

There's a lot to appreciate in the film, I think, but his ultimate point is so silly that it undermines all the awesomeness on display courtesy of De Bankolé, Christopher Doyle, Boris and De La Huerta's misshapen boobs/ass/thick glasses

[Derek]

There's a lot to appreciate in the film, I think, but his ultimate point is so silly that it undermines all the awesomeness on display courtesy of De Bankolé, Christopher Doyle, Boris and De La Huerta's misshapen boobs/ass/thick glasses

I think too many people get caught up with the final scene and the occasional bluntness of the various conversations when its pleasures lie almost entirely in De Bankolé's traversing an aesthetic wonderland. Ultimately, I think it's simply a film about perspective, action vs. inaction and the ways art can shape our experiences.

[Derek]

I don't see the similarity.

Yeah, I'm gonna need an explanation of that one as well.

[balmakboor]

I'm not sure why exactly, but my favorite Jarmuschs are Mystery Train and Night on Earth. My favorite experience with one though was seeing Stranger Than Paradise in a theater in Seattle where they showed a Bugs Bunny cartoon first. It seemed really fitting somehow.

[Adam]

I've seen all of his stuff and I dig every one (to varying degrees), but the only one close to being a great movie, for me, is Down By Law. The dance between Benigni and his wife is maybe my favorite scene in any film, ever

[Derek]

I've seen all of his stuff and I dig every one (to varying degrees), but the only one close to being a great movie, for me, is Down By Law. The dance between Benigni and his wife is maybe my favorite scene in any film, ever

My fave Jarmusch as well, though I need to give Dead Man another look to be sure of that.

[megladon8]

I think both Jarmusch and Maddin present lovingly honest portraits of their native countries, done in styles that represent very much the "grass roots" of film culture in those respective countries - Jarmusch, USA; Maddin, Canada.

While Jarmusch creates western-influenced character pieces with strong emphasis on dialogue (both stylistic and naturalistic), Maddin uses both silent film and cinéma verité techniques to create stories about places and people and the symbiotic relationship between the two.

Each of them uses these to create films that identify them with their countrymen and they're both very much "poster boys" for their countries' cinematic styles.

I see a very strong connection, myself.

[Spun Lepton]

Just finished The Enigma of Kaspar Hauser. Um... wow. I find myself profoundly moved by this, my head is kind of spinning. I'll have to have some time to digest. Most of the characters who interact with Hauser are stunned by his "lack of refinement" and his crazy ideas about the world, but the film itself paints a picture that society and its perceptions about the world are just as absurd, and sometimes more absurd than Hauser's perceptions. 9/10

[MadMan]

Jarmusch I've seen far:

Stranger Than Paradise (1984)-84
Dead Man (1995)-95
Ghost Dog: The Way of the Samurai (1999)-90

So I've liked all that I've viewed from him so far. His style is highly unique. I've never watched a Maddin movie yet, though.

[Ezee E]

Star 80 is quite scary. Bob Fosse should've done more movies.

[Derek]

I think both Jarmusch and Maddin present lovingly honest portraits of their native countries, done in styles that represent very much the "grass roots" of film culture in those respective countries - Jarmusch, USA; Maddin, Canada.

While Jarmusch creates western-influenced character pieces with strong emphasis on dialogue (both stylistic and naturalistic), Maddin uses both silent film and cinéma verité techniques to create stories about places and people and the symbiotic relationship between the two.

Each of them uses these to create films that identify them with their countrymen and they're both very much "poster boys" for their countries' cinematic styles.

I see a very strong connection, myself.

I agree with the 'grass roots' part and they are both clearly identifying themselves with their country, but I don't see how either is the "poster boy" for their countries cinematic styles. Jarmusch cribs his style from European directors and Asian directors like Hou Hsiao-hsien and Maddin, as you mentioned, draws from silent films. I don't think there are many American directors with a style similar to Jarmusch nor Canadian directors (at least that I know of) that are similar to Maddin.

[Spinal]

I got halfway through The Limits of Control before I shut it off.


I easily could have.

[Derek]

I easily could have.

*see expression in banner above*

[Qrazy]

*see expression in banner above*

Hey Derek I watched All That Jazz tonight. It was my first Bob Fosse. Guess how I found it to be.

[soitgoes...]

Hey Derek I watched All That Jazz tonight. It was my first Bob Fosse. Guess how I found it to be.
I'm guessing that you're thinking that he'll think it to be either a high C or low B since that seems to be what you think he thinks is the score you give to most (all) films. Since you are posting this about a specific film, I'm thinking you actually don't think it to be a B/C film. I'm thinking it's a film that's totally Qrazy. I'm gonna guess a solid A. Then again to earn the name Qrazy, I'm guessing you would have to do things against what society deems to be most correct, such as loving All That Jazz. Since you indeed are Qrazy, perhaps you actually, going against the grain, as well as the sane, hated it - to the tune of a D-. In reality I'm actually going to go B-, because Derek is correct, and you find it impossible to stray form your comfort zone.

I'm bored.

[ledfloyd]

Ultimately, I think it's simply a film about perspective, action vs. inaction and the ways art can shape our experiences.
exactly. this is the only 'ultimate point' i can find in the film and i don't see how it's undermining.

[number8]

It's a toss-up between Mystery Train and Down by Law as my favorite.

[Boner M]

1. Stranger Than Paradise - 9.5
2. Dead Man - 9
3. The Limits of Control - 8.5
4. Down By Law - 8
5. Mystery Train - 7
6. Broken Flowers - 7
7. Ghost Dog - 7
8. Night on Earth - 6.5
9. Coffee & Cigarettes - 6

I remember loving Broken Flowers when it was released, but it looks relatively minor now. It was the only one of the above that it took me an IMDb visit to remember.

[ledfloyd]

I remember loving Broken Flowers when it was released, but it looks relatively minor now. It was the only one of the above that it took me an IMDb visit to remember.
agreed. i rewatched it shortly after seeing limits and it hasn't held up well at all. the ending is still fantastic though.

[Raiders]

1. Dead Man [****]
2. Down by Law [***½]
3. Mystery Train [***]
4. Ghost Dog: The Way of the Samurai [***]
5. Stranger Than Paradise [**½]
6. Broken Flowers [**]
7. Coffee and Cigarettes [*½]

[B-side]

... and Brightside swoops in and saves MC from another rate-a-thon.:D

So I watched this Powell & Pressburger flick nobody else seems to have seen called Oh... Rosalinda! It was a lot of fun. Some witty lines, colorful, deliberately artificial sets and some post-war commentary to boot.

[D_Davis]

Mystery Train, Ghost Dog, and Dead Man for me.

[Ezee E]

Love or hate with me also. Big fan of Ghost Dog, Broken Flowers, and Coffee & Cigarettes. I don't like Down by Law or Dead Man at all. Although I'd like to rewatch Dead Man.

Limits of Control is waiting to be watched.

Anyone around here see Star 80 though? Who knew Eric Roberts could actually act? Pretty close to Travis Bickle level here if he had a relationship with Cybil Shepherd.

[StanleyK]

Fans of The Big Lebowski and/or Shakespeare should check this out:

Two Gentlemen of Lebowski (http://www.runleiarun.com/lebowski)

[B-side]

Still trying to figure out how I feel about Ordet. In the meantime, I wrote something (http://thebrightsideoftheempire.wordp ress.com/2010/01/07/ordet-dreyer-1955/) on it.

[thefourthwall]

Watched The Housemaid (Hanyo) under duress last night, but it was actually really good. Available to watch for free on theauteurs.com (http://www.theauteurs.com/), it's about a love triangle between a married couple and the housemaid with an ever present bottle of rat poison. The film can hold it's own with Les Diaboliques which came out just a few years before it.

[Melville]

Still trying to figure out how I feel about Ordet. In the meantime, I wrote something (http://thebrightsideoftheempire.wordp ress.com/2010/01/07/ordet-dreyer-1955/) on it.
Kierkegaard was very much a believer in the Christian God. Most of his books revolved around his Christianity. And I think that Ordet's ending must be taken as a factual event if it is to have its meaning and impact. The subject of Kierkegaard's Fear and Trembling is The Knight of Faith, a man who has faith in something even when he accepts that it is impossible. This is in stark contrast with the priest's viewpoint in Ordet: he says that miracles don't occur, because everything, even God, must work in accord with the physical laws God has created. The conclusion of Ordet is a fable about the Knight of Faith overcoming what Kierkegaard called "the slaves of paltriness, the frogs in life’s swamp."

[B-side]

Kierkegaard was very much a believer in the Christian God. Most of his books revolved around his Christianity. And I think that Ordet's ending must be taken as a factual event if it is to have its meaning and impact. The subject of Kierkegaard's Fear and Trembling is The Knight of Faith, a man who has faith in something even when he accepts that it is impossible. This is in stark contrast with the priest's viewpoint in Ordet: he says that miracles don't occur, because everything, even God, must work in accord with the physical laws God has created. The conclusion of Ordet is a fable about the Knight of Faith overcoming what Kierkegaard called "the slaves of paltriness, the frogs in life’s swamp."

So, boiled down to its essentials, it's a film about having faith. I don't care for that at all.

[baby doll]

Jarmush rating fest?! Count me in!

Permanent Vacation (1980) / **1/2
Stranger Than Paradise (1984) / ****
Down by Law (1986) / ***1/2
Mystery Train (1989) / ***1/2
Night on Earth (1991) / ***
Dead Man (1995) / ****
Ghost Dog: The Way of the Samurai (1999) / ***1/2
Coffee and Cigarettes (2003) / ***1/2
Broken Flowers (2005) / ***
The Limits of Control (2009) / ***

[baby doll]

I remember loving Broken Flowers when it was released, but it looks relatively minor now. It was the only one of the above that it took me an IMDb visit to remember.I dunno, I thought it was pretty minor at the time. The Limits of Control isn't one of my favorites, but at least it isn't so desperate to be liked (if anything, it almost dares you not to think it's a pretentious bore--but then, I don't know how anyone could be bored by such an audaciously weird movie, let alone one shot by Christopher Doyle).

