28 Film Discussion Threads Later

[Raiders]

Does anybody own any of these?

http://img.amazon.ca/images/I/41ZTFZ2YW0L._SS500_.jpg
http://ecx.images-amazon.com/images/I/41N37GC9Z4L._SS500_.jpg
http://ecx.images-amazon.com/images/I/51OJwWWldzL._SS500_.jpg

I have been meaning to purchase these for years now — especially the Herzog sets. The only factor that is stopping me is my fear that a Blu-ray counterpart might be released... but, unless a company like Kino, Studio-Canal or Criterion picks these titles up, I'm wondering if it is all that likely that anyone will go to the effort of updating these Herzog and Haneke DVDs.

I'm not really expecting anyone to be able to supply an answer but, nonetheless, this is my minor predicament.

I would recommend going for it. I don't imagine many or any of these coming to bluray anytime soon. Then again I will not be held accountable if they do.

[Russ]

Re: the Herzog sets -- most likely some individual ones might get a blu-ray release somewhere down the line (could be a long time), but the sets as packaged -- doubtful. Some of the best reasons to buy them are for Herzog's commentary tracks - they're awesome and make these sets highly desirable.

[Grouchy]

So I saw The Fog of War. Heavyweight stuff. It grew on me from where I was considering turning it off (ADD-filled Gen X wanker that I am) to where I was absolutely absorbed and riveted by McNamara's statements brought out of his own life and experiences as Minister of Defense. It's not easy to interview a politician and have him say something that's genuinely his opinion, as shown by the "epilogue" of this documentary where he refuses any further comment on Vietnam, but for most of the time, Morris was on top of things and McNamara even went so far as to admit he qualifies as a war criminal. With the latest Korean fuck-up, I felt the timing was perfect to watch something on the subject.

[D_Davis]

I watched both Nacho Libre and Gentlemen Broncos, the latter being one of the best movies of recent years that I've seen, the former being surprisingly solid as well. I'd be curious to try Napoleon Dynamite again, though it is clear that Hess is only getting better. Both films are very creative.

I recently rewatched ND, and loved it as much as ever. It simply makes me laugh, very hard.

[Ezee E]

Oh Haneke, you've improved so much since your first two movies.

His interviews aggravate me a lot. His Seventh Continent made me laugh and roll my eyes more than his Funny Games one.

Thing is, I want to see his interviews more than most directors.

[Derek]

His Seventh Continent made me laugh and roll my eyes more than his Funny Games one.

So wrong. It's a masterpiece (http://www.cinematicreflections.com/seventhcontinent.html).

[soitgoes...]

So wrong. It's a masterpiece (http://www.cinematicreflections.com/seventhcontinent.html).
Yep. Second best thing he's done.

[Raiders]

I need y'all to tell me which Haneke to try next. I have been wanting to give one a go, but I'm not sure. In general, I haven't much liked him. For reference:

1. Code Unknown [***½]
2. The White Ribbon [**]
3. Funny Games [**]
4. Benny's Video [*½]

[ledfloyd]

hmm, i didn't care at all for white ribbon or funny games. i may have to check out code unknown. especially being a fan of binoche

[Derek]

i may have to check out code unknown. especially being a fan of binoche

It's my favorite of his and Binoche's best performance (or at least pretty close to Blue).

[soitgoes...]

I need y'all to tell me which Haneke to try next. I have been wanting to give one a go, but I'm not sure. In general, I haven't much liked him. For reference:

1. Code Unknown [***½]
2. The White Ribbon [**]
3. Funny Games [**]
4. Benny's Video [*½]
I would say The Piano Teacher or Cache. I don't think you'd like Seventh Continent at all.

[Spinal]

I would say The Piano Teacher or Cache. I don't think you'd like Seventh Continent at all.

For Raiders, I would go Cache over The Piano Teacher.

[Derek]

I don't think you'd like Seventh Continent at all.

I don't think so either, but it's Haneke at his most Bressonian so there's always a chance. Still, I'd say Cache is his best shot.

[Ezee E]

Cache and The Piano Teacher both are good choices.

[Raiders]

I was leaning towards Cache anyway. Thanks.

[balmakboor]

I need y'all to tell me which Haneke to try next. I have been wanting to give one a go, but I'm not sure. In general, I haven't much liked him. For reference:

1. Code Unknown [***½]
2. The White Ribbon [**]
3. Funny Games [**]
4. Benny's Video [*½]

Robin Wood was working on a book about the films of Haneke during his final years. I wonder if what he'd completed will ever be published.

[Ezee E]

Although with Raiders' ratings, I almost think Cache then Time of the Wolf.

[Spinal]

I also wouldn't discount 71 Fragments, which is probably most similar to Code Unknown in terms of structure and execution.

[Ezee E]

71 Fragments and The Castle are the only Haneke I have left to watch.

[Qrazy]

I think Raiders will like Cache most, but I prefer Time of the Wolf personally.

[Winston*]

Seen all except The Castle and Benny's Video. All good to great IMO.

[baby doll]

Seen all except The Castle and Benny's Video. All good to great IMO.How are his early TV movies, and how did you see them?

[Derek]

How are his early TV movies, and how did you see them?

They're all on Karagarga as far as I know.

[Winston*]

How are his early TV movies, and how did you see them?

Okay haven't seen them. You got me baby doll.

[Raiders]

Hm, I was somewhat disappointed by Hawks' The Crowd Roars. I thought the racing world would make a great insular male community for Hawks to work from, but he doesn't really develop this much at all and even the relationship between two racing brothers is very awkward. Cagney's Joe is a very unlikable guy, certainly an interestingly monstrous and strangely moralistic man though I think most of the power in it comes from Cagney's typically intense performance. I don't know, maybe I just had the wrong expectations going in. The racing scenes certainly have a documentary immediacy and the central tragedy that pushes Joe over the edge is pretty disturbing (the film is pre-Code and it is somewhat "graphic," mainly in its implication of Joe's sex-based relationsip). I was very unmoved by the whole thing and though there are a few similarities between the ending of this and something like Only Angels Have Wings (a woman "coming down" to the aid of a broken man), this all felt much more thoroughly rote and typical.

[Cherish]

71 Fragments and The Castle are the only Haneke I have left to watch.


Seen all except The Castle and Benny's Video. All good to great IMO.

The Castle is the only one I have seen! :lol: It's very faithful to the book.

[baby doll]

They're all on Karagarga as far as I know.Damn, if only I hadn't been kicked off. (I didn't really figure out the share ratio thing until I got my first warning, by which point I'd already downloaded like twenty movies.)

[Ezee E]

Netflix now has a "Top Picks" suggestion for movies that are on Instant Watch.

Here's the top suggestions to me:
1)When Harry Met Sally
2)Dirty Rotten Scoundrels
3)It Happened One Night
4)Revanche
5)Night and the City
6)Onibaba
7)Days of Being Wild
8)The Swimmer
9)Days of Wine and Roses

Never heard of the last two.

[Qrazy]

8)The Swimmer
9)Days of Wine and Roses

Never heard of the last two.

They're both pretty good. The Swimmer has a few too many cheesy moments (running and jumping over fences in slo-mo) but Burt Lancaster is quality in the lead role. Days of Wine and Roses is that rare straight faced Blake Edwards film (about alcoholism). It features an excellent Jack Lemmon performance.

I've actually seen all of those except Revanche. I guess I should get on that.

[origami_mustache]

Does anybody own any of these?

http://img.amazon.ca/images/I/41ZTFZ2YW0L._SS500_.jpg
http://ecx.images-amazon.com/images/I/41N37GC9Z4L._SS500_.jpg
http://ecx.images-amazon.com/images/I/51OJwWWldzL._SS500_.jpg

I have been meaning to purchase these for years now — especially the Herzog sets. The only factor that is stopping me is my fear that a Blu-ray counterpart might be released... but, unless a company like Kino, Studio-Canal or Criterion picks these titles up, I'm wondering if it is all that likely that anyone will go to the effort of updating these Herzog and Haneke DVDs.

I'm not really expecting anyone to be able to supply an answer but, nonetheless, this is my minor predicament.

I have the Herzog docs and shorts set. It's a pretty amazing collection. Tons of stuff on it. Herzog owns the rights to all of these films, so I doubt Criterion or anyone will be re-releasing his stuff.

[balmakboor]

Watched Walkabout tonight. Why did I wait so long to see this beautiful, mysterious masterpiece?

[Spinal]

Watched Walkabout tonight. Why did I wait so long to see this beautiful, mysterious masterpiece?

Yeah, I'm shocked you haven't seen it. Seems like a perfect fit. Top 5 film for me.

[Boner M]

weekend

Seance On a Wet Afternoon
He Who Gets Slapped
The Chase (Penn)
Clouds of May
maybe Food, inc.

[B-side]

weekend

He Who Gets Slapped

I'm gonna go ahead and take partial credit for this viewing regardless of my actual contribution to this decision.:)

[Boner M]

I'm gonna go ahead and take partial credit for this viewing regardless of my actual contribution to this decision.:)
Actually it's been one of my must-sees since the late 90's when I was a wee 'un who'd just seen Nosferatu and went to the IMDb boards to ask for more silent film recommendations. But your praise is encouraging. Also it's a theatre viewing!

[Derek]

Actually it's been one of my must-sees since the late 90's when I was a wee 'un who'd just seen Nosferatu and went to the IMDb boards to ask for more silent film recommendations. But your praise is encouraging. Also it's a theatre viewing!

I like The Wind a lot more, but this one's pretty good too. Really need to get around to The Phantom Carriage one of these days.

[B-side]

Actually it's been one of my must-sees since the late 90's when I was a wee 'un who'd just seen Nosferatu and went to the IMDb boards to ask for more silent film recommendations. But your praise is encouraging. Also it's a theatre viewing!

Ah, you lucky bastard.

[Ezee E]

I need to find that post by Benny about the fallacies of The Blind Side movie.

Just watched it, and it's kind of strange seeing a movie done for Republicans. Enjoyable for the most part, if not a little too by the numbers, even if it's true. The guy who plays Oher was overlooked, he was much better than Bullock.

[B-side]

I'm not a big fan of it, but here's my attempt at a top 10 of each decade. (http://thebrightsideoftheempire.wordp ress.com/2010/05/22/the-top-10-films-of-each-decade/)

[Boner M]

Bah, the disc of Seance On a Wet Afternoon crapped out on me as soon as the movie was going from 'intriguing' to 'holy mother of god this is a moody masterpiece of British psychodrama'. And it was a rainy afternoon viewing to boot! :frustrated:

[B-side]

Clint Eastwood's Breezy is, well, breezy. It doesn't challenge and it doesn't surprise you, but I'll be damned if it doesn't at least warm the cockles of your heart a bit. It is distinctly 70s, and that feeling adds to the charm. The camera work is nice, and Frank's house of glass proves to be metaphorical within the context of the narrative -- being a loner living in a house where everyone can see inside. It's hokey, and some of the dialogue is lame, but it's decent entertainment.

