28 Film Discussion Threads Later

[Qrazy]

Chinatown is such a fucking amazing movie.

Yeah, it's always a great feeling after watching a series of mediocre and semi-decent films to watch or re-watch a truly great one and remember what film is capable of accomplishing.

[StanleyK]

Randy Newman's work for both Toy Story movies (I haven't seen the 3rd, mind you) is quite brilliant.

Fool, you trippin'? Stay Puft is quite right: the score, but most of all those stupid songs, severely diminishes the film's emotional impact by spelling out how sad or happy you're supposed to be feeling at any given moment. Pixar just didn't yet trust their audience to invest themselves in a talking toy movie, so they played it safe by going with the obvious, hand-holding, intelligence-insulting route. Shame, because it really is a pretty good movie otherwise.

[StanleyK]

Yeah, by far the best Cinema Novo film I've seen.

Are there any notable ones outside of Black God White Devil that are worth seeing?

[MadMan]

Fool, you trippin'? Stay Puft is quite right: the score, but most of all those stupid songs, severely diminishes the film's emotional impact by spelling out how sad or happy you're supposed to be feeling at any given moment. Pixar just didn't yet trust their audience to invest themselves in a talking toy movie, so they played it safe by going with the obvious, hand-holding, intelligence-insulting route. Shame, because it really is a pretty good movie otherwise.:|

Nah, I'm not trippin'. I just acknoweldge that Newman's songs are awesome, and actually add more to those movies. Jessie's Song is an emotionally powerful, tragic tale of abandonment, which gives those flashback scenes more meaning. :rolleyes: to the idea that just because Pixar has songs in these movies, it means they don't trust their audience.

And um, we're forgetting that the early Pixar movies were really just kids movies. Of course they're going to have songs in them. Duh.

[soitgoes...]

Are there any notable ones outside of Black God White Devil that are worth seeing?Notable? I suppose there are, but the movement as a whole is very disappointing for me thus far. I haven't dug too deep, but that's because the initial, "big-name" films didn't impress much. Vidas Secas is okay. The high contrast is the best part accentuating the barren land.

[StanleyK]

:|

Nah, I'm not trippin'. I just acknoweldge that Newman's songs are awesome, and actually add more to those movies. Jessie's Song is an emotionally powerful, tragic tale of abandonment, which gives those flashback scenes more meaning. :rolleyes: to the idea that just because Pixar has songs in these movies, it means they don't trust their audience.

How are they awesome and what more do they add to the movies? I feel like Jessie's flashback would have been significantly improved without the maudlin song, which does nothing but provide an unnecessary narration to images that could carry a story by themselves (you know, like the opening of Up). Actually, the whole flashback could've been scrapped and the movie wouldn't be losing anything.


And um, we're forgetting that the early Pixar movies were really just kids movies. Of course they're going to have songs in them. Duh.

It may be a convention that 90's kid movies had to have songs, but it's one I dislike, as I do feel that most of the time the reason for it is to dispense exposition and character motivation as plainly and obviously as possible.

[megladon8]

I still don't find Chinatown that great.

[Raiders]

"I Will Go Sailing No More" is a great, great song. The rest... eh. They do fit well with the films though.

Not too sure I understand the "they tell you to be sad or happy" criticism. This is in general what film music/scores do. They fit with the scene. Scary moment? Cue creepy music. Happy moment? Cue upbeat music. Just the way it is.

The issue with Newman's music is I cannot stand its "folksy charm." It's the musical equivalent to Stuff White People Like. There's no real soul to any of it.

[Stay Puft]

Toy Story 2 was awesome. I felt like I was watching Summer Hours rendered as a Saturday morning cartoon.


I feel like Jessie's flashback would have been significantly improved without the maudlin song, which does nothing but provide an unnecessary narration to images that could carry a story by themselves

But this was my exact reaction to that scene. Everything had been going swell without any Randy Newman songs, and then, oh well... but at least he wasn't singing so I guess it was an improvement.

[megladon8]

I'm just not very taken with the Toy Story movies.

I think they're bottom-tier Pixar.

[balmakboor]

LOL I just realized I clicked on the wrong thread when I dropped in to post this a few days ago:

I paid tribute to Lumet today by watching Running on Empty for the first time in quite a few years. Loved it more than ever. The scenes between Phoenix and Plimpton are so touching. I don't know which tears came from which, their scenes together, the loss of Lumet, or the loss of Phoenix.

Now, I understand the "Is it a horror film?" comment.

Anyway, believe it or not I'll be watching The Wiz in a day or two along with my first ever viewing of Murder on the Orient Express.

[balmakboor]

I'm just not very taken with the Toy Story movies.

I think they're bottom-tier Pixar.

I think they're top-tier Pixar in terms of storytelling.

[Watashi]

Toy Story 2 was awesome. I felt like I was watching Summer Hours rendered as a Saturday morning cartoon.



But this was my exact reaction to that scene. Everything had been going swell without any Randy Newman songs, and then, oh well... but at least he wasn't singing so I guess it was an improvement.

I want to rep you but you diss the best scene in the movie. I'm conflicted.

[StanleyK]

the best scene in the movie.

I don't get this. After Jessie says she has been abandoned, and we get Woody's sad reaction shot (I don't remember, but I'm guessing sad music plays over it, to make sure I get sad), the film should've left it at that. I could infer a scenario similar to the one they show and I would retain the sympathy that this simple exchange mustered for her character. The flashback is useless, cloying and manipulative, and it goes on forever.

[Stay Puft]

I want to rep you but you diss the best scene in the movie. I'm conflicted.

I think it's a very good scene minus the song, for reasons StanleyK has been pointing out. The lyrics in particular were just distracting.

But I wouldn't say that the flashback scene itself is useless, as he just argued, since the thing it communicates to me is not simply the emotional journey of Jessie's abandoment but, ala Summer Hours, a story about the different material objects that surround Emily and their changing value.

[Watashi]

I think it's a very good scene minus the song, for reasons StanleyK has been pointing out. The lyrics in particular were just distracting.

But I wouldn't say that the flashback scene itself is useless, as he just argued, since the thing it communicates to me is not simply the emotional journey of Jessie's abandoment but, ala Summer Hours, a story about the different material objects that surround Emily and their changing value.
I'll still rep you anyway because I love you.

[B-side]

I think they've top-tier Pixar in terms of storytelling.

Nice to see you back.

[Boner M]

Haven't seen TS2 since its release, but I distinctly remember my 14-year-old self and others getting restless and using 'gay' as a pejorative to describe that montage amongst ourselves, so I guess it did something right.

[Watashi]

I bet you said "pejorative" a lot when you were 14 too.

[Derek]

I bet you said "pejorative" a lot when you were 14 too.

But he stopped after his friends told him it sounded gay.

[balmakboor]

Just watched Network again. Fucking gets better every time I see it and every year I grow older.

Between this and Bonnie and Clyde and Chinatown, Faye Dunaway was like the greatest actress I can think of. I wish she could've kept it going.

[DavidSeven]

Haven't seen TS2 since its release, but I distinctly remember my 14-year-old self and others getting restless and using 'gay' as a pejorative to describe that montage amongst ourselves, so I guess it did something right.


I bet you said "pejorative" a lot when you were 14 too.


But he stopped after his friends told him it sounded gay.

You have done some fine work tonight, Match-Cut.

[Boner M]

Looks like Match-cut: The Movie needs revising.

[B-side]

Nice to see you back.

Just to clarify, this was in no way meant as indirect support of balmakboor's claim. As I'm currently "that guy who watches a lot of Georgian cinema," I can't very well be seen as supportive of anything that's received a theatrical release beyond that of one in a scattered handful of arthouse theaters in greater metropolitan areas.

[Qrazy]

Just to clarify, this was in no way meant as indirect support of balmakboor's claim. As I'm currently "that guy who watches a lot of Georgian cinema," I can't very well be seen as supportive of anything that's received a theatrical release beyond that of one in a scattered handful of arthouse theaters in greater metropolitan areas.

*slap*

[Boner M]

Weekend:

Our Beloved Month of August
Minnie and Moskowitz (Cassavetes)
World on a Wire (Fassbinder)
Secret Ceremony (Losey)
Scream 4
Carnival of Souls (rpt, theatre viewing)

High hopes for the first 4.

[Winston*]

I didn't even know there was a new Scream.

[Ezee E]

I'm looking forward to it actually.

[B-side]

*slap*

Come, Qrazy, join soitgoes and I on our spiritual cinematic journey across Eastern Europe.

[soitgoes...]

Weekends

The Bandit (Turgul)
Milk (Kaplanoglu)
If I Want to Whistle, I Whistle (Serban)
Pretty Village, Pretty Flame (Dragojevic)
When I Am Dead and Gone (Pavlovic)
The Saragossa Manuscript (Has)

[Winston*]

Weekend

My Watch Tells the Time (Chernyaev)
An Orange is an Orange (Naryshkin)
Stalin is Dead! Celebration? (Burlachenko)
Misery Party (Mizin)
Borscht... (Molchenoff)

[Boner M]

Weekend

My Watch Tells the Time (Chernyaev)
An Orange is an Orange (Naryshkin)
Stalin is Dead! Celebration? (Burlachenko)
Misery Party (Mizin)
Borscht... (Molchenoff)
How do you already get to see the 2012 Best Foreign Film nominees?

[Bosco B Thug]

Weekend
My Watch Tells the Time (Chernyaev) Brilliant.


Misery Party (Mizin) Banal.

WEEKEND:
The Taste of Cherry

[bac0n]

So, last Friday I re-watched Juno, this time with a group of 9th Graders. My first question after the film to a few of them was "hey, do highshcoolers actually talk like that?"

the answer was a laugh and an emphatic no.