[baby doll]

I don't think there are many [...] Canadian directors (at least that I know of) that are similar to Maddin.Yeah, seriously. I mean, Maddin is definitely a hockey-obsessed WASP (i.e., the "real" Canada; not all those brown and yellow people that live in Toronto and Vancouver), but his style is completely different from the bland TV aesthetic that dominates Canadian cinema.

[Melville]

So, boiled down to its essentials, it's a film about having faith. I don't care for that at all.
I'd say, boiled down to its essence, it's a film about humanity, society, family, love, despair, hope, sublimity, transcendence, and how faith can relate to those things. It dares to show the miraculous as something truly beyond human ken, an irresolvable mystery, rather than something that can be explained away within the mundane. I don't think that means the film contains an ethical imperative: though the soul-searching it incites might lead one to alter one's viewpoint, it is not a moralizing tale, but rather an exploration of the far reaches of its subject. Sorry, I don't have the energy to write anything in depth.

[B-side]

I'd say, boiled down to its essence, it's a film about humanity, society, family, love, despair, hope, sublimity, transcendence, and how faith can relate to those things. It dares to show the miraculous as something truly beyond human ken, an irresolvable mystery, rather than something that can be explained away within the mundane. I don't think that means the film contains an ethical imperative: though the soul-searching it incites might lead one to alter one's viewpoint, it is not a moralizing tale, but rather an exploration of the far reaches of its subject. Sorry, I don't have the energy to write anything in depth.

Well, I appreciate the thoughts. I'll sleep on it and see how I feel then.

[balmakboor]

Anyone around here see Star 80 though? Who knew Eric Roberts could actually act? Pretty close to Travis Bickle level here if he had a relationship with Cybil Shepherd.

Yes, I saw it opening night in the theater. I was just starting to get into Fosse at the time. Roberts is mesmerizing. Can't really say the same for the rest of the cast, but Roberts should've been all over that Oscar.

I believe the only available DVD is cropped or something. Maybe I'm wrong. But that would be a shame.

[balmakboor]

Oh yeah, and Star 80 was all the talk at the time because Hemingway supposedly had a boob job for the role.

[Ezee E]

Oh yeah, and Star 80 was all the talk at the time because Hemingway supposedly had a boob job for the role.
The DVD is bare-bones, full-frame, ugly transfer, so that's kind of annoying, but it still works. Mariel Hemingway. Don't know much about her, but she played her role very well. Very unsure, confused, but definitely the type of girl that would get pursued.

I just love the way Fosse cuts his movies together.

[balmakboor]

The DVD is bare-bones, full-frame, ugly transfer, so that's kind of annoying, but it still works. Mariel Hemingway. Don't know much about her, but she played her role very well. Very unsure, confused, but definitely the type of girl that would get pursued.

I just love the way Fosse cuts his movies together.

Have you ever seen Bogdanovich's They All Laughed? It's the real life movie that Stratton made during the time period of Star 80. It's pretty good and the real Stratton was breathtakingly gorgeous.

You are right. Hemingway did a fine job of capturing Stratton's qualities that were essential to Fosse's film.

I do know that Hefner wasn't a fan of the film. He thought he was implicated too much in the events leading to her death.

[B-side]

Well, I appreciate the thoughts. I'll sleep on it and see how I feel then.

I just thought of a new way to view the ending. Seeing it as the sort of turning point in which the family finally starts to live life after just sort of existing under the oppressive religious ideals of the father, thus viewing the resurrection as a turning point, really helps the ending sit better. Does that sound right to you?

[Raiders]

I liked Hemingway in Manhattan as well. I think that and Fosse's film is all I have seen from her.

[Ezee E]

Have you ever seen Bogdanovich's They All Laughed? It's the real life movie that Stratton made during the time period of Star 80. It's pretty good and the real Stratton was breathtakingly gorgeous.

You are right. Hemingway did a fine job of capturing Stratton's qualities that were essential to Fosse's film.

I do know that Hefner wasn't a fan of the film. He thought he was implicated too much in the events leading to her death.
I'll have to check it out.

As for the Hefner role in the movie, I think it takes a pretty neutral ground. He was pretty annoyed by the Roberts guy as anyone would have, and simply moved forward with his business. This is pretty evident by what we see in him today too.

[D_Davis]

Guys - need some help!

There was a blog from a film critic talked about here in conjunction with Armond White. The blog was made by some dude who had similar tastes to White. I seem to remember a patriotic theme to the layout, but I may be mis-remembering.

Ring any bells?

[Qrazy]

I'm guessing that you're thinking that he'll think it to be either a high C or low B since that seems to be what you think he thinks is the score you give to most (all) films. Since you are posting this about a specific film, I'm thinking you actually don't think it to be a B/C film. I'm thinking it's a film that's totally Qrazy. I'm gonna guess a solid A. Then again to earn the name Qrazy, I'm guessing you would have to do things against what society deems to be most correct, such as loving All That Jazz. Since you indeed are Qrazy, perhaps you actually, going against the grain, as well as the sane, hated it - to the tune of a D-. In reality I'm actually going to go B-, because Derek is correct, and you find it impossible to stray form your comfort zone.

I'm bored.

The correct answer was 'underwhelming'. I'm not sure what I'd grade it, probably a B-, maybe a C+.

[Spun Lepton]

When you see it, you'll shit bricks.

http://www.slashfilm.com/2010/01/06/visual-effects-oscar-shortlist/

[number8]

When you see it, you'll shit bricks.

http://www.slashfilm.com/2010/01/06/visual-effects-oscar-shortlist/

?

All 7 sound right to me.

[Raiders]

When you see it, you'll shit bricks.

http://www.slashfilm.com/2010/01/06/visual-effects-oscar-shortlist/

... what's wrong with it? Not that it matters. If there was an award Avatar was made to win, it's this.

[Spun Lepton]

I figured there would be more outrage that Transformers 2 got a nod.

I'm so disappointed in you snobs.

:)

[number8]

Er, why? Since when does ILM getting an FX nomination going to inspire any outrage?

[Spun Lepton]

Er, why? Since when does ILM getting an FX nomination going to inspire any outrage?

*sigh*

[Rowland]

I'm addicted to Buster Keaton.

[Spaceman Spiff]

Guys - need some help!

There was a blog from a film critic talked about here in conjunction with Armond White. The blog was made by some dude who had similar tastes to White. I seem to remember a patriotic theme to the layout, but I may be mis-remembering.

Ring any bells?

It's Sven's blogspot.

[Rowland]

I thought DD was talking about the blog by some dude with literally the exact same taste as White, whose name Armond even references in several of his reviews.

[Adam]

john demetry (http://www.johndemetry.blogspot.com/)

[Melville]

I just thought of a new way to view the ending. Seeing it as the sort of turning point in which the family finally starts to live life after just sort of existing under the oppressive religious ideals of the father, thus viewing the resurrection as a turning point, really helps the ending sit better. Does that sound right to you?
Sure. All the characters see the error of their attachment to the paltry rigidity of the everyday. In particular, the two old guys see that God is eternal and the same, that the strictures of religious dogmatism which kept them apart were folly. Confronted by the miraculous, the scales fall from their eyes, as it were.

[Derek]

The correct answer was 'underwhelming'.

There is nothing at all correct with that answer.


I'm not sure what I'd grade it, probably a B-, maybe a C+.

Make sure to focus on the negative if you write anything about it. Sometimes you're just too optimistic and positive to take. ;)

[Raiders]

I'm addicted to Buster Keaton.

Awesome is you!

Have you seen The Play House yet? My favorite short.

[Qrazy]

There is nothing at all correct with that answer.



Make sure to focus on the negative if you write anything about it. Sometimes you're just too optimistic and positive to take. ;)

I know right, my posts are like big bowls of maple glazed honeycomb.

[Ezee E]

Not into Affliction much. I also find it a weird decision to have the flashbacks in hand-held vhs mode.

[Spinal]

I'm not saying that it deserves a nomination or anything, but the single most impressive visual effect I've seen this year was in Paranormal Activity.

[Qrazy]

I'm not saying that it deserves a nomination or anything, but the single most impressive visual effect I've seen this year was in Paranormal Activity.

What was it (hasn't seen the film)?

[megladon8]

I'm not saying that it deserves a nomination or anything, but the single most impressive visual effect I've seen this year was in Paranormal Activity.



Are you talking about the scene where the two demons fight, or the scene at the end where the house explodes in bullet time?

[Boner M]

I think he's talking about the Ouija board scene.

[Derek]

Fantastic Mr. Fox (Anderson, 2009) ***½

Good man, Boner.

[Derek]

I think he's talking about the Ouija board scene.

He's probably talking about that one scene, you know, the one where they're in bed.

[Rowland]

The leg scene, probably. And yeah, part of the film's effectiveness comes from how organic its effects are, given the otherwise consumer-grade aesthetic. I found it refreshing after, for example, the ostentatiously digital effects in that other '09 demon movie.

[balmakboor]

The most unsettling thing in the whole movie and thus for me the best use of effects was when the light in the hall turned on. And how do you get any more low-tech than telling an assistant "after I say action, count to 20 and then flip the light switch?"

[Raiders]

I think Spinal is referring to the remarkable, subliminal, single-frame images of the husband beating the wife.

[Derek]

I think Spinal is referring to the remarkable, subliminal, single-frame images of the husband beating the wife.

Weren't there also single-frame images of Chris Brown with his arm around the husband like Brad Pitt in Fight Club?

[Sven]

Not into Affliction much. I also find it a weird decision to have the flashbacks in hand-held vhs mode.