[baby doll]

I'm not a big fan of it, but here's my attempt at a top 10 of each decade. (http://thebrightsideoftheempire.wordp ress.com/2010/05/22/the-top-10-films-of-each-decade/)Three Wong Kar-wai's for the '90s seems like a bit much.

[soitgoes...]

Obayashi's The Little Girl Who Conquered Time was a letdown. The anime remake made a few years ago is so much better. I have to admit that if Obayashi wasn't the director this film would have been a complete disaster. He used some of the crazy techniques he used in House, but it was much more reined in. I believe twee is the best word to describe this film.

[soitgoes...]

Three Wong Kar-wai's for the '90s seems like a bit much.
Also Wong is his surname. (This is for Brightside, not you baby doll.)

[B-side]

Three Wong Kar-wai's for the '90s seems like a bit much.

I don't choose for variety, I choose the 10 best films of each decade.

[B-side]

Also Wong is his surname. (This is for Brightside, not you baby doll.)

So confusing.:frustrated:

[soitgoes...]

So confusing.:frustrated:FYI, IMDb always lists surname last regardless of whether it is correct to do so.

[B-side]

FYI, IMDb always lists surname last regardless of whether it is correct to do so.

I don't know when it's correct or not.

[soitgoes...]

I don't know when it's correct or not.
East Asian countries and Hungary reverse the name order (surname first, given name last). IMDb will always give surname last regardless of this. So Wong Kar-wai is correct in Hong Kong, but it would be reversed in the West and on IMDb. Same goes for Park Chan-wook and Kurosawa Akira. What's interesting is that it's generally normal to leave the last name first for Korean and Chinese names, but we always flip the Japanese names.

[B-side]

East Asian countries and Hungary reverse the name order (surname first, given name last). IMDb will always give surname last regardless of this. So Wong Kar-wai is correct in Hong Kong, but it would be reversed in the West and on IMDb. Same goes for Park Chan-wook and Kurosawa Akira. What's interesting is that it's generally normal to leave the last name first for Korean and Chinese names, but we always flip the Japanese names.

So wait, what's the problem with keeping a surname last, then? If Kar-wai is his family name, then why reverse it?

[B-side]

So wait, what's the problem with keeping a surname last, then? If Kar-wai is his family name, then why reverse it?

Ah, never mind. I'm retarded.

[Winston*]

The Naked Kiss is pretty weird. It's supposed to be funny, right?

[Boner M]

The Naked Kiss is pretty weird. It's supposed to be funny, right?
I don't think any of Fuller's movies ever aim for any clear-cut tone (other than amped-up luridness), something that makes them slightly uncomfortable and enthralling at the same time.

Watched A Scene From the Sea, which I liked quite a bit though I can't really say why. The surfing sequences distracted from the driftwood-light drama, the shift to melodrama at the end was weird, and the sentimental ending montage ill-advised. But altogether it has a certain awkward charm and expected formal rigor that holds it together. Might need a second viewing.

[Sven]

Might need a second viewing.

It's very easily my least favorite Kitano film. Too static. Nestled among powerhouse films like Fireworks, Sonatine, and Kids Return, it is necessarily going to look like a whimper. Which is not a bad thing so much as it is an uncomfortable thing. I, too, need a second viewing. I'm sure I'll like it much more.

[Raiders]

I think it's just about a perfectly made film. Yeah, it doesn't hit quite like his other films, but it is remarkably satisfying and so quaint and gorgeous. I love it.

[Bosco B Thug]

Loved The House of Mirth. Have not read, nor have any familiarity at all, with Wharton's novel, which (having read baby_doll's thoughts) is probably a good thing.

I won't try to describe what makes it so good, partly because I'm not up to it but also because I'm already pretty sure how apparent it is for someone watching that Davies works differently than most modern filmmakers, and how much the film feels like an "old movie" but with no concept of throw-backy-ness. The way it achieves this - its techniques - are very subtle, but techniques they are and I found them quite propulsive and "active." For instance, the way Davies surveys through crowds in party scenes is so dreadful in such a particular way (it shows "canned humanity," humanity as a bunch of ants, personified). And the end credits image is brilliant, very much in a similar vein to Death Proof's end credits.

[Philosophe_rouge]

my blog is named afrte that movie, true story.

[Rowland]

very much in a similar vein to Death Proof's end credits.I don't remember Death Proof's end credits, what are you referring to here?

[soitgoes...]

Jesus, someone missed the boat when they came up with Valhalla Rising's promotional material. Instead of non-stop action, we're given a Malick/Tarkovsky hybrid. If/when this gets released in the States, it's going to be walkout central.

[B-side]

So I'm over an hour into The Last Movie and surprised I've made it this far. This movie is a complete mess. Not an interesting one either. The editing is ridiculous.

[Bosco B Thug]

my blog is named afrte that movie, true story. Love the movie. Be the movie. Name your blog after the movie!

Oh yeah, and Gillian Anderson is terrific. Didn't know she had chipper and girlish in her.


I don't remember Death Proof's end credits, what are you referring to here? Have you seen House of Mirth? Have to decide how much to give away...

Death Proof's end credits is the montage of old, 50s/60s era yearbook pictures of girls. Footage of Rose McGowan and Vanessa Ferlito are spliced into the montage at two points.

House of Mirth's end credits also evokes a relatable era's photography, in fusion with its own footage.

They're not that similar in a literal sense, but they both use dated photography to evoke the eternal condition (eternally frozen) of their concerns.


HoM is my first Davies. Having picked up that he does essay-type films, I'll go ahead and ask... what's his next most narrative work?

[B-side]

So I'm over an hour into The Last Movie and surprised I've made it this far. This movie is a complete mess. Not an interesting one either. The editing is ridiculous.

OK, I may have reacted a bit strongly. I found out the film was intentionally edited to be out of chronological order, though there still lacks a certain continuity to the flow of the film. It's sloppy, but what little I gleaned of the film's ideas I kinda of enjoyed despite how small and insignificant those bits I did glean were. I'm not sure Hopper's ideas are actually conveyed very well in the film, and I say this regardless of the fact that I still don't know what he's saying. So, yeah, it's a mess, but one with some pretty great imagery and some crazy ambition.

I downloaded his next film, Out of the Blue. Supposed to be great.

[Boner M]

So yeah, I was hoping The Secret in Their Eyes would at least be a passable middlebrow diversion, but turns out it's a ghastly compendium of laughably contrived plotting (no Mr. Campanella, a virtuoso-for-the-sake-of-it long take doesn't distract from blatantly stoopid plotting), clunky sybolism, cliched characters, bland performances, a visual style that alternates between 'TV' and 'perfume commerical', capped off by the most unintentionally hilarious ending I've seen in a while. How this retarded film has been taken seriously by so many people, I have no idea. Oh right, it has subtitles, so it must be profound...

Worst film of the year.

[Ezee E]

Jesus, someone missed the boat when they came up with Valhalla Rising's promotional material. Instead of non-stop action, we're given a Malick/Tarkovsky hybrid. If/when this gets released in the States, it's going to be walkout central.
Only in arthouse theaters methinks. When and if it ever happens.

[Qrazy]

Jesus, someone missed the boat when they came up with Valhalla Rising's promotional material. Instead of non-stop action, we're given a Malick/Tarkovsky hybrid. If/when this gets released in the States, it's going to be walkout central.

Was it good?

[balmakboor]

I need to find that post by Benny about the fallacies of The Blind Side movie.

Just watched it, and it's kind of strange seeing a movie done for Republicans. Enjoyable for the most part, if not a little too by the numbers, even if it's true. The guy who plays Oher was overlooked, he was much better than Bullock.

I've read this several times and I really think you're being way too kind. I don't see how one could say that the guy who plays Oher was overlooked when his character was a big nothing. I've never seen such a potentially compelling character reduced so completely to mush. Is this all in service of giving Republicans what they want as you suggest?

[Ezee E]

Is this all in service of giving Republicans what they want as you suggest?

He is really the only thing that is compelling about the movie though. I thought he brought good presence to each scene, and was the only character that had a hint of unpredictability to him, unlike everyone else in the movie who were all one-note.

The more I think about it, the less I like it, but it still humors me in a way most movies don't. More in the way of Sarah Palin's speeches. The most bizarre scene in the movie, and I guess it truly happened, is their talk with the Tutor that is a Democrat. Kathy Bates' character is to Republicans what I think most rednecks are to Democrats.

There's a lot of potential in this movie as far as what they could have done with separation of classes, belief (or hypocrisy of belief) in God, etc., but it's all ignored really. Sandra Bullock certainly plays a character, albeit one-note, but it's different enough for viewers that I can see how it could be perceived as such a good role.

[soitgoes...]

Was it good?
Oh yes. I just wish I went into the film knowing what it was going to be like. It took me awhile to get on the same page.

[StanleyK]

Worst film of the year.

I'm not sure about that; 2009 did spawn Transformers 2, Ice Age 3 and whatnot; the rest of your post is right on the money, though.

[Grouchy]

Boner, watch Carancho. I obviously disagree with you on how bad you think the Campanella film is, but like I said in my earlier post, the Trapero one is the complete opposite.

Another Argentine film, El Nido VacÃ*o (The Empty Nest) didn't manage to get to me. Maybe I'm completely outside this film's intended demographic, which seems to be well-read people at least above 35 with grown children of their own. But while I liked it at first as it went on I reflected I wasn't really being told anything new. Yes, I get it, when the kids leave home the marriage starts to suffer. And yes, they both want to fuck someone else. But Husbands and Wives already did this routine much better. What I really didn't like is that Burman peppered his story with fantasy sequences which are fun, but instead of relishing in them he made it a point of always showing them as fabrications, taking it as far as to put in an ending that

seems to establish the entire movie as the protagonist's daydream for a new book.

[Sven]

Derek, American Pop thoughts? I'm happy to report that all people to whom I have lent this film, being of a number greater than or equal to three, have all thanked me for introducing them to a new favorite.

[B-side]

This has probably been done before, but has there ever been a "Director of the Month" thread on here? Someone would choose a lesser known director and introduce a new film to see every week and people could participate and discuss and all that fun stuff. Sound good? No? k

[Ezee E]

This has probably been done before, but has there ever been a "Director of the Month" thread on here? Someone would choose a lesser known director and introduce a new film to see every week and people could participate and discuss and all that fun stuff. Sound good? No? k
We tried a consensus thread of directors we've rated before, but it was simply a ratings page, nothing more. After a few years of discussing directors, we all seem to know our opinions on the matter it seems.

[B-side]

We tried a consensus thread of directors we've rated before, but it was simply a ratings page, nothing more. After a few years of discussing directors, we all seem to know our opinions on the matter it seems.

