28 Film Discussion Threads Later

[MadMan]

Weekend:

*Rambo
*The Super Bowl (drink up folks :P)

That's about it.

[Ezee E]

Oh yeah, it's Thursday.

Weekend:
Thelma & Louise
Legend
Hannibal

Michael Clayton

[Yxklyx]

Weekend:

When a Woman Ascends the Stairs
Mikey and Nicky
The Little Mermaid (?)

[Rowland]

When it becomes a genre piece is where it starts falling apart. I really liked the first half though.The second half is less interesting than the first, but I did admire how it evaded my expectations regarding the ending. I thought for sure that it was leading up to some ostensibly mind-bending twist, so I was pleasantly surprised when the revelations in the closing reel proved wholly organic to the material and low-key in their execution.

[Rowland]

*The Super Bowl (drink up folks :P)
The Super Bowl is this weekend? Wow, I had no idea.

[MadMan]

The Super Bowl is this weekend? Wow, I had no idea.I sense a minty hint of sarcasm here :P

[Rowland]

Weekend:

Regular Lovers (the length keeps scaring me off)
The Kingdom
This is England

[Rowland]

I sense a minty hint of sarcasm here :PNope, I was serious. No idea... well, huh.

[Ezee E]

Nope, I was serious. No idea... well, huh.
I'm pretty sure the game will suck, so hopefully we get a few good movie previews out of it.

[MadMan]

Nope, I was serious. No idea... well, huh.Really? Huh. Well its on Sunday at 5:30 pm if your interested in that sort of thing. Or if you just want to watch the commercials. I have no idea if your a sports type of guy or not Rowland.


I'm pretty sure the game will suck, so hopefully we get a few good movie previews out of it.No this game will be more like the Pats-Panthers Super Bowl. I can feel it.

[Rowland]

I have no idea if your a sports type of guy or not Rowland.
I watch the best Super Bowl ads online afterward. Does that count?

[Ivan Drago]

Weekend:

There Will Be Blood
Cloverfield
Atonement
Raiders of the Lost Ark
Super Bowl XLII

[Sycophant]

The Super Bowl is this weekend? Wow, I had no idea.Yeah, yesterday, one of our clients at work mentioned that he was watching it this weekend. I had no idea, but I played it like I did. I long ago discovered that it's not fun trying to explain that I just can't muster enthusiasm for any sport, least of all football.

wEEkEnd
Wild Strawberries (for reals this time)
The Warriors
Mutual Appreciation
To Be or Not To Be
5 centimeters per second
Cloverfield
The Diving Bell & the Butterfly
The Savages

[Bosco B Thug]

Notorious

Middle-tier Hitchcock that takes an age to get going, the first half only really interesting for his typically sharp mise-en-scene. It's not until late that we finally start to become engaged in the otherwise tired espionage plot, mainly as a result of the depiction of the blank-faced banality of evil. Picks the least interesting ending, but caps it with a lovely final shot. This one surprised me. The plot is very meh, but I was struck by its incessant structure of politics of emotional manipulation, Bergman's knowing complicity, and Grant's strangely restrained straight man performance. And of course his mise en scene and impeccable sense of drama.

I liked The Lookout. I like movie's with lead characters that struggle against the knowledge that they're kinda stupid. Levitt's very good.

[Grouchy]

Well, Hatchet was disappointing.

Second coming of slashers my ass. The Tripper was better than this.
True. The best part of it are the opening credits and a couple of gore moments.

I saw Videodrome last night and by Jove, what a mindfuck. It's the movie where I think Dave went further with his challenge to discern reality from hallucination, including Naked Lunch. James Woods is disgustingly awesome, and the FX work by Rick Baker is a kind of magic. I still don't know how they did that chest-vagina thing. Cronenberg is the Kafka of cinema, telling outlandish stories in a sober, collected style and making every shot a source of information. This movie had me glued to the screen in a way where I couldn't even go to the bathroom to have a piss. I'm going on a Cronenberg binge as of today because of it.

[Sycophant]

Hey, everybody. Long time lurker/first time poster toeing in to this great place to discuss film, so be gentle! I just rented The Death of Mr Lazarescu, what can I expect?Welcome. You liked A.I., a lot so I'm sure you'll do well here.

[Qrazy]

The marketing pitched it as a dark comedy. But it's not really. Might be good to know that going in.

Seriously, I was home for vacation and my family asked me to rent a comedy we could watch as a family... ehhh...

[Stay Puft]

Weekend:

Actually starting to catch up on 2007 releases, which I said I would last weekend but did not.

3:10 to Yuma
Once
Red Road
Taste of Tea
Tears of the Black Tiger
Time

Watched 2 Days in Paris yesterday, so I scratched that off the list, and I also removed 4 Months, 3 Weeks, 2 Days because apparently it is not a 2007 release. I'll watch it later in the month, after the deadline.

[megladon8]

Weekend:
3:10 to Yuma
Once
Taste of Tea



You have an awesome weekend ahead of you :)


This weekend I plan on watching Right At Your Door.

Not sure what else, beyond that.

[Spinal]

Weekend:

I might watch a movie.

[Sycophant]

Weekend:

I might watch a movie.

I'm a big fan of this one, though I know it has its detractors around here.

[Kurosawa Fan]

I'm a big fan of this one, though I know it has its detractors around here.

Davis, we're looking at you.

[Ezee E]

I think I figured out why davis doesn't watch movies anymore. He only watches crap movies and likes them because they aren't complete horseshit, and he hates good movies because he expects masterpieces.

Boom. Problem solved.

[Rowland]

Helvetica, an involving documentary focused on the various schools of thought regarding the world's most ubiquitous font, is just on the cusp of exploring something really fascinating. The last five minutes begin to really delve into the ramifications of visual information outside of the typeface world into the realm of global culture, but they don't entirely satisfy. Otherwise, the movie consists of interviews with personalities of varying degrees of interest glued together with too many montages of typefaces in society set to trendy music. It drags at times, but for the most part, director Gary Hustwit keeps it entertaining, informative, and free of any personal bias on his part.

[Ezee E]

Helvetica, an involving documentary focused on the various schools of thought regarding the world's most ubiquitous font, is just on the cusp of exploring something really fascinating. The last ten minutes begin to delve into the ramifications of visual information outside of the typeface world, but they don't entirely satisfy. Otherwise, the movie consists of interviews with personalities of varying degrees of interest glued together with too many montages of typefaces in society set to trendy music. It drags at times, but for the most part, the director Gary Hustwit keeps it entertaining, informative, and free of bias.
I figured a documentary about a font could interest me for a whole ten seconds.

[Rowland]

I figured a documentary about a font could interest me for a whole ten seconds.Most of the pleasure comes from watching the passionate nerds wax poetic over their love for typeface from so many frequently opposed schools of thoughts, which makes their world something of a microcosm for society at large. It certainly has more relevance than King of Kong as well, in the sense that it has a genuine interest in how typography reflects shifting cultures over time, and how the nature of the art form reflects our burgeoning emergence into a society more conscious of visually orientated expression.

[D_Davis]

Davis, we're looking at you.

I'm watching 3 movies this weekend, so there! :P

Southern Comfort, Seeding of a Ghost, and something else.

[D_Davis]

something else = Lessons in Darkness

[MadMan]

Weekend:

I might watch a movie.Oohhh. Good choice.


I watch the best Super Bowl ads online afterward. Does that count?Heh, I often do so since there's always a few I miss, and there's some I like to watch more than once. So sure :)

[Derek]

Weekend:

Into Great Silence
Sicko
Park Row
King of Kong (if I don't get to it tonight)

Or more likely, one of the above plus two others not listed.

[Rowland]

Into Great Silence
Not a fan. I'm interested in how you'd respond to it though.

[Derek]

Not a fan. I'm interested in how you'd respond to it though.

It seems like a very polarizing film from the little I know about it, which isn't surprising given the film's content and length! I'll be sure to post some thoughts on this one.

[Qrazy]

Weekend a few of the following, rec me:

Three Songs about Lenin
The Butcher
Official Story
Heiress
Burnt by the Sun
Gospel according to St. Matthew
Smiles of a Summer Night
The Idiots
I Am Curious Yellow
Camille
Chronicle of a Love
Rocco and His brothers
Maitresse
Big Deal on Madonna Street
The New Babylon
Senso
Quince tree Sun
Legend of the Holy Drinker
Hearts and Minds
General Idi Amin
In the Company of Men
Merchant of Four Seasons
Alice in the Cities
Shame

[Morris Schæffer]

Weekend:

Cloverfield
Battlestar Galactica season three (start)
Extras (sea2, episode 4)

[megladon8]

Weekend a few of the following, rec me:

Three Songs about Lenin
The Butcher
Official Story
Heiress
Burnt by the Sun
Gospel according to St. Matthew
Smiles of a Summer Night
The Idiots
I Am Curious Yellow
Camille
Chronicle of a Love
Rocco and His brothers
Maitresse
Big Deal on Madonna Street
The New Babylon
Senso
Quince tree Sun
Legend of the Holy Drinker
Hearts and Minds
General Idi Amin
In the Company of Men
Merchant of Four Seasons
Alice in the Cities
Shame


I was hoping to be able to recommend you a few of these, but alas, I haven't even seen one of them.

[Watashi]

Weekend:

Persepolis
The Savages

[Duncan]

Weekend:

The Silence Before Bach
Still Life
I am Cuba
Earth (Dovzhenko)

[Spinal]

Weekend a few of the following, rec me:

The Idiots
I Am Curious Yellow
In the Company of Men
Merchant of Four Seasons
Shame

These.

[Stay Puft]

http://i28.tinypic.com/hvcx11.jpg

The documentary Strange Culture is at its best when it finds itself scrambling for context in the wake of tragedy and absence (death of one's partner on a personal level, 9/11 on a larger scale). It's about Steve Kurtz, that dude busted a couple years back for bioterrorism, now facing charges of wire and mail fraud, and all because his wife died of heart failure and responding paramedics freaked over material for his art show (petri dishes with bacteria culture).

Kurtz's art show was a response to the intersection of science, health, and big business, meant to educate and raise awareness on the issue of genetically modified food. Hershman-Leeson's film is a response to the government persecution Kurtz and others (including his cat, which safely fled to Canada) have faced under the new legislation of the Patriot Act. The film has a thesis and an argument (you know exactly what without having to see the movie), and sometimes it's interesting, and sometimes it's amateur hour.

But as I said, it's at its best when it's scrambling for context. Kurtz still awaits trial, so the outcome is in the air. This also means Kurtz cannot talk about events or evidence pertaining to the trial. The film as such is part documentary, part docu-drama (with actors such as Tilda Swinton), and draws on other visual media such as news programs and graphic illustrations in an attempt to piece together an idea not simply of the facts of Kurtz's case, but of the changing landscape of the relationship between art, academia, society, politics and government in post-9/11 America.

