28 Film Discussion Threads Later

[MadMan]

I did see it, and I'm sorry to say I didn't like it all that much. I thought it was interesting, but I never really found myself invested or all that curious about the situation. Martin himself didn't capture my attention enough. I did like the black and white "fantasy/flashback" sequences though.Oh well. At least you liked the first two Dead films. That's good enough for me. I may need to revisit Martin but these were my short thoughts on the film:


It’s an eerie, well-crafted and thoughtful exploration of the mythology of vampirism with Romero's thoughts on religion and small town life included for good measure. (I also thought it was strange how the actor who played Martin looked like a young Johnny Depp). Certainly Martin is disturbed, but his odd habits and his attempts to be something he is not illustrate his despair at not fitting in or being considered normal. In that regard Romero is also using the character to discuss youth, and the confusion that results from coming to terms with budding sexuality and the sense and search of purpose in one's life.
While I could see the movie's ending coming halfway through the picture, it is a still a shocking and rather depressing finish, and thus fitting in well with one of Romero's many styles. That said, when I was finished with the picture I was left with the same haunted, empty feeling that invaded my soul after seeing George's other great works, Night of the Living Dead and Dawn of the Dead. The more I see of the man's work, the more I realize just how important of a horror auteur he is, and that we should appreciate his efforts more than we actually do. 90

[Spinal]

I recently rejoined Netflix and the first thing I dialed up was Martin. Should be watching it soon.

[Yxklyx]

So I saw The Driver. Isabelle Adjani has that Gillian Anderson look to her...:pritch:

[Yxklyx]

The Merchant of Four Seasons wasn't all that interesting. The craft was fine but the story didn't compel me.

Yeah, it was just OK but we get to see a lot of Irm Hermann and that's always a good thing.

[MadMan]

I recently rejoined Netflix and the first thing I dialed up was Martin. Should be watching it soon.I think you'll like it. I may end up being wrong though.

[Qrazy]

I think you'll like it. I may end up being wrong though.

What's your av from?

[MadMan]

What's your av from?The Adult Swim show The Boondocks. Its from the episode Riley Wuz Here which is one of my favorite episodes from Season 1 of the show. The guy in the avatar is a painter who's a spoof the famous painter featured on PBS, Bob Ross. One of the funniest parts of the episode is after him and Riley are getting pursued by a police cruiser he says "I don't like cops very much" in a Bob Ross sounding voice. Its just funny seeing Bob Ross drive around encouraging a kid to make graffitti murals and carrying a gun.

[Sycophant]

I'd love to see Makoto Shinkai apply his directorial and visual sensibilities to material that wasn't so in-your-face sentimental, but I'm not about to deny that 5 Centimeters Per Second totally worked for me.

[Spinal]

My wife just handed me a pass to an advance screening of Stop-Loss next Monday with Kimberley Peirce in attendance.

My wife is awesome.

[D_Davis]

I'd love to see Makoto Shinkai apply his directorial and visual sensibilities to material that wasn't so in-your-face sentimental, but I'm not about to deny that 5 Centimeters Per Second totally worked for me.

The dude is sentimental to the core.

His films are the dictionary definition of the mono no aware.

I can't wait for the R1 release of this.

[trotchky]

Mark Palansky's 2006 Penelope is a smug, hypocritical, bourgeois fantasy that I wish I never saw.

[Ezee E]

I don't really understand a thing that went on in The Osterman Weekend, but it was a fun movie, especially when things started going haywire in the house. A unique sense of action with arrows, a pool on fire, and of course, Rutger Hauer. I'm surprised people don't care for it much.

::Pours one for Peckinpah::

[D_Davis]

Mark Palansky's 2006 Penelope is a smug, hypocritical, bourgeois fantasy that I wish I never saw.

Sounds awesome!

[trotchky]

Sounds awesome!

Apparently this film is getting a theatrical release this week. I recommend you avoid at all costs. Christina Ricci looks just as attractive with a pig nose as she does with a human nose, you ballsless hypocrites!!

[MadMan]

Mark Palansky's 2006 Penelope is a smug, hypocritical, bourgeois fantasy that I wish I never saw.I think it looks cloy and annoying. Plus I'm not a fan of Ricci's work either.

[Sycophant]

The dude is sentimental to the core.

His films are the dictionary definition of the mono no aware.

I can't wait for the R1 release of this.Oh, yeah. And it's his implementation of this stuff that makes him worth watching, he pulls it off very well. And I loved this movie. Worked a lot better for me than Place. But I'd be interested to see how he would take the sentimental strain in his works to inform other stories rather than be them. But if he keeps doing just what he's doing, that's fine with me. He's one to watch.

Did you know he animates opening sequences for an eroge company?

[D_Davis]

Oh, yeah. And it's his implementation of this stuff that makes him worth watching, he pulls it off very well. And I loved this movie. Worked a lot better for me than Place. But I'd be interested to see how he would take the sentimental strain in his works to inform other stories rather than be them. But if he keeps doing just what he's doing, that's fine with me. He's one to watch.

Did you know he animates opening sequences for an eroge company?

Well, I am really looking forward to seeing it.

With Oshii rumored to be retiring, soon, I need someone to take this place, and I think Shinkai is it. I believe he is the best new(ish) animator and animation director working today.

And I had no idea about the eroge stuff. Have you seen any of it?

[megladon8]

Went to Times Square today and had a cool little unplanned double feature of Diary of the Dead and Cloverfield.

This is a great pair of movies to see together, if any horror fanatics are looking for an afternoon/evening of entertainment.

Diary of the Dead was disappointing, but overall OK - certainly better than Land of the Dead, which I wasn't much of a fan of at all.

Cloverfield was wicked still. I really love that movie. Seeing Jen's reactions to the monster was worth the 3rd viewing, alone.

[MadMan]

The Public Enemy(1931) was quite entertaining, and a really well made flick. But what really sells it is James Cagney, who really drives the picture with his great acting chops and wonderful charasma which the guy apparently has in spades. This was my first Cagney film and it certainly didn't disappoint, and incidently its my second William A. Wellman film. Even though The Ox-Bow Incident may have more weightier ideas I prefer "Enemy" instead. Oh and the entire rain sequence, with Cagney staring all macho and serious into the camera as he walked towards battle with an entire gang of hoods is the highlight of the entire film. 90

[Watashi]

Grindhouse done in 60-ish seconds... with bunnies. (http://link.brightcove.com/services/player/bcpid1138237030?bclid=11378349 43&bctid=1428636399)

This is up there with some of their best work.

