28 Film Discussion Threads Later

[Raiders]

Convinced my wife to do a double-header on Saturday of Jane Eyre and Certified Copy.

:pritch:

Turns out this will happen next weekend. I forgot about the awesome gathering I have tomorrow afternoon/night involving much beer.

[Russ]

I've avoided Fire Walk With Me because I haven't watched the second season of Twin Peaks, and only the full-length pilot of the first season has really stuck with me at all over the years. Would I get much from it?
Yes. It is much, much closer in tone to his films than it is to the tv show (which, coincidentally, is why so many of the show's fans hated it when it came out).

[Spinal]

I've avoided Fire Walk With Me because I haven't watched the second season of Twin Peaks, and only the full-length pilot of the first season has really stuck with me at all over the years. Would I get much from it?

It's hard to say. It's probably best that you know certain things. Like who killed Laura. Who Bob is. Who Ronette Pulaski is. And it's probaly best to seek it out when you have a craving for it and are prepared to have a sense of humor about the whole thing. It's a very indulgent film, even for Lynch. Not nearly as tight and uniformly successful as his later mind benders. But there are certain sequences that rank among his best work. For whatever reason, it clicked for me last night.

[Rowland]

Cool, for the first time in weeks there are movies opening that I have more than a passing interest in seeing. Hmm, would Certified Copy or The Housemaid be a better date movie?

[Spinal]

Yes. It is much, much closer in tone to his films than it is to the tv show (which, coincidentally, is why so many of the show's fans hated it when it came out).

Yes, you really have to let go of your expectations and allow yourself to be taken down a new path. Which is why I said I thought it was good to have some familiarty with the series but also a little distance from it.

[Spinal]

Cool, for the first time in weeks there are movies opening that I have more than a passing interest in seeing. Hmm, would Certified Copy or The Housemaid be a better date movie?

How sensitive is your date? There's some stuff at the end of The Housemaid that I can't reveal without spoilers that you may not want to experience with certain dates. However, knowing the kind of movies you like, she may as well get used to it now. :lol:

[Rowland]

How sensitive is your date? There's some stuff at the end of The Housemaid that I can't reveal without spoilers that you may not want to experience with certain dates. However, knowing the kind of movies you like, she may as well get used to it now. :lol:Oh, she's used to it. Same girl for a few years now, I was showing her Suspiria on one of our first dates. If anything, knowing her, she's more likely to dig the sleek perversity of The Housemaid. :lol:

[Spinal]

Oh, she's used to it. Same girl for a few years now, I was showing her Suspiria on one of our first dates. If anything, knowing her, she's more likely to dig the sleek perversity of The Housemaid. :lol:

Oh, if it's someone you've been with for a while, then no worries at all. I can't really recommend the film, but it's often quite pretty to look at and kinda sexy in places. And it features a rather spectacular fireplace.

[Eleven]

Normally, Certified Copy. Rowlandly, The Housemaid.

[Watashi]

The new Fright Night film was ok. Some stupid humor (mostly by Christopher Mintz-Plasse doing the same character he's always done), but some genuinely tense and exciting moments. Colin Farrell plays a great vampire and David Tennant as Peter Vincent was amazing. A lot more horror-oriented than I thought it would be.

[Henry Gale]

The new Fright Night film was ok. Some stupid humor (mostly by Christopher Mintz-Plasse doing the same character he's always done), but some genuinely tense and exciting moments. Colin Farrell plays a great vampire and David Tennant as Peter Vincent was amazing. A lot more horror-oriented than I thought it would be.

Hmm, the humour seems like something the original had embedded into the horror instead of an outright jokey way, so it's disappointing to hear that Mintz-Plasse may just McLovin in horror movie circumstances. But I assume it'll be R-rated, and Farrell and Tennant were the two I was most interested in seeing, so nice to hear those aspects are good.

Apparently it was shot in the 3D... does that seem like it'll add to anything in the movie at all? (I'm assuming your screening was a rough 2D workprint sorta deal.)

[Watashi]

No, it was 3D. The 3D was very cheesy in a Drive Angry kind of way.

[Rowland]

Oh, I'm far more excited for Certified Copy, but The Housemaid strikes me as a more fun date movie.

[Rowland]

The original Fright Night was about as scary as a Goosebumps episode. You say this one is legitimately tense and exciting at points? Neat.

[Spun Lepton]

The original Fright Night was about as scary as a Goosebumps episode. You say this one is legitimately tense and exciting at points? Neat.

Aww, come on, it has some tense moments. Whats-her-name's transformation into Tooth Mouth was surprisingly effective.

[Spun Lepton]

Also, Rowland, you watched Looker recently?

I LOVED that movie when I was a teenager. Does it hold up?

[Spun Lepton]

Was there ever a Box-Office Prediction thread made here? Could've sworn there was.

Edit: Three posts in a row. What do I win?

[megladon8]

I'm going to see the real release of this weekend.

Hobo With a Shotgun in t-minus 90 minutes and counting.

[Spun Lepton]

I'm going to see the real release of this weekend.

Hobo With a Shotgun in t-minus 90 minutes and counting.

You suck!!! I really want to see that. Let us know what you think!

[Mara]

RE: How to Train Your Dragon

I'm three minutes in. Does the voice work continue to be this horrible the whole way through? Should I just switch the audio to French and be done with it?

[Henry Gale]

No, it was 3D. The 3D was very cheesy in a Drive Angry kind of way.

Oh cool. Well, Drive Angry's 3D was pretty good when it wasn't just shot reverse shot of characters talking close up. But when it had more complicated shots, especially the ones of Hell at the beginning and end, it looked kind of awesome.

Either way, I remain interested, and I'll see it in 3D before Deathly Hallows, Thor, Cap America or any other post-converted summer releases.

[Spun Lepton]

Oh cool. Well, Drive Angry's 3D was pretty good when it wasn't just shot reverse shot of characters talking close up. But when it had more complicated shots, especially the ones of Hell at the beginning and end, it looked kind of awesome.

Either way, I remain interested, and I'll see it in 3D before Deathly Hallows, Thor, Cap America or any other post-converted summer releases.

They retro-fit Capt. America and Thor???

:frustrated:

[Henry Gale]

They retro-fit Capt. America and Thor???

:frustrated:

Yup, and the 3D Thor trailer I saw before Green Hornet basically assured me I wouldn't see it that way. Sure it probably wasn't the final product, but either way, I'm still fine with paying three bucks less to see it.

[Watashi]

RE: How to Train Your Dragon

I'm three minutes in. Does the voice work continue to be this horrible the whole way through? Should I just switch the audio to French and be done with it?
Yep. Jay Baruchel is that grating.

[Spinal]

You guys are way too sensitive.

[Mara]

The lead boy was horribly miscast. It was confusing that the adult Vikings were for some reason Scottish. It was confusing that children Vikings were for some reason American. Some of Hiccup's dialogue was too precious and grating.

Other than that big quibble and those other minor quibbles, I'd say that this was a very good film. The visuals were great and the story was absorbing.

Who cast Hiccup, and why? It's a bafflingly bad decision from such a high-gloss, high-budget production.

[transmogrifier]

RE: How to Train Your Dragon

I'm three minutes in. Does the voice work continue to be this horrible the whole way through? Should I just switch the audio to French and be done with it?

It's terrible throughout. Still don't get why people like it as much as they do.

[StanleyK]

So, Chinatown is essentially flawless. Left me kind of speechless, really. I can only say that everything just works, all the elements complement and build on each other making it the most purely satisfying film possible.

[megladon8]

You suck!!! I really want to see that. Let us know what you think!


Well, it was quite the mixed bag. It's hilarious at times, and at other times, it's one of the worst, most obnoxious and offensive movies I've ever seen.

Have you ever seen Machine Girl? Or Ichi the Killer? It's that kind of absurd hyper-gore.

It's probably the closest to being an actual "grindhouse film" of any of the series so far (Planet Terror, Death Proof and Machete) because it actually is a cheap-ass and for all intents and purposes outright terrible movie. You know, rather than just pretending to be one when you have a multi-million dollar budget and A-list actors.

Some of the hilariously offensive moments include:

A guy in a Santa Claus suit parked across the street from a public school, masturbating while he watches the children through binoculars.

A girl performing a strip tease and masturbating in the blood spraying from a decapitated body.

Both child and baby death. In horrible, brutal, agonizing fashion no less.

This line of dialogue (spoken after the guy is threatened with a knife): "Why don't you go cut a piece off of Mother Teresa, and feed it to her while you're finger banging her in Hell!"

And totally random tentacles.


The movie continually ups the ante with horrible, offensive content.

If you can get a kick out of just how fucked up the movie is with its over-the-top gore and constant wink on its face, you may find it to at least be an entertaining night at the movies.

Like I said, in just about every respect, this movie is just terrible.

But it's...you know...the good, "let's watch this while under the influence of ______________ " kind of terrible.

[B-side]

Kiarostami's The Experience. Wonderful. Errbody gettin' framed through windows. Simple, but profound. Deep blacks and blinding whites are my favorite.

[Ivan Drago]

Have you ever seen Machine Girl? Or Ichi the Killer? It's that kind of absurd hyper-gore.

It's probably the closest to being an actual "grindhouse film" of any of the series so far (Planet Terror, Death Proof and Machete) because it actually is a cheap-ass and for all intents and purposes outright terrible movie. You know, rather than just pretending to be one when you have a multi-million dollar budget and A-list actors.

Some of the hilariously offensive moments include:

A guy in a Santa Claus suit parked across the street from a public school, masturbating while he watches the children through binoculars.

Referred to in the fake trailer before this movie was made, if I believe so.

A girl performing a strip tease and masturbating in the blood spraying from a decapitated body.

Both child and baby death. In horrible, brutal, agonizing fashion no less.

See below.

This line of dialogue (spoken after the guy is threatened with a knife): "Why don't you go cut a piece off of Mother Teresa, and feed it to her while you're finger banging her in Hell!"

Again, see below.

And totally random tentacles.

The movie continually ups the ante with horrible, offensive content.

If you can get a kick out of just how fucked up the movie is with its over-the-top gore and constant wink on its face, you may find it to at least be an entertaining night at the movies.

meg, have you not seen Treevenge (http://www.youtube.com/watch?v=Vaiv7kAXBzM)? It's from the same director of Hobo With A Shotgun (the trailer and feature), and it's one of the most awesomest things I've ever seen in my life, and contains one of the greatest lines in film I've ever heard.

As an aspiring filmmaker myself, I almost idolize Jason Eisener for going from making the fake trailer for Hobo, to making Treevenge, to making Hobo into a feature.

[soitgoes...]

Kiarostami's The Experience. Wonderful. Errbody gettin' framed through windows. Simple, but profound. Deep blacks and blinding whites are my favorite.I need to get on his early, early non-short stuff.

