28 Film Discussion Threads Later

[balmakboor]

Have you ever seen They Were Expendable or She Wore a Yellow Ribbon? I know the latter has many defenders and the former even a few, but man... those are two of the worst films I've ever seen by a respectable filmmaker.

For the record, another lover of HGWMV here.

I've never heard bad talk about TWE before. I've never been particularly interested in it though. I prefer my war films to be considerably less patriotic.

I did enjoy SWaYR though when I saw it many years ago.

[Raiders]

Yeah, who knows. I can say I find the two shots there for Criterion superior. The hues on those BFI shots seem off a bit.

[balmakboor]

I think the BFI looks too fussed over and polished up. I am very anxious to see the movie though.

[Boner M]

Hey guys, I'm gonna be taking a M-C hiatus for about a month or so. Check my twitter feed or blog for what I've been seeing; I'll have some festival reviews up soon.

[Spinal]

Interesting. I thought the BFI captures were much better. Hmmm.

[Qrazy]

I prefer the BFI as well. I agree the hues look more exaggerated in that edition but I still prefer the resulting image there.

[Derek]

Hey guys, I'm gonna be taking a M-C hiatus for about a month or so. Check my twitter feed or blog for what I've been seeing; I'll have some festival reviews up soon.

Have fun at the festival. Do you know who you'll be interviewing yet? Try to meet Adrian Martin if he's there!

[Derek]

I prefer the BFI as well. I agree the hues look more exaggerated in that edition but I still prefer the resulting image there.

I was just about to say the same thing and I believe that exaggeration was intended. It's hard to tell from just two images, but the heightened colors, particularly red and the more earthy tones in the images industrialization-gone-mad, seem more in line what Antonioni & Co. were going for. [/speculation]

[Derek]

Again, I prefer the colder BFI images which present a more stark contrast of colors. The BFI hallway shot in particular is noticeably colder and less inviting. The Criterion looks a bit too smoothed over, whereas I think the images are more effective when the color is brighter and a bit rough on the eyes.

[Sven]

Hey guys, I'm gonna be taking a M-C hiatus for about a month or so. Check my twitter feed or blog for what I've been seeing; I'll have some festival reviews up soon.

:( Enjoy, tho.

[Yxklyx]

There haven't been many niggling arguments over competing DVD/Blu-ray transfers on match-cut, have there? I came across this debate taking place on criterionforum.org (http://www.criterionforum.org/forum/viewtopic.php?f=1&t=10510&start=50) over Criterion's upcoming release of Antonioni's Red Desert and BFI's own version.
...

I've only seen the black and white version... the one shown by PBS on my little black and white TV many years ago. :)

[Boner M]

Have fun at the festival. Do you know who you'll be interviewing yet? Try to meet Adrian Martin if he's there!
Ahh, the elusive Adrian Martin. I think he'll be at the Melbourne fest which I'll be at for a week next month.

I'm also still considering Toronto in September...


:( Enjoy, tho.
Soz. :( I will!

[MadMan]

To each his own but I didn't care much for The Killer; didn't care for the "serious" ideas. I thought Hard Boiled blew it away. Actually, Hard Boiled is the only Woo that woos me - a near masterpiece.Hard Boiled also has some silly melodrama that hurts the second half. Its still one of the best action movies I've ever seen, its just that I think The Killer is much better.

Farwell, Boner. One of these days I'll go to a movie festival. Enjoy.

Weekend:

*Z
*In The Loop
*Bigger Than Life

[Rowland]

Hah, there isn't even a thread for Get Him to the Greek. Was dragged to it tonight by my girlfriend, since I hadn't heard any promising buzz, the trailers were lame, and writer/director Nicholas Stoller's previous effort, Forgetting Sarah Marshall, struck me as bafflingly overrated, only to wind up enjoying it more than her. Oh, pleasant surprises, always so... pleasant.

[Derek]

Ahh, the elusive Adrian Martin. I think he'll be at the Melbourne fest which I'll be at for a week next month.

Nice, hope you catch up with him.


I'm also still considering Toronto in September...

As am I, so keep me up to date since I'd be more likely to do it if there was at least one person I knew there.


One of these days I'll go to a movie festival.

No you won't. But if you do, I will send you $5. Consider this a legally binding written statement. :)

[Melville]

I'm also still considering Toronto in September...

As am I, so keep me up to date.
I won't be going for the whole festival, but I'd go for a movie or two with you guys. Especially if I'm living in Toronto at that point.

[Sven]

I went out tonite with some folks who just saw Fire Walk With Me and hated it. I will never understand these people.

[Qrazy]

I won't be going for the whole festival, but I'd go for a movie or two with you guys. Especially if I'm living in Toronto at that point.

I will also be there in Toronto in September. Don't worry Derek, I'm much more congenial in person. :)

[number8]

I can never know where to stand on this. It's like when you buy the French Connection on Blu-ray, I realized that it looks a lot different than how I remembered the film, and then I found out in the Special Features it's because Friedkin color-corrected the shit out of it to make it look more popping for modern audiences. I know people give Lucas shit for going back and updating the special effects, but how do you guys feel about updating color temperatures, etc?

[Ezee E]

I can never know where to stand on this. It's like when you buy the French Connection on Blu-ray, I realized that it looks a lot different than how I remembered the film, and then I found out in the Special Features it's because Friedkin color-corrected the shit out of it to make it look more popping for modern audiences. I know people give Lucas shit for going back and updating the special effects, but how do you guys feel about updating color temperatures, etc?
I don't mind. Kind of like restoring it to me really with better tools at your dispense then what was available at the time.

[kuehnepips]

... how do you guys feel about updating color temperatures, etc?

Horrible.

[Raiders]

I don't mind. Kind of like restoring it to me really with better tools at your dispense then what was available at the time.

You could argue though that, specifically in this case, Antonioni knew the limitations of his equipment/tools and generated this look intentionally, so assuming he would have wanted it to look different with updated equipment is not necessarily accurate.

[Qrazy]

You could argue though that, specifically in this case, Antonioni knew the limitations of his equipment/tools and generated this look intentionally, so assuming he would have wanted it to look different with updated equipment is not necessarily accurate.

Possibly, and I don't know enough about the process, but it seems possible that the original theatrical release looked more like Criterion's adjustment while it was just the dvd/vhs release that looked like BFI. Hrm... Balmakboor, did you see Red Desert in it's initial run? Care to weigh in?

[number8]

I don't mind. Kind of like restoring it to me really with better tools at your dispense then what was available at the time.

Can't you argue that same thing with special effects?

[Qrazy]

Can't you argue that same thing with special effects?

I guess my position is this. A filmmaker can do whatever they want with a film afterwards and then release it as a director's cut. It just sucks when they create a cut and the old cut dies out or is purposely weeded out ala Lucas. Because to be fair to these filmmakers haven't writers been releasing new edits of books for ages? A filmmaker should be able to change a film but they should also (if possible) keep the original edit available. The problem of course being with stuff like this being released on new formats (such as blu-ray) you probably won't get both versions released... so ideally the creator would have enough respect for their fans to leave the film as is but I'd say it is within their rights to do what they want to the film. Hopefully they improve it rather than fuck it up.

[Ezee E]

Can't you argue that same thing with special effects?
Hmm... In some cases I think I'd allow the special effects to be adjusted as well. In The Exorcist, I think CGI aided the movie with the breathing, and an attempted effect that never worked well in the first place. It was originally conceived to be that way though.

Whereas you get something like Star Wars that throws in characters and starships that are there simply to sell product. Dash Rendar was never thought of in the original trilogy, but throwing his starship in the New "Original Trilogy" is just silly and not aiding the movie at all. In fact, it's distracting it.

[Ezee E]

You could argue though that, specifically in this case, Antonioni knew the limitations of his equipment/tools and generated this look intentionally, so assuming he would have wanted it to look different with updated equipment is not necessarily accurate.
I would assume that these changes are being made with the filmmaker's wishes. If not, then I would disagree with process unless it's to restore the film itself.

[Raiders]

I would assume that these changes are being made with the filmmaker's wishes. If not, then I would disagree with process unless it's to restore the film itself.

He's been dead three years.

[Ezee E]

He's been dead three years.
Right. My statement still stands.

[Raiders]

Right. My statement still stands.

But, Criterion is tweaking themselves the same HD transfer as BFI, so it would seem they are obviously not working in conjunction with Antonioni who died in 2007.

Ultimately, I was just making a devil's advocate argument.

[Sven]

I think people can do whatever they want to their own stuff. Sometimes it is sad, but ultimately, it is theirs so does it really matter? I would think the griminess of the colors in the French Connection would only add to the experience, but if Friedkin thinks otherwise, he's welcome to try to prove it.

[Ezee E]

But, Criterion is tweaking themselves the same HD transfer as BFI, so it would seem they are obviously not working in conjunction with Antonioni who died in 2007.

Ultimately, I was just making a devil's advocate argument.

It's probably stuck in my mind, but I always had the understanding that Criterion worked very closely with the director or those that have the "rights to the director" in deciding what they do to the actual film.

[balmakboor]

Balmakboor, did you see Red Desert in it's initial run? Care to weigh in?

