28 Film Discussion Threads Later

[megladon8]

In the book, Hannibal breaks Verger's neck before disfiguring him. I'm surprised they omitted that in the movie.


Ah, OK.

That is a strange omission. Leads the viewer to ask what I just asked, no?

[B-side]

Is Manhunter worth seeing? Like, does it feel at all like a Michael Mann film?

[Winston*]

Is Manhunter worth seeing? Like, does it feel at all like a Michael Mann film?

It's like the most Michael Mann film.

[Irish]

Is Manhunter worth seeing? Like, does it feel at all like a Michael Mann film?

It's one of the best things he's done and far better, for my money, than any of the other stuff based off of Harris' novels.

I'd place it just behind Heat and slightly ahead of Thief.

[Grouchy]

Yeah, I figured. It's not the obsessions or their shifting nature that bothered me. It was the consumer nature of the kids' obsession. They had to see the movie, get all the toys, get the happy meals, etc.
Ah, yeah. I imagine that's fucking scary.

[Irish]

"Chaos Cinema": this is a to notch video essay about the action films of the last 10 years, and how they compare to movies from other decades. Great stuff for technical geeks and action fans both. Two parts, each around 5 minutes each.

http://blogs.indiewire.com/pressplay/archives/video_essay_matthias_stork_cal ls_out_the_chaos_cinema/

[Spinal]

For over 25 years, I pretended that no sequel was made to 2001. Tonight, I broke down and watched it. I really wish I hadn't.

[B-side]

It's one of the best things he's done and far better, for my money, than any of the other stuff based off of Harris' novels.

I'd place it just behind Heat and slightly ahead of Thief.

Hm. Cool. Still not particularly interested in The Keep or The Last of the Mohicans.

[Irish]

For over 25 years, I pretended that no sequel was made to 2001. Tonight, I broke down and watched it. I really wish I hadn't.

More importantly, what did your kid think of it?

[Ezee E]

What's a sequel to 2001 even like? I can't imagine it really, despite hearing mostly decent to good thoughts about it.

[Boner M]

Alan Clarke's Christine uploaded to youtube (http://www.youtube.com/watch?v=_IEhHuRJ-48); supposed to be among his best (also one of only two of his films he had a writing credit for).

[Spinal]

What's a sequel to 2001 even like? I can't imagine it really, despite hearing mostly decent to good thoughts about it.

It mostly involves explictly explaining with lengthy dialogue all of the things that were left gracefully unspoken and ambiguous in the first film.

[MadMan]

2010 in book form is better. I liked the movie adaption well enough, but that just speaks to how good its cast was despite some flimsy material.

[Spinal]

2010 in book form is better. I liked the movie adaption well enough, but that just speaks to how good its cast was despite some flimsy material.

Whose performance in this film would you call exceptional? Balaban's maybe?

[MadMan]

Whose performance in this film would you call exceptional? Balaban's maybe?I didn't say exceptional, just really good. I liked Roy Scheider and Balaban in it, yes. I forgot that Helen Mirren was in it, and John Lithgow could have used more screen time.

[Pop Trash]

For over 25 years, I pretended that no sequel was made to 2001. Tonight, I broke down and watched it. I really wish I hadn't.

Ah, it's not that bad. Just conventional and exposition heavy. Both of which 2001 are not.

[Pop Trash]

Ian: what's your footchase comment refer to on your twitter? Is there a good one in Drive? I've long said I prefer footchases to car chases. They're just so goddamn cinematic. But I like a good car chase too.

[Pop Trash]

It's one of the best things he's done and far better, for my money, than any of the other stuff based off of Harris' novels.

I'd place it just behind Heat and slightly ahead of Thief.

Jonathan Demme has much better taste in music though. Manhunter has way too much "In-A-Godda-Davita" (or however the hell it's spelled). Still think Silence tops it.

[Winston*]

Ian: what's your footchase comment refer to on your twitter? Is there a good one in Drive? I've long said I prefer footchases to car chases. They're just so goddamn cinematic. But I like a good car chase too.

I would bet he's referring to the footchase in The Yellow Sea. Drive oddly has no footchases.

[Boner M]

The foot chase comment was based on my assertion than Drive could only have been improved by a footchase, upon which my viewing companions rebutted with a unanimous 'baloney' coz the film is about a driver, which I suggested was a stupid reason to not include one.

Discuss.

[Pop Trash]

Point Break has a great one and it's about surfers. So there.

[Winston*]

Only if the footchase was between Albert Brooks and Brian Cranston.

[Boner M]

Point Break has a great one and it's about surfers. So there.
The one in Brick is awesome as well.

[Boner M]

Only if the footchase was between Albert Brooks and Brian Cranston.
Esp. if it took place in one static wide shot where both collapsed before exiting the frame.

[B-side]

Abel Ferrara wants you to torrent his films, says Lynch is not interested in making movies anymore and wrote a screenplay about Pasolini. (http://www.indiewire.com/article/locarno_interview_abel_ferrara _download_torrents_of_my_undis tributed_movies/)

[Boner M]

Heartbeats (Dolan, 2010) *
Hmm, this is overly harsh.

[MadMan]

Abel Ferrara wants you to torrent his films, says Lynch is not interested in making movies anymore and wrote a screenplay about Pasolini. (http://www.indiewire.com/article/locarno_interview_abel_ferrara _download_torrents_of_my_undis tributed_movies/)He comes off as a bit grumpy in that interview, but overall I'd like to meet him and talk about cinema. At some point I should probably watch one of his movies.

Dirty Harry has an excellent foot chase that ends in a shooting.

[Qrazy]

Is Manhunter worth seeing? Like, does it feel at all like a Michael Mann film?

It's not very good... but you'd probably like it.

[Derek]

Hmm, this is overly harsh.

Nah, it's really a pretty obnoxious, empty film far more interested in revelling in its slick style and fashion consciousness than actually examining character relationships, which is kind of like the only thing the film actually focuses on. It does a terrible job developing the central friendship (in that it doesn't), so you're left with a love triangle and a crumbling friendship between two people who never even seemed to like one another. Dolan's stylistic ticks could have worked in a better film, but here they just glaze over the hollowness, trying to add genuine emotional resonance in a film that's too solipsistic to bother with anything resembling true emotions.

[Fezzik]

The one in Brick is awesome as well.

I can't give enough rep for this comment

[Yxklyx]

The one in Brick is awesome as well.

I much prefer the one in Point Break. Corman's A Bucket of Blood has a good one too.

[Scar]

Gamera trilogy will be released on Bluray on Sept 27th, and Amazon will be selling it for a whopping $12.99.

http://www.highdefdigest.com/news/show/HD_Deals/Amazon/HDD_Spotlight_Bargain_The_Game ra_Trilogy_Blu-ray_1299_Amazon/7510

[Scar]

Is Manhunter worth seeing? Like, does it feel at all like a Michael Mann film?

The finale w/ In A Gadda Davida blasting is good.

[Lucky]

The one in Brick is awesome as well.

It's been years since I've seen Brick and I didn't care for it, but I remember laughing hysterically at something during that scene. Doesn't the pursuing thug run face first into a locker or something? Or does he trip and fall on something?

[B-side]

He comes off as a bit grumpy in that interview, but overall I'd like to meet him and talk about cinema. At some point I should probably watch one of his movies.

Dirty Harry has an excellent foot chase that ends in a shooting.

I can't blame him for being a little grumpy, though. He's struggled to produce films his entire career, and it only seems to be getting worse. He's understandably a bit bitter.:P

[soitgoes...]

Brightside, I'm getting ready to watch The Sun Shines Bright. I think you've mentioned it before?

[B-side]

Brightside, I'm getting ready to watch The Sun Shines Bright. I think you've mentioned it before?

It's wonderful.

Nice Imitation of Life rating, btw.

[Boner M]

Nah, it's really a pretty obnoxious, empty film far more interested in revelling in its slick style and fashion consciousness than actually examining character relationships, which is kind of like the only thing the film actually focuses on. It does a terrible job developing the central friendship (in that it doesn't), so you're left with a love triangle and a crumbling friendship between two people who never even seemed to like one another. Dolan's stylistic ticks could have worked in a better film, but here they just glaze over the hollowness, trying to add genuine emotional resonance in a film that's too solipsistic to bother with anything resembling true emotions.
I dunno, the relationships are pretty sketchily defined/developed but I think Dolan does use his style to capture a swooniness that's vivid enough to overshadow the overall shallowness of the venture. The sounds of the knives hitting the cutting board at the beginning to underscore the mutual attraction to his and the girl's discovery of their object of desire was particularly ingenious.

[soitgoes...]

It's wonderful.

Nice Imitation of Life rating, btw.Ford's film is definitely an improvement over Judge Priest. Winninger kills it, surprisingly trumping Rogers in the Priest role. The best part of the film is Ford's weaving of all the storylines, giving just enough attention to each without losing control of the flow of the film. The Jeff Poindexter role still irritates me, but it is toned down compared to the earlier film. A film where the lead character spouts on about liberty, justice and equality, the old-timey Hollywood racism really smacks as being hypocritical, and undermines the film's main themes. Not a first tier Ford film, but still a very strong effort, which is refreshing when I'm watching a film so deep into a director's filmography. One thing about Ford, he rarely blows me away, but he also rarely disappoints.

