28 Film Discussion Threads Later

[Watashi]

Welcome, Elixir!

I am the creator and founder of Match Cut. I am also a moderator so ask me a question and I will gladly help you.

[balmakboor]

Dazed and Confused > Fast Times at Ridgemont High > American Graffiti

[megladon8]

I am a he.

Hm...what am I supposed to take away from this rep power thing? The people with the most are the coolest? The veterans?


It's pretty arbitrary.

Usually people who have been around the longest and posted the most tend to have more rep, simply because they have a larger number of posts to which rep may have been applied.

[transmogrifier]

I am a he.

Hm...what am I supposed to take away from this rep power thing? The people with the most are the coolest? The veterans?

The people who cater to your basest impulses through a well-orchestrated campaign of flattery and deception. The incorrigible populists with no principles or moral centre.

[balmakboor]

I am a he.

Hm...what am I supposed to take away from this rep power thing? The people with the most are the coolest? The veterans?

Those with about 700 are the coolest. Those with more than 2000 are probably hackers or something.

[Pop Trash]

Dazed and Confused > Fast Times at Ridgemont High > American Graffiti

Nah, Fast Times is the best of those (ironically I say this with my Linklater avatar).

[transmogrifier]

Dazed and Confused > Fast Times at Ridgemont High > American Graffiti

This is not opinion, but fact. Though I'd probably extend it to:

Dazed and Confused >>>>>> Fast Times at Ridgemont High >>> American Graffiti

[balmakboor]

Nah, Fast Times is the best of those (ironically I say this with my Linklater avatar).

I might have agreed with you two weeks ago, but my daughter gave me the Dazed Criterion for Christmas and, wow, it's like a totally fucking great movie.

Great bonus stuff too.

[Spinal]

Hi, I'm new here.

I saw Joan Rivers: A Piece of Work and Restrepo yesterday, and while the former was fun enough, the latter impressed me a good deal. I have only scratched the surface for documentaries the past year, but so far three documentaries are now some of my favorites movies from 2010.

A Match Cut Primer (http://www.match-cut.org/showthread.php?t=3300)

[Scar]

Welcome, Elixir!

I am the creator and founder of Match Cut. I am also a moderator so ask me a question and I will gladly help you.

Do not listen to Wats, he knows not of what he speaks.

Unless its animation.

[eternity]

Just watched Never Let Me Go. Heard this question a billion times; asking it myself:

WHY THE FUCK DIDN'T THEY JUST RUN AWAY!?!?!?!?

Dumb question? I've been told.

[Qrazy]

I think American Graffiti is a more interestingly made film than Fast Times personally. Dazed is definitely better than the other two though.

[StanleyK]

Okay, I'm sold. O Sangue will be the first movie I see in 2011.

And done. Great movie. Amazing imagery, not just in the cinematography but in the juxtaposition of the editing. Not really sure what it's about thematically, to be honest; there's a lot to chew on. A rewatch later down the road is a must. Good start for the year.

[transmogrifier]

A Match Cut Primer (http://www.match-cut.org/showthread.php?t=3300)

I'm so making one of those...

EDIT: and here it is...

In the Sauna (http://www.xtranormal.com/watch/8216707/)

[balmakboor]

A Match Cut Primer (http://www.match-cut.org/showthread.php?t=3300)

That was fun while it was in fashion. I made two more that aren't on that list that I posted to my blog. My favorite is my neo-Joseph Campbell defense of I'm Still Here (http://www.xtranormal.com/watch/8033887/).

[Ezee E]

Just watched Never Let Me Go. Heard this question a billion times; asking it myself:

WHY THE FUCK DIDN'T THEY JUST RUN AWAY!?!?!?!?

Dumb question? I've been told.
I just want to know why the thought never even crossed their minds. The childhood fear surely only would last a while... I don't know. Bad movie regardless.

[Watashi]

Just saw Dogtooth.

If Spinal doesn't give this four stars, I will be shocked. Shocked.

[KK2.0]

Reactionary in terms of how it treats natives or?

the extras were a bit distracting, specially at the Cairo/Morocco scenes.

[Spinal]

Every time I see a Dogtooth post, I get severely jealous.

[MacGuffin]

Every time I see a Dogtooth post, I get severely jealous.

No kidding. It opens here on the 7th. I want to try and see it in theaters because Kino sucks and the DVD will probably be a ugly, botched PAL --> NTSC transfer.

[Pop Trash]

No kidding. It opens here on the 7th. I want to try and see it in theaters because Kino sucks and the DVD will probably be a ugly, botched PAL --> NTSC transfer.

No Blu-Ray either.

[Sxottlan]

Here's the new year preview picture of what I assume will be some 2011 titles over at the Criterion website:

http://criterion_images.s3.amazonaws. com/current/wackynewyear_2010a.jpg

The only one I can definitely make out is Carlos.

And perhaps Wild Strawberries. Maybe Bloody Sunday?

Is La Boca Del Cielo Beach where they were going in Y Tu Mama Tambien?

[Spinal]

I'm pretty sure the Marilyn/Einstein is Roeg's Insignificance.

[B-side]

I'm pretty sure the Marilyn/Einstein is Roeg's Insignificance.

I'm told these are the answers:

Carlos, Y tu mama tambien, Solaris (either blu or Soderbergh's), Cul-de-sac, Diabolique, White Material, Insignificance, Sunday, Bloody Sunday.

[Mysterious Dude]

I recognize the space station from Solaris, but that's the only one I got before finding this page (http://criterioncast.com/2011/01/01/wacky-new-years-drawing-hints-at-criterions-2011-slate-of-releases/) with rumors.

[Spinal]

Y tu mama tambien

Sweet.

[Boner M]

Kinda puzzling that White Material gets the Criterion treatment ahead of 35 Rhums.

[B-side]

I'm not thrilled with these announcements. Not much to get excited about.

[TripZone]

Kinda puzzling that White Material gets the Criterion treatment ahead of 35 Rhums.

White Material is about revolution. That attracts more viewers. Criterion became greedy.

[Sxottlan]

I'm glad they're doing much more recent titles, even if they're only foreign films. Not surprising I guess. Most anything recent and domestic I suppose would be claimed by their studios, even the ones they don't initially back on home video. Damn Paramount for actually doing a special edition of Zodiac years after it initially came out!

I still genuinely hope they'll do My Winnipeg. It never came out to buy as far as I know.

Is there any reason they don't do animation? Satoshi Kon's work warrants consideration.

[Thirdmango]

I just watched A Serious Man for the first time which is odd for me since I'm such a big Coen's fan. I went back and read through the thread here on match cut and the one thing which really weirded me out as that everyone seemed to have laughed during the movie. I didn't. Well that's not completely true I chuckled during one scene.

The Jesus Christ moment.

I liked the movie quite a bit but I didn't find anything in it to be remarkably funny nor did I really think of the movie as a comedy as I watched it. I'm a bit bewildered at my own reaction during the movie and at everyone else's.

[Grouchy]

The shining briefcase might be Kiss Me Deadly.

[Russ]

I recognize the space station from Solaris, but that's the only one I got before finding this page (http://criterioncast.com/2011/01/01/wacky-new-years-drawing-hints-at-criterions-2011-slate-of-releases/) with rumors.
One thing it didn't address (if it's even a clue) -- what's up with the snowflakes?

[Russ]

Matsumoto's Symbol is a film not like any other film I've ever seen before. Sadly, because of this, most people outside of Japan will never get a chance to experience it. Two parallel stories (one follows a wrestler named Escargot Man in Mexico, the other a nameless Japanese man trapped in a solid white room with angel genitalia buttons) unfold without any perceived connection. About an hour in the two come crashing together with hilarity. I'm not entirely sure what to make of the whole thing, but suffice it to say that it's one of the most original films I've seen.


Yay! :pritch:

So that makes four of us now, I think. Brightside, you watch it yet? (I'll finally watch a Ruiz film when you do!)

I'm trying to convert my friends into Matsumoto fans. I've had pretty good success so far with Big Man Japan, though of course it's availability here helps. I've been pimping Symbol but none of them have seen it yet (one of my friends bailed on me at the Toronto screening last year, the bastard).
Well, it sure sounded like something I would love, but I gotta admit...I HATED this movie.

I think it's a classic example of a YMMV film, with star/director Hitoshi Matsumoto as the barometer for each viewer's tolerance and/or praise. Some interesting visuals aside, what would have made for an appealing 15 minute short is s-t-r-e-t-c-h-e-d out to an unbearably long 93 minute exercise in comic tedium and fart jokes. The integration of the Mexican wrestler storyline was completely wasted in the wtf decision to use the one poignant element (the wrestler's son) as the punchline of a cruel joke.

Not my cup of tea.

[B-side]

Yay! :pritch:

So that makes four of us now, I think. Brightside, you watch it yet? (I'll finally watch a Ruiz film when you do!)

I'm trying to convert my friends into Matsumoto fans. I've had pretty good success so far with Big Man Japan, though of course it's availability here helps. I've been pimping Symbol but none of them have seen it yet (one of my friends bailed on me at the Toronto screening last year, the bastard).

Whoops, sorry, I only just caught this. I have not watched it yet. I'll try and get to it soon.

[Ivan Drago]

The shining briefcase might be Kiss Me Deadly.

Yes, please.

[Dead & Messed Up]

I just watched A Serious Man for the first time which is odd for me since I'm such a big Coen's fan. I went back and read through the thread here on match cut and the one thing which really weirded me out as that everyone seemed to have laughed during the movie. I didn't. Well that's not completely true I chuckled during one scene.

The Jesus Christ moment.

I liked the movie quite a bit but I didn't find anything in it to be remarkably funny nor did I really think of the movie as a comedy as I watched it. I'm a bit bewildered at my own reaction during the movie and at everyone else's.

I thought the bully tormenting the son was kind of funny, but this was my reaction. I did love the movie.

[Melville]

I liked the movie quite a bit but I didn't find anything in it to be remarkably funny nor did I really think of the movie as a comedy as I watched it. I'm a bit bewildered at my own reaction during the movie and at everyone else's.
I didn't think it was one of their funniest films, but it seemed to have a lot of obviously comedic bits. "Accept the mystery" might be my favorite comic line in any movie. "Just look at that parking lot" is great too. And the entire story about the dentist and the goy. The film is great at escalating absurdity and existential confusion into hilarity. All the stuff involving the son and the rabbis was funny too, with the hazy bar mitzvah and the old rabbi reciting lines from Jefferson Airplane.