Nope. I've never seen it. At the time of its initial run, I would've thought Antonioni was a style of pasta.

[balmakboor]

These discussions remind me of the whole Berlin Alexanderplatz brightening uproar. I think the DVD looks great and can barely remember what I saw in the theater in the early '80s so I was OK with it.

Sometimes I think these DVD Beaver style comparisons are only good for stirring up hornets nests. Every review I've read of the Criterion Red Desert has been very positive and has praised its stunning look. If it looks that good, I would've been happy with it. Now, I'll always wonder.

I did read some place once upon a time that DVDs that truly capture the look of the film in an ideal theater presentation are very much exceptions to the rule. DVDs almost always have some things just a bit off and compare any two different DVD releases of the same movie and they'll look different and often wildly so. Check out the various comparisons for Walkabout. One of them is so bad, none of the enlargements are even in focus.

[MadMan]

No you won't. But if you do, I will send you $5. Consider this a legally binding written statement. :):lol: Sure thing. And you're probably right...

[Grouchy]

I don't like updates to a finished film as a rule. Not even that crazy about director's cuts. What is released should be the final everything is my belief.

Forgot to mention I saw Zack and Miri Make a Porno. Slight film. When it was over, I was like, huh, that's it? The fact that a silly romantic comedy like this is able to generate any kind of uproar proves that Americans as a collective are the most prudish shit in the world.

[Dead & Messed Up]

I don't like updates to a finished film as a rule. Not even that crazy about director's cuts. What is released should be the final everything is my belief.

Forgot to mention I saw Zack and Miri Make a Porno. Slight film. When it was over, I was like, huh, that's it? The fact that a silly romantic comedy like this is able to generate any kind of uproar proves that Americans as a collective are the most prudish shit in the world.

There was little uproar. The studio disapproved of an eyebrow-raising poster, and Wal-Mart removed "Make a Porno" for its DVD covers, but the film otherwise came and went in relative silence.

I liked it, but it was pretty uneven.

[Spinal]

Americans as a collective

This is where I think this sentence went wrong.

[Qrazy]

I don't like updates to a finished film as a rule. Not even that crazy about director's cuts. What is released should be the final everything is my belief.


That seems unnecessarily hardline to me. Personally the majority of director's cuts I've seen have been better than the original film. I think it's especially silly given how frequently producers dictate the theatrical release of a film. Often the director's cut is the only cut which actually contains anything close to resembling the artist's true vision.

[Sven]

... is the only cut which actually contains anything close to resembling the artist's true vision.

This, too, is a bit of an extreme sentiment, no? Many director's cuts I have seen resemble quite closely their theatrical release counterparts.

[Grouchy]

That seems unnecessarily hardline to me. Personally the majority of director's cuts I've seen have been better than the original film. I think it's especially silly given how frequently producers dictate the theatrical release of a film. Often the director's cut is the only cut which actually contains anything close to resembling the artist's true vision.
Well, I understand the reasoning behind it, but where I'm coming from is that at one point, when it's released, the film (or any other work) rightfully belongs more to the audience and the critics than to the creator. It seems unfair and childish to constantly come back to the same work to update or improve it.

It's a completely subjective viewpoint, though.

[Derek]

It seems unfair and childish to constantly come back to the same work to update or improve it.

Constantly, yes, but that is on rare occasion. Most of the times, director's simply want to release the cut of the film they would originally have released in theaters if not for producer/studio interference. Why would you only want people to see the theatrical cut of Brazil or Once Upon a Time in America, just two of many examples of butchered theatrical cuts? Just because you have a memory of seeing a film a certain way in theaters, you don't have the right to deny a filmmaker to attempt to release his or her original vision later on. That reeks of selfishness.

[Grouchy]

Constantly, yes, but that is on rare occasion. Most of the times, director's simply want to release the cut of the film they would originally have released in theaters if not for producer/studio interference. Why would you only want people to see the theatrical cut of Brazil or Once Upon a Time in America, just two of many examples of butchered theatrical cuts? Just because you have a memory of seeing a film a certain way in theaters, you don't have the right to deny a filmmaker to attempt to release his or her original vision later on. That reeks of selfishness.
Well, yeah, but Brazil and Once Upon a Time in America are two cases where the producers butchered the films and released bad, even incomprehensible versions because they underestimated the audience. The director's cut of both films is completely different.

The original discussion was about stuff such as color temperature or special effects. Or the type of director's cut that they've done on movies like Alien or Apocalypse Now that didn't really need it.

[Qrazy]

This, too, is a bit of an extreme sentiment, no? Many director's cuts I have seen resemble quite closely their theatrical release counterparts.


Often the director's cut is the only cut which actually contains anything close to resembling the artist's true vision.

.

[Qrazy]

Well, I understand the reasoning behind it, but where I'm coming from is that at one point, when it's released, the film (or any other work) rightfully belongs more to the audience and the critics than to the creator. It seems unfair and childish to constantly come back to the same work to update or improve it.

It's a completely subjective viewpoint, though.

Well I'm with you to a certain degree there for sure. I can't stand what Lucas did to the OT, but I am for releasing new cuts of films if the director feels it's important... although it is often done for a cash grab so there's that unfortunate element as well.

[Sven]

I would say that "often" is still a bit too sweeping. For every director's cut you name that is RADICALLY different ("anything close" you said), I can likely name you three that are not.

[Qrazy]

I would say that "often" is still a bit too sweeping. For every director's cut you name that is RADICALLY different ("anything close" you said), I can likely name you three that are not.

That's nice.

[Sven]

That's nice.

I often fight overstatement with overstatement too.

[Qrazy]

I often fight overstatement with overstatement too.

Cool.

[Sven]

Cool.

I do appreciate you not goading me into proving my point, at least. Of all the things that are rep-worthy, that's likely the most deserving.

[D_Davis]

Qrazy, I'd really like you to come to Seattle some day and hang out with Sven and I. Man, that would be so...interesting.



Watched Moon last night. It was pretty good. Didn't love it, but I liked it a lot. It sure looked nice, and the soundtrack was great if a little derivative of The Fountain. Neat movie, though. Although I did expect to be a little more emotionally involved. It reminded me quite a bit of Christmas on Mars, although the Flip's film was, surprisingly, more introspective.

[megladon8]

Qrazy, I'd really like you to come to Seattle some day and hang out with Sven and I. Man, that would be so...interesting.



Watched Moon last night. It was pretty good. Didn't love it, but I liked it a lot. It sure looked nice, and the soundtrack was great if a little derivative of The Fountain. Neat movie, though. Although I did expect to be a little more emotionally involved. It reminded me quite a bit of Christmas on Mars, although the Flip's film was, surprisingly, more introspective.


What really blew me away with Moon was Sam Rockwell.

I thought the two Sam Bell's that we know through most of the movie felt like completely different characters while at the same time believably being the same person.

It was impressive stuff.

[D_Davis]

For sure. Rockwell has always been one of my favorites, and he really nailed it with his performance here. A very solid performance. A joy to watch.

[megladon8]

For sure. Rockwell has always been one of my favorites, and he really nailed it with his performance here. A very solid performance. A joy to watch.


It's too bad he wasn't given more to do with Iron Man 2.

I would have been much happier if that movie had consisted entirely of Robert Downey Jr. and Sam Rockwell bouncing smug-ness off one-another.

[D_Davis]

I love Rockwell in Box of Moonlight and Hitchhiker's.

[megladon8]

I love Rockwell in Box of Moonlight and Hitchhiker's.


He and Mos Def made Hitchhiker's for me.

[Qrazy]

Qrazy, I'd really like you to come to Seattle some day and hang out with Sven and I. Man, that would be so...interesting.

Seattle seems like a pretty sweet city. My dad spent some of his childhood there. I'd like to visit someday for sure. Also glad you liked Moon, I share your sentiments... didn't quite love it but really liked it.

[transmogrifier]

I know I'm in a minority, but I find Rockwell artificial and distracting in almost every single thing he's done.

[Philosophe_rouge]

Saw the Yellow Sky the other day. What a beautiful film, absolutely tense, great use of locations and feels timeless in the best sense of the word. The sexual games were the most interesting to me, but all the conflict and tension was wonderfully realized. Love the use of darkness and light throughout, beautiful cinematography.

[MadMan]

Apocalypse Now's directors cut was still flat out brilliant, and added something new to the movie. But then again I'm one of the few who finds Redux to be refreshing and great, making me find something new out of a film that I consider to be the best movie of all time.

Blade Runner the Director's Cut is the answer to the question about director's cuts, as it takes an already damn good movie and makes it a masterpiece.

I agree heavily with Wats that Sam Rockewell's monologue about weapons in Iron Man 2 is amazing, and that its right up there with Gary Oldman's monologue in The Fifth Element. Oh and that essay about Iron Man 1 and 2 is going to take a while, as I've been busy with work and other bullshit, plus I'm afraid it won't live up to the hype. But don't worry: I will write it, good or bad-I'm committed.

PS: However, I do agree that Rockwell wasn't given enough screen time in Iron Man 2. He's amazing in Moon, that's for sure-he got robbed come Oscar time last year.