Wait, what does that have to do with what I was proposing? I'm not even sure I understand what it is you're saying. Pardon my ignorance.

[Ezee E]

Wait, what does that have to do with what I was proposing? I'm not even sure I understand what it is you're saying. Pardon my ignorance.
Closest thing we've come to it.

[Boner M]

Pure Shit - a healthy dose of anarchic Aussie underground filmmaking to wash the dull taste of yesterday's Oscar-winner out of my mouth. The best way to de-glamorise heroin culture: turn it into a fast-paced, hijinks-filled, action-packed farce! But man, those are some graphic shooting-up scenes. I think I am finally desensitized to the sight of needle usage, singlehandedly thanks to this film.

[B-side]

Closest thing we've come to it.

Oh, OK. My bad.:P

Anyone think what I proposed would be a good idea?

[MadMan]

The People vs. Larry Flynt is a engaging movie, one that I'm not sure really asks you to sympthasize with Larry, mainly because it gives the viewer plenty to dislike about him. I'm no fan of the man, but his maniac crusade against Jerry Farwell is something I could approve of, mainly due to Farwell being a disgusting hypocrite. This is only my second Milos Foreman movie, and I'd like to see more-and yes that includes Amadus, which I keep hearing great things about. Also what often is lost about Woody Harrison is that he's actually a talented actor, something that was also on display in Zombieland and No Country for Old Men. I've heard good buzz about him in The Messenger.

Mystery Team may at times suffer from its low budget, but the one liners and the gags were funny enough to keep it interesting. Something could perhaps be said about the team's unwillingness to grow up that would be a bit more deep than what the movie covers, but the murder case really pushes that aside a lot, for better or for worse. Rather solid, although in the hands of more talented comedic director this could have been really good or even great.

[Grouchy]

Milos Forman has a few very crazy movies early on in his filmography. The People vs. Larry Flynt is quality, though. I also watched it very recently.

If we're following Brightside's idea, I'm totally game and I'm proposing José Mojica Marins for the opening round.

[B-side]

If we're following Brightside's idea, I'm totally game and I'm proposing José Mojica Marins for the opening round.

I think it'd be a cool idea.

[Winston*]

I suggest either Quentin Tarantino or Stanley Kubrick.

[balmakboor]

I like the idea and suggest Jonathan Kaplan.

[dreamdead]

We're away from home and unlikely to get to Siegel's looser adaptation of The Killers, but Siodmak's version inspires just enough noir cinematography historical allusions about facing death in a post WW2 era to add new weight to Hemingway's understated short story. Siodmak's storyline is not too special in terms of its narrative--though I like the idea that it's borrowing from Citizen Kane in its narrative structure just as much as it's borrowing from Hemingway--but most of the visual aspects impress.

[megladon8]

Make Way for Tomorrow was quite something. I haven't cried this much from a movie in years. Possibly since I was a kid.

Completely heartbreaking. More than once I was actually sobbing.

Both Beulah Bondi and Victor Moore were perfect. Unbelievable that Bondi was 49 at the time, playing a woman in her 70s.

That ending. Getting teary just thinking back to it.

Probably the best thing I've seen so far this year.

[B-side]

I guess I should finally see this Make Way for Tomorrow. I've not read a single thought from forum-goers that was less than enthusiastic, I don't think.

[megladon8]

I guess I should finally see this Make Way for Tomorrow. I've not read a single thought from forum-goers that was less than enthusiastic, I don't think.


Just PLEASE bring some tissue with you.

That movie hurts.

[B-side]

Just PLEASE bring some tissue with you.

That movie hurts.

I've never cried during a film. Or a TV show, for that matter.:eek:

[megladon8]

I've never cried during a film. Or a TV show, for that matter.:eek:


I feel like this movie warrants a warning of "if none of this makes you cry, you should no longer consider yourself human".

[B-side]

I feel like this movie warrants a warning of "if none of this makes you cry, you should no longer consider yourself human".

Aw. I'm sure it'll at least make me sad. Isn't that enough?!

[Melville]

A few movies have made me cry (Requiem for a Dream and Mulholland Dr. are the first that come to mind), and quite a few more have made my eyes start to well up, but Make Way for Tomorrow wasn't one of them. It is a great, very affecting movie, though.

[B-side]

A few movies have made me cry (Requiem for a Dream and Mulholland Dr. are the first that come to mind), and quite a few more have made my eyes start to well up, but Make Way for Tomorrow wasn't one of them. It is a great, very affecting movie, though.

I've gotten teary-eyed, but I haven't produced any actual tears. One of the stories in Sicko got to me pretty bad, I remember. Stranger than Fiction had me pretty upset, mostly because of the talk of death at a time in which it was a main concern of mine. And the episode of Fresh Prince with Will and his dad hit a bit too close to home.

[Qrazy]

I guess I should finally see this Make Way for Tomorrow. I've not read a single thought from forum-goers that was less than enthusiastic, I don't think.

I guess you didn't read my thoughts then.

[B-side]

I guess you didn't read my thoughts then.

I already told you I don't read your posts.

[Derek]

I guess you didn't read my thoughts then.

Seriously? Or are you just poking fun at the Qrazy stigma?

[Boner M]

Make Way For Tomorrow is indeed one of the greats. I think the phone conversation with the crowded room listening in is almost as sad as the ending.

[Derek]

Make Way For Tomorrow is indeed one of the greats. I think the phone conversation with the crowded room listening in is almost as sad as the ending.

I haven't seen it in years, but that's the scene I remember most vividly. Simply incredible.

[Qrazy]

Seriously? Or are you just poking fun at the Qrazy stigma?

I liked it, but I don't think it's excellent.

[Boner M]

I liked it, but I don't think it's excellent.
I liked YOUR FACE, but I don't think it's excellent.

[B-side]

I liked YOUR FACE, but I don't think it's excellent.

:D


He Who Gets Slapped (Sjostrom, 1924) ***½

!

Thoughts?

[Boner M]

Thoughts?
I found the basic premise was a bit hard to jibe with, but the expressive power of its imagery (the dissolve from the spinning globe to the circus stage - hot damn) is undeniable, and it really feels like Sjostrom has endeavored to capture the world in all its beauty/absurdity/cruelty in one microcosmic setting. It pulls off that kind of grand, sweeping gesture effortlessly.

[B-side]

I found the basic premise was a bit hard to jibe with, but the expressive power of its imagery (the dissolve from the spinning globe to the circus stage - hot damn) is undeniable, and it really feels like Sjostrom has endeavored to capture the world in all its beauty/absurdity/cruelty in one microcosmic setting. It pulls off that kind of grand, sweeping gesture effortlessly.

I kinda like looking at it through the lens of being a sort of masochist fantasy. I remember feeling as if it had something to say about the nature of art as well. Damned if I could expand on that now, but I think I wrote something similar to what I just said after I'd seen it.:P

[Derek]

My God, My God, Why Hast Thou Forsaken Me? (Aoyama, 2005)

While the central conceit of Aoyama’s film is similar to Pulse – here, the “Lemmings Disease� causes people to kill themselves - yet where Kurosawa’s film looks outward towards the social and technological causes, Aoyama’s is almost completely insular, spending much of the film lingering on the noise music experiments of the central characters. That the outbreak leads to an inability to distinguish those infected and those simply depressed remains a secondary concern as Aoyama gleans the surface creating a dense and increasingly desolate atmosphere always teetering on the edge between meaning and meaninglessness, much like the musicians who create for the sake of creation, filling the void with sounds that some will love and others hate, which may cure the disease or may, as the protagonist suggests, hasten its effects. A flawed, but fascinating little film.

American Pop (Bakshi, 1981)

I’m somewhat torn on Bakshi’s mixture of fluid animation and naturalistic sound design with the central characters and the excessively crude backgrounds and secondary characters. My annoyance with technique however was greatly heightened by the sheer ineptitude of its script to develop any depth in its characters or genuine feel for the various eras it portrays. Instead, it haphazardly leaps from one character to next in its Dreamgirls-esque tour through the decades, though thankfully it never achieves the level of awfulness that one sinks to. As the music is mostly unoriginal tunes appropriated by the films characters, it doesn’t even offer new songs, only the tired clichés of drugged-out rockers and the rise-and-fall story we’ve seen a thousand times before. I’d be willing to give Bakshi another shot though, since the script is clearly the weak link of this one. I was unsurprised to see the screenwriter’s next writing credit was an episode of Baywatch ten years later. Now there’s a rise-and-fall story I can get behind.

The Secret in Their Eyes (Campanella, 2010)

Not quite as awful as Boner suggests (but he can’t help but be too hard* on films sometimes), though this certainly does its fair share of feigning profundity. Its focus on glances is puerile, which is fitting for its elementary school approach to love: males obsessively staring at their loved ones in pictures, sexual tension made so overt the characters might as well have had outwardly throbbing hearts a la Looney Tunes characters, etc. The protagonist’s attachment to the case is reminiscent of Zodiac - the difference being that case was actually interesting, nearly unsolvable and rendered with a remarkable attention to detail by Fincher and Co. whereas Eyes’ case leaves no room for error or imagination and Campanella does a poor job establishing why it remains so haunting. No, this film is too interested in its vapid central love affair, which plays out predictably through many, many, many flashbacks where the two exchange one “fuck me� glance after another to the point where you begin to wander if Esposito is some sort of social retard. Not grating enough to hate, but nothing really works in this one.

*Like a penis amirite??

[B-side]

Surveying the films of this Bakshi character tell me he's someone I need to check out. And soon.

[soitgoes...]

This has probably been done before, but has there ever been a "Director of the Month" thread on here? Someone would choose a lesser known director and introduce a new film to see every week and people could participate and discuss and all that fun stuff. Sound good? No? k
I don't know if there are enough active posters here to make something like this truly work or at least to make it interesting enough to keep it going. I lurk over at The Life Cinematic occasionally, and they do something like this with reasonable success. They have a larger number of hardcore movie watchers than we do here though.

[B-side]

I don't know if there are enough active posters here to make something like this truly work or at least to make it interesting enough to keep it going. I lurk over at The Life Cinematic occasionally, and they do something like this with reasonable success. They have a larger number of hardcore movie watchers than we do here though.

I don't know, I thought it was a decent idea, but if people are too stuck in their ways in terms of film-watching (not that I can blame them), obviously it won't work.

[balmakboor]

In honor of Boonmee, I finally watched Syndromes and a Century last night. It's certainly a visually unique movie. I plan to watch it again in a few days before judging it. I think I liked it a lot though.

[baby doll]

So, Body Snatchers isn't one of Abel Ferrara's best movies (it barely feels like a Ferrara movie at all), but as a genre film, it's a respectable piece of work.