[B-side]

Pastorale (Iosseliani 75) ***

Thoughts?

[Yxklyx]

So, last Friday I re-watched Juno, this time with a group of 9th Graders. My first question after the film to a few of them was "hey, do highshcoolers actually talk like that?"

the answer was a laugh and an emphatic no.

I think if you were to ask anyone that question - they would say no. On the flip side do films always need to have their dialogue realistic? I'd say no, sometimes it works and sometimes it doesn't. In Juno, it doesn't.

[Rowland]

Thief (Mann, 1981) ***½

An overly schematic script redeemed and-then-some by Mann's haunted articulation of romanticism (usually doomed) clashing with a zen-like existential integrity amidst a fundamentally entropic natural order, now obviously a career-spanning obsession for the auteur, which he dazzlingly aestheticizes here with an understated impressionism that synthesizes with Tangerine Dream's uncannily surreal score for a sublime elegy that can be read as no less than an allegorical swan song for the spirit of the outsider filmmaker in the dawn of the studio-dominant '80s. Mann's gift for casting serves him well here as well, with Cann giving what may be his finest performance and the debut of Robert Prosky in his best role, while the climactic action set piece and the scenes building up to it are about as tense and unshakable as they come.

[Sven]

I've tried watching Thief three times and I've fallen asleep each time. I promise I'll get through it one of these days.

[Derek]

I've tried watching Thief three times and I've fallen asleep each time. I promise I'll get through it one of these days.

Yeah, it's my least favorite Mann so far. Disagree with Rowland about Caan, but the Tangerine Dream score is great.

[megladon8]

Gotta jump on the "Thief is Mann's weakest" wagon here.

I still think it's pretty damn hard to beat Heat. That movie is so brilliant.

[Rowland]

Yeah, I never had the impression Thief was much liked around here, or all that well respected in the critical community, so I was pleasantly surprised by how much it resonated with me.

[megladon8]

Yeah, I never had the impression Thief was much liked around here, or all that well respected in the critical community, so I was pleasantly surprised by how much it resonated with me.


Really? I honestly thought it was regarded as a minor masterpiece.

I'm surprised, myself, that there have been a few people here showing dislike for it.

I thought it would have been right up Raiders' alley.

[Raiders]

Really? I honestly thought it was regarded as a minor masterpiece.

I'm surprised, myself, that there have been a few people here showing dislike for it.

I thought it would have been right up Raiders' alley.

Could be. I haven't seen it. Have never had much desire to, though.

[megladon8]

*sigh*

I was trying to make the Derek/Raiders joke again.

[Sven]

I mean, it seems like it could be a cool movie. But I've never adequately prepped myself for its deliberate pace. Seems like the kind of film that could achieve a hypnotic momentum after a while. I just keep falling asleep.

[megladon8]

I mean, it seems like it could be a cool movie. But I've never adequately prepped myself for its deliberate pace. Seems like the kind of film that could achieve a hypnotic momentum after a while. I just keep falling asleep.


How are you with Mann's other films?

Do you like Heat? Collateral? Manhunter?

I seem to remember you really digging Public Enemies. Correct me if I'm wrong there.

[Sven]

I like them all to varying degrees, except Miami Vice, which I found incoherent, and Last of the Mohicans, though that one is probably me just being super sick of it.

[MadMan]

Still don't understand the hate for Randy Newman's Pixar work. But whatevers :P

Weekend:

*Revisiting the Scream trilogy
*Scream 4
*Maybe something else. Don't know what.

[Derek]

Weekend:

*Revisiting the Scream trilogy
*Scream 4
*Maybe something else. Don't know what.

Go with the last one.

[Spun Lepton]

Source Code is on the table for Friday.

[StanleyK]

I never was very fond of Toy Story 2. I mean, it's pretty enjoyable for a while, and it expands neatly on the first one by actually considering what happens to the toys when kids grow up, but by the end it devolves into a barrage of witless pop culture referencing jokes the likes of which folks beat up on Dreamworks for. Not to mention butt gags and boner gags. Not my cup of tea.

[soitgoes...]

Thoughts?Again with Georgian cinema, it seems the strength is the look of the film. Is it possible for them as a nationality to make an ugly film? Well put together, yet it left me somewhat distant. I think this film would resonate stronger with its home audience. It definitely isn't an "international" film, unless you are fully aware of the Georgian urban/rural dichotomy. As such the film feels like there is probably more weight behind it that's lost on me.

[Qrazy]

Gotta jump on the "Thief is Mann's weakest" wagon here.

I still think it's pretty damn hard to beat Heat. That movie is so brilliant.

LA Takedown is a horrible piece of shit.

[Spinal]

Weekend

Borscht... (Molchenoff)

IMAX?

[DavidSeven]

The Insider beats Heat pretty easily. Heat is great in spurts though.

[StanleyK]

Weekend

My Watch Tells the Time (Chernyaev)
An Orange is an Orange (Naryshkin)
Stalin is Dead! Celebration? (Burlachenko)
Misery Party (Mizin)
Borscht... (Molchenoff)

I call shenanigans. None of these movies exist on IMDB, or show up on a Google search.

[Spinal]

I call shenanigans. None of these movies exist on IMDB, or show up on a Google search.

Dude. :|

[StanleyK]

Dude. :|

...is there a joke that I'm missing?

[B-side]

Again with Georgian cinema, it seems the strength is the look of the film. Is it possible for them as a nationality to make an ugly film? Well put together, yet it left me somewhat distant. I think this film would resonate stronger with its home audience. It definitely isn't an "international" film, unless you are fully aware of the Georgian urban/rural dichotomy. As such the film feels like there is probably more weight behind it that's lost on me.

Once Lived a Song-Thrush seems like your best bet. It's French New Wave-ish. I haven't seen that one yet, but I have it. I haven't seen an ugly film from there yet, though obviously some are much more visually impressive than others.

[Rowland]

Ha, I missed that Winston post. Love it.

[Winston*]

...is there a joke that I'm missing?

Ouch, StanleyK, ouch.

[StanleyK]

Ouch, StanleyK, ouch.

I see. It's a credit to your wit that I could buy those as actual movie titles.

[Derek]

...is there a joke that I'm missing?

Clearly, cuz Misery Party's a masterpiece.

[Spinal]

Weekend:

*Revisiting the Scream trilogy
*Scream 4
*Maybe something else. Don't know what.

Meta is so 10 years ago.

[Ezee E]

Scream is still one of my favorites. Love it.

[Ivan Drago]

Quick question: I've seen a shit ton of experimental films this semester due to being in a History of Experimental Film class. Could I add them to my 'Top Films First Seen in 2011' list, even though they're all not feature-length? A lot of them have left an impression on me.

EDIT: And yes, E, Scream is amazing. One of my favorite horror movies ever. However I really don't know how to feel about this fourth one; either excited because it's a new Scream movie or skeptical about it being good because it's a new Scream movie...eleven years after the last one.

[B-side]

Quick question: I've seen a shit ton of experimental films this semester due to being in a History of Experimental Film class. Could I add them to my 'Top Films First Seen in 2011' list, even though they're all not feature-length? A lot of them have left an impression on me.

I don't think there are any rules attached to that thread. I've put short films in my top 10 several times.

[Boner M]

Pretty sure Raiders'll ban you for including shorts.

[soitgoes...]

Once Lived a Song-Thrush seems like your best bet. It's French New Wave-ish. I haven't seen that one yet, but I have it. I haven't seen an ugly film from there yet, though obviously some are much more visually impressive than others.Eh, this doesn't necessarily sell it for me. I'm not all gaga over the French New Wave like some people around here. I've seen his two early shorts, one of which is great. I'd probably check out Falling Leaves or Aprili next.

[MadMan]

Meta is so 10 years ago.So is your face. Oh, snap! :P


Go with the last one.Scream 3 aside, Scream (1996) and Scream 2 are both really good horror movies. Scream 4 might be better than I think it looks.

Well at least Ezee and Ivan are fans of the first Scream. I know that DaMU is a big defender of Scream 2. After a second viewing, my opinion of it actually went up quite a bit. Its Craven making a comedy of sorts, bleak humor that is in the similar vein of say, Romero's Dawn of the Dead or Gordan's Re-Animator.

[kuehnepips]

Weekend:

Scott Pilgrim vs. the World

I'm serious.

[dreamdead]

Weekend:

Disc two of Downton Abbey
Uncle Boonmee Who Can Recall His Past Lives
Sucker Punch
Red Road (doubling back after Fish Tank... slightly concerned by the trailer's von Trier-ness)

[elixir]

So, who's been on google today?

[Ezee E]

So, who's been on google today?
Love it.

[Spun Lepton]

Apparently the adaptation of the first third of Ayn Rand's ultra-bore Atlas Shrugged is about as shit-tastic as you would expect.

Armond White will LOVE it.

[Spaceman Spiff]

Weekend:

Scott Pilgrim vs. the World

I'm serious.

I believed you.

[MadMan]

Apparently the adaptation of the first third of Ayn Rand's ultra-bore Atlas Shrugged is about as shit-tastic as you would expect.

Armond White will LOVE it.Doesn't it still have a 0% rating on the Tomatometer? I've never bothered to read Atlas Shrugged, although I recall that when I was a senior in high school there was some scholarship attached to you fielding an essay on some Ayn Rand book. Can't remember which one, but at the time I thought "Why would I read that? And who the hell is Ayn Rand?"

Google's celebration of Charlie Chaplin's birthday is fantastic.

[Spaceman Spiff]

Just finished my hardest exam and did okay on it. I'm in the mood to smoke some good dope and watch a stupid comedy.