[MadMan]

Grindhouse done in 60-ish seconds... with bunnies. (http://link.brightcove.com/services/player/bcpid1138237030?bclid=11378349 43&bctid=1428636399)

This is up there with some of their best work.Yeah that was great. "Films Done in 60s Seconds....with Bunnies" is one of the coolest things on the internet.

[Qrazy]

Fido was pretty damn funny. Everything about it is fairly generic, but it works very well given the premise.

[Wryan]

The Public Enemy(1931) was quite entertaining, and a really well made flick. But what really sells it is James Cagney, who really drives the picture with his great acting chops and wonderful charasma which the guy apparently has in spades. This was my first Cagney film and it certainly didn't disappoint, and incidently its my second William A. Wellman film. Even though The Ox-Bow Incident may have more weightier ideas I prefer "Enemy" instead. Oh and the entire rain sequence, with Cagney staring all macho and serious into the camera as he walked towards battle with an entire gang of hoods is the highlight of the entire film. 90

Public Enemy is a good Cagney to start with, but there are GOBS of amazing Cagney films. Don't neglect his non-gangster roles either. He can be great in anything even when the movie itself sucks. White Heat, Angels With Dirty Faces, The Roaring Twenties, Yankee Doodle Dandy, The Strawberry Blonde, Footlight Parade should all be on your Cagney list STAT.

:lol:

[Sven]

E, your Osterman Weekend rating rocks, although I'm not sure if you know this or not, but it officially makes you crazier than me.

[Grouchy]

Grindhouse done in 60-ish seconds... with bunnies. (http://link.brightcove.com/services/player/bcpid1138237030?bclid=11378349 43&bctid=1428636399)

This is up there with some of their best work.
Hah! Awesome! It'd been a while since I saw those.

Blood for Dracula is the first Morrissey/Warhol film I've seen, and I'm not too sure if I'll ever watch another. It's a pretentious, self-important film attacking the bourgeoisie and not too sure about what the hell it's trying to say. The actors are all crap, the lighting is crap and the scenes that are supposed to show some "meaning" are all ridiculous, yet it's not bad enough to get some real laughs. The best performances in the movie are director cameos (Vittorio de Sica and Roman Polanski), selling their souls for some free lunch, I guess. Udo Kier is fantastic as a pathetic, weak Dracula searching for virgin blood in all the wrong places. Oh, and the filmmakers have absolutely no clue about Italy.

Also seen Torrente, the dark comedy "perpetrated by Santiago Segura", like the credits say. It's awesome. I almost exploded laughing. It's about Torrente, this hard-drinking, fat, corrupt, lazy and coward cop who is admired by one gun-loving nerd who lives in his building. Together, they get in trouble when Torrente, after being kicked out of a chinese restaurant for abusing the waitress to bring her some real cutlery, investigates and discovers the restaurant is a facade for a drug ring. It's written, directed and acted by Segura, a frequent actor in Alex de la Iglesia's films, and it doesn't have even a second that's not hilarious. Of course, you have to like dark, vicious, and mosty over-the-top comedy.

[Sven]

I also dig your Crank score, Raiders. Care to muster up some thoughts? I think this is the film that I've gone the greatest lengths to defend in my entire message boarding career. I'm always curious how people read that one.

[Sven]

Blood for Dracula is the first Morrissey/Warhol film I've seen, and I'm not too sure if I'll ever watch another. It's a pretentious, self-important film attacking the bourgeoisie and not too sure about what the hell it's trying to say. The actors are all crap, the lighting is crap and the scenes that are supposed to show some "meaning" are all ridiculous, yet it's not bad enough to get some real laughs. The best performances in the movie are director cameos (Vittorio de Sica and Roman Polanski), selling their souls for some free lunch, I guess. Udo Kier is fantastic as a pathetic, weak Dracula searching for virgin blood in all the wrong places. Oh, and the filmmakers have absolutely no clue about Italy.

Flesh for Frankenstein is sooooooooooo much better, trust me. You'll love that one.

[Grouchy]

Flesh for Frankenstein is sooooooooooo much better, trust me. You'll love that one.
Ok, I'll give it a rental.

[MadMan]

Also seen Torrente, the dark comedy "perpetrated by Santiago Segura", like the credits say. It's awesome. I almost exploded laughing. It's about Torrente, this hard-drinking, fat, corrupt, lazy and coward cop who is admired by one gun-loving nerd who lives in his building. Together, they get in trouble when Torrente, after being kicked out of a chinese restaurant for abusing the waitress to bring her some real cutlery, investigates and discovers the restaurant is a facade for a drug ring. It's written, directed and acted by Segura, a frequent actor in Alex de la Iglesia's films, and it doesn't have even a second that's not hilarious. Of course, you have to like dark, vicious, and mosty over-the-top comedy.I'm adding this to my long rental list. That flick sounds really awesome.


Public Enemy is a good Cagney to start with, but there are GOBS of amazing Cagney films. Don't neglect his non-gangster roles either. He can be great in anything even when the movie itself sucks. White Heat, Angels With Dirty Faces, The Roaring Twenties, Yankee Doodle Dandy, The Strawberry Blonde, Footlight Parade should all be on your Cagney list STAT.

:lol:Well yeah of course I will see more of his work. White Heat is pretty high up on my priority list though.

[Qrazy]

Ok, I'll give it a rental.

It's really not. It's the same crap with one good line.