[B-side]

I didn't think it was one of their funniest films, but it seemed to have a lot of obviously comedic bits. "Accept the mystery" might be my favorite comic line in any movie. "Just look at that parking lot" is great too. And the entire story about the dentist and the goy. The film is great at escalating absurdity and existential confusion into hilarity. All the stuff involving the son and the rabbis was funny too, with the hazy bar mitzvah and the old rabbi reciting lines from Jefferson Airplane.

I got that book you recommended in the mail a few days ago. I'll likely have at least Notes from the Underground read by 2014.

[baby doll]

Pete Postlethwaite (http://www.thestar.com/entertainment/movies/article/915167--oscar-nominated-actor-pete-postlethwaite-dies-at-64?bn=1) is dead, which is doubly sad because that means his last movie was The Town.

[megladon8]

The Town was one of the year's best.

[megladon8]

I still genuinely hope they'll do My Winnipeg. It never came out to buy as far as I know.


Guy Maddin's movie?

It's widely available, and there are many editions of it. One of them comes with his book, too.

[Raiders]

Guy Maddin's movie?

It's widely available, and there are many editions of it. One of them comes with his book, too.

Don't think so. There is no official R1 release as far as I know. There may be some sort of small deal with the book publisher to sell the DVD with the book, but for a stand-alone DVD, pretty sure it hasn't come out.

Of course, I'm so far behind on Maddin this wouldn't be my next stop anyway.

[Melville]

Don't think so. There is no official R1 release as far as I know. There may be some sort of small deal with the book publisher to sell the DVD with the book, but for a stand-alone DVD, pretty sure it hasn't come out.

Of course, I'm so far behind on Maddin this wouldn't be my next stop anyway.
It's definitely available in Canada: http://www.amazon.ca/My-Winnipeg/dp/B001E1B6RA/ref=sr_1_1?ie=UTF8&qid=1294091970&sr=1-1

[Russ]

A Region 1 release was produced for Canada (and is available through sources like Amazon). It's never received an official U.S. release, tho.

[MacGuffin]

Has anyone here seen any of the movies in this (http://www.dvdbeaver.com/film3/dvd_reviews52/frantisek_vlacil_collection.ht m) box set?

[Melville]

I got that book you recommended in the mail a few days ago. I'll likely have at least Notes from the Underground read by 2014.
I'll be expecting a rave review come 2014.

[Ezee E]

I think My Winnipeg is on Instant Watch.

[Spun Lepton]

Here's the new year preview picture of what I assume will be some 2011 titles over at the Criterion website:

http://criterion_images.s3.amazonaws. com/current/wackynewyear_2010a.jpg



This is easy, starting from the upper-left.

Button Moon Spacestation
Sunshine Suitcase
Cut the Can of Coffee Beans
Marylin Monroe's Disco Extravaganza
Boat Driver vs. Cat Boat Driver
La Lady Who Booted le Pajama Kid
Red Calendar Circle
The Flowerboat
RenFest Man Overboard!
Drowned Illegal Immigrants

[Stay Puft]

I think it's a classic example of a YMMV film, with star/director Hitoshi Matsumoto as the barometer for each viewer's tolerance and/or praise.

Well, that's certainly fair. Matsumoto's film characters are variations on his established comic persona, and if you don't respond to his comedic sensibilities, well... oh well!

I found both of his films to be thematically engaging beyond his comic persona, granted, but I admit it's more of a problem with Symbol, where so much of the film is Matsumoto playing to the audience as if he's performing a live stand up routine (of all the films I've seen at TIFF over the last few years, this is the one I'm grateful for actually being able to see in a rowdy theatre). Obviously, I think the length is justified for this reason, given how much of the experience is based on principles of variation, discovery and subversion (Matsumoto's repeated attempts to swing out of the room killed me, especially the conclusion; it all builds wonderfully).


The integration of the Mexican wrestler storyline was completely wasted in the wtf decision to use the one poignant element (the wrestler's son) as the punchline of a cruel joke.

Well, to reiterate my professed thematic engagement, part of what I love about the film is the absurdist worldview. I'll spoiler this just to be safe.

I don't think it's fair to say that one of the two storylines is being wasted in that moment when their integration is in some ways always obvious, as a dialectic. And they take on greater significance once the worldview of Symbol is more fully articulated (the wrestling storyline is an ontic reality, while Matsumoto's white room exists a priori).

Now, of course we're waiting to see how and if they will ever converge, but the cruelty of that moment of intersection is not a cruelty endorsed by the film. Matsumoto is taking the piss, ridiculing concepts of divinity and causality. His character's ascension into "prime mover" is characterized explicitly by his senselessness. Matsumoto isn't simply having us on for a mean spirited joke, he's arguing that God is a joke.

Not that I'm trying to change opinions, but I imagine there must be a certain expectation that I be able to articulate my own praise/justifications if I'm going to call it one of my favorite films of the decade. Which I am.

[baby doll]

The Town was one of the year's films.Fixed.

Seriously though, it wasn't horrible, just very average and forgettable.

[Melville]

It wasn't horrible, just above average but forgettable.
Fixed.

[Russ]

I don't think it's fair to say that one of the two storylines is being wasted in that moment when their integration is in some ways always obvious, as a dialectic. And they take on greater significance once the worldview of Symbol is more fully articulated (the wrestling storyline is an ontic reality, while Matsumoto's white room exists a priori).

Now, of course we're waiting to see how and if they will ever converge, but the cruelty of that moment of intersection is not a cruelty endorsed by the film. Matsumoto is taking the piss, ridiculing concepts of divinity and causality. His character's ascension into "prime mover" is characterized explicitly by his senselessness. Matsumoto isn't simply having us on for a mean spirited joke, he's arguing that God is a joke.

I appreciate the well-reasoned response. I think I'm going to have to chalk my experience up to a rather strong dislike of Matsumoto's histrionics.

About the convergence of the storylines...

I got the criticism of God and the view that life events unfold with a chaotic randomness and nothing more. That was made amply clear in the few, short blackout skits that followed the dual storyline convergence. And that being the case, why even include the second storyline? Well, one reason was to introduce none-too-subtle "symbols", such as the foul-mouthed, chain-smoking nun (just in case the audience doesn't "get" the anti-God agenda), but the main reason was a legitimate one: padding. Matsumoto had to include some type of filler to sectionalize his own comic vignettes. The wrestler storyline could have easily been marginalized into a 2 minute clip of the climax, which would have put it on a par with the Russian magician skit or the barking guy with all the dogs.

It just occurred to me that Davis should watch Symbol, both for the theme and the film's spirit kinship (as a Japanese wtf type of film) to Funky Forest.

[soitgoes...]

Has anyone here seen any of the movies in this (http://www.dvdbeaver.com/film3/dvd_reviews52/frantisek_vlacil_collection.ht m) box set?Marketa Lazarová - It's well praised, but it bored me silly. I wanna say Qrazy's seen it too.

[soitgoes...]

Pete Postlethwaite (http://www.thestar.com/entertainment/movies/article/915167--oscar-nominated-actor-pete-postlethwaite-dies-at-64?bn=1) is dead, which is doubly sad because that means his last movie was The Town.Killing Bono (http://www.imdb.com/title/tt1535101/)

[Qrazy]

Marketa Lazarová - It's well praised, but it bored me silly. I wanna say Qrazy's seen it too.

Yeah I had the same reaction. While I found it stylistically interesting in places it really didn't work for me as a whole.

[soitgoes...]

I appreciate the well-reasoned response. I think I'm going to have to chalk my experience up to a rather strong dislike of Matsumoto's histrionics.

About the convergence of the storylines...

I got the criticism of God and the view that life events unfold with a chaotic randomness and nothing more. That was made amply clear in the few, short blackout skits that followed the dual storyline convergence. And that being the case, why even include the second storyline? Well, one reason was to introduce none-too-subtle "symbols", such as the foul-mouthed, chain-smoking nun (just in case the audience doesn't "get" the anti-God agenda), but the main reason was a legitimate one: padding. Matsumoto had to include some type of filler to sectionalize his own comic vignettes. The wrestler storyline could have easily been marginalized into a 2 minute clip of the climax, which would have put it on a par with the Russian magician skit or the barking guy with all the dogs.

It just occurred to me that Davis should watch Symbol, both for the theme and the film's spirit kinship (as a Japanese wtf type of film) to Funky Forest.
I can totally understand this your response to the film, and to be honest Japanese films of this genre* are very much hit or miss with me. This one completely had a hold on me though. I will admit that Matsumoto's section approached tedium, but he was always able to snap me back. The little comic book cutaways were so awesome.


*Does any other national cinema come close to the wackiness that Japan produces? I think that genre would almost fit at this point. It isn't as if we're only talking a handful of films. Some directors have lived in this genre their entire careers.

[Stay Puft]

Uh, more Symbol spoilers I guess...


About the convergence of the storylines...

Again, I think the reason has more to do with dialectic function. If we only had a bunch of random clips at the end, we'd have no context for the ontic reality of the film's universe. It has less to do with plotting and more to do with the conceptual experience of the film, of being able to take the viewer back and forth between those worlds (which are binary opposites) in preparation for the cosmic conclusion. The structure of the film reverberates in that way on micro and macro scales. Matsumoto's ascension and divine revelation echoes the structure of everything that precedes it, the binary interplay and montage; and so the interwoven narratives that introduce the film echo (anticipate) the absurdist causality of that punchline conclusion, that everything is connected but without some grand capital-M meaning (we as the audience wait to see how they collide, only to get a nonsensical answer). And those reverberations go in each direction, as the scale of signification gets wider (Matsumoto shows causality on a global scale) as the formal technique is truncated in its temporality (the respective chapters get shorter, the montage editing becomes rapid fire).

I think it's a brillianly structured film, so of course I'll argue that it's important for the film to have that interwoven narrative, to allow sufficient room for the film's binaries to be established and explored in the conceptual performance space I'm trying to describe. The entire film for me is in the way Matsumoto plays the audience as part of his performance (no mistake that he routinely breaks the fourth wall), and how he articulates a worldview specifically through that formal structure and performance methodology (Matsumoto's character spends the whole time interacting with the audience and trying to problem solve his way out of a confusing situation, only for him and us to be met with cosmic confusion). There's a necessary relationship between form and content, though perhaps all I can really offer is a justification of those concepts and not necessarily an argument as to the quality of execution (obviously we're not going to see eye to eye on the problem of padding or whether or not Matsumoto was belaboring a point, if only because I was pissing myself laughing the entire time).