What's the funniest one of the past 5 or so years? I'm talking about Will Ferrel vehicles, Judd Apatow ensemble pieces, etc. I want the best one.

[Lucky]

Just finished my hardest exam and did okay on it. I'm in the mood to smoke some good dope and watch a stupid comedy.

What's the funniest one of the past 5 or so years? I'm talking about Will Ferrel vehicles, Judd Apatow ensemble pieces, etc. I want the best one.

Knocked Up or Forgetting Sarah Marshall for me.

Although in that state of mind I might suggest Pineapple Express.

[StanleyK]

I had essentially the same reaction to All That Heaven Allows that I did to The Philadelphia Story: a very thematically strong, very compelling melodrama, which sadly proselytizes at length about its themes (there's even a character who's a psychiatrist, whose function is to analyze and explain Cary's actions), and has a weak ending that lets the characters off the hook, being more reliant on chance than their own motivations. There's some pretty great imagery in here: the opening shot panning across the suburbia, the push-in to Cary's reflection on the TV set... I feel like Cukor and Sirk, the latter especially, would benefit from a less talky screenplay, one that spends less time clarifying things for the audience and more simply watching the drama unfold.

[Spaceman Spiff]

Knocked Up or Forgetting Sarah Marshall for me.

Although in that state of mind I might suggest Pineapple Express.

Seen Pineapple Express (love it), and Knocked Up (don't love it). Forgetting Sarah Marshall looks pretty meh to me. I think I'm going to go with Andrei Rublev.

[DavidSeven]

If you want to see something that's genuinely well-made, then Pineapple Express. If you want to see something that is unapologetically stupid, then Anchorman.

This is the only answer.

Edit: You should list the major comedies you've already seen.

Edit 2: I guess Anchorman came out seven years ago.

[Spaceman Spiff]

I have actually never seen Anchorman. Good choice, David Seven (if that is your real name...) You get rep.

::shelves the Tarkovsky::

[Spun Lepton]

Oh, if you haven't seen Anchorman, that should be the top of your list.

"I love ... lamp."

[DavidSeven]

::shelves the Tarkovsky::

Well, I guess my work here is done.

[Watashi]

http://criterion-production.s3.amazonaws.com/release_images/3391/307_BD_box_348x490.jpg

Criterion sure has some weird ass covers.

[Qrazy]

I have actually never seen Anchorman. Good choice, David Seven (if that is your real name...) You get rep.

::shelves the Tarkovsky::

Anchorman is garbage. Watch Tampopo.

[MadMan]

Anchorman is hilarious, and it has Ferrell's best performance, too. My favorite line is "I'm trapped in a glass case of emotion!"

[B-side]

Anchorman is garbage.

http://imagemacros.files.wordpress.co m/2009/06/no_u.jpg

[StanleyK]

I don't know about Anchorman being garbage, but Tampopo is awesome and should indeed be watched by everybody.

[baby doll]

Just finished my hardest exam and did okay on it. I'm in the mood to smoke some good dope and watch a stupid comedy.

What's the funniest one of the past 5 or so years? I'm talking about Will Ferrel vehicles, Judd Apatow ensemble pieces, etc. I want the best one.Why do you assume that the funniest movie of the last few years is an American film, let alone an unambitious studio release with no formal distinction whatsoever? I mean, I laughed as much as the next guy at Borat and The Hangover, but A Serious Man (to cite just one example) clearly blows them both out of the water in terms of the quality of laughs and even quotability ("Actions have consequences." "Yes, often").

[Raiders]

Why do you assume that the funniest movie of the last few years is an American film, let alone an unambitious studio release with no formal distinction whatsoever? I mean, I laughed as much as the next guy at Borat and The Hangover, but A Serious Man (to cite just one example) clearly blows them both out of the water in terms of the quality of laughs and even quotability ("Actions have consequences." "Yes, often").

He was clearly talking about funniest "stupid comedies" and gave some broad examples, as he stated, but don't let that knock you off your soap box.

[baby doll]

He was clearly talking about funniest "stupid comedies" and gave some broad examples, as he stated, but don't let that knock you off your soap box.There are so many ideological and aesthetic assumptions underpinning the idea of a "stupid comedy" that I frankly don't know where to begin.

[Raiders]

There are so many ideological and aesthetic assumptions underpinning the idea of a "stupid comedy" that I frankly don't know where to begin.

Perhaps, but he gave examples of the subgenre of films he was looking for, so I think most people could figure it out. Not everything is grounds for an aesthetic debate.

[Qrazy]

Why do you assume that the funniest movie of the last few years is an American film, let alone an unambitious studio release with no formal distinction whatsoever? I mean, I laughed as much as the next guy at Borat and The Hangover, but A Serious Man (to cite just one example) clearly blows them both out of the water in terms of the quality of laughs and even quotability ("Actions have consequences." "Yes, often").

He didn't assume that, he asked for a certain kind of film, a request I ignored, but still.

[Sven]

I laughed as much as the next guy at Borat and The Hangover

I'm as much the next guy as the next guy, and I can quantify my laughs with these two films on one hand.

[Spun Lepton]

Quick thoughts about Source Code.

+ Enjoyable escapism. Tightly written, good momentum, nicely stylized, excellent performances all around. Must admit, I'm now smitten by Vera Farmiga.

- A minor complaint for techno-babble passing as an explanation for the Source Code system. The bomber was easily the weakest link, he was poorly written, with flimsy motivation at best. I give the actor credit for doing well with what he had, however.

7/10 -- Worth seeing in the theater.

***

Also, I'd like to mention this is the first movie I've seen in the theater in a long time where the entire audience was quiet from the first frame to the last. And the theater was full! Not one annoying talker, cell phone, or screaming child. This fact didn't even strike me until hours later. What kind of statement is that for the general movie-going public these days?

The couple sitting right next to me seemed confused about the ending. :|

[Dead & Messed Up]

Just finished my hardest exam and did okay on it. I'm in the mood to smoke some good dope and watch a stupid comedy.

What's the funniest one of the past 5 or so years? I'm talking about Will Ferrel vehicles, Judd Apatow ensemble pieces, etc. I want the best one.

I really enjoyed Forgetting Sarah Marshall and Step Brothers.

[Spun Lepton]

Anchorman is garbage. Watch Tampopo.

Come on, if you didn't at least smile at Steve Carrell's performance, you're a freakin' zombie.

http://t3.gstatic.com/images?q=tbn:ANd9GcT5oVNlz4X_l avPRx1DrWmRQbgJS042D1lvL01T7u_ GgrLL52kALw&t=1

[Derek]

Man, that is one impeccably framed shot.

[StanleyK]

Tokyo Godfathers is a lot more entertaining, visually interesting, emotionally affecting than Millennium Actress, and it works much better as a love letter to the movies too. It does the Shaun of the Dead thing where it makes fun of genre conventions (in this case, the genre is melodramas whose plots hinge on coincidence, also dabbling in yakuza and action movies), while at the same time using them straight and thus proving that they're so overused because, when done right, they work. And Tokyo Godfathers works like gangbusters; I was in stitches all the way through. No idea why it's considered as Kon's most minor work.

[Qrazy]

Come on, if you didn't at least smile at Steve Carrell's performance, you're a freakin' zombie.

http://t3.gstatic.com/images?q=tbn:ANd9GcT5oVNlz4X_l avPRx1DrWmRQbgJS042D1lvL01T7u_ GgrLL52kALw&t=1

Alternatively if you do smile you are a zombie because your neurons are firing at an incredibly reduced rate.

Hiyo! :P

[Qrazy]

Tokyo Godfathers is a lot more entertaining, visually interesting, emotionally affecting than Millennium Actress, and it works much better as a love letter to the movies too. It does the Shaun of the Dead thing where it makes fun of genre conventions (in this case, the genre is melodramas whose plots hinge on coincidence, also dabbling in yakuza and action movies), while at the same time using them straight and thus proving that they're so overused because, when done right, they work. And Tokyo Godfathers works like gangbusters; I was in stitches all the way through. No idea why it's considered as Kon's most minor work.

Agreed.

[D_Davis]

Watch Euro Trip or Grandma's Boy.

[Ezee E]

Role Models.

[transmogrifier]

Apatow and McKay and friends

First class:
Freaks and Geeks

Very good:
Pineapple Express
Talladega Nights

Solid:
Walk Hard
The 40 Year Old Virgin
Tropic Thunder

Alright/Meh:
Knocked Up
The Other Guys
Role Models
Adventureland
Observe and Report

Not Good:
Forgetting Sarah Marshall
Superbad

Terrible:
Funny People (not finished)
Step Brothers
I Love You, Man

[Yxklyx]

Weekend:

Following (Nolan)
Cronos (del Toro)
The Baader Meinhof Complex

[StanleyK]

Especially because Once Upon a Time in America used to be one of my very favorite films, watching it today was incredibly disappointing. The relationship between Max and Noodles, the backbone of the whole thing, now feels to me as hollow and generic. They seem to have nothing but a couple of shared experiences in common, and their friendship threatens to fall apart all the time from the beginning. Noodles' grief carries the 60's scenes, but the 20's and 30's ones are saddled with this unconvincing friendship.

Beyond that, several flaws which I never noticed flew out at me: most of the acting, especially by the kids, is dead-eyed and dull; Cockeye and Patsy are basically non-entities and might as well have been excised; the narrative places bizarre emphasis on some truly pointless scenes (the baby switching, some dude throwing a frisbee over Noodles, Noodles stirring the fuck out of his coffee), while Eve just materializes as Noodles' girlfriend and has all of two scenes, which consequently place an unearned emotional investment on their relationship; Morricone's score is really good and all, but 'Deborah's Theme' gets repeated ad infinitum and grows frankly irritating; and all of Leone's movies are violent, but this one was sickeningly violent. Every gunshot wound, brutal beating and rape gets loving close-ups.