Boo! One of the greatest performances of all time in this picture (Nolte, and Coburn is pretty great too).

[Ezee E]

Also watched Trucker today. That was pretty crappy and generic too. Didn't find anything special about the raved about Monaghan performance. And I like her too.

[Grouchy]

Who knew Eric Roberts could actually act?
Huh, me here.

I do want to see Star 80, though. Loved All that Jazz.

[B-side]

Sure. All the characters see the error of their attachment to the paltry rigidity of the everyday. In particular, the two old guys see that God is eternal and the same, that the strictures of religious dogmatism which kept them apart were folly. Confronted by the miraculous, the scales fall from their eyes, as it were.

I found the make-up between the two old guys to be pretty hokey, actually. That's one of my issues with the film. I wish I knew more about the Biblical context of the film and how it speaks of children. The little girl that speaks with Johannes is the only one that seems to know how necessary it is for Inger to

die and be resurrected.

[Grouchy]

Across the Universe, eh. Really doesn't live up to the awesomeness of a couple of its more elaborate choreographic musical numbers, like the "Happiness is a Warm Gun" and "I Want You" ones. But overall, the lameness of its story (which is basically a collection of 1960s greatest events, none of which are described with any depth) and the fact that the Beatles songs are given such literal meanings killed it for me. Julie Taymor sure can handle visuals, but her movie is tiresome and overlong. Bono shouldn't act, too.

http://2.bp.blogspot.com/_S6THPXRqC9E/SYVT7QXFFSI/AAAAAAAAAB8/6HyDbyGZEgU/s400/MIDNIGHT1.JPG

Classic I'd never seen - Midnight Express. Incredible. Very tense, powerful stuff, handled with the grace of a sledgehammer to the head, which made me smile when I realized it had been written by Oliver Stone. I can understand how it's a very xenophobic movie which confirms stereotypes and gringo fears, though. It also sucks that they disregarded the guy's real experience and changed the facts so much. But as a thriller, it's first grade. I was literally glued to the screen. John Hurt is also incredible in it.

I also saw Enemy of the State. Weird little movie. It was well ahead of its time (1998) in terms of terrorism, paranoia and digital surveillance. Sure, it's an early Bruckenheimer blockbuster, so it doesn't really have any depth, but you can see the dudes who wrote the script tapped into some really awesome zeitgeist. Basically worth it for the great ensemble of character actors in very small roles, like Gabriel Byrne or Jason Robards who doesn't even make it past the opening scene. I guess that's the fun worth having from any Tony Scott flick. A lot of subtle movie homages, like the implication that the Gene Hackman character is actually Harry Caul. I have the impression I can't be the only one who got that vibe.

[Ezee E]

Darren Aronofsky is apparently doing a movie about Natalie Portman and Mila Kunis as rival ballerinas, and eventually get it on.

Too weird to not be true...

[B-side]

Darren Aronofsky is apparently doing a movie about Natalie Portman and Mila Kunis as rival ballerinas, and eventually get it on.

Too weird to not be true...

Yeah, it's been confirmed for a while (http://www.imdb.com/title/tt0947798/). It's filming right now, I believe.

[Grouchy]

Mila Kunis is sexy.

[Dukefrukem]

seeing Daybreakers this weekend.

[number8]

Yeah, it's been confirmed for a while (http://www.imdb.com/title/tt0947798/). It's filming right now, I believe.

My sister in law and her fellow students were kicked out of their dorm early because they needed to shoot there for the holiday break.

[Ezee E]

Been a while since we said what we'd see over the weekend:

Broken Embraces

The Limits of Control
Something random on Instant Watch.

[Raiders]

Weekend:

A Grin Without a Cat
Moon
Goodbye Solo
Summer Hours

[Boner M]

Veronika Voss
Day of the Outlaw
Objective Burma!

[baby doll]

Mila Kunis is sexy.Anyone else get her confused with Milan Kundera?

http://www.faber.co.uk/site-media/asset-images/thumbs/5465_jpg_280x450_q85.jpg

[ledfloyd]

Broken Embraces
The Limits of Control


Goodbye Solo
Summer Hours

should be good weekends.

[Ezee E]

So many good movies being put on Netflix instant watch now... I'll have to pace those out.

[B-side]

Weekend possibilities:

The Trial (Welles)
The Color of Pomegranates (Parajanov)
He Who Gets Slapped (Sjöström)

And/or a few others.

[number8]

So many good movies being put on Netflix instant watch now... I'll have to pace those out.

Yeah, I've downgraded to 1 disc at a time because the instantwatch selections are more than enough.

[D_Davis]

Yeah, I've downgraded to 1 disc at a time because the instantwatch selections are more than enough.

Same here. Wish I could subscribe to streaming only.

[kuehnepips]

Weekend:

Revanche (Spielmann, 2008)

[Rowland]

I take it Fatty Arbuckle was the Chris Farley of silent comedians? He deserves kudos for discovering Buster Keaton, but if The Garage is representative of his work, I can't say he's nearly as talented.

[Melville]

I found the make-up between the two old guys to be pretty hokey, actually. That's one of my issues with the film. I wish I knew more about the Biblical context of the film and how it speaks of children. The little girl that speaks with Johannes is the only one that seems to know how necessary it is for Inger to

die and be resurrected.
Hokey? :|

If the miracle itself, the sublimity of that moment of the impossible coming to pass, didn't hit you like a ton of bricks, I don't think knowing more about the Bible would help any. I've read the whole Bible, and frankly, it made me appreciate Christianity a lot less. I don't recall anything particular about the little girl's relevance; it seemed like a standard idealization of children's "simple faith".

[baby doll]

Weekend:

Fritz Lang's Manhunt is on TCM tomorrow morning if I can drag my ass out of bed that early.

[D_Davis]

I thought DD was talking about the blog by some dude with literally the exact same taste as White, whose name Armond even references in several of his reviews.

Yes - who was that?

[D_Davis]

john demetry (http://www.johndemetry.blogspot.com/)

Awesome!

Thank you so much.

[balmakboor]

Holy moly! Woke up to the radio telling me it was 33 degrees below zero outside and my car is the lucky one that gets to sit outside. It started damn it. I kinda wanted to stay home today.

Anyway, my weekend will consist of (at most):

The Road (just finished the book)
District 9

[balmakboor]

I found my childhood stash of Edgar Rice Burroughs books and am re-reading Tarzan of the Apes after 35 years. I'm enjoying it quite a bit.

Isn't there supposed to be a movie in the works based on Princess of Mars?

[Raiders]

I found my childhood stash of Edgar Rice Burroughs books and am re-reading Tarzan of the Apes after 35 years. I'm enjoying it quite a bit.

Isn't there supposed to be a movie in the works based on Princess of Mars?

Andrew Stanton's live-action John Carter of Mars (http://www.imdb.com/title/tt0401729/).

[Bosco B Thug]

The Black Dahlia is fascinating (as a De Palma film always should be) but yes, not quite accomplished. Wall-to-wall kitschiness dulls the proceedings even more so than in the usual De Palma work, but meticulous throwbacking and a really indulgent "hard-boiled noir" plotline show an admirable refusal to glorify the sadistic, horrific "allure" of Short's pretentious murder. Like the film's hard-boiled, innocent grunt protagonist, we are asked, "Why fathom the depths of high-minded perversity when it ultimately reveals itself masking same-old class divisions, class neuroses, and psychotic indulgences?" At least Hartnett's character had the decency to put his daft father into an asylum. Yet the film's most affecting moments are when Hartnett edges close to the abyss of esoteric anguish, hypnotized by the existential proofs that are Short's audition reels and witnessing the monstrous emptiness that was Betty Short's existence. But love and meaningfulness never spring from it, especially since Hartnett's well-aware his Betty Short stand-in and her family are complete jokes from the get-go (that is, from the superb first-person POV scene where he's introduced to the Linscotts). This is the anti-Vertigo, Hitchcock by way of noirs where all love is pretty phony unless the bombshell's as pragmatic-minded as Johanssen's world-weary Kay.

The film reminded me of The Curious Case of Benjamin Button - a tale that intentionally distracts itself and removes itself from high-end complexities by unfolding through the POV of a common man. Aaron Eckhart's materialist whims are the marks of a flawed hero while the lurid actions of the rich and demented are selfish, privileged, and giallo-esque. Hollywood is practically presented as just one extensive stag film factory, dreams and art a smoke machine to anonymous, insensate directors scoffing at the deeply troubling needs of this girl.

There are cons, though, lots of 'em. Acting's not bad, though. Swank's perfectly attractive in her role, Nick Schager (http://www.nickschager.com/nsfp/2006/09/the_black_dahli.html). Schager's right, though, when he says the film is plotty instead of raw and felt, so I guess in that way, the acting failed to bring it all to life, which is something a lot of reviews point out.

[balmakboor]

Andrew Stanton's live-action John Carter of Mars (http://www.imdb.com/title/tt0401729/).

Color me excited.

[soitgoes...]

I take it Fatty Arbuckle was the Chris Farley of silent comedians? He deserves kudos for discovering Buster Keaton, but if The Garage is representative of his work, I can't say he's nearly as talented.

He's definitely the next level down from Chaplin/Keaton/Lloyd. I've seen a number of his films, and I don't think any of them are better than 7.5/10. From a historical standpoint, watching Keaton grow as an artist, his films are invaluable. I gave The Garage roughly the same score as you. Maybe check out The Bell Boy or Back Stage. Also have a look at The Butcher Boy. It's Keaton's debut film, and the first half of the film is actually pretty good. The film dies by the end though.

[megladon8]

This article on the 20 most looked forward to sci-fi movies of 2010 (http://io9.com/5437682/the-20-sf-movies-were-most-excited-to-see-in-2010) really seems to stretch the "sci-fi" label a little too far.

