28 Film Discussion Threads Later

[MadMan]

http://i56.tinypic.com/20rz4g.jpg

De Palma's best.I now want to see it, based only on that image.

[Raiders]

Fan of the original Raiders?

Not a big fan no, but it's a masterpiece in comparison. I think charting the differences between the two versions (starting of course with the fact that this isn't karate, it's kung fu-- a fact mentioned in the film but one that doesn't stop the marketing machine from keeping the name) would be rather enlightening in itself. This film is very symptomatic of how Hollywood treats its viewers and material today compared to only 25 years ago.

[Ezee E]

I haven't seen either. Don't really plan on it either.

[MadMan]

I like the original, but its really cheesy, although hey it was made in the 80s so go figure. After watching the remake, I was glad I didn't go see it in theaters. You'd think I'd know better after years of film making that I would have realized it wasn't a particularly good movie, but I was blinded by Jackie Chan's awesomeness.

[Qrazy]

Speaking of Chan I watched Dragons Forever the other night. It was meh. Project A, Drunkenmaster and Police Story are still tops.

[Mr. Pink]

http://i56.tinypic.com/20rz4g.jpg

De Palma's best.

Any time I meet someone new that I like, I generally get around to showing this to them at some point.

The last person I showed it to brought it up a few days later, saying I made her watch weird movies.

Screw that person.

[StanleyK]

The Man from London was fuckin' sweet. Not Werckmeister Harmonies sweet, but that would be a damn near impossible task to achieve. Hranitzky and Tarr really are masters of using camera placement and movement to play with our perception and highlight what's thematically important. Filmmakers should watch this and learn how to make expository dialogue interesting, mundane actions riveting.

[Bosco B Thug]

http://i56.tinypic.com/20rz4g.jpg

De Palma's best. I always try to devalue it in my mind when I think about it because it's such a lark, but those opening credits are definitely one of the most perfect things.

[Rowland]

Mad Detective (To, 2007) ***½Awesome. Very underseen/rated, just a totally rad delight.

[Qrazy]

Awesome. Very underseen/rated, just a totally rad delight.

Not here really.

[Rowland]

Not here really.Hmm, I can only think of a few posters who I recall having seen it, and I never sensed a great deal of enthusiasm. Perhaps I'm mistaken.

[Winston*]

I liked Mad Detective pretty well.

[B-side]

Been far too long since my last Fassbinder. I jumped back in with Martha thanks to the recent praise of it here. Glad I did.

[balmakboor]

http://i56.tinypic.com/20rz4g.jpg

De Palma's best.

It's tons of fun. I think movie for movie Brian De Palma is the most consistently interesting and enjoyable of all the '70s Hollywood Movie Brats. This one deserved all the midnight movie glory that Rocky Horror enjoyed.

[Grouchy]

To those who have seen some Monty Python films such as Holy Grail and find them unfunny, I'd recommend And Now for Something Completely Different and, of course, all the episodes of the show if they can get them. See how they feel then.

I expected The Fighter to be good, and yet it was better than I ever imagined it would be. O'Russell really has it in him, huh? He turns what could have been a standard story of an underdog's triumph into a scarring family drama, a social critique of institutions such as marriage and boxing, and a vibrant, compelling movie to watch. Not much was deserved last night in the Oscars, but Bale and Melissa Leo definitively were. Not only did they deliver awesome performances, they connected really well together. This movie for me is proof that no matter how many times have you seen a subject matter before, in the right hands a writer/director can find spots of information and explore aspects of characters in very surprising ways.

[Dukefrukem]

The Elephant Man made it into my top 100 films list. I need more of Sir Anthony Hopkins in my life.

[Skitch]

Fan of the original Raiders?

Raiders 2 > Raiders

[number8]

My favorite criticism of his was how he complained about the length of the movie. 2 1/2 hours? Really?

The original is only 10 minutes shorter.

[StanleyK]

What a strange beast Valhalla Rising was. It wouldn't seem like my kind of film, what with it being grim and humorless, appearing to glorify its violence and masculinity. And yet, I was transfixed, credit I think to two factors: its elusive, Malickian editing, and the strange friendship between One-Eye and the boy, the actual protagonist and the heart of the film (what little heart there can be in such a gritty environment). I can't say for sure that it's a great film, but it is a good one; I already feel like I need to watch it again.

[MadMan]

To those who have seen some Monty Python films such as Holy Grail and find them unfunny, I'd recommend And Now for Something Completely Different and, of course, all the episodes of the show if they can get them. See how they feel then.

I expected The Fighter to be good, and yet it was better than I ever imagined it would be. O'Russell really has it in him, huh? He turns what could have been a standard story of an underdog's triumph into a scarring family drama, a social critique of institutions such as marriage and boxing, and a vibrant, compelling movie to watch. Not much was deserved last night in the Oscars, but Bale and Melissa Leo definitively were. Not only did they deliver awesome performances, they connected really well together. This movie for me is proof that no matter how many times have you seen a subject matter before, in the right hands a writer/director can find spots of information and explore aspects of characters in very surprising ways.I agree that it was the performances that really made the movie as great as it was. At this point after seeing three films from O'Russell he's quickly becoming one of my favorite directors. I'm a huge fan of Three Kings, and I thought that I Heart Huckabees was one of the best movies of 2004. It was really eeire how Bale disappeared into his role-I know that the Batman movies make him a lot of money, but he's terrible in them because they restrict his abilities as an actor. Plus the lame Batman growl, of course. I was surprised that Amy Addams and Melissa Leo didn't split the vote between them, but I guess the Academy recognized Leo's fine performance as clearly being the better of the two.

[elixir]

Somehow I have never seen a single movie in 1981. I don't know how this happened. Therefore, the first person to recommend me a 1981 film (that's somewhat accessible), I shall watch it. This baffles me...it's like I consciously avoided this year...but I didn't.

[Sycophant]

The Road Warrior.

[Winston*]

Somehow I have never seen a single movie in 1981. I don't know how this happened.

Are you under 29 and lack a time machine?

[elixir]

Are you under 29 and lack a time machine?

No, but I'm tired. Why must you take pleasure in my mistakes! :frustrated:

Well, yes, I guess since I am under 29 and I do lack a time machine.

[elixir]

The Road Warrior.

I suppose I'll have to watch Mad Max first then.

[MadMan]

Somehow I have never seen a single movie in 1981. I don't know how this happened. Therefore, the first person to recommend me a 1981 film (that's somewhat accessible), I shall watch it. This baffles me...it's like I consciously avoided this year...but I didn't.Raiders of the Lost Ark. Cliche, sure, but a great film regardless.

[Sycophant]

I suppose I'll have to watch Mad Max first then.

Not really. I never did.

[MadMan]

I actually watched the series in reverse order, starting with Beyond Thunderdome first.

[elixir]

Not really. I never did.

Okay. I just assumed because it was a series, but if I don't need to, then fine.

[Sycophant]

If you'd rather, feel free to ignore mine and watch Raiders of the Lost Ark. It's pretty great, too. And it's the first in a series.

[elixir]

I'll probably watch both soon enough.

I saw Grand Illusion earlier today, and it was quite good I thought. I loved von Stroheim's character, and in general the basic humanity of the whole movie without it going into over-sentimental territory.

I also saw Ginger and Fred, and while I sorta kinda liked it (mostly due to Masina and Mastroianni), it was easily the worst Fellini I've seen. I'll probably view Il Bidone next.

[BuffaloWilder]

You can watch The Road Warrior without having seen Mad Max - all the context you really need is presented in the opening scrawl.

In fact, I prefer it - Mad Max's kind of like a demo reel, almost. Filled with a lot of really visually cool shit and some interesting ideas on futurist degenerative social dynamics, but pretty light on everything else - The Road Warrior's the real deal. All of that comes into a cohesive whole, with pantomime character building that's so subtle it's like a Buster Keaton movie, and with Bruce Spence, to boot! :O

[Mr. Pink]

Just saw Nokas, the single most realistic heist movie you could possibly imagine. It's based on eyewitness/informant accounts from the largest robbery in Norway, where 11 guys stole about $10 million in 2004. Very intense. They managed to create a captivating narrative out of a bunch of guys in masks robbing a bank, which takes up about an hour of screen-time. You don't really get to take a metaphorical breath until near the very end of the movie. I'd probably give it an 8/10. Recommended.

[B-side]

Fort Apache is the best film I've seen so far this year. Nearly as good as The Searchers.

To elaborate on this, I don't think I've chuckled as much, nor experienced as much emotion during a Ford film. Nationality, class and masculine pride are riffed on with endearing gags and approached with that tender and reverent Ford touch. Specifically, Fonda's Thursday begrudgingly takes command of a group of southern soldiers, many of whom are Irish, which brings about Thursday's befuddled reaction to all the O'Rourke's at Fort Apache. As seems to often be the case with Ford's films, the women are much less hindered by racial prejudice and pride, though certainly still guided by traditional gender roles. The tone approaches deadpan satire at times. At one point we watch a stern-faced Thursday reticently partake in the dance customs and walk arm in arm with a fellow officer's wife with a joyless expression on his face, an amusingly microcosmic view of his characterization. I don't think I've encountered many more resonant images in my experience with Ford than that of a soldier kicking away a whiskey bottle as he proceeds to raise the flag in honor of the dead, as well as a lingering shot of a riderless steed leading Thursday's troops against the Apache. And as I always appreciate, here Ford refuses to demonize the Apache. Thursday's misguided arrogance and stringent adherence to outdated codes of conduct are shown as the impetus for war rather than any major misdeed on the part of Cochise or the Apache.

[Raiders]

I will never doubt your ability to find gold in the most marginal of films, B-side.

[B-side]

I will never doubt your ability to find gold in the most marginal of films, B-side.

Heh. I'm not sure if that's to be commended.

But really, Fort Apache is marginal? I understand the Tony Scott skepticism, but I always thought this one was rather well-regarded.