Oh, and Imitation of Life, not sure if it's my favorite Sirk, but it's close.

[B-side]

Ford's film is definitely an improvement over Judge Priest. Winninger kills it, surprisingly trumping Rogers in the Priest role. The best part of the film is Ford's weaving of all the storylines, giving just enough attention to each without losing control of the flow of the film. The Jeff Poindexter role still irritates me, but it is toned down compared to the earlier film. A film where the lead character spouts on about liberty, justice and equality, the old-timey Hollywood racism really smacks as being hypocritical, and undermines the film's main themes. Not a first tier Ford film, but still a very strong effort, which is refreshing when I'm watching a film so deep into a director's filmography. One thing about Ford, he rarely blows me away, but he also rarely disappoints.

Oh, and Imitation of Life, not sure if it's my favorite Sirk, but it's close.

I don't really mind the old-timey Hollywood racism. It's clear Ford had sympathy for other races. The "massa"-type blacks never leave Ford's work, and they're probably more historically accurate for that reason. Sergeant Rutledge has a more fully realized black character in the lead.

[soitgoes...]

I don't really mind the old-timey Hollywood racism. It's clear Ford had sympathy for other races. The "massa"-type blacks never leave Ford's work, and they're probably more historically accurate for that reason. Sergeant Rutledge has a more fully realized black character in the lead.I don't necessarily mind the Hollywood racism either. It's a product of the times. I do mind it when it interferes with the film's theme, like this one. Fetchit's character is more of a caricature. His role is one of comedic effect, and it uses his race to achieve that. It's a minor point, but enough to keep me from loving it outright. Still a solid film, that I recommend to those who haven't seen it.

[eternity]

I could have gone to a screening tonight for a movie that is being released later this year. But I had class so I couldn't go...

Yeah. I really really really should have gone. It was the kidn of movie you skip class for.

[elixir]

I could have gone to a screening tonight for a movie that is being released later this year. But I had class so I couldn't go...

Yeah. I really really really should have gone. It was the kidn of movie you skip class for.

...come on, just say the name of the movie.

[soitgoes...]

...come on, just say the name of the movie.
It was Footloose.

[Ezee E]

It's been years since I've seen Brick and I didn't care for it, but I remember laughing hysterically at something during that scene. Doesn't the pursuing thug run face first into a locker or something? Or does he trip and fall on something?
He trips over a foot that steps out, and his head hits a water fountain or something.

Kind of a lowpoint in the movie for me personally.

[eternity]

...come on, just say the name of the movie.
MI4.

[B-side]

Where is the Friend's Home? is wonderful. Can't wait to see the rest of the trilogy.

[soitgoes...]

Where is the Friend's Home? is wonderful. Can't wait to see the rest of the trilogy.It's probably the best stand alone film of the trilogy. All three films are wonderful, and while I might say other trilogies have a stronger set of three films (Human Condition, Coming of Age trilogy, Three Colors), Kiarostami's probably the best trilogy as a whole, if that makes sense. It's interesting that Kiarostami dismisses the idea that the films constitute a trilogy when they obviously, and brilliantly, play off one another. And to think he was able to sneak in Close-Up right in the middle of the whole thing. An amazing run.

[B-side]

Coming of Age trilogy

?

[elixir]

?

I think he is referring to Hou's.

[soitgoes...]

?


I think he is referring to Hou's.
Yeah, that's the one.

[B-side]

Ah. Wasn't familiar with that trilogy title.

[baby doll]

Abel Ferrara wants you to torrent his films, says Lynch is not interested in making movies anymore and wrote a screenplay about Pasolini. (http://www.indiewire.com/article/locarno_interview_abel_ferrara _download_torrents_of_my_undis tributed_movies/)Well, it's not like many of his movies since The Funeral have had any kind of US distribution (and those that did, such as 'R Xmas, Mary and Go Go Tales, received virtually no mainstream recognition--and by recognition, I simply mean acknowledgement of their existence in the mainstream media).

[B-side]

Well, it's not like many of his movies since The Funeral have had any kind of US distribution (and those that did, such as 'R Xmas, Mary and Go Go Tales, received virtually no mainstream recognition--and by recognition, I simply mean acknowledgement of their existence in the mainstream media).

Yeah, I think he was mostly referring to the stuff you can't get in the US on DVD.

[Irish]

Screenwriter of Conan talks about what it feels like to have your movie flop at the box office:

http://www.quora.com/Whats-it-like-to-have-your-film-flop-at-the-box-office

[Yxklyx]

Screenwriter of Conan talks about what it feels like to have your movie flop at the box office:

http://www.quora.com/Whats-it-like-to-have-your-film-flop-at-the-box-office

Is it any surprising that this movie flopped? Just look at the imdb ratings of this director's previous films (tv included). Except for Texas Chainsaw Massacre he's consistently around 4 or 5.

[Dukefrukem]

Screenwriter of Conan talks about what it feels like to have your movie flop at the box office:

http://www.quora.com/Whats-it-like-to-have-your-film-flop-at-the-box-office

That was a good read. I realize it's natural for one to put so much blame on themselves and always stand behind their work- but wouldn't the director and editor be more to blame than the screenwriter? Maybe even the PR people? I didn't see many commercials for Conan.

[Derek]

I dunno, the relationships are pretty sketchily defined/developed but I think Dolan does use his style to capture a swooniness that's vivid enough to overshadow the overall shallowness of the venture. The sounds of the knives hitting the cutting board at the beginning to underscore the mutual attraction to his and the girl's discovery of their object of desire was particularly ingenious.

I did like the regular sound against the slow-mo images, but the moment you mention is the only time it really worked. I mean, c'mon, the time where they're walking in the rain with the umbrella and she slowly moves the umbrella to cover both of them. *Sigh*


That was a good read. I realize it's natural for one to put so much blame on themselves and always stand behind their work- but wouldn't the director and editor be more to blame than the screenwriter? Maybe even the PR people? I didn't see many commercials for Conan.

Can the screenwriter or PR people be blamed for this?

http://angryweb.net/wp-content/uploads/2011/08/conan-movie-photo.jpg

Director of shitty, unambitious remake should blame director of shitty, unambitious remake.

[Spinal]

Something for the 'Isn't that amusing?' file ...

We were watching Back to the Future II last night and I was amused by the way that Marty discovers that the world as he knows it has been altered. He sneaks into what he thinks is his house ... and there's a black family living there! AHHHHH! DYSTOPIAN 1985!!!

[DavidSeven]

Rabbit Hole: might be the winner of the "An Education" award for meh-worthiest critical darling of 2010. Aaron Eckhart makes it sort-of worthwhile. There's one pretty great scene with him and Kidman.

[Rowland]

critical darling of 2010.I don't even know if I'd classify it as such. Sure, its reviews were pretty good as far as such films are concerned, but it was largely ignored during the year-end list avalanche.

[Ezee E]

http://2.bp.blogspot.com/-aW1cpRsNi6M/TlSDw8awfBI/AAAAAAAABUw/uv3sd-0M1HE/s1600/american%2Bbreakdown.jpg

This never got any publicity? Has to be absolute shit.

[Henry Gale]

Ha, I saw that cover just yesterday and had the same reaction. Upon further research, it was shot around 2006 and isn't really a movie with that ensemble at all, since it's essentially a collection of short films from different directors that seem fairly unrelated to one another.

So basically, it's this sort of thing all over again: http://www.traileraddict.com/content/metrodome-distribution/love_and_distrust.jpg

[Mysterious Dude]

Steve Carell looks so serious. I prefer when he has his head on a stack of pancakes.

[Winston*]

How many movies have the title American Noun, I wonder?

[elixir]

How many movies have the title American Noun, I wonder?

http://www.criticker.com/blog/index.php/2008/07/04/american-blog-post/

[Winston*]

There are two movies called American Gun? Why is there one movie called American Gun?

"You see it's an about gun culture...in America. American Gun. You get it? It's a metaphor."

[Winston*]

Saw White Material. First Claire Denis film I've been really impressed by, though I also think its the first of her films I've really understood.

[Boner M]

Saw White Material. First Claire Denis film I've been really impressed by, though I also think its the first of her films I've really understood.
White Material is sorta the Claire Denis film for people who don't like Claire Denis films.

What's the other one aside from Beau travail that you've seen? I think you'd like 35 Rhums, her Ozu homage.

[Winston*]

White Material is sorta the Claire Denis film for people who don't like Claire Denis films.

What's the other one aside from Beau travail that you've seen? I think you'd like 35 Rhums, her Ozu homage.

Trouble Every Day. I should probably see an Ozu film first before I go around seeing Ozu homages. I'm interested in seeing Chocolat now

[Qrazy]

No Fear, No Die is a nice small slice of life crime film. Maybe that one.

[Boner M]

Actually, Friday Night is the logical entry point. And the most beloved of hers around these parts.

[Boner M]

La Rupture (1970) ****Nice! I need to watch this one again. Definitely Chabrol's most savagely satirical & Bunuel-esque film (that ending!).

[Lucky]

He trips over a foot that steps out, and his head hits a water fountain or something.