[Philosophe_rouge]

I much prefer Mabel Normand to Fatty Arbuckle, they did a number of films together. She just has the most endearing comic talents and lost expression. Adore her.

[Spun Lepton]

This article on the 20 most looked forward to sci-fi movies of 2010 (http://io9.com/5437682/the-20-sf-movies-were-most-excited-to-see-in-2010) really seems to stretch the "sci-fi" label a little too far.

A little??

Toy Story 3 is sci-fi? Seriously? C'mon.

[megladon8]

A little??

Toy Story 3 is sci-fi? Seriously? C'mon.


Yeah it seems like they just took every genre film with some level of hype attached to it, and called it "sci fi".

[lovejuice]

This article on the 20 most looked forward to sci-fi movies of 2010 (http://io9.com/5437682/the-20-sf-movies-were-most-excited-to-see-in-2010) really seems to stretch the "sci-fi" label a little too far.
indeed. it reminds me of how The Lion King is among RT's top shakespearean films.

[Spun Lepton]

Yeah it seems like they just took every genre film with some level of hype attached to it, and called it "sci fi".

These are the same noodleheads who rave over anything that's even speciously labelled as sci-fi. Looks like they're feeling a little left out in 2010.

[Watashi]

indeed. it reminds me of how The Lion King is among RT's top shakespearean films.
Well... that I can understand.

[Rowland]

I know of a few iconoclasts around here who feel otherwise (Meg and Derek come to mind), but as far as Nosferatu is concerned, Murnau >> Herzog. My moderate enthusiasm for the latter's adaptation hovered around the **½ range for the first two acts, but I liked what he did with the material towards the end enough (particularly with the haunting images of dancing and feasting in the streets amidst hordes of rats) to enhance my final score by half a star. Still, I was hoping to be more impressed.

[megladon8]

I know of a few iconoclasts around here who feel otherwise (Meg and Derek come to mind), but as far as Nosferatu is concerned, Murnau >> Herzog. My moderate enthusiasm for the latter's adaptation hovered around the **½ range for the first two acts, but I liked what he did with the material towards the end enough (particularly with the haunting images of dancing and feasting in the streets amidst hordes of rats) to enhance my final score by half a star. Still, I was hoping to be more impressed.


Did you get the titles mixed up in your sig, or did you watch the English version?

The German version (...Phantom der Nacht), while pretty much the same movie as the English, is much better due to the simple fact that the actors are obviously much more comfortable speaking German.

In ...The Vampyre everyone is speaking phonetic English and it feels very stilted.

[Rowland]

Did you get the titles mixed up in your sig, or did you watch the English version?

The German version (...Phantom der Nacht), while pretty much the same movie as the English, is much better due to the simple fact that the actors are obviously much more comfortable speaking German.

In ...The Vampyre everyone is speaking phonetic English and it feels very stilted.Is that how they're referred to? I watched the German version, I guess I'll fix that.

[EyesWideOpen]

Weekend:
Moon
Goodbye Solo
Summer Hours

Loved all three of them.

[Rowland]

Loved all three of them.I hate how every time I read the title Goodbye Solo, my internal voice impersonates Jabba the Hut. Curse you, misspent youth!

[MadMan]

To me, both versions of Nosferatu are about equal. Each brings something truly unique and amazing to the table. When I finish writing commentary for the new entries I plan on bringing my Top 20 Horror Films list to this site, as some movies were bounced, others were added, and a few moved up a notch. That can wait until October, though.

[Grouchy]

indeed. it reminds me of how The Lion King is among RT's top shakespearean films.
That actually makes sense.

I watched 2012 earlier today. It's a terrible, terrible, terrible, terrible movie, but at least I was very stoned and laughed like a midget.

I'm sure that if I click on IMDb I'll find a lot of legitimate plot holes and factual errors, but here's one that came to mind - the Prime Minister of Italy has concealed himself into the Vatican to pray until the end finds him? Seriously? Unless I'm very much mistaken, we're talking about Berlusconi here. That guy would either pay for his spaceship ticket or spend his last remaining hours on party and prostitution.

[EyesWideOpen]

I've watched 11 movies since January 1st. That's more movies then I've watched in the last three months prior.

[MadMan]

Oh and Grouchy I'm a big fan of Enemy of the State. I feel that it took The Conversation's main themes and applied them to a modern day paranoid action movie. It also sports one of Will Smith's best performances, and of course has Gene Hackman once more playing the spy game, which is cool. Naturally having Jon Vought play the bad guy is an instant win at win. Probably Tony Scott's best movie, although that's not really saying much.

[B-side]

Watched half of Sayat Nova before I gave up. Is it worth trying to continue? It's odd, I don't even dislike what I've seen, it's just so unengaging.

[baby doll]

In ...The Vampyre everyone is speaking phonetic English and it feels very stilted.Then again, knowing Herzog (especially Heart of Glass), that might've been intentional.

[Rowland]

College is the first Keaton film I've seen that has been actively disappointing. Seven Chances had a problematic first half, but once the chase began, it was consistently, enthrallingly ingenious. The former however has lots of dead space between its few standout sequences, including an opening 15 minutes that, while effective in establishing the narrative, didn't make me laugh once. The last 15 minutes justified the build-up enough for a minor three-star rating, including the last few seconds which suggest quite morbidly that their choice to leave college and get married may not have been in the best judgment. Still, I'm partial to Harold Lloyd's similar The Freshman.

[Rowland]

Have you seen The Play House yet? My favorite short.Nope, but thanks for the suggestion. I'm getting a little burned out on Keaton now, but I'll probably watch a few more shorts and, at the very least, Steamboat Bill Jr. and maybe Go West before moving on for now.

[Bosco B Thug]

Lee's a thinking filmmaker, who has the philosophy of bold visuals down. No exception with Inside Man, which has Lee's idiosyncrasy intact. But with Inside Man, a film not soaking in very meticulous art design, a very personal story, or blatant visual lyricism, his work is more stylish than artsy, which is not so much bad so much as me being nitpicky and elitist with my artistes... since a master of style w/ ideas can be equally worthwhile as the artsy aesthete director I'm always wantonly digging for. Ok, ok, the distinction itself is very ill-defined.

Anyway, what I should just simply say is "Arthouse arthouse! Want! Nyaaah!" The final scene is excellent though. First we get a montage of Washington stripping himself of items of his profession and public purpose, that, in the process of getting removed from his being at his home, simply become symbols of his material, personal well-being - that is, that he has the money and means to feed and provide for himself and his dependents. The film ends with the tableau of Washington's personal life, which is no less dignified and empowered than his public life and role... even though we're being dared to call it phony because the luxe aesthetic is too sexy, and Washington's white hat too debonair - as if no working class man has the means to be debonair in "post-9/11 New York," especially in his own home about to get it on with his girlfriend. Yet sadly, we don't similarly find ourselves ironically regarding the image of rich white bankers in their also very luxe interiors.

[Derek]

Nope, but thanks for the suggestion. I'm getting a little burned out on Keaton now, but I'll probably watch a few more shorts and, at the very least, Steamboat Bill Jr. and maybe Go West before moving on for now.

I can't remember if you watched it already, but go with Our Hospitality over Steamboat (which I really like) and Go West (which I don't) if you haven't seen it. Also, The Goat is a must.

[Spun Lepton]

The funniest thing about World's Greatest Dad is the shit that comes out of Kyle's mouth before he buys the farm at the end of the first act. I really admire Bobcat Goldthwait, and went into this wanting to like it. And don't get me wrong, it's a very clever story, but it doesn't go anywhere you're not expecting it to go, and it ends pretty much how you would expect it to end. Few surprises, few interesting twists.

What really wore on me was Bobcat's overused montage-to-music scenes. Seriously, 1 or 2 would be perfectly acceptable. When you're pushing five or more, though ... seriously, dude, you need to back off a bit. Or at least make your passage-of-time montages briefer and less in-yo-face alt-rocky.

6/10

[Rowland]

The best part of World's Greatest Dad was Williams' restrained, carefully modulated performance, one of his best and one I wasn't sure he was capable of anymore. Also, I liked the brief but graceful suggestion that maybe the kid wasn't beyond some sort of redemption, when he makes the joke about diving at dinner that is actually kinda-sorta clever, and cracks his only genuine smile in the movie when his dad's date responds with infectious laughter.

[SirNewt]

Well... that I can understand.

Yeah, I can see that. What I can't see is how they left Olivier's Richard III off.

[Spun Lepton]

The best part of World's Greatest Dad was Williams' restrained, carefully modulated performance, one of his best and one I wasn't sure he was capable of anymore. Also, I liked the brief but graceful suggestion that maybe the kid wasn't beyond some sort of redemption, when he makes the joke about diving at dinner that is actually kinda-sorta clever, and cracks his only genuine smile in the movie when his dad's date responds with infectious laughter.

I had no doubt Williams could pull it off. He's quite good when he puts his mind to it. I thought his funniest moments were also before Kyle's death. The line you mention about diving was actually THE funniest line in the movie.

Williams's reaction to, "Parenting is the hardest job you'll ever love." was priceless, but ... also shown in the previews. So, the impact was lost.

[Adam]

Just saw Big Fan for the first time. Pretty good, though not as great as it might have been. There are a lot of wonderfully observed moments concerning northeastern sports superfandom and the whole WFAN talk radio scene and lower middle class living in Long Island and so on. But for every achingly real moment, there's some silly or broad misfire thrown in that mucks it all up. At times, there's an almost fantastical quality to some of the scenes in this film, sort of making it feel like everything's happening in this miserable parallel universe, but really the whole thing is trapped in a perpetual state of tonal limbo. It never knows if it wants to go for the big laugh or just keep its general run of pure pathetic going. Patton Oswalt does a credible enough job channeling De Niro in The King of Comedy, anyway. He's convincing throughout and possibly the best part of the film

I would recommend Big Fan to anyone who's familiar with the world it revolves around, because there is enough there to give you more than a few knowing chuckles. But I'm kinda surprised by all the people outside of that realm who seem to respond to this movie so enthusiastically. Either way, I am glad I watched it

[MadMan]

The Little Shop of Horrors (Corman, 1960) ***½I wouldn't rate it as high as you did, but I don't care about that. I'm just glad you like it, as its my favorite Corman movie out of the ones I've seen so far. So gloriously demented, and a nice little black comedy/horror movie to boot. I also greatly like the movie's soundtrack, which reminds me of the equally insane carnival style soundtrack featured in Eyes Without a Face, a movie released the year before.