[Stay Puft]

Oh, yeah, and I totally made a thread about Symbol:
http://www.match-cut.org/showthread.php?t=2377

And then neglected it, as is my usual behaviour.

If we're going to continue the convo perhaps we should move it over there, just so I can easily refer back to it. If nothing else, at least I'm writing out some of my thoughts on the film now, so maybe I can at least add a review of some kind to generate more interest. Alas, someone needs to distribute the film over here...

[Epistemophobia]

Yeah I had the same reaction. While I found it stylistically interesting in places it really didn't work for me as a whole.
I also had the same reaction, and haven't yet revisited the film, although I'm starting to feel that I should. I prefer the other Vlácil's that I've seen.

[soitgoes...]

I also had the same reaction, and haven't yet revisited the film, although I'm starting to feel that I should. I prefer the other Vlácil's that I've seen.That gives me hope. I've stayed away from his other stuff after being underwhelmed by Marketa.

[megladon8]

Don't think so. There is no official R1 release as far as I know. There may be some sort of small deal with the book publisher to sell the DVD with the book, but for a stand-alone DVD, pretty sure it hasn't come out.

Of course, I'm so far behind on Maddin this wouldn't be my next stop anyway.


Well, I've held the DVD in my hands at stores, so I'm pretty sure that it's out.

Here it is on Amazon. (http://www.amazon.com/My-Winnipeg/dp/B001E1B6RA/ref=sr_1_1?ie=UTF8&qid=1294115089&sr=8-1)

It's also on Amazon VOD. (http://www.amazon.com/My-Winnipeg/dp/B001OJMMTS/ref=sr_1_5?ie=UTF8&qid=1294115089&sr=8-5)

And here is the book and DVD set. (http://www.amazon.ca/My-Winnipeg-Book-DVD-set/dp/1552452123/ref=sr_1_1?ie=UTF8&qid=1294115295&sr=8-1)


That last one (the book + DVD) is on Amazon.CA, but they ship to the USA no problem.

[Qrazy]

I also had the same reaction, and haven't yet revisited the film, although I'm starting to feel that I should. I prefer the other Vlácil's that I've seen.

Yeah I remember a few of the others making your list, been meaning to check 'em out.

[Grouchy]

Shit, that's sad about Postletwhaite. Always loved him from the moment I first met him in The Usual Suspects. A guy who could always inject life into any scene he was in.

[Grouchy]

So, I've seen two movies.

The Secret of Kells was awe inspiring because of its visuals. The storyline is very simple even for a movie mainly aimed at children, but too many plot turns might complicate what's simply a post-modern legend. I liked it a lot and I wish more people looked at energetic stuff like this to discover how 2D is not a thing of the past but a still available option for animation. Because Disney is not helping any in that regard.

The Girlfriend Experience is the type of movie that Soderbergh is very fond of doing, with constact time-jumping and a cynical approach to the rich people he must find himself too often surrounded by. Sasha Grey is either very well directed or a surprisingly good actress. I totally, unreasonably loved Soderbergh's other film from this year, The Informant!, and the two couldn't be any more different. Ultimately I think GFE is a bit of a bore because, while it's intelligent in its depiction of the character's empty life and craving desires, it never really generates any interest in the audience. It's a film made for the eyes of filmmakers and critics, and those are often not very compelling. Watch The Informant!

[B-side]

Has anyone here seen any of the movies in this (http://www.dvdbeaver.com/film3/dvd_reviews52/frantisek_vlacil_collection.ht m) box set?

Valley of the Bees is great.

[Raiders]

Well, I've held the DVD in my hands at stores, so I'm pretty sure that it's out.

That's nice, but it isn't for sale in any store in the US or from the US Amazon (the link you gave me is strictly for private re-sale, not in Amazon.com's stock). Russ has already confirmed it was sold solely in Canada. Yes, I'm aware that Amazon.ca will ship to the US; my point was simply that no widespread R1 release has been made.

[Mara]

I always associate Pete Postletwhaite with Brassed Off, which I was mildly obsessed with in my late teens. I haven't seen it in a decade or so, and I wonder if it would hold up.

[Eleven]

Mubi.com and Cine-File.info's Ignatiy Vishnevetsky gets the Elvis Mitchell spot on Ebert's "At the Movies." (http://mubi.com/notebook/posts/2723) Interesting choice.

[MacGuffin]

Mubi.com and Cine-File.info's Ignatiy Vishnevetsky gets the Elvis Mitchell spot on Ebert's "At the Movies." (http://mubi.com/notebook/posts/2723) Interesting choice.

I like what they seem to be trying to do with the new show.

[Bosco B Thug]

Mubi.com and Cine-File.info's Ignatiy Vishnevetsky gets the Elvis Mitchell spot on Ebert's "At the Movies." (http://mubi.com/notebook/posts/2723) Interesting choice.
Wow, I thought I was the only one who's had him on their radar, because he liked Survival of the Dead. I like his piece on Clint Eastwood and Invictus, too, even though I'm sure I can't like Invictus.

[MacGuffin]

The Mubi forums kind of strike me as similar to IMDB, only less self-aware. That's why I'm surprised that the writing is typically exceptional on the blog portion of the website.

[Bosco B Thug]

The Mubi forums kind of strike me as similar to IMDB, only less self-aware. That's why I'm surprised that the writing is typically exceptional on the blog portion of the website.
Yah, I've been to those boards... And I've frequented the blogs, which may attract real academics, but also have a confusing interface and are self-published, while not even being personalizable like a blog blog. But if you read the Onion A.V. article (http://www.avclub.com/articles/roger-ebert-names-new-cohost-for-at-the-movies,49586/), Vishnevetsky seems to have a longer C.V. than "MUBI Member," so the choice is no longer inexplicable.

[DavidSeven]

Mubi.com and Cine-File.info's Ignatiy Vishnevetsky gets the Elvis Mitchell spot on Ebert's "At the Movies." (http://mubi.com/notebook/posts/2723) Interesting choice.

24 year old movie blogger, eh? Eh.

[megladon8]

What's wrong with them being 24?

[DavidSeven]

What's wrong with them being 24?

Nothing. I'm just indifferent to the selection, but I'm indifferent to Christy Lemire, too. I'd probably just rather watch A.O. Scott, even though his 2010 top ten was kind of an abomination. I just thought it humorous because he has about as much life experience and film knowledge as a bunch of people who post on this very forum. At least he seems like bizarro-Ben Lyons; that's something worth cheering for.

[Watashi]

We need our own Match Cut Review Show.

Derek & Duke at the Movies

I like it.

[Derek]

We need our own Match Cut Review Show.

Derek & Duke at the Movies

I like it.

Clearly I´d be the upbeat, optimistic everyman. How would Duke fit in?

[DavidSeven]

I'd definitely tune into Summer Blockbusters Rewind on At Le Cinéma with baby doll and Morris. No question about it.

[Derek]

Also, the new version of Skype allows at least 3 people to video chat at a time. I don´t know if you can do more than that, but perhaps that´s now an option for the roundtable vids that E´s been wanting to do. I´m not sure if there´s a way to actually record that though...

[Qrazy]

Nothing. I'm just indifferent to the selection, but I'm indifferent to Christy Lemire, too. I'd probably just rather watch A.O. Scott, even though his 2010 top ten was kind of an abomination. I just thought it humorous because he has about as much life experience and film knowledge as a bunch of people who post on this very forum. At least he seems like bizarro-Ben Lyons; that's something worth cheering for.

We're pretty awesome at moving reviewing though, no?

[Barty]

I've mentioned to Wats about us creating a weekly Match-cut podcast with reviews, calls in, contest, etc. Good idea?

[Derek]

I've mentioned to Wats about us creating a weekly Match-cut podcast with reviews, calls in, contest, etc. Good idea?

Yes. I´d be even better if video could be incorporated, but a podcast would be easier and still a lot of fun. No contests though - that´d just needlessly interrupt the petty bickering and infighting that should be the heart of the show.

[DavidSeven]

We're pretty awesome at moving reviewing though, no?

True. Mid 20s MCer > Mid 40s Richard Roeper, by a long shot.

[Qrazy]

Yes. I´d be even better if video could be incorporated, but a podcast would be easier and still a lot of fun. No contests though - that´d just needlessly interrupt the petty bickering and infighting that should be the heart of the show.

Sounds like I'm going to have to be a guest speaker.

[Watashi]

I'd be down for a podcast, but I would not want to host it.

[Barty]

Yes. I´d be even better if video could be incorporated, but a podcast would be easier and still a lot of fun. No contests though - that´d just needlessly interrupt the petty bickering and infighting that should be the heart of the show.

Is it possible to do a video roundtable and record all the feeds easily for something like this?

I'm thinking of a 4 person roundtable on the Oscars coming up!

[Boner M]

Vishnevetsky's a pretty smart dude, but I wonder how long the show'll last without him compromising his approach:


At its essence, White Material is an exploded chamber drama. A Haneke-style family unit (complete with a brutally bored son) holed up mentally, emotionally, economically and geographically encounters various interlopers while fighting to preserve a bourgeois sense of "integrity."

Take the anti-psychological scalpelling of time and space of The Intruder and combine it with 35 Shots of Rum' almost classical use of objects, and you getWhite Material, a film that partly reveals itself through the way things pass in and out of characters' hands within the space of a folded chronology. But whereas 35 Shots of Rum limited itself to a handful—two rice cookers, an iPod, a red door—White Material is stuffed with bric-a-brac. There, are, for example, the battery-powered radios, all of which are tuned to the same reggae rebel radio station.

[Raiders]

Is it possible to do a video roundtable and record all the feeds easily for something like this?

I'm thinking of a 4 person roundtable on the Oscars coming up!

There are audio/voice chat rooms online, though my Googling tells me they may be pretty exclusively for dating and such.

[Watashi]

We should also have a Match Cut Dating Site.

*eyes Raiders*

[DavidSeven]

Over the holidays, I was forced to watch The Fourth Kind or The Moment I Finally Concluded Milla Jovovich Just Isn't a Good Actress. Maybe watching those Resident Evil movies would have gotten me there sooner.