Ultimately I'd day that Leone's beautiful direction and the ending sequence are so good that they make the film passable, but I can't say that I actually enjoyed it. It was honestly mostly boring and depressing. Oh, well; at least he'll always Once Upon a Time in the West for me.

[origami_mustache]

Solid:
Walk Hard


One of the worst films I've ever seen and I'm usually lenient on "dumb" comedies.

[transmogrifier]

One of the worst films I've ever seen and I'm usually lenient on "dumb" comedies.

We're different, you and I.

[origami_mustache]

We're different, you and I.

:lol:

[Qrazy]

Some dude throwing a frisbee over Noodles.

Apparently this scene was cut.

[Winston*]

It's not made in the last 5 years but I think Spaceman should watch Half Baked. In fact, we should all watch Half Baked.

[Mara]

Humor derived mostly from the scatological, drugs or alcohol, people getting hurt (especially nut-shots) and people acting stupidly... all completely lost on me. I don't understand it and I don't find it funny. I'm not offended or anything, I'm just bored. I just go like this: :|

[StanleyK]

Apparently this scene was cut.

Yeah, I know. I guess much of the wonky chronology can be blamed on this; then again, the alternative would be an even longer cut, and I doubt more running time would be beneficial to the film.

[StanleyK]

Since I was feeling just plain bad I decided to watch Syndromes and a Century to cheer me up. This is the right way to make a movie with a puzzling narrative: have the story take a backseat to the characters, their interactions and little moments. Especially touching are the ones repeated later in the film through a different lens and with alternate results; the second, silent scene with the monk and the dentist is so poignant because we've seen how well they could hit it off in other circumstances. Weerasethakul plays with the form not for the sake of creating an oblique mind-screw, but to accentuate the warm humanity in the film. What an arresting sight to pull back from a doctor mind-healing a boy to find the other doctor staring right at us; and after looking so long at an exhaust pipe, what could be more invigorating than a crowd doing morning exercises?

What a great movie. Touching, playful and funny. It's also sort of a comedy, and it came out in the last 5 years (as well as being the best movie of the past 5 years), so it's relevant to the discussion.

[balmakboor]

Apatow and McKay and friends

First class:
Freaks and Geeks

Very good:
Pineapple Express
Talladega Nights

Solid:
Walk Hard
The 40 Year Old Virgin
Tropic Thunder

Alright/Meh:
Knocked Up
The Other Guys
Role Models
Adventureland
Observe and Report

Not Good:
Forgetting Sarah Marshall
Superbad

Terrible:
Funny People (not finished)
Step Brothers
I Love You, Man


Other than Freeks and Geeks, we're in almost total disagreement.

[transmogrifier]

Other than Freeks and Geeks, we're in almost total disagreement.

Happy doing business with you.

Actually, I can comprehend not liking the movies in that list that I do, but there is no way I can believe that any of the films I have in the lower couple of tiers could possibly be considered excellent.

[Spaceman Spiff]

He didn't assume that, he asked for a certain kind of film, a request I ignored, but still.

He's right though. I hate pure cinema.

[Spaceman Spiff]

My rankings:

First class:
Freaks and Geeks

Very good:
Pineapple Express

Solid:
Adventureland

Alright/Meh:
Superbad
I Love You, Man

Not Good:
Knocked Up
The 40 Year Old Virgin

Terrible:
Funny People

Haven't seen the rest.

Anchorman was okay, I guess. Some of the blatant sexism was a little much, and many of the jokes towards the end with the unnecessary cameos weren't really that funny. I didn't like the girl at all, either. She was too much of a bimbo. I do have to admit that Will Ferrell is good in parts, though. Plus it gets the +5 Fred Willard factor.

[Sycophant]

First class:
Freaks and Geeks
Observe and Report
Talladega Nights
Adventureland

Very good:
Superbad
Anchorman
The 40 Year Old Virgin
I Love You, Man

Solid:
Funny People
Knocked Up
Step Brothers

Alright/Meh:
Funny People
The Other Guys
Role Models
Walk Hard
Pineapple Express

Terrible:
Tropic Thunder

Looks like trans and I don't agree either. Hope that doesn't make things too tense.

[B-side]

Some of the blatant sexism was a little much

That was kinda the point.

[Spaceman Spiff]

That was kinda the point.

I understand, but it was still ugly. David Koechner really sells 'the asshole'.

[B-side]

First class:
Nothing

Very good:
Anchorman
40 Year Old Virgin

Solid:
Funny People
Adventureland

Alright/Meh:
Role Models
Pineapple Express
I Love You, Man
Talladega Nights
Superbad
Forgetting Sarah Marshall

Bad:
Get Him to the Greek
Tropic Thunder
Step Brothers
Observe and Report

Haven't seen Freaks and Geeks.

[B-side]

I understand, but it was still ugly. David Koechner really sells 'the asshole'.

I guess I don't understand the problem. They were clearly skewering archaic misogyny. You're not meant to agree with it.

[Spaceman Spiff]

I guess I don't understand the problem. They were clearly skewering archaic misogyny. You're not meant to agree with it.

The problem is that it wasn't that funny.

[transmogrifier]

The problem is that it wasn't that funny.

This is pretty much my criticism for all the comedies I don't like.

[B-side]

The problem is that it wasn't that funny.

Heh. Fair enough.

[Qrazy]

I guess I don't understand the problem. They were clearly skewering archaic misogyny. You're not meant to agree with it.

Kind of like how ironically using the word 'nigger' to feign douchebaggery is hilarious?

[B-side]

Kind of like how ironically using the word 'nigger' to feign douchebaggery is hilarious?

I guess?

[Qrazy]

I guess?

That is to say that neither is hilarious.

[Derek]

First class:
Freaks and Geeks

Very good:
Anchorman
Adventureland

Solid:

The 40 Year Old Virgin
I Love You, Man

Alright/Meh:
Talladega Nights
Pineapple Express
The Other Guys
Tropic Thunder
Step Brothers
Superbad
Role Models
Knocked Up
Forgetting Sarah Marshall
Funny People

Terrible:
Observe and Report
Walk Hard

[B-side]

Terrible:
Observe and Report

You're alright, Derek.

[dmk]

walk hard is one of the best films of the last ten years. top 5 for sure.

[transmogrifier]

You know what is a great moderately recent star-driven studio comedy?

About a Boy.

[Derek]

walk hard is one of the best films of the last ten years. top 5 for sure.

What a horrible thing to say about the last 10 years of film.

[Derek]

You know what is a great moderately recent star-driven studio comedy?

About a Boy.

Yeah, I'd throw that in the solid category.

[Sven]

My mother succeeded in talking me into watching the Star Trek movie. I guess Spock giving the council a stone cold smackdown and cutting to funk music is pretty cool. So many lens flares.

[transmogrifier]

My mother succeeded in talking me into watching the Star Trek movie. I guess Spock giving the council a stone cold smackdown and cutting to funk music is pretty cool. So many lens flares.

I almost literally remember nothing about that movie. I mean, I remember the basic plot, but the memory is kind of like if someone had simply read me a plot synopsis, rather than a visual memory. Such a blah film.

[Rowland]

First class:
n/a

Very good:
Superbad
Anchorman
Adventureland
Observe and Report
Role Models

Solid:
Talladega Nights
Get Him to the Greek
Pineapple Express
The 40-Year-Old Virgin
Step Brothers

Alright/Meh:
I Love You, Man
The Other Guys
Knocked Up

Not Good:
Tropic Thunder
Forgetting Sarah Marshall
Year One

[Boner M]

First class:

Hot Rod

Not good:

Cries & Whispers
Grey Gardens
Network
Bonnie & Clyde

[Winston*]

Another Year was pretty great. Like the Happy-Go-Lucky of being miserable.

[Kurosawa Fan]

First class:

Hot Rod


The rest of the post may have been a joke, but this is the truth.

[Derek]

Not good:

Cries & Whispers

I'm with ya.

[StanleyK]

One Froggy Evening is pretty good but 'the Citizen Kane of animation', as Spielberg puts it, it ain't. It's a pretty basic story of the dangers of greed elevated by the excellent character design and pantomime. I'd much rather go with Rabbit of Seville or Duck Amuck. I mean, Bugs literally takes over the universe just to fuck with Daffy; how can you top that?

[Bosco B Thug]

I still think Pineapple Express is highly slapdash and rhymeless. It's just all the more noticeable since there's inspired tone in there, and quasi-nuanced moments sprinkled throughout, but ultimately only building up towards nothing but loud, messy flatulence.

But I'm going to see Your Highness today, so we'll see. (aka it'll do no favors to PE.)

Hitchcock's Stage Fright makes it clear that no one makes movies as exciting and truly suspenseful as Hitchcock does. Too much fluff and somewhat lightweight, the film nevertheless has fascinating undercurrents, from the pathology of Wyman's amateur spy/ingenue to the incongruously magical romance she has with a detective. Most importantly, the final act is rather dire and heartbreaking, hitting enough notes of tragedy to bring real weight to the picture - Hitchcock being equally profound as he's being guiltlessly entertaining.

[Henry Gale]

In terms of ranking these comedies, I'm not sure how I would go about ranking them since I like / love everything mentioned so far, with the possible exception of Talladega Nights (though seeing it a second time did somehow improve it for me). They make up a significant chunk of my favourite comedies of the last 10 years.

Freaks and Geeks, Knocked Up, Pineapple Express, Funny People, Adventureland and 40-Year-Old Virgin probably come out on top, though.