[Philosophe_rouge]

The Public Enemy(1931) was quite entertaining, and a really well made flick. But what really sells it is James Cagney, who really drives the picture with his great acting chops and wonderful charasma which the guy apparently has in spades. This was my first Cagney film and it certainly didn't disappoint, and incidently its my second William A. Wellman film. Even though The Ox-Bow Incident may have more weightier ideas I prefer "Enemy" instead. Oh and the entire rain sequence, with Cagney staring all macho and serious into the camera as he walked towards battle with an entire gang of hoods is the highlight of the entire film. 90
Great film, and agreed on the rain sequence. I love Cagney, and it's interesting to map his career and evolution as an actor... he's very consistent, I don't think I've seen him give a bad performance (although I have yet to see his western(s)). Especially in his gangster roles, you can really feel the genre and his incarnation of a rather archetypical character evolving.

[Kurosawa Fan]

I recorded Public Enemy last night. I'm really excited to watch it now.

[Eleven]

Found Fritz Lang's Indian Epic on DVD. *is excited*

[Sven]

Found Fritz Lang's Indian Epic on DVD. *is excited*
The Indian Tomb is incredible. One of his best. Tiger of Eschnapur is okay. It gets better as it goes along.

[Raiders]

I always pass that Indian Epic in Borders, but never purchase it. I'll buy it eventually, I suppose.

[Ezee E]

E, your Osterman Weekend rating rocks, although I'm not sure if you know this or not, but it officially makes you crazier than me.
Yeah, the reviews are pretty bad for this, so maybe it lowered my expectations. It matches in perfectly with Peckinpah's reel though.

[Spinal]

I'm back on Netflix. Some of you are still 'friends' from last time, but I'd like to add more.

harmon_joel[NOSPAM]-at-yahoo.com

[dreamdead]

So, uh, Johnnie To's Exiled flat out trumps all of Woo's classic action works. Holy freakin' shit. Haven't been this thrilled by a film in at least a year.

[Rowland]

So, uh, Johnnie To's Exiled flat out trumps all of Woo's classic action works. Holy freakin' shit. Haven't been this thrilled by a film in at least a year.Yep, it fucking rocks. The sequence in the doctor's apartment may be one of my all-time favorite action setpieces.

[D_Davis]

So, uh, Johnnie To's Exiled flat out trumps all of Woo's classic action works. Holy freakin' shit. Haven't been this thrilled by a film in at least a year.

It's a masterpiece of the genre.

Amazing in every way.

I've got To's newest one, Mad Detective, but I haven't watched it yet.

[Sycophant]

I'm back on Netflix. Some of you are still 'friends' from last time, but I'd like to add more.

harmon_joel[NOSPAM]-at-yahoo.com
Added you... I think. I'm never sure with Netflix.

But, yeah, if anyone wants to add me, hit me up at johndmoore5[NOSPAM]-at-gmail.com.

[dreamdead]

Yep, it fucking rocks.

What interests me is that whereas Woo's films lapse into sentimentalism and ruin the tonal pitch in my opinion (I cringe at the baby scene in Hard Boiled), To controls the sentimentalism so that even though the film isn't constant murder, the brotherhood and sense of fraternity never destroys the tone implicit in the film at that point.

Masterful execution of at least three set pieces, beautifully orchestration of editing and music throughout, and a nice denoument at the end. Just masterful filmmaking here.

[Rowland]

I'd add people, but I have no idea what adding friends does, and I doubt I'd use whatever the features are anyway.

[Duncan]

Are these 4 Godard films worth buying for $26? I've never seen any of his stuff from the 80's or 90's, so I'm pretty curious.

Passion
First Name: Carmen
The Detective
Oh Woe is Me

[Sycophant]

I'd add people, but I have no idea what adding friends does, and I doubt I'd use whatever the features are anyway.Mostly, you get to stalk your friends' rentals and ratings.

[Spinal]

First Name: Carmen


I found this one to be a real chore to get through.

[Derek]

I'd add people, but I have no idea what adding friends does, and I doubt I'd use whatever the features are anyway.

It just lets you see the ratings people have given, browse their queue, given recommendations, stuff like that. I find it especially useful if I'm considering adding a film to my queue, because it shows you what all your friends rated it right beneath the description.


Are these 4 Godard films worth buying for $26? I've never seen any of his stuff from the 80's or 90's, so I'm pretty curious.

Passion
First Name: Carmen
The Detective
Oh Woe is Me

It's really difficult for me to recommend 80s/90s Godard. What have seen of his from the 70s and 00s? FWIW, I think Passion is pretty great, First Name: Carmen is amusing, but I honestly don't remember much about it and Detective is one of his worst. Oh Woe is Me is supposedly great, but I haven't gotten to it yet. It's a great deal so if you have the extra cash, it's probably worth a shot.

[ledfloyd]

i can't figure out how to add friends. if anyone wants to add me i'm

ledfloyd at gmail dot com.

[Spinal]

Added you... I think. I'm never sure with Netflix.



Got it. But you're my least similar friend right now! How can this be true? You beat out Father Barry! :lol:

[Wryan]

Anyone have experience with the 2006 French horror film Them?

[Spinal]

i can't figure out how to add friends. if anyone wants to add me i'm

ledfloyd at gmail dot com.

Added. You have to do the 'friends' tab at the top and then after that do another 'friends' tab on the right side of the screen.

[D_Davis]

What interests me is that whereas Woo's films lapse into sentimentalism and ruin the tonal pitch in my opinion (I cringe at the baby scene in Hard Boiled), To controls the sentimentalism so that even though the film isn't constant murder, the brotherhood and sense of fraternity never destroys the tone implicit in the film at that point.

Masterful execution of at least three set pieces, beautifully orchestration of editing and music throughout, and a nice denoument at the end. Just masterful filmmaking here.

All reasons why I consider To to be the best director working in Hong Kong today. I believe that he is single handedly keeping HK genre cinema alive and vital.

I love the spiritual nature of Exiled, even the title suggests it. It follows a group of warriors on a quest into the wilderness, literally into the realm of Buddha, before they find their nerves and head back into the world to face their destiny head on.

It's so full of mythology, and everything about it strengthens this.

As you said, the music is amazing (To's last few films have all had incredible scores, especially Election 1), the editing is tight, the direction is flawless, the performances are nuanced and not over the top (Well, except for Simon Yam, of course, but this is to be expected), and it just flows with energy.

This one will definitely be working its way up in the ranks on my top 100.

[D_Davis]

Anyone have experience with the 2006 French horror film Them?

It's good. Simple, concise and to the point. It's like a horror reduction.