The film has an advisory that Steve Kurtz does not accept or necessarily agree with events as depicted in the film, and yet there is a great scene wherein a woman speaks about evidence of the case in his place, and Kurtz himself is in the scene, literally standing behind her. There's no ambiguity here, but I suppose I can't entirely blame these people for being passionate and pissed off.

[Philosophe_rouge]

Le Weekend:
Holiday
The Marriage Circle
Avant Guarde Cinema 20s/30s

Others I don't remember.

[chrisnu]

In the Company of Men
That one.

My weekend will probably include Once, Red Road, and Sweet Land.

[Sycophant]

In the Company of MenI'll throw some support behind this one, too. I'm curious to hear your thoughts on it.

Though I'll cop to it being (shamefully) the only one on your list I've seen.

[Derek]

Day Night Day Night (Julia Loktev, 2007)

Devoid of seemingly all context, even race and nationality to a certain extent, Julia Loktev's Day Night Day Night takes a purely materialist approach in portraying the preparation for and execution of a young girl's suicide bombing. Stripping the film of all excess and exposition, Loktev explores her protagonists experience on a base, physiological level, capturing every detail of her movement and lingering on every minute sound around her. While it can, and has, been read as a feminist critique, which is especially potent considering how the anonymous male terrorists go through the repetitive process of training, shaping and accessorizing the young girl, I find it's more effective when detached from all specific interpretations, be they feminist, religious, or whatnot. The intimacy of Loktev's camera allows us to see the girl's undying devotion to a cause by reading even the smallest emotions as they register on her face. On the other hand, this closeness is countered by the coldness of her preparation - the repetition of lines and actions leads to every aspect of her identity, from the physical to the mental, being deconstructed and rebuilt solely to serve this mission. With blind devotion, she gives her life over to men she doesn't know, trusting that they will make use of her sacrifice. Although it is clear her mind is made up, the film catches distinct traces of fear and trepidation both as she waits in the hotel room and once she is on the streets of New York.

The process by which she is essentially brainwashed beforehand is frightening in its matter-of-fact presentation and mundane repetitiousness. Her free will is essentially non-existent now that she has committed herself to this terrorist group and she's rendered helpless as they force her to memorize a new identity and repeat every minor step of her task until it consumes every fiber of her being. By not attaching the girls decision or the plot itself to any specific belief system, Loktev is able to show the danger of such strong devotion to any cause. In separating the viewers experience from any preconceived notions regarding the cause, at least until the films final moments, our understanding remains solely on the physical plane. While this allows the film to work on a visceral level, it makes for too small a scope. The confrontation of faith with the oppressiveness of the outside world is, for a time, remarkably powerful, but over time, this lack of context begins to hurt the film as our identification with the girl is limited to her sheer will power in the face of fear. Fortunately, Loktev leaves room for a couple of unexpected moments in the second half which help to keep things interesting, but in the end, its intense physicality can only carry the film so far.

[Rowland]

I wasn't impressed by Day Night Day Night. It's ostensibly about a lot of things, but it amounts to almost nothing. Worst of all, it struck me as unconvincing and even cynical, like the big idea of a precocious film student who has studied the Dardennes about how to explore terrorism with as much "objectivity" as possible through stripped-down formal semiotics (right down to the movie's freaking name), only Loktev doesn't wring much more out of it than uninsightful minimalism that works best as a shallow suspense yarn for the art crowd.

[Sycophant]

Spotting the woman who played "The Chief" in Where in the World is Carmen San Diego? in The Warriors was a strangely rewarding moment in a film that was pretty damned good. Walter Chaw's review leads me to believe that the 2005 director's cut merely added the comic transition panels. Is that correct?

At any rate, I'm gonna try to squeeze in a few more Hills before the consensus.

[Watashi]

Spotting the woman who played "The Chief" in Where in the World is Carmen San Diego? in The Warriors was a strangely rewarding moment in a film that was pretty damned good. Walter Chaw's review leads me to believe that the 2005 director's cut merely added the comic transition panels. Is that correct?

YES! YES! YES!

I yelled out "CHIEF!" to my TV when I heard her voice. Good thing I was completely alone, because it was really awkward.

[Yxklyx]

I wasn't impressed by Day Night Day Night. It's ostensibly about a lot of things, but it amounts to almost nothing. Worst of all, it struck me as unconvincing and even cynical, like the big idea of a precocious film student who has studied the Dardennes about how to explore terrorism with as much "objectivity" as possible through stripped-down formal semiotics (right down to the movie's freaking name), only Loktev doesn't wring much more out of it than uninsightful minimalism that works best as a shallow suspense yarn for the art crowd.

Yeah.

So any other movies like those directed by Cassavetes and Mickey and Nicky?

[Yxklyx]

I don't think I've seen In Between Days mentioned here. I love the honesty it portrayed. Sure, it has aspects of a student film but I can't remember a more convincing portrayal of teen love. Come to think of it - it felt a bit like a Cassavetes film. It's not a film that you could write a lot about.

[origami_mustache]

I'm Not There

Some fantastic individual images, and a joyous sense of controlled anarchy, but unfortunately this only serves to hide the fact that this is deeply conventional in content, and in fact a little lazy, happy as it is to merely play up the Dylan mystique without ever having the guts to question it, or the man himself.

Making speculations that cannot be answered one way or another is exactly what the film makes a point to avoid, and in my opinion is really what sells it. Otherwise it's just another biopic right?

[Yxklyx]

Weekend a few of the following, rec me:
The Butcher - good
Heiress - somewhat good
Smiles of a Summer Night - good
I Am Curious Yellow - fair
Camille - awful
Rocco and His brothers - excellent!
Big Deal on Madonna Street - mediocre
In the Company of Men - excellent!
Merchant of Four Seasons - good


here you are...

[Sycophant]

I don't think I've seen In Between Days mentioned here. I love the honesty it portrayed. Sure, it has aspects of a student film but I can't remember a more convincing portrayal of teen love. Come to think of it - it felt a bit like a Cassavetes film. It's not a film that you could write a lot about.Agreed. I think someone else here saw it and liked it as well.

Curiously, I saw it in theaters and they played a DVD with the word "screener" at the edge of the frame.

[Ezee E]

The Invasion certainly has a chance to be good, and it wasn't because they switched directors. Yes, the ending is awkward, and completely different then the horror of the first 70 minutes, but the entire movie just seems so rushed. As if the editor chopped the beginning and end of every scene so much that there's never any buildup. No suspense. It follows the film school theory of every moment being a highlight. Subplots are made but never resolved, they just disappear.

Then, of course, the kid has the magical cure, and the army decides to search for Kidman and the kid. :rolleyes:

There are some effective moments, such as when the Census Man tries breaking into Kidman's house, and when Kidman walks through the streets, and any emotion she makes can cause her to be attacked.

Disappointing, because it had potential. For shame.

[Benny Profane]

Waitress was friggin' shameful. I had to make it up to my wife though after I made her watch Blue Velvet.

[Raiders]

Waitress was friggin' shameful.

:|

[Benny Profane]

:|

So you liked it's charmless blueprint plot trajectory and total lack of surprises.

[Kurosawa Fan]

Waitress was friggin' shameful.

I've heard this from five different people now. Not that exact word, but mainly that if Shelly hadn't been killed, no one would have paid this film any attention because it's nothing more than a typical cliched romantic comedy. I was never much interested in it anyway, but these reactions have kept curiosity from getting the better of me.

[Raiders]

So you liked it's charmless blueprint plot trajectory and total lack of surprises.

Yep. That's precisely what I loved.

[Benny Profane]

I've heard this from five different people now. Not that exact word, but mainly that if Shelly hadn't been killed, no one would have paid this film any attention because it's nothing more than a typical cliched romantic comedy. I was never much interested in it anyway, but these reactions have kept curiosity from getting the better of me.

Basically.

[Sven]

Spotting the woman who played "The Chief" in Where in the World is Carmen San Diego? in The Warriors was a strangely rewarding moment in a film that was pretty damned good. Walter Chaw's review leads me to believe that the 2005 director's cut merely added the comic transition panels. Is that correct?

At any rate, I'm gonna try to squeeze in a few more Hills before the consensus.

Yeah, and I still don't like the comic transitions. Redundant, choppy, and irritating (I loathe the scribbling noises). Plus, it takes a broad mythology and relegates it to the comic book, which is very sad because it's so limiting.

And yeah, Thigpen is great. She's also a subway driver in Streets of Fire.

[Qrazy]

Yep. That's precisely what I loved.

Is Black Snake Moan better than Hustle and Flow? Because I didn't really like the latter.

[Qrazy]

Yeah, and I still don't like the comic transitions. Redundant, choppy, and irritating (I loathe the scribbling noises). Plus, it takes a broad mythology and relegates it to the comic book, which is very sad because it's so limiting.

And yeah, Thigpen is great. She's also a subway driver in Streets of Fire.

It's not like they're drawing a moustache on the Mona Lisa here.

[Raiders]

Is Black Snake Moan better than Hustle and Flow? Because I didn't really like the latter.

h/s

[baby doll]

Weekend:

The Castle (Michael Haneke)
Frantic (Roman Polanski)
Hollywoodland (Allen Coulter)
The Last Emperor (Bernardo Bertolucci)
Tess (Roman Polanski)

[baby doll]

I think someone else here saw it and liked it as well.You might be thinking of me (see blog for details), but I don't recall mentioning it around here.

[Rowland]

I liked In Between Days, so while I never talked about it, Syco may have seen the score (***) in my signature. Honestly, I don't think there is much to be said about it, besides being a convincingly realized slice of life, which is rarer than you'd think. Still, I could have done without the narrated letters to the father, which struck me as an increasingly contrived device within the narrative's framework.

[Duncan]

Anybody here seen Theo Angelopoulos' The Weeping Meadow? Is this an acceptable place to start with him? From what I've read, I should probably go back to his earlier stuff first, but this one is available on Netflix instant viewing...

[Raiders]

Weekend:

My Brother's Wedding
Popeye (that's right iosos)
The Patriots whooping poor lil' Eli

[Sven]

Popeye (that's right iosos)

:)

I can't wait.

[Spinal]

Spotting the woman who played "The Chief" in Where in the World is Carmen San Diego? in The Warriors was a strangely rewarding moment in a film that was pretty damned good.

She's also in Godspell.