[B-side]

I need to get on his early, early non-short stuff.

I'm sure you'd love it. I'll be watching The Traveler soon.

[soitgoes...]

I'm sure you'd love it. I'll be watching The Traveler soon.I'm sure I will too. I've enjoyed everything I've seen by the man, but I've also picked wisely. I'm sure a few of his post-The Wind Will Carry Us films will leave me cold. That being said his Koker Trilogy is one of the highlights of world cinema.

[Rowland]

Also, Rowland, you watched Looker recently?

I LOVED that movie when I was a teenager. Does it hold up?It doesn't deserve to be essentially forgotten as it has been. I can see it being an acquired taste, but I really enjoyed it for reasons I'll expand upon whenever I write a mini-capsule for it.

[D_Davis]

I watched Southland Tales again last night. God I love that movie. There is absolutely nothing else even remotely like it.

[Lucky]

I've been wanting to rewatch that lately, too. Maybe I'll do that today.

[megladon8]

meg, have you not seen Treevenge (http://www.youtube.com/watch?v=Vaiv7kAXBzM)? It's from the same director of Hobo With A Shotgun (the trailer and feature), and it's one of the most awesomest things I've ever seen in my life, and contains one of the greatest lines in film I've ever heard.

As an aspiring filmmaker myself, I almost idolize Jason Eisener for going from making the fake trailer for Hobo, to making Treevenge, to making Hobo into a feature.


No I have not. Will take a look when I've got some time to watch uninterrupted!

But yeah...Hobo With a Shotgun....what a movie.

[Rowland]

I kinda hated Treevenge.

[megladon8]

I kinda hated Treevenge.


Treally?

Please don't hit me.

[Ivan Drago]

I kinda hated Treevenge.

"It's Christmas...I just wanna FUCK!" :lol:

[D_Davis]

Jade Warrior

A martial arts film from Finland combining Finnish mythology and Chinese folklore. Highly lyrical, romantic and poetic, glacially paced, beautifully shot, the film is as much a love story as it is a an action film. I even have trouble using the A-word here; the film has more in common with Ashes of Time and Valhalla Rising than it does anything else. I was captivated from its opening moments and grew more deeply enthralled as it progressed. I really love this movie.

[StanleyK]

There's plenty of good in The Ladykillers. Hanks is fun, Hall is excellent, and some of Wayans' line deliveries are priceless. The visuals are great, of course. And the use of gospel music and rap suggest a potentially interesting examination of the influence of music and religion on Southern black culture. Sadly it all adds up to nothing. The film is actually pretty shallow, abusing too-obvious visual metaphors and allusions to Poe. The treatment Hall's character gets is pretty condescending. Most damning, it's painfully unfunny, the only Coen brothers film you can say that about. It's too reliant on randomness, the dark humor toothless. Overall an interesting failure, but easily their weakest film (at least until True Grit); still, even at their worst they're mediocre rather than straight-up bad.

[Mara]

I watched Southland Tales again last night. God I love that movie. There is absolutely nothing else even remotely like it.

I've always been curious to check it out, as your post reminded me. I made it just over an hour.

I can forgive it for being random, for being pretentious, and for being completely cracked out. But I can't forgive it for being boring. Sorry.

I was kind of hoping it would be like Repo! The Genetic Opera where it's critically maligned, but mad fun. But I felt like it lacked that kind of glee.

[D_Davis]

I've always been curious to check it out, as your post reminded me. I made it just over an hour.

I can forgive it for being random, for being pretentious, and for being completely cracked out. But I can't forgive it for being boring. Sorry.


I understand.

There are only a few of us who really love it. Like Dick's fiction, it strikes a chord with me that absolutely nothing else does. It's like the film was made just for me.

[Ivan Drago]

I understand.

There are only a few of us who really love it. Like Dick's fiction, it strikes a chord with me that absolutely nothing else does. It's like the film was made just for me.

I love it too. The score from Moby is another reason for its awesomeness.

[Boner M]

I liked The Rock and the Timberlake musical sequence in ST. My praise ends there.

[D_Davis]

Holy f'ing shit, 13 Assassins is one messed up movie. I've never wanted a movie character to die a more ruthless death than I do right now.

[D_Davis]

13 Assassins...

Now that's a samurai movie. Good lord was that awesome.

[megladon8]

13 Assassins...

Now that's a samurai movie. Good lord was that awesome.


Yeah, the trailer had me itching.

Looked like Seven Samurai meets the dark, disturbing edge of The Sword of Doom.

[D_Davis]

Yeah, the trailer had me itching.

Looked like Seven Samurai meets the dark, disturbing edge of The Sword of Doom.

I liked it more than both. It's probably my favorite samurai film, even beating out Samurai Fiction.

It is stunning.

The climatic battle is the best extended action sequence I've ever seen. No joke. 40 minutes of perfectly paced escalation. Never seen anything like it. And the build up to that sequence is also incredible. At its core, it's a pretty simple men on a mission film, and that mission is for 13 guys to take on an army of 200. However, it's not just bloodshed and violence; at it's also a provocative examination of the samurai code, and a pretty scathing commentary on the absurdities of war in general.

At one point, after they've lost about 150 soldiers, one of the corrupt lord's retainers says something like, "if we can just make it through that gate, victory will be ours!"

Really?

I was reminded of George Bush's MISSION ACCOMPLISHED banner. And of all of the soldiers in the wars going on right now who willingly give up their lives for the whims of a government who really doesn't give a shit.

It's a powerful and moving film that is also entertaining as hell. I watched it by myself, and I cheered out loud multiple times, and was literally on the edge of my couch, clenching my fists for the last 40 minutes of the film.

Thank God I checked out Amazon on demand tonight!

[megladon8]

Wow.

You have rarely steered me wrong, D. I really need to see this one.

Being a huge fan of samurai films this has jumped to the top of my list.

Takashi Miike is like the Japanese Tsui Hark.

[transmogrifier]

I used to absolutely love Who Framed Roger Rabbit, but I rewatched it today, and while I still like it, a lot of the charm has worn off in the 10+ years since I last saw it. The main problem is Roger himself; I found him grating as all hell this time round. Hoskins is fun, though, and everything else is entertaining enough. But it could have been so much better.

[Sven]

Hoskins is fun, though

A seriously underappreciated performance. However, I am biased, as Hoskins is my favorite living actor.

[transmogrifier]

A seriously underappreciated performance. However, I am biased, as Hoskins is my favorite living actor.

He is very good in WFRR? No doubt about it. Can't imagine anyone else in the role managing the mix of physical humor and genuine emotion.

[MadMan]

Hoskins in Mona Lisa and The Long Good Friday, plus Who Framed Roger Rabbit, has cemented my opinion that he's an excellent actor. He was also great in the rather meh Hook, too.

[BuffaloWilder]

So, I've been having a bad night.

And, I wrote this (http://thefilmist.wordpress.com/2011/03/27/true-grit-and-some-other-things-march-27th-2011/).

Mopey? Yeah, maybe just a little bit.

[Winston*]

He is very good in WFRR? No doubt about it. Can't imagine anyone else in the role managing the mix of physical humor and genuine emotion.

http://www.exposay.com/celebrity-photos/brendan-fraser-2009-backstage-geffen-honors-PUwwMd.jpg

[transmogrifier]

I stand corrected. I'm not sure what I was thinking.

[Boner M]

Have you seen Go Go Tales, Sven? I know you're not big on Ferrara but it does feature Hoskins at his Hoskinsest. "You're walking out on us for a guy in a CRAB SUIT?!" - best line & reading in my recent viewing memory.

[Sven]

Have you seen Go Go Tales, Sven? I know you're not big on Ferrara but it does feature Hoskins at his Hoskinsest. "You're walking out on us for a guy in a CRAB SUIT?!" - best line & reading in my recent viewing memory.

I have not. It is now on my radar.

[Adam]

Hoskins is a favorite of mine, too. Mona Lisa is his best performance, but imo he's at his absolute Hoskinsest during the synth shower in The Long Good Friday. I actually just watched Long Good Friday again and I've gotta say - that's a dated 1980s score that still 100% works for me. On the flip side, Peter Gabriel's new-agey Last Temptation of Christ score gets the award for "Most embarrassing '80s score to a generally respectable film"

[StanleyK]

I'm not big on spoof movies generally, but Tampopo was excellent. Now there's a movie that genuinely loves its subject matter: food, sex, cinema, all as lovingly rendered as they are light-heartedly poked with a stick. Beautiful, funny and so alive.

[Kurosawa Fan]

13 Assassins...

Now that's a samurai movie. Good lord was that awesome.

How did you see this?

[D_Davis]

How did you see this?

Amazon on demand, Roku.

[Kurosawa Fan]

Wow, $10. That's pretty steep. I'll probably wait.

[EyesWideOpen]

Wow, $10. That's pretty steep. I'll probably wait.

I'll wait for dvd also. The US version (which is what is available streaming and in theaters) has 15 minutes cut out of it.

[Ezee E]

That looks like one I'd see in theaters.

[D_Davis]

Wow, $10. That's pretty steep. I'll probably wait.

Yeah, same price as a movie tx, but you don't have to deal with stupid people and expensive snacks. It was more than worth it.

[D_Davis]

And somehow I have credit for Amazon On Demand - it only ended up costing me $5. Weird.

[Sycophant]

Why is the international version cut? Weak.

It's hitting theaters in my area in two months, and I'm gonna be sure to catch it (first Miike I'll see in theaters!), but maybe I'll get an import for the DVD.

[D_Davis]

Why is the international version cut? Weak.


A 15 minute brothel scene was cut. From what I've heard, not much is missed. Maybe it'll be like Fearless, where the cut version is actually a lot better. Who knows. All I know is that it'll only be more awesome if the film is even better when it's longer. It felt perfect as is though. I'm about to watch it again right now.

[EyesWideOpen]

Why is the international version cut? Weak.

It's hitting theaters in my area in two months, and I'm gonna be sure to catch it (first Miike I'll see in theaters!), but maybe I'll get an import for the DVD.

It's kind of a pattern with Miike movies. They cut out almost 30 minutes of Sukiyaki Western Django for the international cut. And the US dvd only has the cut version. Changing a movie after release from a 2 hour movie to a hour and a half movie has to make it a completely different film.

[megladon8]

I hope I enjoy it more than Sukiyaki Western Django.

That one kinda sucked.

[Ezee E]

I hope I enjoy it more than Sukiyaki Western Django.

That one kinda sucked.
Yeah, but it looks like it takes a serious tone as opposed to Sukiyaki.

[EyesWideOpen]

I hope I enjoy it more than Sukiyaki Western Django.

That one kinda sucked.

But to be fair you watched a movie with 30 minutes gutted out of it.

[soitgoes...]

