28 Film Discussion Threads Later

[dreamdead]

So I finally saw John Hughes's Ferris Bueller's Day Off, which tries to offer a biting critique of the material culture prevalent in the 1980s, but so much of the film comes off emptily, and the empathy toward Ferris himself feels largely unearned. I found myself more often sympathizing with Jeanie, his sister, and her plight than with Ferris's excess, which often seems to unintentionally mirror his parents. And the childlike grace with which he believes that no harm will come to Cameron feels largely unearned; the celebration of the day's events clouds his neuroses, when a far more mature film would center on him without falling into Less than Zero territory. Maybe I'm abnormal, but Jeanie and the principal were far more interesting characters than the main ones. Bah.

[number8]

http://i.crackedcdn.com/phpimages/photoshop/9/4/4/26944_slide.jpg

[number8]

I've always liked the reading that Ferris is a figment of Cameron's lonely imagination.

[Ezee E]

I've always liked the reading that Ferris is a figment of Cameron's lonely imagination.
Ha. Sounds good to me. I'll watch it again with that in mind.

[Mysterious Dude]

and the empathy toward Ferris himself feels largely unearned.
Thank you.

I feel similarly about The Breakfast Club; I'm supposed to sympathize with these empty shells, but I find the evil principal to be far more interesting.

[Philosophe_rouge]

So I finally saw John Hughes's Ferris Bueller's Day Off, which tries to offer a biting critique of the material culture prevalent in the 1980s, but so much of the film comes off emptily, and the empathy toward Ferris himself feels largely unearned. I found myself more often sympathizing with Jeanie, his sister, and her plight than with Ferris's excess, which often seems to unintentionally mirror his parents. And the childlike grace with which he believes that no harm will come to Cameron feels largely unearned; the celebration of the day's events clouds his neuroses, when a far more mature film would center on him without falling into Less than Zero territory. Maybe I'm abnormal, but Jeanie and the principal were far more interesting characters than the main ones. Bah.
When I was a teenager I had a crush on Charlie Sheen in this movie.

[MadMan]

Of course Ed Rooney is far more interesting than Ferris. That doesn't mean I'm going to sympthasize with him, although the more I think about it the only character I feel sorry for or care about in that movie is Cameron, who clearly needs some kind of therapy.


I've always liked the reading that Ferris is a figment of Cameron's lonely imagination.Hah, but then who dragged Cameron from the bottom of the pool? Himself? :P

To me the movie is merely highly entertaining; just like The Blues Brothers that's its only goal, and there's nothing really deep beneath the surface.

Short movie thoughts:

*Survival of the Dead was disappointing, but funny. Romero actually made a zombie comedy, but its characters were terrible and the movie suffers from lack of funding-in this case, its an actual excuse. I liked it, but then I suffer from fan bias in this case. Too bad, as Diary of the Dead was much better.

*The Girl Who Knew Too Much is a movie that, when I have time, I will see again. Maybe I was too tired, or perhaps I missed the movie's dark humor, but I found this to be merely decent/solid. Bava has done better (that reminds me, Kill Baby...Kill! could use a rewatch), although it does have John Saxon dubbed over in Italian, unless that's actually him really speaking Italian. A better giallo from Bava is the creepy and well made Blood and Black Lace; I'm still waiting for Netflix to actually let me rent Twitch of the Death Nerve.

*The Purple Rose of Cairo is a wonderful movie, surprisingly touching, and yet staying away from sentimental cliches. Jeff Daniels, playing two different types of people here is great, and the movie's ending is highly emotional, quite bittersweet, really. I keep bouncing back and forth between Woody Allen's 70s and 80s work-eventually I'll try one of his 60s movies before I finally move on to the 90s, and lastly his films of the 2000s.

[baby doll]

I like Hughes' films with John Candy (Planes, Trains and Automobiles, Only the Lonely--although the last time I saw the latter, it was still the '90s and my mom was considering buying a laser disc player), but I refuse to take him very seriously. Just because he was primarily a writer and had no visual style, that doesn't make him Billy Wilder. I mean, would it have killed him to have any ambition whatsofucking ever? The plot of Ferris Bueller is that a bland kid skips school with his pals and has a nice day. Take that, Charlie Kaufman. Incidentally, just as Wilder influenced Cameron Crowe (a graceful screenwriter and more or less competent director, who's made two teen comedies which I vastly prefer to any of Hughes': Say Anything and Almost Famous), Hughes would serve as inspiration to chronic underachievers like Judd Apatow and Kevin Smith. What a great legacy.

[MacGuffin]

Too bad they didn't ask you to write his eulogy, baby doll.

[Ivan Drago]

Yeah, my aunt has and still tries to convince me that John Hughes is one of the greatest filmmakers ever. I really like Ferris Bueller's Day Off and The Breakfast Club, but those and his filmography are all fun for what they are and nothing more.

[Henry Gale]

I must be the only one that thinks the "figment of one's imagination" theory works so much better as Cameron being a made-up best friend of Ferris to take the blame for all the bad things we see over the course of the film.

Cameron would be an excuse in Ferris' mind for taking and damaging the car (that belongs to a family we never see), another way for looking at the town becoming increasingly concerned with Ferris' (mental?) health, why only Ferris ever talks to or refers to Cameron (aside from Sloane here and there like when he's stuffed in the back of the car or out by the pool, though being his girlfriend she'd be aware of a made-up Cameron if Ferris truly believed him to exist), and just generally how Ferris' general perception of things finds itself to be so easy-going and lucky. He's delusional.

When people state their joke-y, deeply analytical reading of something like Ferris Bueller (a movie that doesn't really suggest such a thing otherwise), it's always made more sense for me to have that main theory the other way around.

[Rowland]

I've only seen a few of Hughes' movies, but I'd say Ferris Bueller is easily his most stylized.

[megladon8]

I was very surprised by how edgy The Public Enemy was for a film made in '31.

Very good movie, too.

[baby doll]

I've only seen a few of Hughes' movies, but I'd say Ferris Bueller is easily his most stylized.Meaning what, precisely?

[Rowland]

Meaning what, precisely?Meaning that it's his most overtly cinematic in terms of framing, editing, montage and what have you to convey humor and meaning, semi-precisely.

[number8]

I dunno. I like Ferris being the imaginary one because it fits the Fight Club parody better.

[Rowland]

Bram Stoker's Dracula (Francis Ford Coppola, 1992) / ***1/2*thumbs up*

[Derek]

I was very surprised by how edgy The Public Enemy was for a film made in '31.

Pre-code. There's so much stuff going on in pre-code sound films, both in terms of edgy content and formal experimentation due to the new opportunities and limitations of the new technology, that make it such a fascinating, yet brief, period to examine.

[megladon8]

Pre-code. There's so much stuff going on in pre-code sound films, both in terms of edgy content and formal experimentation due to the new opportunities and limitations of the new technology, that make it such a fascinating, yet brief, period to examine.


Have you checked out the TCM "Forbidden Hollywood" sets? I have a star rating for one of those in my signature - Red-Headed Woman.

It's quite good, and I found it so surprising how frank the talk of sex was in the film.

Even in The Public Enemy, there's the scene where Cagney is trying to coax Jean Harlow into having sex with him. "I can't hold out much longer, baby!". Then she hugs him and puts his face between her breasts.

Hell, when they start kissing and then someone comes to the door, Cagney jumps up and starts awkwardly stepping around and shaking the legs of his pants, like he's trying to fight off an erection.

[Boner M]

Meaning that it's his most overtly cinematic in terms of framing, editing, montage and what have you to convey humor and meaning, semi-precisely.
The entire film is marvel of visual wit, the art gallery montage being the pinnacle.

[Grouchy]

http://cdn.extracine.com/files/2010/07/chloe1.jpg

Chloe
Atom Egoyan, 2009

Stepping into the good ol' erotic thriller genre, Egoyan did a movie that's safe and a little too predictable, but good. A specific plot twist is set up as a surprise but I think most people can see it coming early on. Moore and Seyfried are amazing here. It's a good movie, just not one that delves too deep and, being my first Egoyan, I probably was on the look-out for something a lot more something. I'll soon get to Exotica and The Sweet Hereafter. The framing of certain scenes, particularly in close-ups, reminded me of Cronenberg. Julianne Moore has amazing sexy nipples.

[MadMan]

I was very surprised by how edgy The Public Enemy was for a film made in '31.

Very good movie, too.Glad to hear that you liked it, meg. Its one of my favorite movies from the 1930s. The scene where Cagney walks into the rain before shooting it out with a bunch of gangsters is the best part, really-and has been used by TCM as one of their film clip based premos for their channel many times.

[Dukefrukem]

O2JhQXCjTLY

[Pop Trash]

The entire film is marvel of visual wit, the art gallery montage being the pinnacle.

Totally. It's by far his most creative film. I've always read it has an existential film, much like a lot of French New Wave or Two-Lane Blacktop. I like the compact time constraint, and the creative flourishes from lists coming up on screen, breaking the fourth wall, and the aforementioned museum scene (probably the best I've seen of someone tripping out on art in a gallery/museum in a film, but the only other example I can think of is The Limits of Control). Plus having watched Say Anything...again recently (a film I also love), it's not nearly as visually compelling as Ferris.

[Qrazy]

Totally. It's by far his most creative film. I've always read it has an existential film, much like a lot of French New Wave or Two-Lane Blacktop. I like the compact time constraint, and the creative flourishes from lists coming up on screen, breaking the fourth wall, and the aforementioned museum scene (probably the best I've seen of someone tripping out on art in a gallery/museum in a film, but the only other example I can think of is The Limits of Control). Plus having watched Say Anything...again recently (a film I also love), it's not nearly as visually compelling as Ferris.

I don't like any of these films.

Visually compelling existential films... Cantata, The Fire Within, The Trial, L'eclisse, Satantango.

[StanleyK]

Go to The Incredibles thread.