[origami_mustache]

First class:
Freaks and Geeks
Pineapple Express

Very good:
Anchorman
Adventureland

Solid:
I Love You, Man
The Other Guys
Talladega Nights
Superbad
Knocked Up

Alright/Meh:
Tropic Thunder
Step Brothers
Role Models
Forgetting Sarah Marshall
Funny People

Terrible:
Walk Hard

[megladon8]

I really like Pineapple Express. I thought it was quite funny and Franco stole the show.

I actually find Apatow himself to be the weakest link within the Apatow and co. directors league. Forgetting Sarah Marshall is much better than both Knocked Up and 40 Year Old Virgin.

[Spinal]

The amount of people who think Anchorman is a good movie disturbs and confuses me.

[elixir]

Freaks and Geeks is on such a higher plane than the films being talked about. Nothing comes close to it for me.

[balmakboor]

Freaks and Geeks is on such a higher plane than the films being talked about. Nothing comes close to it for me.

Yeah, I think we'll be waiting until the sun burns out for Apatow to fulfill the promise he showed with Freaks and Geeks.

[Sycophant]

I'm not trynna diminish the role Apatow had in Freaks & Geeks, as I'm sure it was strong and positive. But when stacked up against even Undeclared it seems apparent to me that a lot of F&G's greatness came form contributions from Paul Feig, the show's creator.

Though Feig's directing career post-F&G. What the hell (disclaimer: I haven't actually seen any, except for some of his TV gigs).

[transmogrifier]

For some reasons, Apatow wants to be James L. Brooks. He is not a very good James L. Brooks. Hell, James L. Brooks is not a very good James L. Brooks.

Funny People was abysmal. At least, the hour I watched was.

[megladon8]

James L. Brooks one-ups Apatow to the moon and back with his involvement in "The Simpsons".

[Derek]

The amount of people who think Anchorman is a good movie disturbs and confuses me.

At least you know how I feel when our bi-monthly Walk Hard lovefest inevitably rears its ugly head.

[megladon8]

Zoolander >>>>>>> Anchorman

[Sycophant]

Zoolander >>>>>>> Anchorman

Blah blah blah, your arrows are pointing the wrong direction, blah blah blah.

[megladon8]

Blah blah blah, your arrows are pointing the wrong direction, blah blah blah.


That's not very Hansel of you, Syco.

Not very Hansel at all.

[Winston*]

Has anyone seen that latest Peter Weir movie? Thinking of seeing it this week.

[Kurosawa Fan]

Seriously, people. Hot Rod.

[eternity]

For some reasons, Apatow wants to be James L. Brooks. He is not a very good James L. Brooks. Hell, James L. Brooks is not a very good James L. Brooks.

Funny People was abysmal. At least, the hour I watched was.
The first 90 minutes of Funny People are the best Apatow has done. Too bad there's another hour.

[megladon8]

Funny People is 2 1/2 hours long?

[eternity]

First class:
Freaks and Geeks
Adventureland
I Love You, Man

Very good:
Step Brothers
Funny People
The 40 Year Old Virgin
Role Models

Solid:
Observe and Report
Forgetting Sarah Marshall

Alright/Meh:
Walk Hard
Tropic Thunder
Knocked Up
The Other Guys

Not Good:
Superbad
Pineapple Express

Terrible:
Talladega Nights

[eternity]

Funny People is 2 1/2 hours long?
2 hours 26 minutes. Thirty minutes of it are absolutely painful to sit and watch, have nothing to do with the rest of the film, all taking place in one location and ends up going NOWHERE. It could have been cut outright but Apatow just had to have his frickin' kids in the movie.

[D_Davis]

Walk Hard and Anchorman are both terrible.

[megladon8]

2 hours 26 minutes


Wow. I'm glad I never bothered with it.

[EyesWideOpen]

Funny People is the best movie Judd Apatow has made.

[eternity]

Wow. I'm glad I never bothered with it.The first 90 minutes are pretty awesome. But as soon as Eric Bana shows up, turn it off.

[Qrazy]

Walk Hard and Anchorman are both terrible.

Correct.

[Dead & Messed Up]

Seriously, people. Hot Rod.

Cool beans.

[Kurosawa Fan]

Cool beans.

This guy gets it.

[soitgoes...]

One Froggy Evening is pretty good but 'the Citizen Kane of animation', as Spielberg puts it, it ain't. It's a pretty basic story of the dangers of greed elevated by the excellent character design and pantomime. I'd much rather go with Rabbit of Seville or Duck Amuck. I mean, Bugs literally takes over the universe just to fuck with Daffy; how can you top that?There's a sinister layer of an immortal frog whose only existence is to play against humanity's greed. No matter how much we progress (the last scene), we essentially will always have this greed. I think it's a perfect example of a cartoon short, and that it's done with no dialogue makes it even more amazing to me. I won't say it is better than the two you listed (also What's Opera, Doc?, Duck Dodgers in the 24½th Century, Magical Maestro and King-Size Canary need mention here), but depending on my mood, any of these seven can claim to be the best of their type.

[D_Davis]

It's amazing to me just how much better On Her Majesty's Secret Service is than any other Bond film. Everything about it is better - the direction is tighter and more creative, the action is perfectly framed and hard hitting, and Lazenby captures the essence of Flemming's Bond better than any of the other actors who ever portrayed the character.

Such a great film.

[B-side]

The End of the World (Kedzierzawska 88) ***

Here's one I knew you'd like. My only real issue was that, even at only slightly under an hour long, it still felt too long. I mean, I get the sentiment behind the employment of the quotidian, but it did drag a bit. I'd like to rewatch it without those blurred out logos and subs for what little dialogue there was.

[soitgoes...]

Here's one I knew you'd like. My only real issue was that, even at only slightly under an hour long, it still seemed felt too long. I mean, I get the sentiment behind the employment of the quotidian, but it did drag a bit. I'd like to rewatch it without those blurred out logos and subs for what little dialogue there was.I thought it was beautiful. I didn't feel it was too long, actually my problem was I thought it to be too short. I wanted it to keep going. I have it at three stars, but on reflection today I'd probably bump it up a half star more for whatever that's worth. I would like to see it with subs, but I imagine that it will be completely unnecessary. I got all excited to see if this director made anything else like this. I'm going to give Time to Die a go next. It has that same beautiful, sharp B&W look.

[B-side]

I thought it was beautiful. I didn't feel it was too long, actually my problem was I thought it to be too short. I wanted it to keep going. I have it at three stars, but on reflection today I'd probably bump it up a half star more for whatever that's worth. I would like to see it with subs, but I imagine that it will be completely unnecessary. I got all excited to see if this director made anything else like this. I'm going to give Time to Die a go next. It has that same beautiful, sharp B&W look.

Oh yeah, definitely. It's absolutely endearing with its gentle humor. Subs are being worked on for at least one of her other films. I've donated to two pots for subs for her films.

[Watashi]

First Class:
Talladega Nights
Freaks and Geeks

Great:
Superbad
Tropic Thunder
Pineapple Express
Adventureland

Good:
Step Brothers
Observe and Report
Anchorman
Knocked Up

Meh:
The 40-Year Old Virgin
I Love You, Man

Bad:
Funny People
The Other Guys

Horrible:
Walk Hard

[soitgoes...]

First Class:
The first day of "stupid comedy" discussion

Meh:
The second day of "stupid comedy" discussion

Horrible:
The third day of "stupid comedy" discussion

[Sycophant]

Talladega Nights is one of the best films of this century.

[eternity]

Despite being an early-90s MTV movie in every way, I still am surprised by how good Orange County is every time I watch it. It's up there with Fast Times at Ridgemont High as one of the few movies that capture the feeling of high school in a timeless way, even though both are firmly planted in the era in which they are set.

[soitgoes...]

Talladega Nights is one of the best films of this century.
I willing to agree with this as long as everyone concedes that Christopher Nolan is a hack.

[transmogrifier]

Despite being an early-90s MTV movie in every way, I still am surprised by how good Orange County is every time I watch it. It's up there with Fast Times at Ridgemont High as one of the few movies that capture the feeling of high school in a timeless way, even though both are firmly planted in the era in which they are set.

Orange County is atrocious. Envy-esque even.

[eternity]

Talladega Nights sucks and Christopher Nolan is a hack. trololololololo

[eternity]

Orange County is atrocious. Envy-esque even.
http://images1.memegenerator.net/ImageMacro/5259414/SAY-WHA.jpg

[megladon8]

I, too, think Orange County is pretty great.

[transmogrifier]

Just to be sure, we are talking about this Orange County, aren't we?

http://www.toxel.com/wp-content/uploads/2008/08/movieposters15.jpg

Not the actual place or another movie with the same name that is actually tolerable and demonstrates at least some type of cinematic skill from those involved?

[Winston*]

Two of the strongest feelings anyone's ever expressed about the movie Orange County on this page.

[Sycophant]

Talladega Nights is one of the best films of this century.

Allow me to unpack this. It's perhaps the best chronicle of who we Americans were in the waning Bush years. Ricky Bobby is the ultimate everyman, full of a confidence and drive instilled in him by a mythic and misunderstood forefather which he clings to even as his own prowess begins to fade. He's deathly afraid of a gay Frenchman who hangs out with Mos Def and Elivs Costello, who is also appropriately skewered as being. The film's bombast feels the like the Fourth of July. It's America, I Fucking Love You/I Fucking Hate You: The Movie, and I cherish it.

And, also, I find it funny. Which is reasonably important in a comedy film.

[transmogrifier]

Two of the strongest feelings anyone's ever expressed about the movie Orange County on this page.

I was provoked into it by the peculiar claim that, in fact, it is any good.

[eternity]

We are indeed talking about that movie.