[D_Davis]

A weird thing happened to me a couple of weeks ago. I watched the last Pirates of the Caribbean film, At World's End, and I really, really liked it. I mildly enjoyed the first film, but I didn't like the second one at all. However, the third film was really great, and it made me curious to rewatch the others. Last night I rewatched the second film....and I liked it a lot. These films really do contain some downright bizarre and beautiful images, and they really have some weird stuff going on. Also, the set design and art direction are simply amazing.

I've been greatly enjoying how slow and densely plotted these films are as well. So totally unlike many big blockbusters.

They've also made me want to dive into my collections of the pirate/sea-related weird tales by William Hope Hodgson that have been sitting on my shelves for some time.

[B-side]

I've been a defender of At World's End since it was released. Everyone seemed to have jumped ship (har har) on the franchise, but I'm tempted to say At World's End is the pinnacle of the series in a variety of ways.

[D_Davis]

What a strange beast Valhalla Rising was. It wouldn't seem like my kind of film, what with it being grim and humorless, appearing to glorify its violence and masculinity. And yet, I was transfixed, credit I think to two factors: its elusive, Malickian editing, and the strange friendship between One-Eye and the boy, the actual protagonist and the heart of the film (what little heart there can be in such a gritty environment). I can't say for sure that it's a great film, but it is a good one; I already feel like I need to watch it again.


Awesome. And that soundtrack! Best score I've heard in ages.

[D_Davis]

I've been a defender of At World's End since it was released. Everyone seemed to have jumped ship (har har) on the franchise, but I'm tempted to say At World's End is the pinnacle of the series in a variety of ways.

It's really a beautifully bizarre film. The world feels lived in, and the mythos is well developed. I love the sequence with the sand crabs helping Jack move the boat, and the final naval battle is spectacular. It's incredibly well shot.

[B-side]

It's really a beautifully bizarre film. The world feels lived in, and the mythos is well developed. I love the sequence with the sand crabs helping Jack move the boat, and the final naval battle is spectacular. It's incredibly well shot.

Yeah, the strangeness of it is a big part of its appeal for me. I just remember thinking, "Wow, this is totally bizarre... I love it."

[D_Davis]

Yeah, the strangeness of it is a big part of its appeal for me. I just remember thinking, "Wow, this is totally bizarre... I love it."

And that opening sequence, when the kid starts the singing before being hanged, is really great; so dark for this kind of film.

I also love how dirty everything is. The sets, make-up, and art direction are all top notch. It feels as though you could reach in and scrape of inches worth of crud.

[B-side]

And that opening sequence, when the kid starts the singing before being hanged, is really great; so dark for this kind of film.

I also love how dirty everything is. The sets, make-up, and art direction are all top notch. It feels as though you could reach in and scrape of inches worth of crud.

It's been a while since I've seen it and I still remember that opening.

Agreed on the second part, too. I'll have to give this one a 4th or 5th go-round again soon.

[megladon8]

I'm still in the camp that thinks Curse of the Black Pearl was the best of the series.

Though At World's End is much better than Dead Man's Chest.

I just found they became so overdone in every aspect with the 2nd and 3rd films. It seems everything just continued to get bigger, louder and messier, and it became kind of boring to watch.

[MadMan]

I appear to be one of the few defenders of the second Pirates film on the boards. I thought it was highly entertaining, great fun, and almost measured up to the first one. The third film had too many dull moments, was bloated, and ran a bit too long, but I still liked it. As for the forth film, no Keira kind of stinks because I like her in these movies, but I'm glad there's no Orlando Bloom because he's terrible. The trailer for it has me wanting to go see it in theaters, but then again I suppose I'm a sucker for pirate movies. Except Hook, which is one of Spielberg's worst movies. Yeah, I went there.

[megladon8]

http://img593.imageshack.us/img593/5183/mongoliandeathwormartpi.jpg

[Watashi]

Hey Sven, the New Beverly in LA is having a Ralph Bakshi double feature with Coonskin and Hey Good Lookin'. Since your the only vocal Bakshi fan here, have you seen them?

[Sycophant]

I never saw beyond the first Pirates film, because I hated it. I am moderately interested in At World's End after this little discussion.

[Watashi]

All three Pirates films are mediocre.

However, they all have fantastic scores. Some of the best of the last decade. It's the only reason why I want to see the 4th one.

[Qrazy]

The Pirates films more or less followed the same trend as the Matrix films. Although it must be said that the first Matrix was quite a bit better than the first Pirates. Anyway, we have the first film which is an okay, fairly mediocre stand alone genre film. Then we get the bigger budget over the top sequel which delivers in terms of spectacle but has a fairly flaccid narrative and just sort of relies on the third film to tie up all it's loose ends. Then we have the third film which is just utter shit and weakens the second film given the fact that they are so closely tied together.

[D_Davis]

I never saw beyond the first Pirates film, because I hated it. I am moderately interested in At World's End after this little discussion.

It's really good.

[D_Davis]

All three Pirates films are mediocre.

However, they all have fantastic scores. Some of the best of the last decade. It's the only reason why I want to see the 4th one.

Couldn't you just buy the soundtrack?

[Raiders]

I like the second Pirates film the best. Mixes the oddball humor with the spectacle better than the other two, though still mediocre. The third film felt like it was trying way too hard to be silly and weird, and then it built up to this big finale regarding Calypso that is a huge thud, rather reminiscent of the whole series.

[D_Davis]

I thought P3's finale was incredible. The naval battle was expertly shot, and the action felt dangerous. It was a great spectacle; everything looked and sounded amazing. I think I'll fire up the projector this week and view all three on the big screen.

Never thought I'd become a champion for the Pirates films, but the third one really did it for me.

[Sven]

Hey Sven, the New Beverly in LA is having a Ralph Bakshi double feature with Coonskin and Hey Good Lookin'. Since your the only vocal Bakshi fan here, have you seen them?

Oh my goodness, do. Not. Miss it. Hey Good Lookin' is my second favorite Bakshi (after American Pop), and Coonskin is utterly unique. Even if you don't like them, they're both rare and bizarre enough to achieve "Must See" status.

[Qrazy]

I thought P3's finale was incredible. The naval battle was expertly shot, and the action felt dangerous. It was a great spectacle; everything looked and sounded amazing. I think I'll fire up the projector this week and view all three on the big screen.

Never thought I'd become a champion for the Pirates films, but the third one really did it for me.

You seem to have a really high tolerance for what I find to be terrible vfx and which completely takes me out of the film. For instance that hang gliding shot as they escape from the whirlpool or the effects in so many Tsui Hark films (Zu Warriors for instance).

[Spun Lepton]

Oh my goodness, do. Not. Miss it. Hey Good Lookin' is my second favorite Bakshi (after American Pop), and Coonskin is utterly unique. Even if you don't like them, they're both rare and bizarre enough to achieve "Must See" status.

Alternately, you could drag a rake across your eyes with similar results.

[megladon8]

I'm really interested in seeing Coonskin.

It looks pretty great.

And you know what? I really, REALLY liked American Pop.

[soitgoes...]

Heh. I'm not sure if that's to be commended.

But really, Fort Apache is marginal? I understand the Tony Scott skepticism, but I always thought this one was rather well-regarded.I have to side with Raiders here. Fort Apache is forgettable.

[megladon8]

Speaking of Bakshi, how are his non-LOTR fantasy films?

Both Wizards and Fire and Ice got (apparently) pretty nice DVD releases a few years back.

[Sven]

Both Wizards and Fire and Ice got (apparently) pretty nice DVD releases a few years back.

Wizards is often considered his best, and it's great. Fire and Ice is my least favorite of his films, but the DVD is admittedly quite nice.

[megladon8]

Cool, I'll check them out.

[Spun Lepton]

Bakshi is the anti-christ of animation.

I am the greatest embellisher in the entire universe.

But, no, seriously, he's terrible. He makes baby Mickey cry.

[Watashi]

The only Bashki film I've seen all the way through was Cool World.

It was god awful.

[Sycophant]

Wizards and American Pop are both wonderful.

[Sven]

The only Bashki film I've seen all the way through was Cool World.

It was god awful.

One of those doomed pet projects that, had Bakshi been given the reigns, could have been a masterpiece. In its current state... alas. I still like many things about it, but the tension between the production values and content creates an uncomfortable and confusing disparity of sensibilities.

[Watashi]

Was Cool World suppose to be Bakshi's answer to Who Framed Roger Rabbit?

[Spun Lepton]

One of those doomed pet projects that, had Bakshi been given the reigns, could have been a masterpiece. In its current state... alas. I still like many things about it, but the tension between the production values and content creates an uncomfortable and confusing disparity of sensibilities.

That, and it's a disaster on a technical level. Watching the animation shift around over the photography destroys all suspension of disbelief.

[Sven]

Was Cool World suppose to be Bakshi's answer to Who Framed Roger Rabbit?

It's certainly something I can imagine them saying to try and sell it, but there are very few similarities between the movies, actually.

[Sven]

That, and the fact that it's a disaster even on a technical level. Watching the animation shift around over the photography destroys all suspension of disbelief.

Ah, suspension of disbelief... one of my least favorite arguing points. As though that's something that every movie must achieve.

[Spun Lepton]

Was Cool World suppose to be Bakshi's answer to Who Framed Roger Rabbit?

Yeah, it came out not long after the success of Roger Rabbit.

[Spun Lepton]

Ah, suspension of disbelief... one of my least favorite arguing points. As though that's something that every movie must achieve.

I see, so Cool World is given a free pass in that regard?

[Sven]

I see, so Cool World is given a free pass in that regard?

Course not. Just saying, I don't know why you'd watch a Bakshi movie for disbelief suspension. He's clearly not interested in seamlessness.

[Spun Lepton]

Course not. Just saying, I don't know why you'd watch a Bakshi movie for disbelief suspension. He's clearly not interested in seamlessness.