But to be fair you watched a movie with 30 minutes gutted out of it.
I didn't see the pared down version, but I can hardly imagine that the missing 30 minutes was the problem Meg had with the film. I'd go so far as to assume that the extra 30 minutes of Japanese actors reciting English lines they memorized phonetically would probably be even more painful for him.

[EyesWideOpen]

I didn't see the pared down version, but I can hardly imagine that the missing 30 minutes was the problem Meg had with the film. I'd go so far as to assume that the extra 30 minutes of Japanese actors reciting English lines they memorized phonetically would probably be even more painful for him.

I agree with you. I've only seen the cut version and it's my least favorite Miike of the twenty or so I've seen and it's almost solely because of the english line reading.

[Qrazy]

I've only liked two of the six Miike films I've seen so I'm really not expecting much.

[StanleyK]

A Christmas Tale was awfully disappointing. For a film directed with such aggressive whimsy, its family feels generic, like one I'd seen at the movies before. There was really only one subplot which was interesting to me (the Simon-Sylvia one, and occassionally Henri-Elizabeth); most of the time it was dull and unengaging. In its constant flurry of shots I didn't see a single inspired one; no performance was above serviceable.

[D_Davis]

I love SWD, and I liked 13 Assassins even more. I thought the English line reading in SWD really helped flesh out the strange otherworldly quality of the film while adding a bizarre dialect to his fictitious Nevada, Japan setting. Really neat and creative movie.

[elixir]

Are there any non-Godard Anna Karina movies worth checking out?

[Raiders]

Are there any non-Godard Anna Karina movies worth checking out?

Rivette's La Religieuse. Also, though I haven't seen them, Visconti's The Stranger and Kurosawa Fan's favorite film, Fassbinder's Chinese Roulette.

[elixir]

Rivette's La Religieuse. Also, though I haven't seen them, Visconti's The Stranger and Kurosawa Fan's favorite film, Fassbinder's Chinese Roulette.

Thanks. So The Stranger also stars Marcello Mastroianni, who I love. And I just read this quote from a random imdb review: "And Anna Karina was never more beautiful (especially in her first nude scene)." Is that true? I mean, it doesn't matter, because I'm obviously seeing this since Visconti is a relatively respected director, BUT IS THAT TRUE?

I suppose I'll just have to watch it to find out.

[elixir]

Some comments on films I have seen recently:

--The Wayward Cloud: I like the style and the musical sequences that put some energy in between the stasis (which I didn't mind!), but it probably had the most vomit-inducing final scene I've ever seen. I want it out of my mind.

--The Shining: Hm...I don't know, just didn't do a whole lot for me. I suppose this falls into the criticism trap of asking films to do something else, but I was disappointed that the whole supernatural element--the twins, the bartender, the party--never really congealed into anything interesting for me, and as a barometer for how much I cared, when the final reveal happened, I just shrugged.

--A Woman Under the Influence: Quite powerful and not so drowning in being miserable like I was expecting...featured the most awkward play-date and breakfast ever. Excited to check out more of Cassavetes.

--The Night of the Hunter: A bit conflicted, though definitely definitely positive overall. I've never seen a film quite like it, but there were times when I thought the simplicity, preachiness, and especially on-the-nose dialogue got to me (the acting was certainly not the greatest aside from Mitchum, but it didn't bother me too much). I think it helps me if I look at it as sort of a nightmarish fable, looking at it through the lens of a children's tale, where they are being frightened by this man who isn't what he appears to be. Something different, that's for sure.

[B-side]

Chinese Roulette is superb. Any dissenters are clearly Communists.

And the finale to The Wayward Cloud is brilliant.

[Derek]

Color me surprised at how good both Body Snatchers remakes ended up being. Kaufman's had a heightened sense of paranoia and distrust, effectively captured in the almost garish distortion of images, reflections and faces (yet another reason why the casting of Sutherland and Goldblum was a brilliant move), that made the sense of fear and confusion more palpable and pervasive than the other two versions. Ferrara's film takes the polar opposite approach, operating from a cold distance that plays into his view of detached modernity, locating the horror in both the discovery of the now soulless replicas and the realization that this may have been the direction they've all been heading anyway.

The other two Ferrara's I watched weren't as good, but still interesting in their own right. Ferrara breaks out all the stylistic tricks in New Rose Hotel, using various film stocks, contrapuntal sound, a mix of upbeat Schooly D music and stretches of silence or ominous ambiece and dissolves to create an overwhelming sense of dislocation and disconnection. The first half hour or so is incredibly promising, using these flourishes to portray the world of corporate espionage, but at the halfway mark, Ferrara's utter disinterest in narrative cohesion begins to sink in. This isn't a problem in and of itself, but the later scenes become longer and more drawn out in their aimlessness and the final sequence with Dafoe is so excessive in its numerous flashbacks and repeated reaction shots that it grinds the film to halt, leaving a bad taste in my mouth. Still, this film does deserve more credit than it gets.

Mary had similar second half problems, never really following through with the potentially fascinating theological questions explored early on. Instead, we get Matthew Modine acting like a meglamaniacal blowhard. Total blown opportunity, this one.

[B-side]

Mary is pure amalgamated mood and existentialism. Probably his best.

[Derek]

Mary is pure amalgamated mood and existentialism. Probably his best.

The mood and atmosphere wasn't nearly as strong as New Rose Hotel or Body Snatchers and the existential struggles with Binoche and Whittaker end up fairly half-baked. Binoche is great with what's given to her, but Ferrara never explores the whole actress-lost-in-her-role angle vs. geniune revelation angle and with Whittaker, his transition is so sudden that it again paints a relatively simplistic view of faith, left to be viewed as either a comforting delusion or a mask used to manipulate for personal gain. It's not that the film doesn't bring interesting ideas to the table (the Mary as lead disciple stuff would've been far better had it related back to the rest of the film), but that it never examines them in much depth.

[B-side]

Yeah, well, your opinion is incorrect. Good talk.

[B-side]

Glad you liked Body Snatchers, though.:D

Took several caps of it a while back that can be seen here (http://www.match-cut.org/showpost.php?p=281580&postcount=74).

[Izzy Black]

The other two Ferrara's I watched weren't as good, but still interesting in their own right. Ferrara breaks out all the stylistic tricks in New Rose Hotel, using various film stocks, contrapuntal sound, a mix of upbeat Schooly D music and stretches of silence or ominous ambiece and dissolves to create an overwhelming sense of dislocation and disconnection. The first half hour or so is incredibly promising, using these flourishes to portray the world of corporate espionage, but at the halfway mark, Ferrara's utter disinterest in narrative cohesion begins to sink in. This isn't a problem in and of itself, but the later scenes become longer and more drawn out in their aimlessness and the final sequence with Dafoe is so excessive in its numerous flashbacks and repeated reaction shots that it grinds the film to halt, leaving a bad taste in my mouth. Still, this film does deserve more credit than it gets.

Really? I found the coda absolutely mesmerizing and brilliant. One of the finest achievements of Ferrara's entire career. I was truly involved in the sequence. How peculiar we should have such diverging reactions to it.

[B-side]

Izzy knows. Tell him what's up.

[Izzy Black]

Well, I don't know if I know, but our diverging reactions sure is interesting!

[Rowland]

Kaufman's Body Snatchers is my favorite of the bunch, though it does feel a bit overlong at nearly two hours.

[Izzy Black]

The Addiction is my favorite Ferrara film. New Rose Hotel is close behind.

[B-side]

The Addiction is my favorite Ferrara film. New Rose Hotel is close behind.

Have you not seen Mary yet? I think you'd enjoy it. Kinda itching to give The Addiction a rewatch.

[Winston*]

New Rose Hotel is close behind.

Hmm. Hadn't heard of this. I liked the Gibson story a lot.

[Sycophant]

So, this Hiroshi Shimizu guy looks to be well worth investigating. Loved The Masseurs and a Woman.

[soitgoes...]

So, this Hiroshi Shimizu guy looks to be well worth investigating. Loved The Masseurs and a Woman.
Yes. Mr. Thank You next for you sir.

[Spun Lepton]

2nd viewing of Scott Pilgrim was much more positive, enjoyed it more this time around. I find myself going back to the "BREAD MAKES YOU FAT?!!" exchange, which kills me because the timing is so perfect.

[Qrazy]

Okay so Wilder did make one bad film after all. Fedora is a piece of crap. It doesn't even feel like a Wilder film which is all the more strange since he made Buddy Buddy shortly after and that one does feel like a Wilder. This one feels like a cross between Sunset Boulevard, Boom! and The Barefoot Contessa except completely derivative of all of those.

[megladon8]

Has anyone else seen Hobo With a Shotgun yet?

[ledfloyd]

Okay so Wilder did make one bad film after all. Fedora is a piece of crap. It doesn't even feel like a Wilder film which is all the more strange since he made Buddy Buddy shortly after and that one does feel like a Wilder. This one feels like a cross between Sunset Boulevard, Boom! and The Barefoot Contessa except completely derivative of all of those.
isn't buddy buddy the one he disowned?

i really need to get to work on late period wilder. i've seen everything he's done up to one, two, three (with the exception of the emperor waltz and the spirit of st louis) and nothing after. i think i'm afraid of tarnishing his perfect reputation.

[Ezee E]

Has anyone else seen Hobo With a Shotgun yet?
Philosophe_rouge.

[Dukefrukem]

Any Elite Squad fans in here?

[Dukefrukem]

Also, I know i've been MIA now that MC is banned at work. Why/when was trotchky banned??

[Scar]

Also, I know i've been MIA now that MC is banned at work. Why/when was trotchky banned??

Way before that.

EDIT: http://www.match-cut.org/showthread.php?p=327579&highlight=trotchky#post327579

[Dukefrukem]

Hmmm. Thx Scar.

[Qrazy]

isn't buddy buddy the one he disowned?

i really need to get to work on late period wilder. i've seen everything he's done up to one, two, three (with the exception of the emperor waltz and the spirit of st louis) and nothing after. i think i'm afraid of tarnishing his perfect reputation.

I wouldn't know but Buddy Buddy is quite funny while Fedora just sucks. The only ones I haven't seen yet are Emperor Waltz, Kiss Me, Stupid and Mauvaise Graine so you shouldn't worry about tarnishing his reputation because Fedora is the only especially crappy one.

[Qrazy]

Any Elite Squad fans in here?

Somewhat, I liked it.

[megladon8]

I still don't know who it was he threatened.

He was indeed a very troubled individual. I hope he got some help, and/or is doing OK.

[Dukefrukem]

I still don't know who it was he threatened.

He was indeed a very troubled individual. I hope he got some help, and/or is doing OK.

You can figure it out by tracing back through the posts. I won't post it since the name was removed for a reason.

[Dukefrukem]

Somewhat, I liked it.

The first one was great and I'm trying to find subtitles for the second movie.

does anyone know a website where you can download subtitles for movies?