The strongest feeling ever expressed about that movie comes from my mother. She says it's her second favorite film, behind Meet Me In St. Louis. :/

[Qrazy]

It's amazing to me just how much better On Her Majesty's Secret Service is than any other Bond film. Everything about it is better - the direction is tighter and more creative, the action is perfectly framed and hard hitting, and Lazenby captures the essence of Flemming's Bond better than any of the other actors who ever portrayed the character.

Such a great film.

Easily one of the worst for me. Lazenby is terrible. The film is cut for shit, shot like crap and boring as hell for the vast majority of it's run time. The car chase is mildly entertaining.

[B-side]

We are indeed talking about that movie.

The strongest feeling ever expressed about that movie comes from my mother. She says it's her second favorite film, behind Meet Me In St. Louis. :/

Is her name Joe-John?

[Qrazy]

Allow me to unpack this. It's perhaps the best chronicle of who we Americans were in the waning Bush years. Ricky Bobby is the ultimate everyman, full of a confidence and drive instilled in him by a mythic and misunderstood forefather which he clings to even as his own prowess begins to fade. He's deathly afraid of a gay Frenchman who hangs out with Mos Def and Elivs Costello, who is also appropriately skewered as being. The film's bombast feels the like the Fourth of July. It's America, I Fucking Love You/I Fucking Hate You: The Movie, and I cherish it.

And, also, I find it funny. Which is reasonably important in a comedy film.

Can you repack that please?

[Sycophant]

Can you repack that please?

glibmeme.jpg

[Spinal]

Rio is not very funny and not terribly involving, but it is notable for being the only children's film I can think of that revolves around the central character needing to get laid. Of course, it's the survival of the blue macaw that we focus on, as the domesticated pet, Blu, (Jesse Eisenberg) is taken to Brazil, where a bird specialist hopes that he will hit it off with the only other known member of his species, the feisty, fiercely independent female tm, Jewel (Anne Hathaway). However, with lusty Brazilian Carnival as the setting, and the subplot involving Blu's owner evolving from virginal bookstore owner to booty-shaking samba dancer, the sexual undertones of the story are kind of hard to ignore. While I am tempted to praise the film's subtly positive depiction of human sexuality, the primary objective for Blu throughout remains procreation. So I'm not sure whether this can be considered progressive or not.

[eternity]

Is her name Joe-John?
She likes to get naked and start the revolution.

[B-side]

glibmeme.jpg

That's two posts now decrying my one image macro response to Qrazy. Can I count on four posts bitching about it next time?

[Dead & Messed Up]

Allow me to unpack this. It's perhaps the best chronicle of who we Americans were in the waning Bush years. Ricky Bobby is the ultimate everyman, full of a confidence and drive instilled in him by a mythic and misunderstood forefather which he clings to even as his own prowess begins to fade. He's deathly afraid of a gay Frenchman who hangs out with Mos Def and Elivs Costello, who is also appropriately skewered as being. The film's bombast feels the like the Fourth of July. It's America, I Fucking Love You/I Fucking Hate You: The Movie, and I cherish it.

And, also, I find it funny. Which is reasonably important in a comedy film.

I can get behind this. I wish the film were shorter, but I enjoyed it, and I agree that Ferrell's character is meant to embody that block of voters that supported Bush and believed so absolutely in American Exceptionialism that they never bothered to consider what being exceptional actually means. "If you're not first, you're last" is the motto of someone who doesn't understand life as anything more than a childish competition to riches. The American Dream as the American Lottery. Win your way to millions.

[Sycophant]

That's two posts now decrying my one image macro response to Qrazy. Can I count on four posts bitching about it next time?

umad.jpg

No, but seriously, it wasn't even about you, so much as about glibness in general (here, specifically, Qrazy's).

I also tend to dislike image macros ("NO U" &c.) in discussion threads anyway, so I took a shot at them, too. Wasn't even thinking about how you posted one.

[Watashi]

Rio is not very funny and not terribly involving, but it is notable for being the only children's film I can think of that revolves around the central character needing to get laid. Of course, it's the survival of the blue macaw that we focus on, as the domesticated pet, Blu, (Jesse Eisenberg) is taken to Brazil, where a bird specialist hopes that he will hit it off with the only other known member of his species, the feisty, fiercely independent female tm, Jewel (Anne Hathaway). However, with lusty Brazilian Carnival as the setting, and the subplot involving Blu's owner evolving from virginal bookstore owner to booty-shaking samba dancer, the sexual undertones of the story are kind of hard to ignore. While I am tempted to praise the film's subtly positive depiction of human sexuality, the primary objective for Blu throughout remains procreation. So I'm not sure whether this can be considered progressive or not.
How can a movie that has Jessie Eisenberg, Anne Hathaway, and Jermaine Clement also be in a movie with.... George Lopez and will.i.am.

[B-side]

umad.jpg

No, but seriously, it wasn't even about you, so much as about glibness in general (here, specifically, Qrazy's).

I also tend to dislike image macros ("NO U" &c.) in discussion threads anyway, so I took a shot at them, too. Wasn't even thinking about how you posted one.

You're making it awfully difficult for me to be the victim here.

[Qrazy]

umad.jpg

No, but seriously, it wasn't even about you, so much as about glibness in general (here, specifically, Qrazy's).

I also tend to dislike image macros ("NO U" &c.) in discussion threads anyway, so I took a shot at them, too. Wasn't even thinking about how you posted one.

http://3.bp.blogspot.com/_mJY_o7wOq-Y/RmHq8TE2qrI/AAAAAAAAABs/SZM_NTlf32A/s200/Charlie_V.jpg


What I got when I searched for Glib is Good.

[D_Davis]

Easily one of the worst for me. Lazenby is terrible. The film is cut for shit, shot like crap and boring as hell for the vast majority of it's run time. The car chase is mildly entertaining.

It's the only Bond film I actually like. The action is tremendously cut - it's framed, edited, and choreographed like a modern film. Totally ahead of its time. The fight scenes are incredible. It's also shot really well, and one of the more exciting Bond films. It's pretty much exactly the opposite of how you described it.

[Qrazy]

It's the only Bond film I actually like. The action is tremendously cut - it's framed, edited, and choreographed like a modern film. Totally ahead of its time. The fight scenes are incredible. It's also shot really well, and one of the more exciting Bond films. It's pretty much exactly the opposite of how you described it.

Not sure how you can watch that terrible opening fight sequence and say any of that, but okay.

[Derek]

How can a movie that has Jessie Eisenberg, Anne Hathaway, and Jermaine Clement also be in a movie with.... George Lopez and will.i.am.

Rio is a movie within a movie?? I thought Rango was supposed to be the whacked out kid's film of the spring.

[Spinal]

will.i.am is actually kind of funny in it. George Lopez is distracting. So is Eisenberg, but only because his last film kind of got a lot of press.

[D_Davis]

Not sure how you can watch that terrible opening fight sequence and say any of that, but okay.

The action is fast, kind of out of control, and feels dangerous. Totally reminds my of what Tsui Hark would come to do in films like Don't Play With Fire and We're Going to Eat You. In all of the other early Bond films, the action is slow and somewhat geriatric, that is, the action lacks grit, feelings of tension, and danger. In OHMSS, the hits look and sound like they hurt, and the combatants look like they are actually concerned for their well-being. It's brilliantly done. It also has some genuine character development on Bond's part, another thing sorely lacking from most of the other films. This feels more like the Bond I imagine when I read the books; he's more of a real guy, more of a hardboiled PI than a superhero with a bunch of crazy gadgets. This is the Bond that the Craig films were going for, only they didn't quite get it.

[transmogrifier]

Robin Hood

Amazing pointless origin story that basically boils down to one jealous decision right at the end of 2 and a half hours of a dull, pretty slog through random conflicts.

[Winston*]

Re: Forbidden Lie$


Rad. Post thoughts. Or thought.

EDIT: I hate that that's the film's official title, though.

Fascinating subject matter and impressive self aware use of corny documentary devices. Very good movie in the The Staircase / My Kid Could Paint that genre. Thought!

I won a DVD copy of another Australian film today: The Loved Ones. Good?

[Rowland]

I just watched John Glen's first stab at Bond, For Your Eyes Only, and while the action doesn't quite rival the likes of what Spielberg and Miller were achieving that same year with Raiders and the Road Warrior, its action sequences are numerous, varied, and for the most part very solid, easily the highlight of an otherwise unsatisfying movie.

[balmakboor]

I like this quote:

"A talented director lays out opportunities that can be seized by other people (and then) protects that communal vision by accepting or rejecting certain contributions. The director is ultimately the immune system of the film."

--Walter Murch

[MadMan]

I just watched John Glen's first stab at Bond, For Your Eyes Only, and while the action doesn't quite rival the likes of what Spielberg and Miller were achieving that same year with Raiders and the Road Warrior, its action sequences are numerous, varied, and for the most part very solid, easily the highlight of an otherwise unsatisfying movie.I rather like For Your Eyes Only. Its moderately entertaining, and a solid entry in the series. However, the only really good 80s Bond imo is The Living Daylights-the decade really wasn't too kind to the character, as Bond was more at home in the 60s and 70s. They wisely modernized him in the 90s and the 2000s, however.

I've been viewing the first Bond box set on DVD, and I realized that Diamonds Are Forever is pretty underrated. Its got a pair of awesome gay villains (I'm not saying that as a negative, btw), and even though the evil scheme is kind of lame, I enjoy it for being an entertaining lark that was also Connery's last outing as the character. The Man With the Golden Gun is also really awesome, just simply because it has Christopher Lee as a Bond villain. Fantastic.