You're contradicting yourself.

[Rowland]

The first Pirates movie was a finely calibrated diversion by Hollywood blockbuster standards, but it didn't leave enough of a lasting impression for me to care about bothering with the sequels. The only Verbinski film I really like is The Ring, which I like at least as much as Nakata's original.

I had a blast with Fritz the Cat a few weeks ago, watched Cool World a bit later and found it kinda interesting at points but for the most part an increasingly intolerable mess of poorly developed ideas, lousy acting, and desperation passing for anarchy.

[Sven]

You're contradicting yourself.

?

[Rowland]

The Cool World theme (http://www.youtube.com/watch?v=FY_9E3EXwN4&feature=related) is pretty badass though.

[Spun Lepton]

?

Cool World doesn't get a pass, but Bakshi does? And when I saw Cool World, even at 16 I was able to tell it was Bakshi's attempt and mainstream success, mooching off the success of Roger Rabbit. He attempted to milk that cow, but it kicked him in the face.

Mainstream success usually relies on a filmmaker's ability to suspend disbelief and create decent escapism.

[Sven]

Cool World doesn't get a pass, but Bakshi does? And when I saw Cool World, even at 16 I was able to tell it was Bakshi's attempt and mainstream success, mooching off the success of Roger Rabbit. He attempted to milk that cow, but it kicked him in the face.

I'm not granting any passes. Did you notice how I stated my dissatisfaction with the film? I, too, was able to tell what you were able to tell. As for "milking the cow," Cool World was gestating for quite a while and was rushed because of the success of Roger Rabbit. The pull between Bakshi and the system is very clear on screen. Because of this (and a few other choice elements), I feel it has merits that are overlooked amidst the onslaught of shortcomings.


Mainstream success usually relies on a filmmaker's ability to suspend disbelief and create decent escapism.

I try not to factor a film's ability to play to the mainstream into my opinion of it. Who do you think I am, Irish?

[Ezee E]

I got nothing on Cool World.

However, I will say that i think the Pirates movies may have some of the most attention to art direction I've ever seen in a movie.

[Dead & Messed Up]

I've seen Wizards and Lord of the Rings, and I thought both were admirably ambitious, occasionally lovely, but ultimately frustrating. His technique of adjusting the color of filmed elements and using that against animation (the Uruk-Hai in Lord of the Rings, most egregiously) looks ugly to me, and he uses it often in both films. Between the two, Wizards holds together better, but it's funny how many images Jackson lifted from Bakshi for his iteration of Rings.

[Irish]

Talking about Bakshi's "best" is like debating which is the "best" venereal disease.

It's the clap, in case you were wondering.

[Russ]

Talking about Bakshi's "best" is like debating which is the "best" venereal disease.

It's the clap, in case you were wondering.

See?

[Watashi]

Remember when Irish was gone?

Good times.

[D_Davis]

Wizards and American Pop are both wonderful.

Yep.

[Mara]

Talking about Bakshi's "best" is like debating which is the "best" venereal disease.

It's the clap, in case you were wondering.

I HATE HIM. HE MAKES MY EYES HURT WITH OWIE PAIN.

Good to see you around.

[D_Davis]

You seem to have a really high tolerance for what I find to be terrible vfx and which completely takes me out of the film. For instance that hang gliding shot as they escape from the whirlpool or the effects in so many Tsui Hark films (Zu Warriors for instance).

Questionable fx have never once ruined a film for me, so long as I am engaged by the movie. I am able to look at the whole picture. Having grown up on old SF and HK cinema, I am used to fx that some may find questionable; a lot of time I think it adds charm to the films and I appreciate it them more for their earnest effort in the face of not having the biggest budgets or access to the latest technology.


However, I found the fx work in the Pirates films to be stunning.

If you're ragging on Tsui Hark or other HK films for not having big budget Hollywood style fx, you're watching the films for the wrong reasons and with ridiculous expectations. You'll never be satisfied with what they offer, so don't even bother.

[megladon8]

I don't mind poor FX in general, but I can't say that I've never been bothered by shoddy work.

Something like Spawn is just painful to watch.

[D_Davis]

Something like Spawn is just painful to watch.

That's because the movie is wretched in every other regard. Had it been an exciting film, and engaging in other areas, then the bad fx would have been forgiven.

Also, when watching an HK film, you have to judge the use of fx based on what was going on in their industry at that time. Remember, their films are made for far less money, and much faster than their Hollywood counterparts. The HK film industry is built upon the phrase fast, cheap and out of control.

I can't even imagine watching something like Zu Warriors, or Boxer's Omen, or Holy Flame of the Martial world and complaining about the fx. Talk about missing the forest for the trees.

[megladon8]

Yes Spawn sucked, but I really doubt I could have forgiven the terrible FX work if the movie surrounding it was great.

Sure, I probably would have been able to appreciate it in spite of the FX, but it's still there. I can't just pretend the FX weren't bad.

[Skitch]

I've been a defender of At World's End since it was released. Everyone seemed to have jumped ship (har har) on the franchise, but I'm tempted to say At World's End is the pinnacle of the series in a variety of ways.

Completely agree. I've never understood the detractors. Their complaints of the film lead me to question if they had seen the first two in the series.

[number8]

Saw CERTIFIED COPY again for the second time today. Still an amazing film, and it occurred to me how much it made a lasting impression the first time that I knew all the scenes and what I loved about them by heart, four months later.

2011 has its work cut out for it if it wants to detrone Kiarostami as my #1 of the year.

[Qrazy]

Questionable fx have never once ruined a film for me, so long as I am engaged by the movie. I am able to look at the whole picture. Having grown up on old SF and HK cinema, I am used to fx that some may find questionable; a lot of time I think it adds charm to the films and I appreciate it them more for their earnest effort in the face of not having the biggest budgets or access to the latest technology.

However, I found the fx work in the Pirates films to be stunning.

If you're ragging on Tsui Hark or other HK films for not having big budget Hollywood style fx, you're watching the films for the wrong reasons and with ridiculous expectations. You'll never be satisfied with what they offer, so don't even bother.

Okay well the Pirates films had extremely high budgets so there's really no excuse for the shoddy vfx in the scene I mentioned there. In regards to Tsui I like Shanghai Blues and Once Upon a Time in China but when he tries to get too fantastical his films tend to fall apart visually for me. And I think his budget was just fine to pull off much of what he wants to, he's just an incredibly messy visual stylist at times. I've seen better sfx in lower budget non-American films from 20 years earlier than in Zu Warriors, so he doesn't get a pass from me. But with Zu Warriors it's more than the sfx which bothers me. It's nearly the entire visual organization of the film.

[Qrazy]

That's because the movie is wretched in every other regard. Had it been an exciting film, and engaging in other areas, then the bad fx would have been forgiven.

Also, when watching an HK film, you have to judge the use of fx based on what was going on in their industry at that time. Remember, their films are made for far less money, and much faster than their Hollywood counterparts. The HK film industry is built upon the phrase fast, cheap and out of control.

I can't even imagine watching something like Zu Warriors, or Boxer's Omen, or Holy Flame of the Martial world and complaining about the fx. Talk about missing the forest for the trees.

Well everything else about it is also shit but I really see nothing wrong with criticizing the fx in the film when say Viy '67 or Kingdom of Crooked Mirrors '64 have better vfx.

As a side note I just listened to A Simple Solution on Music for Home Offices and it was real good. :)

[D_Davis]

I've seen better sfx in lower budget non-American films from 20 years earlier than in Zu Warriors

Were they Russian?

[D_Davis]

As a side note I just listened to A Simple Solution on Music for Home Offices and it was real good. :)

Thanks!

[Qrazy]

Were they Russian?

Maybe... *shuffles awkwardly*

Also I was trying to pull a Baby Doll. Did it work?

[D_Davis]

Maybe... *shuffles awkwardly*

Also I was trying to pull a Baby Doll. Did it work?


Not enough French.

[Dukefrukem]

Great effort here!

w14v4vGUDdg

[Grouchy]

elixir, here's my Top 10 of 1981:

1. The Road Warrior
2. Blow Out
3. Diva
4. The Professional
5. Raiders of the Lost Ark
6. The Evil Dead (I'm watching this on the big screen tonight - coincidence)
7. Excalibur
8. Gallipoli
9. Possession (really weird shit)
10. Thief

[elixir]

elixir, here's my Top 10 of 1981:

1. The Road Warrior
2. Blow Out
3. Diva
4. The Professional
5. Raiders of the Lost Ark
6. The Evil Dead (I'm watching this on the big screen tonight - coincidence)
7. Excalibur
8. Gallipoli
9. Possession (really weird shit)
10. Thief

I like weird shit. Well, not automatically, but I'm a weird guy. Thanks very much for that!

I actually just watched Raiders of the Lost Ark. I admit I'm not the biggest adventure/action person in the world, but I was totally thrilled by it. The set-pieces are so masterful and the storytelling was so well done that I couldn't help but enjoy it. And I didn't mind knowing some of the iconic scenes beforehand, though to be honest I didn't even know how it ended before I started.

Please tell me I'm not the only one who laughed when that guy in Cairo gets ready to fight Indy, and then he just pulls out a gun and shoots him.

I had some minor problems with it, but overall it was very enjoyable.

[Raiders]

1. Blow Out (De Palma)
2. Ms. 45 (Ferrara)
3. Southern Comfort (Hill)
4. Raiders of the Lost Ark (Spielberg)
5. Vernon, Florida (Morris)
6. Pennies from Heaven (Ross)
7. Excalibur (Boorman)
8. Gallipoli (Weir)
9. Do You Remember Dolly Bell? (Kusturica)
10. The Road Warrior (Miller)

... or something to that effect. I also really like Romero's The Knightriders, an overlooked film of his. I also really need to see Possession, or hell, any Zulawski film for that matter.

[Watashi]

I don't understand how someone grows up in life without seeing an Indiana Jones movie.