[Sven]

Yeah, I think I'm at the point where I can't bring myself to watch anything unless I have a personal interest in it. Of course, I still love recommendations, but watching films out of a sense of duty or whatever is so far from where I am right now that I wouldn't participate in any threads like that, Brights. I would read it, but I've got my own list of movies I've been neglecting.

[balmakboor]

Yeah, I think I'm at the point where I can't bring myself to watch anything unless I have a personal interest in it. Of course, I still love recommendations, but watching films out of a sense of duty or whatever is so far from where I am right now that I wouldn't participate in any threads like that, Brights. I would read it, but I've got my own list of movies I've been neglecting.

This is pretty much how I feel most of the time too. Between my DVD and Instant Watch Netflix queues, I have about 350 movies I'm trying to get to.

[Pop Trash]

I turned off Summer Hours after half an hour. It just seems like a talky bore. Incidentally, this is the second Assayas film I shut off after half an hour (the other being demonlover).

[NickGlass]

I turned off Summer Hours after half an hour. It just seems like a talky bore.

Well, if it didn't impress you in the first half an hour--with its slow building intimacy and humanity (...how boring)--then I suppose you're not really deserving of its warmth and richness.

[Pop Trash]

Well, if it didn't impress you in the first half an hour--with its slow building intimacy and humanity (...how boring)--then I suppose you're not really deserving of its warmth and richness.

Upper class French people sitting around, drinking wine, and talking = zzzzzzzz*snore*zzzzzzz

[NickGlass]

Upper class French people sitting around, drinking wine, and talking = zzzzzzzz*snore*zzzzzzz

I guess I understand what you mean. I'd be terribly bored if I wasn't actually listening to the dialogue, too.

[Spaceman Spiff]

Well, if it didn't impress you in the first half an hour--with its slow building intimacy and humanity (...how boring)--then I suppose you're not really deserving of its warmth and richness.

No, he was right the first time. It largely is a movie about French people sitting around and drinking wine, but I like the French, so I was okay with it.

[Qrazy]

I too have way too many movies I'm supposed to be watching to have time to watch films for a monthly directors thingy.

[Qrazy]

I liked YOUR FACE, but I don't think it's excellent.

I liked that time after I watched it when I complained about the fact that McCarey rear projected a leisurely walk in the park. Too difficult to shoot a walk in a god damn park? What a classic Qrazy moment that was.

[balmakboor]

I liked that time after I watched it when I complained about the fact that McCarey rear projected a leisurely walk in the park. Too difficult to shoot a walk in a god damn park? What a classic Qrazy moment that was.

I'm actually always charmed by such uses of rear projection.

[Raiders]

I liked that time after I watched it when I complained about the fact that McCarey rear projected a leisurely walk in the park. Too difficult to shoot a walk in a god damn park? What a classic Qrazy moment that was.

It is a classic Qrazy moment because it nitpicks at a detail most rational people manage to overlook. Perhaps he only had a day to shoot that scene and didn't want to gamble with on-location shooting? Perhaps he wasn't able to take the production to Central Park? I'm not sure how much on-location shooting was actually done in the 30s. I have no statistics, but it seems that today on-location shooting and the comandeering of entire city block and so forth is much more prevalent than in Hollywood circa 1930s.

[Qrazy]

It is a classic Qrazy moment because it nitpicks at a detail most rational people manage to overlook. Perhaps he only had a day to shoot that scene and didn't want to gamble with on-location shooting? Perhaps he wasn't able to take the production to Central Park? I'm not sure how much on-location shooting was actually done in the 30s. I have no statistics, but it seems that today on-location shooting and the comandeering of entire city block and so forth is much more prevalent than in Hollywood circa 1930s.

You misunderstand my question, as it was of a rhetorical nature. I really don't give a god damn why he didn't shoot in a park, I care that scene looks dumb as hell because he used rear projection. He could have shot on a sound stage and made it look like a park for all I care. For instance there's a nature scene in Sunrise that looks great and was shot on a sound stage.

[Qrazy]

I'm actually always charmed by such uses of rear projection.

I know haha we've had this convo before about the Late Spring bicycle ride.

[Derek]

I really don't give a god damn why he didn't shoot in a park, I care that scene looks dumb as hell because he used rear projection.

To which Raiders rightly responded "It is a classic Qrazy moment because it nitpicks at a detail most rational people manage to overlook."

[Derek]

or if this is simply the result of a Qrazy grudge with a considerable pedigree.

First of all, I like and respect Qrazy and I think he knows this, so calling it a grudge is more than a bit ridiculous. But he is prone to harping on minor flaws in otherwise great films as well as consistently expressing how underwhelmed he was by them. It's like joking with Sven for saying The Ladykillers is one of the best films of the decade.

In this case, I do remember this being one of Qrazy's only complaints about the film and I completely agree with Raiders that it's pretty silly to hold it against a film that is otherwise remarkably powerful.

[Derek]

To be clear, I was only wondering if it was a grudge. I was not unequivocally calling it a grudge. Admittedly, I suspected a bit of a grudge initially (maybe I was thrown off by the absence of your trademark and ubiquitous winking emoticon), but I was not stating it as fact. You claim there is no grudge at work, so... okay, I guess.

Your efforts are appreciated, oh great mediator.

http://www.oldroads.org/images2007/metropolis.jpg

[Raiders]

Personally I hate Qrazy with a passion.

[Derek]

Uh huh. To be clear, once again, I wasn't trying to be sanctimonious but feel free to think and imply what you like.

Well, it certainly came off that way. Qrazy was a philosophy major so I'm pretty sure he can hold his own with Raiders or me even if we were provoking him.

[Derek]

Personally I hate Qrazy with a passion.

Caught red-handed! ;););)

[Derek]

The picture was a joke, dude. I tend to be sarcastic a lot of the time if you hadn't noticed. I'm not the least bit angry with your "swooping in", only minorly annoyed since this is at least the 10th time you've unnecessarily done so. Let's move on.

[soitgoes...]

Wife! Be Like a Rose! (1935) ***½

:pritch: You're a half a star shy from the actual correct rating, but I'm ecstatic anytime someone watches and loves Naruse best film. Thoughts?

[number8]

People are so prejudiced against movies about French people sitting around drinking wine, no matter how breathtakingly compelling it is.

I say injustice.

[Sycophant]

This is pretty much how I feel most of the time too. Between my DVD and Instant Watch Netflix queues, I have about 350 movies I'm trying to get to.

Yeah... by this measure (plus things I'm loaning and DVDs I bought and haven't watched plus downloads), I have about 700-800 movies I'm trying to get to. At my current rate of about 3-6 new movies a months, this might take a while.

It's a nifty idea, the featured director thing, but it seems at this point a younger man's game (I have no idea how old Brightside is).

[Sycophant]

Also, Every Which Way But Loose is pretty fun. Hooray for Ruth Gordon.

[Qrazy]

To which Raiders rightly responded "It is a classic Qrazy moment because it nitpicks at a detail most rational people manage to overlook."

Rational people can suck my balls!

*You've just been philosophized!*

[Qrazy]

First of all, I like and respect Qrazy and I think he knows this, so calling it a grudge is more than a bit ridiculous. But he is prone to harping on minor flaws in otherwise great films as well as consistently expressing how underwhelmed he was by them. It's like joking with Sven for saying The Ladykillers is one of the best films of the decade.

In this case, I do remember this being one of Qrazy's only complaints about the film and I completely agree with Raiders that it's pretty silly to hold it against a film that is otherwise remarkably powerful.

I had other complaints that I posted back when I watched it but yeah I liked it well enough so no need to go into those again really.

[Qrazy]

Personally I hate Qrazy with a passion.

http://www.creativeartsndesign.com.au/webpics/Love/2515568P%20I%20love%20U%20this %20Much%2037in%20Hrt.jpg

[Bosco B Thug]

Memories of Murder was good. Broadly played but still intelligent, a bit too cop movie but still nuanced with its characters. Very Zodiac - rich in cultural detail and implicit commentary, in this case dealing with upheaval, small town complacence, big city impotence, etc. Loved the small town cops and their mix of endearing qualities and [dumb] corruption (the bad cop's fate is brilliant). But it felt ridden by style for style's sake, and a greater point doesn't quite come through all the bombast and conventional action-movie feel. The ending's quite haunting, though.

I got the feeling that it's a paen to the cop, even if they deserve their ridicule. An ode to grunts. Odd, but their dimwittedness provokes more sympathy than distaste, and their corruption is more symptom of that than the other way around. The smooth-handed suspect calls them out for their corruption, yet by that point we're as convinced as the detectives are that this guy is totally the killer and, in the finale, we understand what a frustrating, consistently demeaning and ball-busting job it is.

Random notes:
* Drop-kicks a plenty.
* Man, not to figure out the mentally handicapped guy was a witness sooner was a complete fail.
* Great Match-Cut Backlash, when's that gonna happen?

[megladon8]

* Man, not to figure out the mentally handicapped guy was a witness sooner was a complete fail.

Eh, that's kind of a big part of the story.

The entire investigation was an epic fail from the get-go. They had no idea how to approach a case like this.



* Great Match-Cut Backlash, when's that gonna happen?

You mean backlash against the movie, or backlash against you for giving it a 7, as opposed to the 11 it deserves? ;)

[balmakboor]

My Brakhage Bluray arrived today. I watched a little bit of 23 Psalm Branch before having to go off and deal with life for a bit. I know what I'll be doing with my free time for a while.

[Skitch]

Qrazy gets a thumbs up from me. He probably will cry seeing this post. Sorry dude.

[Bosco B Thug]

Eh, that's kind of a big part of the story.

The entire investigation was an epic fail from the get-go. They had no idea how to approach a case like this. Didn't say it detracted from the logic of the movie. Just, man, talk about obvious and slow on the draw.


You mean backlash against the movie, or backlash against you for giving it a 7, as opposed to the 11 it deserves? ;) Just thought I'd bring up again the great prophet Boner's prediction (he who loves the movie). :)

[Qrazy]

Qrazy gets a thumbs up from me. He probably will cry seeing this post. Sorry dude.

Cry... with joy! Heyo!

[B-side]

Yeah... by this measure (plus things I'm loaning and DVDs I bought and haven't watched plus downloads), I have about 700-800 movies I'm trying to get to. At my current rate of about 3-6 new movies a months, this might take a while.

It's a nifty idea, the featured director thing, but it seems at this point a younger man's game (I have no idea how old Brightside is).

I'm 21. I've got a virtual cornucopia of films on my plate as well, but I don't see any harm in making room for a few over the course of a month. There doesn't even have to be any specific films chosen. We could just choose a director, then people could watch whatever of theirs they feel like watching.

[balmakboor]

I'm 21. I've got a virtual cornucopia of films on my plate as well, but I don't see any harm in making room for a few over the course of a month. There doesn't even have to be any specific films chosen. We could just choose a director, then people could watch whatever of theirs they feel like watching.