[megladon8]

Right At Your Door was nothing special. There was something absolutely brilliant there, but it's hindered by several problems:

-it seems to have been edited by a downs-syndrome monkey with tourette syndrome and ADD - there are scenes where shots are cut down to fractions of a second, and it seems a little needless

-the "twist ending" was rather lame, and not much of a surprise

-the character of Alvaro was unnecessary, and only seemed to be there to flesh the script out - which is spread paper-thin as it is

-my biggest problem was the constant "narration" by TV and radio stations, telling over and over the same news about the damage to LA - it would have been much more effective to have Brad (Cochrane) listen to these to get updates, then sit in silence the rest of the time

But despite all these problems, Rory Cochrane was great, it has some frightening moments, and the overall concept is great and had some well-executed parts which I cannot ignore.

It just could have been so much more.

[Derek]

I wasn't impressed by Day Night Day Night. It's ostensibly about a lot of things, but it amounts to almost nothing. Worst of all, it struck me as unconvincing and even cynical, like the big idea of a precocious film student who has studied the Dardennes about how to explore terrorism with as much "objectivity" as possible through stripped-down formal semiotics (right down to the movie's freaking name), only Loktev doesn't wring much more out of it than uninsightful minimalism that works best as a shallow suspense yarn for the art crowd.

I really disagree with this, especially suggesting that a film borderline obsessed with the physicality of the lead actress, reading the emotions from her face and creating a palpable sense of the material should be examined via semiotics. From a strictly feminist perspective, yes, it's essentially a girl being stripped of identity, free will, etc. and reshaped to suit the needs of anonymous men, but that's simply the framework of the film, not what it's about. It's not about a lot of things. It's about exactly what it is and simply because it decontextualizes the event itself, doesn't mean you can or are supposed to just slap on various contexts of your own to interpret it in multiple ways. If anything, that's exactly what Loktev is trying to avoid and in doing so, she creates a simple film that meticulously details the experience of one girl. The meaning is in the aesthetics, not in whatever larger contexts viewers (and at this point, I'm talking about viewers/people in the general sense, not you) want to shove it in to meet their own interpretation. I'm certainly no great defender of the film as its methods only take it so far, but it's a common misconception about minimalist films like this that because they detach themselves from a greater scope, its up to the viewer to provide it. I'm sure that's the case at times, but sometimes I think people fail to recognize them for what they are and instead try to build off of them, or complain that the film doesn't do it for them.

[Rowland]

I really disagree with this, especially suggesting that a film borderline obsessed with the physicality of the lead actress, reading the emotions from her face and creating a palpable sense of the material should be examined via semiotics. From a strictly feminist perspective, yes, it's essentially a girl being stripped of identity, free will, etc. and reshaped to suit the needs of anonymous men, but that's simply the framework of the film, not what it's about. It's not about a lot of things. It's about exactly what it is and simply because it decontextualizes the event itself, doesn't mean you can or are supposed to just slap on various contexts of your own to interpret it in multiple ways. If anything, that's exactly what Loktev is trying to avoid and in doing so, she creates a simple film that meticulously details the experience of one girl. The meaning is in the aesthetics, not in whatever larger contexts viewers (and at this point, I'm talking about viewers/people in the general sense, not you) want to shove it in to meet their own interpretation. I'm certainly no great defender of the film as its methods only take it so far, but it's a common misconception about minimalist films like this that because they detach themselves from a greater scope, its up to the viewer to provide it. I'm sure that's the case at times, but sometimes I think people fail to recognize them for what they are and instead try to build off of them, or complain that the film doesn't do it for them.Given the context, a female suicide bomber in New York, Loktev is practically begging us to consider the film on a broader scale. Without further context, it's exploitation, nothing more than the build-up to a pulse-pounding will-she-or-won't-she sequence that plays on the iconography of the zeitgeist, bereft of meaning. I'm glad that the physicality of the character's process is enough for you, but to me, it reeks of Loktev fearing any serious existential probing, let alone political, in favor of a lot of nothing. If anything, the movie is regressive by reducing her to a blank "other." Oh, but it sure is suspenseful... or it would be, if half the people walking past her didn't look into the camera.

[Derek]

Given the context, a female suicide bomber in New York, Loktev is practically begging us to consider the film on a broader scale. Without further context, it's exploitation, nothing more than the build-up to a pulse-pounding will-she-or-won't-she sequence that plays on the iconography of the zeitgeist, bereft of meaning. I'm glad that the physicality of the character's process is enough for you, but to me, it reeks of Loktev fearing any serious existential probing, let alone political, in favor of a lot of nothing. If anything, the movie is regressive by reducing her to a blank "other." Oh, but it sure is suspenseful... or it would be, if half the people walking past her didn't look into the camera.

It does reduce her to a blank "other" and it does the same to everyone else in the film. That's kinda the point - to examine the physical nature of the act, both in the preparation for and execution of the plan detached from our own preconceived notions of religious/political extremism. I think parts of the New York street scenes are powerful because they effectively show her faith confronted by the world. They are shot very much from her perspective (and I believe all the looks into the camera came during the POV shots at the crosswalk) to show that despite the fact she is essentially reshaped and reprogrammed by others throughout the film, it's her finger on the button. Personally, I don't find that exploitive, but I can certainly understand why some might.

[baby doll]

Anybody here seen Theo Angelopoulos' The Weeping Meadow? Is this an acceptable place to start with him? From what I've read, I should probably go back to his earlier stuff first, but this one is available on Netflix instant viewing...Considering how rare Angelopoulos' films are on this side of the Atlantic (I still haven't seen The Travelling Players, which is generally considered his masterpiece), I'd say start anywhere you can. I've just seen four myself, and this rivals Landscape in the Mist and Eternity and a Day as the best of the bunch--it's certainly the grandest. (I've only seen Ulysses' Gaze once, and that was ages ago, so I should probably give it another look.)

[Rowland]

It does reduce her to a blank "other" and it does the same to everyone else in the film. That's kinda the point - to examine the physical nature of the act, both in the preparation for and execution of the plan detached from our own preconceived notions of religious/political extremism. I think parts of the New York street scenes are powerful because they effectively show her faith confronted by the world. They are shot very much from her perspective (and I believe all the looks into the camera came during the POV shots at the crosswalk) to show that despite the fact she is essentially reshaped and reprogrammed by others throughout the film, it's her finger on the button. Personally, I don't find that exploitive, but I can certainly understand why some might.I guess I don't see how this is illuminating or even terribly engaging. There is no humanity explored here at all, so I don't see how it's relevant either. It's one barely fleshed out conceit stretched to an hour and a half, failing to say anything about... well, anything.

[dreamdead]

Weekend:

Quiet City
The Shop Around the Corner
A Summer's Tale

[Sycophant]

Yeah, and I still don't like the comic transitions. Redundant, choppy, and irritating (I loathe the scribbling noises). Plus, it takes a broad mythology and relegates it to the comic book, which is very sad because it's so limiting.Kind of curious that that's what was deemed necessary for making a new "cut." I didn't think it detracted much, though when the drawn train was animated, I kind of rolled my eyes. Also, they felt distinctly 2005 when the rest of the film felt very much like 1979, so that was a little disorienting.


You might be thinking of me (see blog for details), but I don't recall mentioning it around here.

I'll check out your blog entry. I don't recall reading your thoughts on it.


I liked In Between Days, so while I never talked about it, Syco may have seen the score (***) in my signature. Honestly, I don't think there is much to be said about it, besides being a convincingly realized slice of life, which is rarer than you'd think. Still, I could have done without the narrated letters to the father, which struck me as an increasingly contrived device within the narrative's framework.
Yeah, that may be what I'm thinking of. Or I could be confusing what I said with reading what someone else said. That's the same rating I gave it, if I remember correctly, and I pretty much agree with what you have to say here.

[Derek]

I guess I don't see how this is illuminating or even terribly engaging. There is no humanity explored here at all, so I don't see how it's relevant either. It's one barely fleshed out conceit stretched to an hour and a half, failing to say anything about... well, anything.

I don't see how there's no humanity explored. The entire film exhaustively details her mental and physical preparation and then her struggle in confronting the reality of what she is doing. Just because we don't know why she's committing the act doesn't mean it doesn't explore her humanity. Personally, I found it engaging, but I'd agree it's not terribly illuminating, hence my score.

[Rowland]

I don't see how there's no humanity explored. The entire film exhaustively details her mental and physical preparation and then her struggle in confronting the reality of what she is doing.This is devoid of meaning or resonance when divorced from context. Without perspective, it's a stunt.

And it's not just that we don't know why she is doing it. The movie refuses to acknowledge anything about her as a person besides all of the banalities she takes part in, never fluctuating from a blank stare. She is utterly vacant... at least until the very end, but by then it's too late.

[Derek]

And it's not just that we don't know why she is doing it. The movie refuses to acknowledge anything about her as a person besides all of the banalities she takes part in, never fluctuating from a blank stare. She is utterly vacant... at least until the very end, but by then it's too late.

I thought her voice and face were far more expressive than you're giving her credit for. It was definitely not the determined blank stare that is associated with the stereotypical terrorist. I don't think it's necessary to know why she's doing it to for her experience to be resonant, at least it wasn't for me.

[Sven]

Also, they felt distinctly 2005 when the rest of the film felt very much like 1979, so that was a little disorienting.

That, right there, is the biggest reason it annoys me, though the direct link to something as specific as a comic book is also upsetting. I'm happy that I saw the original cut first.

[Watashi]

Matewan was awesome. It gets a bit too black and white towards the end, but it's a beautiful and haunting film. David Straithern.... such a badass.

[Sven]

Matewan was awesome. It gets a bit too black and white towards the end, but it's a beautiful and haunting film. David Straithern.... such a badass.

The whole thing is pretty black and white, but that's one of the things I love most about it. It's just as fairy-taley as his Roan Inish (which if you haven't seen, you should) and Brother From Another Planet. He's always on a soapbox, that Sayles, but he's always on the right side. I sure do wish they'd release City of Hope on DVD one of these days.

[MacGuffin]

Weekend:

Syndromes and a Century (Weerasethakul, 2007)
The Seventh Continent (Haneke, 1989)
Emanuelle in America (D'Amato, 1986)

[Yxklyx]

OK which version of The Killing of a Chinese Bookie should I watch? There's some 1978 version as well. We need a FAQ!

[megladon8]

I love John Sayles.

Lone Star was my first experience wit his work, and it was fantastic.

He's one of the best screenwriters working today.

[Boner M]

OK which version of The Killing of a Chinese Bookie should I watch? There's some 1978 version as well. We need a FAQ!
Most of his fans will tell you that the longer one's better, and it's probably heavier on character nuance by sheer virtue of length, but I didn't really feel much of a difference between both films (watched them two years apart, tho). I'd go with the longer one first, since that was the one that fared poorly with test audiences, though Cassavetes himself never said which one he preferred.... Although I think the fact that he was deliberately trying to give himself limits with this film means that the shorter, more audience-friendly cut doesn't cloud his intentions as much. That's the one on my top 50 list, though it really could be interchangable with the 135-min cut.