[NickGlass]

Vishnevetsky's a pretty smart dude, but I wonder how long the show'll last without him compromising his approach:

This is exactly what I'm wondering. How did they slip an erudite film nerd in there? Sure, it seems like he isn't afraid to embrace Hollywood films, but he does so with completely cerebral explanations that lay far outside of the common man's mainstream reasoning. How will he be able to articulate these ideas through such a rigid format?

I mean, look at what he says about Bruckheimer's films in his review of Prince of Persia:

http://mubi.com/notebook/posts/1863

Christy Lemire will be a total bore, though, so she'll be fine on the show, though.

[NickGlass]

I'm thinking of a 4 person roundtable on the Oscars coming up!

Sure, if you want help with the Oscar podcast I'd be willing to participate.

[megladon8]

I've mentioned to Wats about us creating a weekly Match-cut podcast with reviews, calls in, contest, etc. Good idea?


Not tooting my own horn here, but I could be beneficial to the team, I think.

I used to be in radio, and won some awards for my production skills.

I could produce splitters and promos for the podcast. I could also edit it all together professionally.


Plus, I have a killer voice...

[Dead & Messed Up]

I could be involved. My grandmother tells me I have a face for radio.

[megladon8]

I could be involved. My grandmother tells me I have a face for radio.


When I started the program in '05, on the first day the teacher got everyone to introduce themselves to the class and say why they entered the program.

One girl said "Hi, my name is Amanda. I'm here because my mom said I have a face for radio."

I always thought that was so horrible.

Yet she's one of only about 3 people I know from the class who actual ended up with a good job in the industry.

[balmakboor]

Wow, I thought I was the only one who's had him on their radar, because he liked Survival of the Dead. I like his piece on Clint Eastwood and Invictus, too, even though I'm sure I can't like Invictus.

He liked Survival of the Dead. Cool.

[Eleven]

For Vishnevetskian MUBI posts: http://mubi.com/notebook/posts?author_id=45

I too wonder how this is gonna work, but the inevitably differing tones and registers may be enjoyable to watch.

[StanleyK]

Punishment Park is very well-made and entertaining, but boy howdy is it heavy-handed. It's a very effective sledgehammer, but I'm afraid there's nothing much left after the impact.

[MacGuffin]

Punishment Park is very well-made and entertaining, but boy howdy is it heavy-handed. It's a very effective sledgehammer, but I'm afraid there's nothing much left after the impact.

I didn't like it for the same reason, but I have a feeling it's supposed to be heavy-handed.

[baby doll]

Regarding the podcast idea, I'm just narcissistic enough to want to do it.

[StanleyK]

I didn't like it for the same reason, but I have a feeling it's supposed to be heavy-handed.

Well yeah, any movie in which a character exposits on 'life, liberty and the pursuit of happyness' while the camera cuts to a dead body is obviously meant to be heavy-handed; it's just not an approach I care for most of the time, as I doubt the movie will leave any lasting impression on me.

[Winston*]

Udo Kier gives a pretty awesome interview (http://www.avclub.com/articles/udo-kier,49362/)

AVC: Okay, we must skip ahead…

UK: Yes, please do. Let’s talk about Pamela Anderson please, now. I want to talk about Pamela Anderson!

AVC: I was going to ask about Berlin Alexanderplatz next.

UK: No, I want to talk about Pamela!

[ledfloyd]

just watched white material. i know people like to go on about the mastery of the coen brothers and pixar but is there a more consistent filmmaker working right now than claire denis?

[Ivan Drago]

I've mentioned to Wats about us creating a weekly Match-cut podcast with reviews, calls in, contest, etc. Good idea?

YES! I still remember the Icine podcast and thought it was really fun to listen to.

[soitgoes...]

just watched white material. i know people like to go on about the mastery of the coen brothers and pixar but is there a more consistent filmmaker working right now than claire denis?
Yes! Guy Maddin! Was that the correct answer?

[Ezee E]

I'm very much interested in participating in a podcast. I've been wanting to do an Around the Horn type of show with us for a while, and it looks like the technology is almost around to do it.

Until then, sign me up.

[Qrazy]

You know what else was cool that Fentablar on RT used to do? He hosted a (I think podcast) where various individuals would be able to take control and have a chance to play their favorite music/playlists. It's a lot of fun exposing people to some of your favorite songs/artists that they may not have heard before.

[Ezee E]

You know what else was cool that Fentablar on RT used to do? He hosted a (I think podcast) where various individuals would be able to take control and have a chance to play their favorite music/playlists. It's a lot of fun exposing people to some of your favorite songs/artists that they may not have heard before.
Eh. Separate podcast for that though. Please.

[Qrazy]

Eh. Separate podcast for that though. Please.

No, same one happening at the same time. Black metal music played over the movie talk kthxbye.

[Dead & Messed Up]

Hey, jerks, if I want to watch Passion of Joan of Arc on Netflix Instant, but there's no score, should I hold out for a version w/ score?

[Winston*]

Hey, jerks, if I want to watch Passion of Joan of Arc on Netflix Instant, but there's no score, should I hold out for a version w/ score?

I have a lot of trouble engaging with silent films without music and the Voices of Light score is really good.

You can watch the movie with it on youtube in what looks like pretty good quality.
BLBn9KK2Ss0

[Milky Joe]

Hey, jerks, if I want to watch Passion of Joan of Arc on Netflix Instant, but there's no score, should I hold out for a version w/ score?

Short answer: yes. The Voices of Light score is shattering.

[Dead & Messed Up]

Thanks guys. Instead of watching Passion (which I'll Netflix on DVD), I watched Man With a Movie Camera for the first time.

Pretty cool flick. The director has a thing for trolleys.

[B-side]

Abel Ferrara > Martin Scorsese

Discuss.

[Skitch]

Abel Ferrara > Martin Scorsese

Discuss.

Bad Leuitant is a great argument for, King Of New York and The Funeral are not, but thanks for reminding me to watch the rest of his filmography.

[B-side]

Bad Leuitant is a great argument for, King Of New York and The Funeral are not, but thanks for reminding me to watch the rest of his filmography.

The Driller Killer, Ms. 45, The Addiction, Mary, etc. All great and worthy of your attention.

[soitgoes...]

Congratulations Edward Yang for making 1991 the strongest year of the decade. With that said, how the hell does a film like A Brighter Summer Day not have a DVD release?

[B-side]

Congratulations Edward Yang for making 1991 the strongest year of the decade. With that said, how the hell does a film like A Brighter Summer Day not have a DVD release?

Wasn't Criterion supposed to be releasing that for the past, like, 56495873 years?

[soitgoes...]

Wasn't Criterion supposed to be releasing that for the past, like, 56495873 years?Someone needs to. It's awesome, better than Yi yi which is saying a lot.

[B-side]

Someone needs to. It's awesome, better than Yi yi which is saying a lot.

Criterion Forum has it listed as a stalled ex-certainty, hitched due to permission/licensing issues.

[soitgoes...]

Criterion Forum has it listed as a stalled ex-certainty, hitched due to permission/licensing issues.Yeah, I think if it was even close to being released they would've held Yi yi's Blu release to coincide with it.

[B-side]

Yeah, I think if it was even close to being released they would've held Yi yi's Blu release to coincide with it.

I'll probably watch it long before it gets any kind of decent release.

[soitgoes...]

I'll probably watch it long before it gets any kind of decent release.You should. It might be the best Taiwanese film ever, and Hou had one sit in my top 10 all last year. My biggest complaint is the print was too soft. The occasional scratches and even the dual hard subs didn't bother me after the first thirty minutes. The softness sucks because so much of the film is set in the dark.

[B-side]

You should. It might be the best Taiwanese film ever, and Hou had one sit in my top 10 all last year. My biggest complaint is the print was too soft. The occasional scratches and even the dual hard subs didn't bother me after the first thirty minutes. The softness sucks because so much of the film is set in the dark.

I'm terrified of bad prints. Obviously you don't always have a choice if you wanna see the film, but I'd almost rather just wait.

[soitgoes...]

I'm terrified of bad prints. Obviously you don't always have a choice if you wanna see the film, but I'd almost rather just wait.You watch Ruiz films with mediocre prints. This is no worse than those. It is far from unwatchable.

[B-side]

You watch Ruiz films with mediocre prints. This is no worse than those. It is far from unwatchable.

Right, I was just saying. In certain cases, you don't have much of a choice. This is probably one of those cases.

[soitgoes...]

Right, I was just saying. In certain cases, you don't have much of a choice. This is probably one of those cases.Do it.

Have you seen Yi yi yet? Maybe you should start there if not.

[dmk]

Abel Ferrara > Martin Scorsese

Discuss.
I'll let you have this, but only because Ferrara's best film (Bad Lieutenant) is better than Scorsese's best film (Bringing Out the Dead), if only just.

This however,

Barrier (Skolimowski, 1966) 7
Spiral (Zanussi, 1978) 8.5
How exciting for you. But seriously- nooo, swap this shit stat and repent by adding an additional 2 to the '66. Also, I knew you'd appreciate Zanussi, if only because you both take yourselves so seriously(!). I might be interested in your reaction to Zanussi's top-tier films (rather than middle), but of course you'll hate them, being the 'side that you are. :frustrated:

[B-side]

How exciting for you. But seriously- nooo, swap this shit stat and repent by adding an additional 2 to the '66. Also, I knew you'd appreciate Zanussi, if only because you both take yourselves so seriously(!). I might be interested in your reaction to Zanussi's top-tier films (rather than middle), but of course you'll hate them, being the 'side that you are. :frustrated:

What's top-tier Zanussi? I have Illumination, and will be watching Camouflage and The Constant Factor soon.

[Skitch]

The Driller Killer, Ms. 45, The Addiction, Mary, etc. All great and worthy of your attention.

All added. Will report back on this next week.

[Boner M]

All added. Will report back on this next week.
You'll hate them. B-Side's just being wilfully naive.

[B-side]

You'll hate them. B-Side's just being wilfully naive.

I don't know much about Skitch's tastes, but he likes Bad Lieutenant enough, so I don't see why he can't enjoy any of those.