Kind of a lowpoint in the movie for me personally.

Agreed. Whatever it was, I remember it being ridiculous.

PS writing rep comments on your phone is difficult.

[Ezee E]

Agreed. Whatever it was, I remember it being ridiculous.

PS writing rep comments on your phone is difficult.
Sausage fingers.

[B-side]

Life, and Nothing More... is, of course, great. I'm not sure I liked it quite as much as Where is the Friend's Home?, but then again, maybe I did. They're both pretty wonderful. Pretty sure I'm gonna adore Taste of Cherry on a rewatch.

[Derek]

Life, and Nothing More... is, of course, great. I'm not sure I liked it quite as much as Where is the Friend's Home?, but then again, maybe I did. They're both pretty wonderful. Pretty sure I'm gonna adore Taste of Cherry on a rewatch.

Why'd you skip Through the Olive Trees?

[B-side]

Why'd you skip Through the Olive Trees?

That one's next. :P

[Derek]

That one's next. :P

Duh, not sure why, but I always think Life is the last in the trilogy. You'll dig Olive Trees, very cleverly self-referential. Glad you like Home so much - might be my favorite Kiarostami.

[B-side]

Duh, not sure why, but I always think Life is the last in the trilogy. You'll dig Olive Trees, very cleverly self-referential. Glad you like Home so much - might be my favorite Kiarostami.

I have a soft spot for any films having to do with the medium, so that alone may elevate it. I'll probably watch it tonight and finish off the trilogy. Looking forward to watching Close-Up on Blu.

[B-side]

Through the Olive Trees is definitely my least favorite of the trilogy. Still good stuff -- occasionally great -- but feels less substantial and too reliant on the film-within-a-film gag. Admittedly, after a while, I started to get weary of the small talk in the last two films. It starts feeling too much like a boring interview. I prefer when the dialogue is worked into the environment.

[Boner M]

Through the Olive Trees is definitely my least favorite of the trilogy. Still good stuff -- occasionally great -- but feels less substantial and too reliant on the film-within-a-film gag. Admittedly, after a while, I started to get weary of the small talk in the last two films. It starts feeling too much like a boring interview. I prefer when the dialogue is worked into the environment.
Hmm, that's the only of the Koker films I've seen and I thought it was pretty great. How can you not mention the final shot?! Probably the most potent visual reduction of a narrative event I can think of from any film.

[B-side]

Hmm, that's the only of the Koker films I've seen and I thought it was pretty great. How can you not mention the final shot?! Probably the most potent visual reduction of a narrative event I can think of from any film.

They all have great final shots.:P

You're missing a fair bit by not seeing the first two in the trilogy.

[Boner M]

You're missing a fair bit by not seeing the first two in the trilogy.
I know, I know. Wish MoC or Criterion would release the entire trilogy.

[Grouchy]

I was just looking at a poster for The Hangover and, you know... aren't the four main characters directly inspired by the four main characters in Fandango?

It's not only that Bradley Cooper sort of resembles young Kevin Costner, the character traits of the four are very similar. You know, Judd Nelson is the responsible guy with glasses, the fat man who's clearly the most bizarre, the other one who has the love subplot.

[Spun Lepton]

Iron Man 2 isn't as good as the first, but it's a fun ride.

He creates a new element? Come on.

[MadMan]

I thought that Rubber (2011) was actually funny, and that the movie is very good at inspiring some actual debate. In addition to that, I at first hated the opening monologue, but then I found it kind of amusing. What appeared to be a grindhouse style homage to such films from the 1970s and 1980s turned out to be something much more, and I'm not really surprised that most people hated this movie. I liked it, and the last scene was sort of awesome in that it makes fun of how serial killers always seem to survive and pop up in the next installment, despite clearly being killed. Plus I'm down for a sequel involving the rise of the killer tires, led by the tire now reborn as a tricycle.

[megladon8]

Gattaca is still a wonderful movie. And what a musical score it has.

[Derek]

Gattaca is still a wonderful movie.

It's really not that good. [/Qrazy]

[Qrazy]

I can only hope that this homaging carries into real life.

[Sycophant]

You know, Judd Nelson is the responsible guy with glasses, the fat man who's clearly the most bizarre, the other one who has the love subplot.

I'm pretty sure the four main characters of The Hangover are just basically the primary stock characters in Hollywood's repertoire.

[Watashi]

I was rewatching Beauty and the Beast (the Disney one) and I noticed something odd...

Beast has until his 21st birthday to break the spell and it's clear that several year have past since his transformation. So this means he just some bratty young teenager when he was offered the rose.

What makes no sense is that the enchantment affected everyone who lived there as well. Throughout the film, we see plates, forks, napkins, mugs all coming to life. In the Be Our Guest number, there's hundreds of things dancing and singing. So how many servants DOES the Beast have? Also, why didn't the servant answer the door when the old hag knocked in the first place? Also, if they've been under the enchantment for years, how does Chip work? Did Mrs. Potts have teapot sex?

Also where are the Beast's parents? Are they one of the dancing forks?

Oh well, Disney magic and shit.

[Ezee E]

Well, I know one of the movies at Telluride is going to be Shame. Nice.

[Sven]

So how many servants DOES the Beast have?

I imagine it was the entire castle staff and not just his direct servants. I didn't find that a stretch.


Also, why didn't the servant answer the door when the old hag knocked in the first place?

That's a good but pointless question.


Also, if they've been under the enchantment for years, how does Chip work? Did Mrs. Potts have teapot sex?

I imagine that aging does not occur in this spell. Years pass, sure, but I don't think the time matured.


Also where are the Beast's parents?

Bratty young kings are hardly a novelty in fairy tales. Probably died when he was young and he was raised by advisers.

Your incredulity is misplaced. Save it for Pocahontas, a movie that deserves no quarter.

[Henry Gale]

I was rewatching Beauty and the Beast (the Disney one) and I noticed something odd...

Beast has until his 21st birthday to break the spell and it's clear that several year have past since his transformation. So this means he just some bratty young teenager when he was offered the rose.

What makes no sense is that the enchantment affected everyone who lived there as well. Throughout the film, we see plates, forks, napkins, mugs all coming to life. In the Be Our Guest number, there's hundreds of things dancing and singing. So how many servants DOES the Beast have? Also, why didn't the servant answer the door when the old hag knocked in the first place? Also, if they've been under the enchantment for years, how does Chip work? Did Mrs. Potts have teapot sex?

Also where are the Beast's parents? Are they one of the dancing forks?

Oh well, Disney magic and shit.

Yeah I also watched this earlier this week for the first time in ages (though considering how many times I watched it as a kid, nothing felt too new) and I started to have a lot of those same questions for the first time. I just assumed that human Beast was somehow parentless at a young age and was left to live in the castle by himself without showing much compassion anyone, including all of those that worked for him. One day an old woman stumbles to the gates and asks to speak directly to the prince, and so on. The real question should be what happened to all of the actual appliances and utensils after their transformations?! That castle must be completely empty at the end of the movie aside from a few tables and chandeliers.

There's also scenes that confused me to no end like the one where Mrs. Potts sends Chip to bed with "his brothers and sisters" and you see dozens of frozen / sleeping Chip clones piled on top into the cupboard. Then of course once they're turned back Chip is the only young child we see, with human Mrs. Potts somehow being an elderly woman.

Aside from silly open-ended things like that, it's still a classic.

[Mysterious Dude]

Here's my question: if the beast's castle is within walking distance of the village (the mob walks there in the end), why don't the town's adults remember that a prince lived nearby only a few years ago? Wasn't he, like, their leader, or something? Did the witch also cast an amnesia spell over the town?

[Skitch]

Gattaca is still a wonderful movie. And what a musical score it has.

Indeed.

Why has no one told me about The Burning? What a fun 80's slasher! You guys are slacking.

[BuffaloWilder]

So, because of school I've been too busy to actually write anything these last two months. I'm going to start a video web-log (read: "vblog" or "vlog") where I can riff and work off notes, meaning I can cover more ground in a shorter work-time than I would be with the written word in full - which means you'll all get to hear my voice for the first time, which has been described as "way too black to be coming out of a short, skinny white guy's mouth."

But, I can't actually get my video software for Linux to run correctly. So, it's been a night of trial and error, with more to come. Also, this'll be my first time editing something like this, so the first few - thousand - are going to be really rough.

[B-side]

Having now seen four Capra's, I've found myself often impressed by him as a technician. The Bitter Tea of General Yen is certainly the best of them and contains some of the best black and white photography I've ever seen. While The Miracle Woman is nowhere near as impressive as that one on the technical front, nor as a whole, it contains flashes of excellently handled tracking shots and highly capable framing utilizing a diagonal position. The Miracle Woman is a bit goofy at times and about as subtle as a slap in the face, but the opening, say, half hour is very good and seems to harbor a lot of Capra's creative energy for the project. Stanwyck is heated and incredibly charismatic which ends up being a major draw and lends an undeniable intensity to her first sermon as a miracle worker. What starts out as a well-balanced critique of religious perversion becomes another love story with a cartoon villain. A wide shot of the stadium during that first sermon reveals American flags hanging high in the rafters above her dishonest display, implicating real world Americans in the perverse display of manipulation of the faithful and money-grubbing tactics.