[Rowland]

A Mighty Heart (Winterbottom, 2007) 472 high

Seriously though, I don't understand what most of the critical community saw in this at all. I found it to be one of 2007's least involving releases. Instead of being emotionally, intellectually, or even viscerally engaged, I felt like I was just staring at it, with all of its artlessly fragmentary editing and shit-smear visual textures.

[soitgoes...]

I've got To's newest one, Mad Detective, but I haven't watched it yet.
It's not as good as the Election films or Exiled, but it's still a decent flick. It's kinda strange and I'm still trying to piece together the ending. Perhaps I'll give it another viewing soon.

[Spinal]

OK, Netflix friends. It's possible that in the near future I might add a Tinto Brass title or two to my queue. Don't judge me!

[Rowland]

OK, Netflix friends. It's possible that in the near future I might add a Tinto Brass title or two to my queue. Don't judge me!I have some of his stuff on my queue. I don't know if I'll ever get to it, but it's there.

[Kurosawa Fan]

OK, Netflix friends. It's possible that in the near future I might add a Tinto Brass title or two to my queue. Don't judge me!

:eek:

[Spinal]

:eek:

You're judging! I told you not to do that!

[Kurosawa Fan]

You're judging! I told you not to do that!
I'm trying! I really am!

[Derek]

OK, Netflix friends. It's possible that in the near future I might add a Tinto Brass title or two to my queue. Don't judge me!

You've rated over 6,500 films. I'm surprised you have nothing but Tinto Brass films left to see! :)

[Spinal]

I'm trying! I really am!

If I want to keep Cheeky! out for four months, that's my business!

[Duncan]

It's really difficult for me to recommend 80s/90s Godard. What have seen of his from the 70s and 00s? FWIW, I think Passion is pretty great, First Name: Carmen is amusing, but I honestly don't remember much about it and Detective is one of his worst. Oh Woe is Me is supposedly great, but I haven't gotten to it yet. It's a great deal so if you have the extra cash, it's probably worth a shot. I think I may just rent Passion and Oh Woe is Me at some point. Not like I'm swimming in money, and no one seems willing to give an outright recommendation.

[Grouchy]

OK, Netflix friends. It's possible that in the near future I might add a Tinto Brass title or two to my queue. Don't judge me!
Salon Kitty is an excellent way to start, honestly a great movie. Then again, I've only seen that and Tra(sgre)dire, which is kind of goofy but has a gorgeous leading actress. I didn't think curves like that were physically possible before seeing it.

[Sycophant]

I'm going to spend the next year of my life watching The Assassination of Jesse James by the Coward Robert Ford. Wish me luck!

[Kurosawa Fan]

If I want to keep Cheeky! out for four months, that's my business!

Fair enough, but if I see Jesus Franco titles on there, I'm staging an intervention. That's your only warning.

[Spinal]

You've rated over 6,500 films. I'm surprised you have nothing but Tinto Brass films left to see! :)

Good golly, you're right. A lot of those are 'not interested' though.

[Watashi]

*checks out this Tinto Brass fellow on imdb*

*adds to queue*

[Spinal]

Salon Kitty is an excellent way to start, honestly a great movie.

Thank you, sir. Added to the queue!

[Sycophant]

*checks out this Tinto Brass fellow on imdb*

*adds to queue*Yeah, ditto.

[Spinal]

Fair enough, but if I see Jesus Franco titles on there, I'm staging an intervention. That's your only warning.

Tried him before. No likey.

[Spinal]

*checks out this Tinto Brass fellow on imdb*

*adds to queue*


Yeah, ditto.

What have I done?

[Rowland]

How about Borowczyk? I have Immoral Women, Private Collections, and The Beast on my queue. What can I say, I'm curious.

[Wryan]

I'm curious to hear what people think of

http://www.widescreenglory.com/wp-content/kingkong_poster.jpg

Dunno if match-cut was here before/during Jackson's KK and I don't recall much from RT about it, at least not from the likes of you all.

I think it's a giant, gorgeous adventure, with a glut of excess that actually works, makes me smile, awes me. Black doesn't always jive, but who cares: Kong and Anne make the movie work like it's 1933 again. So many moments of watchable lunacy matched by understated and even subtle (truly!) tenderness.

Bloated, but bloated in the way that Wyler's Ben-Hur is bloated.

Loved it.

[Derek]

Tried him before. No likey.

One thing Vampyros Lesbos has going for it that few if any films have is shag carpeting on the ceiling. Now that was some classy set designing there!

[Stay Puft]

I just grabbed Franco's Paroxismus. Because Klaus Kinski is in it. So help me.

[Spinal]

Tried him before. No likey.

Now that I say this, I'm really tempted to queue up Macumba Sexual. Netflix thinks I'll give it 4 stars. Hmmmm ...

[Derek]

How about Borowczyk? I have Immoral Women, Private Collections, and The Beast on my queue. What can I say, I'm curious.

I'm curious as well. I read an interesting article about him a year or two ago in Film Comment and he certainly seems worth checking a look.

[Grouchy]

How about Borowczyk? I have Immoral Women, Private Collections, and The Beast on my queue. What can I say, I'm curious.
Is The Beast good? I'm always tempted to rent it.

Jesús Franco, judging only from Vampiros Lesbos, is a crap director. Of course, I enjoyed the movie, because I couldn't stop laughing. I had to drink like there was no tomorrow to endure the brain damage that movie caused me.

[Grouchy]

One thing Vampyros Lesbos has going for it that few if any films have is shag carpeting on the ceiling. Now that was some classy set designing there!
And kite shots. Because there's nothing more poetic and metaphoric than a random image of a kite flying every ten minutes.

[Spinal]

How about Borowczyk? I have Immoral Women, Private Collections, and The Beast on my queue. What can I say, I'm curious.

The Beast ranks among the worst films I have ever seen. I know that I have no chance of talking you out of it, but boy, that film is bad.

[Winston*]

Spinal clearly feigned embarrassments of Tinto Brass rentals, in order that he might jump start a discussion of 70s Euro-porn.

[Spinal]

Spinal clearly feigned embarrassments of Tinto Brass rentals, in order that he might jump start a discussion of 70s Euro-porn.