[B-side]

http://i53.tinypic.com/ive4uu.jpg

Who Wants to Kill Jessie? was a pleasant surprise. I stumbled across it while browsing KG for some hidden gems. It's a comic book sci-fi fantasy with some jabs at Hitler's fascistic take-over to lend the film some historical relevance. The protagonist is a scientist in an unhappy marriage with a demanding and cold wife whom he gets to sleep with every Thursday. Their team of scientists, split on the idea of invading dreams, has discovered a way to replace bad dreams with good ones, but in doing so they bring the bad dreams to life as witnessed in a humorous scene in which they replace a dream of a cow being irritated by gad-flies with a dream of that same cow swinging in a hammock only to show a close-up of the gad-flies buzzing in the cow's ears and hovering around the windows. The unhappily married protagonist reads a comic book about a buxom woman named Jessie who has created a pair of anti-gravitational gloves, which then penetrates his dreams, much to his wife's dismay as she witnesses him saving Jessie in his dream on a monitor.

http://i56.tinypic.com/2qimsxz.jpg

Along with Jessie, though, come the two bad guys, one that looks remarkably similar to the later-featured "Eye Gore" from Young Frankenstein and the other a "superman" whom the wife attempts to seduce after trying to assert her control over her husband's dreams and kill off his beautiful dream mate as she and the other comic characters "aren't human beings." The speech bubbles are the source of most of the film's funniest gags, and they can be said to be symbolic of the language barrier between the Germans and Czechs during the former's occupation of the country. It's goofy, swift and the best moments are too far between, but I'd definitely recommend it.

http://i56.tinypic.com/2hoxwrs.jpg

[Skitch]

I don't know much about Skitch's tastes, but he likes Bad Lieutenant enough, so I don't see why he can't enjoy any of those.

Full disclosure, BL would probably crack my top 25 "trapped on an island" list. I love that film. I enjoyed the other Ferrera flicks I've seen, but I wouldn't put them against Scorcese.

My spelling today is completely worthless. Where's my coffee...

[StanleyK]

Short answer: yes. The Voices of Light score is shattering.

For what it's worth though, Dreyer intended the movie to be viewed completely silent; having already seen it with the Voices of Light score, I'll watch it on mute now.

[B-side]

Full disclosure, BL would probably crack my top 25 "trapped on an island" list. I love that film. I enjoyed the other Ferrera flicks I've seen, but I wouldn't put them against Scorcese.

My spelling today is completely worthless. Where's my coffee...

Then I don't see why you wouldn't enjoy those films.

[Raiders]

I won't argue over the greatness of the Voices of Light score, but I only watch The Passion of Joan of Arc completely silent. Not only because it was Dreyer's intention, but because I do believe the images justify complete attention and have their own sort of cadence that I love enjoying completely set apart from any music.

[Sven]

I remember being put off by the VoL score. I imagine watching the film again silent (or with a less self-conscious score) would improve my opinion of it.

[Sven]

"It" being the movie, not the VoL score.

[Ivan Drago]

Space Jam (Pytka 96) *½

Dude.

[Philosophe_rouge]

I watched Passion silent... I thought it would be difficult but it was transcendent.

[Grouchy]

The problem with watching silent movies in silence is that silence doesn't really exist.

[Ezee E]

Yeah, I need some type of musical score to go along with silent films. Otherwise it's instant nap.

[Rowland]

Remember that feature-length critical evaluation of The Phantom Menace with the Buffalo Bill narrator? I recall a mixed reaction around here, but I thought it was pretty ingenious. Anyway, he followed it up with a less original but still hilarious Attack of the Clones edition, and now his final installment for the vastly overrated Revenge of the Sith is finally up (http://collider.com/star-wars-revenge-of-the-sith-review/67507/#more-67507).

[balmakboor]

Yeah, I need some type of musical score to go along with silent films. Otherwise it's instant nap.

I'm like the other way around. I prefer watching them "silent" because many times the score either distracts or lulls me to sleep.

Yeah, Cage's 4'33" put the whole "silence" notion to rest.

[StanleyK]

So yeah, The Passion of Joan of Arc completely silent. Incredibly powerful. Still, despite the ending being really depressing, it actually goes out on a bittersweet note. Considering that what Joan wanted all along was for her soul to be saved, it's nice to know that her soul became 'the spirit of France' and inspired generations to come. Who knew that the image of flames rising from a stake that just burned someone alive could be kind of uplifting?

[balmakboor]

Remember that feature-length critical evaluation of The Phantom Menace with the Buffalo Bill narrator? I recall a mixed reaction around here, but I thought it was pretty ingenious. Anyway, he followed it up with a less original but still hilarious Attack of the Clones edition, and now his final installment for the vastly overrated Revenge of the Sith is finally up (http://collider.com/star-wars-revenge-of-the-sith-review/67507/#more-67507).

I just watched part one of the Phantom Menace review. Funny funny stuff.

[StanleyK]

Remember that feature-length critical evaluation of The Phantom Menace with the Buffalo Bill narrator? I recall a mixed reaction around here, but I thought it was pretty ingenious. Anyway, he followed it up with a less original but still hilarious Attack of the Clones edition, and now his final installment for the vastly overrated Revenge of the Sith is finally up (http://collider.com/star-wars-revenge-of-the-sith-review/67507/#more-67507).

Heh, I actually rewatched the prequels just to see these reviews; they're worth the pain.

[balmakboor]

OK. I just found a new low on imdb. I was reading Robin Wood's analysis of teen movies last night which included his praise of a Canadian film called Rollercoaster. So I looked it up on imdb and found three reviews. This is one of them:

Now your problay wondering why i put 1 star on their
and the put "THIS MOVIE SUCKS".Well that's because
it has only 1 good scene in their that's when that kid
with the spikey red hair gets his revenge on the pedofile
security guard.This movie really has no plot,no story
they really don't tell what are the story behind these
5 troubled teenagers.And i think whoever made this movie
needs to go back to college because he has no idea how to make
a film in my opinon.And i would only reccomend this movie
to (...),lesbians,pedofiles,troub led teens,adults
or canadians

:eek:

Actually, it must be a joke.

[B-side]

OK. I just found a new low on imdb. I was reading Robin Wood's analysis of teen movies last night which included his praise of a Canadian film called Rollercoaster. So I looked it up on imdb and found three reviews. This is one of them:

Now your problay wondering why i put 1 star on their
and the put "THIS MOVIE SUCKS".Well that's because
it has only 1 good scene in their that's when that kid
with the spikey red hair gets his revenge on the pedofile
security guard.This movie really has no plot,no story
they really don't tell what are the story behind these
5 troubled teenagers.And i think whoever made this movie
needs to go back to college because he has no idea how to make
a film in my opinon.And i would only reccomend this movie
to (...),lesbians,pedofiles,troub led teens,adults
or canadians

:eek:

Actually, it must be a joke.

Haha. I would reccomend this review to pedofiles.

[Dead & Messed Up]

Remember that feature-length critical evaluation of The Phantom Menace with the Buffalo Bill narrator? I recall a mixed reaction around here, but I thought it was pretty ingenious. Anyway, he followed it up with a less original but still hilarious Attack of the Clones edition, and now his final installment for the vastly overrated Revenge of the Sith is finally up (http://collider.com/star-wars-revenge-of-the-sith-review/67507/#more-67507).

Revealing the soap opera blocking for the dramatic scenes was a highlight, especially when he split-screens.

[Russ]

Haha. I would reccomend this review to pedofiles.
I like how the reviewer equates lesbians, pedofiles, and troubled teens to *gasp* ... Canadians!

[B-side]

I like how the reviewer equates lesbians, pedofiles, and troubled teens to *gasp* ... Canadians!

I think that was just his misguided way of acknowledging its status as a Canadian film. Either that or he really thinks all of those things are equally offensive. Either way, he doesn't exactly come out looking like a winner.

[Mara]

What is a pedofile? One of those scratchy things that takes calluses off your feet?

[Skitch]

What is a pedofile? One of those scratchy things that takes calluses off your feet?

Vertical cabinet with pull out drawers that stores shoes?

Excel spreadsheet that charts walking/running distances and times?

[balmakboor]

I like how the reviewer equates lesbians, pedofiles, and troubled teens to *gasp* ... Canadians!

He also equated all adults to those things.

[endingcredits]

Sounds like Rollercoster is going to rule the troubled-lesbians-who-are-not-children-but-like-children-and-live-in-Canada market.

[Raiders]

The problem with watching silent movies in silence is that silence doesn't really exist.

What does this mean? You mean I'm going to hear some outside and ambient noises? Yeah, I guess, but I can stay focused on the film to the point I don't notice those things.

[baby doll]

The problem with watching silent movies in silence is that silence doesn't really exist.I once saw I Was Born, But... at a cinematheque screening without music. It was a little awkward.

[radioman970]

Welcome radioman!!

...Thanks. :D A little late returning. Will try to make this a daily stop...

[Spaceman Spiff]

So i rewatched Shutter Island with my girlfriend last night, and actually I really kind of dug it this time around. It's so pulpy and lush (just look at those red curtains in Ben Kingsley's office!) and ridiculous, and it's all grounded by terrific Scorsese craft.

Not top tier of course, but I'd comfortably have it in the rung below.

[MadMan]

Hey radioman970. Post at RT less, and spend more time here. We don't have Gateway Timeouts, for one thing :cool:

Never done a podcast, but it sounds like fun to me. I like the idea of a roundtable discussion, although this year I'll probably end up seeing less of the Oscar noms than I did the previous season.

Oh and it was great to end 2010 with a double viewing of the urban classics Boyz 'n' the Hood and Menance II Society. A decent review examining how the two of them really play off of one another and offer conflicting viewpoints on a similar area is in order. I found Boyz to the be the slightly better of the two, even though Menance is more brutal and honest.

[Adam]

Hey does anybody know why Theo Panayides stopped doing his capsule reviews two years ago?

[transmogrifier]

Hey does anybody know why Theo Panayides stopped doing his capsule reviews two years ago?

Because he's writing here (http://www.cyprus-mail.com/category/article-categories/reviews), I think, under the name Preston Wilder.

[transmogrifier]

It's hard to fully describe just how dark and terrifying Seconds really is. It literalizes the dread of modern suburban life in a unique, genuinely unsettling way, and makes superb use of the Rock Hudson cipher-persona.