[Spun Lepton]

I actually just watched Raiders of the Lost Ark. I admit I'm not the biggest adventure/action person in the world, but I was totally thrilled by it. The set-pieces are so masterful and the storytelling was so well done that I couldn't help but enjoy it. And I didn't mind knowing some of the iconic scenes beforehand, though to be honest I didn't even know how it ended before I started.

Please tell me I'm not the only one who laughed when that guy in Cairo gets ready to fight Indy, and then he just pulls out a gun and shoots him.

Best of the bunch by a country mile. One of my all-time favorites.

[Mara]

I don't understand how someone grows up in life without seeing an Indiana Jones movie.

Everyone has a few like this. I didn't see Goonies until a couple of years ago (and, frankly, it's not that great.) I've never seen Jaws or any of the Alien movies.

[Russ]

I also really need to see Possession, or hell, any Zulawski film for that matter.
I strongly second the recommendation for Possession, a favorite amongst many match-cutters.

Raiders, for 1981 films, you would probably also enjoy the deliriously oddball Springtime in Greenland (though it's only 24 mins.), courtesy of John Paizs (Crime Wave).

[Qrazy]

Speaking of 1981 has anyone seen Mephisto? Is it good?

[baby doll]

1981:
1. Modern Romance (Albert Brooks)
2. Blind Chance (Krzysztof Kieslowski)
3. Diva (Jean-Jacques Beineix)
4. Lola (Rainer Werner Fassbinder)
5. Cutter's Way (Ivan Passer)
6. Ancient of Days (Bill Viola) [video]
7.
8.
9.
10.

I really need to watch The Arabic Numerals Series, Ms. 45, Orderly or Disorderly, Trop tôt, trop tard (although IMDb has this one as '82), and White Dog.

[Raiders]

White Dog.

I have this as 1982; otherwise it would be my #1 of the year.

[Ivan Drago]

I don't understand how someone grows up in life without seeing an Indiana Jones movie.

I did. I didn't see Raiders of the Lost Ark for the first time until I was 19, and The Blues Brothers until I was 22.

[baby doll]

I did. I didn't see Raiders of the Lost Ark for the first time until I was 19, and The Blues Brothers until I was 22.I saw Raiders of the Lost Ark once on TV when I was eleven, and didn't see it again until I was nineteen when it was playing at a repertory theatre in Toronto. Oh, and I saw the crystal skulls one in Busan when I was twenty-three.

[soitgoes...]

Lists? 1981? Why not?


Raiders of the Lost Ark (Steven Spielberg)
Muddy River (Kôhei Oguri)
Das Boot (Wolfgang Petersen)
Crac! (Frédéric Back)
Reds (Warren Beatty)
Blow Out (Brian De Palma)
Time Bandits (Terry Gilliam)
Gallipoli (Peter Weir)
Do You Remember Dolly Bell? (Emir Kusturica)
Body Heat (Lawrence Kasdan)


The weakest year of the decade is buoyed by the top 4 films of awesome.

[MadMan]

Please tell me I'm not the only one who laughed when that guy in Cairo gets ready to fight Indy, and then he just pulls out a gun and shoots him.That's one of my favorite scenes. Apparently Harrison Ford was suffering from some kind of bad stomach aliment, and thus didn't feel like being part of a lengthy fight scene. Regardless, its hilarious in that you expect Indy to fight the guy equally, instead he just cheats and moves on.

My current craptastic Top 10 for 1981:

1. Raiders of the Lost Ark
2. Das Boot
3. The Road Warrior
4. An American Werewolf in London
5. Escape From New York
6. The Evil Dead
7. Stripes
8. The Howling
9. Absence of Malice-I haven't seen this movie since high school
10. Friday the 13th: Part II

And the rest:

*History of the World Part I
*Halloween II
*Scanners
*The Burning
*For Your Eyes Only
*The Beyond
*The Fox and the Hound
*Piranha Part II: The Spawning

Half of my viewings for this year are horror movies. Interesting.

[baby doll]

Please tell me I'm not the only one who laughed when that guy in Cairo gets ready to fight Indy, and then he just pulls out a gun and shoots him.Speaking of the movie, Jonathan Rosenbaum just posted his original 1981 review of the film on his website, in which he writes:


The most thrilling moment of sexual release for the audience I saw Raiders with was the humorously delayed decision of Jones [...] to shoot a fancy sword-swishing Arab with his gun rather than worry about using his whip. Its offhand genocidal message comes very close to being the only one that New Hollywood (from Taxi Driver to Star Wars to Apocalypse Now to Dressed to Kill) can find beyond its pretty, bejeweled navel--a pithy suggestion, derived from Conrad’s Kurtz in Heart of Darkness, that simply says, "Exterminate the brutes."

You can read the full thing here (http://www.jonathanrosenbaum.com/?p=24689).

[megladon8]

That review was pretty silly.

[baby doll]

That review was pretty silly.Is it?

[megladon8]

Yes.

A few sound criticisms and interesting ideas are bogged down by some absurd attempts at intellectualism and an overall "look at all the words I know! And I'm using French terms!" feeling.

I have very little appreciation for that style of writing and reporting.

[baby doll]

Yes.

A few sound criticisms and interesting ideas are bogged down by some absurd attempts at intellectualism and an overall "look at all the words I know! And I'm using French terms!" feeling.

I have very little appreciation for that style of writing and reporting.What's wrong with French? Or knowing a lot of words, for that matter?

[elixir]

What's wrong with making sequences such an important part of the movie?

"Sexual release?" Whaaat? Anyhow, I actually felt its dealings with foreigners was the most problematic aspect of the movie, but I don't like the way Rosenbaum goes about criticizing it.

Additionally, I can't stand when reviewers attack the audience rather than the film.

[megladon8]

What's wrong with French? Or knowing a lot of words, for that matter?


Nothing is wrong with French or knowing lots of words. I'm close to bilingual, and I know lots of words too.

But his writing in this review, at several instances, boils down to simply flexing his vocabulary and not saying anything of real value.

And I'm with elixir on that "sexual release" thing - what the hell is he talking about there.

[Melville]

My favorites of 1981 are
1. Possession (horrifyingly apt and unhinged view of personal and romantic disintegration)
2. Raiders of the Lost Ark (best adventure movie ever)
3. Ms. 45 (glorious pulp)
4. Crac (magical animation).


Speaking of 1981 has anyone seen Mephisto? Is it good?
It's ok (http://match-cut.org/showthread.php?p=153890#post15 3890). Cabaret > The Damned > Mephisto, in answer to my own question.

[baby doll]

What's wrong with making sequences such an important part of the movie?I think the question is how much do these sequences ultimately add up to. And I think he makes an interesting point about how Karen Black's character is rewritten every time she appears to suit the needs of the particular moment.

[baby doll]

Nothing is wrong with French or knowing lots of words. I'm close to bilingual, and I know lots of words too.

But his writing in this review, at several instances, boils down to simply flexing his vocabulary and not saying anything of real value.Could you give me an example of what you mean?

[megladon8]

I think the question is how much do these sequences ultimately add up to. And I think he makes an interesting point about how Karen Black's character is rewritten every time she appears to suit the needs of the particular moment.


I agree, and like I said, the article is peppered with a few interesting ideas and criticisms.

[baby doll]

2. Raiders of the Lost Ark (best adventure movie ever)Have you seen Fritz Lang's The Tiger of Eschnapur and The Indian Tomb? Or Moonfleet, for that matter?

[elixir]

I think the question is how much do these sequences ultimately add up to. And I think he makes an interesting point about how Karen Black's character is rewritten every time she appears to suit the needs of the particular moment.

Well, you picked my other main complaint with the movie, the underwritten female role. (I suppose I am looking past my perceived flaws of the movie a bit). Though I don't think it's quite as bad as he makes it out to be. And certainly other characters are more consistent (especially Indiana).

[Skitch]

That's one of my favorite scenes. Apparently Harrison Ford was suffering from some kind of bad stomach aliment, and thus didn't feel like being part of a lengthy fight scene. Regardless, its hilarious in that you expect Indy to fight the guy equally, instead he just cheats and moves on.


So what you're saying is...Harrison Ford shot first.

:)

[megladon8]

Could you give me an example of what you mean?


The bit you posted about the "sexual release" of the scene in which Indy shoots the swordsman.

These metaphors he uses are completely nonsensical - "Hollywood's pretty bejeweled navel"? And that idea that the scene provides the audience with some kind of "sexual release"?

What the hell are you talking about, man?

Why can't he just reference the moment as being a cathartic bit of comic relief in the midst of the intense action, which is about the jist of what he's saying anyways? And even more interestingly, how that - which has become one of the iconic scenes of the series - was never intended in the first place. There was a whole choreographed fight sequence that Ford bailed on because of intense diarrhea.

Perhaps this intellectual diarrhea is just his raison d'être.

[Melville]

Have you seen Fritz Lang's The Tiger of Eschnapur and The Indian Tomb? Or Moonfleet, for that matter?
Nope. I haven't seen any post-The-Big-Heat Lang movies.

[MadMan]

So what you're saying is...Harrison Ford shot first.

:)Oh absolutely.

[Derek]

Leave it to MatchCut to call the best critic out there silly. :crazy:

I used to think '81 was one of the worst years for film, but I've started to come around on it as I've seen more.

1. The Road Warrior (George Miller)
2. Southern Comfort (Walter Hill)
3. America is Waiting (Bruce Conner)
4. Raiders of the Lost Ark (Steven Spielberg)
5. Excalibur (John Boorman)
6. Blow Out (Brian De Palma)
7. Modern Romance (Albert Brooks)
8. Scanners (David Cronenberg)
9. Ms. 45 (Abel Ferrara)
10. Stripes (Harold Ramis)

[megladon8]

It's not him who is silly, it's that intellectual posturing that's silly.

[baby doll]

The bit you posted about the "sexual release" of the scene in which Indy shoots the swordsman.