[dreamdead]

A rewatch of Pierrot le Fou helped shake some of my reservations. Though playful, its deceptive critique of gender relations (surely indicative of his and Anna Karina's rockiness), its sly commentary and meta-awareness, and the pure beauty of the cinematography all helped it achieve an aesthetic grace this go around. Still not the wonder of Contempt for me, but its politicization makes it likely a more mature piece...

What are a few of the underrated gems of his from the late 60s-80s, say from La Chinoise on (though I've seen Weekend)?

[Llopin]

What are a few of the underrated gems of his from the late 60s-80s, say from La Chinoise on (though I've seen Weekend)?

Sauve qui peut (la vie), I guess. I watched a few others but don't remember much. Je vous salue, Marie was boring, Tout va bien has a good premise but ultimately drowns in its obvious political reiteration. Prénom: Carmen is supposed to be pretty good.

[Qrazy]

Still not the wonder of Contempt for me, but its politicization makes it likely a more mature piece...


Don't know about that.

[Bosco B Thug]

^^^ Yeah, I'd say Contempt is just as political as Pierrot le Fou, without being as, yurgh, playful. Yes, yes, Godard, Anna Karina and Belmondo are super charming and their romance is oh-so-poignant! See: my current "meh" A Woman Is a Woman rating.



Surprisingly amicable feelings toward Billy Wilder's Kiss Me, Stupid, which is problematic but beguilingly nuanced, while only begrudging positivity towards One, Two, Three, which is assured and blunt about politics (and technique) but is so absolutely devoid of any and all nuance.

[Grouchy]

Being depressed is the best time to drown in compulsive movie watching.

Law Abiding Citizen pleasantly surprised me. Not a great movie by any stretch of the imagination, but an old school revenge flick which delivers in suspense and violence until the very ending. I just honestly don't like Jaime Foxx. I don't mind Butler, he's not a very good actor but he's likeable. Foxx is just a cardboard figure. That guy hasn't done anything worth watching since Ray.

The Messenger is the best US indie drama as I've seen in a long time. Woody Harrelson in his top game creates a character that's bidimensional and real. The film moves effortlessly through a combination of quiet filmmaking and great writing. I would like to watch this again to see if it's as good as it came across on first viewing.

Get Carter (the Michael Caine one), while somewhat dated, still has plenty to offer to violence hounds like me. The movie starts slow, almost way too slow, but once the killings starts happening, it picks up fairly quick. Caine as a bastard is pretty great. I wish he'd still play characters as cold and unsympathetic as this one.

[MadMan]

Indeed.

Why has no one told me about The Burning? What a fun 80's slasher! You guys are slacking.I might have mentioned it at some point back in 2009, when I saw it. Solid movie, my thoughts are here (http://forums.icine.org/horrorfest-2009-t19383-30.html)

[Raiders]

Valhalla Rising - So very disappointing. The film plays out as the most portentous and ridiculous half-baked story ever to receive such a dedicated vision from its director. Refn is obviously entranced by his own visuals and by his own root-of-evil storyline with some Crusade-era zealotry put against the savagery of nature (embodied throughout by the mute One-Eye, later joined by the New World natives), so much so that you can see him enthralled by each slo-mo capture, misty shot and foreboding, red-hued dream sequence but sadly without ever really giving the viewer any sense of purpose or context for a single damn thing that happens. Character, as in development of any kind, is simply not on Refn's radar and by the midway point of the last act I had simply lost any and all interest with the men stranded in the midst of nature for an interminable length, going nowhere and saying nothing. This is very clearly an important work to Refn, but by god he couldn't translate any of the why, only the significance he felt in every drawn out sequence, beating me over the head with his ability to make dread and frame shots but failing to actually cohere into a film.

One Day - Refn's film is a masterpiece of character however compared to this remarkably shitty offering from Lone Scherfig. The narrative conceit, telling the story by showing the same calendar day (July 15th) over the course of 20 years, is already the kind of lame gimmick that is wearily employed in lieu of good writing, and sadly that is more than the case here. Scherfig and writer David Nicholls are trying to find profundity in the minutia, some days have big events and others simply track the time for a few seconds before moving on and a couple are even skipped altogether. That's fine, but the action within each and every day is so stupefying, dull and cliched that the film is honestly the slowest and dreariest love story I have ever seen. The characters cannot even exist as dynamic characters but rather as marking posts, tracking the change in time and letting us know we're onto different events without actually existing as people, fleshed out and given any discernable characteristics. Particularly bad is Jim Sturgess's Dexter (Dex as he is called) who appears to exist only to be different at every stage without any rhyme or reason for the shift. Saddest may be the intriguing relationship with his mother (Patricia Clarkson) which appears intimate and honest but is given literally one good scene before she exits the film. The central romance is a non-starter and by the end, that terriblly foreshadowed and cheap end which drags on and on, no amount of emotional wringing could possible salvage the monstrosity of boredom that had preceded.

[Derek]

Yeah, Valhalla Rising is definitely not a "care about the characters" kinda film.

[Raiders]

Yeah, Valhalla Rising is definitely not a "care about the characters" kinda film.

I'm gonna slap you.

To be fair, perhaps you weren't responding to me since, y'know, that's not at all what I said.

[Derek]

I'm gonna slap you.

To be fair, perhaps you weren't responding to me since, y'know, that's not at all what I said.

:lol:

I was being a smartass, but you were complaining about lack of character development and not caring about their plight, so it's not as far off as you may think. Honestly, I see what you're saying, though for me the lack of character development was more than made up for by its tone and mood and the fact that I think it always was going somewhere and saying something. Personally, I liked the lack of exposition and contextualization, which helped it work better on an almost mythical level rather than attaching self to a specific historical setting. It paints in broad strokes, so if those don't work for you, I understand your distaste, but where others see a film that's aimless, I see one whose aim is to construct myth through atmosphere and crumbs of history and narrative. It's not that I challenge the criticism that it lacks a strong narrative or character development, just that I don't think it needs that to work. For you (and plenty of others), it does which is fine.

[Ezee E]

Valhalla Rising - So very disappointing. The film plays out as the most portentous and ridiculous half-baked story ever to receive such a dedicated vision from its director. Refn is obviously entranced by his own visuals and by his own root-of-evil storyline with some Crusade-era zealotry put against the savagery of nature (embodied throughout by the mute One-Eye, later joined by the New World natives), so much so that you can see him enthralled by each slo-mo capture, misty shot and foreboding, red-hued dream sequence but sadly without ever really giving the viewer any sense of purpose or context for a single damn thing that happens. Character, as in development of any kind, is simply not on Refn's radar and by the midway point of the last act I had simply lost any and all interest with the men stranded in the midst of nature for an interminable length, going nowhere and saying nothing. This is very clearly an important work to Refn, but by god he couldn't translate any of the why, only the significance he felt in every drawn out sequence, beating me over the head with his ability to make dread and frame shots but failing to actually cohere into a film.


Very well said.

[Qrazy]

Dressed to Kill was truly awful. Casualties of War was alright.

[Yxklyx]

Very well said.

Ditto. I did love the first two Pusher films though - looking forward to Drive.

[Derek]

Dressed to Kill was truly awful. Casualties of War was alright.

I know you're not much of a DePalma fan, but what are your favorites of his?

[Raiders]

Dressed to Kill was truly awful.
Or not. My second favorite De Palma.

[Qrazy]

I know you're not much of a DePalma fan, but what are your favorites of his?

I don't love any of his films really but if I had to pick I suppose I enjoyed these most to varying degrees...

# Carlito's Way (1993)
# Casualties of War (1989)
# Mission: Impossible (1996)
# The Untouchables (1987)
# Femme Fatale (2002)
# Blow Out (1981)
# Carrie (1976)

[Rowland]

Dressed to Kill is one of my five or so favorites from De Palma. I haven't watched any of his stuff in years though, kinda burnt myself out, and the one-two punch of his mediocre Black Dahlia and the dreadful Redacted left me soured.

[B-side]

I enjoyed The Black Dahlia.

[Scar]

I enjoyed The Black Dahlia.

I shut that movie off.

[Pop Trash]

I enjoyed The Black Dahlia.

I'm a DePalma fan/apologist, but even I thought it was pretty shitty.

[Skitch]

Very well said.

No shit. Kudos Raiders.

[Ezee E]

Black Dahlia was a waste of talent. Incredibly boring throughout it all.

[Sven]

Dressed to Kill was truly awful. Casualties of War was alright.

No.

[Boner M]

Sub 'ful' with 'some' and Qrazy's spot-on.

[Qrazy]

Dressed to Kill is just a perved out Psycho. Where's the appeal?

[Boner M]

Where's the appeal?
It's a perved out Psycho!

[B-side]

Dressed to Kill is just a perved out Psycho. Where's the appeal?

Stupid question.:P

[Lucky]

I enjoyed The Black Dahlia.

I did too. Its parts are better than its sum, though.

After this movie and True Blood, I realized Fiona Shaw can play quite the crazy bitch.

[Bosco B Thug]

Even The Black Dahlia has its De Palma brilliance. And even The Fury could be truly awful while getting and somewhat deserving wildly garrulous 4-star reviews from smart critics. Thus is the paradox of De Palma.