Only about half of the series is really worth owning, and only one of them gets a 100 from me (From Russia With Love). And yet, I'm a huge fan of the Bond movies-perhaps steming from the fact that I watched them a lot when I was younger-and because the series is a landmark in action cinema, for better or worse.

[Ezee E]

Got The King's Speech coming my way tomorrow.

[Yxklyx]

My local video store had a newly arrived copy of Joseph Losey's The Prowler on DVD from some no-name label. What a find! Excellent film noir starring Van Heflin as the Homme Fatale. Try to find a copy!

[Yxklyx]

Easily one of the worst for me. Lazenby is terrible. The film is cut for shit, shot like crap and boring as hell for the vast majority of it's run time. The car chase is mildly entertaining.

I have to agree with D_Davis somewhat - this is probably my favorite Bond film even though Lazenby is my least favorite Bond.

[Derek]

Got The King's Speech coming my way tomorrow.

I'm not sure what kind of response your looking for here. It's like saying you're going to Wendy's tomorrow. It's not bad enough where I'd try to stop you, but about an hour after you're done, you'll wonder why you didn't go for something else.

[Ezee E]

I'm not sure what kind of response your looking for here. It's like saying you're you're going to Wendy's tomorrow. It's not bad enough where I'd try to stop you, but about an hour after you're done, you'll wonder why you didn't go for something else.

I do have Unstoppable waiting to be watched.

[Derek]

I do have Unstoppable waiting to be watched.

Well, this is the time of year to catch up on all those 2010 mediocrities you missed. Don't forget about Please Give! ;)

[Grouchy]

Here are some opinions on the flicks I've seen during the Buenos Aires Film Festival:

http://www.bfi.org.uk/lff/sites/bfi.org.uk.llgff/files/programme_item_images/s1/essential_killing_02.jpg

- Essential Killing
This was an interesting albeit awkward survivor's movie. It's strikingly shot and it has an intense performance by Vincent Gallo. Notably, the movie seems to avoid any kind of specific political commentary. Sure, it has US troops chasing a Taliban terrorist, but in the outsider (Russian) landscapes it chooses to set the action in, it finds a kind of surreal quality. I don't know if I loved the film. It probably deserves another watch. The last twenty minutes with Emmanuelle Beart were the highlight for me.

- Matchmaking Mayor
This is the kind of quirky oddity I always like seeing in a film festival. It's a documentary from Slovenia on the Mayor of a town who is obsessed with the low natality rate he encounters from his people and pressures them to start relationships with each other. It's a light piece that has plenty of well-timed laughs. It doesn't delve deep enough into its themes (almost every living room or kitchen shown on the doc has some kind of religious imagery) but it doesn't try to, either. It's just unusual fun.

- Metropolis (New Cut)
This was just amazing. The new footage discovered in Buenos Aires adds a lot of substance and personality to the film. Unfortunately, it just can't be restored to the high standards we have for image quality nowadays, but I'll take this over nothing. With only one scene missing from Metropolis, the epic beauty of its vision and its importance in the development of the sci-fi genre are clearer than ever. Modernism >>>>>>>>>> Post-modernism

Oh, I saw this with live music composed specially for the film so it was even more fucking amazing.

http://3.bp.blogspot.com/_PgxexXgrAXI/SqAQpfiPliI/AAAAAAAAC9g/s9qcUgExLhU/s400/AMERICA+AMERICA.jpg

- America, America
First time seeing this Kazan classic. Although not a perfect film, it's a very interesting one, and there are few directors, even in classic Hollywood, who can give their works this type of literary weight. The cinematography is striking and the story, although slow and morose, is always involving. Seeing it in the context of his history with HUAC, Kazan's idealization of America as a land of the free is kind of sinister, which is of course not a detriment against the film but an observation.

- Cave of Forgotten Dreams 3D
Herzog keeps outdoing himself with a simple, beautiful documentary that uses the 3D technology in the way it should be used: to convey things such as depth of space that can't be appreciated in the same way with common film. The film has all the typical Herzog documentary touches (awkward moments, focus on both the human and the reptile point of view) but it's class, subdued and magnificent in its appreciation of time and human ambition.

- ¿Qué Sois Ahora? Pequeña Orquesta Reincidentes
This is a documentary focusing on Reincidentes [The Relapsers (?)], an Argentinian band from the '80s and '90s which made a fusion of Nick Cave rock, percusion, poetry and tango flourishes. I wasn't familiar with them, they're kind of a cult item, and my girlfriend briefly introduced them to me. This doc, however, was a mess. It tried to avoid being a typical rock documentary and so it became an incoherent mixture of shaky videotape footage with random idiotic opinions from a group of music critics and casuals who were never identified in any way until the ending credits. There was literally nothing more than that. What's worse, the documentary focused obsessively on the whys and hows the band split (after almost 18 years of work) and portrayed that as some kind of mysterious failure instead of the natural ending of a creative group. It failed to honor the band and to be anything of importance other than wanking.

http://www.cancelloedarnonenews.com/wp-content/uploads/2010/12/claudiaalibrino.jpg

- Il Gattopardo
Yes, the Luchino Visconti masterpiece. I had never seen it. Now I have. Burt Lancaster is an incredible actor, with minute gestures that count more than entire speeches by most others. I also saw this on a particularly large screen - the beauty of La Cardinale and the classic painting look of the battle scenes were impressive. I felt the lenght as the passing of time and yet I was never bored, despite the fact that the film works more as a series of vignettes than as an advancing story. Seeing a classic film I was still in lack of was the best way to close the festival for me.

What did I miss? I missed Meek's Cutoff despite having bought tickets. That was fucking lame. I got too late to buy for the latest Miike and the latest Sion Sono. And I refused to spend Saturday night with The Turin Horse despite thinking a lot about it. Overall, I think I took easier than in other years because I hate that feeling of saturation in a film festival. I picked some movies carefully and others very casually.

[B-side]

I wanted to love Day of the Outlaw, but it wasn't in the cards. Entirely solid flick, though.

[Ezee E]

Well, this is the time of year to catch up on all those 2010 mediocrities you missed. Don't forget about Please Give! ;)

Saw that forever ago. One of the worse movies from last year.

Unstoppable I've had for over a month now.

[Bosco B Thug]

I do have Unstoppable waiting to be watched.
Hoo boy, get ready to join the club!

That is, the "liked it," "loved it," "hated it," or "I'm mostly indifferent toward it" club, one of those.


I realized halfway through A Taste of Cherry that I didn't want this to be my first Kiarostami because this is everyone's first Kiarostami. I'm going to fast track Close-Up now, so that one'll kind of be like my first Kiarostami. A Taste of Cherry was okay. I actually appreciated the "burial" and the "final sequence," as they were risks taken in a film that struck me as rather low on taking risks. A beautiful-looking, tranquil film that could've done with being more minimalist than it was. As it is, I thought it was just okay.

[Qrazy]

Hoo boy, get ready to join the club!

That is, the "liked it," "loved it," "hated it," or "I'm mostly indifferent toward it" club, one of those.


I realized halfway through A Taste of Cherry that I didn't want this to be my first Kiarostami because this is everyone's first Kiarostami. I'm going to fast track Close-Up now, so that one'll kind of be like my first Kiarostami. A Taste of Cherry was okay. I actually appreciated the "burial" and the "final sequence," as they were risks taken in a film that struck me as rather low on taking risks. A beautiful-looking, tranquil film that could've done with being more minimalist than it was. As it is, I thought it was just okay.

Easily his best film that I've seen (only seen 4). Close-up is conceptually interesting but doesn't really compare imo. Not really sure how you'd want it to be more minimalist. It would be tedious as fuck if that were the case imo.

[Bosco B Thug]

Easily his best film that I've seen (only seen 4). Close-up is conceptually interesting but doesn't really compare imo. Not really sure how you'd want it to be more minimalist. It would be tedious as fuck if that were the case imo. My little comment suggests that I never actually thought the film was tedious, and I was successfully lulled by it... its can't-miss-it idyllic-ness. But if it was more tedious, perhaps it would've felt more idiosyncratic.

[Rowland]

So I've discovered some marvelous Europeon cinema during my excavation of 1981, including my first exposures to Zulawski with the stunning Possession and the mostly ignored Claude Miller with his compulsively watchable Garde Ã* vue, which hasn't even been released in the US. Still have lots more to catch up with that looks promising as well.

Very quick shots:

The Incredible Shrinking Woman (Joel Schumacher, 1981) *½

Blurs the lines between appropriately abrasive satire and excessively embodying that which it satirizes, not unlike Jingle All the Way. Also equally irritating, ugly, and tacky, though not without its minor charms thanks to Matheson's source material that inspires a few niftily conceptualized and executed setpieces.

Happy Birthday to Me (J. Lee Thompson, 1981) **

An absurd, overlong, largely tension-deprived slasher populated with more irredeemable characters than usual, that is almost passable for its sometimes atypically dynamic direction (when it isn't inexcusably underlit), a few memorably inventive murders, and a camptastic climax that is dumbfounding in its demented hysteria.

For Your Eyes Only (John Glen, 1981) **

Goes for gritty, first by introducing a vengeance theme that it utterly squanders by being predictably facile and hypocritical in its morality and politics, as well as by toning down the silliness of its action sequences, which are the highlight thanks to Glen's sturdy direction that renders the film's 2+ hour length snappier than it deserves. It's just a shame that Roger Moore comes across less as a dapper, oversexed international spy than a suddenly rapid-aging creepy uncle hitting on girls one-third his age.