[megladon8]

My Blue Heaven was kind of bad. It had a few funny moments, but on the whole Steve Martin was terribly miscast - as was Rick Moranis. I actually think it would have been more effective if their roles had been reversed.

The high points involved Martin's stories to the police, and about childhood. When Joan Cusack asked him why he had 25 copies of the same book and he said "in case I need to read it more than once", that was a great line.

And Martin's speech near the end about wanting a red bicycle for Christmas as a child was very funny as well.

However, it's poorly made, edited with a chainsaw, and as mentiondd previously, it's got a lot of bad writing and two miscast leads.


EDIT: It's also odd to note that both this and Goodfellas were released during the same year, both by Warner Bros., and both are based on the life of Henry Hill.

And he got paid for both of them - $250,000 for this one alone!

1990 was a great year to be a gangster in the witness protection program, I guess.

[Rowland]

Maybe I was in a lousy mood, or more likely I just have poor taste, but I couldn't get into Regular Lovers at all. Its pace was lethargic, the characters were annoying, and there was almost no plot to hang onto. I grew so sleepy that I turned it off about halfway through and took a nap. I might try again over the weekend, maybe after reading some of the praise from its many ardent admirers... or I may just send it back to Netflix.

[MacGuffin]

Maybe I was in a lousy mood, or more likely I just have poor taste, but I couldn't get into Regular Lovers at all. Its pace was lethargic, the characters were annoying, and there was almost no plot to hang onto. I grew so sleepy that I turned it off about halfway through and took a nap. I'll probably try again over the weekend, maybe after reading some of the praise from its many ardent admirers... or maybe not.

Watch it again; you'll be glad you did. I was. Did you even get to see Clotilde Hesme?

[Rowland]

Did you even get to see Clotilde Hesme?She was introduced around the half-hour mark, so yeah.

[MacGuffin]

She was introduced around the half-hour mark, so yeah.

Yeah, she's brilliant.

Hmm... I'm not sure I understand your criticism of the characters being annoying, I thought they were too quiet and distanced for a movie about French youth in the 60s. Anyways, it's grown on me over time, but I still find it very flawed, mostly, as you said, because of the pacing and because of the aforementioned character flaws.

[Rowland]

Hmm... I'm not sure I understand your criticism of the characters being annoying, I thought they were too quiet and distanced for a movie about French youth in the 60s. There isn't much to understand really, they just annoyed me. Since the movie seems to be about how shiftless and self-righteous these kids were, I can only assume this was partly the intent, but it didn't make time go any quicker.

[Ivan Drago]

Matewan was awesome. It gets a bit too black and white towards the end, but it's a beautiful and haunting film. David Straithern.... such a badass.

One of my favorite movies. Glad you liked it.

[MacGuffin]

There isn't much to understand really, they just annoyed me. Since the movie seems to be about how shiftless and self-righteous these kids were, I can only assume this was partly the point, but it didn't make time go any quicker.

Yeah, I can't help you with that. Try to get through it though; do something while you watch it, if anything, just to say you saw it.

[dreamdead]

For the first hour The Shop Around the Corner was the most fun I could have had without laughing. By that, I mean to suggest that the script is subtly humorous, yet the dramatic elements prevent any real laughter. Yet that first hour is so fundamental to the power of the film, and the performances lend it a certain gravity, such as when Klara's face collapses when there's no new mail from James Stewart's Klarik. The last half hour, though, is wondrous comedy, full of many moments of joy, and it's here that Lubitsch orchestrates a subtle transformation across genres. Stewart's great here, as always, and the whole film's an awesome affair. Very fun.

Still working on thoughts to Aaron Katz's Quiet City, but I was stunned.

[Rowland]

do something while you watch it, if anything, just to say you saw it.No, that'd be intellectual dishonesty. I don't really care if I can say I saw it or not. I have a rough weekend ahead of me, so I may not feel like watching it. If I don't, life will go on.

[MacGuffin]

No, that'd be intellectual dishonesty. I don't really care if I can say I saw it or not. I have a rough weekend ahead of me, so I may not feel like watching it. If I don't, life will go on.

I don't think it's intellectual dishonesty, so long as you pay attention, or are actually able to do two things at once. Anyways, I didn't mean to sound forceful, and I hope I didn't.

[Rowland]

I don't think it's intellectual dishonesty, so long as you pay attention, or are actually able to do two things at once. I don't believe it counts if you watch a movie like this, which comes across primarily as a mood piece, while playing sudoku or something.

[Watashi]

One of my favorite movies. Glad you liked it.
I'm sure it is.

[MacGuffin]

I don't believe it counts if you watch a movie like this, which comes across primarily as a mood piece, while playing sudoku or something.

I don't know, I usually have my laptop with me when I watch movies for note taking, but when I get really bored... Call me intellectually dishonest, but I have better things to do with my time when movies get bad. Hey though, if it's good I'm all eyes and ears.

[trotchky]

I saw a triple feature of Un chien andalou (godly), L'Age d'or (saintly), and The Blood of a Poet (occasionally amusing) yesterday. I guess they were all pretty much masterpieces, LOL!!!!

[MacGuffin]

I saw a triple feature of Un chien andalou (godly), L'Age d'or (saintly), and The Blood of a Poet (occasionally amusing) yesterday. I guess they were all pretty much masterpieces, LOL!!!!

:lol:

LOLZERZ.

[trotchky]

Weekend:

Syndromes and a Century (Weerasethakul, 2007)
The Seventh Continent (Haneke, 1989)
Emanuelle in America (D'Amato, 1986)

The Seventh Continent is probably Haneke's worst, though even at his worst he is better than most. You can see the groundwork for his ideas on media and terrorism right from the start, and, it's like, with each successive film he added one new layer of meaning. Logically this means each new film is his best ever, which has pretty much been true so far!

[Philosophe_rouge]

The Marriage Circle was dissapointing, I don't think it was a bad film but considering it's reputation and the Lubitsh factor. It had some lovely moments but I was never really sold on the intrigue or romance, which left most of the comedy flat. I could feel where the scene wanted me to be, but I could never make it... I don't know, just not my thing really. Some very nice visuals and the always wonderful Adolphe Menjou made it worthwhile.

[Bosco B Thug]

Got to watch Chris Marker's rare early documentary The Koumiko Mystery for class. It's like Lost in Translation as a documentary and even more wistful, and thus more aware of social culpability (in being wistful and a documentary). Bad description, but great film, there's lots there I'm not touching. It sucks 'cause this is probably the last time I'll be able to see this one, for a very long while, at least ('cause its really rare and this was special).

Exiled was a pleasant surprise! Hadn't seen any Johnny To, nor knew anything about this particular movie, so I didn't expect a wholly abstract deconstruction of male initiatives and the Gentleman Society of the gangster. Love the juxtaposition of action cliches, wistful guitar music, and rustic aesthetic. The use of women in the film is great (a loaded sentence there, take it as you will!). But by the time they're shooting down an indeterminate number of thieves hidden in a brush as if they're duck hunting, the film becomes a bit too utterly reflexive and a little too clear in its motives. But nevertheless, another great movie.

[Philosophe_rouge]

For the first hour The Shop Around the Corner was the most fun I could have had without laughing. By that, I mean to suggest that the script is subtly humorous, yet the dramatic elements prevent any real laughter. Yet that first hour is so fundamental to the power of the film, and the performances lend it a certain gravity, such as when Klara's face collapses when there's no new mail from James Stewart's Klarik. The last half hour, though, is wondrous comedy, full of many moments of joy, and it's here that Lubitsch orchestrates a subtle transformation across genres. Stewart's great here, as always, and the whole film's an awesome affair. Very fun.

Still working on thoughts to Aaron Katz's Quiet City, but I was stunned.
Yea, great film. It took me awhile to get into, but it built up so beautifully by the end I was in love. Lubitsch :pritch: all I can say :P

[Ivan Drago]

I'm sure it is.

What do you mean by that?

[Yxklyx]

The Marriage Circle was dissapointing, I don't think it was a bad film but considering it's reputation and the Lubitsh factor. It had some lovely moments but I was never really sold on the intrigue or romance, which left most of the comedy flat. I could feel where the scene wanted me to be, but I could never make it... I don't know, just not my thing really. Some very nice visuals and the always wonderful Adolphe Menjou made it worthwhile.

Boo :frustrated:

[Ezee E]

Michael Clayton = completely meh.

[Watashi]

Mehchael Clayton?

I actually liked it a lot more on a second viewing. Wilkinson deserved his nomination.

[D_Davis]

I watched Walter Hill's Southern Comfort tonight. Didn't care for it.

[D_Davis]

Exiled was a pleasant surprise! Hadn't seen any Johnny To, nor knew anything about this particular movie, so I didn't expect a wholly abstract deconstruction of male initiatives and the Gentleman Society of the gangster. Love the juxtaposition of action cliches, wistful guitar music, and rustic aesthetic. The use of women in the film is great (a loaded sentence there, take it as you will!). But by the time they're shooting down an indeterminate number of thieves hidden in a brush as if they're duck hunting, the film becomes a bit too utterly reflexive and a little too clear in its motives. But nevertheless, another great movie.

Yes! Exiled is fantastic. Love it. Johnny To has made some great films, but this is his masterpiece. You may want to check out The Mission, to which Exiled is a spiritual sequel.

I just ordered To's newest film The Mad Detective. I am looking forward to seeing it.

[Boner M]

Mehchael Clayton?

I actually liked it a lot more on a second viewing. Wilkinson deserved his nomination.
Yeah, I'm surprised at how much it's stuck with me after initially dismissing it as 'that movie I took my mum to see cos she likes Clooney and legal thrillers'. Clooney's brief heartfelt chat to his son in the car after a run-in with his brother, that final shot, and Wilkinson's murder are among the best moments in film from last year, and all the performances are top-notch (Pollack is being overlooked by the awards and critics groups). Didn't like the scene with the horses though, which struck me as a screenwriting 101 attempt at subtle character detail.

[Boner M]

Maybe I was in a lousy mood, or more likely I just have poor taste, but I couldn't get into Regular Lovers at all. Its pace was lethargic, the characters were annoying, and there was almost no plot to hang onto. I grew so sleepy that I turned it off about halfway through and took a nap. I might try again over the weekend, maybe after reading some of the praise from its many ardent admirers... or I may just send it back to Netflix.
I sympathise with you re: the first hour or so (though I was ultimately intrigued enough to keep watching), but I ended up really getting into the film's rhythm in the second half, and empathising with the characters, and thus the pace became exponentially brisker as it went on. Give it another try.