Anyone who persists in their belief that The Incredibles is an objectivist text either did not read my thoughts on the film or are living in a miserable state of denial whereby they refuse to recognize the brilliance of my innately superior argumentation.

I looked for the thread but didn't find it. Could you link it or repost your thoughts?

[Boner M]

weekend

The Kids are Alright
The Killer Inside Me
Fast Company
WR: Mysteries of the Organism

[Spaceman Spiff]

WR: Mysteries of the Organism

I'm not a big fan of the terms, but whenever I read the words 'pretentious', or 'wankery' - I think of this movie.

[Qrazy]

I looked for the thread but didn't find it. Could you link it or repost your thoughts?

Well I was mostly joking with the phrasing of my earlier post, although I did defend the politics of the film elsewhere... and sorry my mistake, it was the Wall-E thread Page 11 (http://www.match-cut.org/showthread.php?t=311&highlight=incredibles&page=11)...

[Qrazy]

I'm not a big fan of the terms, but whenever I read the words 'pretentious', or 'wankery' - I think of this movie.

Really? I didn't feel it took itself seriously enough to call it that. I personally kinda liked WR, although I found Sweet Movie to be quite poor. I tend to reserve my use of pretentious for slightly more dry, self-absorbed and highfalutin films.

[Spaceman Spiff]

Really? I didn't feel it took itself seriously enough to call it that. I personally kinda liked WR, although I found Sweet Movie to be quite poor. I tend to reserve my use of pretentious for slightly more dry, self-absorbed and highfalutin films.

Hmm. You might be right, in as much that the movie isn't very serious, but I think wankery fits quite well. I saw it too long ago to write anything cogent about it (and hell, even if I saw it yesterday I still don't think I'd be able to), but I'm not all that interested in 'provocateur cinema', by means of randomness I guess, which was the impression I remember leaving with.

[Spaceman Spiff]

Anyways, I'mma check out Pedro Costa's Fontainhas trilogy this weekend (well starting tonight). Yay/Nay?

[soitgoes...]

Weekend:
Madame Bovary, La marseillaise and/or Toni (Renoir)
I Failed But... and/or That Night's Wife (Ozu)
Underworld and/or The Last Command (von Sternberg)
Fate of a Man (Bondarchuk)

[Bosco B Thug]

Loved The New World. I got the same amazement watching this film that I felt while watching Culloden, that someone went back in time and made a documentary. The choppy editing approach I surprisingly had zero to no allergic reaction to.

[Sven]

Loved The New World. I got the same amazement watching this film that I felt while watching Culloden, that someone went back in time and made a documentary.

I got a much stronger feeling of history from Buffalo Bill and the Indians.

[soitgoes...]

I got a much stronger feeling of history from Buffalo Bill and the Indians.I can agree with this. I loved Altman's play on history and those who write history.

[Bosco B Thug]

I got a much stronger feeling of history from Buffalo Bill and the Indians. Yeah, yeah. :P In that Altman always provides rich dramatization of events with documentary-like detail and naturalism, but doesn't change the fact that Buffalo Bill left me kind of cold (despite the strength of its commentary) and The New World didn't.

[Derek]

Really? I didn't feel it took itself seriously enough to call it that. I personally kinda liked WR, although I found Sweet Movie to be quite poor. I tend to reserve my use of pretentious for slightly more dry, self-absorbed and highfalutin films.

It reminded me of Godard's more political essay films, but with a bit more humor (though I maintain that many of Godard's later works are not as staid and humorless as many would believe), so it's not surprising SS would hate it. I think it's fantastic - much prefer it to Sweet Movie as well.

[soitgoes...]

It reminded me of Godard's more political essay films, but with a bit more humor (though I maintain that many of Godard's later works are not as staid and humorless as many would believe), so it's not surprising SS would hate it. I think it's fantastic - much prefer it to Sweet Movie as well.You should watch a movie sometime soon. Your sig's been stuck with the DeToth film at the top for awhile now.

[Derek]

You should watch a movie sometime soon. Your sig's been stuck with the DeToth film at the top for awhile now.

Vacation back east and returning to an insanely busy work week have not been kind to movie-watching. I'll be back in the swing of things by the weekend.

[soitgoes...]

Vacation back east and returning to an insanely busy work week have not been kind to movie-watching. I'll be back in the swing of things by the weekend.
Whew! I can sleep peacefully tonight. ;)

[transmogrifier]

I've never understood how The New World caught fire among the critics. It seemed to me almost a parody of a Malick film. Not bad, but kind of weightless and plodding in places. Certainly didn't get any emotional reaction in the slightest.

[Sven]

It seemed to me almost a parody of a Malick film.

Exactly.

[transmogrifier]

Exactly.

You and me, we aren't so different.

[Derek]

Whew! I can sleep peacefully tonight. ;)

Haven't quite cinema or any such nonsense.


I've never understood how The New World caught fire among the critics. It seemed to me almost a parody of a Malick film. Not bad, but kind of weightless and plodding in places. Certainly didn't get any emotional reaction in the slightest.

Aside from Mulholland Dr., I can think of no other film that affected me emotionally as much as this one.

[transmogrifier]

Aside from Mulholland Dr., I can think of no other film that affected me emotionally as much as this one.

Maybe I'm just dead inside.

And loving it!

[Boner M]

Hey Qrazy, which Aleksei German film would you recommend more - Trial on the Road or 20 Days Without War? They're both playing locally this weekend but I'm strapped for cash after planning my TIFF vacation so I'll probably only see one.

[soitgoes...]

So The Room... Wow. That was bad.

[MacGuffin]

So The Room... Wow. That was bad.

I couldn't even finish it. Not funny. Not at all. Not even in an ironic way. Just crap.

[Watashi]

So The Room... Wow. That was bad.
It's unrateable.

[soitgoes...]

I couldn't even finish it. Not funny. Not at all. Not even in an ironic way. Just crap.I have a morbid curiosity, but yes, crap.


It's unrateable.No it isn't. It gets zero stars. I have no doubt of my rating of it.

[Watashi]

I have a morbid curiosity, but yes, crap.

No it isn't. It gets zero stars. I have no doubt of my rating of it.
Giving zero stars is exactly what Tommy Wiseau would want. You're only making him stronger.

[Derek]

Giving zero stars is exactly what Tommy Wiseau would want. You're only making him stronger.

I'm not sure Tommy Wiseau knows what he wants, but all this arguing is tearing him apart!

[soitgoes...]

I'm not sure Tommy Wiseau knows what he wants, but all this arguing is tearing him apart!You know Derek, people are people. Sometimes they just can't see their own faults.

[Milky Joe]

It's literally incredible.

[Derek]

It's literally incredible.

I think it's figuratively incredible. It's simply that bizarre.

[Winston*]

Hey Boner, what's this from? I love it.


John and Mary had never met. They were like two hummingbirds who had also never met.

[soitgoes...]

Hey Boner, what's this from? I love it.

I'm not Boner, but http://www.algebra.com/fun/Essays/ or some like website.

[Milky Joe]

I think it's figuratively incredible. It's simply that bizarre.

ofAkQBWnndU

[Winston*]

I'm not Boner, but http://www.algebra.com/fun/Essays/ or some like website.

"Dumbest things from School Essays"? I don't understand. If a high school student wrote that, that high school student is a high quality writer.

[Watashi]

"Dumbest things from School Essays"? I don't understand. If a high school student wrote that, that high school student is a high quality writer.

This one is my favorite:

"She walked into my office like a centipede with 98 missing legs."

[soitgoes...]

"Dumbest things from School Essays"? I don't understand. If a high school student wrote that, that high school student is a high quality writer.I can actually imagine the line, "He fell for her like his heart was a mob informant and she was the East River," being said by the narrator/protagonist of a 40's film noir film.

[Sycophant]

What the hell. Most of these things are awesome and not in a bad way at all.

[Winston*]

High school English teachers don't have functioning senses of humour apparently.

[Boner M]

The plan was simple, like my brother-in-law Phil. But unlike Phil, this plan just might work.

[Qrazy]

Hey Qrazy, which Aleksei German film would you recommend more - Trial on the Road or 20 Days Without War? They're both playing locally this weekend but I'm strapped for cash after planning my TIFF vacation so I'll probably only see one.

Trial on the Road, but both are quite good.

[Mara]

Those are deliberately pushed metaphors, and they're a riot.

And high schoolers didn't write these. High schoolers don't say "wont" unless they are trying to say "won't."

[number8]

I'm going to start saying, "I'm as tall as a 5'11" tree."

[Ivan Drago]

It's literally incredible.

That it is. You Room-haters can keep your stupid comments in your pocket!

[Mara]

I'm going to start saying, "I'm as tall as a 5'11" tree."

I am as tall as five rulers that have been taped together, plus a little bit of another ruler.

[Ezee E]

Weekend:
The Ninth Configuration
Repulsion
The Square

Scott Pilgrim VS. The World

[Bosco B Thug]

I've never understood how The New World caught fire among the critics. It seemed to me almost a parody of a Malick film. Not bad, but kind of weightless and plodding in places. Certainly didn't get any emotional reaction in the slightest. It's an unabashed "tone poem," but its depictions of the Native community, the English settlement, and then England itself (and how pointedly it clashes them against each other) I found really acute.

So Giant was surprisingly compulsively watchable. I thought the first hour was superb. Then the children come in and it becomes blah. Then it perks up again with each new sighting of James Dean. Then it dips into blah again. Then it picks up with its brash and audacious climactic sequence of new Texas ritz and James Dean. Stevens has his flaws, but he has his perks. Looong. Surprisingly solid performances from literally everyone involved. I enjoyed it.

[MacGuffin]

Weekend possibilities:

Kikujiro
Strange Circus
Twilight of the Ice Nymphs
Archangel
The Heart of the World
Taste of Cherry
Oasis
A Lonely Cow Weeps at Dawn
Café Lumière (re-watch)
High and Low

edit: oh yeah, maybe some stuff from the Val Lewton Collection if my library ships it to me.