Success!

[MadMan]

Only on Match-Cut will I hear about directors with funky foreign names that I've never heard of :P

[Rowland]

While we're on the topic, has anyone seen Gwendoline? I've nearly bumped it up my queue several times.

[Kurosawa Fan]

What have I done?

:|

[Rowland]

:|The 70s Euro-porn... it's calling out for you...

http://img174.imageshack.us/img174/782/felicitykk5.jpg

[Wryan]

Recent entry in Ebert's movie glossary:

"Seagal Severity Scale
The closer together Steven Seagal's eyebrows are, the more violent the next scene."
-DAWSON RAMBO, Tucson, Ariz.

[Spinal]

:|

It's the Film Discussion Thread as I always thought it should be.

[MadMan]

It's the Film Discussion Thread as I always thought it should be.Broaden your horizons Spinal. Shatter your old preceptions. Its like a 1965 animated foreign film made by an old ex-priest on acid, with the production being run by a crazed alcoholic monkey.


Recent entry in Ebert's movie glossary:

"Seagal Severity Scale
The closer together Steven Seagal's eyebrows are, the more violent the next scene."
-DAWSON RAMBO, Tucson, Ariz.I love his little movie glossary. Its full of great stuff that's often funny.

[Wryan]

Broaden your horizons Spinal. Shatter your old preceptions. Its like a 1965 animated foreign film made by an old ex-priest on acid, with the production being run by a crazed alcoholic monkey.

I love his little movie glossary. Its full of great stuff that's often funny.

Funny especially because that note was provided by one Dawson Rambo. Well of course it was.

[Philosophe_rouge]

I'm still open minded, but I can't say I'm a huge fan of euro-skin flicks. I just feel they're too often.. humourless. I like my naked funny a la Russ Meyer, or even stuff like the Opening of Misty Beethoven.

[D_Davis]

I'm still open minded, but I can't say I'm a huge fan of euro-skin flicks. I just feel they're too often.. humourless. I like my naked funny a la Russ Meyer, or even stuff like the Opening of Misty Beethoven.

They're boring.

If there is one thing a Meyer film never is, it's boring.

[Philosophe_rouge]

They're boring.

If there is one thing a Meyer film never is, it's boring.
This is true, at least from what I've seen so far.

[dreamdead]

OK, Netflix friends. It's possible that in the near future I might add a Tinto Brass title or two to my queue.

Honestly, this news is about as shocking as chrisnu posting in the NBA thread.

[number8]

Funny you're all talking about Tinto Brass. I just rented Salon Kitty.

[transmogrifier]

I'm curious to hear what people think of

http://www.widescreenglory.com/wp-content/kingkong_poster.jpg

Dunno if match-cut was here before/during Jackson's KK and I don't recall much from RT about it, at least not from the likes of you all.

I think it's a giant, gorgeous adventure, with a glut of excess that actually works, makes me smile, awes me. Black doesn't always jive, but who cares: Kong and Anne make the movie work like it's 1933 again. So many moments of watchable lunacy matched by understated and even subtle (truly!) tenderness.

Bloated, but bloated in the way that Wyler's Ben-Hur is bloated.

Loved it.

Quite amazingly underrated as a result of the LOTR backlash. I liked it a lot as well, and it was my best of 2005 until I watched Cache recently. It has it's fair share of cornball moments and some typically useless blurry-cam that Jackson really, really needs to ditch as soon as possible, but overall it is a complete blast.

[number8]

I forgot how gorgeous that teaser poster is.

[Yxklyx]

So who's this Johnny To guy and what should I watch of his that's available on Netflix?

[D_Davis]

So who's this Johnny To guy and what should I watch of his that's available on Netflix?

Exiled will be coming out soon.


But watch The Mission first - it is the spiritual predecessor.

Also available on NF:

Triad Election
Throwdown
Yesterday Once More (one of his rom-coms)
Into Perilous Night: PTU
Running on Karma (one of the most bizarre films I've ever seen)
Needing You (a rom-com)
Where a Good Man Goes
A Hero Never Dies


Surprisingly, NF carries a good selection of To's films.

[Grouchy]

So who's this Johnny To guy and what should I watch of his that's available on Netflix?
Election 1 and 2 and Exiled.

I agree with everything trans just said about King Kong. I can only add that I love the 1933 original, and I don't see the Jackson movie as a remake so much as an expansion, fleshing out the world of Skull Island, and making the characters more complex and their interactions a bigger part of the story.

[Rowland]

King Kong didn't really inspire any reaction from me. It struck me as immanently shrug-worthy. I do love the original though.

[Philosophe_rouge]

I like the 2005 King Kong at least as much as the 33' version. Not a huge fan of either, but I do enjoy both.

[dreamdead]

Continuing in the vein of Spinal's recent admission, I think Female Perversions will be my next film viewing for teh Swinton. The imdb plot keywords... interest... me.

EDIT: NOOOOO! Netflix doesn't have it. Guys, I need a new suggestion, one that the 'flix does carry. Already done The Deep End.

[number8]

Exiled will be coming out soon.

It's not on Netflix? It's been out on DVD for weeks.

[D_Davis]

It's not on Netflix? It's been out on DVD for weeks.


Oh, I thought it said coming soon.

Even better!

Get The Mission and Exiled and have an awesome night of To!

[Spinal]

EDIT: NOOOOO! Netflix doesn't have it. Guys, I need a new suggestion, one that the 'flix does carry. Already done The Deep End.

Young Adam, maybe? I haven't seen it myself. So I don't know if it is good.

[MadMan]

I'm currently watching The Miracle of Morgan's Creek and I have to say I like it a lot so far. This is my first Preston Sturges film.

Oh and I randomly rented the following films:

*Chopper(2000)
*Formula 51(2001)
*Swimming Pool(2002)
*Tenacious D In: The Pick of Destiny(2007)

[Wryan]

I agree with everything trans just said about King Kong. I can only add that I love the 1933 original, and I don't see the Jackson movie as a remake so much as an expansion, fleshing out the world of Skull Island, and making the characters more complex and their interactions a bigger part of the story.