[Morris Schæffer]

Ellen Page was amazing in Juno. Totally fab I tell ya! The actual movie was pretty good as well. It sort of went from point A to B with little attempt to embellish upon Juno's dilemma insofar as there actually was one in the first place. Eventually, the impact of her decision becomes clear to her in a pair of absolutely heartfelt moments near the end. Less convincing was the decision by the Bateman character to leave his spouse, played by Jennifer Garner. That is of course bollocks because when your companion is Jennifer Garner, it is simply not done to leave her.:) Still, Juno brims with spontaneousness and attitude that won me over big time.

[Boner M]

Juno brims with spontaneousness
Does. Not. Compute.

[transmogrifier]

I watched Walter Hill's Southern Comfort tonight. Didn't care for it.


Does. Not. Compute.

[/parallelism]

[Morris Schæffer]

Does. Not. Compute.

It never felt manufactured to me with forced situations to boost up the drama and conflict in this film, except for the part I put in spoiler tags. Juno has her baby, finds adoptive parents, gives birth, hands the baby over and moves on with her life. The performances too all seemed very natural to me. Yes, so Juno herself seems awfully outspoken for a sixteen-year old, but that's what I love about it. There is a radiant frivolity to most of the movie's runtime, but eventually the emotional chord is played, but it's all done rather subtly.

[Spinal]

Most of Juno feels the opposite of spontaneous to me. It is utterly calculated. The final scene with the duet is a notable exception. Still a manipulative moment, but made fresh by the performers.

And there is a thread for this film, ya know.

[D_Davis]

Does. Not. Compute.

[/parallelism]

It's easily my least favorite Hill film.

[Ivan Drago]

One of the major problems that I had with Juno was its soundtrack. It just screams indie.

[transmogrifier]

It's easily my least favorite Hill film.

This is easily my least favorite Daniel Davis post.

:)

[D_Davis]

This is easily my least favorite Daniel Davis post.

:)

:lol:

I liked the premise, but it seemed to meander far to much. I never felt as if the tension was surmounting to anything, and I thought it was lacking in suspense. Hill's films usually have a great sense of energy, and through the editing and cinematography he is able to make his low-budget films seem more expensive than they are. He is usually a great craftsman, but here, everything seemed dialed in. It was all very flat and static.

[Watashi]

Most of Juno feels the opposite of spontaneous to me. It is utterly calculated. The final scene with the duet is a notable exception. Still a manipulative moment, but made fresh by the performers.

And there is a thread for this film, ya know.
You are the cheese to my macaroni.

[Rowland]

(Pollack is being overlooked by the awards and critics groups). Why? He just did his usual Pollack thing.

[Qrazy]

Matewan was awesome. It gets a bit too black and white towards the end, but it's a beautiful and haunting film. David Straithern.... such a badass.

Anyone else think the ending is straight out of El Topo?

[Rowland]

The final scene with the duet is a notable exception. Still a manipulative moment, but made fresh by the performers.I didn't like that scene, mainly because that didn't seem like the kinda song they would actually sing, given Juno's established musical taste. And if it didn't come off as calculated while they were performing, that damn track team running by directly before the credits negates it.

[Rowland]

But by the time they're shooting down an indeterminate number of thieves hidden in a brush as if they're duck hunting, the film becomes a bit too utterly reflexive and a little too clear in its motives. What motives are you referring to?

[Wryan]

I liked Juno too.

[Philosophe_rouge]

The Racket (1951) was predictably average, the plot was uninteresting and not enough attention was devoted to the potentially interesting character dynamics of Mitchum and Ryan, especially how they parallel one another. Ryan steals the film (he has a habit of doing so), and I'll probably pick up the Set-Up today. He's an incredible actor.

[Ezee E]

Yeah, take Sydney Pollack from Eyes Wide Shut and you got him in Michael Clayton. Tom Wilkinson was good though. The most memorable shot is a weird one for me. It's seeing Tilda Swinton stressing inside the bathroom to the point that her arm is drenched in sweat.

Yep. I liked Juno too. A lot.

And want to know a good "meh?" Thelmeh and Louise.

[Watashi]

I saw a double-billing of The Time Machine today. I saw the 2002 remake first which was pretty hilariously bad. The best thing about the original film was that there was no clear force behind the Time Traveler's motivation in building the machine. He just became obsessed with controlling time and his own destiny. The whole girlfriend angle made it sound like a cheap Hallmark special. Sure, the original's last 20 minutes is full of cheesehead goodness, but that's what makes it special. You know it's a bad thing when the remake's special effects actually look worse than the 1960 version.

[Watashi]

The best part of Michael Clayton is the Wilkinson's opening monologue.

The best part of Juno is that I didn't have to pay to see it.

[Ezee E]

The best part of Michael Clayton is the Wilkinson's opening monologue.

The best part of Juno is that I didn't have to pay to see it.
Shoot, the prologue had me thinking I was watching a masterpiece until it went back four days earlier.

[Spinal]

I didn't like that scene, mainly because that didn't seem like the kinda song they would actually sing, given Juno's established musical taste. And if it didn't come off as calculated while they were performing, that damn track team running by directly before the credits negates it.

I took the song choice to mean that Juno had let down her guard and softened a bit. I thought it was an intentional choice to reveal something about her character that had changed in the time that had passed. Good point about the track team though.

[Spinal]

And want to know a good "meh?" Thelmeh and Louise.

Except it's not 'meh'. It's crappy.

[Russ]

And want to know a good "meh?" Thelmeh and Louise.


Except it's not 'meh'. It's crappy.
How so? I mean I see the low scores in the Scott thread too, but I didn't think it was that bad.

[Ezee E]

How so? I mean I see the low scores in the Scott thread too, but I didn't think it was that bad.
It's painfully one-sided, with every man being despicable. It doesn't ever criticize any of the women's choices, many of which are stupid no matter how much "freedom" they need.

I'm curious about Legend.

He's pretty much hit or miss for me I've figured out.

[Ezee E]

Except it's not 'meh'. It's crappy.
Touche.

[Spinal]

Thelma and Louise strikes me as being thoroughly dishonest in much the same way that a film like Crash is, baiting the audience into a reaction by pushing supposed hot buttons. It's all just so transparent and disingenuous.

[Grouchy]

I saw a double-billing of The Time Machine today. I saw the 2002 remake first which was pretty hilariously bad. The best thing about the original film was that there was no clear force behind the Time Traveler's motivation in building the machine. He just became obsessed with controlling time and his own destiny. The whole girlfriend angle made it sound like a cheap Hallmark special. Sure, the original's last 20 minutes is full of cheesehead goodness, but that's what makes it special. You know it's a bad thing when the remake's special effects actually look worse than the 1960 version.
I can't believe it's directed by a descendant of H.G. Wells, as it completely rapes his work by the bumhole with that stupid girlfriend plot and the Hollywood villainness of the Morlocks. In many ways, it reminded me of the Planet of the Apes remake.

- Opinions:

Michael Clayton is very good, one of the smartest legal dramas around, but I didn't like the opening prologue, I felt it was unnecessary, confusing and it spoiled an important event in the film. It's lack of chronology for its own fucking sake.

Exiled is fucking excellent. To is a brilliant heir of Triads cinema.

I saw 1408, which was pretty solid for its first hour, and then became too effectist for my liking. Which doesn't make it bad, but the visuals become so neat it was hard to feel genuinely scared by them. Samuel L. Jackson gets head-to-head billing with Cusack just for being Samuel L. Jackson, a.k.a. God from da hood, since his role is esentially supporting, and Cusack is the true protagonist. Still, it's an atmospheric movie, better than most recently released Horror. After reading about the original ending wanted by the director, it's a pity they went with the other one.

[Sycophant]

Michael Clayton is very good, one of the smartest legal dramas around, but I didn't like the opening prologue, I felt it was unnecessary, confusing and it spoiled an important event in the film. It's lack of chronology for its own fucking sake.

This is a device I'm exhausted with. However, I thought Michael Clayton did it ever so slightly better than a lot of what I've seen in the last couple years. Local filmmaker Richard Dutcher used it in the worst, most abrasive way in this year's Falling.


Exiled is fucking excellent. To is a brilliant heir of Triads cinema.
Rep for you.

[Boner M]

The Blade was pretty awesome. I'll have to watch it again on DVD though, cos the VHS copy I bought (thankfully only for $1) had extremely poor subtitling that made it hard to follow the plot at times and thus may have diluted some of the thematic complexity. I can definitely see the comparisons to Wong Kar-Wai in the visual style, and the film somewhat reminded me of Ashes of Time without the condescension toward the genre. I was really surprised at how involving the action scenes were, even as Tsui crafts them so that they offer a sheer sensory attack at the same time.

Davis... where do I go to next?

[Sven]

Finally seen: Brewster McCloud

Verdict: I miss you, Altman. :cry: God, what a film! Par for Altman, a cynical, but also exuberant parable about one's dreams, maturation, individuality being crushed or retarded by The Man (: law enforcement, school, capitalism, drugs, sex, et al). A cornucopia of adolescent frustration that, through an expansive context and prismatic tone, shames the self-centered whininess of today's expressions of Gen-Y detachment. It's also quite funny. Brilliant!

[Rowland]

OUATIA is one of Hark's most iconic movies, so that'd be a good choice. The sequel has a strong reputation as well, but I didn't think much of it. Green Snake is a blast as well.

[Boner M]

Turns out I've seen either A Chinese Ghost Story or Once Upon a Time in China. I remember watching one of them on late night TV in 2001. But can't remember which one.

[Sycophant]

There's a lot of things to love about Diving Bell & the Butterfly, but the ending sure isn't one of them.

[Bosco B Thug]

What motives are you referring to? Oh, that the film is constructing a scenario where these men are allowed into a fantasy (or limbo) where they live out a lifestyle they relish and enjoy. Just a bit overt with the romantic visuals, coin flipping, and photo-booth-session-in-midst-of-no-longer-high-stakes-confrontation. But that's what they were setting out for, I guess.


Finally seen: Brewster McCloud

Verdict: I miss you, Altman. :cry: God, what a film! Par for Altman, a cynical, but also exuberant parable about one's dreams, maturation, individuality being crushed or retarded by The Man (: law enforcement, school, capitalism, drugs, sex, et al). A cornucopia of adolescent frustration that, through an expansive context and prismatic tone, shames the self-centered whininess of today's expressions of Gen-Y detachment. It's also quite funny. Brilliant! I think I've finally tracked down a VHS of this one (at a local library). Word on IMDb is a DVD this year sometime, though.

[Sven]

I think I've finally tracked down a VHS of this one (at a local library). Word on IMDb is a DVD this year sometime, though.

Man, you can NOT afford to watch this one pan & scanned. It's anamorphic framing is glorious. I'm excited about the prospects of a DVD.