[Raiders]

The first one was great and I'm trying to find subtitles for the second movie.

does anyone know a website where you can download subtitles for movies?

As in a .srt subtitle file to play with the downloaded film? Allsubs.org

[elixir]

So, I finished The Conversation about 10 minutes ago...so thoughts will be scattered. This was a slow burn for me, and I do NOT mean that in a bad way. That's not to say I was "bored," or anything, but it drew me in...it crept up on me, but in the best way possible. It made me feel how no thrillers really have, giving me the same feeling of paranoia that Caul had. But it's not necessarily that I found the central mystery so intense so much as the way the character related to it, and how the themes of privacy and increasing technology (and surveillance) was weaved into it. You can run wild with the parallels and contrasts between Caul and the service he is providing, but I find Caul extremely interesting on his own terms. Because here's this man who is unable to really have intimate conversations, who is obsessed with privacy, and is wracked with guilt (heightened by his devoutness), and he is puts on this front of just doing the job to others, but it's easy to see it's so much more. Maybe my favorite Hackman role, and he's a great one. Also, how awesome is John Cazale? So awesome. So, we watched this film to coincide with our unit on sound, and yeah, definitely a great choice in that department. One of the most interesting scores I've heard, adding to the atmosphere without using it as a crutch...those creeping few notes with a jazzy feel totally worked with the dark, paranoiac vibe of the film, I thought. Perhaps what I found most interesting is the ambiguity that lies between the dichotomy of perception and reality, how it's impossible to glean truth from that one conversation Caul heard. But like I was saying earlier, this film really crept up on me, and I was totally engrossed and immersed in it for the second half, becoming more and more drawn into it as it reached its conclusion...and then this conclusion gave me this weird feeling, not really of release, but of reflection. I don't know how to put it. Definitely need to think about this some more, and I would certainly like to see it again, but my initial impression is extremely favorably.

[Stay Puft]

Aight, where my Arthur Penn fans.

I'm going to be in Toronto on Wednesday and the Lightbox is hosting a retrospective during this time. I've never seen any of his work, and this is what's playing, so it's what I'm doing this week:
http://www.tiff.net/filmsandschedules/tiffbelllightbox/2011/201012200062594

Any thoughts/recs? I might only have time for two or three and at the moment, based on cast and plot info, I was thinking The Chase and either Mickey One or Night Moves.

Or perhaps I should ask, which is the one you would most want to see / would benefit from seeing on the big screen?

(Actually I do remember seeing Bonnie and Clyde a long time ago but that might as well be another life.)

[Winston*]

Haven't seen it in a long time but remember Little Big Man being real good, and cinema-y.

[Boner M]

Mickey One is amazing-looking and unavailable anywhere. That one.

(h/s The Chase though).

[Russ]

Definitely Mickey One, in exquisite black and white. Cinematographer Ghislain Cloquet filmed this one right before he shot Au Hasard Balthazar for Bresson.

[Qrazy]

Aight, where my Arthur Penn fans.

I'm going to be in Toronto on Wednesday and the Lightbox is hosting a retrospective during this time. I've never seen any of his work, and this is what's playing, so it's what I'm doing this week:
http://www.tiff.net/filmsandschedules/tiffbelllightbox/2011/201012200062594

Any thoughts/recs? I might only have time for two or three and at the moment, based on cast and plot info, I was thinking The Chase and either Mickey One or Night Moves.

Or perhaps I should ask, which is the one you would most want to see / would benefit from seeing on the big screen?

(Actually I do remember seeing Bonnie and Clyde a long time ago but that might as well be another life.)

Penn and Teller Get Killed is bad and The Left Handed Gun is mediocre. The rest I've seen from him has been good to very good.

[Sven]

Definitely Mickey One; it is incredible (made my top 100). Though I wouldn't miss Night Moves either. The Chase is just... bizarre. Strange, strange movie that I can't imagine passing judgment on 'til I see it again.

Penn is good people.

[Stay Puft]

Thanks, guys. I'm making Mickey One top priority. I want to see Night Moves just because I'm in love with the title, but if I can only make two I'm probably still going with The Chase.

Also have to remember to make it down to the Cumberland theatre for Certified Copy this weekend.

[soitgoes...]

As Tears Go By (Wong '88) **Between you and Derek, my desire to see this has plummeted.

[Stay Puft]

Well it's worth seeing if you're out to complete Wong's filmography. It's interesting to see some of his stylistic occupations already well at work. Some segments are wonderful, and I loved his repeated use of Take My Breath Away. But Chungking Express this obviously isn't. The story is fairly insipid and Wong doesn't seem to mine the premise for anything interesting. Even the symbolic gestures the characters offer to each other (e.g. Maggie Cheung hiding one of the bottles she buys Andy Lau) don't really add up to anything. Basically, it's a film debut! Has nothing on his later work.

[Rowland]

Quick Shots:

Pennies from Heaven: Hmm, this has proven to be a remarkably difficult film to write about, as I've tried a few times now and failed with each inadequate attempt, so I'll just direct anyone interested to Nick Pinkerton's spectacular piece (http://www.reverseshot.com/article/pennies_from_heaven) for Reverse Shot that shames whatever insight I couldn't bring to the table. If I have anything negative to say, it's that the film is almost too determinedly miserable, and maybe a bit glib in the particulars, suggesting that a longer cut would have done it some favors (and in fact did once exist). Otherwise, it's a spellbinding achievement in virtually every respect, and also happens to be the first time I've ever been really impressed by Steve Martin. Did this film's dismal critical/box office performance kill his spirit or what?

The Black Cat: Gothic Euro-horror at its most absurd, never scary but quite pleasurable nonetheless for Fulci's surprisingly elegant visual sophistication, Pino Donaggio's evocative score, Patrick Magee's perfectly hammy performance, a few nifty set pieces, and loads of sinuous Cat-Cam. Mimsy Farmer is a terribly vanilla lead however, used to much cannier effect in Argento's underseen Four Flies on Grey Velvet.

The Evil Dead: While my estimation for this has downgraded just a bit over the years, I still prefer it to the sometimes exhausting antics of the still-rad sequel. The comedic angle stood out to me more than it has in the past, as this is now quite obviously not the straight horror flick many fans suggest, it's just not a full-on slapstick farce like the sequel. The balance Raimi cultivates here is more to my taste, and while the sequel generally begins to lose steam in its second half, this one just keeps building and building on its slow-burn momentum right up to its deliriously demented climax.

[Mr. Pink]

Pennies From Heaven was the movie that made me admit I could no longer say I didn't enjoy musicals very much.

[StanleyK]

Between you and Derek, my desire to see this has plummeted.

Well I think it's very good. Chungking Express good, in fact, but I've seen both only once.

[Sven]

Pennies From Heaven was the movie that made me admit I could no longer say I didn't enjoy musicals very much.

Well, it was a dumb thing to say in the first place. :)

[megladon8]

I quite like musicals, but nothing will ever make me like My Fair Lady.

[Derek]

I quite like musicals, but nothing will ever make me like My Fair Lady.

And nothing ever should! :)

[Boner M]

Gah, so many mediocre/merely-good movies seen lately. Everytime I try to post a succession of capsule reviews of 'em my eyes just glaze over and I find more interest in staring at the wall.

The Heiress/Valhalla Rising/Will Success Spoil Rock Hunter... don't fail me.

[Qrazy]

Gah, so many mediocre/merely-good movies seen lately. Everytime I try to post a succession of capsule reviews of 'em my eyes just glaze over and I find more interest in staring at the wall.

The Heiress/Valhalla Rising/Will Success Spoil Rock Hunter... don't fail me.

The Devil and Daniel Webster damn it.

[Yxklyx]

Gah, so many mediocre/merely-good movies seen lately. Everytime I try to post a succession of capsule reviews of 'em my eyes just glaze over and I find more interest in staring at the wall.

The Heiress/Valhalla Rising/Will Success Spoil Rock Hunter... don't fail me.

Will Success Spoil Rock Hunter is one of the better films to watch when in a movie going funk and Valhalla Rising is best to watch intoxicated.

[megladon8]

New rule:


If it's not very good, it's a "flick".

If it's decent, it's a "movie".

If it's great, it's a "film".

If it's brilliant, it's cinema.

[Sycophant]

Didn't we establish that like 40 pages ago?

[megladon8]

Didn't we establish that like 40 pages ago?


But it's my new official rating system.

[DavidSeven]

I don't think it really works for European films. There's only one gradation there: from film to cinema. Films produced by Luc Besson are the only exception.

[Qrazy]

Didn't we establish that like 40 pages ago?

Meg enjoys repeating things.

[megladon8]

I don't think it really works for European films. There's only one gradation there: from film to cinema. Films produced by Luc Besson are the only exception.


*keeps mouth shut about a certain French filmmaker who makes "flicks" and lower*

[megladon8]

I enjoy repeating things.

[Spun Lepton]

I don't think it really works for European films. There's only one gradation there: from film to cinema. Films produced by Luc Besson are the only exception.

So, is City of the Living Dead "film" or "cinema"?

[DavidSeven]

So, is City of the Living Dead "film" or "cinema"?

I haven't seen it. I'm going to assume it just "doesn't exist" in the milieu of European cinema.

[Bosco B Thug]

Gah, so many mediocre/merely-good movies seen lately. Everytime I try to post a succession of capsule reviews of 'em my eyes just glaze over and I find more interest in staring at the wall.

The Heiress/Valhalla Rising/Will Success Spoil Rock Hunter... don't fail me.
Eva (Losey, 1962) **½ Aww. Please tell me this is at least one of the "merely goods."

Not that I can't accept a **1/2 rating. I remember the film having major problems. I'm more allergic to it being implicated and grouped as cinema of the "eye-glazing" variety... That can't be it. Is it?

[MadMan]

I forgot to report that Akira is amazing, and that it might inspire me to continue watching more anime. Maybe. I could write a longer review, but I wouldn't be saying anything that everyone hasn't said already, only written better.

[Spun Lepton]

I forgot to report that Akira is amazing, and that it might inspire me to continue watching more anime. Maybe. I could write a longer review, but I wouldn't be saying anything that everyone hasn't said already, only written better.

Check out Princess Mononoke.

[MadMan]

Check out Princess Mononoke.Next time I hit up my public library, I will. At least I think they have a copy.

[StanleyK]

So why is The Serpent's Egg supposed to be bad again? It may be a bit too 'american' for a half hour or so but then the Bergman factor kicks in full and we have another fascinating portrayal of stubborn people trying to fool their own emotions. It may be a minor Bergman, but that doesn't mean it's not awesome.

[Qrazy]

So why is The Serpent's Egg supposed to be bad again? It may be a bit too 'american' for a half hour or so but then the Bergman factor kicks in full and we have another fascinating portrayal of stubborn people trying to fool their own emotions. It may be a minor Bergman, but that doesn't mean it's not awesome.