It is shot like a nightmare, and even the moments of supposed "lightness" (like the grape festival, which I have read some people complain of being over-the-top, overlong and clunky, but that's kind of the point - it is the view of "freedom" as seen by a guy who has been chained into a life he is not sure he ever wanted, and thus works brilliantly at depicting just how hollowed out he has become) are shot through with an almost tangible horror.

Everyone should watch this. It puts other "ain't the suburbs terrible?" films to absolute shame. Pure cinema.

[Boner M]

Seconds is great indeed. Been a decade since I saw it, still remember its mood vividly. Also, I believe it had some snorri-cam used in it... would that make it the earliest use of that technique on film?

[Boner M]

Weekend

Unstoppable
Dialogues of the Exiled and City of Pirates (Ruiz)
Archangel and Careful (Maddin)
Come on Children (Allan King)
Underworld (von Sternberg)
Mad Love (Freund)

[transmogrifier]

Weekend
Unstoppable

Is it weird that I'm way more excited about seeing this than Black Swan?

[Watashi]

The Tony Scott love needs to stop now.

kthanxbye

[transmogrifier]

Well, if I had to choose between watching nothing but Tony Scott films or nothing but Darren Aronofsky films for the rest of my life, Tony would win.

Aronofsky still hasn't made anything near as good as Crimson Tide.

[transmogrifier]

For no particular reason, here is an update of my Top Directors list, based solely on the average scores of their films I have seen. (minimum of four films seen). Not exactly what I'd call my favourite directors (as I tend to watch EVERYTHING from my favs, and their duds drag down their average scores) but still pretty interesting (to me)

1. Akira Kurosawa 　 78 　 (4)
2. Paul Thomas Anderson 77.8 　 (5)
3. David Fincher 　 77.5 　 (8)
4. Peter Greenaway 　 77.25 　 (4)
5. Paul Greengrass 　 76.75 　 (4)
6. Sergio Leone 　 76.4 　 (5)
7. Michael Mann 　 75.88889 　 (9)
8. John Sayles 　 75.125 　 (8)
9. Sidney Lumet 　 74.66667 　 (6)
10. Sam Peckinpah 　 73.83333 　 (6)
11. Richard Linklater 　 72.9 　 (10)
12. Peter Jackson 　 72.8 　 (10)
13. Rob Reiner 　 72.71429 　 (7)
14. Billy Wilder 　 72.6 　 (10)
15. Curtis Hanson 　 72.33333 　(6)
16. Jean-Pierre Melville 　 71.5 　 (6)
17. Michael Haneke 　 71.33333 　 (6)
18. Wong Kar-Wai 　 71.28571 　(6)
19. Samuel Fuller 　 70.875 　(8)
20. Zhang Yimou 　 70.8 　(5)

Can't seem to bring myself to watch any other Reiner films to knock him out of there. But who in their right mind would want to watch Flipped or The Story of Us or whatever?

[megladon8]

Aronofksy would be on my favorites list.

Black Swan cemented that for me.

[soitgoes...]

Weekend:

From the East (Akerman)
The Last Bolshevik (Marker)
A Ruiz

[B-side]

Is it weird that I'm way more excited about seeing this than Black Swan?

No, especially considering it's the better film.

[Rowland]

Hey does anybody know why Theo Panayides stopped doing his capsule reviews two years ago?An excerpt from his capsule for Jim Carrey's Yes Man: "Self-improving Message - magical things can happen if you open yourself up to Life - hit me surprisingly hard, given how overall predictable the film is (I guess it's connected to the reasons why I shut down this website)."

Besides the site trans linked to (where he was one of the blessed few to write an indifferent review for Unstoppable), he also twitters (http://twitter.com/#!/prestonwilder) about movies when he attends film festivals. I wish he still kept up with his capsule reviews like he used to, especially since his current writings are geared towards a less cine-savvy audience and tend only to cover more commercial releases. I hope at least that he writes about Black Swan for his current outlet, his score for the film surprised me given that he hasn't really liked an Aronofsky movie since Pi.

[Skitch]

Aronofsky still hasn't made anything near as good as Crimson Tide.

Sometimes I find you to be a curiousity. I think the only thing worse than CT he's made is Domino, and while enjoy Scott, I don't think he makes Oscar worthy films like Aronofsky.

Just different strokes, I guess. :)

[B-side]

Well, if I had to choose between watching nothing but Tony Scott films or nothing but Darren Aronofsky films for the rest of my life, Tony would win.

Aronofsky still hasn't made anything near as good as Crimson Tide.

I still need to see that one. I'm a pretty big fan of his work this decade, though.

[soitgoes...]

I don't really get the Tony Scott thing either. He does have a style which I guess separates him from a lot of the Hollywood directors out there. It's just a style I'm not particularly fond of. Crimson Tide is alright. Ricky Schroeder has a role in it. So does Aragorn.

[Rowland]

Tony Scott hasn't had a consistent style over his entire career. I haven't seen his mid-late '90s work (Crimson Tide, The Fan, Enemy of the State), but everything from The Hunger through True Romance is directed like a perfume commercial. I recall Spy Game being pretty straightforward, but everything since his nifty BMW short Beat the Devil has been abstracted to varying degrees (Unstoppable least so) and washed out. Neither approach suggests a personal vision or strong cinematic sensibility so much as commercial-minded opportunism, which is partly why the latter style cranked to 11 is so perfect for Domino.

[number8]

I'd take Tony over Ridley.

[B-side]

Neither approach suggests a personal vision or strong cinematic sensibility so much as commercial-minded opportunism.

I don't agree. In fact, I think it's quite the opposite. I may grant you commercial-minded opportunism if only because there's really no argument to be had there, but I think his films from this decade denote a very strong cinematic sensibility, and I say this because I really enjoy his approach to cinema, thus I think it's a strong one.:P I don't see how one could watch everything from Man on Fire on and not see a very distinct vision.

[Adam]

Robert DeNiro's been named head of this year's Cannes jury

[NickGlass]

I don't see how one could watch everything from Man on Fire on and not see a very distinct vision.

I've only seen Man on Fire, and I agree he has a distinct vision--I just find it an unbearably stupid, wrongheaded, and ideologically repugnant one.

[Sven]

I couldn't say one way or the other on their abilities or vision, but it's pretty easy to see that Tony Scott love > Aronofsky love. The more difficult conditions will often yield the more fertile love.

[B-side]

I've only seen Man on Fire, and I agree he has a distinct vision--I just find it an unbearably stupid, wrongheaded, and ideologically repugnant one.

Eh, that might not be the best film to use to gauge his aughts work. I enjoy it, but largely on a formal level.

[balmakboor]

I just can't forgive him for Top Gun.

[B-side]

I just can't forgive him for Top Gun.

Nether can I. That film has a foothold in my psyche. I feel it's made me a better man.

[NickGlass]

Eh, that might not be the best film to use to gauge his aughts work. I enjoy it, but largely on a formal level.

He's doing a lot formally, that's for sure, but it's just used to shape the disgusting content; it informs the content, and makes it overwrought. Saturated colors, anxiety ridden camera trickery, and a goddamn Christ metaphor for an alcoholic vigilante? C'mon, Tony.

[B-side]

He's doing a lot formally, that's for sure, but it's just used to shape the disgusting content; it informs the content, and makes it overwrought. Saturated colors, anxiety ridden camera trickery, and a goddamn Christ metaphor for an alcoholic vigilante? C'mon, Tony.

Yeah, I don't know that I could necessarily defend the content of that one. I've been trying to convince myself that the film subtly undermines his actions, but I'm not sure I buy it.

[Sven]

Yeah, I don't know that I could necessarily defend the content of that one. I've been trying to convince myself that the film subtly undermines his actions, but I'm not sure I buy it.

Why would a film undermine the actions undertaken to rescue a kidnapped girl? He only kills criminals and bad dudes, right?

[B-side]

Why would a film undermine the actions undertaken to rescue a kidnapped girl? He only kills criminals and bad dudes, right?

Yes, but the film doesn't have to make him out to be a Jesus-esque hero.

[Sven]

Yes, but the film doesn't have to make him out to be a Jesus-esque hero.

How does that fit in with undermining his actions?

And it's not like the film was overly religious or anything. Most movies about self-sacrifice have some degree of Jesusness in them. It's a modern narrative paradigm. And so the film makes it overt a bit here and there... it does take place in Mexico, which is a country largely infused with religious awareness, even among the thugs. Seems like a natural extension of the setting to me.

[B-side]

How does that fit in with undermining his actions?

And it's not like the film was overly religious or anything. Most movies about self-sacrifice have some degree of Jesusness in them. It's a modern narrative paradigm. And so the film makes it overt a bit here and there... it does take place in Mexico, which is a country largely infused with religious awareness, even among the thugs. Seems like a natural extension of the setting to me.

Many films with vigilante characters find ways of undermining that person's actions, making them less an unqualified hero and more a misguided martyr. The film leaned a bit much on the former side.

[Sven]

Many films with vigilante characters find ways of undermining that person's actions, making them less an unqualified hero and more a misguided martyr. The film leaned a bit much on the former side.

"Misguided"? He was rescuing a little girl from murderous criminals. That doesn't excuse sadism, but I think trying to save children is a pretty noble action.

[B-side]

"Misguided"? He was rescuing a little girl from murderous criminals. That doesn't excuse sadism, but I think trying to save children is a pretty noble action.

I don't disagree, but making him out to be a hero is a bit much, which is what Nick was referring to.

[Sven]

Well, dude sacrifices himself for the life of a young girl. Seems heroic to me. I don't think the film is as categorical as you guys are making it. It goes to great lengths to illustrate his violent streak, and in a way that is not entirely pleasant. Just because he's ultimately the good guy does not mean the film is endorsing his character. His motivations, yes, and his ultimate act of sacrifice, sure, but the reason he's allowed to die is because he's a man better off dead.

[NickGlass]

Nonetheless, I felt that the style served to fetishize his sacrifice and the violence he committed. Just because they are the "bad guys" doesn't mean their murders need to be so awesomely depicted.

EDIT: I suppose it's brutally obvious by this point, but I tend to really dislike overwrought, violent vigilante films.

[transmogrifier]

Sometimes I find you to be a curiousity. I think the only thing worse than CT he's made is Domino, and while enjoy Scott, I don't think he makes Oscar worthy films like Aronofsky.