Yeah. My plate is full, but I still usually find time for something like a director of the month. These consensus things that only last a few days to a week never give me enough time to explore beyond what I've already seen (I know, I could look ahead and prepare, but that's too much like homework), but over a month I'd probably fit in something or other.

Nobody ever did comment on my Jonathan Kaplan suggestion. He's a great example of a director who straddles the fence between mainstream and exploitation.

On another note, I just watched Brakhage's Visions in Meditation series and am just floored. He really is heading toward being my favorite filmmaker ever.

[B-side]

Yeah. My plate is full, but I still usually find time for something like a director of the month. These consensus things that only last a few days to a week never give me enough time to explore beyond what I've already seen (I know, I could look ahead and prepare, but that's too much like homework), but over a month I'd probably fit in something or other.

Well, if enough people express interest, I think we could do it. Y'know, strangely, I just realized the similarities between this and the consensus threads. Difference being we'd be featuring directors that don't have a consensus.

[Derek]

Well, if enough people express interest, I think we could do it. Y'know, strangely, I just realized the similarities between this and the consensus threads. Difference being we'd be featuring directors that don't have a consensus.

Well, the consensus threads are more rate-and-run. What you have in mind, which I like, is a thread that fosters discussion and communal exploration of particular directors' works. I'm game, but we'd need enough people willing to watch a film or two to actually make it worthwhile.

[B-side]

Well, the consensus threads are more rate-and-run. What you have in mind, which I like, is a thread that fosters discussion and communal exploration of particular directors' works. I'm game, but we'd need enough people willing to watch a film or two to actually make it worthwhile.

Right, exactly. I'll wait and see if more people say they'll be on board before I consider starting the thread. Just to clarify, I wouldn't be choosing all the directors, so no need to fear there.:P

[soitgoes...]

Well, of course I'm game. I think a month with a director (or even say a film movement?) where we're given leeway over what we choose would work better than if we all have to watch a certain film each week. The latter does seem more like homework.

[B-side]

Well, of course I'm game. I think a month with a director (or even say a film movement?) where we're given leeway over what we choose would work better than if we all have to watch a certain film each week. The latter does seem more like homework.

Yeah, it's understandable. I may have proposed it, but it doesn't mean I would have participated had those been the rules.:lol:

I think we could do both movements and directors, really. No reason why not.

[Sven]

Derek, your Streets of Fire rating almost, ALMOST, makes up for your embarrassing American Pop mistake.

And Every Which Way But Loose love is always worth applauding. Sometimes fighting for films I love despite the mockery of others really pays off.

[Grouchy]

Revolutionary Road is really a superb film. It's a bit theatrical, but I think that in this source material Mendes found the feelings he wanted to convey with American Beauty but with better characters and an engrossing story. Di Caprio and Winslet are a really good couple, and I loved Michael Shannon (whom I recognized only from Bug) in the small role of a funny farm patient who's fond of speaking his mind. The film's biggest strenghts are its confrontation scenes which are superbly written and explore the finer points of any couple's self-delusions and two-facedness, assuming that word exists. That and and the hilarious final shot.

[Bosco B Thug]

The Science of Sleep isn't as poignantly sentimental as 'Eternal Sunshine,' but they're very much sister films in that they both explore aspects of ephemeral relationships.

SPOILERS

Didn't expect 'Science' to be quite so bitter, though - I was thoroughly expecting a happy ending. I must have been blinded by the whimsy, though, because, thinking back, the signs all point to the ending we get. It's quite a rug-pulling film. In the first half, we think the match is made before it begins. But then the film's truth-telling comes: if a match is too made, you can't just be friends. Friends aren't lovers. If you're dancing around each other like you're thinking it's too convenient to be adult or exciting, someone's gonna grow out of the other.

The final tantrum works too well, an uncomfortable summation of what can't exist in a fine-lined platonic relationship.

Very effective film. Shortcomings are there, gave it a 7, but won't go into those since critics already have had at it. They really didn't like this movie very much, even my pet online critics really hate on the self-indulgence.

[Rowland]

even my pet online critics really hate on the self-indulgence.Ed Gonzo reallly loved it, more so than Eternal Sunshine in fact. I wouldn't go that far, but I felt many critics missed the boat by failing to recognize that the increasingly incessant whimsy was supposed to be irritating, which lent the film gravity and integrity.

[Bosco B Thug]

Ed Gonzo reallly loved it, more so than Eternal Sunshine in fact. I wouldn't go that far, but I felt many critics missed the boat by failing to recognize that the increasingly incessant whimsy was supposed to be irritating, which lent the film gravity and integrity.
True, read his, although even his review seems caught up in defending or justifying Gondry's vision and style (which is pretty clear already) instead of adding insights about the story, which is really what I went digging for (since the film is such a tricky and rather emotionally subjective film). It's the Irreversible syndrome with movie reviewers.

You're right that the incessant nature is the film's integrity. Some critics picked up that, that Stephane was "an intentionally unlikable" protagonist or whatnot, although they seemed to ignore the bleak implications. It's funny, they try so hard to dissociate with Stephane by focusing on all his craziness, when the final truths the film is telling in no way necessitate you being a Stephane man-child.

[Qrazy]

Revolutionary Road is really a superb film. It's a bit theatrical, but I think that in this source material Mendes found the feelings he wanted to convey with American Beauty but with better characters and an engrossing story. Di Caprio and Winslet are a really good couple, and I loved Michael Shannon (whom I recognized only from Bug) in the small role of a funny farm patient who's fond of speaking his mind. The film's biggest strenghts are its confrontation scenes which are superbly written and explore the finer points of any couple's self-delusions and two-facedness, assuming that word exists. That and and the hilarious final shot.

Hmmm I found the confrontation scenes borderline insufferable in places. Well acted but extremely poorly written imo.

[Skitch]

Watching The Philadelphia Experiment, and enjoying the hell outta it for sentimental reasons.

[Derek]

Derek, your Streets of Fire rating almost, ALMOST, makes up for your embarrassing American Pop mistake.

Ah good, so you have seen it? Funny, I was thinking as I was watching it that it was your kinda film. It's as taut and sharply edited as anything Hill has made - every cut expressive or propulsive, explosive through movement and actions, not simply literal explosions. It's pared down to the essentials, yet the musical interludes create a bit of breathing room while still remaining thrilling in their own right. Pare was actually quite magnetic in his stoic presence and of course Dafoe had the perfect blend of goofiness and fearlessness in his unhinged villain. But really, it's nearly impossible to not love a film that follows up a one-on-one sledgehammer fight with a live performance of "I Can Dream About You." Classic.

[Raiders]

Not sure why I haven't seen that one yet. I know multiple people who love it and consider it among Hill's best.

[Boner M]

Funny, I'd only been barely aware of the existence of Streets of Fire until now. Derek has sold me, and the presence of young Diane Lane has double-sold me.

[Qrazy]

The mediocre imdb rating had tempered my enthusiasm but yeah I suppose I should check that one out as well. I just want to take a moment here to pimp The Long Riders also.

[B-side]

The mediocre imdb rating had tempered my enthusiasm...

wut

[B-side]

I can't think of a single time in which the IMDb rating of a film has had any bearing whatsoever on my enthusiasm for a film.

[MadMan]

Thinking back, I'm sure that I've seen parts of The Long Riders when I was a kid. Or perhaps it was that 80s Jessie James movie that covers their ill fated robbery up in Minnesota. I was in elementary school at the time, so my memory's fuzzy.

MacGrubber is stupid, raunchy, and over the top. Its also quite funny, and even though some of the gags don't work the scenes that do strike gold as far as I'm concerned. Plus the cast really got into the whole thing, which was a strong plus. Labeling this as one of the best SNL movie adaptions isn't really saying much, though, considering the low amount of actual good SNL adaptions.

[soitgoes...]

I can't think of a single time in which the IMDb rating of a film has had any bearing whatsoever on my enthusiasm for a film.
Contemporary, domestic Hollywood films I would agree. Foreign films or classic films, where the people who have watched them tend to know what they are getting into, usually rate better (more correct). Now as for changing enthusiasm for a film, I don't know about that, but if I'm visiting a director I haven't seen anything by or extending into a filmography after watching the "essentials," I have no problem using IMDb as a guide for which film I'll choose to see first/next.

[B-side]

Contemporary, domestic Hollywood films I would agree. Foreign films or classic films, where the people who have watched them tend to know what they are getting into, usually rate better (more correct). Now as for changing enthusiasm for a film, I don't know about that, but if I'm visiting a director I haven't seen anything by or extending into a filmography after watching the "essentials," I have no problem using IMDb as a guide for which film I'll choose to see first/next.

Yeah, it still doesn't sway me at all. I go for what interests me. I don't bother with critics anymore.

[B-side]

Yeah, it still doesn't sway me at all. I go for what interests me. I don't bother with critics anymore.

I didn't mean for that to come off as snobbish as it did.:P

[soitgoes...]

I didn't mean for that to come off as snobbish as it did.:PI don't think it was snobbish. Like I said I see no problem using IMDb or whatever resource available to me as a guide. Obviously I'm going to watch something that interests me first, but if I have the choice between seeing something overall well received and something overall rated as mediocre, I'm gonna hit up the film that's well received first.

After all you have started Rate/Rank threads so I'm guessing you too use the ratings of others as a guide.

[B-side]

I don't think it was snobbish. Like I said I see no problem using IMDb or whatever resource available to me as a guide. Obviously I'm going to watch something that interests me first, but if I have the choice between seeing something overall well received and something overall rated as mediocre, I'm gonna hit up the film that's well received first.

After all you have started Rate/Rank threads so I'm guessing you too use the ratings of others as a guide.

True enough. They'd never be a determining factor for me, though. Not that they would be for you. Is that enough qualifiers for one night? I think so.:D

[B-side]

So I watched American Psycho for, I don't know, the 3rd or 4th time, and I picked up on some neat details I hadn't noticed before. Some spoilers to follow, obviously:

Some fun juxtapositions, namely between song and film. I'm thinking in particular the playing of Robert Palmer's "Simply Irresistible" when we're first introduced to Evelyn. It's amusing because he's listening to the song in his tape player to drown out her speech while the song plays over her speech so we can't get a good feel for it, and the song placement is ironic due to Bateman's clear distaste for her.

The anti-septic look and feel of his apartment makes it look a bit like a hospital corridor as opposed to anything truly lived in. Not exactly an astonishing revelation, but I never paid it much attention before.

Bateman says in the film that he only experiences greed and disgust, yet he rather clearly expresses intimidation and envy when his business associates present their business cards.

The bifurcation of his image in the mirrors after the homoerotic encounter with Luis.

His interpretations of the music he listens to reflect his life-view. By this I mean his analysis of Phil Collins' music reflects a strong affinity for corporate sheen and heavily processed musical stylings. And, of course, he takes a strong liking to the more positive-sounding music of the artists he mentions. His analysis of Whitney Houston's "Greatest Love of All" includes talk of "self-preservation" and how it's most important.