Ehh it's pretty stupid and not nearly on the formal level of Bergman's best work.

[Boner M]

I'm more allergic to it being implicated and grouped as cinema of the "eye-glazing" variety... That can't be it. Is it?
Oh, definitely not. It's easily the most interesting of my recent batch of viewings, even though it ultimately doesn't add up to more than a mise-en-scene exercise for a fairly rote obsession tale (favorite shot: the back of Moreau in the foreground at the door entrance, framed within that frame as if watching a film, featuring the diminutive figures of Baker chasing his wife in the background). The unironic embrace of opulence is kinda refreshing, too: every setting is seemingly conducive to the characters' messy passions.

btw, have you seen Losey's The Big Night? One of the many films I've also got in my screener pile.

[StanleyK]

Ehh it's pretty stupid and not nearly on the formal level of Bergman's best work.

It was maybe a bit too reliant on over-the-shoulder shots and a cliched mystery plot for a while, but it gradually morphs into the examinative close-ups, anguished monologues, and emotional wringers I know and love Bergman for. Anyway I know you don't like Autumn Sonata so yous a busta.

[Watashi]

I'm currently sitting next to Derek right now about to watch Kill Bill.

Envy me, bitches.

[Qrazy]

I'm currently sitting next to Derek right now about to watch Kill Bill.

Envy me, bitches.

If it was an Aleksei German film, I would.

[Bosco B Thug]

Oh, definitely not. It's easily the most interesting of my recent batch of viewings, even though it ultimately doesn't add up to more than a mise-en-scene exercise for a fairly rote obsession tale (favorite shot: the back of Moreau in the foreground at the door entrance, framed within that frame as if watching a film, featuring the diminutive figures of Baker chasing his wife in the background). The unironic embrace of opulence is kinda refreshing, too: every setting is seemingly conducive to the characters' messy passions.

btw, have you seen Losey's The Big Night? One of the many films I've also got in my screener pile. Good, good. The bolded sounds just about right.

Nope, haven't seen The Big Night, but it's on Instant Watch on Netflix, so it can be seen as soon as the fancy strikes me.

[Spinal]

I'm currently sitting next to Derek right now about to watch Kill Bill.

Envy me, bitches.

I will definitely envy you for Part 1. Once Part 2 starts, I will envy you slightly less.

[Sven]

So why is The Serpent's Egg supposed to be bad again? It may be a bit too 'american' for a half hour or so but then the Bergman factor kicks in full and we have another fascinating portrayal of stubborn people trying to fool their own emotions. It may be a minor Bergman, but that doesn't mean it's not awesome.

Yes.

[Mr. Pink]

Well, it was a dumb thing to say in the first place. :)

Yeah, I know. I used to tell myself I didn't like westerns, either, until I started watching them.

Now I think people who write off entire genres/sub-genres either don't really like movies that much, or don't watch enough movies from whatever genres they dislike.

[Watashi]

I will definitely envy you for Part 1. Once Part 2 starts, I will envy you slightly less.
Uh, no. Both parts were equally amazing. I can no longer call it two movies now.

[soitgoes...]

Weekend:

Police, Adjective (Porumboiu)
Three (Petrovic)
The Fifth Seal (Fábri)
Then I Sentenced Them All to Death (Nicolaescu)
The Suspended Step of the Stork (Angelopoulos)
Young Aphrodites (Koundouros)

[B-side]

Weekend:

Police, Adjective (Porumboiu)
Three (Petrovic)
The Fifth Seal (Fábri)
Then I Sentenced Them All to Death (Nicolaescu)
The Suspended Step of the Stork (Angelopoulos)
Young Aphrodites (Koundouros)

Now this is an exciting lineup. Are you following in my footsteps or something and watching only Eastern European cinema?:P

[kuehnepips]

So why is The Serpent's Egg supposed to be bad again? ...

It's not bad at all. Hell, I went twice to the cinema when this came out.

[soitgoes...]

Now this is an exciting lineup. Are you following in my footsteps or something and watching only Eastern European cinema?:P
Ha! I'm trying to win your undying respect.

I tend to watch films in bulk by countries/regions. I've yet to really delve into many Eastern European cinemas/flicks(?), especially from the Balkans. I've been focusing heavily on Greece of late, and I'm working my way up into the rest of the Balkans for some more diversity. I still have a few films left on my HD from my Czech binge a week or so ago, so they may trickle into my sig over the next week too.


The Double Life of Veronique (Kieslowski, 1991) 8
In Memory of the Day Passed By (Bartas, 1990) 7.5
Good man.

[Winston*]

How many movies do you watch a year, soitgoes?

[B-side]

Ha! I'm trying to win your undying respect.

I tend to watch films in bulk by countries/regions. I've yet to really delve into many Eastern European cinemas/flicks(?), especially from the Balkans. I've been focusing heavily on Greece of late, and I'm working my way up into the rest of the Balkans for some more diversity. I still have a few films left on my HD from my Czech binge a week or so ago, so they may trickle into my sig over the next week too.

I'll definitely be keeping an eagle eye on your sig while you're doing this as I find myself enamored by Eastern Europe, with my fascination and experience increasing exponentially just this year so far. You finally got me to download O Drakos, so kudos for that. I've got a handful of Greek films on my hard drive, but I kind of made it a thing to bookmark/download at least one film from every Eastern European country, including the likes of Albania, Serbia and Montenegro, Bosnia and Herzegovina, etc. You could call it a treasure hunt of sorts. I'm eager to explore what these countries have to offer, even if they've only actually produced a few films.


Good man.

Bartas has intimidated me a bit, but I really liked the one I saw, so I think I'm ready to leap into feature territory.

[Spaceman Spiff]

On the topic of Eastern Europe, what are your top 5 (or 10) Hungarian films? I'll admit to only being familiar with Tarr and Jancso, but they're all truly great and I'd like to delve deeper.

1. The Red and the White
2. Satantango
3. The Round Up
4. Werckmeister Harmonies
5. Damnation (well okay, this is maybe not truly great but I still dug it)

[Spinal]

1. Mephisto
2. Hanussen
3. The Red and the White
4. ???
5. ???

I think that's all I got. Well, I mean, I've seen Hukkle, but didn't like it.

[Raiders]

I have seen five Bela Tarr films. I have seen five Hungarian films.

Jansco will be gotten to some day.

[Russ]

Fehérlófia is Hungarian and it's a rather stunning animated film.

[B-side]

On the topic of Eastern Europe, what are your top 5 (or 10) Hungarian films? I'll admit to only being familiar with Tarr and Jancso, but they're all truly great and I'd like to delve deeper.

1. The Red and the White
2. Satantango
3. The Round Up
4. Werckmeister Harmonies
5. Damnation (well okay, this is maybe not truly great but I still dug it)

I'm actually not huge on Jancsó, at least not quite yet. I'll be giving him another shot soon. I'm far from any sort of expert on Hungarian cinema as I've only really just recently taken a strong interest in it, and my recent interest has been interrupted by a broader interest in Eastern European cinema as a whole. Having said that, I'd say Almanac of Fall and Budapest Tales are my favorite Hungarian films at the moment. Ask me in a year and I'll have a better answer, and maybe even a list.:P

[Qrazy]

I'm actually not huge on Jancsó, at least not quite yet. I'll be giving him another shot soon. I'm far from any sort of expert on Hungarian cinema as I've only really just recently taken a strong interest in it, and my recent interest has been interrupted by a broader interest in Eastern European cinema as a whole. Having said that, I'd say Almanac of Fall and Budapest Tales are my favorite Hungarian films at the moment. Ask me in a year and I'll have a better answer, and maybe even a list.:P

Which Jancso have you seen? Cantata is up your alley. It's like Malle's The Fire Within.

[Stay Puft]

Toronto weekend!

The Butcher, the Chef and the Swordsman (tonight @ the AMC)
Mickey One (tomorrow @ the Lightbox, already have tickets)
The Chase (Sunday, as above)
Certified Copy (sometime this weekend)
I Saw the Devil (maybe if I have time, four might be all I can fit in)
Incendies (at the Varsity but apparently only VIP screenings which means $18 a ticket? Okay probably not that one then)

Every time I'm here I wonder why I don't just move here. Well specifically I want to set up a tent in the Lightbox and camp there for the rest of my life. Christopher Doyle is going to be here later this month! They're playing Chungking Express in a limited engagement! I'm going to miss it. :sad:

[MadMan]

Kill Bill Vol. 2>Vol. 1, by far.

And heh, I don't seem to watch too many movies these days.

[soitgoes...]

How many movies do you watch a year, soitgoes?
500+

More during the rainy months before hiking/camping season hits.

[soitgoes...]

I'll definitely be keeping an eagle eye on your sig while you're doing this as I find myself enamored by Eastern Europe, with my fascination and experience increasing exponentially just this year so far. You finally got me to download O Drakos, so kudos for that. I've got a handful of Greek films on my hard drive, but I kind of made it a thing to bookmark/download at least one film from every Eastern European country, including the likes of Albania, Serbia and Montenegro, Bosnia and Herzegovina, etc. You could call it a treasure hunt of sorts. I'm eager to explore what these countries have to offer, even if they've only actually produced a few films.
I'm actually surprised at the richness of some these national cinemas. I knew that Romania was solid of late, but had very little knowledge that they've been churning out lots of stuff for 50 years. Same goes with Yugoslavia and its baby countries, outside of Kusturica and Makavejev.

I'll keep tabs of what you see too. Recommendations are always welcome. :)

[Derek]

500+

Awesome. Love the Millennium Mambo av, too.

[soitgoes...]

On the topic of Eastern Europe, what are your top 5 (or 10) Hungarian films? I'll admit to only being familiar with Tarr and Jancso, but they're all truly great and I'd like to delve deeper.

1. The Red and the White
2. Satantango
3. The Round Up
4. Werckmeister Harmonies
5. Damnation (well okay, this is maybe not truly great but I still dug it)


The Red and the White (Jancsó)
My Way Home (Jancsó)
Love (Makk)
Satantango (Tarr)
Father (Szabó)


Szabó's short Variation of a Theme is also great. Of course I've probably only seen 5 other Hungarian films, and they're all by the same guys who directed the films above. That said I do feel strong enough with these five to list them as great.

[soitgoes...]

Awesome. Love the Millennium Mambo av, too.Thanks! I find it easy to see so many ever since I quit the TV.

I'm not hot on the film, but the opening scene with her walking down that walkway! Perhaps the best sequence Hou directed? Well... the opening shot of Flowers of Shanghai probably trumps it, but damn if it still isn't amazing.

[Winston*]

500+

More during the rainy months before hiking/camping season hits.

That's amazing. I will maybe make it to a tenth of that this year.