[Sven]

So Giant was surprisingly compulsively watchable.

Following the trend of erratically agreeing with you, I am happy that you, too, liked this. I think of its eras epics, it is one of the best.

[Spinal]

Weekend:

Kikujiro
Strange Circus
Twilight of the Ice Nymphs
Archangel
The Heart of the World
Taste of Cherry
Oasis
A Lonely Cow Weeps at Dawn
Café Lumière (re-watch)
High and Low

edit: oh yeah, maybe some stuff from the Val Lewton Collection if my library ships it to me.

Conspicuously missing from your weekend list: sunlight.

[MacGuffin]

Conspicuously missing from your weekend list: sunlight.

Well, it's basically been over 100 degrees here every day for the past few weeks, so sunlight is just about one of the last things I want. I probably won't have a chance to get to even half of those anyway.

[Melville]

So Giant was surprisingly compulsively watchable....Surprisingly solid performances from literally everyone involved. I enjoyed it.
Yeah, I remember it being pretty great, if only for James Dean's tormented and eventually pitiful self-destruction and Rock Hudson's Rock Hudson-ey-ness.


And high schoolers didn't write these. High schoolers don't say "wont" unless they are trying to say "won't."
I used it all the time in high school. But I wasn't half as clever as whoever wrote those 30 dumbest things. That stuff is solid gold.

[MadMan]

Weekend:

*Invasion of the Body Snatchers ('78)
*The Last Winter-I'll have to finish this on Instant Viewing
*Hot Fuzz (to those who said I wouldn't make it through the movies I previously listed that were on my Netflix queue-hah! I will prove you wrong :P)

I really like The New World. Too bad the last act drags on way too damn much.

[Scar]

Weekend:

Porkopalypse 2010
Beer
Stoagies

Perhaps Repo Men and Swingers if I get time to watch movies. I haven't seen either.

[Yxklyx]

Has anyone here seen Get Low? Was planning on taking my mom to it - choices are limited where I'm at now.

[baby doll]

Weekend:

High and Low (Akira Kurosawa, 1963)
Hitler: A Film From Germany (Hans-Jürgen Syberberg, 1977)
Death and the Maiden (Roman Polanski, 1994)
Breaking and Entering (Anthony Minghella, 2006)
Villa Amalia (Benoît Jacquot, 2009)
Women Without Men (Shirin Neshat, 2009)

[megladon8]

I'm enjoying White Heat, but there's a complete lapse in logic, filmmaking competence and quality writing which occurs quite close to the beginning of the movie, and I just cannot ignore it. Especially because, as shitty as it is, it's intrinsic to the plot.

[Sven]

Man, I was really digging on Sunshine for a while there. Succinct, poetic, intriguing. Then Crazytown happened and the name of the game became tacky cliches and confusing whats-its, but most significantly stupidity of delivery. The movie ended SO poorly, if not even on a thematic or otherwise legitimate account, but simply from the dumbass direction of the last ten minutes. I'm pretty surprised at the disparity, frankly. Acting was fantastic all around.

[Watashi]

Man, I was really digging on Sunshine for a while there. Succinct, poetic, intriguing. Then Crazytown happened and the name of the game became tacky cliches and confusing whats-its, but most significantly stupidity of delivery. The movie ended SO poorly, if not even on a thematic or otherwise legitimate account, but simply from the dumbass direction of the last ten minutes. I'm pretty surprised at the disparity, frankly. Acting was fantastic all around.
Welcome to the "oh my god, this movie is so aweso- wait... what the fuck is this shit?" club on Sunshine. Population: Many.

The score is the best part.

[Dead & Messed Up]

The score is the best part.

"Adagio in D Minor" + Capa Jumping = Divine.

[Derek]

I'm enjoying White Heat, but there's a complete lapse in logic, filmmaking competence and quality writing which occurs quite close to the beginning of the movie, and I just cannot ignore it. Especially because, as shitty as it is, it's intrinsic to the plot.

You talking shit 'bout Raoul Walsh? Cuz it sounds like you're talking shit 'bout Raoul Walsh.

[Rowland]

Welcome to the "oh my god, this movie is so aweso- wait... what the fuck is this shit?" club on Sunshine. Population: Many.Surprisingly not so many around here though. I felt like a minority in these parts when I was arguing that stance back when the movie first came out, before I eventually changed my position upon repeat viewings.

[number8]

I'm stil in the "Third Act was still awesome" camp.

[Bosco B Thug]

Following the trend of erratically agreeing with you, I am happy that you, too, liked this. I think of its eras epics, it is one of the best.
Yeah, I remember it being pretty great, if only for James Dean's tormented and eventually pitiful self-destruction and Rock Hudson's Rock Hudson-ey-ness. Cool, I didn't think anyone here liked it much. It's a bit painfully bourgeoisie, but what can you do? Stevens' mise en scene is mostly really assured. And yeah, having only seen All That Heaven Allows, it's good to see Hudson has general chops (and that Taylor is still magnetic playing down-to-earth, having only seen her play crazy-b*tch in Boom!).

WEEKEND: Nightmare on Elm Street 3 & 4, The White Ribbon

[Sven]

It's not that the narrative sucked or even that the ideas were uninteresting. It's that all of a sudden, Boyle went from "interesting filmmaker with unique ideas for images and structure" to "DDDDDDUUUURRRR filmmaker with craptastic imagination". It was that the filmmaking itself switched. Had it switched to incorporate the potentially awesome cosmic suggestions of its story, then it would've been the bomb. Unfortunately, it switched into Spielberg-directing-a-slasher-film mode, where the sci-fi turned retarded and the movie moments turned Hollywood.

And I'm so done with new agey chord scores. It was fine. Complimented the film well. But I'm definitely not going to praise it on its own. I think Evans's character was probably the best part. Curtis's character had promise, but, as part of the "Last Part Sucks" package, they wussed out by making every potentially interesting thing amount to zero.

I liked the movie more than my words suggest, I think, though really I ought to sleep on it before I say anything too definitively. I do admire that its not heavy-handed about its themes and, more or less, keeps them at a narrative level. I like the process-heavy nature of the film.

[megladon8]

You talking shit 'bout Raoul Walsh? Cuz it sounds like you're talking shit 'bout Raoul Walsh.


Scene: Mid-afternoon.

Police are chasing a suspect.

She manages to evade them, but they continue driving around looking for her vehicle.

They turn a corner and holy crap, they must have turned into another time zone because it's night time all of a sudden!

DETECTIVE 1: Well, I give up. Let's turn around.

The police car pulls into a motel parking lot to turn around.

HOLY CRAP THAT'S HER CAR RIGHT THERE!!


Ugh...what a terribly executed scene that was. From the horrible convenience of it right into the day/night filming. Just awful. Spoils what was otherwise a terrific beginning.

[Mysterious Dude]

They turn a corner and holy crap, they must have turned into another time zone because it's night time all of a sudden!
I have just watched this scene (21:00 (http://video.google.com/videoplay?docid=46647055840238 36427#)), and I don't have a problem with this transition. It is clearly indicated by the dissolve from day to night that some time has passed. What's wrong with that? Do you want to watch them driving around for the whole time that the sun is setting?

I'll grant that the parking lot moment is convenient, but no more so than the car with the trailer that suddenly pulled out in front of the police about fifty seconds earlier.

[Scar]

Looks like a good dissolve to me.

[Qrazy]

Surprisingly not so many around here though. I felt like a minority in these parts when I was arguing that stance back when the movie first came out, before I eventually changed my position upon repeat viewings.

Not sure which posters gave you that impression as I share Sven and Wats reaction as well. Granted I didn't see the film when it first came out though.

[Qrazy]

Cool, I didn't think anyone here liked it much. It's a bit painfully bourgeoisie, but what can you do? Stevens' mise en scene is mostly really assured. And yeah, having only seen All That Heaven Allows, it's good to see Hudson has general chops (and that Taylor is still magnetic playing down-to-earth, having only seen her play crazy-b*tch in Boom!).

WEEKEND: Nightmare on Elm Street 3 & 4, The White Ribbon

Just to be clear earlier when I was saying I wasn't very impressed by Stevens I meant I don't think he's an excellent director, but not a bad one. I liked Giant as well or at the very least certainly a 6.5 grade similar to your own.

[Chac Mool]

So what does everyone think about David Mamet's "State and Main"?

I greatly enjoyed it. A terrific ensemble, sharp rat-tat-tat dialogue (if a bit artificial, but then again, this is Mamet), and many chuckles.

EDIT: And how about the weekend? Brotherhood of the Wolf, The Assassination of Jesse James by the Coward Robert Ford, and The Stunt Man...

[MadMan]

Hey Bosco, tell me what you think about A Nightmare On Elm Street 3: The Dream Warriors. I think you'll dig it as much as I did. I haven't seen Part 4, yet, but I plan on doing so.


Scene: Mid-afternoon.

Police are chasing a suspect.

She manages to evade them, but they continue driving around looking for her vehicle.

They turn a corner and holy crap, they must have turned into another time zone because it's night time all of a sudden!

DETECTIVE 1: Well, I give up. Let's turn around.

The police car pulls into a motel parking lot to turn around.

HOLY CRAP THAT'S HER CAR RIGHT THERE!!


Ugh...what a terribly executed scene that was. From the horrible convenience of it right into the day/night filming. Just awful. Spoils what was otherwise a terrific beginning.I gotta be honest: I didn't mind that. Maybe I don't nit pick enough.

You know, I rented Sunshine, and then decided I didn't feel like watching it that day. I'll try again later.

[Spinal]

I'm stil in the "Third Act was still awesome" camp.

Indeed.

[Grouchy]

So what does everyone think about David Mamet's "State and Main"?

I greatly enjoyed it. A terrific ensemble, sharp rat-tat-tat dialogue (if a bit artificial, but then again, this is Mamet), and many chuckles.
I dig it. It's obviously artificial, but it gets a smile out of me.