Ebert described it well by calling it "the flowering of all the possibilities in the original film." I agree with trans about some of the blurry camera stuff. Really pointless, but most of the film is just plain beautiful and lensed well.

[ledfloyd]

I watched maybe the first 20 minutes of Exiled and shut it off. Maybe I should give To another chance?

In other news, I just watched The Darjeeling Limited and as someone who's never liked a Wes Anderson movie, I sure loved this one.

[origami_mustache]

I'm currently watching The Miracle of Morgan's Creek and I have to say I like it a lot so far. This is my first Preston Sturges film.



I'll probably be watching this soon, as I've been brushing up on Sturges lately.

[MadMan]

I'll probably be watching this soon as I've been brushing up on Sturges lately.I really like it so far. Eddie Brazen kind of looks like Lloyd Bridges though.

[Rowland]

I watched maybe the first 20 minutes of Exiled and shut it off. Maybe I should give To another chance?I don't know what can be done for you.

[Sven]

How about Borowczyk? I have Immoral Women, Private Collections, and The Beast on my queue. What can I say, I'm curious.

The real question is, are you curious blue or yellow?

[Kurosawa Fan]

The Exiled DVD that Netflix currently carries is not a region 1 or 0 DVD. It wouldn't play on the player in my living room, and I didn't want to watch a movie like that in my bedroom (on a significantly smaller TV with the region-free player hooked up), so I just sent it back. I reported it to Netflix but I'm fairly certain they'll do nothing about it.

In other news, Vengeance is Mine was pretty great. I'm going to let it settle before I say any more than that. I will say that was one fast 140 minute film.

[ledfloyd]

I don't know what can be done for you.

:sad:

[Rowland]

As flawed as it is, I kind of adore Broken English. Something about it just feels so real, and boy is Parker Posey wonderful, as is Drea de Matteo as her best friend. Cassavetes evinces a real knack for writing and directing characters who feel true to life.

[EyesWideOpen]

The Exiled DVD that Netflix currently carries is not a region 1 or 0 DVD. It wouldn't play on the player in my living room, and I didn't want to watch a movie like that in my bedroom (on a significantly smaller TV with the region-free player hooked up), so I just sent it back. I reported it to Netflix but I'm fairly certain they'll do nothing about it.

In other news, Vengeance is Mine was pretty great. I'm going to let it settle before I say any more than that. I will say that was one fast 140 minute film.

I had Exiled from netflix back when it came out and it was definitely a region 1 disc so maybe a customer switched the disc on the one you got and netflix didn't notice.

[Rowland]

Yeah, the disk I watched from Netflix was definitely region 1.

[Melville]

I watched maybe the first 20 minutes of Exiled and shut it off. Maybe I should give To another chance?
I thought Exiled was pretty well insufferable, filled with high-camp action scenes and groan-inducing humor, with some pedestrian philosophical overtones thrown in for good measure. It seemed to be parodying the sentimentality and exaggerated action of other Hong Kong action films, but that didn't alleviate my suffering. Pretty much every scene had me checking how many minutes were remaining.


As for softcore '70s Euro-porn, I've only ever seen one:
http://www.digitallyobsessed.com/cover_art/immoraltales.jpg
It features an orgy led by mass-murdering Elizabeth Bathory herself. How much more sexy can you get? The answer is none. None more sexy.

[Rowland]

It's difficult to express the appeal of Exiled. I suppose its strikingly gorgeous, purely cinematic macho-flamboyance-cum-lyrical-sentimentality either strikes a chord or it doesn't. And sure, there are satirical/commentarial undertones, but I imagine you have to enjoy "heroic bloodshed" movies to begin with for that element to work. But really, more than anything, it's just breathtaking to watch, like a modern western stripped down to its bare essentials so that the beauty of its form and the heart beating at the core of its contemplative melodrama are what resonate.

[MadMan]

The Miracle of Morgan Creek(1944) is a joyous, funny, and wonderful little flick that entertained me throughout. I love the hell out of this film and I am now devouted to seeing more of Sturge's filmography. Oh and Eddie Bracken is great in this, as is the rest of the cast. Comedic timing, over the top jokes, slapstick, wit and simply good natured humor all come together in this to form something near perfect. 95

[Melville]

It's difficult to express the appeal of Exiled. I suppose its strikingly gorgeous, purely cinematic macho-flamboyance-cum-lyrical-sentimentality either strikes a chord or it doesn't. And sure, there are satirical/commentarial undertones, but I imagine you have to enjoy "heroic bloodshed" movies to begin with for that element to work. But really, more than anything, it's just breathtaking to watch, like a modern western stripped down to its bare essentials so that the beauty of its form and the heart beating at the core of its contemplative melodrama are what resonate.
The bare essentials of a modern western include a door flying off its hinges and spinning physics-defyingly through the air as assassins try to shoot each other around it (all in slow motion, of course)? Actually, I can't remember if it was a door or some other miscellaneous wooden object—but in any case, the whole affair seemed diametrically opposite from the bare essentials.

[Eleven]

I'm always debating as to Sturges's best film, and it's between Sullivan, Christmas in July, and Morgan's Creek. The latter seems the most modest and charming, yet featuring some interesting stylistic choices like long takes that feel integral to the small town community setting. It's as satiric and clear-eyed as any of his other films, but the sweetness shines through moreso than in, say, Unfaithfully Yours or Palm Beach Story. It's not condescending, maybe that's it.

Anyway, glad you liked it, MM; he needs to take his place as the foremost screenwriter and one of the best comedy directors of his time.

[Boner M]

2 high

Seriously though, I don't understand what most of the critical community saw in this at all. I found it to be one of 2007's least involving releases. Instead of being emotionally, intellectually, or even viscerally engaged, I felt like I was just staring at it, with all of its artlessly fragmentary editing and shit-smear visual textures.
I thought it was at least kinda watchable and was very impressed with Irfan Khan's performance... but yeah, it's basically typical Winterbottom: wan, passionless, self-important and formally inert. He really has little going for him beyond the disparate subject matter of his numerous projects; he's the filmmaker equivalent of Max Fisher. 24 Hour Party People still rocks, though.

[Teecee]

A few thoughts on two films I saw today -- any comments welcome.