There's so much to like about Dressed to Kill, but in retrospect, my main problem with it is I do not find the killer very interesting.

[Qrazy]

Just a friendly reminder that more of you should watch Clouzot's Les Espions.

[B-side]

Just a friendly reminder that more of you should watch Clouzot's Les Espions.

Know what movie you should watch? Kairat.

[Sycophant]

It should be a crime for a film as great as Okamoto Kihachi's Samurai Assassin (a film better served by its original title, 侍 (Samurai)) to only exist on DVD in that shitty AnimEigo release, but at least I could see it. Between this, Sword of Doom, and Kill, I'm thinking it's a shame more of his work isn't readily available to Western audiences.

[B-side]

It should be a crime for a film as great as Okamoto Kihachi's Samurai Assassin (a film better served by its original title, 侍 (Samurai)) to only exist on DVD in that shitty AnimEigo release, but at least I could see it. Between this, Sword of Doom, and Kill, I'm thinking it's a shame more of his work isn't readily available to Western audiences.

If you're not opposed to it, KG has, like, 20 or 30 films of his. Seems many of them have English subtitles as well.

[transmogrifier]

Dressed to Kill is just great.

[B-side]

Sunday at Six is a formally splendid Resnais-esque romance set during the Nazi occupation of Romania. Love and faces appear fleeting and obscured by the fog of war and memory. Always waiting. Highly recommended to you KG'ers. This one isn't something only I would enjoy.:D

[Boner M]

Dressed to Kill is just great.
Qrazy doesn't like perviness. Unless the camera's perving on the stern, weathered granite faces of ageing Russian men.

[Irish]

Gotta agree with trans. 10 minute storytelling sequence without dialogue? Yes please. That's just -- what to call it? -- pure cinema. Admittedly the 3rd act is the weakest part of the movie, but that tends to be true of all DePalma's stuff.

Casualties of War is all kinds of awful. A truly ugly premise that plays badly off of Penn's persona and Fox's boyish tv good looks. A movie like that needs hard authenticity and DePalma is too in love with the movies and their inherent phoniness to pull it off.

[Mr. Pink]

I was gonna defend Dressed to Kill until I saw everyone else did. I like Body Double quite a bit, too. Patrick Bateman rented it a shitload of times in the American Psycho novel, so it's gotta be good.

[Qrazy]

I was gonna defend Dressed to Kill until I saw everyone else did. I like Body Double quite a bit, too. Patrick Bateman rented it a shitload of times in the American Psycho novel, so it's gotta be good.

Yeah, that one was pretty awful also.

Honestly when I watch these De Palma films all I can is one day he woke up and said to himself... what if I meshed Hitchcock's sensibilities with softcore porn! Oh the possibilities!

His ability to occasionally compose a compelling long shot just can't justify his flat, hazy close-ups and slow-mo orchestra heavy melodramatic excess.

[MadMan]

Blow-Out>Qrazy.

So far, I like De Palma, but granted I've only viewed about 4 or 5 of his movies so far. Carrie is probably next up, although The Fury is on Instant Viewing.

[Grouchy]

Dressed to Kill and Body Double are both pretty brilliant and would make a nice 2-feature. Haven't seen them in a long time.

[Rowland]

slow-mo orchestra heavy melodramatic excess.As a De Palma fan, I find that there's a bit too much of this in some of his films even for my taste. Casualties of War, Obsession, and The Fury immediately spring to mind.

[Qrazy]

As a De Palma fan, I find that there's a bit too much of this in some of his films even for my taste. Casualties of War, Obsession, and The Fury immediately spring to mind.

Yeah, he really overdid it in the scene where MJ Fox was about to take the girl away in CoW.

[Qrazy]

Blow-Out>Qrazy.

So far, I like De Palma, but granted I've only viewed about 4 or 5 of his movies so far. Carrie is probably next up, although The Fury is on Instant Viewing.

I never said I disliked Blow Out.

[Derek]

Yeah, he really overdid it in the scene where MJ Fox was about to take the girl away in CoW.

You'd prefer more subtitlety?

[Qrazy]

You'd prefer more subtitlety?

Well coming from De Palma that might be expecting a bit much. I guess I would have preferred more subtittylety.

[soitgoes...]

Manji (Matsumoto, 1964) **½
Black Test Car (Matsumoto, 1962) ***½I commented on Black Test Car awhile back, and I completely missed that you have the director as Matsumoto instead of Masumura. Check out Irezumi, Red Angel and especially Seisaku's Wife. Manji didn't do much for me either, but those three are pretty special. And since you have Matsumoto listed in your sig, you should check out Symbol please.

[Yxklyx]

I commented on Black Test Car awhile back, and I completely missed that you have the director as Matsumoto instead of Masumura. Check out Irezumi, Red Angel and especially Seisaku's Wife. Manji didn't do much for me either, but those three are pretty special. And since you have Matsumoto listed in your sig, you should check out Symbol please.

I prefer Manji and Giants and Toys actually - I hated Blind Beast.

[Sycophant]

Most people should see Matsumoto's Symbol.

[Derek]

I commented on Black Test Car awhile back, and I completely missed that you have the director as Matsumoto instead of Masumura. Check out Irezumi, Red Angel and especially Seisaku's Wife. Manji didn't do much for me either, but those three are pretty special. And since you have Matsumoto listed in your sig, you should check out Symbol please.

Heh, corrected. Thanks for the recs. I'll get on those ASAP. If you like Giants & Toys, you'll probably like Black Test Car as well - not as comical, but still a great take on the dehumanizing effects of corporate espionage and the changing climate in Japan in the late 50s/early 60s.

[Watashi]

What the fuck, Lucas? (http://www.slashfilm.com/star-wars-bluray-controversy-george-lucas/)

[Derek]

What the fuck, Lucas? (http://www.slashfilm.com/star-wars-bluray-controversy-george-lucas/)

Lucas just beat the youtube pranksters at their own game.

[DavidSeven]

Vader's silence is the reason that scene works. Well, worked.

[Ezee E]

Both sound very... not right. It seems downright amateur.

[Spinal]

Sadly, it seems like Star Wars gets less cool with every passing year. I can't even look it in the face anymore.

[soitgoes...]

With Guru Dutt's Pyaasa I can finally say I've seen a great Bollywood film. Great catchy songs by S.D. Burman. Songs that are actually woven into the film's narrative. Amazing editing and cinematography. My only knock against it is that it lagged in places, but still I can forgive that for everything else it showed me. I'm actually excited to see another of his films.

[soitgoes...]

Oh, and Lucas is dumb.

[Scar]

What the fuck, Lucas? (http://www.slashfilm.com/star-wars-bluray-controversy-george-lucas/)

No, just... No.

Is Bruce Lee credited in the second clip?

[Irish]

What the fuck, Lucas? (http://www.slashfilm.com/star-wars-bluray-controversy-george-lucas/)

Someone is successfully trolling the nerds .. Or Lucas is still great about getting people to talk about his products.

Either way, pretty masterful.

I love you, George. Don't ever change. :lol:

[Dead & Messed Up]

He should also work backwards, offering an alternate version where "Skywalker" is re-dubbed as "Starkiller" and Chewbacca is replaced by a CGI green alien and the title is changed to "The Star Wars."

[Winston*]

Both sound very... not right. It seems downright amateur.
Yeah, I don't buy it.

[Watashi]

My favorite show is The Simpsons and my favorite movie franchise is Star Wars.

I shouldn't have to say "but" after I say these are my favorite things.

[Qrazy]

Obsession - That is the worst shit I have ever seen. F--

It was a sheer act of will to finish watching it.

[B-side]

As I've said before, I often find it difficult to fully embrace De Palma. I'm just rarely taken with camp, which is probably why I'm not big on horror. I don't mind hysterics or histrionics generally. I have trouble with Ferrara's camp, and he's maybe half as campy as De Palma, but more artfully-minded and impressive overall as a formalist.

[Raiders]

As I've said before, I often find it difficult to fully embrace De Palma. I'm just rarely taken with camp, which is probably why I'm not big on horror. I don't mind hysterics or histrionics generally. I have trouble with Ferrara's camp, and he's maybe half as campy as De Palma, but more artfully-minded and impressive overall as a formalist.

I love Ferrara, but I don't agree with that last bit at all. Not to mention their styles are damn near diametrically opposed.

[Qrazy]

Yeah I would have to say the best De Palma is more formally impressive than the best Ferrara. Ferrara tends to get better performances and have more interesting and unique things to say though.

[dreamdead]

Tonight I aim to transition out of my recent viewings of mediocrity with Tekken. Oh, but it promises to remind me how good mediocrity can be...

[Ivan Drago]

Sadly, it seems like Star Wars gets less cool with every passing year. I can't even look it in the face anymore.

Eh, at this point it's been ingrained in my head that the original Star Wars trilogy was a milestone in filmmaking, and one of my favorite series ever. Recently I haven't wanted to revisit it.

Up until now, I have always been indifferent to the changes made to Star Wars. I didn't even care that Greedo shot Han first, I always thought that no matter what Lucas would do, Star Wars would always be Star Wars.

But those changes. . .oy.