[Bosco B Thug]

Man, you can NOT afford to watch this one pan & scanned. It's anamorphic framing is glorious. I'm excited about the prospects of a DVD.
Oh, okay. I hope it comes out soon then. How'd you get to see it?

[Sven]

Oh, okay. I hope it comes out soon then. How'd you get to see it?

Rhymes with "Borrent".

[Bosco B Thug]

Rhymes with "Borrent".
Oh, yeah, what else, huh.

[transmogrifier]

Finally seen: Brewster McCloud

Verdict: I miss you, Altman. :cry: God, what a film! Par for Altman, a cynical, but also exuberant parable about one's dreams, maturation, individuality being crushed or retarded by The Man (: law enforcement, school, capitalism, drugs, sex, et al). A cornucopia of adolescent frustration that, through an expansive context and prismatic tone, shames the self-centered whininess of today's expressions of Gen-Y detachment. It's also quite funny. Brilliant!

Yeah. It's actually very funny. Love the final shot of the car in the pond.

[Sven]

Yeah. It's actually very funny. Love the final shot of the car in the pond.

Yeah, the punctuation of the zooms, the pace, and the gag with the photographer were orchestrated beautifully.

And Murphy, in general, was a total surprise.

[Dead & Messed Up]

In Bruges is the best film I've seen since Zodiac. Damn near perfect.

[Philosophe_rouge]

In Bruges is the best film I've seen since Zodiac. Damn near perfect.

Awesome, I've been looking forward to this.

[Sven]

In Bruges is the best film I've seen since Zodiac. Damn near perfect.

Sweet. I saw McDonagh's Lieutenant of Inishmore on Broadway and it was very funny and very entertaining (and was quite loaded, politically, though disguised with slapstick).

[megladon8]

In Bruges is the best film I've seen since Zodiac. Damn near perfect.


This is fantastic news.

Does it bear any resemblance to The Matador?

I ask because they are both hitman comedies, and the trailer seems to be edited/presented to capitalize on the success of the Brosnan movie.

[MacGuffin]

I was watching The Seventh Continent with my father tonight, and it's interesting seeing his reactions to the use of static shots, and Haneke's usual uncompromising sense of direction, since he's not familiar with these sorts of European movies (there's different techniques in Europe than in America regarding cinema). Anyways, I liked the movie and I think it's one of his better ones. I saw it as an interesting criticism on the bourgeoisie, but maybe a little bit too general in it's delivery of the message. The scene with the "Power of Love" song playing was emotionally devastating, and while at first I didn't like all the cut to black editing techniques, I came to appreciate them after the fast paced cuts of the last few shots amongst the television's white noise.

[Sycophant]

Lubitsch's To Be or Not To Be is wonderful.

[transmogrifier]

This is fantastic news.

Does it bear any resemblance to The Matador?

I ask because they are both hitman comedies, and the trailer seems to be edited/presented to capitalize on the success of the Brosnan movie.

I hope not, because I saw The Matador a couple of days ago, and it was terrible. Screenwriting 101 without the wisdom to be funny.

[MadMan]

So yeah if your looking for a movie with good acting, a decent screenplay, and dialogue that seems natural and well written.....well Rambo is not that movie. None of those things appear in the film at all, although luckily for us Sly limits his speaking parts to a bare minium. I have to say that while the action was really sweet the film is so overtly violent and gory (its currently the most violent movie I've ever seen) that I felt uneasy watching it at times. You get a bunch of scenes where Burma military men are slaughtering civilians, followed by some quiet moments involving Rambo and the Christian missionaries, and then capped off with Rambo and co. killing an untold number of said Burma soldiers.
If the folks that think 300 is racist even get wind of what happens in this film or even bother to see they will be even more offended, considering the gross sterotypes that occur among other things. I have to also say though that just like Live Free or Die Hard, Rambo doesn't fit in with the previous installments, since they were really about Vietnam and the Cold War. However the ending is strangely very fitting and an interesting choice, and I have to say that the Rambo theme music is one of my favorite pieces, and a great one for what is at the heart a primative right wing action series. For what it is the film is somewhat decent on that level, but really the film isn't a very good finish to the series, unlike very good Rocky Balboa from 2006.

[Grouchy]

Turns out I've seen either A Chinese Ghost Story or Once Upon a Time in China. I remember watching one of them on late night TV in 2001. But can't remember which one.
Well, did i have Jet Li and a bunch of really bad British actors? If so, it's Once upon a time in China.

[Dead & Messed Up]

A bit more on In Bruges: I haven't seen The Matador, so I can't directly compare the two. However, its story of two hit men taking a breather in Bruges does seem vaguely familiar. I'd attribute it to the emergence of hit men as viable protagonists, thanks mostly to Tarantino and his progeny.

The film has a great number of strengths. The two mains, Colin Farrell and Brendan Gleeson, make for a good odd couple without it ever feeling "buddy." Gleeson is a more somber, graceful character, while Farrell is twitchy and passionate (you learn why in a stunning flashback). As the plot moves along, the story finds time for many small digressions that give the story texture. Bruges itself is lovely and well-photographed, and, at the opposite end of the spectrum, one scene has a coke-addled midget who gets karate-chopped. The finale plays traditionally, but, even then, it's not without its pleasures, including a last-minute twist that is devilish and hilarious.

Also, Martin McDonough, the writer/director, was at the screening and did a Q&A. I didn't have any immediate questions, but he revealed that he wrote the movie in five weeks and didn't do a second draft (!).

Limey bastard.

[Morris Schæffer]

One of the major problems that I had with Juno was its soundtrack. It just screams indie.

Without wanting to sound rude, perhaps too much of a bias exists against the mere idea of an indie movie and that said product no doubt will go on to garner a few nominations, most undeserved. You won't hear me say Juno deserves best picture (it really doesn't), but I still saw an honest and perceptive little film with a bunch of memorable performances. Yes, a certain amount of recognizable quirk was present, but not nearly enough to dismiss the movie in my opinion. Your comment, though I won't hold it against you at all Ivan, strikes me as rather telling. Still, perhaps you had other more substantial issues with the film.

[Boner M]

Well, did i have Jet Li and a bunch of really bad British actors? If so, it's Once upon a time in China.
Nah, it was definitely A Chinese Ghost Story. Which, now that it's coming back to me, I reacted positively towards.

[Philosophe_rouge]

Lubitsch's To Be or Not To Be is wonderful.
YES. It's mmy favourite Lubitsch, and one of my all time favourite films. It gets better everytime I watch it, and it saddens me knowing Lombard's fate and the fact that Benny never really was able to transition into film.

[D_Davis]

Nah, it was definitely A Chinese Ghost Story. Which, now that it's coming back to me, I reacted positively towards.


It's an awesome film.

[D_Davis]

The Blade was pretty awesome. I'll have to watch it again on DVD though, cos the VHS copy I bought (thankfully only for $1) had extremely poor subtitling that made it hard to follow the plot at times and thus may have diluted some of the thematic complexity. I can definitely see the comparisons to Wong Kar-Wai in the visual style, and the film somewhat reminded me of Ashes of Time without the condescension toward the genre. I was really surprised at how involving the action scenes were, even as Tsui crafts them so that they offer a sheer sensory attack at the same time.

Davis... where do I go to next?


Awesome. Definitely get the newest bootleg DVD of The Blade available from kflix.com. It is the best version of the film available. It looks and sounds great, and since this film is not available on a legit DVD...

The Blade was Tsui's direct response to WKW's Ashes of Time. Tsui was a little pissed that WKW tried to beat him at his own game, and so he made his own ultra-introspective wuxia pian using The One-Armed Swordsman as a foundation. He also remembered to include the things that make the martial arts genre so exciting, where as WKW forgot most, if not all of these elements. WKW's film was missing many facets, where s Tsui's film add elements.

I do think the Blade is his best film, but going down from my top 100, I would check out:

Once Upon a Time in China
Peking Opera Blues
We're Going to Eat You

and then go on to...

Dangerous Encounter - 1st Kind aka Don't Play With Fire
Once Upon a Time... II and III
Greensnake
The Swordsman I and II (produced by/co-directed)
A Chinese Ghost Story (produced by/co-directed)
The Lovers

[Kurosawa Fan]

Lubitsch's To Be or Not To Be is wonderful.

Absolutely. It made my top 100.

[Sycophant]

YES. It's mmy favourite Lubitsch, and one of my all time favourite films. It gets better everytime I watch it, and it saddens me knowing Lombard's fate and the fact that Benny never really was able to transition into film.I was wondering why I had never really seen much of either Lombard or Benny. That is terrible about Lombard, and it puzzles me that Benny never really succeeded on screen. He seemed like he would have fit perfectly in any number of screwball comedies, though I suppose that was a trend that wouldn't last too much longer after 1942.

[Rowland]

In Bruges is the best film I've seen since Zodiac. Damn near perfect.That movie with the midget jokes in the trailer? I thought that looked terrible.

[Rowland]

he's not familiar with these sorts of European movies (there's different techniques in Europe than in America regarding cinema).You probably shouldn't lump all European movies together like this.

[ledfloyd]

I just watched The Band Wagon (Minnelli, 1953) It's pretty solid. I particularly liked the noir takeoff bit. The sets were awesome. If that little piece was a short film it might be one of my favorites. Cyd Charisse has legs, and she knows how to use them.

[Philosophe_rouge]

I was wondering why I had never really seen much of either Lombard or Benny. That is terrible about Lombard, and it puzzles me that Benny never really succeeded on screen. He seemed like he would have fit perfectly in any number of screwball comedies, though I suppose that was a trend that wouldn't last too much longer after 1942.
Lombard is one of my favourite actors, a brilliant comedian. To Be or Not to Be is my favourite role of hers, but she's also great in My Man Godfrey, Nothing Sacred, and Twentieth Century. I would have loved to see where her career would have went, because she seemed to only get better as the years went on. Benny is more difficult... he was talented, and already very popular because of the radio and later his television show (which is quite funny). Many have pegged his failure on film to the fact that so much of his comedy is in reaction to his audience. His comedy was about a look more than anything, and this didn't always translate onto the screen. However, watching To Be or Not to Be, it's clear that his style could be adapted to the screen. Some of the best moments are when his smug demeanor is disturbed, notably in his exchanges with Col. Ehrhardt. From what I hear, once TV came around he just gave up on film because all his films were flops.

[MacGuffin]

You probably shouldn't lump all European movies together like this.

Uh, what?

[Rowland]

Uh, what?Don't mind me, it's just a pet peeve. Like when people talk in blanket terms about "Asian cinema," it strikes me as reductive to lump together the often-dramatically-contrasting output from so many countries in such a way. Never mind.