For a rom-com released in February, "Definetly Maybe" (Adam Brooks, 2008) is surprisingly pleasant. About half the credit goes to writer-director Brooks, who has taken the pains to craft characters that think, talk and behave like real people, and place them in a world where their interactions don't always have happy endings. The rest of the kudos goes to the rather excellent cadre of actors involved -- Rachel Weisz, Abigail Breslin, Kevin Kline, the incandescent, scene-stealing Isla Fisher and (surprisingly holding the whole thing together) Ryan Reynolds. The film won't convert anyone to the genre, but being dragged to this by a significant other is a much better option for a guy than sitting through some of the more toxic fares in theaters right now. [7/10]

---//---

Terrence Malick's "The New World", one of the best films of 2005, is the clash of two civilizations told as the clash of two hearts. Native American actress Q'orianka Kilcher is luminous, and her portrayal of Pocahontas' optimism, curiosity and humanity in the face of repeated tragedy anchors the audience. Malick's reliance on expressive visuals, montages and voice-overs is seems initially overused to confusing or even amateurish effect, but it eventually emerges as visionary -- its cumulative effect is to project on Pocahontas the fate of her entire civilization. When the music dims and the final haunting image fades to black, the film remains out as moving, powerful and profound. [9/10]

[Sycophant]

Interesting, Teecee. I'm always looking for good romcoms, as the genre is overpopulated but malnourished. I'll check that one out.

[Derek]

Well, Samurai Cop has left me speechless. It manages to fail epically in every facet of filmmaking and succeed on every level one could hope for in a bad movie.

Bad hair: Check
Bad tan: Check
Bad 8-bit score: Check
Wooden delivery: Check
Hilariously bad choreography: Check
Robert Z'Dar's weird giant chin and enormous head confounding me every time it appears on-screen: Check
Every woman in the film getting naked even though one is the wife of a cop who's being assassinated at home so we'll have the goons rip her shirt off for no reason before killing her because why have a woman in the film if she's not showing her breasts: Check
Offensive, inappropriate and unnecessary remarks about the black cop not needing to worry about getting his ass fried by the Lieutenant because it's already black and the comment being so awesome that it merits a high-five because it comes from Joe Marshall, Samurai Cop: Check
Offensive, inappropriate and unnecessary remarks and obsession with the size of the black cop's genitalia: Check
A truly classic bad movie that must be seen to be believed: Check

[Winston*]

Sat down and watched a move tonight for the first time in a while. Larry Fessenden's Wendigo. Not very good.

[Kurosawa Fan]

Well, Samurai Cop has left me speechless. It manages to fail epically in every facet of filmmaking and succeed on every level one could hope for in a bad movie.

Bad hair: Check
Bad tan: Check
Bad 8-bit score: Check
Wooden delivery: Check
Hilariously bad choreography: Check
Robert Z'Dar's weird giant chin and enormous head confounding me every time it appears on-screen: Check
Every woman in the film getting naked even though one is the wife of a cop who's being assassinated at home so we'll have the goons rip her shirt off for no reason before killing her because why have a woman in the film if she's not showing her breasts: Check
Offensive, inappropriate and unnecessary remarks about the black cop not needing to worry about getting his ass fried by the Lieutenant because it's already black and the comment being so awesome that it merits a high-five because it comes from Joe Marshall, Samurai Cop: Check
Offensive, inappropriate and unnecessary remarks and obsession with the size of the black cop's genitalia: Check
A truly classic bad movie that must be seen to be believed: Check

:lol:

Absolutely. Though this belongs in my B-Movie thread (http://www.match-cut.org/showthread.php?t=504).

[Teecee]

Sat down and watched a move tonight for the first time in a while. Larry Fessenden's Wendigo. Not very good.

Any thoughts on Fessenden's other stuff? "The Last Winter" looks interesting.

[Kurosawa Fan]

I had Exiled from netflix back when it came out and it was definitely a region 1 disc so maybe a customer switched the disc on the one you got and netflix didn't notice.

Hmm. Seems that might be the case. Well that sucks. Maybe I'll add it to my queue again.

[D_Davis]

It's difficult to express the appeal of Exiled.

I do an okay job here...

http://www.genrebusters.com/film/top100_55exiled.htm

;)

What I enjoy most about it, beyond the sheer perfection of its craft and acting, is the mystical quality. It is fascinating how To wraps his gangster epic around a plot that sends the characters on a mythical quest into the wilderness, to Buddha Mountain, and where they find the courage within themselves to turn back and face their destinies. It's very powerful, and it possesses a thoughtfulness that most gangster films do not.

[D_Davis]

I lump Exiled in with films such as Once Upon a Time in the West, Woo's The Killer, and Patrick Tam's The Sword.

Films like these examine the end of an era for a particular breed of hero and villain.

West examines the gunslinger's end, as he comes face to face with commerce and the future.

The Killer was Woo's examination of Chang Cheh's heroic bloodshed epics from the '60s and '70s. Woo wanted to transpose these themes and characters with the modern world, and examine how they would act. The characters even comment during the film that they are outmoded, the world no longer has a place for them.

The Sword is Patrick Tam's examination of the jiang hu, under the light of the shortly lived HK new wave movement. It came after the plethora of Shaw Brothers martial arts films, and examined the same milieu but from a more melancholy position. In this film, the jiang hu is an empty, decaying ghost town, populated by only the few remaining wuxia warriors.

To's Exiled also does this. What's most fascinating is that he sets the film outside of Hong Kong. To realizes that modern HK has moved on, especially in terms of this kind of genre story telling. He was at the vanguard of its creation and knows it better than anyone. So To removes these characters from HK, and places them in a different world. He also plays with conventions and archetypes he had previously established. Anthony Wong, usually the head-strong leader, turns to the flipping of a coin for direction. In Exiled, these characters find themselves outside of their element, and they realize that they cannot continue to live in this world.

[Ezee E]

I was wondering which To films to rent for his week. I'll probably try out Election and Exiled.

I can't imagine why people would like the '33 King Kong, and then not like the '05 version. I love them both, and prefer the '05 version because of some of the expansion. Although the weakness is the same because it takes so long to get to the island. Watts is gold though.