[Spun Lepton]

I always get a lot of flack when I mention that I've never actually watched Apocalypse Now from beginning to end.

/prepares for more flack

/also

MadMan, check out the "Final Cut" of Blade Runner. It smooths out problems in the Director's Cut. I lurve it.

[balmakboor]

I actually love the original theatrical cut of Bladerunner. It's probably my favorite.

[Grouchy]

Apocalypse Now Redux is brilliant? Really? Doesn't the three-years long scene in a French plantation or something strike you as footage worth cutting out?

Anyway, I saw The Astronaut's Wife, and I'm kind of sorry it sucks because it seems to have so many good intentions. It draws a page too many from Rosemary's Baby, and the fact that Charlize Theron is often dressed as an homage to Mia Farrow doesn't help. But, unlike that movie, this one completely lacks any subtlety and constantly appeals to obvious resources like subliminal creepy shots and a jumpy type of score to achieve an effect. Johnny Depp's husband is a blank of a character, almost a mockery of the all-American fly boy stereotype, and so we don't really get to see any change on his personality during the movie because he doesn't have one. Overall, this is a waste of time and I'm sorry I watched it all the way through.

[transmogrifier]

Apocalypse Now Redux is brilliant? Really? Doesn't the three-years long scene in a French plantation or something strike you as footage worth cutting out?

Yes. Yes. No.

Simple really. You were right about Death to Smoochy though.

[Spun Lepton]

I actually love the original theatrical cut of Bladerunner. It's probably my favorite.

The voiceover ruins it for me.

[Heidi]

just watched Thor: Hammer of the Gods.
It was hilariously horrendous. The 'Home Improvement' kid (Zach?) is the personification of bad acting, the special effects are well, "special", and the dialogue and narrative and so crappy it's seriously entertaining.

[balmakboor]

The voiceover ruins it for me.

The voiceover makes it for me.

[balmakboor]

Doesn't the three-years long scene in a French plantation or something strike you as footage worth cutting out?

No.

[balmakboor]

The voiceover makes it for me.

It's not perfect, but I like how it roots it more firmly in the detective/noir genre. I also love the "happy ending" because it is like a textbook example of what Robin Wood called a Hollywood "escape hatch" ending, whether intended or not.

The main thing that weakens Bladerunner for me is how awkwardly expositional the first 15-20 minutes are.

[Spinal]

It's not perfect, but I like how it roots it more firmly in the detective/noir genre.

Completely agree. To paraphrase the Dude, it ties the film together.

[Qrazy]

Blade Runner Theatrical Cut makes the baby jesus cry.

[balmakboor]

Maybe it's because it's how I watched it for the first few times, but I hear the narration in my head -- and miss it -- when I watch the various later cuts of Bladerunner.

[Yxklyx]

Apocalypse Now Redux is brilliant? Really? Doesn't the three-years long scene in a French plantation or something strike you as footage worth cutting out?

I always chapter skip there.:)

[Ezee E]

Edge of Darkness was pretty boring to sit through. It's a shame when you can almost count down to an exact plot twist or convenience like someone getting hit by a car.

[Scar]

Edge of Darkness was pretty boring to sit through. It's a shame when you can almost count down to an exact plot twist or convenience like someone getting hit by a car.

Just finished it about an hour ago, and that is basically what I would've posted.

Makes me wanted to go watch Payback.

[Mysterious Dude]

I found Blade Runner's narration really superfluous. My least favorite line:

"The report read 'Routine retirement of a replicant.' That didn't make me feel any better about shooting a woman in the back."

I find that it really diminishes the impact of the scene. I wouldn't have minded the first part alone. The second part ruins it. I know you shot a woman in the back. I just saw it.

In other news, I just watched Tron. I don't think I've ever payed attention to the story before. There's not much to it, but I still love the visual effects, and after the first half-hour, they're practically non-stop.

[soitgoes...]

Edge of Darkness was pretty boring to sit through. It's a shame when you can almost count down to an exact plot twist or convenience like someone getting hit by a car.
I said to my friend that the girl was going to die now that she divulged her info to Mel. What was amusing was the awful way she went. How in the world did a speeding car know the exact moment she'd get out? Ridiculous.

[MadMan]

Apocalypse Now Redux is brilliant? Really? Doesn't the three-years long scene in a French plantation or something strike you as footage worth cutting out?Nope. After two viewings of Redux, I find it to be a fleshing out of an already masterful and brilliant classic. The French plantation scene is amazing, but then I accept that its lack of subtity concerning the talk about America in Vietnam, etc. works quite well. There's something poetic about the whole thing that I find fascinating.


I actually love the original theatrical cut of Bladerunner. It's probably my favorite.Don't get me wrong, its a damn good version. I just hate the ending, and the voice over is kind of annoying.


I always get a lot of flack when I mention that I've never actually watched Apocalypse Now from beginning to end.

/prepares for more flackHeh. I've viewed both versions two times apiece.


MadMan, check out the "Final Cut" of Blade Runner. It smooths out problems in the Director's Cut. I lurve it.Oh yeah, I'm going to at some point. I love that there is a theatrical cut, international cut, director's cut, and final cut of Blade Runner. Awesome :lol:

Also, the happy endinng to Blade Runner theatrical cut completely ruins the neo-noir the movie was already going for. Which is why the DC is far superior, as its actually far more neo-noir than the theatrical cut despite having no voiceover.

[transmogrifier]

Watched Starship Troopers again. Just like the first time, 13 years ago in the theatre, the satire is funny at the start, but most of the film is kind of, well, boring because it seems to think the satire is enough to allow the film to rise above its superficial "pleasures". But the tenth time you see the plastic stars be all patriotic, Denise Richards pouty and determined, you cease to think "Ha, the satire!I see what you're doing, well done" and you start thinking "Okay, I got it now, what else you got? I'm sitting here watching Denise Richards be all stoic and I realise its part of the joke, but you got anything else back there?"

And it doesn't. Except for Jake Busey looking psychotic playing a violin behind a pair of lovebirds dancing. That was the right side of creepy.

So, in summary: congratulations on the subversiveness, pity about the rest of the film.

[Spinal]

Maybe it's because it's how I watched it for the first few times, but I hear the narration in my head -- and miss it -- when I watch the various later cuts of Bladerunner.

I actually watched them the other way around and came to the same conclusion.

[number8]

I found Blade Runner's narration really superfluous. My least favorite line:

"The report read 'Routine retirement of a replicant.' That didn't make me feel any better about shooting a woman in the back."

I find that it really diminishes the impact of the scene. I wouldn't have minded the first part alone. The second part ruins it. I know you shot a woman in the back. I just saw it.

I dunno, that kind of snappy superfluousness is what I love about hard-boiled noir.

[Russ]

Yearning (Naruse, 1964)
I am pretty certain I won't see a better film than this for quite a long while.

[Skitch]

Been on vacation for a week, haven't watched anything! Hence, I'm cracking out now. Catchup from week of posts:

Burtons Planet of the Apes > original Planet of the Apes > eating a poop sandwich (but barely)

DC Bladrunner > TC Bladerunner > most things labelled sci-fi these days

Apocalypse Now Redux > any other war movie to date

I love Bladrunner in all its forms. I like the narration, but there is too damn much of it. Having none of it makes it feel empty and somehow less noir-ish. ANR is a perfect film. Long, yes, and the Frenchy whatever scene seems out of place, but their discussion brings its relevance...and powerfully, imo.

[soitgoes...]

I am pretty certain I won't see a better film than this for quite a long while.

I've only seen a couple better since I saw it 2 years ago.

[Scar]

God, I fucking hate the plantation chunk in Redux.

[Qrazy]

Been on vacation for a week, haven't watched anything! Hence, I'm cracking out now. Catchup from week of posts:

Burtons Planet of the Apes > original Planet of the Apes > eating a poop sandwich (but barely)

DC Bladrunner > TC Bladerunner > most things labelled sci-fi these days

Apocalypse Now Redux > any other war movie to date

I love Bladrunner in all its forms. I like the narration, but there is too damn much of it. Having none of it makes it feel empty and somehow less noir-ish. ANR is a perfect film. Long, yes, and the Frenchy whatever scene seems out of place, but their discussion brings its relevance...and powerfully, imo.

Aside from a couple interesting shots Burton's Planet of the Apes was a piece of crap dude.

[Skitch]

Aside from a couple interesting shots Burton's Planet of the Apes was a piece of crap dude.
I completely agree. I suppose I should have made that more clear.

[balmakboor]

I love the original Planet of the Apes. I've never seen the Burton version.

[Sven]

I was very delighted with Osmosis Jones. Colorful, creative, and educational!

[Winston*]

The Train is really great. Even more accent schizophrenia in this one than in Valkyrie, but this movie is far more compelling to watch so it's easier to get over.

[Wryan]

I dunno if Thomas F. Wilson gets enough credit for his Biff/Griff/Mad Dog contributions to the Back to the Future movies. He's amazing every time, and variously so.

[Qrazy]

The Train is really great.

Agreed, quality film.