Just different strokes, I guess. :)

It's not so much that I love Scott, particularly, but that I'm totally cold on Aronofsky, who makes (what I see as) calculated "important" films and totally lacks any sense of humor or spontanaeity. His films are pretty little girls dressed up like adult women on the cover of some stuffy fashion magazine. Calculated "cinema"

Plus, Scott has made way more films, so hey, more to choose from!

To be fair, Aronofsky hasn't made anything as bad as Top Gun yet.

[B-side]

I like the way you put that. Trust me, I don't want to have any major issues with the film. I'm sure you've been in a similar scenario: having watched a film recently, wanting to fully endorse it, but having a nagging issue holding you back. The last sentence in particular certainly puts it in a better light for me, and I thank you for it.

[transmogrifier]

I'd take Tony over Ridley.

Yeah, me too. At least, I look forward to a Tony film more these days.

[B-side]

Nonetheless, I felt that the style served to fetishize his sacrifice and the violence he committed. Just because they are the "bad guys" doesn't mean their murders need to be so awesomely depicted.

EDIT: I suppose it's brutally obvious by this point, but I tend to really dislike overwrought, violent vigilante films.

In the case of the bold, perhaps the "anxiety cam" is Scott's way of emphasizing the brutality of the actions?

[Sven]

Nonetheless, I felt that the style served to fetishize his sacrifice and the violence he committed. Just because they are the "bad guys" doesn't mean their murders need to be so awesomely depicted.

It sounds like you might object to "stylized murder" as a general principle. Are there any films you can think of that you like featuring such a thing?

Edit: I just saw your edit. It clarifies things for me.

[Sven]

I like the way you put that. Trust me, I don't want to have any major issues with the film. I'm sure you've been in a similar scenario: having watched a film recently, wanting to fully endorse it, but having a nagging issue holding you back. The last sentence in particular certainly puts it in a better light for me, and I thank you for it.

Oh, absolutely. And I do have issues with Man on Fire. Not my favorite film by a long shot, but I find myself frequently coming to its defense. I think I may like Tony Scott more than I think I do.

[B-side]

Oh, absolutely. And I do have issues with Man on Fire. Not my favorite film by a long shot, but I find myself frequently coming to its defense. I think I may like Tony Scott more than I think I do.

I'm happy to have you on my side, then. How do you rate/rank his work?

[Rowland]

As far as overwrought vigilante films directed by Tony Scott are concerned, I'll take Man on Fire over Revenge. At least his modern exploitation films are dynamic, bordering on avant-gardism at their most interesting, whereas those earlier films of his (everything before the '00s?) are just noxiously prettified.

[Sven]

I rate it all about the same, actually (three stars-ish), with the first halves of True Romance and The Hunger being my favorite thing he's done (coincidentally, the latter halves of both films I find to be almost unbearably dull). Taking of Pelham 123 I'd give probably ***1/2. Top Gun and Spy Game are the only two of his that I'd say are out-'n-out terrible. Still haven't seen Revenge. And I really like Enemy of the State. At least, my ten+ year-old memory of it. I love the Hack-man, what can I say?

[B-side]

At least his modern exploitation films are dynamic, bordering on avant-gardism at their most interesting

Mm, yes. Could be an aspect of my enjoyment of his aughts films, definitely.

[B-side]

I rate it all about the same, actually (three stars-ish), with the first halves of True Romance and The Hunger being my favorite thing he's done (coincidentally, the latter halves of both films I find to be almost unbearably dull). Taking of Pelham 123 I'd give probably ***1/2. Top Gun and Spy Game are the only two of his that I'd say are out-'n-out terrible. Still haven't seen Revenge. And I really like Enemy of the State. At least, my ten+ year-old memory of it. I love the Hack-man, what can I say?

I saw Pelham 123 before I started to dig into Tony Scott the auteur and I still enjoyed it. With a new appreciation of Tony Scott came a new appreciation for Pelham 123 in retrospect, but a rewatch is certainly in order. I have an HD rip of his very first film, Loving Memory, that I've been meaning to get to. And Emma's War seems on track for a 2011 release, so I'm looking forward to that.

[megladon8]

Even with 1/5 the number of films under his belt, Aronofsky already trumps Tony Scott (and Ridley Scott, for that matter) so hard it's not even funny.


That this is even up for debate is one of those hilarious MatchCut idiosyncrasies that keeps me coming back day after day after day.

[MadMan]

Tony Scott:

Top Gun-70 (hilarious and so bad its almost good, plus the vollyball scene is erotic gay behavior on an epic scale)
True Romance-85 (much of this movie can be attributed to QT, though)
The Last Boy Scout-85 (highly underrated as far as 90s action movies go)
Enemy of the State-90 (a fine companion piece to The Conversation and one of Hackman's best roles. Plus Will Smith is actually great in this)
Man on Fire-80 (I guess I enjoy overwrought, really violent, brutal revenge movies)

Darren Aronofsky:

Pi-90 (bizarre and fascinating sci-fi/thriller)
The Wrestler-98 (Rourke is brilliant in this, and its still my #1 of 2008)

I think I'll try and see plenty from both directors, as I seem to like movies from them. Not sure why we are comparing the two, though, as they are rather different in style and film choices.

As for Ridley Scott, just go to his consensus thread and you'll find what I think of the movies I've viewed from him. However his latest, Robin Hood, was rather mediocre.

Also I'm adding Seconds to my Netflix queue.

[transmogrifier]

Even with 1/5 the number of films under his belt, Aronofsky already trumps Tony Scott (and Ridley Scott, for that matter) so hard it's not even funny.


That this is even up for debate is one of those hilarious MatchCut idiosyncrasies that keeps me coming back day after day after day.

Really? Aronofsky? His movies are just so....meh. Strange that he is the guy that is your gold standard when it comes to undebatable talent. So many more talented directors out there.

[megladon8]

Really? Aronofsky? His movies are just so....meh. Strange that he is the guy that is your gold standard when it comes to undebatable talent. So many more talented directors out there.


I never said anything about him being my gold standard.

But I don't see how one could watch Requiem for a Dream and Top Gun, and decide that the latter was the better movie.

[B-side]

Even with 1/5 the number of films under his belt, Aronofsky already trumps Tony Scott (and Ridley Scott, for that matter) so hard it's not even funny.

That this is even up for debate is one of those hilarious MatchCut idiosyncrasies that keeps me coming back day after day after day.

To clarify, I don't know that I think Tony Scott is necessarily a great director, but he's a damn good one, and one worthy of his cult following and more.

[transmogrifier]

I never said anything about him being my gold standard.

But I don't see how one could watch Requiem for a Dream and Top Gun, and decide that the latter was the better movie.

Seems strange that you would pick Scott's undeniably worst film and compare it to Aronofsky's most acclaimed (? up to Black Swan, maybe).

I don't see how one could watch 1941 and LA Confidential, and decide that the former was the better movie.

Curtis Hanson kicks Spielberg's arse!

[number8]

I think what Nick was trying to say is, it's reasonable for Denzel Washington to detonate C4 inside a man's anus in order to save a little girl, but perhaps Tony Scott should not have shot that scene with Denzel putting on his glasses in slo-mo as he walks away from the exploding anus.

[number8]

I would prefer to watch LA Confidential or 8 Mile over any Spielberg movie.

[Pop Trash]

Tony Scott is pretty horrible. Not just for Top Gun either. I mean the man did give us the cinematic abortions that are Beverly Hills Cop II (even III was better) and Days of Thunder. I attempted to watch Domino because of the Richard Kelly factor, but was completely turned-off by the pukey green digital color filter he used. Bleh.

[Ezee E]

I would prefer to watch LA Confidential or 8 Mile over any Spielberg movie.
Don't be silly. Rewatch 8 Mile again.

[transmogrifier]

Don't be silly. Rewatch 8 Mile again.

I like 8 Mile. LA Confidential is better than all Spielberg films except Jaws.

[NickGlass]

I think what Nick was trying to say is, it's reasonable for Denzel Washington to detonate C4 inside a man's anus in order to save a little girl, but perhaps Tony Scott should not have shot that scene with Denzel putting on his glasses in slo-mo as he walks away from the exploding anus.

Uggggh, yeah--it goes beyond my hang-ups with violent vigilante films.

[transmogrifier]

Also I'm adding Seconds to my Netflix queue.

Excellent.

[Derek]

I've only seen Man on Fire, and I agree he has a distinct vision--I just find it an unbearably stupid, wrongheaded, and ideologically repugnant one.

Thank you for saving me the time of typing this out. The scene where Denzel´s rage is supposedly enhanced by increasingly large subtitled font also in English is one of the most idiotic idiosyncracies I´ve seen. Unforgettably retarded.


Even with 1/5 the number of films under his belt, Aronofsky already trumps Tony Scott (and Ridley Scott, for that matter) so hard it's not even funny.


That this is even up for debate is one of those hilarious MatchCut idiosyncrasies that keeps me coming back day after day after day.

Except a MatchCut idiosyncrasy is something that MC believes that the rest of the world does not. I believe more people in the real world would take Ridley or Tony over Aronofsky and if not, it would certainly not be as one-sided as you may believe.


Don't be silly. Rewatch 8 Mile again.

I would suggest this as well if only it didn´t require the huge downside of actually rewatching 8 Mile.

[Ezee E]

I would suggest this as well if only it didn´t require the huge downside of actually rewatching 8 Mile.

Indeed.

[transmogrifier]

8 Mile > Ezee and Derek (combined or individually)

[number8]

Pft. 8 Mile is great. You guys sound like you accidentally shot your own nuts off.

[megladon8]

OK, fine, I'll resort to a ratings comparison...

Aronofosky

Pi - 6
Requiem for a Dream - 10
The Fountain - 10
The Wrestler - 8
Black Swan - 9


Tony Scott

Top Gun - 3
Beverly Hills Cop II - 5
Days of Thunder - 4
The Last Boy Scout - 5
True Romance - 7.5
The Fan - 4.5
Enemy of the State - 6
Spy Game - 4.5
Man on Fire - 6.5
Domino - 4


While it has been said countless times, it bears repeating that Tony Scott's ADHD style is headache inducing for the most part, his movies resorting to dumb flashiness with no real insight into anything at all.

Granted, I have not seen Deja Vu, which even Jen tells me is actually quite good.


Aronofsky has a style I find much more interesting and appealing, reminiscent of directors like Kubrick and Demme.