[Rowland]

I've seen worse (or better?). Slant's Ed Gonzalez claims to watch 800+ movies a year according to his Top 10s page, or at least he was at the time he made the page.

[DavidSeven]

Kill Bill: The Whole Bloody Affair (Tarantino, 2003-04) ****

How does this compare with your rating of the films separately? Also, could you tell if there was additional editing beyond putting the two pieces together? For example, did he tighten it up at all or change the chronology of the scenes?

[Derek]

How does this compare with your rating of the films separately? Also, could you tell if there was additional editing beyond putting the two pieces together? For example, did he tighten it up at all or change the chronology of the scenes?

Pretty much exactly the same ratingwise (both would get **** from me, though I slightly prefer Vol. 2). The editing of individual scenes and sequences is different, but not in a lot of places. The anime sequence was slightly longer with a few different shots, but the Pa Mei sequence was the most noticeably different. It had at least a dozen additional shots, including an extra couple minutes from before and right after Bill drops her off. It also felt tighter and had a more serious tone, which served the film better. Overall, the chronology was exactly the same, but it was broken up into 10 chapters, so I'm pretty sure there were sequences that were on their own in the original that were presented as a slightly extended chapters here. Honestly though, it's not a big enough difference to say you're missing much, but as a fan, it's definitely worth seeing.

[eternity]

2006-2009 had me watching three movies a day just about every day. Then I just kind of stopped...now it's only a movie every two days, which is still plenty but you know.

[B-side]

Which Jancso have you seen? Cantata is up your alley. It's like Malle's The Fire Within.

I've seen The Red and the White and Red Psalm, neither of which I disliked. I have a feeling I'd appreciate them more now. Grabbing Cantata right now.

[D_Davis]

Mesrine: Killer Instict

Pretty good crime biopic. I like that it doesn't get bogged down with exposition and set up. It is only concerned with the stuff that makes for great crime cinema - mainly, the crime, and the story of the main character, Mesrine. As a matter of fact, there are only a few moments in the entire film that he is not on screen. It's his story, and his movie. Looking forward to watching part 2.

[Watashi]

Pretty much exactly the same ratingwise (both would get **** from me, though I slightly prefer Vol. 2). The editing of individual scenes and sequences is different, but not in a lot of places. The anime sequence was slightly longer with a few different shots, but the Pa Mei sequence was the most noticeably different. It had at least a dozen additional shots, including an extra couple minutes from before and right after Bill drops her off. It also felt tighter and had a more serious tone, which served the film better. Overall, the chronology was exactly the same, but it was broken up into 10 chapters, so I'm pretty sure there were sequences that were on their own in the original that were presented as a slightly extended chapters here. Honestly though, it's not a big enough difference to say you're missing much, but as a fan, it's definitely worth seeing.
Yep.

Also...

The reveal of the daughter towards the end of Volume 1 is cut out so you don't know she's alive until Beatrix finds out. It works much better as a devestating punch in the gut

I don't know why Uma doesn't get more acclaim for her performance. She's on the same level as Naomi Watts in Mulholland Dr. for best female perfomances of the last decade.

[D_Davis]

Is the Michael Jai White fight edited back in?

[Watashi]

Is the Michael Jai White fight edited back in?
No.

[D_Davis]

No.

Really? That's a major bummer.

I wonder why it's still not a full cut?

[D_Davis]

The House of Blue Leaves is in color thought, right?

[Qrazy]

Is the Michael Jai White fight edited back in?

I like a couple shots in that scene but the scene as a whole didn't work. It was right to be cut.

[soitgoes...]

That's amazing. I will maybe make it to a tenth of that this year.I've been working hard to amaze you Winston*.

I guess I'm on pace for 600 this year (150 through the first 3 months), but as I said, when the sun pops out my rate will drop. Also being out of country for a month will put a sizable gap in my viewing. I don't remember a time where I went that long without seeing a film.

[Kiusagi]

The House of Blue Leaves is in color thought, right?

Yup, and it's also slightly longer.

[Henry Gale]

Yep.

Also...

The reveal of the daughter towards the end of Volume 1 is cut out so you don't know she's alive until Beatrix finds out. It works much better as a devestating punch in the gut

I don't know why Uma doesn't get more acclaim for her performance. She's on the same level as Naomi Watts in Mulholland Dr. for best female perfomances of the last decade.

Nice. The spoilered bit is how I would have hoped it to play out once edited back. Only other things I'm assuming could be altered drastically is The Bride's opening soliloquy to the audience at the beginning of Vol. 2, seeing as how it references the trailers to Vol. 1 and whatnot. Otherwise, I was lucky enough to get the Japanese DVD of Vol. 1 years ago, so when it comes to the first half, I can agree the extended anime portions and House of Blue Leaves battle (in addition to it being in colour) are very cool.


I don't know why Uma doesn't get more acclaim for her performance. She's on the same level as Naomi Watts in Mulholland Dr. for best female perfomances of the last decade.

This was the one thing I also couldn't help but take away the most from watching both halves back to back for the first time since Vol. 2's opening weekend. Having taken much of it for granted around the time it came out, it wasn't until now did I really see how much of a varied, emotional, intimidating in a suave but undeniably strong way, and ultimately genuine performance it is, especially in the context of story that likes to amp up things above the ceiling of realism so often otherwise. Also, I forgot how amazing David Carradine is in it (and not just in a "suddenly thinking of something as great work because they've recently died"-sort of way). He's just so magnetic, especially when he carries those long monologues towards the end (the Superman / Clark Kent one being the most wordy but amazingly carried of them) and how he, just like Thurman, makes his character so cryptically amiable in a way that grounds him any time he's on screen, despite what conflicting ideas we should have about him otherwise.

I'm really looking forward to seeing The Whole Bloody Affair, since I realized with that recent view how potentially endlessly watchable Kill Bill is as a film (plural or not), and how I wouldn't mind owning or seeing one more version of it, especially if it's the most definitive one.

[Sycophant]

I was under the impression that Tarantino was having Production I.G. put together a brand new extension of the anime sequence for the combined cut. Is this the same one that was in the original Japanese cut?

Hoping this makes it onto Blu-Ray before too long. Really looking forward to revisiting these films (which I could do now, but with the end of the wait in sight, I'm thinking I'll hold off for now). I drink my coffee out of a Kill Bill mug every morning.

[Winston*]

I expected Centurion to be more fun than it is. Doomsday was more fun.

Neil Marshall loves his Lord of the Rings shots.

[kuehnepips]

... Same goes with Yugoslavia and its baby countries ... Recommendations are always welcome.

May I recommend Petrovic's Skupljaci perja from 1967, my second all-time-fav.? Might be called I Even Met Happy Gypsies outside the "baby countries"

[B-side]

May I recommend Petrovic's Skupljaci perja from 1967, my second all-time-fav.? Might be called I Even Met Happy Gypsies outside the "baby countries"

Bookmarked. Looks good. Thanks for the rec, though I'm not soitgoes. At least not yet.

[Qrazy]

May I recommend Petrovic's Skupljaci perja from 1967, my second all-time-fav.? Might be called I Even Met Happy Gypsies outside the "baby countries"

Gypsy fetishist!

[soitgoes...]

May I recommend Petrovic's Skupljaci perja from 1967, my second all-time-fav.? Might be called I Even Met Happy Gypsies outside the "baby countries"
I actually almost went with that one instead of Three, so yes you may recommend.

[soitgoes...]

Bookmarked. Looks good. Thanks for the rec, though I'm not soitgoes. At least not yet.It's my recommendation jerk! Get your own!

;)

[soitgoes...]

May I recommend Petrovic's Skupljaci perja from 1967,Well Petrovic is off to a good start. I Even Met Happy Gypsies will have to wait for tomorrow or the next day, but I am excited.

[Derek]

Yep.

Also...

The reveal of the daughter towards the end of Volume 1 is cut out so you don't know she's alive until Beatrix finds out. It works much better as a devestating punch in the gut

I don't know why Uma doesn't get more acclaim for her performance. She's on the same level as Naomi Watts in Mulholland Dr. for best female perfomances of the last decade.

Oh, and the pre-wedding scene was a few minutes longer too, adding a few amusing exchanges between the pastor and his wife. Was Sam Jackson in the original cut or was that new as well?

Totally agree about Uma's performance. Incredible physical presence and she nails the comedic and dramatic parts equally well.

[Eleven]

Time Out New York's list of 50 most romantic films (http://newyork.timeout.com/arts-culture/film/1112463/the-50-most-romantic-movies-of-all-time?page=0,1), from Keith Uhlich, David Fear, Joshua Rothkopf. Interesting choices, but the biggest WTF for me was Videodrome over The Fly as the Cronenberg choice.

[MadMan]

Derek yeah I'm pretty sure that Sam Jackson was in the original cut, as he sits there and lists off numerous bands he's played with over the years while sitting at his piano.

I can't wait to see The Whole Bloody Affair, as I love the Kill Bills. I've held off buying them separate just because it would be wrong to do so-they're supposed to be together. Although for the time being I rate them apart.

20 minutes in, I wasn't sure what to think of The Conformist. In fact, I was about ready to quit, but I pressed on and the movie rewarded me with its amazing use of color, gripping and tragic story, and the stunning shots and set pieces. The costume designs are perfect, and at times Bertolucci alternates between drama and suspense, with some of his characters appearing either from a dream or film noir. Plus that ending is a complete kick to the gut-I love the final shot. I was reminded somewhat of Le Samourai, but also many scenes had me thinking that perhaps this film partly inspired Once Upon a Time in America, or at the very least both films are shot in the same way. Great movie regardless, and it was my first Bertolucci; I think I'll check out Last Tango in Paris, next.

[elixir]

So, High School (Frederick Wiseman, 1968) was quite the film. I think it works so well because it takes these vignettes and shows their developments so succinctly, perfectly moving from story to story with its precise editing--it never feels like any scene is cut off, and none goes on past its necessary point. It finds the compelling in the mundane, the fascinating in the ordinary, and at once I find the material so familiar--considering how I only somewhat recently graduated from HS myself--because so much hasn't changed, and yet I felt I was also seeing it all through new eyes. What I found most interesting were its explorations of the gap between generations (parents and kids, students and teachers) and how the administration and the teachers treated the students. Also, I loved how the camera seemed to capture these small and nearly imperceptive movements and moments than inform the audience (a mother tapping her fingers, a boy touching the girl's leg next to him, and so on). Also, great final scene.

[elixir]

Also, I watched Lola Montes, which I found frequently dazzling in its use of color and its mobile camera, but I thought the lead performance and general plot really dragged down the story. Thought I was going to like it a lot more as the opening scene came on, but it just got worse and worse.

[soitgoes...]