[Ezee E]

Bah. Oldboy on instant watch is dubbed.

[Sven]

Is the television show Ned & Stacy on instant watch?

[baby doll]

Is the television show Ned & Stacy on instant watch?Holy non sequitur, Batman!

[D_Davis]

Watched about 1/2 of Man on Wire last night before getting totally bored. Man, that guy's friends talk about him like he is the greatest guy who ever lived. He talks about himself in a similar manner. If I didn't know any better I'd think he was saving the world, or the universe, or making the greatest work of art humanity has ever seen. But no - he was tightrope walking. Albeit across great depths, but still. The film made it out to be a lot more important than it really was. On top of that, they showed too much of the same-looking practice footage. Really disappointing. It would have made a relatively interesting hour-long special on the History channel or something. But I just couldn't get into the overly reverent tone of something that, to me, seems so totally inconsequential.

[Raiders]

Watched about 1/2 of Man on Wire last night before getting totally bored. Man, that guy's friends talk about him like he is the greatest guy who ever lived. He talks about himself in a similar manner. If I didn't know any better I'd think he was saving the world, or the universe, or making the greatest work of art humanity has ever seen. But no - he was tightrope walking. Albeit across great depths, but still. The film made it out to be a lot more important than it really was. On top of that, they showed too much of the same-looking practice footage. Really disappointing. It would have made a relatively interesting hour-long special on the History channel or something. But I just couldn't get into the overly reverent tone of something that, to me, seems so totally inconsequential.

To borrow a phrase from my esteemed colleague Derek, this post is a boiling pot of fail.

I'll "graciously" and self-satisfyingly link to my review:

http://www.match-cut.org/showthread.php?t=1165

[D_Davis]

To borrow a phrase from my esteemed colleague Derek, this post is a boiling pot of fail.

I'll "graciously" and self-satisfyingly link to my review:

http://www.match-cut.org/showthread.php?t=1165

Yeah, I had a million good things about it. However, I didn't like it at all. I just couldn't connect with the act in the way it was being described. I thought it was more novel, and neat, a cool feat - something to see, for sure. But I couldn't get into the overly reverent tone of the documentary.

[number8]

I don't remember him being portrayed as a great guy. In fact, I seem to remember him being portrayed as kind of a self-absorbed douche, who ditched his GF for some adoring fan.

In any case, the second half of the film, where it reenacts every minute of them breaking into the WTC, is some good old fashioned suspense filmmaking.

[NickGlass]

I casually rewatched Man on Wire last night, actually, and recalled that the best moments are when he's simple toeing the tight-rope in the already-taped footage, as Satie plays in the background. I don't care as much for the recreated, heist-ish scenes, but I don't think that matters much. It's still a brilliantly constructed film. And, for the record, Phillipe Petit is most certainly portrayed as he truly is: a meglomaniacal showman obsessed with theater and beauty.

[D_Davis]

Did they ever talk about how the Twin Towers project was funded?

[Raiders]

Did they ever talk about how the Twin Towers project was funded?

I thought they smuggled in their own equipment (Petit had already done this before with Notre Dame in Paris) and I would assume Petit paid for the flights and helicopter ride to scope it out.

[D_Davis]

I thought they smuggled in their own equipment (Petit had already done this before with Notre Dame in Paris) and I would assume Petit paid for the flights and helicopter ride to scope it out.

I was just curious about how he got the money to fund all of his projects and hobby. Did he have a patron? Independently wealthy? A job?

[Wryan]

I liked Daybreakers and particularly that the creatures were really not the focus at all, and the climax was not an all-out monster orgy. Some smartness here, a few cliches, good little fun.

[number8]

I was just curious about how he got the money to fund all of his projects and hobby. Did he have a patron? Independently wealthy? A job?

I seem to remember that his circle of hippie friends are wealthy, while he himself is pretty poor. I'm probably wrong. Someone wiki it.

[Dead & Messed Up]

I've been working my way through the 1940 Thief of Bagdad. About two thirds of the way through, and quite enjoying it. It's got some of the same spirit of The Adventures of Robin Hood and Gunga Din, and its cheerfully fake special effects are still pretty engaging, if not always impressive. The Genie and clockwork Shiva being my favorite stuff so far.

Love Conrad Veidt. He's eating up entire scenes.

[Ivan Drago]

Well, there's a first time for everything, I guess.

[Wryan]

I hated Gunga Din. Awful.

[baby doll]

You, the Living (2007) **½
Dude, what's up with that?

[MadMan]

I hated Gunga Din. Awful.Despite its rather obvious imperialism and some of its extremely dated racial views, I still rather enjoyed it. While of course acknowledging that such a movie has those viewpoints, and those should not be celebrated. Plus, I'm a sucker for Cary Grant.

[Raiders]

Dude, what's up with that?

Dunno, really. The film just sort of built up to nothing for me. I wrote several pages back:

After watching Andersson's You, the Living, I'm a little afraid to re-watch Songs from the Second Floor, which I absolutely loved four years ago when I first watched it. That film's apocalyptic undertones and vignette nature all felt like they were building to a collective, singular image (or vision). Here though, it felt less connected and though I can see Andersson's humanistic tendencies and affection for the wide range of human folly and emotion, this all felt more random and much less satisfying in the end. To be sure, Andersson's sense of framing, mise-en-scene and dry humor is outstanding and almost any one of the vignettes is terrific on its own. But as a whole film, I was left more bewildered and ultimately the best word is just, "meh."

[number8]

I liked Gunga Diner. Delicious.

[Dead & Messed Up]

I liked Gunga Diner. Delicious.

I recommend the four-legged chicken.

[Grouchy]

Oh and Grouchy I'm a big fan of Enemy of the State. I feel that it took The Conversation's main themes and applied them to a modern day paranoid action movie. It also sports one of Will Smith's best performances, and of course has Gene Hackman once more playing the spy game, which is cool. Naturally having Jon Vought play the bad guy is an instant win at win. Probably Tony Scott's best movie, although that's not really saying much.
It's very enjoyable. But I guess the best Tony Scott (or at least my favorite) is either The Hunger or True Romance. And Hunger is sometimes dangerously close to being a vampire perfume comercial, so I'm gonna go with option B.

[Grouchy]

I don't think I'd ever seen a Dogme 95 movie before while knowing what the movement was all about, so I rented The Idiots. Surprisingly, it's a great fucking movie on its own right. The "obstructions" such as no lighting, no tripods, no sound editing add to the plotline, which is about a group of anti-establishment actors in a commune passing themselves off as retards in order to create public havoc and confusion. The script keeps a few aces inside its sleeves and pays off the big emotional investment wonderfully. Really, this is a hilarious, poignant film that deserves to be seen more and acknowledged as one of Von Trier's big achievements. One thing that confused me is that a specific party scene featured non-diegetic music. I thought that was strictly prohibited by the Dogme.

http://www.desertfilmsociety.com/archive/2009/images/films/mary_and_max.jpg

Then I saw Mary and Max. At first I groaned a little, thinking Adam Elliott had basically stretched his Harvie Krumpet skit to feature lenght, but the truth is, the movie's epistolary format is tricky but effective. It is also admirable that Elliott pulled no punches in portraying the extent of Max's mental illness. At the end, I was left thinking I had witnessed a truly great little movie. Although Elliot's style doesn't focus on technical wizardry, the sequence set to "Que Será Será" is an absolute stand-out, one of the most affecting and virtuoso animated moments ever. This is the third animation feature to enter my Top10 for 2009 after Coraline and Up.

And finally, I watched Blazing Saddles for the first time. Still prefer Young Frankenstein because it's more of a "film", but hell if this wasn't great. Mel Brooks can pile up silly jokes like nobody's business.

[MadMan]

It's very enjoyable. But I guess the best Tony Scott (or at least my favorite) is either The Hunger or True Romance. And Hunger is sometimes dangerously close to being a vampire perfume comercial, so I'm gonna go with option B.Okay, so I haven't seen The Hunger yet-but I will. True Romance is actually one a new favorite of mine-I enjoyed it a lot, and I'm glad I blind bought the SE two disc DVD edition of the movie a while back. However, not only do I feel that it is moreso a QT movie since he wrote it, but also that Enemy of the State is better. TR could have been close to a brilliant movie if QT had actually decided to direct it, but we'll never know.

[Qrazy]

I didn't like the last half of True Romance at all. It devolves into complete and utter idiotic wish fulfillment. The first half is enjoyable though.

[MadMan]

I didn't like the last half of True Romance at all. It devolves into complete and utter idiotic wish fulfillment. The first half is enjoyable though.Well I did have some problems with the last act as well, hence the reason why I ended up giving it an 85. Had they fixed those problems and made the last half of the movie less batshit insane (some of which works, some of which doesn't), the movie could have been quite awesome, honestly.

[number8]

Would you like it better if Scott had stuck to Tarantino's script?

[Qrazy]

Would you like it better if Scott had stuck to Tarantino's script?

What was changed?

[number8]

What was changed?

In QT's script, Clarence's plan backfires, he dies and Alabama discovers she's pregnant, becomes a sad single mom.