Galaxy of Terror (Bruce D. Clark, 1981) **½

Forbidden Planet meets Alien, produced by Roger Corman on one of his usual non-budgets, though you'd never know it thanks to the phenomenal set design by a young James Cameron, who almost single-handedly redeems what is otherwise a cheap, poorly written/directed/performed knockoff. There's some nifty effects work here as well, and once you adjust to its shameless, trashy wavelength, it's a fun time that crescendos to a delightfully gonzo climax.

[balmakboor]

I do have Unstoppable waiting to be watched.

Stick with King's Speech.

[balmakboor]

Two nights in a row I've fallen asleep watching Murder on the Orient Express. I don't know if it's that boring or if I've been that tired. It's starting to look like a Saturday morning with coffee kind of movie.

[Dukefrukem]

Faster was a disappointment. I expected the Rock to be more of a badass than he was. It's a really slow moving action flick with very little Driving Fast (which was kinda how they marketed it next to "Drive Angry") and more about being "Faster" drawing his gun than his enemies. There were several subplots that jam up the flow of the movie to misdirect you... but it's just not that entertaining. When you expect a movie to be about revenge, it starts off perfectly but some scenes are actually more sincere than I liked. It's hard to be on the Rock's side when there's so much going on.

I want more of the Rock like in The Rundown. I like him as an action star.

[Raiders]

I wanted to love Day of the Outlaw, but it wasn't in the cards. Entirely solid flick, though.

You almost succeeded at being correct, so I'll give an "A" for effort.

[Derek]

Fasterwas a disappointment.

Not a phrase that should ever be uttered.

[Mara]

Not a phrase that should ever be uttered.

*snickers*

[Boner M]

RE: For Your Eyes Only, go to 2:13 to find its greatest praise...

JWMygjLN1ws

[Boner M]

Faster wasn't very good, but it resembles The Driver/Two-Lane Blacktop than any The Rock vehicle has any right to, so it has that going for it.

[Dukefrukem]

Not a phrase that should ever be uttered.

You kind of have an idea what you're getting from it no?

[D_Davis]

- Metropolis (New Cut)
This was just amazing. The new footage discovered in Buenos Aires adds a lot of substance and personality to the film. Unfortunately, it just can't be restored to the high standards we have for image quality nowadays, but I'll take this over nothing. With only one scene missing from Metropolis, the epic beauty of its vision and its importance in the development of the sci-fi genre are clearer than ever. Modernism >>>>>>>>>> Post-modernism


I watched this the other night. It was awesome. I made a play list of interesting ambient/experimental music to listen to, and it was way cool.

What kind of music was played when you saw it?

[Bosco B Thug]

My local video store had a newly arrived copy of Joseph Losey's The Prowler on DVD from some no-name label. What a find! Excellent film noir starring Van Heflin as the Homme Fatale. Try to find a copy! Oh yeah, thumbs up. Fascinating movie.


Happy Birthday to Me (J. Lee Thompson, 1981) **

An absurd, overlong, largely tension-deprived slasher populated with more irredeemable characters than usual, that is almost passable for its sometimes atypically dynamic direction (when it isn't inexcusably underlit), a few memorably inventive murders, and a camptastic climax that is dumbfounding in its demented hysteria. You'd think the bolded is all you can ask for from a stupid slasher film. But I guess being "tension-deprived" can very well nullify the lot of that.

I remember the plot being absurd and laggingly convoluted, but I also remember thinking the film built a mystery to a relatively engaging extent, and the climax is very satisfying.

[MadMan]

It's just a shame that Roger Moore comes across less as a dapper, oversexed international spy than a suddenly rapid-aging creepy uncle hitting on girls one-third his age.Hey that one chick was hitting on him :P

After For Your Eyes Only they wisely recognized that Moore was getting rather old for the part, and had him hit on women more his age. And by more his age, I mean only probably 10-15 years younger :lol:

[B-side]

So, I may be slightly overrating American Madness, my first Capra, but it just worked so well, and its highly topical framework endeared it a bit more to me. The entire film takes place within the confines of Union National Bank, a bank run by an idealist who insists on the qualities of honest capitalism and operates his business on reasoned faith as opposed to sheer numbers. He believes the economy is running smoothly when banks are lending and people aren't afraid to spend. Partway through, the bank is robbed of 200k with the help of an employee indebted to the robbers for 50k from gambling. Post-robbery, the entire town is abuzz with panic and rumors that grow increasingly detached from the reality of the situation highlighted with a montage of shots isolating upper bodies and faces screeching into their phones informing others of the unreliability of the bank, which prompts a massive gathering at the bank, everyone seeking to remove all of their money, and some chiding the bank's employees for lying to them about its security.

Featured throughout the film is a love triangle that mirrors the bank's crisis, if only in terms of chronologically matching codas. There's a slice of life quality to the proceedings that ease some of the concerns over that love triangle, making it feel more a part of the mix of drama as opposed to the main narrative thrust. Maybe I'm a sucker, but it was -- despite the unpleasantness of the circumstances -- nice to see a film feature a principled, sympathetic CEO that doesn't lay down for anyone. This is not to speak of Capra's visual eye and knack for rapid-fire, crackling dialogue that really help things along.

http://i51.tinypic.com/29cq3o1.jpg

[B-side]

Next up for Capra is The Bitter Tea of General Yen. All signs point to a gorgeous-looking film, at the very least.

[baby doll]

Next up for Capra is The Bitter Tea of General Yen. All signs point to a gorgeous-looking film, at the very least.It's pretty awesome. Very Sternberg-ian. I'm tempted to jump on the bandwagon that considers it Capra's best, except that I've seen practically nothing other than It Happened One Night, It's a Wonderful Life, and the first thirty minutes of Mr. Smith Goes to Washington.

[B-side]

It's pretty awesome. Very Sternberg-ian. I'm tempted to jump on the bandwagon that considers it Capra's best, except that I've seen practically nothing other than It Happened One Night, It's a Wonderful Life, and the first thirty minutes of Mr. Smith Goes to Washington.

I've heard nothing but great things about it, especially its cinematography.

[Rowland]

You'd think the bolded is all you can ask for from a stupid slasher film. But I guess being "tension-deprived" can very well nullify the lot of that.

I remember the plot being absurd and laggingly convoluted, but I also remember thinking the film built a mystery to a relatively engaging extent, and the climax is very satisfying.Well, between being overlong at nearly two hours and devoid of tension, I was implying that much of the movie was just straight-up boring, which was compounded by how utterly insipid and shrill were most of the characters/performances. Most of the reason I warmed up to the film, beyond how laughably contrived and transparent were its attempts to cast suspicions on every character, was the goofy climax, but I wouldn't say it's conventionally satisfying, but rather so ludicrously inexplicable that it's almost awe-inspiring. As a horror movie it's pretty inept, but it's probably going to wind up being more memorable than much of its superior brethren. And with that said, I'll admit that the nightmare sequences sprinkled throughout and the climactic birthday table tableau are legitimately kinda creepy.

[Rowland]

Corpse Mania (Kuei Chih-Hung, 1981) **½

A Shaw Brothers giallo, lacking the finesse of prime Argento or Mario Bava (instead resembling something the latter's son Lamberto may have cooked up on a good day), but Kuei at least appears to be trying, even when his often dubious style conveys little beyond a lurid, excessive decadence, which suits the period-piece Hong Kong setting that is appreciably novel for such a film. There are numerous lags however, as it too often settles into a dull procedural or a marginally more interesting melodrama of social mores, which at least pay off with a surprisingly effective twist and its appropriately grim epilogue that suggest more was on the film's mind than it lulls you into anticipating.

My Young Auntie (Lau Kar-Leung, 1981) **½

Shaw Brothers again, this time attempting a sort of feminist martial arts epic to mixed results. The leading lady is charismatic and a pleasure to watch as she kicks ass with both poise and vigor, and the script is cleverly attuned to the satirical possibilities that her role as a symbol of cultural Westernization presents. It's just a shame then that she is paired up with a buffoonish male lead who spends half his screen time demeaning her, and the climactic setpiece, while very well choreographed on its own terms, involves a male character (played by the director no less) who spent most of the film on the sidelines rescuing her from a villain who was also barely in the picture, which proves terribly unsatisfying and reeks of Lau reasserting his male dominance.

[Boner M]

I like this obsession, Rowls. Are you ever gonna get around to Cutter's Way? Or did I miss it?

[Rowland]

I like this obsession, Rowls. Are you ever gonna get around to Cutter's Way? Or did I miss it?It's in the log. I'm trying to mix things up as much as possible, so I don't wind up watching all the highly praised stuff in one large chunk. And besides, all the cult oddities and forgotten films from the margins often prove just as interesting.

[Boner M]

It's in the log. I'm trying to mix things up as much as possible, so I don't wind up watching all the highly praised stuff in one large chunk. And besides, all the cult oddities and forgotten films from the margins often prove just as interesting.
Wise move.

[Boner M]

So my editor has given me space for a monthly DVD column where I get to pimp whatever recent global DVD releases tickle my fancy. I chose Criterion's Blow Out, the UK version of Il Posto and Tsai Ming-Liang's Vive L'Amour (the latter sight-unseen; just general Tsai-love since he's never been released on Australian DVD).

Life is good.

[Yxklyx]

It's pretty awesome. Very Sternberg-ian. I'm tempted to jump on the bandwagon that considers it Capra's best, except that I've seen practically nothing other than It Happened One Night, It's a Wonderful Life, and the first thirty minutes of Mr. Smith Goes to Washington.

I'm a huge Stanwyck fan but I was underwhelmed by this one. I loved Lady for a Day which came out the same year.

[Philosophe_rouge]

Next up for Capra is The Bitter Tea of General Yen. All signs point to a gorgeous-looking film, at the very least.

It's excellent. I think early Capra is something you will be all over, later Capra is another story. Though, I adore It's a Wonderful Life.