[baby doll]

So what does everyone think about David Mamet's "State and Main"?

I greatly enjoyed it. A terrific ensemble, sharp rat-tat-tat dialogue (if a bit artificial, but then again, this is Mamet), and many chuckles.It's funny, but I don't find it very memorable for some reason.

[balmakboor]

I was surprised how much I enjoyed The Last Exorcism, except for the ending. Let's not talk about the ending. In fact, I'll pretend he never turned the car around and went back to the farmhouse.

[Philosophe_rouge]

I was surprised how much I enjoyed The Last Exorcism, except for the ending. Let's not talk about the ending. In fact, I'll pretend he never turned the car around and went back to the farmhouse.

Agreed completely. I loved this film until the end... not as bad as Haute Tension, but yea, bad ending in so many ways.

[MacGuffin]

I never understood what was so terrible about High Tension's ending. It is a direct result of the main character's schizophrenic tendencies.

[Philosophe_rouge]

I never understood what was so terrible about High Tension's ending. It is a direct result of the main character's schizophrenic tendencies.
Personally, I generally don't like that kind of "withheld" information. I think it is a poor way of establishing tension and often feels like a cheap narrative ploy. Also, even in terms of narrative credibility, it just does not make sense to me. I don't think the concept is inherently poor, but the execution is so half-baked. So many of the scenes as viewed via her perspective versus what actually apparently happened just do not make sense. It's one of the rare cases where a narrative direction actually sullies a lot of the good of the previous scenes.

[MacGuffin]

Personally, I generally don't like that kind of "withheld" information. I think it is a poor way of establishing tension and often feels like a cheap narrative ploy. Also, even in terms of narrative credibility, it just does not make sense to me. I don't think the concept is inherently poor, but the execution is so half-baked. So many of the scenes as viewed via her perspective versus what actually apparently happened just do not make sense. It's one of the rare cases where a narrative direction actually sullies a lot of the good of the previous scenes.

I agree that the concept was somewhat amateurishly handled, but this was Aja's first movie. I don't think the movie is a masterpiece, but I think it's a wonderful formative exercise (that unfortunately didn't really lead to an interesting career) in tone and also an unusually structured psychological horror movie in that each scene serves as exposition for either the feminine side of the main character or for the serial-killing side. I like how the movie uses said established tone and plays off the structure up until the—granted—unspectacular, but generally serviceable ending.

[Sycophant]

I seem to remember people on the Internet kinda hating Evangelion 2: You Can (Not) Advance when it first hit, but I rather enjoyed it. The balance felt more like the show, which isn't a bad thing. It diverges wildly from the established patterns, though. There's more fanservice, as I heard complaints about, but there was only one shot I thought was too gratuitous. A couple of the music cues felt perhaps a bit misguided, but they always felt like they worked by the end. The remakes are doing and saying different things from the series. I'm curious about how this is going to progress over the next two movies. Or, really, how they have two movies' worth of material left.

[Boner M]

Trial by the Road was beautifully directed and compelling on a scene-to-scene basis, as well as being pretty ballsy in its subject matter (no wonder it was banned for 15 years), but narratively it's a little slack, and more fundamentally I never find myself wholly connecting with films that explore notions of heroism and loyalty and the like, being the mugwump that I am. Still impressed enough with its craft that I'll check out more Aleksei German films when I get the chance.

[Qrazy]

I seem to remember people on the Internet kinda hating Evangelion 2: You Can (Not) Advance when it first hit, but I rather enjoyed it. The balance felt more like the show, which isn't a bad thing. It diverges wildly from the established patterns, though. There's more fanservice, as I heard complaints about, but there was only one shot I thought was too gratuitous. A couple of the music cues felt perhaps a bit misguided, but they always felt like they worked by the end. The remakes are doing and saying different things from the series. I'm curious about how this is going to progress over the next two movies. Or, really, how they have two movies' worth of material left.

Not sure where you were reading that but it's ranked number two on this anime site (http://myanimelist.net/topanime.php?type=movie). Personally I thought it was great and it's probably the most well animated film (by that I mean purely in terms of the detail of the animation, not best animated film) I've ever seen.

[Sycophant]

I guess the negativity mainly came from this video game forum I post at, and a certain Eva fansite. I really did like and enjoy it a lot, as did most everyone I watched it with. The animation truly was consistently stunning.

Hope the remaining two films make it out this decade.

[Grouchy]

I agree that the concept was somewhat amateurishly handled, but this was Aja's first movie. I don't think the movie is a masterpiece, but I think it's a wonderful formative exercise (that unfortunately didn't really lead to an interesting career) in tone and also an unusually structured psychological horror movie in that each scene serves as exposition for either the feminine side of the main character or for the serial-killing side. I like how the movie uses said established tone and plays off the structure up until the—granted—unspectacular, but generally serviceable ending.
I think the big problem with High Tension's ending is that the rest of the movie becomes pointless and I hate it when they do something like that just for the sake of throwing a big surprise - which isn't even something very original.

I saw a little bit of Witness on TV and a nice memory came to mind. I had this Screenwriting teacher in my first year of film school who showed this movie as an example in class and paused it in the scene where the Amish woman is naked. He turned to the class and said "if the movie had Sean Connery in the lead instead of Harrison Ford, he would've pushed her into the hay and they would be having sex right now". Later on I talked to other people and found out that the guy showed the same movie every year and made exactly the same comment.

[MacGuffin]

I think the big problem with High Tension's ending is that the rest of the movie becomes pointless and I hate it when they do something like that just for the sake of throwing a big surprise - which isn't even something very original.

I'm able to look past plot problems when the film is such a tonal and visceral delight.

[Grouchy]

I'm able to look past plot problems when the film is such a tonal and visceral delight.
Oh, that it is. The first half hour or so is amazing.

[Dukefrukem]

A Clockwork Orange blew me away. First time watchin it. Now I have to really think about what movie is Kubrick's best...

[Qrazy]

Trial by the Road was beautifully directed and compelling on a scene-to-scene basis, as well as being pretty ballsy in its subject matter (no wonder it was banned for 15 years), but narratively it's a little slack, and more fundamentally I never find myself wholly connecting with films that explore notions of heroism and loyalty and the like, being the mugwump that I am. Still impressed enough with its craft that I'll check out more Aleksei German films when I get the chance.

Hrm you may actually have been more engaged by the content of 20 Days Without War in that case. Still in my books his last two films are his best with My Friend Ivan Lapshin coming out on top.

[megladon8]

A Clockwork Orange blew me away. First time watchin it. Now I have to really think about what movie is Kubrick's best...


Glad you dug this one, Duke!

What else have you seen by Kubrick?

I think his career is quite fascinating. Even though I don't like all of his films, he was unquestionably "one of the greats".

[Dukefrukem]

Glad you dug this one, Duke!

What else have you seen by Kubrick?

I think his career is quite fascinating. Even though I don't like all of his films, he was unquestionably "one of the greats".

I've seen everything down until Spartacus, that's next on the list for me. Out of all the movies hes done that I've seen, I like Eyes Wide Shut the least.

[megladon8]

I've seen everything down until Spartacus, that's next on the list for me.


What did you think of Dr. Strangelove?

That's the one Kubrick film I all-out dislike.

[Ezee E]

I've seen everything down until Spartacus, that's next on the list for me. Out of all the movies hes done that I've seen, I like Eyes Wide Shut the least.
I say you skip Spartacus and go straight into The Killing.

[Dukefrukem]

What did you think of Dr. Strangelove?

That's the one Kubrick film I all-out dislike.

Well up until Clockwork, it was fighting for the number 5 spot on my top 100 films of all time. I almost like Clockwork, Srangelove and 2001 equally. They are tremendous. Some of the real life people Kubrick portrayed in Strangelove is what I love most about that film. I had no idea how much dark humor he used going into the viewing. Every scene the general is in I love.

[Dukefrukem]

I say you skip Spartacus and go straight into The Killing.

and then go back to Spartacus I presume?

[Winston*]

and then go back to Spartacus I presume?

Skip the movie and head straight for the hit television series Spartacus: Blood and Sand.

[Spaceman Spiff]

What did you think of Dr. Strangelove?

That's the one Kubrick film I all-out dislike.

That's because you're a crazy person.

[megladon8]

Well up until Clockwork, it was fighting for the number 5 spot on my top 100 films of all time. I almost like Clockwork, Srangelove and 2001 equally. They are tremendous. Some of the real life people Kubrick portrayed in Strangelove is what I love most about that film. I had no idea how much dark humor he used going into the viewing. Every scene the general is in I love.


I just didn't find it funny at all, aside from one or two of the Peter Sellers scenes.

I may just have to rewatch it. It's been a couple of years.

[Dukefrukem]

Not to rub it in to EyesWideOpen, but my Tron DVD came in Netflix on Friday. It's between that tonight and Pandorum which I can stream on netflix.

[Grouchy]

Of all the Kubrick films, Spartacus is the only one I find some reasons to dislike. And even with that allowance, it's a very good widescreen epic.

If you haven't seen The Killing, Duke, you should make that your next one.

[Ezee E]

and then go back to Spartacus I presume?
Go to whatever direction you want then. The Killing is one of my faves from him.

[soitgoes...]

I say you skip Spartacus and go straight into The Killing.Why skip his greatest film?

EDIT: Not that Spartacus is his greatest film, but the next one in line after it.

[Dukefrukem]

Of all the Kubrick films, Spartacus is the only one I find some reasons to dislike. And even with that allowance, it's a very good widescreen epic.

If you haven't seen The Killing, Duke, you should make that your next one.

adding to queue. It's available for streaming on Netflix!

[MacGuffin]

After two run throughs, I wasn't nearly as taken with The Heart of the World as most people seem to be. Taking in the overall spectacle of it, it's mildly intriguing, but as a dream piece, I far prefer David Lynch's stuff. As for the editing, it doesn't seem really as impressive as most people probably think—a lot of the effects seemed like digital filters. Again, it's not a bad film, I just don't find it as impressive as most. I'll take Tscherkassky's Dream Work any day.