Also, I watched Lola Montes, which I found frequently dazzling in its use of color and its mobile camera, but I thought the lead performance and general plot really dragged down the story. Thought I was going to like it a lot more as the opening scene came on, but it just got worse and worse.Yeah, I'm not the biggest fan of it either. Don't let it stop you from exploring Ophüls further if you haven't. The three French films he made directly prior to Lola Montès are all better, as are his four American films too.

[Spinal]

Anyone else seen the White Stripes doc? Holy heck, what an ending.

Without really trying to do so, it's indirectly a fascinating look at a relationship that's filled with mystery, mutual respect and love. It captures the band on a tour of Canada as they play unusual venues in an attempt to stay fresh in the face of worldwide fame. They play on a boat, in a bowling alley, at a meeting of Inuit elders, at rec centers, daycares, etc.

The film is mostly a celebration of the band at 10 years old and a document of some amazing music. But the potent subtext is always what remains unspoken between the extraordinarily talented frontman with the sunny personality and the drummer who must certainly rank amongst the most introverted rock stars of all time. When Jack talks about intentionally creating tension while creating music in order to keep things exciting and alive, we can't help but think that the tension between the two band members -- not anger, but rather something that suggests deep love -- is itself a big part about what has made this band so captivating for so long.

[Kurosawa Fan]

I watched Mystery Team yesterday. That... wasn't very good. A couple really big laughs, but not nearly enough for the 90 minute running time. Soooo much of what they did was groan-inducing rather than funny. Donald Glover is obviously the strength of that group, whereas if I never saw Dominic Dierkes again it would be too soon. I didn't really have any expectations for the film, in fact I just watched it on a whim after noticing it on Netflix, but it was still pretty disappointing.

[Lucky]

Time Out New York's list of 50 most romantic films (http://newyork.timeout.com/arts-culture/film/1112463/the-50-most-romantic-movies-of-all-time?page=0,1)

Three of the movies in that top ten list are also in my top ten. Who knew I was a hopeless romantic...

[eternity]

I watched Mystery Team yesterday. That... wasn't very good. A couple really big laughs, but not nearly enough for the 90 minute running time. Soooo much of what they did was groan-inducing rather than funny. Donald Glover is obviously the strength of that group, whereas if I never saw Dominic Dierkes again it would be too soon. I didn't really have any expectations for the film, in fact I just watched it on a whim after noticing it on Netflix, but it was still pretty disappointing."It's okay because you don't know that you're wrong."

http://bulk.destructoid.com/ul/198295-MysteryTeam1_lg.jpg

[Dead & Messed Up]

I watched Mystery Team yesterday. That... wasn't very good. A couple really big laughs, but not nearly enough for the 90 minute running time. Soooo much of what they did was groan-inducing rather than funny. Donald Glover is obviously the strength of that group, whereas if I never saw Dominic Dierkes again it would be too soon. I didn't really have any expectations for the film, in fact I just watched it on a whim after noticing it on Netflix, but it was still pretty disappointing.

I found it depressing. I'm a fan of Derrick Comedy. I think they can be clever. But the movie crutches too much on vulgar comedy, and, as you say, its pleasures are few and far between. Dominic Dierkes has some funny skits with Derrick, but I felt he was misused in the film.

[Morris Schæffer]

I can't remember the last time I had tears during a movie and I certainly hadn't expected to cry tonight, but

Hachiko, A Dog's Tale

Did the trick!

[transmogrifier]

Confession time: I'm really not all that interested in avant-garde cinema. Most of it (that I have seen) bores me to tears.

Give me a mix of the five main aspects of film:
1. story/plot
2. characterisation
3. atmosphere/tone
4. extra-narrative themes/allusions, and
5. mise-en-scene (which is really just a method used in achieving the previous four).
and I'm a happy camper. But take away those first two, and I find it almost impossible to give a shit about a film. Nothing sticks.

[Spinal]

I kinda wanna see the Arthur remake.

[Pop Trash]

Thoughts on How Do You Know, Raiders? If you have any...pretty blah film eh?

[MadMan]

I kinda wanna see the Arthur remake.So do I. Its the strong Russell Brand factor-the guy is funny and semi-likable.

Today I viewed Timecop (1994), and I noted how its a solid, well made action/sci-fi thriller with some good action sequences. Its endlessly entertaining, and Jean Claude of course makes up for his lack of acting ability with tons of charisma, and Ron Silver seemed to play slimy bad guys really well back in the 90s. I keep hearing some really awesome things about other 90s Van Damme action movies, and the only other one of his I've seen all of is Universal Soldier, so I may check most of them out. At least he's not making really shitty direct to video movies like Seagal is these days.

[KK2.0]

Finally watched Black Dynamite (2009), had a blast. It's probably one of my favorite parody flicks now, and it's been a long time since i've watched a decent one.

[Rowland]

Today I viewed Timecop (1994), and I noted how its a solid, well made action/sci-fi thriller with some good action sequences. Its endlessly entertaining, and Jean Claude of course makes up for his lack of acting ability with tons of charisma, and Ron Silver seemed to play slimy bad guys really well back in the 90s. I keep hearing some really awesome things about other 90s Van Damme action movies, and the only other one of his I've seen all of is Universal Soldier, so I may check most of them out. At least he's not making really shitty direct to video movies like Seagal is these days.I'm not a fan of either Timecop or his other Peter Hyams movie, Sudden Death, which are two of his most highly esteemed oddly enough. I'd rather watch his work with Woo, Ringo Lam, and Tsui Hark. Also, Van Damme is doing lots of DTV work these days, but it's generally of a higher quality than the Seagal crap. Universal Soldier: Regeneration is straight-up badass.

[Boner M]

Just watched The Heiress, bringing up Derek's great review from a few weeks back...

Yet, it's not even the surprising displacement of emotional struggles from the typical recipient (the horribly dull and naive heiress herself) to the character who would traditionally function as a callous, overbearing tyrant, who cares more about his money and status being taken advantage than his daughter's happiness, that is even the film's most impressive trait.
Funny how differently we see this. I thought that de Havilland was likeable and attractive because of her naivety, and her performance similarly suggests a rich inner life that would've attracted Morris. But putting aside my own personal tastes, I also thought that her father was quite unambiguously painted as the villain despite his justifiable worries about Morris' duplicity. If the film was intent on sublimating the emotional struggles in the father's direction, surely his verbal abuse of her in the early stages would've been toned down. I also think that Morris comes across as essentially decent and sincere in his love for her, whether or not he was marrying her for the money. At least the way Clift plays it, his character's swooniness seems earnest.

That said, I definitely agree that there's plenty of moral grey area, and it's a forceful critique of a society where the omnipresence of money makes judgement of character almost impossible. I thought the brilliant irony of the final scene was that de Havilland was essentially the one shutting herself out through cynicism, and that what she was inheriting was also her father's worst traits.

[B-side]

So, Rekhviashvili's The Step is easily the most bizarre film I've seen in quite some time. With a synopsis like this:


Alexi leaves the house of his father and stepmother and rents an apartment. He wants to be independent and find his place in the world. But no basic changes ensue – he has the same friends, with the same trivial conversations and the same inactivity. Only the death of his favorite teacher, to whom the young man felt very close, really changes his habitual way of life. Alexi makes a decision: he refuses a place at a research institute and leaves for a teaching job at a village school, the same school his mentor used to work at.

I hardly expected what I ended up getting. Right away this film feels alien; the dilapidated apartment buildings 99% of the film takes place in are oddly decorated and situated, with the occasional bit of wallpaper being made entirely of newspaper, and plants threatening to take over the entirety of Alexi, the protagonist's, new home. The first time we leave Alexi's new home, we arrive at the nearly identical-looking home of friends of his, but what made me raise an eyebrow and first realize I was in for something truly strange was when he up and wrote in marker his new address on their white wall as casual as can be before leaving without a reaction from his friends. It slowly gets more surreal from then on out. A young girl randomly pops in to water the plants here and there, and not even Alexi knows who she is exactly. A professor repeats the same dialogue to him every time he sees him. A donkey is dropped off inside Alexi's home for a temporary stay after the landlord gave her permission, and nobody seems to mind or be bothered with it as it eats off the table and wanders aimlessly. His parents are only ever shown arguing, and always at the same opposite sides of the dinner table, standing in the same doorways. People are always walking in and out of the house, most of them seeking Alexi who is never home when anyone wants him to be there. His roommate discovers that mushrooms have randomly started growing in the basement. When Alexi catches a cold in hot weather (which obviously isn't strange at all if you think of it logically), his friends insist he will get better if he's really warm, so they cover him in several blankets and coats as he sleeps, cook him August fish because some ancient myth says they cure everything and move his bed from his bedroom into the living room and rotate it after a while to help him recover.

When Alexi decides to move to the mountains after his favorite teacher dies, the girl who waters the plants is clearly devastated despite them having spoken very little at most, or perhaps not at all, and expressing little to no interest in him prior. The only outdoor photography is left for the final few minutes of the film, and it's pretty cathartic, obviously in conjunction with Alexi's decision to move and begin a life of his own. None of the aforementioned absurdity is played comically. The entire film, save for the last few seconds, is sans a single note of musical score. The camera is always moving, albeit very slowly; tracking, panning or zooming in an almost Tarkovsky-esque fashion. I'm still confused, but I'm convinced the film's kinda brilliant regardless.

[Qrazy]

Cantata (Jancsó, 1963) 6.5

What happened?

[Raiders]

Thoughts on How Do You Know, Raiders? If you have any...pretty blah film eh?

Yeah, pretty much. Brooks' seems to occasionally have an interest in the characters beyond the petty romantic/comedy angles, but it all hits without much authority. The pacing is also rather horrid as the film just kind of coasts along for the most part. Some good sequences, and I liked Rudd, but yeah, instantly forgettable.

[soitgoes...]

What happened?I would've recommended The Way Home personally, but I haven't seen Cantana yet. Isn't it his most straightforward work? Maybe Brightside needs something the other direction in Jancsó's career. Then again, he wasn't hot on The Red and the White so all might be lost.

[Kurosawa Fan]

Well, that's two disappointing movies in a row. Get Him to the Greek was all kinds of mediocre. Very few laughs, pretty much all coming from Diddy (though the entire Jeffrey sequence was the highlight of the film), and a dramatic story line that is totally undeserved and impotent.

[MadMan]

I'm not a fan of either Timecop or his other Peter Hyams movie, Sudden Death, which are two of his most highly esteemed oddly enough. I'd rather watch his work with Woo, Ringo Lam, and Tsui Hark. Also, Van Damme is doing lots of DTV work these days, but it's generally of a higher quality than the Seagal crap. Universal Soldier: Regeneration is straight-up badass.Ah yes, Sudden Death. Heh. I haven't viewed that one. I think I've seen some of Hard Target on TV, which I believe is the one directed by Woo. I know that Van Damme is doing plenty of DTV, but I saw a preview for Universal Solider: Regeneration and it did actually look entertaining. I'm guessing the Hark movie is the one he did with the explosives hidden in jeans, but I can't recall its title.