[The Mike]

I liked Daybreakers and particularly that the creatures were really not the focus at all, and the climax was not an all-out monster orgy. Some smartness here, a few cliches, good little fun.Did you say all-out monster orgy?

Holy balls, I'm sooooooo in. :pritch:

[megladon8]

Did you say all-out monster orgy?

Holy balls, I'm sooooooo in. :pritch:


*cough*

He said it's not an all-out monster orgy.

[Qrazy]

In QT's script, Clarence's plan backfires, he dies and Alabama discovers she's pregnant, becomes a sad single mom.

I guess I would have preferred that although I'm not sure how great that would have been either.

[MadMan]

In QT's script, Clarence's plan backfires, he dies and Alabama discovers she's pregnant, becomes a sad single mom.While that's more realistic, I actually liked the film's overall ending. Hmm, I'm not really sure which way I lean on the matter.

PS: I find it strangely appropriate that I spend my 1,000th post in this thread talking about a movie directed by a guy who is widely considered second fiddle to his far superior director brother. Wahoo.

[The Mike]

*cough*

He said it's not an all-out monster orgy.

Reading FAIL. :lol:

[Ezee E]

Would anyone honestly like The Limits of Control if it didn't feature Paz De La Huerta's goods? Fairly sure I fell asleep, but I don't know if I missed anything.

The reason Broken Flowers works over this may simply come down to better casting choices, and each trip that Murray makes is an investigation on our own part as well as Murray's.

[baby doll]

Would anyone honestly like The Limits of Control if it didn't feature Paz De La Huerta's goods? Fairly sure I fell asleep, but I don't know if I missed anything.

The reason Broken Flowers works over this may simply come down to better casting choices, and each trip that Murray makes is an investigation on our own part as well as Murray's.One could very well ask if anyone would honestly like Broken Flowers (to my tastes, Jarmusch's weakest film since Permanent Vacation) if it didn't feature Alex Dziena's goods.

Then again, they're completely different films--or at the very least, the proportion of dead moments to interactions with various guest stars is directly inverted. It's almost as if, after the mainstream success of his previous film, he had to make this just to prove to himself he was still Jarmusch. I like both (though neither is in the same league as Stranger Than Paradise or Dead Man, or even Down By Law, Mystery Train, the Helskini segment from Night on Earth, Ghost Dog: The Way of the Samurai, "Int. Trailer. Night" from Ten Minutes Older: The Trumpet, or Coffee and Cigarettes), but the reason The Limits of Control works over Broken Flowers may simply come down to Christopher Doyle's cinematography (it doesn't look like anything else Jarmusch has done), and the audacious weirdness of it all.

[ledfloyd]

Would anyone honestly like The Limits of Control if it didn't feature Paz De La Huerta's goods? Fairly sure I fell asleep, but I don't know if I missed anything.

The reason Broken Flowers works over this may simply come down to better casting choices, and each trip that Murray makes is an investigation on our own part as well as Murray's.
yep. paz de la huerta isn't anywhere near my favorite thing about the film.

[Watashi]

Broken Flowers was a mainstream success?

Say wha..?

[soitgoes...]

Broken Flowers was a mainstream success?

Say wha..?
Well its total worldwide gross was almost the same as Avatar's domestic gross over this past weekend.

[Qrazy]

While that's more realistic, I actually liked the film's overall ending. Hmm, I'm not really sure which way I lean on the matter.

PS: I find it strangely appropriate that I spend my 1,000th post in this thread talking about a movie directed by a guy who is widely considered second fiddle to his far superior director brother. Wahoo.

Don't go there on Match-cut or you'll get a round of... 'Tony Scott's use of montage is vastly superior to Ridley Scott's painterly but tedious filmmaking'. Personally I'm with you. I think Ridley has some major flaws and he's put out a lot of spotty work but he's still much better than Tony imo.

[Winston*]

I have equal interest whenever a new Ridley or Tony Scott movie comes out these days (no interest).

[number8]

Don't go there on Match-cut or you'll get a round of... 'Tony Scott's use of montage is vastly superior to Ridley Scott's painterly but tedious filmmaking'. Personally I'm with you. I think Ridley has some major flaws and he's put out a lot of spotty work but he's still much better than Tony imo.

Actually, I was just gonna post "Tony > Ridley". Yours work too.

[Mysterious Dude]

At the moment, they're about even.

[balmakboor]

Well its total worldwide gross was almost the same as Avatar's domestic gross over this past weekend.

Wow. I had no idea Broken Flowers was that successful.

[soitgoes...]

Wow. I had no idea Broken Flowers was that successful.
For its type of film, I suppose it was successful, but it was nowhere near a mainstream success.

[Raiders]

I have equal interest whenever a new Ridley or Tony Scott movie comes out these days (no interest).

This.

[Adam]

Just got back from Youth in Revolt. It was great. Neither Ridley nor Tony Scott were involved in any way with the production

[Yxklyx]

Leila (1996, Dariush Mehrjui) was magnificent. Wasn't expecting such a profound and sincere film about love. It's better to watch without knowing much about the plot. All you need to know is that Netflix says: "For newlyweds Reza and Leila, domestic bliss comes to a halt when Leila learns she can't conceive. Enter Reza's domineering mother, who urges Reza to take a second wife." Easily my favorite film to come out of the Middle East.

[dreamdead]

Kim Ki-young's Housemaid is a film grounded in questions of morality, constantly assessing the values of right and wrong and complicating those notions by having characters consent to wrong actions on the basis that their lives, lives mostly grounded by material need, can somehow right those wrongs. As such, there is a wealth of murder, deceit, and liaisons that add up alongside an impressive bodycount for a Korean '60s melodrama. The film is artfully framed, with a roaming camera as intricate as some of Hitchcock's best work from that time period, and the tension that Kim gathers from his actors is right alongside Clouzot's mastery of narrative form. The key moment of interest lies in a fourth-wall breaking coda that reinvests the film's notion reality, making for a moment of acceptance or dismissiveness, depending on how invested you found the storyline thus far. Super-interesting as a testament to the artistry inherent to early Korean cinema, at any rate, and available over at The Auteurs website.

[Grouchy]

Kim Ki-young's Housemaid is a film grounded in questions of morality, constantly assessing the values of right and wrong and complicating those notions by having characters consent to wrong actions on the basis that their lives, lives mostly grounded by material need, can somehow right those wrongs. As such, there is a wealth of murder, deceit, and liaisons that add up alongside an impressive bodycount for a Korean '60s melodrama. The film is artfully framed, with a roaming camera as intricate as some of Hitchcock's best work from that time period, and the tension that Kim gathers from his actors is right alongside Clouzot's mastery of narrative form. The key moment of interest lies in a fourth-wall breaking coda that reinvests the film's notion reality, making for a moment of acceptance or dismissiveness, depending on how invested you found the storyline thus far. Super-interesting as a testament to the artistry inherent to early Korean cinema, at any rate, and available over at The Auteurs website.
Heh, that fourth-wall-breaking moment is fucking hilarious. Amongst the weirdest devices I've ever seen in a serious film.

Like you say, this is an excellent movie, although you don't mention how melodramatic and pulpy it can get. It reminded me of a vintage Tales of the Crypt episode at times.

[Spaceman Spiff]

So I saw The Headless Woman today, and honestly, I thought it kinda sucked. It was super boring and for already a short film, it could have been much shorter still. So many of the little sub-plots and character moments didn't really add anything, and I don't understand this new 'anti-thriller' aesthetic that's recently popped-up, where in order to play with genre conventions, I'll make my thriller not at all thrilling in the least.

Meh. I'm still interested for The Holy Girl, which I also have in my possession.

[Sycophant]

Well its total worldwide gross was almost the same as Avatar's domestic gross over this past weekend.

Broken Flowers worldwide gross: $46.7 million
Avatar's last weekend domestic gross: $50.3 million

In terms of raw numbers, I'm not that surprised.

Broken Flowers made $13 million in its domestic run. Calling it a "mainstream success" seems a bit overstated to me still.

[Qrazy]

The thing that I most remember about Broken Flowers is it had this wonderful, almost majestic, sort of other worldly sense of suck. It sucked.

[soitgoes...]

Broken Flowers worldwide gross: $46.7 million
Avatar's last weekend domestic gross: $50.3 million

In terms of raw numbers, I'm not that surprised.

Broken Flowers made $13 million in its domestic run. Calling it a "mainstream success" seems a bit overstated to me still.There was supposed to be a sarcastic tone accompanying my post. Apparently my computer sanitizes my posts so that people don't sense it. :P

[Boner M]

Rowland, 'splain yr Of Time And the City rating.


and I don't understand this new 'anti-thriller' aesthetic that's recently popped-up, where in order to play with genre conventions, I'll make my thriller not at all thrilling in the least.
Where else has it popped up?

[Sycophant]

There was supposed to be a sarcastic tone accompanying my post. Apparently my computer sanitizes my posts so that people don't sense it. :P

It can be tought to read. It also helps when I'm not paying enough attention and gloss over your post below that obviated yoru sarcasm.

[Derek]

The thing that I most remember about Broken Flowers is it had this wonderful, almost majestic, sort of other worldly sense of suck. It sucked.

Then you are in for a real treat with The Limits of Control! You will hate it with such fervor that it will lead you to re-evaluate your entire approach to the adequate, competent and otherwise ever-slightly-above-average films you're accustomed to watching.

[Qrazy]

Then you are in for a real treat with The Limits of Control! You will hate it with such fervor that it will lead you to re-evaluate your entire approach to the adequate, competent and otherwise ever-slightly-above-average films you're accustomed to watching.

Cool!

[Spaceman Spiff]

Where else has it popped up?

Revanche. Some of Haneke's work, although he can do it well, so maybe I can understand why other filmmakers are toying around with it. Limits of Control, sorta.