[Skitch]

I dunno if Thomas F. Wilson gets enough credit for his Biff/Griff/Mad Dog contributions to the Back to the Future movies. He's amazing every time, and variously so.

Hear, hear!

[Grouchy]

I was very delighted with Osmosis Jones. Colorful, creative, and educational!
Hahah I saw that recently too.

[MadMan]

This just in: Stop Making Sense is flat out brilliant, and the Talking Heads freakin' rule, but hey you folks knew all of this already. Also after seeing four movies of his, I have a ever growing appreciation for Jonthan Demme-my favorite of his so far is probably his underrated, extremely well made Manchurian Candidate remake. Which I also happen to own, and if I recall I blind bought it at Best Buy for only $5.00, which quite an awesome decision at the time.

[Spinal]

I have frequently read criticisms of films that had origins in the theatre and have been adapted in a way that is static, talky or, in your minds, does not take full advantage of the medium. You often refer to these films as 'stagy'.

I propose a new term for films adapted from novels in which you can almost feel the 'well-made' structure propping up the film, the machinations of the plot clicking loudly into place as you think to yourself, 'Oh, that must have been the end of the chapter containing that character's backstory. Where's my bookmark?' I will call these films 'pagey'.

The Girl with the Dragon Tattoo was kinda pagey.

[balmakboor]

Speaking of books, something I learned this weekend is that The Man Who Fell to Earth, The Hustler, and The Color of Money were all based on novels by the same guy named Walter Tevis. I plan to check out these novels now because I have a hunch I'm gonna dig 'em.

[balmakboor]

Oh, and another book-ish comment. I picked up a copy of Being There at a used book sale recently and read it the other day -- all 118 pages in one sitting. It was a great read.

[Sven]

Oh, and another book-ish comment. I picked up a copy of Being There at a used book sale recently and read it the other day -- all 118 pages in one sitting. It was a great read.

I recently did this with True Grit. Wonderful book. Curious about the Coen film because in many ways, it reads just like a Coen film.

[MadMan]

Well I'm on a roll, lately. In The Loop is not only funny and features bitting political satire, its also contains the best screenplay and writting out of all the 2009 movies I've seen so far. This is Wag the Dog, only funnier, better characters, and its actually a great movie that has political relevence as well. Also along with A Serious Man it has the distinction of being the only other 2009 movie to receive a 100, although I'm sure there's a 3rd one out there somewhere.

[Dead & Messed Up]

I just watched an excellent film on Instant called Klute. It stars Donald Sutherland as a small-town private investigator. He's checking up on a lead regarding a dead man, and it leads him to Jane Fonda, who plays a prostitute. Some of the story beats are familiar (an attraction challenges Fonda's worldview), but it's shot with a deliberate pace and eye for composition that's more than welcome. At times, it reminded me of Powell's Peeping Tom, although Klute is more of a low-key drama/romance with thriller elements. I suspect more time was spent on Fonda's life as a call girl than on Sutherland's investigation. Not that there's anything wrong with that.

I'd give it a B+ or A-, somewhere around there. Confident, involving stuff.

[MadMan]

I keep noting that Netflix recommends Klute to me, but I just haven't been in the mood to watch it. Eventually I'll get around to it, along with the 50 some other movies/TV shows in my Instant Viewing queue, which is far larger than my rental queue.

[Qrazy]

I found Klute to be interestingly made in places but ultimately kind of bland. I do love me some Jane Fonda though.

[kuehnepips]

I just watched an excellent film on Instant called Klute.

Hell, I watched this when it came out and loved it madly. I'll watch it again, just to check my feelings now. Thanks for reminding DaMU!

[Kurosawa Fan]

I found Klute to be interestingly made in places but ultimately kind of bland. I do love me some Jane Fonda though.

Exactly how I felt. I watched in on Netflix recently too.

[Grouchy]

Well I'm on a roll, lately. In The Loop is not only funny and features bitting political satire, its also contains the best screenplay and writting out of all the 2009 movies I've seen so far. This is Wag the Dog, only funnier, better characters, and its actually a great movie that has political relevence as well. Also along with A Serious Man it has the distinction of being the only other 2009 movie to receive a 100, although I'm sure there's a 3rd one out there somewhere.
Appreciation seconded. It's a great, funny film.

Watched both first parts of Karate Kid back to back yesterday. The idea of a remake seems now even more ridiculous. Not that they're masterpieces, but it's just that there's nothing to add and Smith's kid is an annoying punk next to Macchio. Of course, the first one is way cooler. The second one was actually better than I remembered, except for a couple of details, like the unnecessary (and long) prologue and the cheesy fact that Japanese characters in Japan speak English amongst themselves. I was never too taken with that Hollywood convention.

[MadMan]

Appreciation seconded. It's a great, funny film.Lines such as "You're now my Kute Kinte" resulted in myself thinking "This douchebag is a hilarious but evil bastard." The exchange between Malcolm and the General is also classic, along with Malcolm constantly and endlessly giving Simon verbal beatings. Some of the film's moments were painful and awkward to watch, which made them all the more funnier.

[dreamdead]

A rewatch of Laughton's Night of the Hunter helped turn my ambivalence around on the film. Although the child actors for John and Ruby frequently grate and cannot adopt what we would call naturalistic acting, nor, for that matter, does Mitchum but his is a successfully stylized portrait of evil, the film nonetheless is anchored by a childlike simplicity of good and vice, one which Laughton builds out in the orchestrated stylistics of the filmmaking. One danger I noticed this time is that all of the women, save for Mrs. Hooper, are preternaturally weak-minded and given to falling for evil's designs. That kind of Biblical imagery might actually fit here, but it's still problematic and unable to suggest any positive sexual feminine energy.

Kiyoshi Kurosawa's Tokyo Sonata is perhaps not the ribald critique of Tokyo materialistic excess (as Kairo manages to be), but it maintains a grace and artistry whereby it transcends its formulaic beginnings of chronicling each family member's descent into darkness. There is an odd beat or two when the mother goes on her lark with Koji Yakusho, but those moments are countered by the chilling unease that Kurosawa generates when the father investigates the scene of his laid-off friend's murder/suicide and observes the wreckage fostered by such deceit. The music and distance of the camera provide a telling glimpse into what waits for this family, if they don't step back from the darkness. Overall, it's quite a quality feature, and suggests new avenues that Kurosawa will hopefully continue to explore...

[Skitch]

After rewatching the Aeon Flux series, and now watching the film, I'm finding the film more acceptable than I previously thought.

[balmakboor]

Just watched Tony Manero. Holy cow! That's got to be something like the ultimate anti-hero movie, essentially about a guy who will stop at nothing in pursuit of his dream. I liked it though. The main actor was like an aging Al Pacino from hell.

[Sven]

The wife watched What's Eating Gilbert Grape and gave it only one star on Netflix. I love her.

[balmakboor]

This is great news.

Eclipse Series 24: The Actuality Dramas of Allan King

I've been wanting to see his stuff, especially Warrendale and A Married Couple for ages.

Merry Christmas Mr. Lawrence and The Thin Red Line weren't exactly surprises.

[Glass Co.]

I'm seeing The Room on the big screen this Friday. I'm far more excited about this than I should be.

[Stay Puft]

I'm going to be in Toronto for the rest of the week. I was looking up movie listings to see if there was anything worth checking out while I was there. I wasn't seeing much, other than Exit Through the Gift Shop, which I'll probably see once I get there as I might be waiting around for a friend. But then...

Winter's Bone opens in Toronto this weekend.

Hell yes. This has made my week.

[baby doll]

I'm going to be in Toronto for the rest of the week. I was looking up movie listings to see if there was anything worth checking out while I was there. I wasn't seeing much, other than Exit Through the Gift Shop, which I'll probably see once I get there as I might be waiting around for a friend. But then...

Winter's Bone opens in Toronto this weekend.

Hell yes. This has made my week.Bloor Cinema, tomorrow: Les Quatre cents coups at seven, and La Nuit americaine at nine. You can thank me later.

[Spun Lepton]

I'm seeing The Room on the big screen this Friday. I'm far more excited about this than I should be.

Does the concept of a lava enema also excite you?

[Derek]

Does the concept of a lava enema also excite you?

Clearly spoken by someone who knows nothing of The Room-theatrical experiences or who enjoys hot liquid shot up his backside.

[Spun Lepton]

Clearly spoken by someone who knows nothing of The Room-theatrical experiences or who enjoys hot liquid shot up his backside.

I've seen large chunks of The Room when they aired it on Adult Swim. I 've seen enough to know that it's bad. And not good-bad, but bad-bad. :P

[Qrazy]

So I was thinking of going to see Toy Story 3 when it came out... but then I realized that the theater that used to have half-day tuesdays which I was going to go to no longer does that. So, cost to see Toy Story 3 in a regular sized theater in 3D? 17.50

You've got to be kidding me.

[BuffaloWilder]

I'm gonna take a girl to The Room - just to see what happens.