[soitgoes...]

After two run throughs, I wasn't nearly as taken with The Heart of the World as most people seem to be. Taking in the overall spectacle of it, it's mildly intriguing, but as a dream piece, I far prefer David Lynch's stuff. As for the editing, it doesn't seem really as impressive as most people probably think—a lot of the effects seemed like digital filters. Again, it's not a bad film, I just don't find it as impressive as most. I'll take Tscherkassky's Dream Work any day.First, I'm not sure what you mean by "dream piece." It isn't a dream, and doesn't have a dreamy feel like say Eraserhead or Dream Work. Its pace is so frenetic that I would label it the opposite of dreamlike. As for the editing, the good news is that most people are right. The editing is the main reason why the film is so amazing, and it's one of Maddin's greatest strengths throughout his career. His homage to Soviet montage is spot on. What happens in the film is secondary to the technical skills, but the story, in 6 minutes, is nonetheless great. A woman (humanity or Mother Earth?) having to choose between two men, one a representation of sex/violence and the other religion, but in the end is seduced by a third who represents money/power. She turns her back on all in a move of self-sacrifice in order for the world to continue on. Amazing to me that all that is present in so short a time.

I'm not sure why you have to "take" Tscherkassky's film when besides being two b/w short films they're so different, one is filmed and the other is manipulated found footage. Personally I love both.

[MacGuffin]

I dunno. Maybe I'm just in a bad filmgoing mood. Unfortunately, I have been having trouble with a lot of films lately, so it's probably my fault.

[StanleyK]

I'm going through Kubrick's filmography and so far only Killer's Kiss isn't a masterpiece. If you haven't seen Paths of Glory, you should definitely do so.


Why skip his greatest film?

EDIT: Not that Spartacus is his greatest film, but the next one in line after it.

If it wasn't for 2001, I'm pretty sure it'd be my favorite of his as well.

[Dukefrukem]

I'm going through Kubrick's filmography and so far only Killer's Kiss isn't a masterpiece. If you haven't seen Paths of Glory, you should definitely do so.



If it wasn't for 2001, I'm pretty sure it'd be my favorite of his as well.

Paths of Glory is also available for stream. My lucky day.

[Spaceman Spiff]

I dunno. Maybe I'm just in a bad filmgoing mood. Unfortunately, I have been having trouble with a lot of films lately, so it's probably my fault.

Yeah, you're being as nutty as meg, as well. I have nothing but time and love for Tscherkassky, but they're both operating with totally different formal concerns despite the frentic editing of both. The way to be is like soitgoes, and just love both.

I still love Brand Upon the Brain! more simply because it really speaks to me on a personal level, but as far as pure technique goes really nobody razzles me and dazzles me as much as Maddin nowadays.

[megladon8]

What did I do that was nutty?

[MacGuffin]

I don't know. I could say that I'm interested in seeing one of his full-length and I guess I am, but I'm in such a state of cinematic distress and am simply genuinely overwhelmed and am never sure what exactly I'm in the mood for watching. That and the fact that something like, say for example, one of the films from the new Erich von Stroheim Criterion box set looks more interesting to me.

[soitgoes...]

I don't know. I could say that I'm interested in seeing one of his full-length and I guess I am, but I'm in such a state of cinematic distress and am simply genuinely overwhelmed and am never sure what exactly I'm in the mood for watching. That and the fact that something like, say for example, one of the films from the new Erich von Stroheim Criterion box set looks more interesting to me.You should probably look at another film or three before one of Maddin' full-length films. Heart of the World is every Maddin film reduced into 6 minutes. You aren't going to get much different than what he gave you in the short.

You mean von Sternberg?

[Winston*]

If you don't keep your cinematic distress in check, you can develop a cinematic ulcer.

[Chac Mool]

A Clockwork Orange blew me away. First time watchin it. Now I have to really think about what movie is Kubrick's best...

I won't venture to state which one is best, but my favorites are "2001", "Strangelove" and "Eyes Wide Shut".

[Qrazy]

Count me in as another who feels Paths of Glory is top tier Kubrick. However don't believe the haters Duke, Spartacus is a wonderful epic as well.

[megladon8]

Dr. Strangelove - 5
2001: A Space Odyssey - 10
A Clockwork Orange - 9
Barry Lyndon - 7.5
The Shining - 10
Full Metal Jacket - 8
Eyes Wide Shut - 10

[soitgoes...]

What did I do that was nutty?


Dr. Strangelove - 5
I'm not Spaceman Spiff, but this is just a guess...

[megladon8]

I'm not Spaceman Spiff, but this is just a guess...


I calls 'em as I sees 'em.

[MacGuffin]

You mean von Sternberg?

Yeah, him and his classic silent film look that Maddin seems to like.

[MacGuffin]

I calls 'em as I sees 'em.

I'd be curious to hear your thoughts. I don't think I've heard of Strangelove ambivalence.

[Dukefrukem]

Count me in as another who feels Paths of Glory is top tier Kubrick. However don't believe the haters Duke, Spartacus is a wonderful epic as well.

I've got the Criteron edition sitting right next to me.

I also just finished Pandorum. Holy hell, awesome sci-fi/horror flick. Makes me want to see more of Ben Foster.

[Raiders]

I also just finished Pandorum. Holy hell, awesome sci-fi/horror flick. Makes me want to see more of Ben Foster.

Oof. This was wretched.

[Dukefrukem]

Oof. This was wretched.

Seriously?? Wretched??

[megladon8]

I'd be curious to hear your thoughts. I don't think I've heard of Strangelove ambivalence.


I don't really have any organized, compelling thoughts on it right now because - as I stated earlier - I haven't seen it in a few years.

But I've seen it a total of 3 times and never liked it.

I'll try to watch it again soon and get back to you.

[eternity]

Seriously?? Wretched??

Seriously.

[Qrazy]

I don't really have any organized, compelling thoughts on it right now because - as I stated earlier - I haven't seen it in a few years.

But I've seen it a total of 3 times and never liked it.

I'll try to watch it again soon and get back to you.

Watch Paths of Glory, The Killing and Lolita instead.

[soitgoes...]

Yeah, him and his classic silent film look that Maddin seems to like.
With that set I just watched Underworld which it seems he reworked 2 years later as Thunderbolt. I saw the latter film not two weeks ago, and while Underworld is the better film, seeing what amounts to the same film from the same director in the span of a couple weeks kinda bored me. I should've waited a couple months.

I've also seen The Docks of New York a couple years ago and it ranks as one of his best works. I'm really looking forward to seeing The Last Command.

Maddin borrows from Soviet montage and German Expressionism far more than he apes silent Hollywood. Yes, von Sternberg was German, but for the most part he worked in the Hollywood system and wasn't really part of the Expressionist movement. Still he's a director to check out.

[balmakboor]

I saw A Clockwork Orange for the first time presented on campus by a fraternity about 24 years ago. That was one wild audience.

My favorite Kubricks:

1. Barry Lyndon
2. Eyes Wide Shut
3. Lolita
4. Full Metal Jacket
5. Dr. Strangelove
6. 2001
7. Paths of Glory
8. A Clockwork Orange
9. The Killing
10. The Shining
11. Killer's Kiss

It has been far too long since I saw Spartacus and I've only seen it once.

[Spaceman Spiff]

Don't think Kubrick got all that interesting until Dr. Strangelove, although The Killing is terrific as far as crime flicks go. Paths of Glory is pretty great too.

[MadMan]

Kubrick:

1. Dr. Strangelove(1964)-100
2. 2001(1968)-100
3. Full Metal Jacket(1987)-100
4. Paths of Glory(1957)-95
5. Lolita(1962)-88
6. The Shining(1981)-87
7. The Killing(1956)-81

Overall rating: 92.71. So yes, he's a great director. Dr. Strangelove is in my Top 10 of All Time. 2001 is one of the best sci-fi movies ever made. Full Metal Jacket and Paths of Glory are fantastic war movies. Lolita is a good comedy/drama that was a surprise to me-I should read the book. The Shinning is a fine horror movie that I need to finally revisit-I attempted to do so last Halloween, but failed due to its length and the fact that I was tired. The Killing is a good, kind of twisty film noir.

[Milky Joe]

1. Eyes Wide Shut
2. Barry Lyndon
3. 2001
4. Paths of Glory
5. Lolita
6. A Clockwork Orange
7. Dr. Strangelove
8. The Shining
9. Full Metal Jacket

[transmogrifier]

I get in trouble for dissing the Coens and Herzog, and now you have to go and discuss Kubrick? Someone's trying to frame me as the resident crank.

[baby doll]

It's been too long since I've seen some of Kubrick's films to rate and/or rank them, but my two favorites are 2001: A Space Odyssey and Barry Lyndon, followed by Eyes Wide Shut, The Shining, The Killing, and Paths of Glory in roughly that order (I need to take another look at Full Metal Jacket to figure out where it stands in the pecking order), and Dr. Strangelove is quite good as well. I can barely recall Killer's Kiss and I've never seen Spartacus; of his British pictures, the two that I find the least interesting are Lolita and A Clockwork Orange, although if they're on TV, I'll likely wind up watching them.

[Dukefrukem]

Seriously.

Pfft, you hate everything though. Including Inception.

[Dukefrukem]

And My Kubrick ratings would be...

2001 96
Dr. Strangelove 95
A Clockwork Orange 94
Full Metal Jacket 89
Barry Lyndon 80
The Shining 77
Lolita 60s
Eyes Wide Shut 40s

[number8]

Pfft, you hate everything though. Including Inception.

Everything? Do you know how many times he's seen Scott Pilgrim?!

But really, though, Pandorum was balls on shit.

[Dukefrukem]

Everything? Do you know how many times he's seen Scott Pilgrim?!

But really, though, Pandorum was balls on shit.