I find the stories he tells to be more appealing on an emotional level, and I often find myself on board with whatever message or insight he is trying to provide, whether it be about the specific characters in his story (Requiem) or more broadly humanistic (The Fountain).

[transmogrifier]

Aronofsky has a style I find much more interesting and appealing, reminiscent of directors like Kubrick and Demme.

See, I think he has no style whatsoever, and is an incredibly bland filmmaker who nevertheless sees himself as cerebral and edgy, which creates an unpalatable disjunct between what the director thinks he is achieving and what his film is actually doing.

Nothing he has done has ever not been stodgy and deeply conventional at its core.

EDIT: The Fountain strikes me as the type of "deep" study of human emotion that you'd get from an alien historian-cineaste who only had TV circa the 1990s to work from. Both phony and overwrought, but with good intentions.

[number8]

Pi - 6

I'm going to stop reading right here.

[Skitch]

It's not so much that I love Scott, particularly, but that I'm totally cold on Aronofsky, who makes (what I see as) calculated "important" films and totally lacks any sense of humor or spontanaeity. His films are pretty little girls dressed up like adult women on the cover of some stuffy fashion magazine. Calculated "cinema"

That's a fair observation, I can't really disagree with your viewpoint. I'm a tad defensive with Aronofsky because I picked up a random never heard of flick at mom and pop store one day, Pi, and I loved it. :)


To be fair, Aronofsky hasn't made anything as bad as Top Gun yet.

Good lord do I hate that movie. He has so many movies I forget some he's made. I'd add TG to bottom of his filmography as well, below Crimson Tide.

Its funny, because I'm usually on the "defending Tony Scott" side of the argument. Ha.

[number8]

I think Aranofsky has a style. He blatantly stole it from Shinya Tsukamoto (and sometimes Satoshi Kon), but at least it's distinctive enough that there's a pattern through his filmography.

[megladon8]

I honestly find it baffling that someone could watch Aronofosky films and say he has no discernible style of his own.

He's one of the most stylish and unique American directors of the past decade.

[transmogrifier]

He's one of the most stylish and unique American directors of the past decade.

Then it's been a very bad decade for American directors.

[Skitch]

I'm going to stop reading right here.

I feel that score is four points too low as well.

[Derek]

The Wrestler is pure Dardenne Bros. aesthetic, only not nearly as good as any of their films. Hardly original.

[Derek]

I honestly find it baffling that someone could watch Aronofosky films and say he has no discernible style of his own.

I find it equally baffling that someone could watch Requiem..., The Fountain and The Wrestler and say they are stylistically consistent. Not arguing whether he´s good or bad, but to say he has a single, discernible style doesn´t seem right to me.

[Derek]

Then it's been a very bad decade for American directors.

Hey, even Rob Reiner´s had a rough stretch this past decade. ;)

[transmogrifier]

Hey, even Rob Reiner´s had a rough stretch this past decade. ;)

Tough past 20 years really.

[Scar]

Star Wars on Bluray in September.

[number8]

Star Wars on Bluray in September.

Special Edition.

I don't have to say anything else, right?

[megladon8]

I find it equally baffling that someone could watch Requiem..., The Fountain and The Wrestler and say they are stylistically consistent. Not arguing whether he´s good or bad, but to say he has a single, discernible style doesn´t seem right to me.


The way Aronofsky frames his shots, often having characters positioned at exactly the center of the frame.

His consistent use of tracking shots wherein the camera follows a person either behind their head, or in front. He also often positions the camera so it is either looking ever-so-slightly up or down at the character's head, giving it a skewed and frantic look. Similarly, his reluctance to use steadicam in tracking shots, giving it a visceral feel of a person being followed or watched.

The way he shoots high-res, extreme close-ups of characters' actions with their hands or body. See: the so-called "pop montage" technique he uses to show people shooting up in Requiem for a Dream; the way he filmed and focused on Jackman's fingers as he tattoos on his wedding band in The Fountain; various body-horror shots in Black Swan.

I see his style as unquestionably unique and consistent.

[Sycophant]

HD masters of the original theatrical cuts of Star Wars to Return of the Jedi or I just don't care.

Okay, I might be a big enough sucker to go for SD anamorphic transfers.

[Scar]

Special Edition.

I don't have to say anything else, right?

What, you don't like the dance number in Jabba's Palace?

[Sycophant]

Speaking of Star Wars, I watched all of Harry Plinkett's exhaustive review feature film documentary/mockumentary SW prequel thingies. They're pretty great. Frequently funny (though the serial killer, pizza roll delusionist, catfucker stuff all fell pretty flat more me), and actually pretty insightful, he reiterates many of the points I've been making about the prequels to fans for over half a decade and brings to light some biting flaws that I at best acknowledge in my subconscious (the lazy soap opera style direction was a good catch, maybe something I'd've caught if I could've brought myself to rewatch any of the prequels since 2003).

But additionally, they inspired me to really reexamine the original Star Wars films on their own merits. I don't think I'd actually seen any of them in full since high school, and even then, I was most familiar with the special editions. I wanted to score those Limited Edition discs with the original, original theatrical cuts that I had never seen and give those a go, apart from teenaged fanboyness and after a decade of cultivation of film tastes. Over the years, my sourness on nineties/aughts Lucas and the prequels bled over to a distaste for all things Star Wars. So I ordered them and watched Star Wars and The Empire Strikes Back over the last couple days.

They're good. They're actually really good. These are focused and personal stories that have an energy and playfulness that are actually are put together with craft and artistry. I'd like to flesh out my thoughts further after some more reflection.

After Empire last night--and with both of us hit with colds and/or flus--my girlfriend suggested actually watching The Phantom Menace to properly assess its awfulness some seven or ten years after either of us had seen it. I was like "what the hell?"--watching it again could only up my cred when I'm talking about these things (I discuss Star Wars maybe way more than I ought to). It's really as bad as all that. Aimless, baffling, wooden and far too clean to feel human. You never know any of the characters or really what they're trying to do. The action sequences lack tension. The whole thing is a catastrophe.

And this is why I think I'm gonna stick to the original cuts from here on out--and considering these are fun, poppy, well-made films, I can see myself revisiting them more often. They're revised to conform to a vision that their makers did not possess when they were made, but wouldn't be born until almost two decades later. There's a strong emphasis on choice in the original trilogy, while the prequel trilogy is concerned with fate and predestination. And truthfully, the scene where Obi-Wan Kenobi laments his former good friend and pupil tells a far more compelling story about Darth Vader/Anakin Skywalker than the entire seven hours of prequel fanwank.

Looking forward to watching Return of the Jedi soon.

[lovejuice]

Believe it or not, yesterday I just watched Rashomon for the first time.

I consider myself a dissenter of a movie with multi-perspective storytelling. When it tries to sell the post-modern bullshit that there is no single truth, it's self-defeating since at the end the truth always comes out to reject previous hypotheses.

Rashomon, however, is more honest in that it simply says people are mendacious and lie for their own benefit.

And, yes, I like it a lot.

[megladon8]

Sycophant, the reviews of the prequels you were talking about - were those the ~40 minute YouTube videos with the guy pretending to sound like an old, bitter man?

If so, yes, those were pretty great. And like you said, provide some genuine insight as to what made the movies so bad.

My favorite line by him was "Star Wars: The Phantom Menace was more disappointing than my son."

[Sycophant]

Sycophant, the reviews of the prequels you were talking about - were those the ~40 minute YouTube videos with the guy pretending to sound like an old, bitter man?

Indeed. And they actually range in length from 70 to 100 minutes. They're some kind of masterwork of comedic editing, too. The timing and intercutting is really savvy throughout.

[DavidSeven]

But additionally, they inspired me to really reexamine the original Star Wars films on their own merits. I don't think I'd actually seen any of them in full since high school, and even then, I was most familiar with the special editions. I wanted to score those Limited Edition discs with the original, original theatrical cuts that I had never seen and give those a go, apart from teenaged fanboyness and after a decade of cultivation of film tastes. Over the years, my sourness on nineties/aughts Lucas and the prequels bled over to a distaste for all things Star Wars. So I ordered them and watched Star Wars and The Empire Strikes Back over the last couple days.

They're good. They're actually really good. These are focused and personal stories that have an energy and playfulness that are actually are put together with craft and artistry. I'd like to flesh out my thoughts further after some more reflection.

After Empire last night--and with both of us hit with colds and/or flus--my girlfriend suggested actually watching The Phantom Menace to properly assess its awfulness some seven or ten years after either of us had seen it. I was like "what the hell?"--watching it again could only up my cred when I'm talking about these things (I discuss Star Wars maybe way more than I ought to). It's really as bad as all that. Aimless, baffling, wooden and far too clean to feel human. You never know any of the characters or really what they're trying to do. The action sequences lack tension. The whole thing is a catastrophe.

I re-watched ANH and Empire on DVD a few years ago. I want to say they were also the Limited Edition original releases, but I'm not entirely positive. Never considered myself a geek for this stuff (probably watched each film in the trilogy once before that as a kid and don't recall hating or loving them). ANH is an exciting little pulp film, even if it feels a bit like kiddie stuff. The cut to end credits was a rousing moment. Empire is just a genuinely well-made film that ups the ante as great sequels should. Dramatically effective with some great direction on display (much props to Kershner). Never got to Jedi, but those first two films really bear little, if any, resemblance to those plodding, moronic, cartoon looking prequels.

[megladon8]

Indeed. And they actually range in length from 70 to 100 minutes. They're some kind of masterwork of comedic editing, too. The timing and intercutting is really savvy throughout.


Yeah, I was really surprised when I watched them. I had been directed to them by a friend and was expecting them to be sparsely funny but without any real depth or true criticism. Just the kind of stuff you'd find on a flame-board.

But no, he makes some strong arguments and observations showing just how messy the movies were (The Phantom Menace in particular).


I do have to say though, I kind of like Revenge of the Sith. While still nowhere near the (rightfully) legendary original trilogy, it came the closest of any of the prequels to having the "feel" of a Star Wars movie.

And while I agree with people like D_Davis and many others who are sick to death of the franchise and its almost monthly new releases throughout various mediums, I do really still love the original three movies. Those deserve the love they continue to get from generation after generation.

[Sycophant]

(much props to Kershner)

Speaking of Irwin Kershner (who I think was ultimately one of Star Wars's greatest and most important assets), did he ever direct anything else worth watching? He did a whole lot of TV work, apparently.