[Rowland]

I used to be one of those hardcore fans who rabidly defended the first two entries of the prequel trilogy and posted on theforce.net. By the release of Revenge of the Sith, my affection for the series had waned significantly, and now I honestly never even think about it, or respond to developments like this with anything more than indifferent amusement. I've devoted more time to that series than it even remotely deserves.

[Spun Lepton]

No, just... No.

Don't you mean ...

Nooo. Nooooooooo!!!

[MadMan]

At this point I'm no longer surprised by what Lucas does. Nor do I really give a shit.


That said, I'd be lying if I posted that I wouldn't go see the original trilogy if it was released in theaters again. Namely Empire Strikes Back, which is the one out of the original series that I've seen the least.

[Ezee E]

Doubt it, but anyone else going to be in Telluride this weekend?

Sounds like A Dangerous Method and a restored A Trip To The Moon are going to be there.

[Watashi]

Have you seen the trailer for the new Captain Planet movie?

http://www.youtube.com/watch?v=pbk5fP9SdSA

[MadMan]

Doubt it, but anyone else going to be in Telluride this weekend?

Sounds like A Dangerous Method and a restored A Trip To The Moon are going to be there.I wish I was, but alas I don't have the money to fly or drive to Denver (isn't that where its at? I don't recall).

That Captain Planet sketch with Don Cheadle is hilarious. "Recycle. Or I'll turn you into a fucking tree." It also has Bretta from Community.

[Ezee E]

I wish I was, but alas I don't have the money to fly or drive to Denver (isn't that where its at? I don't recall).

That Captain Planet sketch with Don Cheadle is hilarious. "Recycle. Or I'll turn you into a fucking tree." It also has Bretta from Community.
Denver, and then another 6 hour drive into the mountains

[soitgoes...]

Adoption (Mészáros, 1975) 8Awesome. Check out Diary for My Children too. Not quite as good as Adoption, but still an amazing work from the wife of one of the all-time greats (how's that for a backhanded compliment?).

[B-side]

Awesome. Check out Diary for My Children too. Not quite as good as Adoption, but still an amazing work from the wife of one of the all-time greats (how's that for a backhanded compliment?).

Nearly gave it an 8.5. It probably deserves it. I'll definitely be checking that out next. I put in requests for about 5 or 6 of her films yesterday.

[soitgoes...]

Nearly gave it an 8.5. It probably deserves it. I'll definitely be checking that out next. I put in requests for about 5 or 6 of her films yesterday.I just added to the request pot for each, but I'll be damned if I'm gonna help you out with those fucking Ruiz films! Damned, I tell you!

[B-side]

I just added to the request pot for each, but I'll be damned if I'm gonna help you out with those fucking Ruiz films! Damned, I tell you!

Heh. If anything I'd ask you to contribute a few GBs to my (https://www.karagarga.net/details.php?id=121446) two (https://www.karagarga.net/details.php?id=105865) István Gaál pots.

[Qrazy]

Can you guys throw me some gbs to get my ratio up please? It's at like .694 or something.

[B-side]

Can you guys throw me some gbs to get my ratio up please? It's at like .694 or something.

Done.

[soitgoes...]

Done.
And done.

[Qrazy]

Thanks bros.

[dreamdead]

Not that I was expecting much, but the narrative design for the video game-to-film adaptation of Tekken is all over the place. Characters, especially our lead Jin, fall into romance without regard for the girl he's left behind, and the admittedly one-dimensional fighters receive less than clear narratives. Anna Williams is all but dropped from the film, despite the fact that neither she nor Christie had been eliminated from the tournament. And the overkill of flashbacks suggest that there is no forward momentum or development to these stock characters.

Given its R-rating, and the very clear Anna and Nina Williams sisters three-way with Kazuya, the film could have shot for transcendent pulp and excess, but it seems to sidestep each moment where unseemliness could have created a more unique tone and out of the generic mode that it remains otherwise locked in.

Almost curious to watch The King of Fighters to see how that one goes...

[Ezee E]

Telluride movies thus far:

Turin Horse
Kid With the Bike
Descendents
George Harrison doc
We Need To Talk About Kevin
A Dangerous Method
Albert Noobs
The Artist
A Separation
Le Havre
Shame.

[Rowland]

I can't believe Detective Dee has a 93% on RT, and I'm the only nay around these parts. I didn't expect to come across as so contrarian, I just honestly thought it was lousy. This may shape up to be the year's single most overrated movie for me.

[soitgoes...]

I can't believe Detective Dee has a 93% on RT, and I'm the only nay around these parts. I didn't expect to come across as so contrarian, I just honestly thought it was lousy. This may shape up to be the year's single most overrated movie for me.I'm not too hot on it either, even with my yay here.

[Ivan Drago]

Does the Tekken movie at least have King in it?

[Rowland]

Does the Tekken movie at least have King in it?Or Kuma?

[Boner M]

I'm not too hot on it either, even with my yay here.
Ditto.

[chrisnu]

What the fuck, Lucas? (http://www.slashfilm.com/star-wars-bluray-controversy-george-lucas/)
Awful. I do have to say that the insertion of CGI Yoda into TPM is an improvement, as well as appropriate in that only the prequels feature CGI Yoda.

Also, Wicket now blinks. (http://www.youtube.com/watch?v=RnLgh3dudSk&feature=mfu_in_order&list=UL)

[Boner M]

Huge week for movies ahead...

Theatre: The Blue Angel, Elena, Horrible Bosses, Senna
Double feature w/ friends: Miracle Mile + Friedkin's Sorcerer
Youtube: Queysanne's The Man Who Sleeps, Alan Clarke's Contact, Frederiock Wiseman's Meat, Garrel's Le révélateur

[Stay Puft]

Telluride movies thus far:

According to Werner Herzog's production website, Into the Abyss is going to be at Telluride.

[elixir]

http://my.picresize.com/vault/BBS6B8WG3T.jpg

Godard's Histoire(s) du Cinema is pretty incredible. I'm pretty sure I only caught one out of every one hundred references though. Nonetheless, it's a remarkably compelling look into the history (or the histories. or the story. or the stories!) of film (and in some ways, the 20th century in general--though I suppose the two can't really be separated, can they?), clearly made by a man who loves the medium as much as he is fascinated by it. There are so many stretches of jaw-dropping beauty (some favorites on first viewing include the section on Italy's cinema and the one on Hitchcock) and I found it to be nothing short of enthralling throughout. Anyhow, I can't even really begin to work out what it all means, but I loved it.

[Ezee E]

The Artist is my first screening of Telluride, and it's a great one for me to start off with. It plays a double entendre with silent films, referencing the greats, but using it to its own advantage to push its current story. The acting is lovely from the two leads, especially the main actress. Michel Hazanavicius shoots the hell out of it too.

[Boner M]

Anyone familiar with Robert Kramer? I just blind-bought these two:

http://ecx.images-amazon.com/images/I/51jAmvcAmNL._SL500_AA300_.jpg

http://ecx.images-amazon.com/images/I/51IFcm9qxiL._SL500_AA300_.jpg

Heard a lot of raves about his work: kinda fiction/doco-hybrid investigations of American people, politics, landscapes, etc. Often mentioned alongside Jon Jost (nudge, nudge B-Side).

[B-side]

Heard a lot of raves about his work: kinda fiction/doco-hybrid investigations of American people, politics, landscapes, etc. Often mentioned alongside Jon Jost (nudge, nudge B-Side).

He's on my radar now. Thanks.

[Qrazy]

What are some films you didn't realize were remakes?

I just found out The Maltese Falcon had been made before. Had no idea.

[B-side]

What are some films you didn't realize were remakes?

I just found out The Maltese Falcon had been made before. Had no idea.

Drive. It's pretty much a remake of the Walter Hill film, right?

[Qrazy]

Drive. It's pretty much a remake of the Walter Hill film, right?

I believe it's based on a 2005 novel actually. I wouldn't be surprised if the novelist saw and was inspired by Hill's film though, which Hill wrote the screenplay for.

[B-side]

I believe it's based on a 2005 novel actually. I wouldn't be surprised if the novelist saw and was inspired by Hill's film though, which Hill wrote the screenplay for.

Oh, yup, it's based on a book. Premise sounds nearly identical to The Driver, even the whole enjoying pop music thing.

[Qrazy]

Oh, yup, it's based on a book. Premise sounds nearly identical to The Driver, even the whole enjoying pop music thing.

Yeah, before looking it up I thought it was a remake of The Driver as well.

[B-side]

I suspect I'll be in a small minority with this, but I thought Red State was pretty damn good. I had my doubts, but Smith is a capable filmmaker. Granted, there's nothing remarkable here in terms of cinematography, staging or anything like that, but he ratchets up the tension nicely. I'd more or less come to expect it to be a pretty one note, standard horror set-up, but the further along the film goes, the more gray area Smith inserts. The title and premise suggest a far more linear and one-sided film than we're given. After the film turns into a hostage situation, misjudgement on both sides threaten to derail any audience allegiance. At one point, one of the kidnapped boys escapes up to the main floor of the church and sits by a doorway with a rifle aimed at the denizens of the church, but his compassion for their mourning prevents him from shooting anyone, drawing a stark contrast between captor and captured. Smith's humor is pretty dry and restrained here. He hasn't backed off the profanity or the sexual references entirely, but it's all well placed and only does the film favors in terms of keeping things naturally balanced between his former proclivities and his new-found horror/thriller interests. It's not great, and some of the elements feel a lot less organic than others, but it's a relatively intense ride with a remarkable performance by Michael Parks.