These metaphors he uses are completely nonsensical - "Hollywood's pretty bejeweled navel"? And that idea that the scene provides the audience with some kind of "sexual release"?

What the hell are you talking about, man?

Why can't you just reference the moment as being a cathartic bit of comic relief in the midst of the intense action? And even more interestingly, how that - which has become one of the iconic scenes of the series - was never intended in the first place. There was a whole choreographed fight sequence that Ford bailed on because of intense diarrhea.

Perhaps this intellectual diarrhea is just his raison d'être.Given how many English speakers use the phrase "raison d'être," I don't think that qualifies as showing off his French.

As for the "pretty bejeweled navel bit," he's hardly the first writer to notice that Hollywood consistently and systematically dehumanizes people from other cultures by emphasizing their otherness. Sure, you can say he's making too much of this one example (which is a skillful bit of comic relief), but given how prevalent this sort of thing is, I can see his point.

[megladon8]

Given how many English speakers use the phrase "raison d'être," I don't think that qualifies as showing off his French.

As for the "pretty bejeweled navel bit," he's hardly the first writer to notice that Hollywood consistently and systematically dehumanizes people from other cultures by emphasizing their otherness. Sure, you can say he's making too much of this one example (which is a skillful bit of comic relief), but given how prevalent this sort of thing is, I can see his point.


I'm not arguing with the point itself (which is valid), I'm arguing with these little phrases like "pretty bejeweled navel."

These are unnecessary and come across as kind of pompous.

[Sycophant]

Dismissing an intellectual argument as mere "posturing" and pretense ITT.

[MadMan]

I think we had a 1981 consensus thread. I'm interested in getting more recs for that year, as I've really dug most of what I've viewed from it so far.

[Sycophant]

It's ok with me if people write above a 5th grade reading level.

[Adam]

1981 is rough, but '83 is the worst film year of the '80s, I think

[baby doll]

1981 is rough, but '83 is the worst film year of the '80s, I thinkYeah, that's a pretty bad one too. All I can come up with for a top ten are L'Argent, The Crimson Permanent Assurance, The 4th Man, Sans soleil, Videodrome, and maybe Nostalghia. I need to take another look at The King of Comedy and My Brother's Wedding though, and I've never seen Hammett.

[megladon8]

It's ok with me if people write above a 5th grade reading level.


I like when people write well. I just don't think that his use of nigh-incomprehensible metaphors and stretching out rather simple ideas with needlessly complex language is necessary.

Something that was drilled into us when writing newscasts in radio was that, if you cannot explain a concept using easy-to-understand terms and phrases, then you don't truly understand the topic.

I'm not saying that he doesn't understand what he's writing about, I'm simply saying that he could communicate the same ideas in a more accessible manner.

[megladon8]

Dismissing an intellectual argument as mere "posturing" and pretense ITT.


That's not what I'm doing at all.

[Derek]

'83 is somewhat weaker overall, but has three of my all-time favorites at the top with Nostalghia, L'Argent and El Sur.

[megladon8]

1982 is where it's at.

[MadMan]

1982 is where it's at.Best year for sci-fi? Maybe.

[Mara]

That's not what I'm doing at all.

Not that you want the idea simplified, you just want him to stop overwriting it. Elegant writing isn't bombastic, grandiloquent, or purple. I gotcha.

I'm not familiar with the critic, myself, but I get what you're saying.

[baby doll]

1982 had some great films (Blade Runner, The Draughtsman's Contract, Passion, Querelle, The State of Things, Veronika Voss), but I'm partial to 1989 myself:

1. Do the Right Thing (Spike Lee)
2. City of Sadness (Hou Hsiao-hsien)
3. Sweetie (Jane Campion)
4. The Cook, the Thief, His Wife & Her Lover (Peter Greenaway)
5. Monsieur Hire (Patrice Leconte)
6. The Seventh Continent (Michael Haneke)
7. Kiki's Delivery Service (Hayao Miyazaki)
8. The Unbelievable Truth (Hal Hartley)
9. Mystery Train (Jim Jarmusch)
10. sex, lies & videotape (Steven Soderbergh)

[megladon8]

Best year for sci-fi? Maybe.


Just one of the best years ever in my books.

Fanny & Alexander, Blade Runner, The Thing, Fitzcarraldo, Missing, Tenebrae, Wrath of Khan, Conan the Barbarian, The Draughtsman's Contract, Class of 1984

Can't thing of many years that best that.

[megladon8]

Not that you want the idea simplified, you just want him to stop overwriting it. Elegant writing isn't bombastic, grandiloquent, or purple. I gotcha.

I'm not familiar with the critic, myself, but I get what you're saying.


EXACTLY!! Yes, exactly what I'm trying to say.

[Derek]

Something that was drilled into us when writing newscasts in radio was that, if you cannot explain a concept using easy-to-understand terms and phrases, then you don't truly understand the topic.

I'm not saying that he doesn't understand what he's writing about, I'm simply saying that he could communicate the same ideas in a more accessible manner.

More accessible sounds a lot like "dumb down" to me. There's a big difference between radio and written film criticism in terms of audience and purpose and I see no need to boil everything down to the most simplistic language possible simply to make things easily digestible to more people. Rosenbaum's not perfect (only the great, indomitable Quentin Tarantino reserves that distinction), but his diction is not among his faults and not everything that attempts to be intellectual is "posturing".

[MadMan]

Aye, 1989 is super awesome, too. Which is why Driving Miss Daisy winning Best Picture for that year makes me wonder what the hell the Academy voters were smoking.

[megladon8]

More accessible sounds a lot like "dumb down" to me. There's a big difference between radio and written film criticism in terms of audience and purpose and I see no need to boil everything down to the most simplistic language possible simply to make things easily digestible to more people. Rosenbaum's not perfect (only the great, indomitable Quentin Tarantino reserves that distinction), but his diction is not among his faults and not everything that attempts to be intellectual is "posturing".


Read Mara's post.

The ideas don't need to be dumbed down at all, I just don't see why they need to be so overwritten.

It's unnecessary.

[Mara]

Aye, 1989 is super awesome, too. Which is why Driving Miss Daisy winning Best Picture for that year makes me wonder what the hell the Academy voters were smoking.

White guilt is a powerful motivator.

[number8]

"Raison d'etre" is pretty common use in English language. I don't find it posturing in the least to use words like that. Would it be overwriting to use "c'est la vie"? Or "homage"?

And "mise-en-scene" is pretty much just a film term now that they teach first year film students. It would be weird to not use a term that exists when you're speaking the language of film.

And I thought "bejeweled navel" was not so much a nonsense metaphor and more like a joke marrying the term "navel gazing" with the bellybutton jewel trend to refer to Hollywood, which is more than apt. Shrug.

[MadMan]

White guilt is a powerful motivator.If that's the case, they should have nominated Do The Right Thing, and given it Best Picture. Stupid bastards.

[Sycophant]

Rosenbaum's article reads like the work of a witty academic with a gift for analogy and metaphor.

Its offhand genocidal message comes very close to being the only one that New Hollywood (from Taxi Driver to Star Wars to Apocalypse Now to Dressed to Kill) can find beyond its pretty, bejeweled navel — a pithy suggestion, derived from Conrad’s Kurtz in Heart of Darkness, that simply says, “Exterminate the brutes.”
This is a good sentence. The bit involving "pretty, bejeweled navel" is a more literate, entertaining, and descriptive statement--I can't see it as pure pomp--than just saying "Hollywood is self-congratulatory. And shiny." Or "Ho'wood's full of wankers."

Derek's absolutely right about the difference between writing for hourly news updates and composing a critical piece for print.

I'm not sayin' things can't be overwritten, or that purple prose is desirable. I'm sayin' this ain't it.

[baby doll]

Just one of the best years ever in my books.As far as the best ever, I'd go with 1955, '67, '74, and 2007:

1955:
All That Heaven Allows (Douglas Sirk)
Artists and Models (Frank Tashlin)
The Cobweb (Vincente Minnelli)
East of Eden (Elia Kazan)
A Generation (Andrzej Wajda)
Guys and Dolls (Joseph L. Mankiewicz)
Kiss Me Deadly (Robert Aldrich)
Lola Montès (Max Ophüls)
The Man With the Golden Arm (Otto Preminger)
Moonfleet (Fritz Lang)
The Night of the Hunter (Charles Laughton)
Nuit et brouillard (Alain Resnais)
Ordet (Carl Theodor Dreyer)
Pather panchali (Satyajit Ray)
Rebel Without a Cause (Nicholas Ray)
The Trouble With Harry (Alfred Hitchcock)

1967:
Anticipation (Jean-Luc Godard)
Belle de jour (Luis Buñuel)
Bonnie and Clyde (Arthur Penn)
Branded to Kill (Seijun Suzuki)
La Chinoise (Jean-Luc Godard)
The Chronicle of Anna Magdalena Bach (Danièle Huillet / Jean-Marie Straub)
Les Demoiselles de Rochefort (Jacques Demy)
2 ou 3 choses que je sais d'elle (Jean-Luc Godard)
Fuses (Carolee Schneeman)
Mouchette (Robert Bresson)
Oedipus Rex (Pier Paolo Pasolini)
The Perfect Human (Jørgen Leth)
Playtime (Jacques Tati)
The Red and the White (Miklós Jancsó)
Wavelength (Michael Snow)
Weekend (Jean-Luc Godard)

1974:
Ali: Fear Eats the Soul (Rainer Werner Fassbinder)
Alice in the Cities (Wim Wenders)
Bring Me the Head of Alfredo Garcia (Sam Peckinpah)
California Split (Robert Altman)
Céline et Julie vont en bateau (Jacques Rivette)
Chinatown (Roman Polanski)
The Conversation (Francis Ford Coppola)
Le Fantôme de la liberté (Luis Buñuel)
Fuji (Robert Breer)
The Great Ecstasy of the Woodcarver Steiner (Werner Herzog)
Lacombe Lucien (Louis Malle)
Lancelot du lac (Robert Bresson)
A Woman Under the Influence (John Cassavetes)

2007:
Les Amours d'Astrée et de Céladon (Eric Rohmer)
Boarding Gate (Olivier Assayas)
The Darjeeling Limited (Wes Anderson)
La France (Serge Bozon)
Gone Baby Gone (Ben Affleck)
Hairspray (Adam Shankman)
I'm Not There. (Todd Haynes)
In the City of Sylvia (José Luis GuerÃ*n)
Lust, Caution (Ang Lee)
The Man From London (Béla Tarr)
Margot at the Wedding (Noah Baumbach)
Persepolis (Vincent Paronnaud / Marjane Satrapi)
Silent Light (Carlos Reygadas)
Les Témoins (André Téchiné)
We Own the Night (James Gray)
You, the Living (Roy Andersson)

[megladon8]

I've never in my life encountered the "belly button jewel trend to refer to Hollywood".