And, finally, a few questions: When Bateman confesses to the lawyer over the phone, do you think he's purging his guilt or claiming his prize, so to speak? I get a bit of both. And why did the lawyer think he was Davis? Bateman said he'd talked to this guy numerous times. Also, when the lawyer claims to have had lunch/dinner(?) with Allen after he'd died, is Bateman relieved because of the new "evidence" that would exonerate him, or is there something I'm missing here? I almost get the sense some of this murder business is fantasy, or there's some sort of doubling or splitting going on here that I'm too dumb to grasp.

[Skitch]

The Girlfriend Experience (the film, you comedians) was grating and rather pointless.

[soitgoes...]

I wasn't quite expecting something like that from you Mr. Sono. Well played sir. Absolutely devastating. I want to call my dad.

[Boner M]

Weekend

Animal Kingdom or Fish Tank at da moobies, more likely the former
A Day in the Country (Renoir)
Street of Shame (Mizoguchi)
Tropical Malady (rpt, in honor of seeing Uncle Boonmee next week)

[soitgoes...]

Nada this weekend. Going back down to CA for my cousin's wedding.

[balmakboor]

Funny, I'd only been barely aware of the existence of Streets of Fire until now. Derek has sold me, and the presence of young Diane Lane has double-sold me.

You guys are so young. I remember Streets of Fire when it was brand new. Walter Hill was red hot after 48 Hrs. and most critics thought it was his first misfire after the perfect streak extending back to Hard Times. Of course, they had no idea Brewster's Millions was on its way the following year.

To be fair, I like Streets of Fire and haven't seen Brewster's Millions.

[balmakboor]

I watched some more Brakhage last tonight. I can easily see 23rd Psalm Branch becoming my favorite film ever.

Volume 2 is a freakin revelation. (Watch the interview on disc 2 of the Bluray and you'll get my little joke.)

[kuehnepips]

Nada this weekend.

Really? Your place or mine?

[Raiders]

You guys are so young. I remember Streets of Fire when it was brand new. Walter Hill was red hot after 48 Hrs. and most critics thought it was his first misfire after the perfect streak extending back to Hard Times. Of course, they had no idea Brewster's Millions was on its way the following year.

To be fair, I like Streets of Fire and haven't seen Brewster's Millions.

Yeah, Brewster's Millions is pretty weak. I know Sven would say he got right back on it with 1986's Crossroads which I haven't seen and I would personally defend Red Heat though I haven't seen it in about eight years.

It's a shame Mickey Rourke dropped out of his upcoming St. Vincent which I assume is still going forward with production this summer.

[Morris Schæffer]

Haha. Ebert's review for Sex & the City 2: Dubai Sluts is allright for a laugh


Carrie also narrates the film, providing useful guidelines for those challenged by its intricacies. Sample: "Later that day, Big and I arrived home."

[Sycophant]

Weekend: (haven't done this in a while)
Tatami Galaxy episode 6
Zatoichi films (starting with 1, maybe as many as 3?)
Sons of Perdition (special screening tonight if I can make it)
Twentieth Century or Party 7 (Netflix DVDs I've had for months)
Some crappy low-budget fantasy film, since my new roommate loves them to death.

[Sycophant]

Watched 1993's Airborne last night, starring Seth Green, Jack Black, and a bunch of teenagers who quit acting in the nineties. The film is so deliriously, deliciously 1993. I found it a joy to watch, though the final rollerblading showdown was overlong and kinda boring.

[Sven]

Brewster's Millions is weak, but as an 80s family-friendly Pryor-Candy vehicle, there are laughs, there are lessons, and people look like they're having a good time. Crossroads is untouchably great though, and Red Heat is awesome in the way Brewster's Millions works: as an 80s star vehicle, this time for Schwarzenegger. The titanic rumble in the snow at the beginning is definitely a must-see.

[Ezee E]

Brewster's Millions is weak, but as an 80s family-friendly Pryor-Candy vehicle, there are laughs, there are lessons, and people look like they're having a good time. Crossroads is untouchably great though, and Red Heat is awesome in the way Brewster's Millions works: as an 80s star vehicle, this time for Schwarzenegger. The titanic rumble in the snow at the beginning is definitely a must-see.
Yeah, Brewster's Millions is already at a loss when it puts Richard Pryor in a PG movie.

[Sycophant]

Man, I think I actually need to watch a Sion Sono film post haste. Love Exposure's available to me right now, but it's 4 hours long and I've got friends who wanna watch it who'll be out of town.

So which of the following 4 movies (this will be my first Sono) on Netflix should I bump to the top of my queue (sadly, nothing's on instant)?

Suicide Club
Strange Circus
Exte
Noriko's Dinner Table

[D_Davis]

Suicide Club
Exte


I've seen these 2, and enjoyed both a great deal. Especially Suicide Club.

[soitgoes...]

Man, I think I actually need to watch a Sion Sono film post haste. Love Exposure's available to me right now, but it's 4 hours long and I've got friends who wanna watch it who'll be out of town.

So which of the following 4 movies (this will be my first Sono) on Netflix should I bump to the top of my queue (sadly, nothing's on instant)?

Suicide Club
Strange Circus
Exte
Noriko's Dinner Table
Suicide Club is the only of those I've seen, and I highly recommend it. I think Noriko's Dinner Table is a somewhat sequel of that one, so I'd hold off on seeing it until you've watched Suicide Club (*not exactly sure if that matters).

[Bosco B Thug]

Man, I think I actually need to watch a Sion Sono film post haste. Love Exposure's available to me right now, but it's 4 hours long and I've got friends who wanna watch it who'll be out of town.

So which of the following 4 movies (this will be my first Sono) on Netflix should I bump to the top of my queue (sadly, nothing's on instant)?

Suicide Club
Strange Circus
Exte
Noriko's Dinner Table Suicide Club as primer, prepare to be a little irritated by it, then go on to Strange Circus, probably his best. Exte will then cement either your love or indifference to him. That's the sequence I did.

[Spun Lepton]

Suicide Club is shit on a stick.

[number8]

Suicide Club is shit on a stick.

Weird. That doesn't sound enjoyable at all.

[Qrazy]

Weird. That doesn't sound enjoyable at all.

The shit is dipped in chocolate.

[Philosophe_rouge]

I like all the Sion Sono I've seen, I'd rank rate them as;

Love Exposure 10
Strange Circus 9
Hair Extensions 8.5
Noriko's Dinner Table 8.5
Suicide Club 8

I'm excited for his new films, hoping his latest will be playing at the Fantasia film festival.

[Sycophant]

Thanks, everyone! I've adjusted my Netflix queue to put Suicide Club at number one.

[Spun Lepton]

I've known my opinion on that pile of crap was in the minority for a while now. I'll never forgive it for being so good for an hour-plus, and then taking a total nose-dive in the last 30 minutes.

[balmakboor]

I've known my opinion on that pile of crap was in the minority for a while now. I'll never forgive it for being so good for an hour-plus, and then taking a total nose-dive in the last 30 minutes.

I know the feeling of being in a minority. I love the first and third acts of The Incredibles, Wall-E, Up, and, egads, Sunrise, but think the middle acts lay eggs.

[Ezee E]

Thanks, everyone! I've adjusted my Netflix queue to put Suicide Club at number one.
That reminds me, I need to get to Strange Circus pronto. Highly recommended to me by timotei.

[MadMan]

Brightside, your thoughts on American Psycho are quite interesting. Which makes me wonder if perhaps, considering how much meg and I love that movie, if an actual seperate thread covering it is in order. I already wrote a review for it in my blog (shameless plug none-withstanding). Still my favorite horror movie of the 2000s (although I wonder if it instead counts as a 1999 release).

Weekend:

*Mallrats
*Wings of Desire
*Waltz with Bashir

[Ezee E]

One idea that maybe can be splintered from Brightside's idea is to do a written "commentary" on a movie. In which, through a week, a month, some time period, you spread out the movie and discuss each scene, minutes at a time. Week 1 is like 1-10. Something like that.

That would work more for a movie that everyone owns, and maybe we'll pick out stuff we've never thought of before, overanalyze it (most likely), or just have fun with it.

[Sven]

One idea that maybe can be splintered from Brightside's idea is to do a written "commentary" on a movie. In which, through a week, a month, some time period, you spread out the movie and discuss each scene, minutes at a time. Week 1 is like 1-10. Something like that.

That would work more for a movie that everyone owns, and maybe we'll pick out stuff we've never thought of before, overanalyze it (most likely), or just have fun with it.

Hey, I think this is a pretty awesome idea actually.

[soitgoes...]

Suicide Club is the only of those I've seen, and I highly recommend it. I think Noriko's Dinner Table is a somewhat sequel of that one, so I'd hold off on seeing it until you've watched Suicide Club (*not exactly sure if that matters).
To amend this post, Noriko's Dinner Table is more of a companion piece than a sequel. I don't think it is necessary to see Suicide Club first, but it probably helps. Also, it is very good. I'd probably rate it around the same as Suicide Club.

[Russ]

Question for soitgoes: which Naruse films have you seen? (given their general unavailability)

I've become a huge fan. There's just something about the precision of his direction and storytelling. I haven't seen a bad film from him yet.

Weekend Naruse marathon on tap:

Kimi to yuku michi / The Road I Travel with You (1936)
Okuni to Gohei (1952)
Kafuku zempen / Learn from Experience Pt. 1 (1937)
Kafuku kôhen / Learn from Experience Pt. 2 (1937
Nadare / Avalanche (1937)

I just finished Nadare. Another fine work, this pre-war studio Shochiku film is noticebably different from his PCL and Toho films in its focus on the upper-middle class with no sign of the poor and destitute figures that populate many of his later films. However, the moral quandaries remain, mainly in the form of Japanese tradition vs. a more modern Western-influenced thought as it pertains to love, honor and duty. Especially notable for a bit of experimentation (shadowy-veiled inner thought sequences punctuated with parenthetical subtitles), judicious use of flashback sequences, and the contribution of two heavyweights: assitant director Ishiro Honda (Godzilla) and third assistant director, Akira Kurosawa (!)

[soitgoes...]

Question for soitgoes: which Naruse films have you seen? (given their general unavailability)

I've become a huge fan. There's just something about the precision of his direction and storytelling. I haven't seen a bad film from him yet.