[dreamdead]

Does the Tekken movie at least have King in it?

No to King and Kuma. It's pretty centralized on Jin, to the detriment of every other character. As such, without having a character arc without any interest, or without even considering that a film like this could successfully use a woman lead rather than a supporting role, this film draws itself to null. Poor.

[MadMan]

The Big Doll House (1971) combines soft core 70s style porno with a last act that consists of a huge escape followed by plenty of violence. The campy and at times really cheesy style is filmed in a cinematic style that actually works, but I wonder if the final scene is either a bad joke or exists due to the film's budget restraints. I imagine that after viewing the rest of the famous trio of sexplotation women in cages movies I'll try and get my hands on some of the more infamous Nazi driven films (for some reason the 70s was obsessed with Nazis, which is kind of disturbing).

[Ezee E]

Wow... Herzog's latest documentary, Into the Abyss is brutal.

Dude's an approachable guy too. Talked to him a bit after the movie. He said he and his editor took up smoking again while in post production.

[B-side]

I watched a Satyajit Ray film a few years back, but I won't count it considering the subs were terrible and I was a total philistine (like that's changed, amirite?). Anywho, Charulata was lovely. The woman who played Charulata was incredibly beautiful. The staging was impeccable. Felt like Ray took the best of Sirk and added a distinctly Indian flavor.

[Stay Puft]

Wow... Herzog's latest documentary, Into the Abyss is brutal.

Tell me more!

[MadMan]

Wow... Herzog's latest documentary, Into the Abyss is brutal.

Dude's an approachable guy too. Talked to him a bit after the movie. He said he and his editor took up smoking again while in post production.You got to meet Herzog? Awesome.

[Ezee E]

Tell me more!
Will do at some point.

Also... The Descendents... Great. Probably my favorite Payne. What other directors can blend emotion with laugh out loud humor consistently?

[soitgoes...]

I watched a Satyajit Ray film a few years back, but I won't count it considering the subs were terrible and I was a total philistine (like that's changed, amirite?). Anywho, Charulata was lovely. The woman who played Charulata was incredibly beautiful. The staging was impeccable. Felt like Ray took the best of Sirk and added a distinctly Indian flavor.
The Apu trilogy and Charulata were my first four Ray films, and I thought at the time that while future Ray viewings might be good, none would reach the level of those. I was wrong. Ray continues to impress and surprise with each film. He is definitely a master.

[Sven]

Dude's an approachable guy too. Talked to him a bit after the movie. He said he and his editor took up smoking again while in post production.

Not to call Herzog a liar, but he said the same thing at Sundance about Grizzly Man. I guess it's the ecstatic truth that counts.

[dreamdead]

Megamind and The Invention of Lying both suffer from the same dilemma of having clever ideas to satirize, but end up being too toothless but also not sincere enough to fully straddle the lines they're trying to balance between. While Megamind at least comes off with a decent cinematic style, even if the characters' eyes look uber-dead, it suffers more for trite one-note characters, despite Tina Fey's generally game voicework. Gervais' performance likewise is game, getting beyond rom-com fare, and Garner comes off as luminous as a shoddily-shot film can make her, but the film doesn't seem to know where to go with its conceit, becoming more and more obvious as time goes on. It gets a rating bump for at least being clever throughout the majority of its run time, whereas Megamind only has a couple decent gags.

Hopefully Chameleon Street, ye treasured film of Armond White's praise, delivers whenever I can get to it.

[Raiders]

Hopefully Chameleon Street, ye treasured film of Armond White's praise, delivers whenever I can get to it.

Just saw this a couple weeks ago. It delivers and then some. So awesome.

[Mr. Pink]

My favorite part of Chameleon Street is when . . .

. . .he's in jail, explaining how the smell of his cellmate's nutsack is wafting through the air.

I watched it when I heard Joe Bob Briggs mention it as a seminal "Midnight Movie," along with Night of the Living Dead and other heavy-hitters.

Chameleon Street definitely is a real treat.

[Ezee E]

Pina
Dangerous Method
Shame

[Grouchy]

What are some films you didn't realize were remakes?
Victory with Stallone and Michael Caine. Been made a few times apparently.

[Derek]

Pina
Dangerous Method
Shame

Last Day on Earth
Terraferma
Texas Killing Fields

[Winston*]

Last Day on Earth
Terraferma
Texas Killing Fields

Lions
Tigers
Bears

[Spinal]

Lions ***1/2
Tigers ****
Bears ***

[Winston*]

Lions ***1/2
Tigers ****
Bears ***

Does this affect your ratings?

Td29-SApubM

[Spinal]

The three-star rating is naturally an aggregate taking into account all bears. A bear that is not only polar but also an infant has to be considered an outlier, adorable though it may be.

[Ezee E]

Pina --- perhaps I was tired... but ew.
Dangerous Method - only options were shit seats, decided to save for next month
Shame -- LOVED. Me and one other girl seemed to be the only ones though. The old folks hated it.

Tomorrow:
We Need To Talk About Kevin
Goodbye First Love
Le Havre

[Stay Puft]

Goodbye First Love

Ha, I just found out this was playing in Telluride and was going to ask if you might see it. Have you seen Father of My Children?

I don't recall there being much discussion on Mia Hansen-Løve around here so I wasn't sure whether she'd be on the radar, so to speak. Eagerly await your reaction, of course.

[Watashi]

I should be working on my Chaucer homework, but instead I'm reading old FDT threads from 2004.

It's very, very, very depressing. How come we are all still here?

[Dead & Messed Up]

I should be working on my Chaucer homework, but instead I'm reading old FDT threads from 2004.

But Chaucer's awesome!

[Morris Schæffer]

Dominic Cooper, Lee Tamahori and the real-life bodyguard from Uday Hoessein are coming to my theater this sunday, but I've got a prior engagement.

[Ezee E]

It's very, very, very depressing. How come we are all still here?

In what way?

[EyesWideOpen]

I just found out about a cool arthouse theater about 15 minutes away from me that I guess opened up two months ago. I'm looking at their schedule and last week they showed Love Exposure. Why couldn't I have found about this last week???

Other stuff playing this month:
Grave Encounters
Bellflower
The Last Circus
Tucker & Dale vs Evil
The Room
Rocky Horror
Street Fighter (JCVD one)
Kongo
Thunder Warrior
Sledgehammer
The Life Aquatic
KAMEN RIDER'S 40TH ANNIVERSARY!

[Lazlo]

Here's the mishmash of overblown thoughts I wrote after seeing Senna tonight:

I didn't know much about Ayrton Senna before tonight. I knew he was a great racing driver and a bit of a rebel, cut down too soon as many of the great racing drivers are. But tonight I saw Asif Kapadia's film Senna. And tonight I am in awe of Ayrton Senna.

Senna's talent and skill behind the wheel were monumental. Kapadia constructs his film entirely of archival footage and there is nothing more thrilling on the screen this summer than the view from Senna's cockpit as he surges through the impossibly narrow streets of Monaco or the serpentine corners of Suzuka and Interlagos.

Senna's vision and passion for competition radiated off the track as well, as Kapadia takes us inside the often contentious and political world of Formula One racing, an arena where Senna fought for respect and fairness and safety for himself and his fellow drivers. In an electrifying scene, taken from footage of a pre-race drivers' meeting, Senna challenges the dictatorial FIA President Jean-Marie Balestre on an issue of track safety. Balestre pounds on his desk, asserting that the best decision will always be his decision. But Senna's charisma and concern win out. The drama is simply riveting.

But then again, so is the entire film. Senna's on and off-track battle with teammate Alain Prost couldn't be played better. They snipe at each other in interviews and race each other to the point of destruction through many a corner. Neither man gives the other an inch. But the last time we see them together, they embrace and smile, full of respect for that quality in each other that brings out the best in themselves. Such is the stuff of the greatest rivalries.

Senna's face is a beacon of pure emotion and Kapadia places it front and center. The sheer physical pain of muscle spasms from driving the car beyond its limits is right there. The heartbreak of being unjustly disqualified from a race is right there. The burden of the pressure to succeed, the joy of achieving a lifelong goal, the ache of a friend's tragic death. Ayrton Senna held nothing back.

If there is anything to critique, perhaps Senna is a bit too easy on the man himself. I don't know enough about his story to point to any potentially damning omissions in Kapadia's narrative. All I know is that the ability to create a true, deep emotional response within the audience is the currency of great films and Senna certainly has that.

Senna's story is like all great sports stories. In fact, it is like all great stories of any kind. It tells of a man who gave his all, his mind, body and soul to compete with ferocity and tenacity and bravery and achieve legendary heights. To hold nothing back. To push beyond the established physical and mental limits, to expand the idea of what the human body and spirit are capable of reaching. To open the eyes of those lucky enough to bear witness wider than they had ever been opened. And to buoy the hearts of his brothers and sisters on this harsh, cruel world. This was a man who could do those things. And did.