[MadMan]

So I was thinking of going to see Toy Story 3 when it came out... but then I realized that the theater that used to have half-day tuesdays which I was going to go to no longer does that. So, cost to see Toy Story 3 in a regular sized theater in 3D? 17.50

You've got to be kidding me.There are a limited number of movies out there I would consider paying 17.50 to see in the theater. All of my Top 10, and maybe a dozen others, but that's probably about it. Toy Story 3, as much as I love the series, wouldn't be one of those. Yikes.

Someday I'll post my Night of the Hunter review in my blog. I figure since I don't work Saturday and Sunday, I'll spend that time drinking, watching movies and working on the massive review backlog. I've got to start putting new reviews I write on a computer....

[Watashi]

You don't have to see it in 3D.

[Philosophe_rouge]

So I was thinking of going to see Toy Story 3 when it came out... but then I realized that the theater that used to have half-day tuesdays which I was going to go to no longer does that. So, cost to see Toy Story 3 in a regular sized theater in 3D? 17.50

You've got to be kidding me.

Go before noon on Friday, Saturday or Sunday and you'll get a reduced price

[Yxklyx]

I thought I had seen all of Hitchcock's good films - I missed out on Stage Fright. Very enjoyable little film - lots of interesting nuances here and there.

[Qrazy]

Go before noon on Friday, Saturday or Sunday and you'll get a reduced price

Yeah but I found that it was incredibly rare to find films with showtimes before noon. Do they do it for the big new releases?

[Qrazy]

You don't have to see it in 3D.

But it's ToY3 3to3y 3D?

[Bosco B Thug]

So I was thinking of going to see Toy Story 3 when it came out... but then I realized that the theater that used to have half-day tuesdays which I was going to go to no longer does that. So, cost to see Toy Story 3 in a regular sized theater in 3D? 17.50

You've got to be kidding me. A matinee showing should be 3 or 4 bucks cheaper, no? Not that that still isn't ridiculously overpriced, of course.

[Spinal]

I'm almost certain to see ToY3 3to3y for family reasons, but boy I really have no interest.

[Watashi]

I'm almost certain to see ToY3 3to3y for family reasons, but boy I really have no interest.
Yeah, but you dislike Toy Story 1 and 2, so you're looney.

And you hate rainbows.

[Raiders]

I don't understand the issue. We've known it was in 3D and according to my local theaters, it is the same price as all other recent 3D movies.

[Spinal]

Yeah, but you dislike Toy Story 1 and 2


Well, I have them listed at ***. I think it's hard to say they are bad movies.

[Spinal]

I don't understand the issue. We've known it was in 3D and according to my local theaters, it is the same price as all other recent 3D movies.

I doubt I will be seeing it in 3D. Pixar's use of 3D for Up was completely pointless.

[Watashi]

Well, I have them listed at ***. I think it's hard to say they are bad movies.
Yeah... but you still hate rainbows.

[MadMan]

I doubt I will be seeing it in 3D. Pixar's use of 3D for Up was completely pointless.Since I can see it for free, I'll probably go to Toy Story 3 in 3D. But yes I agree that Up in 3D was pointless, especially considering that How to Train Your Dragon in 3D actually properly used 3D and looked great in 3D.

[Watashi]

My hesitance for Toy Story 3 has waned a bit in wake of the flood of positive reviews claiming it's on par with the first two chapters calling it a fulfilling conclusion. The current tomatometer is at 100% with 17 reviews, but RT is currently on an Armond White-watch as they predictably expect his review to be the first (and one of the few) negative reviews for the film.

I hope it's really good. I expect them to nail the adventure part right, but I'm cautious on how the film will handle the sentimental third act I keep hearing about. Pixar can make grown men cry without ease and I expect to do so, but I'm hoping it's not cheesy like the trailer leads on.

I'll still cry anyway.

[number8]

I hear it's one of those "I don't care you're an adult now, throwing away childhood toys makes you a goat rapist" kind of sentimentality.

[MadMan]

Speaking of White, I've read two reviews/essays he wrote for some Criterion releases-one of them was Z, the other I can't recall-that were really good. So does he actually write serious material for certain movies, and then just troll the rest of the time? I'm starting to think that's the case.

[Watashi]

I hear it's one of those "I don't care you're an adult now, throwing away childhood toys makes you a goat rapist" kind of sentimentality.
I bet either Woody or Buzz dies.

[Spinal]

I bet either Woody or Buzz dies.

That's right, Buzz is literally Jesus.

[Sven]

Speaking of White, I've read two reviews/essays he wrote for some Criterion releases-one of them was Z, the other I can't recall-that were really good. So does he actually write serious material for certain movies, and then just troll the rest of the time? I'm starting to think that's the case.

I'm pretty sure he writes serious material most of the time.

[Raiders]

Let's talk about something besides Armond friggin' White. Like how totally awesome Joe Dante's Matinee is. Saw it again the other day and damn if it ain't just frakkin' scrumtrulescent.

[Sven]

Let's talk about something besides Armond friggin' White. Like how totally awesome Joe Dante's Matinee is. Saw it again the other day and damn if it ain't just frakkin' scrumtrulescent.

I was gonna comment on the awesomeness of your avatar.

For the record, White likes Dante and, I believe, Matinee.

[Bosco B Thug]

I don't understand the issue. We've known it was in 3D and according to my local theaters, it is the same price as all other recent 3D movies. It is. But it's always good to b*tch afresh about $13.50 being the norm now for a matinee 3-D show.


I hear it's one of those "I don't care you're an adult now, throwing away childhood toys makes you a goat rapist" kind of sentimentality. I'm not reading any reviews in order to preserve what the emotional angle is this time around, in hopes for something inspired and left field. Hope you're not serious, or I hope you're literally serious (i.e. goat rape is actually alluded to).

[Spinal]

I said I was gonna change the thread title more often. Seemed like it was about time. Ideas taken from last brainstorming session.

[Sven]

I said I was gonna change the thread title more often. Seemed like it was about time. Ideas taken from last brainstorming session.

Inspired choice.

[baby doll]

Weekend:

Ariel (Aki Kaurismäki, 1988)
I'm Going to Explode (Gerardo Naranjo, 2008)
The Match Factory Girl (Aki Kaurismäki, 1990)
Les Plages d'Agnès (Agnès Varda, 2008)
Please Give (Nicole Holofcener, 2010)
The Sun (Aleksandr Sokurov, 2005)

Also, I'm intending to take another look at Syndromes and a Century.

[Philosophe_rouge]

Yeah but I found that it was incredibly rare to find films with showtimes before noon. Do they do it for the big new releases?

As far as I know, for big new releases they tend to. I've seen nearly every Pixar release there on a Saturday morning around 11. Also checking their online schedule, they're actually having showsing as early as 9:45 this weekend! You should be good.

[Derek]

That's right, Buzz is literally Jesus.

Your not the first to notice that.

http://totallylookslike.files.wordpre ss.com/2010/04/129153110714191637.jpg

[Bosco B Thug]

Yeah, I think critics are knee-jerking a bit with their displeased moral nattering about In the Cut. Meg Ryan plays a very Campionesque strong female character, and she hooks up with Mark Ruffalo because she's into him and can handle him, not because he is a vaguely condescending perv (which he is).

Cons: the lurid serial killer material is really ho-hum, bordering on feeble, and is dislodged from the stuff around it, and I did not like the hyper-dreamy approach taken in the climax - it takes us completely out of the mind of our protagonist.

[MacGuffin]

Seems In the Cut is one for the film scholars.

[transmogrifier]

I'm almost certain to see ToY3 3to3y for family reasons, but boy I really have no interest.

Me neither. At this point, Pixar is comfort food, but it's hardly exciting. It's like getting all excited about a hamburger.

[Winston*]

A good hamburger is pretty fucking good. Reasonable to be excited about it IMO.

[Scar]

Me neither. At this point, Pixar is comfort food, but it's hardly exciting. It's like getting all excited about a hamburger.

Go to Lion's Tap. You'll get excited to get a hamburger.

[Watashi]

I just got back from Five Guys a few hours ago. Now that's an amazing hamburger.

[Spun Lepton]

I've had some pretty amazing hamburgers in my day.

[transmogrifier]

I need to re-evaluate my analogies, it seems.

[Ivan Drago]

I just got back from Five Guys a few hours ago. Now that's an amazing hamburger.

I've heard that their fries are the equivalent of death. At least the burgers are apparently good. But don't forget Big Kahuna Burger - that Hawaiian burger joint. I hear they got some tasty burgers.

And I approve of the new thread title.

[Rowland]

I liked In the Cut a helluva lot more than Bright Star.

[Derek]

I despised In the Cut when I saw it in theaters, but I'd like to give it another shot since I generally like Campion.

[Winston*]

In the Cut is half a good movie, half a terrible movie from my memory. Bright Star is all a good movie.

[Rowland]

Bright Star is all a boring movie. So, nyaaaah.

Seriously though, I don't get the love for that one. I'll take Ruffalo the hard-boiled sleaze and Ryan the writing professor sexpot over Whishaw the twerp and Cornish the Bella anyday. Now, if the movie had revolved around Paul Schneider's delightfully roguish rapscallion, that'd have been something.