[Rowland]

A positive review (http://www.slantmagazine.com/film/film_review.asp?ID=3449) for The Bank Job by Nick Schager. As a big Statham fan, color me stoked.

[MacGuffin]

Don't mind me, it's just a pet peeve. Like when people talk in blanket terms about "Asian cinema," it strikes me as reductionist to lump together the often-dramatically-contrasting output from so many countries in such a way. Never mind.

I didn't mean it that way, I meant it in comparison to American cinema, which is much more concerned about the audiences' feelings and usually, catering towards them.

[Dead & Messed Up]

That movie with the midget jokes in the trailer? I thought that looked terrible.

The trailer may be misrepresenting the film - but maybe not. It's a mixture of dark pathos and broad humor, but the latter really helps to alleviate the former.

[Rowland]

A smart and perceptive review (http://www.brightlightsfilm.com/59/59deathproof.html) for Death Proof from the latest edition of the Bright Lights Film Journal.

[Bosco B Thug]

A smart and perceptive review (http://www.brightlightsfilm.com/59/59deathproof.html) for Death Proof from the latest edition of the Bright Lights Film Journal.
Pretty good review, there's definitely a weird ambience to the film and he touches on it a number of times. And I loved that gas station scene.

Also, another thing I haven't mentioned is the end credits. Everyone should sit through the end credits. There are

interspersed of shots of Rose McGowan and Vanessa Ferlito addressing the camera in the upbeat "year book" montage. It's totally eerie and wonderfully elegiac in a way. Ferlito is stunningly striking in her shots. She gives a weird, sad smile and it's so cute it makes me want to cry. It's brilliant. :lol:

[origami_mustache]

Prosperity for 2008 [short] (Weerasethakul, 2008) 6.0


Where did you see this? I really want to see his short short film anthology.

[Boner M]

Where did you see this? I really want to see his short short film anthology.
Here (http://www.youtube.com/watch?v=G-bSGuz1IJA).

[origami_mustache]

Here (http://www.youtube.com/watch?v=G-bSGuz1IJA).

ty sir

[Boner M]

ty sir
gimmetwoblocksNOWplzkthx

[origami_mustache]

gimmetwoblocksNOWplzkthx

your wish is my command...

[Boner M]

your wish is my command...
In penance for that shameless display of whoring, I'll also link you Bruce Bailee's All My Life (hhttp://www.youtube.com/watch?v=vj904qOfKD4), which was the obvious insipiration for that short, just as Baillee was an influence on a lot of Joe's other work.

[transmogrifier]

A positive review (http://www.slantmagazine.com/film/film_review.asp?ID=3449) for The Bank Job by Nick Schager. As a big Statham fan, color me stoked.


A smart and perceptive review (http://www.brightlightsfilm.com/59/59deathproof.html) for Death Proof from the latest edition of the Bright Lights Film Journal.

Who are you trying to get drunk and take advantage of?

[megladon8]

While I may have thought so a while ago, I can't say I am too surprised by negatives thoughts on here towards The Matador.

And did anyone else see Right at Your Door? I'd love to talk about how that movie could have been fantastic - brilliant, even - yet feel way short.

[Sycophant]

I actually liked Cassandra's Dream, even if it isn't one of Woody's best. Probably on the good half of the last decade, though.

On the other hand, I really, really disliked Juno.

[number8]

And did anyone else see Right at Your Door? I'd love to talk about how that movie could have been fantastic - brilliant, even - yet feel way short.


Yes. (http://www.justpressplay.net/movies/right-at-your-door/review/)

[Mr. Valentine]

the Hanna Montana movie made 30 million dollars in only 700 theaters this weekend.

[Boner M]

Gonna try the /100 scale on for size for a while. See how things go.

[MacGuffin]

Gonna try the /100 scale on for size for a while. See how things go.

I used it for a little while and found it to be a bit overwhelming. Especially when there were some systems where 7/10 = 65, and stuff like that. Anyways, I don't want to start a whole other rating scales discussion, but this ten half scale system gives me the leniency I need without being overwhelming.

[megladon8]

Yes. (http://www.justpressplay.net/movies/right-at-your-door/review/)


Good thoughts, 8.

Though you praise some aspects of the film which were my least favorite parts. For instance, the constant presence of the news broadcasts - I didn't feel the film's message was very deeply rooted in the media and our dependancy on it. I felt the relationship aspect and the testing of Brad's love for Liz was more the focus of the film, and I actually found the newscasts broadcasting the exact sae fucking message over and over and over to be very, very annoying.

And what did you think of the "twist" ending? I thought it was quite a letdown, and felt like it was kind of tossed in there simply for the same of including a "twist" to make the film more memorable.

Also, the character of Alvaro was completely pointless. He contributes absolutely nothing to the plot whatsoever, and only seems to be there because the filmmakers felt insecure with having a one-man-show.

I mean, as I said in my initial post a couple pages back, it's not a bad movie, and Rory Cochrane's performance may have single-handedly saved it. But damn is it disappointing, considering the incredible potential the concept had.

[Qrazy]

Here (http://www.youtube.com/watch?v=G-bSGuz1IJA).

This is supposed to be great?

[MacGuffin]

This is supposed to be great?

Hi Qrazy, how are you doing!?

[Qrazy]

Hi Qrazy, how are you doing!?

Good?

[Boner M]

This is supposed to be great?
No, who said it was? It's just a neat little New Year's present from Joe.

[MacGuffin]

No, who said it was? It's just a neat little New Year's present from Joe.

If this is his New Year's present to us, Syndromes and a Century is New Year's present to cinema.

[Qrazy]

No, who said it was? It's just a neat little New Year's present from Joe.

I thought two people in the thread had said it was. *shrug*

[Duncan]

I thought two people in the thread had said it was. *shrug*

I liked it a lot.

[MacGuffin]

I thought two people in the thread had said it was. *shrug*

I thought it was pretty good, hence the 6.0. It's heartfelt video art basically.

[Wryan]

the Hanna Montana movie made 30 million dollars in only 700 theaters this weekend.

The whole Hannah Montana / Miley Cyrus thing is brilliant cause her demographic thinks it's fresh and original. She could release two CDs, one from each personality, on the same day and they'd sell millions each.

I hate her so much.

[transmogrifier]

Gonna try the /100 scale on for size for a while. See how things go.

Good idea. It is the best system around. People who think it is overwhelming need to go back to their tea parties and let the real men take control of this rating business.

[Duncan]

iosos, did you realize Still Life was shot in HD? There were a few under lit closeups and overexposed backdrops (mostly outside of windows) where I suspected, but I still concluded it was shot on film.

I've decided I really loved the film, btw.

[Rowland]

Good idea. It is the best system around. People who think it is overwhelming need to go back to their tea parties and let the real men take control of this rating business.I've thought of using it, but what I worry about is that we may all have different ideas about how the scale operates, so people reading the scores may be confused when seeing all these numbers in our sigs. For instance, if I were to use the scale, my mind operates in such a manner so that 50 and up would be positive, but it seems to me that a 50 on yours or Raiders' scale is more negative than positive.

[Sycophant]

If I read another comment on a movie blog to the effect of "Lighten up" or "It's called a 'movie,' duh!" or "Hello! Entertainment!" I'm going to put my foot through my apartment wall.

[megladon8]

If I read another comment on a movie blog to the effect of "Lighten up" or "It's called a 'movie,' duh!" or "Hello! Entertainment!" I'm going to put my foot through my apartment wall.


I agree, but at the same time, very occasionally I feel like saying it, myself.

[transmogrifier]

I've thought of using it, but what I worry about is that we may all have different ideas about how the scale operates, so people reading the scores may be confused when seeing all these numbers in our sigs. For instance, if I were to use the scale, my mind operates in such a manner so that 50 and up would be positive, but it seems to me that a 50 on yours or Raiders' scale is more negative than positive.

Well, about 45-60 is mixed for me, which definitely has negative connotations. Maybe it's because I'm a teacher, and a score of 51 would be a fail. :)

[megladon8]

Well, about 45-60 is mixed for me, which definitely has negative connotations. Maybe it's because I'm a teacher, and a score of 51 would be a fail. :)


Really?

In every school I've been in, 51 is the mark which is officially a pass.

50 or below is a fail.

[Rowland]

Really?

In every school I've been in, 51 is the mark which is officially a pass.

50 or below is a fail.Every school in the world doesn't follow the same scoring system, Canadian boy. :P

The most common grading system in the US has below 60 as failing, though my area had it at 65.

[Sycophant]

I've been considering switching over to a new ratings system, with the /100 system looking pretty tantalizing. Using the four-star system, I find it rather limiting, particularly as I am resistant to the idea of rating anything less than a star, essentially restricting myself to a seven-tier system. *shrugs* Good thing it doesn't matter all that much.

[Rowland]

I've been considering switching over to a new ratings system, with the /100 system looking pretty tantalizing. Using the four-star system, I find it rather limiting, particularly as I am resistant to the idea of rating anything less than a star, essentially restricting myself to a seven-tier system. *shrugs* Good thing it doesn't matter all that much.The four-star system is growing stale for me, just because I've been finding myself increasingly resistant to scoring below ** or above ***. Most movies seem to fit within those three tiers for me lately, whereas with a /100 system, I'd have something like 40-69 to play around with, which is enticing.

[Yxklyx]

In anticipation of the '89 concensus I watched Kiki's Delivery Service. What a wonderful movie! Most of Miyazaki's I've seen suffer from too much plot but this one is perfectly concise - my favorite of his. 8/10 or I suppose 76/100...

[Ezee E]

the Hanna Montana movie made 30 million dollars in only 700 theaters this weekend.
Yeah. 45K per theater. People love their Hannah Montana.

[Philosophe_rouge]

In all my schools, 60 and higher is a passing grade. Although during highschool, your overall average had to be a 70 and higher to be considered a pass.

[Ezee E]

I tried the Rosenbaum scale, but that didn't work for me because it was too hard to figure out the difference between two and three. The four stars with half still works the best for me.

[Sycophant]

In anticipation of the '89 concensus I watched Kiki's Delivery Service. What a wonderful movie! Most of Miyazaki's I've seen suffer from too much plot but this one is perfectly concise - my favorite of his.Yay! It's not my absolute favorite but it's one of my top three, easily. It's also a pure delight to watch.

[Sven]

iosos, did you realize Still Life was shot in HD? There were a few under lit closeups and overexposed backdrops (mostly outside of windows) where I suspected, but I still concluded it was shot on film.

I've decided I really loved the film, btw.

Yeah, while it is pretty much the best looking (read: most filmy looking) digital picture I've seen, I caught on about thirty minutes in. Can't really say when, but there was this culminating feeling that I wasn't able to look around the characters... hard to explain. Still, it was used to good effect, particularly given the title of the film, and how it evokes a static, flat mood. It has been growing in my esteem as well, though as I said at the time, it's not the kind of film I really get passionate about.