[Qrazy]

"You know, one of these days, you're gonna kill 10,000 in one of these firetraps, and I'm gonna keep eating smoke and carrying out bodies until someone asks us... how to build them." - Towering Inferno (1974)

That's some prescient shit right there.

[elixir]

So, Afterschool was quite the devastating portrait of adolescents in the internet age (and I suppose as one of these people I am doomed!)...I was about to say "one of the best" but I realized I haven't really seen too many of them...I know sometimes static framing (though the whole film isn't static at all) and long takes are sometimes seen as art-house short hand, but I thought the compostions were very well-crafted (without feeling calculated). For example, the scene where Robert (the protagonist) is talking on the phone with his mother, with a couple making out in the corner of the frame and a "Respect Yourself" banner hanging right next to him, and the mother is just pleading him "just tell me you're okay" (he's not) and he's obviously trying to reach out here...that hit me hard. Yeah, so it basically evoked this milieu of teenage alienation and numbness better than most films I can think of, and I think its implications about video footage becoming real in place of the real event is done quite well...is there a more simple statement about what the protagonist is looking for in these internet clips when he states that they are "little clips of something real." Maybe that's what he was trying to create in his own edited video, with the lingering after interviews, trying to capture a "realness" that the memorial video at the end lacked since it was phony (and whitewashed). I want to say more about Robert too, perhaps why he's so numb...he gets called a "pussy" for not doing a sport, his roommate always asks for his hw (which creates a great scene towards the end), he just sits and munches on his food when this older kid degradingly speaks of his sexual escapades...okay, these aren't all reasons he is numb, but I think in some ways it does capture the terrifying ridiculous of "coolness" and students trying to be above others--I mean, right after Robert has sex with the girl, his friend asks her out to his face pretty much and then lies when he starts seeing her. The camera is quite voyeuristic too, though it's mostly from the lead's POV, but then this all comes back to haunt him in the end, and that final shot really is quite something. I am, however, slightly bothered by that "reveal" (I suppose it's a reveal) at the end, and I'm just not sure if I really like it...anyone have thoughts on that? I don't know. These thoughts are really haphazard, I definitely need to think about this more...quite the debut though, interested to check out whatever this guy does next.

[Rowland]

The Naked City (1948) **½
Indeed, I found this exceedingly unremarkable.

[MadMan]

I should be working on my Chaucer homework, but instead I'm reading old FDT threads from 2004.

It's very, very, very depressing. How come we are all still here?To discuss movies, of course! :P

Besides we should instead reflect on those who are no longer posting with us. A moment of silence, please....

[Raiders]

Indeed, I found this exceedingly unremarkable.

Indeed it is. I wanted to view Night and the City instead, but alas it is not on Instant Watch.

[Sven]

The Naked City is definitely not indicative of Dassin's talent. Some of the location shots are really cool, but it's pretty rote. Night and the City features the same MO and is one of the greatest, tensest films ever.

For something underseen and marvelous, get your eyes on The Law. I was so surprised.

[Raiders]

The Naked City is definitely not indicative of Dassin's talent. Some of the location shots are really cool, but it's pretty rote. Night and the City features the same MO and is one of the greatest, tensest films ever.

For something underseen and marvelous, get your eyes on The Law. I was so surprised.

Well, I've seen Rififi but I was surprised to find that was the only Dassin film I had seen, so I went to Netflix and wanted either Night and the City or Brute Force, neither of which are on IW. So I went for The Naked City.

[MadMan]

I rather liked The Naked City, although granted its the only Dassin I've seen so far. I'm heavily biased in favor of film noir at this point, though.

[Yxklyx]

Well, I've seen Rififi but I was surprised to find that was the only Dassin film I had seen, so I went to Netflix and wanted either Night and the City or Brute Force, neither of which are on IW. So I went for The Naked City.

Why are you skirting around his best film? Thieves' Highway!

[Boner M]

Haha, The Arrival is so goofy. Did this really typify mainstream genre filmmaking ca. 1996? Fuck I feel old.

[Morris Schæffer]

http://www.aintitcool.com/node/51097

Promotional video for the empire strikes back.

Triple lol :D

[Rowland]

Haha, The Arrival is so goofy. Did this really typify mainstream genre filmmaking ca. 1996? Fuck I feel old.I kinda loved it when I was 12.

[Boner M]

I kinda loved it when I was 12.
The bathtub scene is legitimately pretty great, I'll grant it that. Also it's hard to divorce the baggage that Sheen retroactively brings to it, though I'm pretty sure his performance is awful under any circumstance (it's a proto Wahlberg/The Happening turn).

[Spinal]

It's better than Independence Day, though I suppose that's not saying much.

[Boner M]

It's better than Independence Day
Nah.

[Raiders]

It's loads better than Emmerich crap. Crazy Boner.

[Qrazy]

Irwin Allen or Emmerich?

[Sven]

The bees movie is better than anything Emmerich's done, so by virtue of that one alone, I'd go with Allen.

[MadMan]

I watched The Arrival earlier this year, and actually enjoyed it. I'd say that it and Independence Day are about equal in terms of quality, and I like both movies. The Arrival is more of a throwback to 50s paranoia and sci-fi/thrillers, where as Independence Day pays homage to 50s alien invasion movies. Both work in that regard, and are good popcorn films.

[Ezee E]

TELLURIDE:

The Artist -
Other then Mel Brooks’ “Silent Movie,” I cannot think of a silent movie made in the modern era. It's fantastic. Those who are afraid of silent movies would probably like it. Well-crafted, and creatively using a double entendre, using silent film spoofs while also advancing the story. However, the highlight is the acting, which is why I think the movie might work for any audience. It’s close enough to being a romantic comedy, but without the annoyances that chic flicks bring. The chemistry between the two leads makes me hope the movie will succeed. Heck, the scene stealing dog is actually cute, instead of annoying.

Into the Abyss - Herzog is against capital punishment, but doesn’t necessarily take a firm stance on it here, and that's not his intent. Instead, he shows how far and away it will affect people. Whether it be the emotional toll it takes on the OC that ties down the murderer, the father of one of the criminals, or even the case worker that manages to fall in love with one of them. It extends further then one would ever know.
This may be Herzog’s best documentary, even better then My Best Fiend. It’s brutal, encompassing, and the subjects he studies are so bizarre, that one could never write the type of story. Even the friends not connected have such inner demons that you know nothing good can come out of that group.
There's a strong emotional scene in the middle of the movie when the father recalls having a Thanksgiving dinner with his kids inside the prison. He shows true regret here, and is sorry for his actions. The jail system worked here. Meanwhile, the other two are still in denial, not even close to being in the same state, despite their mentions that they are.

The Descendants - Alexander Payne might be one of the more overlooked directors of our time. He manages to weave emotion and humor together better then anyone I can think of, and this might be his most emotional work. It's all about the faces we put on in front of others, while hiding away the emotions or facts you already know or simply don't want to accept. Eventually, they come out, and it becomes rough to deal with.
Another fine example of acting from across the board. Robert Forster is the surprise of the bunch. The man needs to be in more movies.

PINA - Wim Wenders' attempt at 3D seems to be more of a test then anything. While he composes great images and depth of field, there's really nothing else to see. Striking for a bit, but eventual a large bore.

Shame - Steve McQueen returns with a more dialog driven story, but doesn't abandon his long takes and focus on art direction and detail. I will mention that there's a take that is well over 5 minutes (maybe over 10) that details the biggest attempt at Fassbender getting over his interior self-destruction. I didn't even notice the take was that long until it actually cut.
Meanwhile, we see a Carey Mulligan that I didn't know was around. One with personality, and one her own type of self-destruction, but exterior. Again, there's long takes of her in conflict with Fassbender that display just how good they are.
I don't really want to spoil details here, because I think this one's going to get a lot of love/hate when seen. Match Cut is going to talk alot about this one methinks..........

We Need To Talk About Kevin - Impeccably crafted by Lynne Ramsey, and well acted across the board, but goddamn, does Ramsey beat a dead horse. I want to watch her other movies now, but it is stretched out for far too long.

Le Havre - I initially liked this, but despite being the last movie of the festival, it's quickly becoming the one I forget about the quickest. It's hard for me to even come up with something to say here, except that I like the visual approach that is taken. Looks more like a 60's/70's Melville film.

TELLURIDE MOMENTS:
-Had conversations with Ty Burrell, Werner Herzog, and Penelope Ann Miller.
-I dropped a counter and when I went up, my face was right in Shailene Woodley's arse. This was right before Shame.
-Watched Glenn Close reenact a freakout she had with Michael Douglas and Adrian Lyne about her getting killed in Fatal Attraction. This was terrifying to watch.
-Saw how George Clooney can stop time. When he walked into a screening, everyone seemed to simply stop what they were doing.

Despite not seeing a ton of movies (most will see 10-15), this may have been one of my favorites. Simply for the new friends I made and the perfect weather I got to walk around in.

Loved it.

[Mysterious Dude]

The Artist -
Other then Mel Brooks’ “Silent Movie,” I cannot think of a silent movie made in the modern era.
Then I recommend to you the works of Guy Maddin. But it's sure nice to see someone else trying to keep the art form alive.