[Dead & Messed Up]

Dreamworks is a McDonalds cheeseburger. Pixar is an In-and-Out double-double. Nick Park is the burger you cook outside during Fourth of July weekend, and the inside is pink, and the outside is charred, and the juices are soaking into the bun, and, with the blistering heat on your skin and the Dos Equis in your hand, you wonder how Heaven could possibly measure up.

[Derek]

Dreamworks is a McDonalds cheeseburger. Pixar is an In-and-Out double-double. Nick Park is the burger you cook outside during Fourth of July weekend, and the inside is pink, and the outside is charred, and the juices are soaking into the bun, and, with the blistering heat on your skin and the Dos Equis in your hand, you wonder how Heaven could possibly measure up.

And Curse of the Were-Rabbit is when you eat three double-doubles, feel sick afterwards and realize that one double-double alone hits the spot.

[Watashi]

Isn't Curse of the Were-Rabbit and Chicken Run Dreamworks?

Replace Nick Park with Miyazaki.

[Watashi]

http://blogs.seattleweekly.com/voracious/in-n-out-double-double.jpg

=

http://babbleon5.files.wordpress.com/2009/10/toy-story-3-poster2.jpg

[Dead & Messed Up]

Replace Nick Park with Miyazaki.

...I'll consider it.

And believe me, calling Toy Story 3 an In-and-Out double double is a hell of a compliment.

[Bosco B Thug]

Bright Star is all a boring movie. So, nyaaaah.

Seriously though, I don't get the love for that one. I'll take Ruffalo the hard-boiled sleaze and Ryan the writing professor sexpot over Whishaw the twerp and Cornish the Bella anyday. Now, if the movie had revolved around Paul Schneider's delightfully roguish rapscallion, that'd have been something. Yeah, Ryan's smokin' and her character assured, what's with all the reviews calling her frumpy and her character in some sort of self-crisis?

Although I guess I can't say the film doesn't give off mixed signals, I felt it myself. And the film is just too soaked in dripping imagery. It's reverie every other second, and it does become somewhat of a slog.

I don't have a clear idea of your Twilight analogy (that's right, manhood 100% intact!), but if there's anything I love about Campion's films, it's that her female protagonists are so indistinguishable from men - Bright Star included, so I'm not sure you give Cornish's character enough credit, IMO. I agree ItC > BS, though, due to one of them being a bit of a snooore.


Dreamworks is a McDonalds cheeseburger. Pixar is an In-and-Out double-double. Nick Park is the burger you cook outside during Fourth of July weekend, and the inside is pink, and the outside is charred, and the juices are soaking into the bun, and, with the blistering heat on your skin and the Dos Equis in your hand, you wonder how Heaven could possibly measure up. I'd agree with this.

[B-side]

L'argent might be my favorite Bresson so far. All the others of his I feel are on nearly the exact same level of quality, and that quality being "good", but L'argent feels like a "very good" film. Maybe it's the opening/closing door motif. Or the feeling that these people are cogs in the machinery. I don't know. The Trial of Joan of Arc is up next for Bresson viewings.

[number8]

I tried to order a 5x5 at In-and-Out once. They wouldn't let me. Assholes. I settled for a 4x4.

It's like wanting The Incredibles 2 but given Cars 2 instead.

[Ezee E]

I'll be out of town for the weekend, with an In-N-Out within reach. Is the Double-Double where it's truly at?

[baby doll]

I don't get Aleksandr Sokurov. I liked Russian Ark for its playfulness and visual splendor, but when it comes to his more conventional features that I've seen--Mother and Son, Father and Son, Alexandra, and now The Sun--I've found them all undramatic, humorlessly portentous bores. With The Sun in particular, I understand what he's doing in taking such an intimate approach to a historical figure (and it's not badly made), but this seems to me a miscalculation, because Emperor Hirohito isn't an interesting character (or rather, the film doesn't make him interesting); he's just a dull guy who happened to be the emperor of Japan, which is apparently the only reason he's worth making a film about.

[number8]

I'll be out of town for the weekend, with an In-N-Out within reach. Is the Double-Double where it's truly at?

Fuck Double-Double. Get at least a 3x3.

[Skitch]

Ebert's review of The Governator's The Sixth Day amuses me. Because he's so wrong.

[Mara]

I hate hamburgers. Tasteless, greasy, heavy things. And yes, I've had In and Out and Five Guys and some sit-down burger places because folks always try to convince me that I'm wrong and simply haven't had the right burger yet. But, bleh. Ground beef is just nasty stuff.

Pixar, on the other hand, is awesomesauce.

Dreamworks is mostly eh, but The Prince of Egypt and the Nick Park features were excellent.

[Raiders]

I hate hamburgers. Tasteless, greasy, heavy things. And yes, I've had In and Out and Five Guys and some sit-down burger places because folks always try to convince me that I'm wrong and simply haven't had the right burger yet. But, bleh. Ground beef is just nasty stuff.

:|

So... wrong. Just wrong.

I made homemade burgers last night as a matter of fact. With potato salad. YUM.

EDIT: Imma have to wait a week for TS3 as my wife works all weekend and we always see the Pixar films together.

[Watashi]

http://criterioncast.com/wp-content/uploads/2010/06/Screen-shot-2010-06-17-at-8.18.21-AM.png

I want. NOW.

[chrisnu]

I'll be out of town for the weekend, with an In-N-Out within reach. Is the Double-Double where it's truly at?
Animal style Double-Double and animal style fries.

[Ezee E]

Animal style Double-Double and animal style fries.
WTF? :)

[MacGuffin]

That's not the final cover - it will probably end up only being the booklet cover.

[Dukefrukem]

God I hate that movie.

[kuehnepips]

God I hate that movie.

Hell, yes. All 27 hours of it.

[soitgoes...]

WTF? :)
I would say 3x3 animal style with just the regular fries, but yes, get your burger animal style. So much better.

[MacGuffin]

I would say 3x3 animal style with just the regular fries, but yes, get your burger animal style. So much better.

Did you post your thoughts on Week End anywhere?

[chrisnu]

WTF? :)
If you get your burger animal style, it comes with mustard and grilled onions, in addition to everything else. Animal style fries have two pieces of cheese, special sauce and grilled onions.

[Ezee E]

Hmm... the burger sounds good. Don't know about the fries. I'll give it a try regardless.

[Watashi]

I hate In N Out fries.

It's the only thing that holds the place back from greatness.

[Spun Lepton]

The one time I ate at In-N-Out -- all because of Lebowski, naturally -- I was slightly disappointed. I was expecting something amazing, and all I got was a better-than-average fast-food burger.

[Skitch]

Hell, yes. All 27 hours of it.

There was an end? Wow. I wouldn't have guessed. I watched as much as I could, but didn't make it through the whole thing. Congrats to Malick for inventing time travel, though. Making each minute last an hour is quite a feat.

[Ezee E]

The one time I ate at In-N-Out -- all because of Lebowski, naturally -- I was slightly disappointed. I was expecting something amazing, and all I got was a better-than-average fast-food burger.
As much as I'm expecting.

Better than Fatburger or Smash Burger?

[Qrazy]

There was an end? Wow. I wouldn't have guessed. I watched as much as I could, but didn't make it through the whole thing. Congrats to Malick for inventing time travel, though. Making each minute last an hour is quite a feat.

Hey Skitch I'd like to introduce you to a friend of mine.

http://janeheller.mlblogs.com/gnat.jpg

I think the two of you would get along well. You have a lot in common.

:P

[Spun Lepton]

As much as I'm expecting.

Better than Fatburger or Smash Burger?

No, don't expect something on the level of a Fatburger.

EDIT: Then again, I never had a Double-Double, so I can't say it won't be an experience.

[kopello]

That's not the final cover - it will probably end up only being the booklet cover.

I hope so, considering that one just looks like a fan-made Criterion cover, and not a very good one.

[Winston*]

Weekend

The Damned Utd.
The Hit
The Iceman Cometh

[MadMan]

Ebert's review of The Governator's The Sixth Day amuses me. Because he's so wrong.If he said it was good, then yes he's wrong. If he said it was bad, then he's right.


I'm pretty sure he writes serious material most of the time.When he defends 2 Fast 2 Furious, I find it hard to believe that. But okay.

Winston I hope you like The Hit. I blind bought it last year, and thought it was quite good.

Weekend:

*Bigger Than Life
*Love and Death
*Homicide (the David Mamet movie)
*Trouble in Paradise
*The Naked Prey (which is a Raiders movie if I've ever heard of one)

[eternity]

http://criterioncast.com/wp-content/uploads/2010/06/Screen-shot-2010-06-17-at-8.18.21-AM.png

I want. NOW.

The transparency of the Criterion tags are kind of hilarious.

[MadMan]

Also I don't care for the new thread title. The old one was better.

Burgers are crazy delicious. Typically the best ones are bbq-ued on the grill, of course.

[Sven]

Anyone wanna recommend any cool commentaries they've listened to or heard about?

[MacGuffin]

Anyone wanna recommend any cool commentaries they've listened to or heard about?