Haven't stepped foot in that thread since it's release. Been too busy. I guess Pandorum will be my guilty pleasure.

[number8]

"Got me a theory about that. You can tell a lot about a person by which of the two they like, got me? Fella likes Stan an' Ollie, he likes a good plot an' good characters. Doesn't like the story gettin' lost in the style. He's probably a stand-up guy. A fella prefers Chaplin..."

"He probably rapes sheep. Yeh know, I think yeh might have something there..."

"No denyin' it. I tell you, Cass. A man who doesn't like Laurel an' Hardy just ain't worth a damn."

[Skitch]

Glad to see I'm not the only one that gives Eyes Wide Shut a ten. Kudos.

[Ezee E]

The Killing, 2001, A Clockwork Orange, The Shining, and Eyes Wide Shut all get perfect ratings from me.

Full Metal Jacket, Barry Lyndon, and Dr. Strangelove are still four stars.

[Bosco B Thug]

Another film I can say no one here has any reason to see, ever. Lottery Ticket (starring Bow Wow and Ice Cube) happened upon me due to others' good feelings toward Friday (which I haven't seen), and I was hoping to be either pleasantly surprised or prepared to write about how depressingly futile it feels now to watch entirely disposable-but-undeniably slick entertainment that you get no genre joy out of. In the end, it was just not-good and pointedly worthless, a clear PG-13 piffle. The end and $6 down the hole. Fun, charismatic performances, though, to give a pro.

[Ivan Drago]

A Clockwork Orange 10
2001: A Space Odyssey 9.5
Full Metal Jacket 9
Eyes Wide Shut 9
The Shining 8.5
The Killing 7.5
Dr. Strangelove 6.5

[dreamdead]

Off to a conference Thursday-Saturday on comics and animation, where I'll pontificate on gender and Batwoman: Elegy, and will get to see Song of the South and Sita Sings the Blues. I'm geeked up to see the former film, which I only faintly remember from childhood.

[Sven]

which I only faintly remember from childhood.

Recently we showed my bootleg copy of it to a few nieces and nephews. They were not impressed.

[Spinal]

The most awesome thing that I learned today:

So, about 10 years ago, I was living in Denver. My wife and I were running a small theatre company and renting space from a larger group, called the Bug Theatre. We hit it off with them and became friends and collaborators.

We came up with this idea to try to get people into the theatre on a Monday night. It was a free-form open mic performance showcase called Freak Train in which people would come and sign up for a 5-minute slot and perform whatever they liked. Comedy, performance art, music, whatever. (Full disclosure: this was based on a similar Chicago-based event that one of the Bug members had witnessed, but no matter ...)

Anyway, I was the host of this event for the first few years of its existence until I moved to Oregon about 6 years ago. We held one a month and it grew to be very successful and popular.

Then, a couple years ago, I saw Werner Herzog's Encounters at the End of the World and was surprised to see people in Antarctica participating in a simlar event. They even called it Freak Train like we did. I thought it was pretty awesome, but figured it could be coincidental. After all, the idea wasn't that original to begin with.

But today, I got an email from one of my old Denver friends who was working the Underground Music Showcase and met one of the people responsible for taking Freak Train to Antarctica. He and a friend had seen our version in Denver and decided to replicate it at a bar in Antarctica, which is what you see in the movie.

So, I don't know what all this means ultimately, but I felt like it needed to be shared.

[Sven]

So, I don't know what all this means ultimately, but I felt like it needed to be shared.

Totally cool.

I have a similar story that is much less awesome: my friends and I performed a barbershop-type cover of "I Wanna Be Like You" from The Jungle Book for a LDS seminary talent show. To make it interesting, we had the guy who would interject the Mowgli lines eat an entire chocolate cake during the song. Hilarious. Went over amazingly well. A couple of years later, Mormon rock band Low has a video where dude is trying to eat an entire chocolate cake. Coincidence...?

Anyway, Herzog story is way cool.

[number8]

Once, my friends and I hauled a boat over a mountain. Then I saw Fitzcarraldo... Coincidence?

[Bosco B Thug]

But today, I got an email from one of my old Denver friends who was working the Underground Music Showcase and met one of the people responsible for taking Freak Train to Antarctica. He and a friend had seen our version in Denver and decided to replicate it at a bar in Antarctica, which is what you see in the movie. Daaamn. Cool. Freak Train Antarctica guys should've tried contacting you.

[soitgoes...]

Well if White Hell of Pitz Palu taught me anything, it's that Pabst was a great director. His scenes carry the film. Fanck's contribution is some beautiful mountain imagery, especially a nighttime torch sequence, but outside of pretty pictures there isn't much there. All the drama and humanness is found almost entirely in the opening hour, of which Pabst filmed the lion's share.

[MacGuffin]

continuing on Carpenter:

Coincidentally, I just saw a book about his work at my library and didn't pick it up because it seemed about a decade obsolete, omitting later works like Ghosts of Mars. Then I realized that most people hated those movies, so maybe that was why they were omitted. But I still think worthwhile directors' lesser works have some value and are certainly interesting to watch. Either way, I'll check out Assault on Precinct 13 and Escape from New York post-haste.

[Spaceman Spiff]

Totally cool.

I have a similar story that is much less awesome: my friends and I performed a barbershop-type cover of "I Wanna Be Like You" from The Jungle Book for a LDS seminary talent show.

:lol::lol::lol:

[Sven]

Anyone interested in buying my Region 2 copies of Walter Hill's Hard Times (widescreen!) and/or director's cut of The Last Emperor? I'll give you an awesome price.

[Spinal]

A return visit to Tron was not kind. I have some nostalgiac affection for the film's signature look, but boy, it is kind of painful to watch over the long haul. It doesn't help that the narrative fails to generate any real excitement or tension. Virtually every aspect of the script is half-assed - the character development, the central conflict, the romance angle, the religious allegory. David Warner comes off best. He's pretty much the only one in the world of the computer who seems fully committed. He really seems to belong there, to live there, rather than being an awkward actor trying to sell technological mumbo-jumbo in a tight, glowing suit. I saw this as a kid when it came out in theaters. Even then, I thought the whole thing was kind of silly. A few decades later, I feel the same way.

Still kind of interested in the sequel, though I really shouldn't be.

[Sven]

Really just posting in here to have Last Post domination on the front page. Because it's late and I'm not sleepy.

I am sad that Tron didn't work for you. I, however, still love it.

[soitgoes...]

Really just posting in here to have Last Post domination on the front page. Because it's late and I'm not sleepy.Nicely done!

[Dukefrukem]

A return visit to Tron was not kind. I have some nostalgiac affection for the film's signature look, but boy, it is kind of painful to watch over the long haul. It doesn't help that the narrative fails to generate any real excitement or tension. Virtually every aspect of the script is half-assed - the character development, the central conflict, the romance angle, the religious allegory. David Warner comes off best. He's pretty much the only one in the world of the computer who seems fully committed. He really seems to belong there, to live there, rather than being an awkward actor trying to sell technological mumbo-jumbo in a tight, glowing suit. I saw this as a kid when it came out in theaters. Even then, I thought the whole thing was kind of silly. A few decades later, I feel the same way.

Still kind of interested in the sequel, though I really shouldn't be.

Devastating. This just came from Netflix.

[Mysterious Dude]

The way I feel about Tron is kind of similar to how I feel about The Cell and MirrorMask. No, there's not much to the screenplay, but I am so dazzled by the visuals that I do not care.

[Skitch]

This just in...Troma has made its second good film (Toxic Avenger being the first). Poultrygeist: Night Of The Chicken Dead. Lunacy, but hilarious lunacy.

[soitgoes...]

I've been watching a lot of films from 1929 and 1930, and I think around that period (say '27 through '33) is one of the more interesting in film history, the overlap of silent film's demise and the birth of the talkies. Silent film technique was finally mastered, and just like that it was made obsolete. In watching a good amount of silent films, I've seen their growth almost on a yearly basis as new techniques are introduced. Think of what films came out 30 years ago. For the most part they aren't too outdated. The biggest difference, besides the change in society, is with the growth of computers (cgi and digital cameras). Now go back 30 years from 1928 when Dreyer made The Passion of Joan of Arc and you get non-narrative novelties lasting a few minutes at the most. Méliès hadn't even taken us to the moon yet. Such amazing growth! Then just like that, it all stopped. Silent films hung on for a couple years, but outside of a some national cinemas (Russia, China, Japan) and Chaplin it was gone by 1930.

The transition wasn't easy. Dual tracks weren't yet available, so music was recorded live on the set with the actors acting. Beautiful tracking shots for the most part disappeared for a couple years, because of the necessity of containing the noisy cameras in a sound proof room so their sound wouldn't be picked up by the microphones. Actors were still using pantomime to convey emotions visually. In moving forward film actually had to go backwards. By the mid-30's everything was back to normal. Technology had caught up.

[baby doll]

Weekend:

À l'origine (Xavier Giannoli, 2009)

Two Weeks From Friday:

UNCLE BOONMEE WHO CAN RECALL HIS PAST MOTHERFUCKIN' LIVES!!!!

[MacGuffin]

Weekend:

Movies I won't list here at the risk of jinxing it, getting lazy and ending up watching nearly none of them.

[Stay Puft]

Two Weeks From Friday:

UNCLE BOONMEE WHO CAN RECALL HIS PAST MOTHERFUCKIN' LIVES!!!!

Same, and I'm just as excited.

Seeing it in Toronto, or is it playing in Montreal?

[megladon8]

So, as I promised, I re-watched Dr. Strangelove. Twice, actually.

I like it more than I did the 3 times I saw it 5, 6 and 7 years ago.

However, I still don't love it by any means. In fact, it still gets a mere passing grade from me. Much of it is still completely un-funny to me, in particular Sterling Hayden's character and all the "precious bodily fluids" talk.

Now, I know everyone would just LOVE to jump on me and say "you just didn't get it", but you know what? I did get it. I just didn't think it was funny.