Weekend Naruse marathon on tap:

Kimi to yuku michi / The Road I Travel with You (1936)
Okuni to Gohei (1952)
Kafuku zempen / Learn from Experience Pt. 1 (1937)
Kafuku kôhen / Learn from Experience Pt. 2 (1937
Nadare / Avalanche (1937)

I just finished Nadare. Another fine work, this pre-war studio Shochiku film is noticebably different from his PCL and Toho films in its focus on the upper-middle class with no sign of the poor and destitute figures that populate many of his later films. However, the moral quandaries remain, mainly in the form of Japanese tradition vs. a more modern Western-influenced thought as it pertains to love, honor and duty. Especially notable for a bit of experimentation (shadowy-veiled inner thought sequences punctuated with parenthetical subtitles), judicious use of flashback sequences, and the contribution of two heavyweights: assitant director Ishiro Honda (Godzilla) and third assistant director, Akira Kurosawa (!)
Apart from You (1933)
Every Night Dreams (1933)
Five Men in the Circus (1935)
The Actress and the Poet (1935)
Three Sisters with Maiden Hearts (1935)
Wife! Be Like a Rose! (1935)
The Girl in the Rumor (1935)
Avalanche (1937)
The Whole Family Works (1939)
Hideko the Bus Conductress (1941)
The Way of Drama (1944)
Dancing Girl (1951)
Ginza Cosmetics (1951)
Repast (1951)
Okuni and Gohei (1952)
Okaasan (1952)
Lightning (1952)
Wife (1953)
Late Chrysanthemums (1954)
Sound of the Mountain (1954)
Floating Clouds (1955)
A Wife’s Heart (1956)
Flowing (1956)
Untamed (1957)
Summer Clouds (1958)
When a Woman Ascends the Stairs (1960)
Daughters, Wives and a Mother (1960)
Yearning (1964)
The Stranger Within a Woman (1966)
Scattered Clouds (1967)

I have to leave for work in a minute, so I can't really go in more detail now. I'll try and get back to this later tonight. I leave at 5 AM tomorrow for a 5 day trip, so if you don't hear back from me right away, just wait longer. :)

A quick response: I've only seen a couple of his films that I left feeling negatively on. He isn't as consistently great as Ozu or Kurosawa, but definitely has hit upon greatness a number of times.

[Russ]

You must see Haru no mezame / Spring Awakens. That, along with Okaasan are probably my favorites thus far.

I had no idea you had seen so many!

[Derek]

Yeah, Brewster's Millions is pretty weak. I know Sven would say he got right back on it with 1986's Crossroads which I haven't seen and I would personally defend Red Heat though I haven't seen it in about eight years.

Yeah, I'm thinking of doing Red Heat next after The Long Riders. I actually thought Crossroads was pretty weak and much prefer Streets of Fire to Hard Times, though Bronson is money in the latter.

[balmakboor]

One idea that maybe can be splintered from Brightside's idea is to do a written "commentary" on a movie. In which, through a week, a month, some time period, you spread out the movie and discuss each scene, minutes at a time. Week 1 is like 1-10. Something like that.

That would work more for a movie that everyone owns, and maybe we'll pick out stuff we've never thought of before, overanalyze it (most likely), or just have fun with it.

I like this. Kinda like how Ebert would spend six hours guiding people through the first 20 minutes of Floating Weeds.

[MacGuffin]

Hey matchcut.

[baby doll]

Hey matchcut.What's your avatar from? Mauvais sang? (Speaking of which, I took another look at Les Amants du Pont Neuf last night. It definitely peaks early, but that's less a serious flaw than an indication of how mind-blowingly awesome the early scenes are.)

[MacGuffin]

What's your avatar from? Mauvais sang? (Speaking of which, I took another look at Les Amants du Pont Neuf last night. It definitely peaks early, but that's less a serious flaw than an indication of how mind-blowingly awesome the early scenes are.)

Yeah, from the very end of Mauvais sang. For whatever reason, I've found it very difficult to sit down and watch movies lately and I'm hoping if I try to interact a bit more around here, then maybe that will respark some of that energy (God knows when I used to post here I was watching like six movies a week—now it's more like six movies every two months).

As for Les Amants du Pont-Neuf, I saw parts of it about a year ago and for whatever reason never finished it. However, Carax's uses of color and location stuck with me, Denis Lavant is probably my favorite actor and of course, Binoche isn't too bad either, so I bought the UK DVD a few months back. I've been meaning to give it a go one of these days since I consider Carax's first two movies basically flawless. For the record, I also grabbed the set that's out in the UK, so I also have Pola X to look forward to.

[baby doll]

For whatever reason, I've found it very difficult to sit down and watch movies lately and I'm hoping if I try to interact a bit more around here, then maybe that will respark some of that energyMovies are overrated. I'm thinking about taking up cooking and transforming my blog into a food blog.

[lovejuice]

Watch Love & Death for the first time. Good stuff. Really funny. Keaton is gorgeous.

[baby doll]

Keaton is gorgeous.For a second I thought you meant Buster.

[eternity]

Mystery Team is everything I thought it could be and a whole lot more.

[balmakboor]

I just finished watching the first of two discs of the By Brakhage Volume 2 Blu-ray. I've been captivated by every selection so far (if anything, volume 2 is even better than volume 1), but three in particular are clearly masterworks. You must watch 23rd Psalm Branch, Scenes from Under Childhood, Section One (both without and with sound), and Murder Psalm before putting in your final verdict on Brakhage.

[Dead & Messed Up]

Mystery Team is everything I thought it could be and a whole lot more.

I hated it.

[Sven]

Yeah, I'm thinking of doing Red Heat next after The Long Riders. I actually thought Crossroads was pretty weak and much prefer Streets of Fire to Hard Times, though Bronson is money in the latter.

Crossroads > Streets of Fire > The Long Riders (a wonderful companion, though not as good, to The Wild Bunch) > Red Heat >> Hard Times (Bronson + Coburn = solid, but the film is unfortunately inert, an admission that amounts to heresy among Hill fans I think).

I really like his three episodes of Tales from the Crypt, the first two he did being as good as his best films.

[soitgoes...]

Question for soitgoes: which Naruse films have you seen? (given their general unavailability)

I've become a huge fan. There's just something about the precision of his direction and storytelling. I haven't seen a bad film from him yet.

Weekend Naruse marathon on tap:

Kimi to yuku michi / The Road I Travel with You (1936)
Okuni to Gohei (1952)
Kafuku zempen / Learn from Experience Pt. 1 (1937)
Kafuku kôhen / Learn from Experience Pt. 2 (1937
Nadare / Avalanche (1937)

I just finished Nadare. Another fine work, this pre-war studio Shochiku film is noticebably different from his PCL and Toho films in its focus on the upper-middle class with no sign of the poor and destitute figures that populate many of his later films. However, the moral quandaries remain, mainly in the form of Japanese tradition vs. a more modern Western-influenced thought as it pertains to love, honor and duty. Especially notable for a bit of experimentation (shadowy-veiled inner thought sequences punctuated with parenthetical subtitles), judicious use of flashback sequences, and the contribution of two heavyweights: assitant director Ishiro Honda (Godzilla) and third assistant director, Akira Kurosawa (!)To answer a little more fully, a few of his early works use the experimentation. Every Night Dreams and Three Sisters with Maiden Hearts (written by Yasunari Kawabata) are two that best exemplify this, and are also two of his best works to boot. Also not to be missed from this early period is my favorite of his, Wife! Be Like a Rose!. His style is more classical Naruse in nature than the other two mentioned.

Moving into the 50's and 60's, Repast and Sound of the Mountain are the first two of his films I saw, and I loved them both, but I wonder how I'd feel if I were to revisit. I'm sure they're still great, but perhaps I was too high on him at first. Both are easily accessible, since they are part of the wonderful MoC boxset along with Flowing. Yearning is my second favorite of his. It has the always wonderful Takahime in a relationship with a younger man. As usual with Naruse, the battle of tradition versus modernity plays out. I know Derek is a huge fan of his final work, Scattered Clouds. I'm not as high on it, mostly because of the lead actress Yoko Tsukasa, who comes off as a large step down from Naruse regular Takamine.

Oh, and Floating Clouds, but I'm sure you know of it?

I hope this gives you something worthwhile. I know finding any material on Naruse can be hard. It's a shame because he really does deserve more attention.



You must see Haru no mezame / Spring Awakens. That, along with Okaasan are probably my favorites thus far.

I had no idea you had seen so many!
I have Spring Awakens (along with about a dozen others), and I'll make it my next of his. I have seen a bunch of his films. KG (are you a member there?) is a gold mine. A couple of guys there posted a large number of his films with custom English subs. My classic Japanese film obsession helped fuel my desire to see as many of his films as possible.

[Raiders]

The Motorcycle Diaries - Walter Salles may be one of the most boring directors working today. The film never manages to rise above some form of shallow reverence, giving about as much depth and personality to its Che as the iconic t-shirts. It is a film that has pleasant vistas, occasional flair and certainly at least feigns to show the many colors of the culture and the land; but in the end, it is romanticized and useless, a picture of a man many love without actually trying to understand what he stood for. The canned presentation here gives credence to the more singular, fractured view Soderbergh laid out; while the latter may not have shown the politics any more clearly he at least understood the struggle of "Che."

Wife! Be Like a Rose! - This is a particularly "Japanese" film, both with its clash between urban and rural lifestyles, familial duties and responsibilities and the differences between the various female presences (some of which I am told is lost in the subtitles). Nonetheless, it is an extremely potent film with a great spark of humanity, underlying humor and a knack for emotional interchanges. In particular is the way Naruse seems to implicate pretty much everything into the disintegration of this family unit from the constricting and impersonal urban setting to the emotional upheaval causes by expectations in behavior to the way one man through his own fickled behavior torments three unique and disparate women. Perhaps the saddest moment though is that even solidarity between mother and daughter cannot be held together, the glue stretching and falling away over a haunting final sequence.

[Ezee E]

Walter Salles is in production of On The Road. Methinks it'll just be an english version of Motorcycle Diaries, which I agree to being very boring.

[number8]

Dudes, if you pre-order Nine Songs on Blu-ray from Tartan, they throw in the 8-DVD Vengeance trilogy box set for free.

[Sven]

My Son My Son What Have Ye Done isn't coming out on DVD until September. What's up with that?

[balmakboor]

My Son My Son What Have Ye Done isn't coming out on DVD until September. What's up with that?

Plenty of things for the "What's up with that?" file lately. I stopped in across the street at Best Buy just now thinking about picking up The Road and they didn't even stock the damn thing.

[Sycophant]

Caught an excellent documentary about FLDS exiles last night called Sons of Perdition. Afterward, my friends and I just kinda ended up hanging out with Utah's (and formerly Mormonism's) most accomplished local filmmaker, Richard Dutcher for over an hour outside the theater as he regaled us with stories about working with Wilford Brimley and Ving Rhames and we talked about the peculiar anxieties of filmmaking in the early stages of a career and the evolution of that and talked about location scouting and how awesome Salt Lake City is and how great he made it look in his recent Evil Angel. Good times.