Never.

So you can see my confusion in his use of it.

[Qrazy]

Given how many English speakers use the phrase "raison d'être," I don't think that qualifies as showing off his French.

As for the "pretty bejeweled navel bit," he's hardly the first writer to notice that Hollywood consistently and systematically dehumanizes people from other cultures by emphasizing their otherness. Sure, you can say he's making too much of this one example (which is a skillful bit of comic relief), but given how prevalent this sort of thing is, I can see his point.

It's not just Hollywood, it's a fairly common cinematic trope around the world. The other just happens to vary from place to place. For instance the token white martial artist that Jackie Chan always faces off against. This white guy is usually the right hand man of the villain of the film. He tends to be a good fighter and makes things hard on Chan but in the end game Chan always bests him.

[Sycophant]

I've never in my life encountered the "belly button jewel trend to refer to Hollywood".

Never.

So you can see my confusion in his use of it.
Neither have I. But as 8 pointed out, it's an adaptation of the idiomatic expression "navel-gazing." By calling it "pretty and bejeweled," Rosenbaum references both Hollywood's glitz and extravagance, as well as its fetishizing exoticism.

[number8]

Yeah, me neither. That's why I thought it was witty. Hollywood is not just navel-gazing, it's navel-gazing at a bejeweled navel, which is a fashion trend. It fits pretty well in the context of his criticism, and he cuts that idea across in, what, four words? That's not overwriting, that's efficient.

Shit, that's what I try to do in my reviews.

[Qrazy]

Personally I don't mind the sentence in and of itself. I just find the content obnoxious.

[megladon8]

I'm never going to be a writer, am I?

[soitgoes...]

As far as the best ever, I'd go with 1955, '67, '74, and 2007:I've given up on trying to pinpoint which year is the best. All I know is that I can blindly point to any year between 1949 and 1969 and make a solid case for it being the best year. Plus there are still so many films I want to see from those years.

[Boner M]

These metaphors he uses are completely nonsensical - "Hollywood's pretty bejeweled navel"? And that idea that the scene provides the audience with some kind of "sexual release"?
I agree. What Rosenbaum is doing is simply jerking himself off and throwing the sticky, wet fluid in the faces of his readers.

:D

[baby doll]

I agree. What Rosenbaum is doing is simply jerking himself off and throwing the sticky, wet fluid in the faces of his readers.

:DThere's an image I'll never get out of my head.

[Boner M]

There's an image I'll never get out of my head.
http://www.cinemaparallel.com/rosenbaum.jpg

[megladon8]

Boner could fart in a plastic bag and MatchCutters would say it was the best thing to ever happen to forum discussions.

[Skitch]

Boner could fart in a plastic bag and MatchCutters would say it was the best thing to ever happen to forum discussions.

Use bigger words so I can figure out what you're trying to say here.

[soitgoes...]

Tran returns to form, almost, with Norwegian Wood. I've read the book, and didn't think too much of it. The film is an improvement on the book, but again that's not saying too much on its own. While the direction and acting are top-notch, Tran's adaptation leaves much to be desired, but the fault probably lies as much with the source material as it does with his writing. A stunningly beautiful film (Hou regular Mark Lee is behind the camera), Tran paints two-dimensional characters drifting through 1960's Japan with a deep sense of melancholy. Who else to score melancholy, but Jonny Greenwood, guitarist of Radiohead? Skepticism in his score at first finally melted away as Greenwood perfectly encapsulates the despondent state of the film's characters as they search for love through loss. Tran tries hard to portray the inner turmoil of Toru, but ultimately fails as Murakami's character is too introverted.

Anyways, not as strong as his Vietnam trilogy, but definitely good enough to be recommended, which is something I could never come close to doing with I Come with the Rain.

[Stay Puft]

Tran returns to form, almost, with Norwegian Wood

:pritch:

I haven't read the book, loved the film. Mostly though I'll admit I love Mark Lee's work on the film (though his work on Vertical Ray of the Sun is stronger, and of course that film is much better on the whole). I generally agree with your assessment though I responded to it more emotionally it seems. I think Tran was successfully able to convey a range of emotions through visuals and sound, and in many cases made up for whatever was lacking in the material.

That slow motion shot of them getting out of the pool, gosh. That does it for me. That's all I need.

[soitgoes...]

:pritch:

I haven't read the book, loved the film. Mostly though I'll admit I love Mark Lee's work on the film (though his work on Vertical Ray of the Sun is stronger, and of course that film is much better on the whole). I generally agree with your assessment though I responded to it more emotionally it seems. I think Tran was successfully able to convey a range of emotions through visuals and sound, and in many cases made up for whatever was lacking in the material.

That slow motion shot of them getting out of the pool, gosh. That does it for me. That's all I need.His direction conveys emotion, but his writing is inert. The actors do a good job with what they're given, but there really isn't a whole lot there. Like I said it's hard for me to pin down where the fault lies. I suppose Tran since he chose the material. It's awfully hard to take a poor script/source material and make a great film. Tran gives a valiant effort, but ultimately falls a wee bit short. At the very least this film is an encouraging step in the right direction.

[Stay Puft]

A few people worked on the script, maybe a problem is there. Somebody asked Tran about this during the Q&A at my screening. He wrote the first draft in French, a Japanese screenwriter translated it to Japanese, and then Murakami himself worked on the final draft.

But like I said, no familiarity with the source myself. And I won't argue the criticisms, this is a step removed from the Vietnam trilogy for sure. (I still haven't seen I Come with the Rain, so I'm also looking at this from a different perspective.)

[soitgoes...]

But like I said, no familiarity with the source myself. And I won't argue the criticisms, this is a step removed from the Vietnam trilogy for sure. (I still haven't seen I Come with the Rain, so I'm also looking at this from a different perspective.)Oh totally, I'm laying the criticism on a little thick. The film is definitely more good than bad, hence my rating.

[Dukefrukem]

4 Bluray Alien set on Amazon at 10am? (http://www.aintitcool.com/node/48716)

Do we have a DVD thread?

[Sycophant]

Yes, and you have the last post in it, on February 22nd.

[Dukefrukem]

Yes, and you have the last post in it, on February 22nd.

Can't search for three letter words and I forgot what it was called.

[Rowland]

I haven't seen enough films from 1981 that justify inclusion on a top ten, though I do love the top three and really like the rest:

1. Blow Out
2. Raiders of the Lost Ark
3. The Evil Dead
4. The Road Warrior
5. Escape from New York
6. The Funhouse
7. Prince of the City

Need to see again - The Beyond

I think I'll watch a few films from the year, just because. I'm particularly interested in:

Possession
Ms. 45
Dragonslayer
Knightriders
Vernon, Fla.
Eye of the Needle
The Aviator's Wife
Cutter's Way
Thief
Modern Romance
S.O.B.
Body Heat
Lola
Mommie Dearest
Excalibur

[Dead & Messed Up]

My friend Brad did an "Ultimate Bond-a-thon" this past weekend. I wasn't really up for going (life complications and general tiredness), but it was apparently a big hit. They watched every single Bond movie, ranked each one from one to ten, and they assembled a pretty neat video of it here (http://www.youtube.com/watch?v=aRrNlh-UaGg).

[D_Davis]

My friend Brad did an "Ultimate Bond-a-thon" this past weekend. I wasn't really up for going (life complications and general tiredness), but it was apparently a big hit. They watched every single Bond movie, ranked each one from one to ten, and they assembled a pretty neat video of it here (http://www.youtube.com/watch?v=aRrNlh-UaGg).

That's pretty cool.

[Irish]

My god. Love and Other Drugs is the great movie ever made.

If you've seen it, you know why.

[Qrazy]

My friend Brad did an "Ultimate Bond-a-thon" this past weekend. I wasn't really up for going (life complications and general tiredness), but it was apparently a big hit. They watched every single Bond movie, ranked each one from one to ten, and they assembled a pretty neat video of it here (http://www.youtube.com/watch?v=aRrNlh-UaGg).

Jesus Christ that's a lot of Bond to watch in a single weekend.

[megladon8]

My god. Love and Other Drugs is the great movie ever made.

If you've seen it, you know why.


Anne Hathaway's boobies?

[megladon8]

Anyone else prefer the first Godfather to the second?

It's pretty close, but I really do prefer the first film.

[number8]

My friend Brad did an "Ultimate Bond-a-thon" this past weekend. I wasn't really up for going (life complications and general tiredness), but it was apparently a big hit. They watched every single Bond movie, ranked each one from one to ten, and they assembled a pretty neat video of it here (http://www.youtube.com/watch?v=aRrNlh-UaGg).

This was for his birthday, right? One of his friends posted it on Reddit yesterday.

[dreamdead]

Weekend:

Ali: Fear Eats the Soul
Fish Tank
Poetry
Avant-Garde: Experimental Cinema of the 1920s and 30s

I wish The Fall was a better film, as it's so often gorgeous and spillbinding visually. A cinema experience here would likely hide the story flaws and overall generic nature. Tarsem needs to work from someone else's script--love to see him tackle a Kaufman fever-dream of a script.