Peter Sellers was marvelous, but such is to be expected.

What really gets me, though, is George C. Scott's performance. Admittedly I haven't seen many of his films (only a small handful, 5 or so) but I've never seen him play a role that wasn't deadly serious. He shows here that he has quite a knack for comedy - particularly physical stuff.

And I found Slim Pickens quite annoying, to be honest.

So yeah...6.5

[MacGuffin]

Peter Sellers was marvelous, but such is to be expected.

As long as you can admit this, I'm okay. He really is the greatest part of the movie (which is an awesome movie, in my opinion). That said, Kubrick has more formally interesting movies.

[megladon8]

As long as you can admit this, I'm okay. He really is the greatest part of the movie (which is an awesome movie, in my opinion). That said, Kubrick has more formally interesting movies.


Agreed on both accounts.

I found it quite a boring film to look at, really.

And Peter Sellers died much too early. What an incredible talent he was.

[Qrazy]

Agreed on both accounts.

I found it quite a boring film to look at, really.

And Peter Sellers died much too early. What an incredible talent he was.

Watch Lolita.

[Raiders]

Much of it is still completely un-funny to me, in particular Sterling Hayden's character and all the "precious bodily fluids" talk.

Now, I know everyone would just LOVE to jump on me and say "you just didn't get it", but you know what? I did get it. I just didn't think it was funny.

I don't know that there is a lot to "get" but I do think there is simply something wrong with someone who doesn't find a lot of that stuff funny. That precious bodily fluids line is just so... awesome. Hard to discuss the effectiveness of comedy though.


What really gets me, though, is George C. Scott's performance. Admittedly I haven't seen many of his films (only a small handful, 5 or so) but I've never seen him play a role that wasn't deadly serious. He shows here that he has quite a knack for comedy - particularly physical stuff.

Yes, he is by far the best part of the film.


And I found Slim Pickens quite annoying, to be honest.

As did I. Another weakness for me is the silly post-apocalypse rambling... I wish it all had just ended at the bomb montage. It's not Kubrick's best by any means, but it is damn funny to me.

[balmakboor]

Kubrick has more formally interesting movies [than Dr Strangelove].

I actually think its formal qualities -- compositional and structural -- are its chief strengths. But, I certainly wouldn't want to short change its amazing gallery of characters, particularly by Sellers, Hayden, and Scott.

Oddly though, while I consider it one of the greatest films ever made, I almost never laugh while watching it. I do smile a lot though.

[balmakboor]

Watch Lolita.

I've read this post four times. Twice I thought you were saying it to praise Lolita and twice to belittle it. OK, I give up. Which do you mean?

[baby doll]

Same, and I'm just as excited.

Seeing it in Toronto, or is it playing in Montreal?I'm seeing it in Halifax at the Atlantic Film Festival. I'm also seeing Undertow ('cause when else am I going to see a movie from Peru?); The Canal Street Madam (time filler before...); The Illusionist (Tati + Chomet = awesome, on paper anyway); A Film Unfinished (I'm a sucker for Holocaust movies--I even like The Reader); Holy Rollers (for a Jew double bill); MODRA (some Canadian flick that's a time filler before...); Les Amours imaginaires (I quite liked J'ai tué ma mère); You Will Meet a Tall Dark Stranger (for W.A. completism); And Everything Is Going Fine (Soderbergh on Spalding Grey); Carlos (but only the first two and a half hours, since that's all they're showing); Tamara Drewe (Stephen Frears has made some okay movies, so this might be okay); Incendies (Villeneuve has yet to disappoint me); Another Year (duh); The Myth of the American Sleep Over (major fest hype); and Howl (empty slot).

[Qrazy]

I've read this post four times. Twice I thought you were saying it to praise Lolita and twice to belittle it. OK, I give up. Which do you mean?

Praise. I meant watch it because he likes Sellers and I think Sellers is hilarious in the film.

[baby doll]

Okay, apparently there's a condensed two and a half hour version of Carlos (Carlos 1: Spectre?). I knew when I heard that they were showing it that it was too good to be true.

[Qrazy]

I'm seeing it in Halifax at the Atlantic Film Festival. I'm also seeing Undertow ('cause when else am I going to see a movie from Peru?); The Canal Street Madam (time filler before...); The Illusionist (Tati + Chomet = awesome, on paper anyway); A Film Unfinished (I'm a sucker for Holocaust movies--I even like The Reader); Holy Rollers (for a Jew double bill); MODRA (some Canadian flick that's a time filler before...); Les Amours imaginaires (I quite liked J'ai tué ma mère); You Will Meet a Tall Dark Stranger (for W.A. completism); And Everything Is Going Fine (Soderbergh on Spalding Grey); Carlos (but only the first two and a half hours, since that's all they're showing); Tamara Drewe (Stephen Frears has made some okay movies, so this might be okay); Incendies (Villeneuve has yet to disappoint me); Another Year (duh); The Myth of the American Sleep Over (major fest hype); and Howl (empty slot).

I like how you always belittle Frears but are going to see his new film. This is funny to me. :lol: I'm also seeing The Illusionist (at TIFF), here's to hoping it delivers. I think it will personally.

[balmakboor]

Praise. I meant watch it because he likes Sellers and I think Sellers is hilarious in the film.

Ahh, in that case I'm totally in agreement.

[number8]

Okay, apparently there's a condensed two and a half hour version of Carlos (Carlos 1: Spectre?). I knew when I heard that they were showing it that it was too good to be true.

They're releasing both versions theatrically.

[baby doll]

I like how you always belittle Frears but are going to see his new film. This is funny to me. :lol: I'm also seeing The Illusionist (at TIFF), here's to hoping it delivers. I think it will personally.Well, I did rather like Sammy and Rosie Get Laid, High Fidelity, and Dirty Pretty Things, and there's still a bunch more I haven't yet seen. Given a solid script, he's perfectly competent craftsman. Even in the case of Chéri, there's nothing particularly wrong with it so much as it lacks any compelling reason to exist in the first place.

Edit: I also saw The Grifters and The Van, which I liked at the time but can barely remember now, and The Queen, which bored me to tears. Helen Mirren as Elizabeth II should at least get me to half-mast, if you know what I mean.

[Qrazy]

Ahh, in that case I'm totally in agreement.

Feel free to express your agreement in large sacks of rep. :lol:

[Qrazy]

Well, I did rather like Sammy and Rosie Get Laid, High Fidelity, and Dirty Pretty Things, and there's still a bunch more I haven't yet seen. Given a solid script, he's perfectly competent craftsman. Even in the case of Chéri, there's nothing particularly wrong with it so much as it lacks any compelling reason to exist in the first place.

Fair. I like High Fidelity. Dirty Pretty things was decent. The Grifters was okay. And I dislike Dangerous Liaisons. I would quite like to see Prick Up Your Ears and The Hit though.

[baby doll]

They're releasing both versions theatrically.That's good, but it doesn't help me. Anyway, some Assayas is better than no Assayas.

[soitgoes...]

I can see where commercially a 2 and a half hour version of Carlos would be beneficial, but man the 5 hour version is sooooo good.

[megladon8]

This just in...Troma has made its second good film (Toxic Avenger being the first). Poultrygeist: Night Of The Chicken Dead. Lunacy, but hilarious lunacy.


Ugh. I couldn't even finish this one.

[Stay Puft]

I'm seeing it in Halifax at the Atlantic Film Festival.

Ah, ya, Halifax. I keep thinking you're in Montreal for whatever reason.

I was hoping Carlos would be at TIFF, but it won't be screening in Toronto until October or something. A week long theatrical engagement of the TV version, I think, at the new Lightbox. Which would be fine, if I still lived there, but I don't.

[Barty]

Dr. Strangelove has never been that funny of a comedy to me (at least in laugh-out-loud factor), but it is my number 3 film of all time because it's absolutely brilliant in every way.

The funny thing about it is, well, the characters really aren't pure satirical portrayals by any means.

[MacGuffin]

Kikujiro was wonderful and I get the feeling that I'm going to want to revisit it again very soon, so it's a shame that the North American DVD is absolute crap and the only decent DVD is from Japan and it's $45. I understand that America doesn't seem to care about Kitano like they do Miyazaki, but even with Kikujiro, Kitano effectively demonstrated that he's just as talented as Miyazaki at conjuring scenes of wondrous life-affirming cinema magic. Dolls is the same way to a lesser extent and Fireworks has its charms also. Overall, I have that same exciting feeling I get when I'm first exploring a filmmakers' work and know he will become a favorite of mine. I'm just a little perturbed that Japan's biggest star is so underrepresented in my home country.

[Winston*]

The funny thing about it is, well, the characters really aren't pure satirical portrayals by any means.

What does this mean?

[Ezee E]

Do I pass up the chance to see Once Upon A Time in the West on an outdoor screen tomorrow???

[transmogrifier]

Do I pass up the chance to see Once Upon A Time in the West on an outdoor screen tomorrow???

Short answer: No.

Long answer: No, you fool.

[Skitch]

Ugh. I couldn't even finish this one.

That's okay. Troma's so piss-poor they hardly count as real movies, but this one I found amusing.

[Boner M]

I can see where commercially a 2 and a half hour version of Carlos would be beneficial, but man the 5 hour version is sooooo good.
I dunno, I loved the 5-hr version but I can see a shorter, tighter version working equally as well beyond commericial imperatives, ala Killing of a Chinese Bookie and Fanny & Alexander.

My weekend/coming week:

Hell House
La Bete
I'm Going Home
Christmas in July (Sturges)
The Kids are Alright
The Killer Inside Me

[Dukefrukem]

Weekend; gonna be tough, going to Maine for lobsters for Labor day and working on my new place all day Friday and Saturday, but I'm gonna try to fit in;

The Hurt Locker and maybe go see the Expendables.