[BuffaloWilder]

Dudes, if you pre-order Nine Songs on Blu-ray from Tartan, they throw in the 8-DVD Vengeance trilogy box set for free.

What a trade off. Guess I could just use 9 Songs as a frisbee for my wolf-hound, Blue.

[Grouchy]

I think Strange Circus is Sono's masterpiece. I'm still kicking myself for missing Love Exposure in theaters.

It's weird to find a movie where absolutely nothing works, but I think Sphere qualifies. It presents an interesting concept (one that's a little too similar to Solaris, but I guess that's Michael Chrichton's fault) and then completely drowns it in endless boredom. The big-star cast doesn't help: Hoffman, Stone and Jackson, besides being completely unconvincing as scientists, make every scene even longer with ad-libbed dialogue that's completely unsuitable for a sci-fi thriller. I think it completely embodies the definition of pretentious: it could have worked its suspense with an intriguing concept for an alien, and instead, it's an exercise in useless pointification and lack of pacing. Besides...

So this sphere turns your thoughts and dreams into reality, right? Cool. But everything Crichton and the screenwriters could come up with is scary animals? Doesn't anyone dream about his loved ones or childhood experiences? Don't they ever think about sex?

[MadMan]

Mystery Team is everything I thought it could be and a whole lot more.Its a very solid, rather funny and enjoyable/delightful little movie. I liked it alot.

[Derek]

I think Strange Circus is Sono's masterpiece. I'm still kicking myself for missing Love Exposure in theaters.

Two I absolutely must see. I hated Suicide Club yet loved Noriko's Dinner Table, so I don't know quite what to think of Sono yet.

[Watashi]

Revanche kicked ass.

Slow-moving meditation on violence and guilt FTW.

[Rowland]

Loved Strange Circus, really liked Suicide Club and Exte, can't wait to see the others.

[Hugh_Grant]

But really, it's nearly impossible to not love a film that follows up a one-on-one sledgehammer fight with a live performance of "I Can Dream About You." Classic.
Yep. Streets of Fire was one of those films that made me a cinephile when I was a young girl growing up in the 80s. I wore the soundtrack tape out, too. (The soundtrack is so much more than "I Can Dream About You," great as that song is.)

[Spinal]

Revanche kicked ass.

Slow-moving meditation on violence and guilt FTW.

I liked it. I thought the first section was by far the most captivating. I thought the rest of the film plodded a little too much for my tastes, and thus the plot elements fall into place long after you've figured out where it's heading. But when it's good, it's very, very good.

[Spinal]

Also rewatched Labyrinth with the family last night. It's fine, but I'm sorry, those Bowie songs just do not work. The film grinds to a halt whenever a musical number comes up.

[balmakboor]

My 17-year-old daugther watched several of Brakhage's hand-painted films with me and she, surprise surprise, loved them. And she had all kinds of questions like how he made them and how I heard about them. It was a very encouraging experience.

[balmakboor]

I told my daughter that the paints Brakhage used most likely caused his cancer and she said, "That's kind of cool. The guy died for his art." Then I said he was so passionate that he even made a film on his deathbed, scratched out with his fingernails. She immediately wanted to see it.

[Sven]

Also rewatched Labyrinth with the family last night. It's fine, but I'm sorry, those Bowie songs just do not work. The film grinds to a halt whenever a musical number comes up.

I love the songs on their own enough to forgive their puncturing of the film's structural integrity. It may not be as classy a film as The Dark Crystal, but by gum, I get swept up every time. Also, David Bowie's pants magic pants.

[baby doll]

So Dennis Hopper died.

[Qrazy]

Just watch the blu-ray of Rebuild of Evangelion 2.0 last night. It may well be the most well animated (in relation to the level of detail on display) film I have ever seen.

[Spun Lepton]

"Goddamn it!! The kids, they like animals! They like dancing! They should goddamn like computer-animated animals dancing on their hind legs to shitty pop music!! And if they don't now, then goddamn it, we're gonna KEEP MAKING MOVIES with 'em until the little motherfuckers DO LIKE 'EM!"

[MacGuffin]

So Dennis Hopper died.

I'll always remember him for his work on Easy Rider, the definitive statement of America in the 1960s, and of course for "Heineken!? Heineken!? Fuck that shit! Pabst Blue Ribbon!" R.I.P.

[Spinal]

I love the songs on their own enough to forgive their puncturing of the film's structural integrity. It may not be as classy a film as The Dark Crystal, but by gum, I get swept up every time. Also, David Bowie's pants magic pants.

This is typical of my relationship with Bowie. I like him and what he stands for. I just wish I liked his music more. The pants are indeed magical.

Hit another 80s 'classic' this morning with Clash of the Titans. Held up surprisingly well, despite occasional silliness. Love those old-time special effects. So much personality and expression in them. Also, amazing the amount of nudity they were willing to put into a family film in those days.

[MacGuffin]

Evening possibilities:

Kikujiro
The Passenger
Taste of Cherry
et al.

[Dead & Messed Up]

Just watched A Clockwork Orange for the first time.

I feel like I should let it digest.

[Spinal]

After Labyrinth and Clash of the Titans, we rounded out the 80s family film mini-marathon with The Princess Bride. Best of the bunch. Now that the film is nearly 25 years old, nostalgia makes an already great film even better. It's moving to see so many talented performers lay down top-notch performances. Reiner's direction isn't anything to write home about, but the film is so perfectly cast that it doesn't much matter.

[Scar]

Just watched A Clockwork Orange for the first time.

I feel like I should let it digest.


I hadn't watched it in over a decade, and when I watched it again about a year ago, I certainly enjoyed it.

Then I went to the grocery store, and broke down laughing in the produce aisle. Right before the vegetable misters would kick on, they would start playing "Singing in the Rain".

[balmakboor]

Just watched A Clockwork Orange for the first time.

I feel like I should let it digest.

I wish I could experience that one for the first time again. I saw it for the first time in 1981 in a campus lecture hall filled to the brim with college students who reminded me more than a bit of Alex's droogies.

[Bosco B Thug]

Eclectic haul!:

Poltergeist II - Daaaamn this is a crappy movie. Epitomizes terminal sequelitis. So consistently bad!

Moon - I liked this. Jones' filmmaking is stately, but in a messy, not-too-fussy way that I liked. Storywise, a little more straight-forward than I thought it would be, but its tone, mood, and emotions stay consistent throughout, and its ultimate affirming underlying philosophical outlook comes strong and poignant at the end.

Poltergeist III - Don't believe the reputation: this is miles AND MILES better than Poltergeist II. It's actually pretty good sometimes, for it's a hackwork directed by the capable director of Dead and Buried, Gary Sherman, instead of the who-again? who directed P2. A more conventional horror movie set-up is gained in sacrifice of the first two films' "anatomy of a family" plot approach, but I was all for it because it's pretty neat and involving. A crowd-pleasing end to the series.

Satyricon - Oh yeah, this one's made to be divisive. It's uncompromising and incessant - like Science of Sleep. Too much stunning filmmaking and ideas packed in there to give it less than a 7, but you get the feeling that amidst the mostly-deliberateness, there's also a lot of noise, as well as some smugness. I must say, though: there were those stretches in the first thirty minutes when nothing is subtitled and I believe everyone's just talking gibberish and no one's doing anything that makes any sense, and that's the zenith of unpleasant for me. That is the closest I've gotten to the unpleasantness I feel when I'm on a bad trip (yeeah I get existential when I'm high...).

[MadMan]

When I think of Hopper, I think of the following:


Apocalypse Now
Speed
Blue Velvet

... and, a less obvious, and perhaps more under-appreciated, film:

River's EdgeIn addition to those movies (minus River's Edge) I think of Speed, one of the best action movies of the 90s. My favorite perfromance of his (so far) is the camerman in Apocalypse Now. RIP.

[Qrazy]

In addition to those movies (minus River's Edge) I think of Speed, one of the best action movies of the 90s. My favorite perfromance of his (so far) is the camerman in Apocalypse Now. RIP.

In addition to the movies listed you think of the movies listed?

[Wryan]

It's moving to see so many talented performers lay down top-notch performances.

Even the old crone in the dream sequence who goes "Boooo! Boooooo! BOOOOOOOO!"

[Spaceman Spiff]

Gary Coleman also died?!? WTF?!?

[megladon8]

Gary Coleman also died?!? WTF?!?


Welcome to last week ;)

[Spun Lepton]

Eclectic haul!:

Poltergeist II - Daaaamn this is a crappy movie. Epitomizes terminal sequelitis. So consistently bad!

The preacher was sufficiently creepy and menacing, but everything else was poorly plotted, over-the-top and, as in the case of the "killer braces" scene, comical. And, wow, did the ghosts like to showboat in this one. Like, the scene in the garage, where the Freelings are trapped in the car by the floating chainsaw that does nothing more than fuck up the car's paint job.

[Bosco B Thug]

The preacher was sufficiently creepy and menacing, but everything else was poorly plotted, over-the-top and, as in the case of the "killer braces" scene, comical. And, wow, did the ghosts like to showboat in this one. Like, the scene in the garage, where the Freelings are trapped in the car by the floating chainsaw that does nothing more than fuck up the car's paint job. Yes! It's bad, right? That garage scene is so shoddy...

Over-the-top definitely. I don't want to blame the actors, but it's like they were explicitly told to act with 10x the overwroughtness. Craig T. Nelson rants and raves and throws punchlines like a crazy man and JoBeth is made to do the "She passed through my soul!" schtick all over again, and it's like they're doing parodies of themselves in the first movie. Then the Will Sampson stuff. He rips them off their car at the end?!?!

Another observation: the series simultaneously gets cuter and cuddlier as it gets more bizarre and violent (f'ed up tequila worm in II, someone actually dying in III). Part II and Part III try so hard to embrace the "family horror movie" gist of the first film, everyone's acting as if they're in a cereal commercial. Heather O'Rourke is really cute and sassy in the third film, though (although you can tell how hard the writers are trying to make Carol Anne the most lovable and hip and rad little girl who ever existed), makes you realize how sad her death was.

[Skitch]

Dennis Hopper was a legend, and I will miss him dearly. I just watched The Last Days Of Frankie The Fly, its amazing how he can still be good in subpar movies. What a bummer.

Watched a extremely low budget film called Salvage. I kept saying, "this HAD to be shot in Ohio", and sure enough, shot in Marietta. Sweet. Do you guys give more love to movies shot in your area? I do. Not a bad little film.

All The Boys Love Mandy Lane was interesting. Cool for a slasher, which I'm not generally big on.

Has anyone here seen or heard of a British tv show/miniseries called Dead Set? I'm watching it now, its pretty cool. Yay for zombies.

Upcoming:

Wushu
Black Sheep
Juno
Time Code

[megladon8]

Finally saw 12 Angry Men and it certainly deserves its reputation.

Magnificent acting, direction, visual style.

Incredible film.