Anything and everything I've heard from Donald Richie seems to be worth listening to more. I always face the issue of preferring to watch another movie, skipping the commentary entirely, and then simply watching the movie again at another time. Not that I really have a problem with commentaries - the ones where the commentators actually refer to what's occurring onscreen are my favorites. Anything that's fun and provides interesting information to me. I'd definitely considering referring to the Criterion Collection for this one.

[Philosophe_rouge]

Anyone wanna recommend any cool commentaries they've listened to or heard about?

I really thought the one with Mike Nichols and Steven Soderbergh for Catch-22 was great.

[Melville]

Anyone wanna recommend any cool commentaries they've listened to or heard about?
Coppola's commentary on The Conversation. He provides a fair amount of insight into the film and his thought processes throughout, but it's made great by his discussion of the dread of an overflowing toilet.

[Skitch]

If he said it was good, then yes he's wrong. If he said it was bad, then he's right.

He sings its praises. :-/

[balmakboor]

I love listening to Werner Herzog commentaries. My favorite is probably Stroszek.

[balmakboor]

From the NBA Thread:


Naw, tomorrow I'll be back to trying to find time to take In the Realm of the Senses out of its red envelope and finally watch my first Nagisa Oshima.


Good man, though you're starting with one of his worst.

Isn't In the Realm one of his most well known? Anyway, if it is one of his worst, it'll be a refreshing change for me. I usually start with a director's best films and then it's all gradually downhill from there until I lose interest. Maybe, this time it'll keep getting better and better as I go along.

[Russ]

John Waters' "guest" commentary for Mommie Dearest is very entertaining.

[MacGuffin]

It looks like Criterion is going to handle a release of The Night of the Hunter!

[chrisnu]

Hey, a local art house is showing Amelie on the big screen this weekend, in addition to its premiere of Micmacs. This should be good.

[number8]

Oh shit I forgot to write my review of Micmacs.

[Yxklyx]

Weekend:

Flash Gordon
Darkman
Other Men's Women

Homicide and The Hit are very good films.

[Spinal]

Weekend:

Flash Gordon
Darkman


Great double feature. Except you should be going to the drive-in.

[Ivan Drago]

It looks like Criterion is going to handle a release of The Night of the Hunter!

Is that what the newsletter hint suggests? Because it was tough for me to figure out.

[MacGuffin]

Is that what the newsletter hint suggests? Because it was tough for me to figure out.

Love/hate on the knuckles can't be anything else.

[Spinal]

Just found Les Vampires at my library. Woo hoo!

[Dead & Messed Up]

Just found Les Vampires at my library. Woo hoo!

Ugh, jealousy.

[MacGuffin]

I'm still excited after just nine posts!

[dreamdead]

Night of the Hunter would look marvelous from a Criterion print. I'm using it in a fiction class in a few weeks, so it'll be interesting to see how many themes we can mine from the relatively straightforward plot (what do we do with the flurry of animal shots, for instance?), but the bits of cinematographic excess make for a beautifully stark film of morality all the same.

Count me among those captivated by West's House of the Devil. Those zooms are a thing of nostalgic beauty, and the film builds wonderfully in its refusal to go for the jump scare after a decade of audiences waiting for the jump scare; because of this juxtaposition, tension's built from comparatively nothing. It's a nice contrast, even if the last act (though effective) cannot hep but fall into line with conventional horror films. That said, I like the coda and everything it represents. Just a really smart and fun film.

[dreamdead]

Woah. Claire Denis's 35 Shots of Rum is on InstantView. I know what my weekend will consist of now...

[MacGuffin]

Woah. Claire Denis's 35 Shots of Rum is on InstantView. I know what my weekend will consist of now...

It's a damn beautiful film. Enjoy.

[Derek]

Isn't In the Realm one of his most well known? Anyway, if it is one of his worst, it'll be a refreshing change for me. I usually start with a director's best films and then it's all gradually downhill from there until I lose interest. Maybe, this time it'll keep getting better and better as I go along.

It's his most well-known, but as much for the graphic sex scenes responsible for its notorious rep as its actual quality. The Ceremony is his absolute masterpiece and Death by Hanging and Violence at High Noon aren't too far behind. I started a thread (http://www.match-cut.org/showthread.php?t=2015&highlight=Oshima) on him a while back. He seems like a director you'd love.

[MacGuffin]

Death by Hanging

Reminds me I still gotta watch that.

[Spinal]

I feel pretty confident that balmakboor will love In the Realm of the Senses. Seems like his kind of film, considering his love for Salo and Sweet Movie.

[Spinal]

1976:

1. A Real Young Girl (Breillat)
2. In the Realm of the Senses (Oshima)
3. Carrie (De Palma)
4. All the President's Men (Pakula)
5. C'etait un rendez-vous (Lelouch)

Only seen about 20 films from that year though.

[Ivan Drago]

Love/hate on the knuckles can't be anything else.

But where does the rabbit come in?

[Spinal]

But where does the rabbit come in?

Isn't there a close-up of a rabbit during the dreamy river scene?

[B-side]

1976:

1. A Real Young Girl (Breillat)
2. In the Realm of the Senses (Oshima)

<3

[Spinal]

Not surprisingly, the Oshima film is one of Breillat's favorites.

[MacGuffin]

Isn't there a close-up of a rabbit during the dreamy river scene?

That and there's some speculation it's relating to a Blu-ray for The Rules of the Game.

[balmakboor]

I dunno. The rabbit doesn't have "love" and "hate" on its knuckles, it has "wuv" and "ate." I think they're finally going to dig deep into animation with the complete misadventures of Bugs Bunny and Elmer Fudd.

But if it is Night of the Hunter (which was of course my immediate and therefore maybe too obvious first guess) then I'm happy. We just showed it in our C100 series and the audience got into it to a surprising degree. It's a gorgeously weird movie. Plus, the current DVD has always made me sad. It begins by announcing that it has been modified to fit my TV set, never good news.

[balmakboor]

I feel pretty confident that balmakboor will love In the Realm of the Senses. Seems like his kind of film, considering his love for Salo and Sweet Movie.

While you're slightly wrong with your recollection here -- it is WR I love, not so much Sweet Movie -- you're correct in that I found In the Realm of the Senses quite a bit to my liking. I'll be hanging on to it and watching it a second time in a day or two.

[MadMan]

It looks like Criterion is going to handle a release of The Night of the Hunter!Glad to hear that bit of news, as I dig it a lot.


He sings its praises. :-/Oh well, nobody's perfect.

[baby doll]

1976:

1. A Real Young Girl (Breillat)
2. In the Realm of the Senses (Oshima)
3. Carrie (De Palma)
4. All the President's Men (Pakula)
5. C'etait un rendez-vous (Lelouch)

Only seen about 20 films from that year though.1. Taxi Driver (Martin Scorsese)
2. The Killing of a Chinese Bookie (John Cassavetes)
3. Mikey and Nicky (Elaine May)
4. 1900 (Bernardo Bertolucci)
5. L'Argent de poche (François Truffaut)
6. Le Locataire (Roman Polanski)
7. Migration (Bill Viola) [video]
8. The Man Who Fell to Earth (Nicolas Roeg)
9. Family Plot (Alfred Hitchcock)
10. Fellini's Casanova (Federico Fellini)

I need to rewatch Carrie, Ici et ailleurs, In the Realm of the Senses, and Kings of the Road.

[dreamdead]

Tati's Mon Oncle is likely my favorite of his trilogy, swimmingly breezy but fully articulate in its critique of what is left behind as societies begin to modernize and industrialize, becoming the Marxist cog in the machine and losiing their humanity. I was prepared to be depressed at how little mobility exists in the film until the final moment, when the father at last reveals his comaraderie with local humor, allowing his son to transplant his affection from a father surrogate to the real thing. Best gag, easily, were the window eyes in the night. That alone was worth the viewing. But the film has the most hope and vision of his films, and feels far more generous in its vision than Playtime does to me. Good stuff.

[balmakboor]

I finally caught up with Tetro today. And you know what? I really wish I was still chasing it.

[Raiders]

Just a head's up that Preminger's masterpiece, Bonjour tristesse, will be on TCM at 4pm EST tomorrow.

[Derek]

But the film has the most hope and vision of his films

I'm gonna need some clarification on what you mean by the "most...vision" because I find Playtime's vision to be far more expansive and, in a way, more generous as well. Playtime celebrates all our imperfections and the follies and absurdity of modern technology and urban congestion. What could be depressing or overly cynical is instead boisterous and full of life. Not to suggest the film doesn't cast things in a negative light, but it accepts what cannot be changed and presents it to us in a comical light, effectively reshaping the way we view our own surroundings and interactions with technology and other people. One could say it's less hopeful than the previous two Hulot films (and if you want real Tati cynicism, check out Trafic, which you should see anyway since it's awesome) because it certainly does not present consumerism and technology in a positive way, but it ditches all semblance of a plot in favor of observance, looking at the all-consuming beast of the modern age right in the eyes and having the gaul to laugh right in its face for 2 hours. Don't get me wrong though - I love Mon Oncle, but I don't think it's on the same level as Playtime.

[Derek]

I finally caught up with Tetro today. And you know what? I really wish I was still chasing it.

Yeah, I kinda wish I could watch it again for the first time too.