[baby doll]

I dunno, I loved the 5-hr version but I can see a shorter, tighter version working equally as well beyond commericial imperatives, ala Killing of a Chinese Bookie and Fanny & Alexander.I'm partial to the longer version of The Killing of a Chinese Bookie myself.

[baby doll]

Ah, ya, Halifax. I keep thinking you're in Montreal for whatever reason.I flit about.

[Qrazy]

What does this mean?

I believe he means because some of the characters are rather closely based on actual real individuals.

[Fezzik]

This weekend there will be no movie watching.

Instead, I'm going on a trip kind of inspired by one.

5 friends and I are going to Biloxi, MS for a bachelor party. That's right. It's The Hangover, southern style :D

Hey, as long as there is good food and casinos, I'll take it.

[Spinal]

This weekend is for college football. Sorry, movies, I'm seeing someone else.

[Ezee E]

5 friends and I are going to Biloxi, MS for a bachelor party. That's right. It's The Hangover, southern style :D

Hey, as long as there is good food and casinos, I'll take it.

Find a crawfish boil party somewhere. That's really all that matters for Biloxi. Otherwise, be ready for disappointment.

[Qrazy]

I'm partial to the longer version of The Killing of a Chinese Bookie myself.

I'm partial to the longer versions of both of 'em.

[number8]

It's pissing me off that I won't be able to see a press screening of Carlos next Wednesday because I can't take a 6-hour lunch break.

[baby doll]

It's pissing me off that I won't be able to see a press screening of Carlos next Wednesday because I can't take a 6-hour lunch break.Can you take a personal day?

[soitgoes...]

I dunno, I loved the 5-hr version but I can see a shorter, tighter version working equally as well beyond commericial imperatives, ala Killing of a Chinese Bookie and Fanny & Alexander.
There's a one hour period (the Vienna scene) in Carlos that is just phenomenal. There is no need to cut into that. It is just about perfect. The problem is that if there aren't any cuts made to it, but then you trim off two and a half hours from the rest of the film, everything becomes uneven. So a sacrifice to a great scene must be made. A sidenote: I do think an entire film could be made around this scene and it would be fantastic, but that would go against what Assayas had set out to do with his film.

My only problem with the film was that it was overlong, but not overlong by a couple hours. A snip here and there and I'd be left with my favorite film of the year. I think at half its length we'd be left with a bullet point version of Carlos's terrorist life.

[chrisnu]

Watching A Serious Man again this weekend. That and Machete.

[Rowland]

Weekend:

Malice
The Kids Are All Right

[number8]

Can you take a personal day?

I can, but I'm not on salary yet and I don't feel like losing a whole day's pay. Guess I'll see it on demand.

[Spaceman Spiff]

Just saw Brick, and thought it was pretty awesome. One thing though, I would have liked it a lot better if it had more of those 'film noir' clashing with 'high school genre' elements. I guess it would have altered the atmosphere of the film significantly, as it would be difficult to balance the two, yet keep the dark/foreboding line that runs deep, but it would have made for a much more interesting flick, I think. Too often I felt it just played as a straight up Sam Spade flick, which was a little disappointing given how much room Johnston gave himself to work with in terms of genre mixing.

Still, very good. I also didn't know JGL could act, considering I only really remember him from Inception, so that was a nice surprise too.

[Dukefrukem]

Of all the Kubrick films, Spartacus is the only one I find some reasons to dislike. And even with that allowance, it's a very good widescreen epic.

If you haven't seen The Killing, Duke, you should make that your next one.




Go to whatever direction you want then. The Killing is one of my faves from him.

The Killing is.... fantastic. Very Reservoir Dogs'esk almost. My first "Film noir" :|

[soitgoes...]

I have decided that Maurice Chevalier irritates me.

[Boner M]

There's a one hour period (the Vienna scene) in Carlos that is just phenomenal. There is no need to cut into that. It is just about perfect. The problem is that if there aren't any cuts made to it, but then you trim off two and a half hours from the rest of the film, everything becomes uneven. So a sacrifice to a great scene must be made. A sidenote: I do think an entire film could be made around this scene and it would be fantastic, but that would go against what Assayas had set out to do with his film.

My only problem with the film was that it was overlong, but not overlong by a couple hours. A snip here and there and I'd be left with my favorite film of the year. I think at half its length we'd be left with a bullet point version of Carlos's terrorist life.
Good points, all. I was actually wondering if the short version would just be an extended version of the Vienna segment. I think a 2.5 films about the leadup and aftermath would actually be quite manageable.

I think my favorite scene was the apartment/informant bit at the end of P1 - the camera circling the ukelele players, the surveying of faces... sadistic tension at its best.

[soitgoes...]

I think my favorite scene was the apartment/informant bit at the end of P1 - the camera circling the ukelele players, the surveying of faces... sadistic tension at its best.That's a good one too. His first assignment is another great one, a nice bit of misdirection which nicely sets up the deconstruction of the iconic figure that is Carlos, as is the aftermath of the OPEC bungle with his PLO boss. Assayas is able to build such great tension throughout.

[Rowland]

I have decided that Maurice Chevalier irritates me.Sacré bleu!

http://i233.photobucket.com/albums/ee171/soitgoes22/aRoubenMamoulianLoveMeTonightD VDPDV.jpg

[soitgoes...]

Sacré bleu!

http://i233.photobucket.com/albums/ee171/soitgoes22/aRoubenMamoulianLoveMeTonightD VDPDV.jpg
Ha! You have used my own post of Monsieur Chevalier against me!

[Mara]

I have decided that Maurice Chevalier irritates me.

I often feel like he's trying to sell me a used car.

A crappy used French car.

Dammit, the man's trying to sell me a Renault.

[B-side]

You can watch Harmony Korine's new short film here (http://www.proenzaschouler.com/shop/).

Korine fans will be pleased. I certainly was.

[MacGuffin]

You can watch Harmony Korine's new short film here (http://www.proenzaschouler.com/shop/).

Korine fans will be pleased. I certainly was.

It's okay. I consider myself a "Korine fan", but at this late in the game, his approach to filmmaking is reaching a point where each individual film (with the exception of Mister Lonely, which takes a more polished approach to the same idea) seems like a continuation of the basic concept Herzog presents in Even Dwarfs Started Small. Korine's distinction—a retro found-footage approach to documenting fictional lower class citizens—works for me, but beyond that, I can see Korine's films forcibly having to rely solely on character structuring. (At this point, I think he's done a good job mythologizing lower classes and is as respectful to and as interested in them as a sociologist would be a third-world country.)

[MacGuffin]

By the way, recent Criterion newsletter clues indicate Broadcast News and Kes are on the way.

[Watashi]

By the way, recent Criterion newsletter clues indicate Broadcast News and Kes are on the way.
Nice. I've been waiting on Kes. I have it recorded on TCM, but it's impossible to understand without subtitles.

Broadcast News is one of the best films of the 80's.

[MacGuffin]

Is it true that Broadcast News is loosely inspired by the on-air suicide of Christine Chubbuck?

[DavidSeven]

I actually think its formal qualities -- compositional and structural -- are its chief strengths. But, I certainly wouldn't want to short change its amazing gallery of characters, particularly by Sellers, Hayden, and Scott.


Agreed. Kubrick has more and less formally interesting works in the catalog, but as far as comedies go, Strangelove is top shelf. All the elements together make it one of his personal best.

And I do find it laugh out loud funny.

[soitgoes...]

Is it true that Broadcast News is loosely inspired by the on-air suicide of Christine Chubbuck?I'm not sure how. I don't remember anyone dying in the film let alone killing themselves on-air. Albert Brooks sweats a lot.

[MacGuffin]

I'm not sure how. I don't remember anyone dying in the film let alone killing themselves on-air. Albert Brooks sweats a lot.

I see. Perhaps the connection had something to do with an apparent plethora of character distress throughout the film.

[soitgoes...]

I see. Perhaps the connection had something to do with an apparent plethora of character distress throughout the film.
Where did you hear about this connection? A link perhaps, because I don't see it all.

[MacGuffin]

Where did you hear about this connection? A link perhaps, because I don't see it all.

Sorry, I can't remember. It was at least half a year ago; I think I was reading something about Chubbuck's on-air suicide on AVManiacs and someone mentioned the film.

[soitgoes...]

Reading Chubbuck's wiki entry, I guess there could be some similarities with Brooks' character. Having a love triangle where a person ends up hurt has happened on film hundreds of time. But set it around a television news set...

[soitgoes...]

Sorry, I can't remember. It was at least half a year ago; I think I was reading something about Chubbuck's on-air suicide on AVManiacs and someone mentioned the film.It's cool. I think any comparisons are purely coincidental.

With the film, see it if you must, but it's far from necessary.

[Boner M]

I have it recorded on TCM, but it's impossible to understand without subtitles.
Fook ya oon abote?

[Qrazy]

It's okay. I consider myself a "Korine fan", but at this late in the game, his approach to filmmaking is reaching a point where each individual film (with the exception of Mister Lonely, which takes a more polished approach to the same idea) seems like a continuation of the basic concept Herzog presents in Even Dwarfs Started Small. Korine's distinction—a retro found-footage approach to documenting fictional lower class citizens—works for me, but beyond that, I can see Korine's films forcibly having to rely solely on character structuring. (At this point, I think he's done a good job mythologizing lower classes and is as respectful to and as interested in them as a sociologist would be a third-world country.)

I don't agree. I grew up in an extremely lower class town and the disgusting filth mongering Korine partakes in is nothing like the reality of the 'lower class' (that which a sociologist would be interested in). Korine's films may have some sense of disturbed and heightened fringe reality, the one percenters of the 'lower class' if you will, but only barely. Even the mentally ill and (separately) violent youth of my childhood were no where near the brand of ugliness Korine generates. Korine is not interested in respecting the lower class as a sociologist would (this entails approaching some degree of care and reality with his characters), nor is he interested in mythologizing them. John Ford mythologizes the lower class. Korine approaches them in a Lynchian manner, exposing what he feels to be their underbelly.