Although that reminds me, have you seen The Scent of Green Papaya? I'm pretty passionate about that one, actually, and its formal aims are largely similar.

And the more I think about that Soderbergh short, the more I :frustrated:

[MacGuffin]

In anticipation of the '89 concensus I watched Kiki's Delivery Service. What a wonderful movie! Most of Miyazaki's I've seen suffer from too much plot but this one is perfectly concise - my favorite of his. 8/10 or I suppose 76/100...

It's one of my favorite movies. I'm glad you loved it too.

[Spinal]

Ratings don't have to be a laser precise assessment of your feeling towards a film. That's what words are for.

[Eleven]

From now on, I'm gonna be rating entirely in Junospeak.

**** - "cheese to my macaroni"
*** - "honest to blog good"
** - "giving the stinkeye"
* - "makes junk smell like pie"

I may get through half a movie before killing myself.

[Ezee E]

Ratings don't have to be a laser precise assessment of your feeling towards a film. That's what words are for.
Generally, people don't read the words here. They read the rating and criticize.

[number8]

I actually found the newscasts broadcasting the exact sae fucking message over and over and over to be very, very annoying.

Well, yeah. That's the idea. It's saying that the news is useless regurgitation.


And what did you think of the "twist" ending? I thought it was quite a letdown, and felt like it was kind of tossed in there simply for the same of including a "twist" to make the film more memorable.

I actually forgot that there was a twist ending, so it was not the most memorable thing about the movie. It's not much, but thematically it has to go that way. It was like I said, it's about the misinformation of the news. I mentioned the similarity to the Twilight Zone episode, which had the same twist that staying inside ended up being the fatal thing.


Also, the character of Alvaro was completely pointless. He contributes absolutely nothing to the plot whatsoever, and only seems to be there because the filmmakers felt insecure with having a one-man-show.

The Mexican gardener dude? He was a counter-point to the Brad character. He had the same goal (rescuing his wife), but he dared to go against the news and went outside, thinking for himself, while Brad was too afraid.

[Sycophant]

Generally, people don't read the words here. They read the rating and criticize.I've heard this complaint here before. But is it true?

[Spinal]

I've heard this complaint here before. But is it true?

I read the words. I can't speak for others.

[Yxklyx]

Generally, people don't read the words here. They read the rating and criticize.

Well, before I watch a movie I don't read the review (i.e. words) because I like to know as little about the movie before I watch it and reading a review spoils it. I always prefer to see just a rating before I watch a movie - then later after watching it I might go back and read the review.

[Watashi]

Generally, people don't read the words here. They read the rating and criticize.
It's one of the reasons I gave up my 2007 list thread. I was putting a lot of time in my write-ups, yet no one was responding. It's really frustrating.

[Sycophant]

I read the words. I can't speak for others.Yeah... I take others' words into consideration and generally look for anything they've written before pressing them for an explanation for a given film's rating. And if I haven't seen the film in question, yeah, I typically avoid reviews but also don't really jump to conclusions based on numbers.

[Ezee E]

It's one of the reasons I gave up my 2007 list thread. I was putting a lot of time in my write-ups, yet no one was responding. It's really frustrating.
Understandable. Same reason why I don't really try too hard on my top fifty.

[Spinal]

It's one of the reasons I gave up my 2007 list thread. I was putting a lot of time in my write-ups, yet no one was responding. It's really frustrating.

I read your Sweeney Todd entry. But I hadn't seen the other films, so I didn't read those entries.

[Yxklyx]

When a Woman Ascends the Stairs was very disappointing. I kept on getting this Nights of Cabiria vibe (some of the music was very similar and the word Cabiria actually appears as well) and that's a very bad thing because the Fellini is a masterpiece and this one is very mediocre when compared to it. Also, Ozu just handles this kind story much better.

[Rowland]

Maybe I'm reading a different forum, but I don't see people criticizing scores around here often. I can't even recall the last time I saw that. Speaking for myself, I ask about scores if I'm curious about how the poster came to that conclusion, but I don't just criticize them.

[Watashi]

I read your Sweeney Todd entry. But I hadn't seen the other films, so I didn't read those entries.
Yes, but there was quite a few here who saw The Mist and I'm Not There.

[Duncan]

Yeah, while it is pretty much the best looking (read: most filmy looking) digital picture I've seen, I caught on about thirty minutes in. Can't really say when, but there was this culminating feeling that I wasn't able to look around the characters... hard to explain. Still, it was used to good effect, particularly given the title of the film, and how it evokes a static, flat mood. It has been growing in my esteem as well, though as I said at the time, it's not the kind of film I really get passionate about.

Although that reminds me, have you seen The Scent of Green Papaya? I'm pretty passionate about that one, actually, and its formal aims are largely similar. There were enough images to latch onto for me to feel passionate about the film as a whole. Like when the protagonist is walking through the half-wrecked city for the first time and a wall just collapses in the background. Then he walks over the hill, a dog appears, trots around for awhile and looks at the camera. Or when he compares the bill (with Mao on it) to the actual gorge. Those moments really seeped in.

Haven't seen The Scent of Green Papaya, but I've heard good things from multiple sources. I'll seek it out.


And the more I think about that Soderbergh short, the more I :frustrated: Especially since there are so many other struggling, unknown filmmakers out there. I'd rather see a thoughtful short from one of them than trash from Soderbergh.

[Yxklyx]

Most of his fans will tell you that the longer one's better, and it's probably heavier on character nuance by sheer virtue of length, but I didn't really feel much of a difference between both films (watched them two years apart, tho). I'd go with the longer one first, since that was the one that fared poorly with test audiences, though Cassavetes himself never said which one he preferred.... Although I think the fact that he was deliberately trying to give himself limits with this film means that the shorter, more audience-friendly cut doesn't cloud his intentions as much. That's the one on my top 50 list, though it really could be interchangable with the 135-min cut.

I watched the longer '76 version. Ben Gazaara was excellent but yeah the movie has long sections that are pretty boring. In Cassavetes other films there are some long scenes but they involve real interactions between real characters and they come out as enlightenments - here the long scenes are
are not very interesting at all. I'll watch the '78 version sometime this year. So, 7/10 and my least favorite of his but I can see how a re-edited version could work out much better.

Mikey and Nicky (also 1976) from the Cassavetes copy-cat Elaine May was much better.

[Derek]

Yes, but there was quite a few here who saw The Mist and I'm Not There.

I saw I'm Not There and enjoyed your review, but I tend to comment sporadically throughout a thread like that rather than after every post. I didn't realize that I had to respond or you'd stop the thread all together! I agree it's nice and encouraging to get responses from others, but it seems silly to just give up b/c not enough people posted in there.

[Rowland]

1408 is pretty respectable, as far as B movie pulp is concerned. Cusack gives a nuanced, ingratiating, and frequently very funny performance; the production values are superb, if (somewhat charmingly) overdone; and Håfström directs with confident verve, demonstrating a surprisingly skillful sense for suggestive blocking, so it all comes together for a fine example of Stephen King-style genre entertainment. It's just a shame that the screenplay is so riddled with bad ideas, squandering much of the potential inherent to the premise and reducing it to predictable Freudian hokum as it progresses past the sterling opening 45 minutes.

[transmogrifier]

Scores are for signatures and for keeping track of lists. The are a good way to start discussion. I switched to a 100 point scale because most films were **1/2 or *** and yet I didn't hold them all in the same regard.

You'll notice that I've started to give summaries in here without the rating attached, though it's in the signature.

[Qrazy]

I prefer A-F because having been in school basically my entire life it makes the most sense to me.

[Grouchy]

1408 is pretty respectable, as far as B movie pulp is concerned. Cusack gives a nuanced, ingratiating, and frequently very funny performance; the production values are superb, if (somewhat charmingly) overdone; and Håfström directs with confident verve, demonstrating a surprisingly skillful sense for suggestive blocking, so it all comes together for a fine example of Stephen King-style genre entertainment. It's just a shame that the screenplay is so riddled with bad ideas, squandering much of the potential inherent to the premise and reducing it to predictable Freudian hokum as it progresses past the sterling opening 45 minutes.
For me, it's a movie with such a brilliant premise it can't possibly live up to it. It'd take someone like Takashi fucking Miike to possibly live up to all the plotlines it left open to explore in the first half an hour.

It could've become a peek-and-boo inside the hotel room, just as it could've become an analysis of the main character. I get a boner just thinking about Miike handling that material.

[Winston*]

I have decided to adopt the dual system of not rating the films I view and at the same time not commenting in any form on what I feel are the strengths and weaknesses of those particular films. On top of this, I will respond to posters' signature ratings I find suspect with only posts made up of 5 characters or less, in an effort to prod said poster into delivering a defense of their chosen rating at a length of a paragraph or more; at this point I will not reply further.

[Grouchy]

I have decided to adopt the dual system of not rating the films I view and at the same time not commenting in any form on what I feel are the strengths and weaknesses of those particular films. On top of this, I will respond to posters' signature ratings I find suspect with only posts made up of 5 characters or less, in an effort to prod said poster into delivering a defense of their chosen rating at a length of a paragraph or more; at this point I will not reply further.
Bunhole.

[Ezee E]

I have decided to adopt the dual system of not rating the films I view and at the same time not commenting in any form on what I feel are the strengths and weaknesses of those particular films. On top of this, I will respond to posters' signature ratings I find suspect with only posts made up of 5 characters or less, in an effort to prod said poster into delivering a defense of their chosen rating at a length of a paragraph or more; at this point I will not reply further.

awesome.

[Qrazy]

I have decided to adopt the dual system of not rating the films I view and at the same time not commenting in any form on what I feel are the strengths and weaknesses of those particular films. On top of this, I will respond to posters' signature ratings I find suspect with only posts made up of 5 characters or less, in an effort to prod said poster into delivering a defense of their chosen rating at a length of a paragraph or more; at this point I will not reply further.

Seems reasonable.

[Benny Profane]

Eastern Promises wasn't bad. But it wasn't very good, either. An undistinguished thriller, without a lot of thrills.

Meh.

[lovejuice]

I saw I'm Not There and enjoyed your review, but I tend to comment sporadically throughout a thread like that rather than after every post. I didn't realize that I had to respond or you'd stop the thread all together! I agree it's nice and encouraging to get responses from others, but it seems silly to just give up b/c not enough people posted in there.

indeed. i enjoy reading people's review on films i'm interested in. but it's not like i can come up with a good respond every time. in any case you should finish what you started. i'm sure there are more people into 2007 films than my astaire & roger thread and favorite authors. (i'm not done with a&r thread, but due to certain difficulty i have to put a break on that thread for now.)