[Qrazy]

Weekend:

Ali: Fear Eats the Soul
Fish Tank
Poetry
Avant-Garde: Experimental Cinema of the 1920s and 30s

I wish The Fall was a better film, as it's so often gorgeous and spillbinding visually. A cinema experience here would likely hide the story flaws and overall generic nature. Tarsem needs to work from someone else's script--love to see him tackle a Kaufman fever-dream of a script.

Most of those visuals or montages are completely lifted from other better films though so even on that level meh.

[endingcredits]

Weekend viewings:

Berlin Alexanderplatz (parts 8-11)
In the Mood for Love
Wild Strawberries

[Raiders]

Most of those visuals or montages are completely lifted from other better films though so even on that level meh.

Completely? I don't think that's true.

[Scar]

Anne Hathaway's boobies?

Boobies.

[Dead & Messed Up]

This was for his birthday, right? One of his friends posted it on Reddit yesterday.

It was for his girlfriend's birthday. She wanted this for her birthday. He'd better never let go of that girl.

[Qrazy]

Completely? I don't think that's true.

I only said most not all, and yeah they are lifted and reintegrated into the story he wishes to tell but there are a very large number of instances of such cases throughout the film.

[megladon8]

What I find much more bothersome than the actual addition of the extra scenes and effects in Star Wars Ep. IV (and the others in the OT) is that they're just done so, so poorly.

Maybe these effects were amazing back in '97, but now they are distractingly bad.

The Jabba scene at Mos Eisley is particularly terrible. Not only does Jabba himself look awful, but that HORRIBLE manipulation of Han Solo to make him look like he's walking over Jabba's tail is just...ugh.

Not to mention that the scene itself is just so unnecessary and just STOPS the movie dead in its tracks for a good minute or so. It breaks the building of tension completely.


I still believe that the definitive versions of these films were the THX Remastered VHS tapes that came out in the mid-90s, a couple of years before the "Special Editions" hit theatres.

These retained the content of the original releases, and the only alterations made were the addition of the cleaner, more vibrant surround sound audio track, and the sharpening of some SFX (such as the lightsabers, whose colours were made more distinct).

[balmakboor]

I haven't seen enough films from 1981 that justify inclusion on a top ten, though I do love the top three and really like the rest:

1. Blow Out
Vernon, Fla.
Cutter's Way
Excalibur

YES!

[balmakboor]

I saw Godard's Sympathy for the Devil last night and Waiting for Superman tonight. I love it when I love the movies I'm watching.

[Rowland]

Vengeance (To, 2009) ***
Election (To, 2005) ***
Mad Detective (To/Wai, 2007) ***½Whoa there Derek, you're getting all Asian Cult on us here. You just need to watch Exiled again, revise your rating, and we'll be all set. :)

[Rowland]

YES!Yeah, I think I'm going to make a point of catching up with all these movies, just for fun.

[D_Davis]

I still believe that the definitive versions of these films were the THX Remastered VHS tapes that came out in the mid-90s, a couple of years before the "Special Editions" hit theatres.


This is the version of New Hope that should have been released on DVD. It is excellent. Worth tracking down.

http://originaltrilogy.com/fan-edits/fan-project-details.cfm/Fan-Edits/title/Star-Wars-Episode-IV-A-New-Hope-Revisited-NTSC/project/265/category/4/

List of changes/edits:
http://swrevisited.wordpress.com/anhr-change-list/

[Mysterious Dude]

I'd prefer to see Star Wars with all the little flaws intact. It's a 1977 movie and should stay that way.

[D_Davis]

I'd prefer to see Star Wars with all the little flaws intact. It's a 1977 movie and should stay that way.

I would too, but Lucas has made that nearly impossible.

And so of all the available modern versions, the Revisited cut is the definitive version.

[Sycophant]

I would too, but Lucas has made that nearly impossible.

And so of all the available modern versions, the Revisited cut is the definitive version.

Actually, you can. The theatrical cuts are on the limited edition DVDs. In non-anamorphic widescreen, bur it's pretty good.

[Boner M]

Ratings of my Adelaide Film Festival experience:

The Four Times ****
The Arbor **½
Harmony and Me **½
Nostalgia for the Light *** (need to rewatch; slept during most of the last 1/2 hour)
The Illusionist **
Mysteries of Lisbon ***½
Snowtown ***½
Waiting for "Superman" **½
Dream Home ***
Bill Cunningham: New York ***
Here I Am *½
Lola **½
Troll Hunter **½
Useful Life **½
Hail ***
Honey **
Incendies ***

Revivals:

Walkabout ***
The Last Wave ***

Snowtown and Hail, for all their flaws, give me a lot of hope for Aussie cinema. For those who found Animal Kingdom cliched or lacking in general, Snowtown is a must-see. Amazingly disturbing stuff.

[Dead & Messed Up]

Actually, you can. The theatrical cuts are on the limited edition DVDs. In non-anamorphic widescreen, bur it's pretty good.

Yeah, I snapped these up as soon as they were released. It's weird to take so much pleasure in watching a film the way it was originally made. I think Lucas's revisions to THX-1138 were even worse. They were ugly and completely discordant with the "found" sets and inventions of the picture.

[D_Davis]

Actually, you can. The theatrical cuts are on the limited edition DVDs. In non-anamorphic widescreen, bur it's pretty good.

Ah - never bought those.

[soitgoes...]

The Illusionist **
Honey **Oof.

At least you were spot on with The Troll Hunter, though that it is rated higher than the above two is pretty baffling..

[Boner M]

Oof.

At least you were spot on with The Troll Hunter, though that it is rated higher than the above two is pretty baffling..
I walked into The Illusionist 10 mins late, which is perhaps more detrimental to the film's delicate progression than most films. But on a scene-by-scene basis I just found it alternately unfunny or maudlin; a long, painful slog. Even the animation got boring by the end. Can't really do better than Michael Sicinski's take (http://academichack.net/TIFF2010.htm#Illusionist). Reading all the positive responses here is like heiroglyphics. Just. don't. geddit.

Honey is just bland festival filler, which makes its Golden Bear award even more baffling. Beautifully shot, of course, but just an endless litany of clunky coming-of-age metaphors. Pretty much what I imagine Ghost World's "The Flower That Drank the Moon" to look like. Blah.

[B-side]

Ratings of my Adelaide Film Festival experience:

Mysteries of Lisbon ***½

Thoughts?

[baby doll]

Revivals:

Walkabout ***This seems conspicuously low, given its reputation as a classic.

[Mr. Pink]

Oof.

At least you were spot on with The Troll Hunter, though that it is rated higher than the above two is pretty baffling..

What did you guys not like about Troll Hunter?

[number8]

Ah - never bought those.

They were just lazy transfers of the laserdisc release. Kind of shitty quality, but whatever, it's the original theatricals on DVD. You make do. I bought all three and never watched the special editions included.

[Dukefrukem]

This weekend I'm going to watch:

Rubber 2011 (AOD)
Monsters 2010 (AOD)

and

maybe I'll finally get to Dr. Jekyll and Mr. Hyde: 1932

[endingcredits]

Incendies (Villeneuve, 2010) was a slow, painfully tedious melodrama that ended in disappointment.

[Spinal]

I walked into The Illusionist 10 mins late, which is perhaps more detrimental to the film's delicate progression than most films.

Come on, now. Talk to us when you've seen the film.

[EyesWideOpen]

Come on, now. Talk to us when you've seen the film.

Reminds me of this review I read for Summer Wars recently. Where the reviewer who didn't like the film said in his review "Part of the reason for this is because I like movies where I can just walk away for a minute, make a bacon sandwich, grab some cola, maybe a can of peanuts and not feel like I missed a major event in the movie that puts me at a disadvantage for the duration of the film".

Um what?

[Skitch]

Took me all week but I finally finished Mesrine: Part 1. Not quite as action packed as the trailer would lead one to believe, definately more of a mini-series feel, but quite enjoyable. Very interesting. Looking forward to Part 2.

[number8]

Reminds me of this review I read for Summer Wars recently. Where the reviewer who didn't like the film said in his review "Part of the reason for this is because I like movies where I can just walk away for a minute, make a bacon sandwich, grab some cola, maybe a can of peanuts and not feel like I missed a major event in the movie that puts me at a disadvantage for the duration of the film".

Um what?

That's about the dumbest thing I have ever heard. Who is this reviewer and where is his face so I can put a mallet to it?

[Spun Lepton]

Reminds me of this review I read for Summer Wars recently. Where the reviewer who didn't like the film said in his review "Part of the reason for this is because I like movies where I can just walk away for a minute, make a bacon sandwich, grab some cola, maybe a can of peanuts and not feel like I missed a major event in the movie that puts me at a disadvantage for the duration of the film".

Um what?

Who wrote that and why would anybody take him seriously?

[Skitch]

Wow. I wanna watch movies where if at the opening credits I realize I have to pee I'll be so gripped I'll hold it through the whole film because I wouldn't want to miss a single frame.

[Spinal]

Boner's an excellent viewer, so I don't mean to be too harsh. But when your reaction varies wildly from the majority and you're the one who missed over 10% of the movie, then maybe I'd look to that first before implying that the rest of us are nuts.

[Eleven]

And I want a book that I can flip through randomly, read either backwards or forwards or upside down, and not feel like I missed a major plot point that puts me at a disadvantage for the duration of my reading.

[MadMan]

My friend Brad did an "Ultimate Bond-a-thon" this past weekend. I wasn't really up for going (life complications and general tiredness), but it was apparently a big hit. They watched every single Bond movie, ranked each one from one to ten, and they assembled a pretty neat video of it here (http://www.youtube.com/watch?v=aRrNlh-UaGg).Heh, most radical. I'm a huge Bond fan, so that sounds like it would be a lot of fun. I'd have to take a break somewhere in between, though, as some of them are longer than others.