PS: It appears that Hyams also directed the rather enjoyable and underrated buddy cop movie Running Scared with Hines and Crystal, and 2010, which was a decent enough adaption of a good Arthur C. Clarke book. His filmography has enough interesting looking movies for me to want to see more from him.

[Mr. Pink]

PS: It appears that Hyams also directed the rather enjoyable and underrated buddy cop movie Running Scared with Hines and Crystal

U-xetxYwyak

This is my summer anthem.

[Stay Puft]

Well between Mickey One and The Chase it seems Arthur Penn knows how to put together an amazing opening title sequence. Those are two of the best openings I've seen in quite some time.

He seems pretty good at all the other stuff that comes afterwards, too.

[B-side]

I would've recommended The Way Home personally, but I haven't seen Cantana yet. Isn't it his most straightforward work? Maybe Brightside needs something the other direction in Jancsó's career. Then again, he wasn't hot on The Red and the White so all might be lost.

I don't know what it is, really. I liked it, but it just never became incredibly compelling for whatever reason. I'm not ready to give up. I've had Private Vices, Public Pleasures on my hard drive for quite a while. And some of his others definitely interest me.

[soitgoes...]

I don't know what it is, really. I liked it, but it just never became incredibly compelling for whatever reason. I'm not ready to give up. I've had Private Vices, Public Pleasures on my hard drive for quite a while. And some of his others definitely interest me.Well Red Psalm kinda scared me from digging deeper. Actually after that one, I hadn't seen another film of his for a couple years. I'll probably watch something else from around the Red Psalm-era here in the next week or so though.

[B-side]

My first Marilyn Monroe film was a disappointment. Not only was she nothing special in it, the film wasn't very good either. There's some charm in the sexual innuendo and word play, but it's otherwise somewhat vacuous, and if I were one to worry much about the ethics of a film, I'd likely be inclined to disregard it nearly completely.

[Ezee E]

My first Marilyn Monroe film was a disappointment. Not only was she nothing special in it, the film wasn't very good either. There's some charm in the sexual innuendo and word play, but it's otherwise somewhat vacuous, and if I were one to worry much about the ethics of a film, I'd likely be inclined to disregard it nearly completely.
She's in a lot of bad movies.

[B-side]

She's in a lot of bad movies.

Looking at her IMDb page, she didn't star in much that's of any real interest to me.

[Mara]

Marilyn isn't a broadly talented actress, and certainly not much of a singer. She was, however, a very good photographic model, and had a fascinating public persona and a sad personal life.

Her best acting is in The Misfits.

The best film that she is in is Some Like it Hot.

[Mara]

Looking at her IMDb page, she didn't star in much that's of any real interest to me.

You can't not see Some Like it Hot.

[dreamdead]

Never Let Me Go is artfully composed, but it's so composed that it becomes lifeless and inert--I've liked Ishiguro's When We Were Orphans, so I know his wandering prose style; here, though, there aren't enough incidentals to move the story out of a three-act movement and into the feeling of breathed-in life. The film is decidedly painterly and several shots would make for great posters, but there is little wonder here.

[B-side]

You can't not see Some Like it Hot.

Eh, I've only seen two Billy Wilder films, but neither of them made me think he needed to be a priority. I enjoyed them, but they're also somewhat easily forgotten.

[Eleven]

My first Marilyn Monroe film was a disappointment. Not only was she nothing special in it, the film wasn't very good either. There's some charm in the sexual innuendo and word play, but it's otherwise somewhat vacuous, and if I were one to worry much about the ethics of a film, I'd likely be inclined to disregard it nearly completely.

Aw man, its ethical dubiousness is one of the best things about it!

To wit, Rosenbaum: "The movie’s innate capacity to suggest readability and unreadability, feminism and sexism, optimism and pessimism, beauty and grotesquerie at one and the same time makes it the ideal capitalist product, malleable to every consumer need: a distillation of Hollywood which is also a parody of same, a calculated/innocent excess of effect which rewards characters and spectators equally so that everybody gets what they think they want."

[B-side]

Aw man, its ethical dubiousness is one of the best things about it!

To wit, Rosenbaum: "The movie’s innate capacity to suggest readability and unreadability, feminism and sexism, optimism and pessimism, beauty and grotesquerie at one and the same time makes it the ideal capitalist product, malleable to every consumer need: a distillation of Hollywood which is also a parody of same, a calculated/innocent excess of effect which rewards characters and spectators equally so that everybody gets what they think they want."

That does make sense. Now you're gonna make me rethink my opinion. Geez, Eleven. I thought I was gonna get out of this one without having to put any extra effort into it.

[Eleven]

That does make sense. Now you're gonna make me rethink my opinion. Geez, Eleven. I thought I was gonna get out of this one without having to put any extra effort into it.

Heh. You're the one with a steady diet of European art films, then you complain about having to put effort into what it generally considered Hollywood fluff. :P

But to be fair, lots of very perceptive writers on Hollywood in general and Hawks in particular are lukewarm or put off by Blondes. Especially since Hollywood's whole raison d'être is to cater to what people "think they want," it's hard to differentiate between a crass celebration of and a sly satirizing of that impulse. But several of the iconic musical numbers ("Diamonds are a Girl's Best Friend" and "Ain't Anyone Here for Love?") are so unabashedly celebratory and excessive, the leads parodying themselves, each other, and every man in the film's desire for same, so that I have to think everyone knew what they were doing.

Also, Fassbinder was a huge fan of it, natch. And here's a link (http://www.jonathanrosenbaum.com/?p=23544) to Rosenbaum's piece from Sight and Sound in 84/85.

[Mara]

I consider Gentlemen Prefer Blondes to be a goofy, guilty pleasure.

[B-side]

Heh. You're the one with a steady diet of European art films, then you complain about having to put effort into what it generally considered Hollywood fluff. :P

But to be fair, lots of very perceptive writers on Hollywood in general and Hawks in particular are lukewarm or put off by Blondes. Especially since Hollywood's whole raison d'être is to cater to what people "think they want," it's hard to differentiate between a crass celebration of and a sly satirizing of that impulse. But several of the iconic musical numbers ("Diamonds are a Girl's Best Friend" and "Ain't Anyone Here for Love?") are so unabashedly celebratory and excessive, the leads parodying themselves, each other, and every man in the film's desire for same, so that I have to think everyone knew what they were doing.

Also, Fassbinder was a huge fan of it, natch. And here's a link (http://www.jonathanrosenbaum.com/?p=23544) to Rosenbaum's piece from Sight and Sound in 84/85.

I actually prioritized it because Fassbinder was such a big fan. I can see some parody immediately in Dorothy's impersonation of Lorelei in the court room, and I can see how Lorelei's general persona and the musical numbers in reference to that could be construed as broadly satirical of materialism and perhaps Hollywood in general, but I don't know that I ever really got the sense that Hawks was skewering stereotypes. Maybe I just got caught up in a narrow-minded viewpoint after Dorothy had been established as the moral center. From then on I just kinda took it on a largely surface level, with Lorelei being the "dumb blonde" who's obsessed with money, and Dorothy being the clever, more well-rounded and reasonable of the two. The narrative and its themes then being summed up as such: Lorelei's brand of manipulation is not good, but her speech about seeking financial security toward the end is supposed to redeem her a bit. Dorothy is devoted to Lorelei for whatever reason, and she takes a nonchalantly disapproving stance on her behavior. The men are empty-headed ATMs, except for Malone.

The Dorothy-centered musical piece "Ain't Anyone Here for Love?" is meant to further espouse her character's less superficial aims, and the Lorelei-centered "Diamonds are a Girl's Best Friend" is meant to espouse her more superficial aims. This doesn't account for the joint musical numbers in which Lorelei takes a more middle-of-the-road approach, though. I didn't see much in the way of commentary being made when Dorothy says she isn't worth much if she can't manipulate Malone properly because the rest of her arc didn't really follow any sort of trend that would've made such a statement come off as satirical or self-deprecating. I mean, she didn't say it in a manner that made me think that. It's entirely possible I missed the mark on this one by a mile. Like I said, I'm typically not one for moral outrage against a film, so my complaints here are more about analyzing thematic content rather than bemoaning the lack of agreeable feminism, though the latter certainly doesn't hurt.:P

[Boner M]

Dial M For Murder - Blandly entertaining; more like an extended episode of Alfred Hitchcock Presents than anything else. Faded colors on the print I saw may've detracted.


Les Biches (Chabrol, 1968) ****One of the more surprising ratings I've seen from you. Wasn't wowed by this one nor have I heard any great claims for it, and it pales compared to his amazing streak of four films in 1969-70 (Le Boucher, La Femme Infidele, Que la bête meure and La Rupture). Thoughts?

[Ezee E]

Eh, I've only seen two Billy Wilder films, but neither of them made me think he needed to be a priority. I enjoyed them, but they're also somewhat easily forgotten.
Some Like It Hot is pretty good though. A comedy from that far ago, that still remains funny says something to me, even if it doesn't have a technical form to it that you may be looking for.

There's one other Monroe picture that I liked a lot........ Netflix reminds me that it was The Seven-Year Itch, which was alright. I remember thinking Monroe was the best part about the whole thing.

And I've seen The Asphalt Jungle, but I really don't remember her in it. Oops.

[MadMan]

Boner "D M For Murder" is indeed a bland, mediocre movie. Too bad considering it has James Mason and Grace Kelly in it.

[Raiders]

Boner "D M For Murder" is indeed a bland, mediocre movie. Too bad considering it has James Mason and Grace Kelly in it.

Guessing you mean Ray Milland, not James Mason. Equally great actor, though.

[transmogrifier]

Eh, I've only seen two Billy Wilder films, but neither of them made me think he needed to be a priority. I enjoyed them, but they're also somewhat easily forgotten.

This opinion is silly.

[Ezee E]

I've started to like Dial M For Murder more over time. I had the same initial thoughts, but have watched it two more times since, and liked it more each time.

[elixir]

Eh, I've only seen two Billy Wilder films, but neither of them made me think he needed to be a priority. I enjoyed them, but they're also somewhat easily forgotten.

Which two? You better not be calling Sunset Blvd. easily forgotten!

I also didn't like Gentlemen Prefer Blondes...and lots of my problems don't even stem from the morality or anything, I just wasn't impressed by any of the songs or anything really.

[MadMan]

Guessing you mean Ray Milland, not James Mason. Equally great actor, though.My mistake. And yes, I agree that both are really talented actors. Which reminds me I still haven't gotten around to finishing Bigger Than Life.

Ezee maybe I'll give Dial M For Murder another chance. My biggest issue is that the whole scene with the scissors and Kelly being attacked just comes off as silly, not suspenseful.