[BuffaloWilder]

It gives me a little thrill knowing that I saw and raved about Winter's Bone before Roger Ebert did.

[Milky Joe]

I saw Trash Humpers tonight, with Harmony Korine in attendance. Movie was excruciating, but in a good way. This guy gets so much undeserved hate. He doesn't seem to let it affect him though, so I guess it doesn't matter much.

[baby doll]

It gives me a little thrill knowing that I saw and raved about Winter's Bone before Roger Ebert did.This is going to come across as ten times more dickish than I'd like it to, but it did win the grand prize at Sundance. So unless you were on the festival selection committee, it's not like you discovered it.

[balmakboor]

Yeah, I kinda wish I could watch it again for the first time too.

Of course you know that's not what I meant -- or maybe not.

No, other than some interesting stuff involving P&P's Tales of Hoffmann and a few moments here and there that went from nice visuals to sublime visuals, Tetro was a total failure to me. Two things stuck out: the story was totally unengaging and felt like a school play written by a school kid and the lead actor was really bad. He resembled something like a Leonardo Dicaprio without the talent. On top of that, Gallo has never been this flat and uninteresting.

Why does Coppola keep pouring so much creative energy into scripts that don't warrant it? Why does he have such poor instincts for casting? I always think back to the first two Godfather pictures. Crafting great scripts and pitch perfect casting were his hallmarks.

[B-side]

I loved Youth Without Youth.

[Skitch]

I loved Youth Without Youth.

Me too. The Godfather films notwithstanding, Coppola gets a lifetime pass for The Conversation.

[balmakboor]

I loved Youth Without Youth.

I loved the idea of it and the ambition of it more than the execution of it, but, yes, I liked YWY much more than Tetro.

[dreamdead]

I'm gonna need some clarification on what you mean by the "most...vision" because I find Playtime's vision to be far more expansive and, in a way, more generous as well. Playtime celebrates all our imperfections and the follies and absurdity of modern technology and urban congestion. What could be depressing or overly cynical is instead boisterous and full of life. Not to suggest the film doesn't cast things in a negative light, but it accepts what cannot be changed and presents it to us in a comical light, effectively reshaping the way we view our own surroundings and interactions with technology and other people. One could say it's less hopeful than the previous two Hulot films (and if you want real Tati cynicism, check out Trafic, which you should see anyway since it's awesome) because it certainly does not present consumerism and technology in a positive way, but it ditches all semblance of a plot in favor of observance, looking at the all-consuming beast of the modern age right in the eyes and having the gaul to laugh right in its face for 2 hours. Don't get me wrong though - I love Mon Oncle, but I don't think it's on the same level as Playtime.

I will seek out Trafic at some point, since thefourthwall really has enjoyed this one and Mr Hulot's Holiday; thanks for the reminder.

I suppose some of my disinterest in Playtime rests in its refusal to grant us some of the generic pleasures that Mon Oncle delights in. By that, I mean that it doesn't deny us Hulot himself for long, extended sections, whereas in Playtime I kept waiting for Tati to assert his character or move the plot along. This film, perhaps because of its more simple provincial/urban contrast, keeps the delight of the small town visible, when it's such a small, liminal force in Playtime. That kind of overpowering modernity, while central to the point of the latter film, ended up leaving me cold. Here, though, there's a grace and simplicity that always celebrated and which, in turn, allows for a grace of vision to be present. Perhaps worst of all, somehow I just can never get in tune with Playtime sense of unmediated observation, and so the whole affair, while intellectually and theoretically stimulating, never has gotten me emotionally despite two additional attempts at it.

Here, as I stated in the original post, there's something wonderfully celebratory and liberating in Tati's willingness to grant grace to the figure of the father, when he had seemed like a dullard for so long. And though all of the women in the film are materialistic, there's still a contrast in the girl in the building below Hulot. These humanistic touches allow it to come off as far gentler and, indeed, more resonant to me.

[balmakboor]

Seriously, at one time or another I've declared all four of Tati's Hulot movies to be the best. Each locates its successes -- and comparably negligable failures -- in such different places.

[baby doll]

Although I liked Syndromes and a Century better on second viewing, seeing it again clarified (and in some respects strengthened) my initial resistance to the film, as it seems to me that this is the closest Joe has come to making an outright formal exercise. (You get so used to looking at unbroken stationary long shots that when Joe begins to move away from that even slightly in the film's second half, it registers as a violation of the movie's intrinsic norms, like a tracking shot in an Ozu film.) And the fact that it ends in much the same way as Mysterious Object at Noon--that is, suddenly dropping any pretense to being a narrative film--makes me wonder if Joe wasn't simply being self deprecating when he described that movie as a film about nothing at all. There's some good stuff here (the friendship between the dentist and the monk in the first half, the musical performance), but overall, it's pretty slight.

[MacGuffin]

Although I liked Syndromes and a Century better on second viewing, seeing it again clarified (and in some respects strengthened) my initial resistance to the film, as it seems to me that this is the closest Joe has come to making an outright formal exercise. (You get so used to looking at unbroken stationary long shots that when Joe begins to move away from that even slightly in the film's second half, it registers as a violation of the movie's intrinsic norms, like a tracking shot in an Ozu film.)

Dismissing the movie as an "outright formal exercise" is general—I happen to like Joe's use of doubling. It's a very meditative approach and I think it goes very well with Joe's subtle camerawork.


And the fact that it ends in much the same way as Mysterious Object at Noon--that is, suddenly dropping any pretense to being a narrative film--makes me wonder if Joe wasn't simply being self deprecating when he described that movie as a film about nothing at all. There's some good stuff here (the friendship between the dentist and the monk in the first half, the musical performance), but overall, it's pretty slight.

I'd need to see some sort of evidence, but I can't believe he just said in an interview The movie is not about anything! Typically in interviews like that, when the movie has a very languid feeling or takes a very distanced approach to its material, the director often talks about the movie's general theme. With Syndromes and a Century, I'd always imagined it being about reflection on the past (and more specifically, his parents); I'm sure Joe'd agree.

[baby doll]

Dismissing the movie as an "outright formal exercise" is general—I happen to like Joe's use of doubling. It's a very meditative approach and I think it goes very well with Joe's subtle camerawork.

I'd need to see some sort of evidence, but I can't believe he just said in an interview The movie is not about anything! Typically in interviews like that, when the movie has a very languid feeling or takes a very distanced approach to its material, the director often talks about the movie's general theme. With Syndromes and a Century, I'd always imagined it being about reflection on the past (and more specifically, his parents); I'm sure Joe'd agree.I'm just quoting Chuck Stephens' 2004 review of Tropical Malady in Cinema-Scope. And just to be clear, Joe was referring to Mysterious Object at Noon, not Syndromes and a Century. But as for the latter, like any representational film, it can't help but have a theme (or subject); however, the story is so slight that I found it hard to think of any thing but the style--which I grant is meditative, but I can't say that what it was meditating on much captured my imagination. Simply having a general theme--let alone one as broad as the past (putting aside the fact that both stories are ostensibly set in the present, whether or not they were inspired by Joe's parents, which is inside baseball as far as I'm concerned)--doesn't make a film any more interesting, and I'm hard-pressed to think of any movie (notwithstanding some of Stan Brakhage's abstract films) that doesn't have a theme, either general or specific.

Maybe that's terribly vague, so I'll try for something more specific. One part of the movie is set in the country, and is primarily about a female doctor and a pathetic soldier who's in love with her; the other part is set in the city, and is primarily about a male doctor whose girlfriend wants him to move with her. As I said earlier, both parts appear to be set in the present. Sometimes we see variations on the same scene, so in the first half, the dentist and the young monk become friends, but this doesn't happen in the second half. Maybe Joe is making a point about how personal relationships are determined by where people live, or maybe I'm misreading the film. Either way, the substance of what actually happens to these people in both parts of the film is never more than mildly interesting. When the old monk talks about how he used to torture chickens as a child, it's pretty cute, but in terms of narrative, nothing terribly exciting happens.

But of course this isn't really a narrative film, so what about the style? As I've noted, Joe sets up an intrinsic norm in the first half of the movie, and then playfully violates it in the second. However, though his long takes are elegantly composed and as meditative as you could ever want, his staging of actors is brutally static, particularly when we're looking at the same scene a second time but from a different stationary camera angle. And though some of the dialogue takes place offscreen, he's not doing anything terribly imaginative with sound either. (That said, the film has a good score and the musical performance is the best thing in the movie.) Like I said, the movie feels to me like a formal exercise, yet on a moment to moment basis, the film does as little for me aesthetically as it does as storytelling.

[Sven]

I love coming across the odd treasure here and there on Netflix Instant Watch. Andrew Davis's The Package is fantastic. I love that Dennis Franz can play, with equal conviction, both belligerent dirtbags and noble crimefighters.

[MacGuffin]

Sven I thought you should know I was reading about Ravenous the other day somewhere and decided I wanted to rent the movie. I know you champion the film.

[Sven]

Sven I thought you should know I was reading about Ravenous the other day somewhere and decided I wanted to rent the movie. I know you champion the film.

This is an awesome story. Great film. Yes, please check it out.