Even when I've viewed bad movies I've tried to make sure I don't miss anything. A review who willfully skips out on even a small chunk of the movie (I'm not talking merely a couple minutes, but rather say 10 minutes at least) cannot really review said movie properly imo. Even when I was watching Caligulia I sat through the entire thing, although granted that was so I could eagerly bash it afterwards because hot damn that movie was awful.

[number8]

Boner's an excellent viewer, so I don't mean to be too harsh. But when your reaction varies wildly from the majority and you're the one who missed over 10% of the movie, then maybe I'd look to that first before implying that the rest of us are nuts.

Yeah, especially when the first 10 minutes of the film in question are so funny, heartbreaking, and a masterful character introduction, while the rest of the movie is boring and inert.

:)

[B-side]

Yeah, especially when the first 10 minutes of the film in question are so funny, heartbreaking, and a masterful character introduction, while the rest of the movie is boring and inert.

:)

YOU'RE boring and inert.

[number8]

Yeah, especially when the first 10 minutes of the film in question are so funny, heartbreaking, and a masterful character introduction, while the rest of the movie is boring and inert.

:)

In before someone makes the "We're discussing Up?" joke.

[B-side]

In before someone makes the "We're discussing Up?" joke.

Heh. Now that you mention it... :P

[number8]

Heh. Now that you mention it... :P

YOU'RE now that you mention it.

[B-side]

YOU'RE now that you mention it.

http://i51.tinypic.com/2gujf48.jpg

[Watashi]

Up and The Illusionist are both great.

WHAT ARE YOU GOING TO DO NOW?!

[megladon8]

I began watching Godfather III last night.

I basically went in thinking "it's probably not as good as the other two, but there's just no way that it's as horrible as its reputation makes it out to be."

But, no, about an hour in, it really is just bad.

Pacino's Corleone does not feel at all the way he did in the first two entries of the film. It's not a case of a character aging and maturing, it's just not the same character.

Andy Garcia is laughably over the top, and Joe Montegna is permanently ingrained in my mind as "Fat Tony", so I can't help but chuckle almost every time he says something.


But really where the other two films were earnest depictions of a life in crime, this feels more like a caricature.

[Sven]

But really where the other two films were earnest depictions of a life in crime, this feels more like a caricature.

Hmmm... is the third one not earnest too? And I've always felt that the first two are quite exaggerated, eschewing realism for a larger-than-life operatic feel.

[number8]

Yeah, I definitely would never call any of the Godfather movies anything close to a real or earnest depiction of a crime family. It's extremely romanticized.

[megladon8]

Hmmm... is the third one not earnest too? And I've always felt that the first two are quite exaggerated, eschewing realism for a larger-than-life operatic feel.


I see what you mean, Sven, and I agree about the "larger-than-life operatic feel".

All three are meant to be taken in earnest, I'd argue, but I find the execution seriously lacking in the third installment, to where the attempts at that same operatic feel, end up more goofy. Andy Garcia is just so, so over the top here, and I am glad that the plans to continue the franchise with his character in Michael's place didn't come through.

In the first two films, Michael is one of the more subdued characters. Sonny, Fredo, the Don's of the other families - they all had that over-the-top feel, while Michael was the balance to that. Andy Garcia's Vincent is just too much.


Actually going back to the "Fat Tony" character from "The Simpsons", if the first two films were the romanticized depiction of mafia life of power that we see in Homer's daydream ("Grazie...that's a tasty donut") then the third film is the episode where Fat Tony and the Don are after Krusty ("Home Goes to Klown Kollege"), which ends with Homer and Krusty riding a mini tricycle across a bartop, their heads hitting each wine glass and playing the theme from The Godfather.

[Sven]

Actually going back to the "Fat Tony" character from "The Simpsons", if the first two films were the romanticized depiction of mafia life of power that we see in Homer's daydream ("Grazie...that's a tasty donut") then the third film is the episode where Fat Tony and the Don are after Krusty ("Home Goes to Klown Kollege"), which ends with Homer and Krusty riding a mini tricycle across a bartop, their heads hitting each wine glass and playing the theme from The Godfather.

:lol: You just blew my mind, and reminded me of some great times with Homer and the gang.

[megladon8]

Thanks dude. :lol:

I was quite proud of that paragraph. I thought it illustrated pretty well what I was trying to get at.

[D_Davis]

And I want a book that I can flip through randomly, read either backwards or forwards or upside down, and not feel like I missed a major plot point that puts me at a disadvantage for the duration of my reading.

OK

http://www.ballardian.com/images/atrocity_cover.jpg

[balmakboor]

And I want a book that I can flip through randomly, read either backwards or forwards or upside down, and not feel like I missed a major plot point that puts me at a disadvantage for the duration of my reading.

I assume from your avatar that you've already read some Burroughs.

[DavidSeven]

I liked The Godfather Part III. It's not one of the best movies of its decade, so in that sense it's a letdown by comparison, but I still think it's a technically competent and engaging film. S. Coppolla's negative impact on the film is also overstated, imo.

Been some years since I've seen it though.

[megladon8]

I think I prefer The Conversation to any and all of the Godfather films.

[Raiders]

I think I prefer The Conversation to any and all of the Godfather films.

Good man.

I think I prefer The Conversation to any and all films.

[megladon8]

Good man.

I think I prefer The Conversation to any and all films.


It really is one of the greats, I agree. Every time I watch it I like it more.

In fact I think I'm going to have to bring it up to my room tonight, to throw on after I'm done Godfather II.


It and The Royal Tenenbaums cement Gene Hackman as my all-time favorite American actor.

[Boner M]

Thoughts?
I missed the first 4 hours, but it was a thorough masterpiece regardless.

[Qrazy]

I missed the first 4 hours, but it was a thorough masterpiece regardless.

Well I personally think that I am right and that you are wrong.

[Boner M]

Well I personally think that I am right and that you are wrong.
I can understand not getting into it. It's pretty shapeless, and doesn't really have a centre or of any sort - narrative or thematic or otherwise. But I found the breathless, gushing "and then this happened..." pileup of all the numerous story threads to be hypnotic... the stories and characters are often very familiar and the film's execution classical, and yet Ruiz is able to alchemise these recognisable tropes and approaches into inducing an almost liminal state. It's a masterful fantastic balancing-act of a film.

[Derek]

I can understand not getting into it. It's pretty shapeless, and doesn't really have a centre or of any sort - narrative or thematic or otherwise. But I found the breathless, gushing "and then this happened..." pileup of all the numerous story threads to be hypnotic... the stories and characters are often very familiar and the film's execution classical, and yet Ruiz is able to alchemise these recognisable tropes and approaches into inducing an almost liminal state. It's a masterful fantastic balancing-act of a film.

It's only inherent flaw appears to be that it's not Russian.

As for coming in late to films, I kinda understand where Spinal is coming from. I missed the first second of Eye Myth, so I really can't fairly judge that one.

[Eleven]

Of course the two authors brought up are ones Cronenberg has adapted. Of course. Consider myself collage-pwned.

[balmakboor]

Of course the two authors brought up are ones Cronenberg has adapted. Of course. Consider myself collage-pwned.

I think Cronenberg's two most interesting films too.

[Qrazy]

It's only inherent flaw appears to be that it's not Russian.

As for coming in late to films, I kinda understand where Spinal is coming from. I missed the first second of Eye Myth, so I really can't fairly judge that one.

Har har, but no it's flaws are these... reposted:

Sorry to say that Mysteries of Lisbon was not that good. It wasn't a complete failure, but it's unbelievably tedious for the majority of the film (4+ hour film). The acting/drama was largely poor, in this one Ruiz really needed to pick up his beats. His actors are forced to hold individual moments for awkward lengths of time which often gives the work an incredibly amateurish feel.

The feature was originally made for TV and it shows. The lighting is pretty close to top shelf but almost the entire film occurs in mid shots and a couple tight long shots. People walk around in and talk in rooms. That's the long and the short of it. Still the film isn't a complete waste. By the end the narrative does come around almost full circle and there is a certain sense of emotional inertia to the various plot threads of the tale. It's not a very good story really. It's redundant (but that's part of the point I suppose), needlessly lengthy and just kind of silly.

But there are singular scenes, moments and shots in the film which work. Here Ruiz quite likes using the whole frame as much as possible, or at least the two far sides of the frame. He frequently will employ extreme close-up left or right frame and then a long shot in the other half of the frame. Every once in a while this approach works well tonally, but at other times it also feels like he's just trying to force some stylistic life into an otherwise dull experience. A couple of lengthy tracking shots embarrassingly express the bluntness of their blocking.

Right now I"m going to say ehh... C-

[Raiders]

Dreamscape is a remarkably silly, silly film and very 80s in its look and execution. This is both a fault and a compliment as much of it is never less than moderately entertaining. Stepfather director Joseph Ruben creates nicely expressive images for the dreams and it is overall a more effective and efficient film at creating filmic dreams than some other film(s) I could think of. It lacks any real human drama or compassion though, and rather uncomfortably in one sequence seems to equate what amounts to molestation to romance.

[Sven]

The snake people in Dreamscape haunted me for years after I saw that film as a small child.

[DavidSeven]

Network (Lumet). Meh. Didn't do it for me, though I can see why people might like it. The contract negotiation among the terrorist group was the best moment for me. Howard Beale's collective rants might be the worst.

Zombieland (Fleischer). Pretty fun, but fairly disposable. Mostly works because the casting is right.

[dreamdead]

Miller's The Spirit is like watching a Korean film on acid, where tonal shifts just break up all momentum rather than energizing the content and structural flow. Badly written, badly cast (Mendes being especially awful), and misogynistic throughout (seriously, get some and stop lusting after anything in a skirt, man). Beyond mediocre--this is now the worst film I've viewed this year.