[MadMan]

Don't go there on Match-cut or you'll get a round of... 'Tony Scott's use of montage is vastly superior to Ridley Scott's painterly but tedious filmmaking'. Personally I'm with you. I think Ridley has some major flaws and he's put out a lot of spotty work but he's still much better than Tony imo.I keep forgetting that this is Match-cut :P

Then again, I prefer Ridley simply because I'm a fan of all of the movies I've seen from him, which is about oh nine films. Until Tony makes a movie equal to Alien or Blade Runner, he's the lesser of the two. At the same time, no one seems to note that Tony Scott gave us one of the most underrated action movies of the 90s in The Last Boy Scout.

Avatar was good, really good. Glad to see James Cameron back to making actual movies and not documentaries, even though it wasn't a great movie by any means. Still if there was ever a case made for 3D being the wave of the future, it was made by this movie. More thoughts to follow in the Avatar thread.

[Philosophe_rouge]

Saw Pickup on South Street today for the first time. Might be my favourite Fuller, it's so short, to the point and wonderfully "punchy". The opening scene is a major contender for the best thing in any noir film, it's so tense and sexy. Also, Richard Widmark is just one of my favourites, so much personality in a seedy kind of way.

[Qrazy]

Saw Pickup on South Street today for the first time. Might be my favourite Fuller, it's so short, to the point and wonderfully "punchy". The opening scene is a major contender for the best thing in any noir film, it's so tense and sexy. Also, Richard Widmark is just one of my favourites, so much personality in a seedy kind of way.

Yep it's my favorite as well.

[Derek]

Saw Pickup on South Street today for the first time. Might be my favourite Fuller, it's so short, to the point and wonderfully "punchy". The opening scene is a major contender for the best thing in any noir film, it's so tense and sexy. Also, Richard Widmark is just one of my favourites, so much personality in a seedy kind of way.


Yep it's my favorite as well.

:pritch:

[The Mike]

I'll back up all the Pickup love. Thelma Ritter made me cry.

[Dead & Messed Up]

Finished Thief of Bagdad. Wow, what a fun movie. Inventive, cheerful, refreshingly imaginative. Sure, some of the effects are clumsy (giant spider), but I was surprised by how stirred I was by the end. There's a great scene where the hero and heroine are on opposite sides of a dungeon, and it's very intimate. And the scene where Abu visits the old men is genuinely magical.

A

I can see this one becoming a real favorite on rewatch.

[MadMan]

The Long Good Friday(1980) is a magnificent, epic gangster movie that fuses together style and subsistence into one amazing movie. I'm still collecting my thoughts, but right now after seeing this and Mona Lisa, Bob Hoskins is fast becoming one of my favorite actors. I haven't seen a performance like the character he plays, Harold Shand, in some time that is covers so many emotions and is flat out brilliant. There's nothing wrong with this movie-even the final scene is perfect. And that vibrant synthesizer driven score is a top notch theme to a movie that manages to take the old hat story of a gangster's downfall and turn it into something truly beyond epic.

[Grouchy]

At the same time, no one seems to note that Tony Scott gave us one of the most underrated action movies of the 90s in The Last Boy Scout.
Man, can you believe I had forgotten to include that movie in my Criticker ratings?

It rocked me up.

[MadMan]

Man, can you believe I had forgotten to include that movie in my Criticker ratings?

It rocked me up.There's just something so essentially 90s action about it that makes it awesome. Plus of course the fact that Bruce Willis and Damon Wayans make a great buddy detective duo, with one villain being your typical evil murderous psychopath and the other a sneering, "Lays out his grand master plan" bad guy. Plus Willis dances a celebration jig. Gotta love all of that.

[Boner M]

Has anyone seen Agnieszka Holland's Olivier, Olivier? Aside from (or perhaps because of) a rather perplexing introduction of supernatural elements late in the film, it's an extremely compelling and haunting little film, with a particularly resonant portrayal of family interaction. Kinda figured it'd be more popular; it's a little similar to The Double Life of Veronique in theme, but I find Holland's film to be superior (granted, it's been a while since I've seen the Kieslowski).

[Qrazy]

Has anyone seen Agnieszka Holland's Olivier, Olivier? Aside from (or perhaps because of) a rather perplexing introduction of supernatural elements late in the film, it's an extremely compelling and haunting little film, with a particularly resonant portrayal of family interaction. Kinda figured it'd be more popular; it's a little similar to The Double Life of Veronique in theme, but I find Holland's film to be superior (granted, it's been a while since I've seen the Kieslowski).

No but sounds great, thanks for the rec.

[Boner M]

No but sounds great, thanks for the rec.
Yeah I think you'll like it. In fact, I can already picture the "Olivier, Olivier - B+" in your sig right now.

[Boner M]

Hmm, just discovered Agnieszka Holland also directed several episodes of The Wire and is listed as the only director on David Simon's new series Treme. Neat.

[B-side]

Because I want to, here are a bunch of Barry Lyndon screencaps I stole from TripZone:

http://i814.photobucket.com/albums/zz70/SalvadorDali_2010/vlcsnap-72433.jpg

http://i814.photobucket.com/albums/zz70/SalvadorDali_2010/vlcsnap-68204.jpg

http://i814.photobucket.com/albums/zz70/SalvadorDali_2010/vlcsnap-67298.jpg

http://i814.photobucket.com/albums/zz70/SalvadorDali_2010/vlcsnap-67019.jpg

http://i814.photobucket.com/albums/zz70/SalvadorDali_2010/vlcsnap-66442.jpg

http://i814.photobucket.com/albums/zz70/SalvadorDali_2010/vlcsnap-85460.jpg

http://i814.photobucket.com/albums/zz70/SalvadorDali_2010/vlcsnap-84556.jpg

http://i814.photobucket.com/albums/zz70/SalvadorDali_2010/vlcsnap-84211.jpg

http://i814.photobucket.com/albums/zz70/SalvadorDali_2010/vlcsnap-82338.jpg

http://i814.photobucket.com/albums/zz70/SalvadorDali_2010/vlcsnap-76222.jpg

http://i814.photobucket.com/albums/zz70/SalvadorDali_2010/vlcsnap-99848.jpg

http://i814.photobucket.com/albums/zz70/SalvadorDali_2010/vlcsnap-99058.jpg

http://i814.photobucket.com/albums/zz70/SalvadorDali_2010/vlcsnap-98869.jpg

http://i814.photobucket.com/albums/zz70/SalvadorDali_2010/vlcsnap-98583.jpg

http://i814.photobucket.com/albums/zz70/SalvadorDali_2010/vlcsnap-98159.jpg

http://i814.photobucket.com/albums/zz70/SalvadorDali_2010/vlcsnap-108320.jpg

http://i814.photobucket.com/albums/zz70/SalvadorDali_2010/vlcsnap-109443.jpg

http://i814.photobucket.com/albums/zz70/SalvadorDali_2010/vlcsnap-109783.jpg

http://i814.photobucket.com/albums/zz70/SalvadorDali_2010/vlcsnap-102879.jpg

http://i814.photobucket.com/albums/zz70/SalvadorDali_2010/vlcsnap-107718.jpg

http://i814.photobucket.com/albums/zz70/SalvadorDali_2010/vlcsnap-101648.jpg

[Ezee E]

What movie is rented the most in your neighborhood (http://www.nytimes.com/interactive/2010/01/10/nyregion/20100110-netflix-map.html?hp)?

1. Benjamin Button
2. Milk
3. Slumdog Millionaire
4. Doubt
5. Burn After Reading
6. Seven Pounds
7. Changeling
8. Gran Torino
9. The Wrestler
10. Rachel Getting Married

[Raiders]

1. The Curious Case of Benjamin Button
2. Twilight
3. Seven Pounds
4. Body of Lies
5. Changeling
6. Paul Blart: Mall Cop
7. Eagle Eye
8. Knowing
9. Wanted
10. I Love You, Man

Well... at least I never experience any backlogs.

[Ezee E]

It is kind of interesting to see the trends of certian movies in the different neighborhoods as well.

[NickGlass]

It is kind of interesting to see the trends of certian movies in the different neighborhoods as well.

Sort of interesting? It's absolutely fascinating. Not only for the obvious sociological implications, but also that the people who use Netflix go gaga for awards season.

Here's my hood.

1. Rachel Getting Married
2. Milk
3. Doubt
4. The Wrestler
5. Burn After Reading
6. Vicky Cristina Barcelona
7. Benjamin Button
8. Slumdog Millionaire
9. Revolutionary Road
10. Mad Men: Season 1

The lack of diversity is a bit disappointing, however, when considering the local Brooklyn favorites that Netflix shows me at the bottom of my homepage are: Killing of a Chinese Bookie, Holy Mountain/E Topo, Wild Combination: Arthur Russell, The Naked City, and Ric Burns' New York.

[Ezee E]

Sort of interesting? It's absolutely fascinating. Not only for the obvious sociological implications, but also that the people who use Netflix go gaga for awards season.

Here's my hood.

1. Rachel Getting Married
2. Milk
3. Doubt
4. The Wrestler
5. Burn After Reading
6. Vicky Cristina Barcelona
7. Benjamin Button
8. Slumdog Millionaire
9. Revolutionary Road
10. Mad Men: Season 1

The lack of diversity is a bit disappointing, however, when considering the local Brooklyn favorites that Netflix shows me at the bottom of my homepage are: Killing of a Chinese Bookie, Holy Mountain/E Topo, Wild Combination: Arthur Russell, The Naked City, and Ric Burns' New York.
The fire department I'm at, which is not a good city at all, basically matches Raiders' list.

Err... not that his city is bad or anything.

[Sycophant]

The first "local favorite" Netflix tells me about for Salt Lake City is UHF.

The NYT doesn't love us here in Utah.

[Rowland]

Anyone else really dislike Of Time and the City? I felt hesitant about going so low with my rating, since it's such a deviation from the general consensus, but whatever, it reflects my reaction. I'll expand on my thoughts later.

[NickGlass]

Anyone else really dislike Of Time and the City? I felt hesitant about going so low with my rating, since it's such a deviation from the general consensus, but whatever, it reflects my reaction. I'll expand on my thoughts later.

I saw it last January, was moderately mesmerized by it, and wrote "works quite well when it functions as a dreamy miasma"--whatever the hell that means. I will, however, note that I remember next to nothing about it, so it does have a very dreamy quality in that it comes, delights, and goes.

[baby doll]

Anyone else really dislike Of Time and the City? I felt hesitant about going so low with my rating, since it's such a deviation from the general consensus, but whatever, it reflects my reaction. I'll expand on my thoughts later.I dunno about "really dislike," because the narration is generally pretty awesome, but next to Distant Voices, Still Lives and The Neon Bible, it's a little disappointing.

[Dead & Messed Up]

I made two critical errors. First, I Netflixed The Shape of Things to Come under the presumption that it was the 1930's film Things to Come, and not the 1979 version starring Jack Palance. Then, I decided to watch the film anyway. What a terrible film it was. Some parts of it were so earnestly dramatic that I was able to laugh, including a not-quite-balletic slow motion "time distortion." The coup de grace, however, was witnessing Jack Palance as the evil space villain, sitting in his lair at the end, his environs crumbling, and then a piece of ceiling bounces right off his head. The shot continues, and he tries his best to ignore the fact that a piece of ceiling just bounced right off his head.

D+

PS: The film is in no way based on Wells's novel.

[Boner M]

I'll expand on my thoughts later.
If they're along the lines of "wahh wahh wahh how can he diss the beatles?" I'll slap ya.

[Skitch]

Wow. Just finished Next Door. That was a lean, mean hour fifteen. Anyone else seen this?

[Skitch]

The first "local favorite" Netflix tells me about for Salt Lake City is UHF.

The NYT doesn't love us here in Utah.

SUPPLIES!!!!

[Spaceman Spiff]

Seeing My Winnipeg at school tomorrow with Maddin himself doing the narration. STOKED. AS. FUCK. For the Toronto posters, go check it out!

[balmakboor]

Just watched my new Gimme Shelter Blu-ray. And yes sir, it's still one of the best films I've ever seen.

[Adam]

I rewatched Derek Jarman's Caravaggio when I got home from work this afternoon. Remains one of my favorite films from the '80s and it's also maybe the greatest straight biopic, ever. Has anybody else seen it?

I think a lot of folks here would dig it

[Qrazy]

I rewatched Derek Jarman's Caravaggio when I got home from work this afternoon. Remains one of my favorite films from the '80s and it's also maybe the greatest straight biopic, ever. Has anybody else seen it?

I think a lot of folks here would dig it

I've seen it. I thought it was alright. Certainly a step up from the putrid Jubilee which is the only other Jarman I've seen and which remains one of the worst films I've ever seen.

[Rowland]

If they're along the lines of "wahh wahh wahh how can he diss the beatles?" I'll slap ya.Nah, Davies' juxtaposition of Beatlemania with his predisposition for classical music is one of the few uniquely authorial touches in the movie. Besides, the Beatles don't do much for me either.

My complaints have more to do with tonal dissonance in regards to alternating fleeting stabs at poetry through quotations largely in the vein of existential miserablism with seemingly unironic, borderline-operatic nostalgia and Davies' abrasive, curmudgeonly commentary, the lack of a compelling auteurist bent after he blows his load in the first twenty minutes, the further lack of a compelling portrait of Liverpool other than the most obvious, least illuminating observations, and an increasingly formless structure as it becomes clear Davies is running out of anything to say. What the film has going for it more than anything is all of the beautiful found footage he discovered for his assemblage, because it's the imagery that keeps the film marginally engaging.

[Adam]

I've seen it. I thought it was alright. Certainly a step up from the putrid Jubilee which is the only other Jarman I've seen and which remains one of the worst films I've ever seen.

Ouch. Never heard of Jubilee - I've only seen Caravaggio and Blue

Jarman was also responsible for this (http://www.youtube.com/watch?v=Wz5IFl7uCis), though, so he's first class in my book

[ledfloyd]

i watched raising arizona last night for the first time in awhile. i noticed during the trailer fight some similarities to the trailer fight in kill bill vol 2. and there is a bit where smalls takes a piece of wood out of HI's hand with a chain that is directly quoted in kill bill vol 1. interesting.

[Qrazy]

Ouch. Never heard of Jubilee - I've only seen Caravaggio and Blue

Jarman was also responsible for this (http://www.youtube.com/watch?v=Wz5IFl7uCis), though, so he's first class in my book

Can't view it in Canada it seems. What is it?

[B-side]

I need to see some Jarman.

[Adam]

Can't view it in Canada it seems. What is it?

The music video for The Smiths' "The Queen is Dead"

Jarman did a handful of Smiths vids and they're all dynamite

[soitgoes...]

Can't view it in Canada it seems. What is it?

Fucking Canada and their obvious dislike for all things by The Smiths.

[Qrazy]

The music video for The Smiths' "The Queen is Dead"

Jarman did a handful of Smiths vids and they're all dynamite

Cool, I'll find it elsewhere.

[Skitch]

I agree, Jubilee was blech.

[Yxklyx]

I agree, Jubilee was blech.

My Jarman blech is Sebastiane but I did love The Tempest - my favorite of his.

[Raiders]

Didn't care much for Caravaggio though I barely remember why. Blue is among the best films of the 90s. Not necessarily great filmmaking (or rather, complex filmmaking), but a fabulous concept and the result is mesmerizing and very poignant.

[Spinal]

Edward II is far and away the best Jarman I have seen.

Have not "seen" Blue.

[B-side]

Le Million, my first Clair, tells the tale of a man fighting against fate of the worst kind. He's a down and out man juggling two women, one of them shallow and pleasing only aesthetically, while the other is the proverbial "diamond in the rough". In other words, you know exactly where that relationship is headed. The lottery ticket this man just won on and needs so desperately is being tossed around the cold, cruel and unforgiving Paris of 1930. The hijinks are all working against him! Plenty of good things could've came from this premise, unfortunately Clair doesn't capitalize on the comedic one particularly well, despite the film's silly, slightly surreal nature.

Clair does take his shots at those blindly seeking riches during tough economic times. The musical portions aren't particularly inspired or witty, but they do serve to reinforce the contrast of the giddiness of musicals with the desperation of poverty. There's a terrific shot toward the beginning where the camera glides just above the rooftops of what is rather clearly a series of miniature buildings, but the fact that people can be seen interacting with these buildings in various ways helps create that slightly fantastical atmosphere. What Le Million amounts to is social critique and a battle of the arts where people turn fake in the face of substantial amounts of money. Truly, this is an artist's film.

[Raiders]

I wish the AFI Silver wasn't almost an hour away. Starting in mid March, they have retrospectives of Tati, Fellini, Welles and Kazan.

Oof.

[Qrazy]

I wish the AFI Silver wasn't almost an hour away. Starting in mid March, they have retrospectives of Tati, Fellini, Welles and Kazan.

Oof.

Awesome, I love all four. I think I'll work on finishing up Fellini and Kazan's filmographies this year.

[Milky Joe]

Watched about 1/2 of Man on Wire last night before getting totally bored. Man, that guy's friends talk about him like he is the greatest guy who ever lived. He talks about himself in a similar manner. If I didn't know any better I'd think he was saving the world, or the universe, or making the greatest work of art humanity has ever seen. But no - he was tightrope walking. Albeit across great depths, but still. The film made it out to be a lot more important than it really was. On top of that, they showed too much of the same-looking practice footage. Really disappointing. It would have made a relatively interesting hour-long special on the History channel or something. But I just couldn't get into the overly reverent tone of something that, to me, seems so totally inconsequential.

This is surprising to me, knowing your spiritual leanings. The film was a borderline religious experience for me.

[Rowland]

I found Man on Wire kinda dull, to be honest. It expends a great deal of energy into puffing up something that isn't really all that interesting, the heist-like reenactments lacking suspense and thus increasingly redundant because we know exactly how they're going to end as well as their fanciful nature more concerned with expressing Petit's self-absorbed whimsy than engaging the audience on a tangible level. In the end, it all feels superficial, failing to engage the material on any serious level beyond the ickily reverential. It needed more tragedy, less self-conscious buoyancy.

[Rowland]

Le Million, my first Clair I've only seen two by Clair myself. And Then There Were None is a great deal of fun, impeccably executed and performed as far as intentionally light-hearted Agatha Christie romps are concerned, only its ending feels too watered down, and the whole has a lingering air of inconsequentiality to it. I Married a Witch on the other hand, despite its high reputation, just grated my nerves for the most part. I should seek out his earlier work.

[Winston*]

It expends a great deal of energy into puffing up something that isn't really all that interesting

Dude, he's walking on a rope hundreds of meters above the earth! You must have high standards for interest.

[Rowland]

Dude, he's walking on a rope hundreds of meters above the earth! You must have high standards for interest.Yeah, that element takes up a few minutes of the movie. Most of the film relates the history, sans any critical eye, preceding the event and talking heads enthusing over their excitement and the mischievous particulars of their con reenacted through the heavily stylized prism of Petit's somewhat irritating persona.

[MadMan]

Weekend:

*Double Indemnity
*2046

And hopefully I'll get to:

*Control
*Felica's Journey
*Once

[Qrazy]

Weekend:

Skiing.

[Boner M]

I saw Once Upon a Time in the West last night, on the big screen. I've always liked it, but this viewing was a revelation somehow. I still can't entirely take Charles Bronson seriously, but aside from that, I was hypnotised.

Weekend:

Two Mules For Sister Sara
Pather Panchali
The Wind Will Carry Us (rpt)