[Raiders]

Sat down and watched a move tonight for the first time in a while. Larry Fessenden's Wendigo. Not very good.

Bah.

Here's my thoughts from an old thread on the other site:

Wendigo (http://matchcut.org/viewtopic.php?p=474790#474790)

[ledfloyd]

I can't imagine why people would like the '33 King Kong, and then not like the '05 version. I love them both, and prefer the '05 version because of some of the expansion. Although the weakness is the same because it takes so long to get to the island. Watts is gold though.
i don't dislike the 05 version but everytime i've tried to watch it after seeing it in the theater it's felt like trying to run a marathon. in fact i bought it shortly after it came out and i've never watched much more than the first hour. the 33 version on the other hand i've watched alot. it's easier to get through and has more charm IMO. as much as i love brody and watts' performances i'm happier with the original.

[Bosco B Thug]

The Beast ranks among the worst films I have ever seen. I know that I have no chance of talking you out of it, but boy, that film is bad. Hmm, looking at IMDb, Borowczyk seems he might have a filmography worth looking at. Two of his films have a 7+/10 rating, he made an animated short with Chris Marker, and I don't think I can resist that publicity shot for The Beast with the gorilla arms reaching perpendicularly from the ground toward a bare booty.


Sat down and watched a move tonight for the first time in a while. Larry Fessenden's Wendigo. Not very good. :cry:


i don't dislike the 05 version but everytime i've tried to watch it after seeing it in the theater it's felt like trying to run a marathon. in fact i bought it shortly after it came out and i've never watched much more than the first hour. the 33 version on the other hand i've watched alot. it's easier to get through and has more charm IMO. as much as i love brody and watts' performances i'm happier with the original. There's a lot I love about the 05 remake - the Depression-era opening montage and the deconstruction of the Ann character, primarily - but it's undeniably bloated and a bit too earnest for its own good. I haven't tried re-watching it since December 05, though.

[Spinal]

Hmm, looking at IMDb, Borowczyk seems he might have a filmography worth looking at. Two of his films have a 7+/10 rating, he made an animated short with Chris Marker, and I don't think I can resist that publicity shot for The Beast with the gorilla arms reaching perpendicularly from the ground toward a bare booty.


There's two scenes which are outrageous. There's the opening scene which shows horses copulating in graphic detail. And then there's the scene from the cover which is basically a guy in a gorilla suit molesting a woman in the forest. These scenes have some shock value, but I'm telling you, the rest of the film is a long tedious bore.

[Watashi]

So, I ran into Diablo Cody today on the way home from work.

She was driving next to me in a brand new Porsche with a SAG license plate that said "JUNO". I kept parallel with her for almost ten minutes and then right before I turned to my street, I started honking at her and she turned right at me and gave me this weird glance.

[Sycophant]

So, I ran into Diablo Cody today on the way home from work.

She was driving next to me in a brand new Porsche with a SAG license plate that said "JUNO". I kept parallel with her for almost ten minutes and then right before I turned to my street, I started honking at her and she turned right at me and gave me this weird glance.
Rawful!

[dreamdead]

So, I ran into Diablo Cody today on the way home from work.


You should have crashed into her. So that, y'know, the two of you could feel something.

Ok, I'm done.

[Spinal]

Winning an Oscar.

Having nude photos appear on the internet.

Getting stalked by Watashi.

That's a full week.

[Ezee E]

So, I ran into Diablo Cody today on the way home from work.

She was driving next to me in a brand new Porsche with a SAG license plate that said "JUNO". I kept parallel with her for almost ten minutes and then right before I turned to my street, I started honking at her and she turned right at me and gave me this weird glance.
Random honks? Her glance was understandable.

[MadMan]

Winning an Oscar.

Having nude photos appear on the internet.

Getting stalked by Watashi.

That's a full week.:lol:

So I watched The Pick of Destiny last night and (predictably) I loved the hell out of it. So goddamn funny, so full of life, and chocked full of awesome songs. At this point I'm now a casual fan of the band. The opener sequence is hilarious, the drug trip is crazy great, and the car chase is both funny and pretty wild. Watch this also to see Tim Robbins in a really weird cameo as some wacked out old dude with a peg leg.

[number8]

That's like, driving under impudence. She should totally redeem herself by doing a Public Service Amusement.

[Sycophant]

New Yorkers! Funky Forest: The First Contact will soon be playing in NYC at the ImaginAsian theater. I'm sickly jealous! Twitch is giving away tickets (http://twitchfilm.net/site/view/in-new-york-see-funky-forest-for-free/), too!

[Velocipedist]

Diablo Cody: Winning an Oscar.

Random thought: I kinda liked her look at the Oscars. :|

[balmakboor]

New Yorkers! Funky Forest: The First Contact will soon be playing in NYC at the ImaginAsian theater. I'm sickly jealous! Twitch is giving away tickets (http://twitchfilm.net/site/view/in-new-york-see-funky-forest-for-free/), too!

Wow! A theater devoted to Asian cinema. It's almost enough to make me want to move to NYC.

[Qrazy]

Ah the old room of requirement, formerly known as the deus ex machina room of plot device.

[balmakboor]

I re-watched The Black Dahlia last night. I still haven't decided if it is De Palma's greatest film or a train wreck. I have thought about it a lot today though.

[Raiders]

I re-watched The Black Dahlia last night. I still haven't decided if it is De Palma's greatest film or a train wreck. I have thought about it a lot today though.

On a related note, I re-watched Mission to Mars and I must admit a re-watch made me appreciate it much more. I'm going to compose something for it.

[balmakboor]

On a related note, I re-watched Mission to Mars and I must admit a re-watch made me appreciate it much more. I'm going to compose something for it.

Rep. I look forward to reading your thoughts.

[Rowland]

The bare essentials of a modern western include a door flying off its hinges and spinning physics-defyingly through the air as assassins try to shoot each other around it (all in slow motion, of course)? Actually, I can't remember if it was a door or some other miscellaneous wooden object—but in any case, the whole affair seemed diametrically opposite from the bare essentials.I meant in regards to the narrative and characters. Then again, To does honor the character of the wife with a graceful subplot, which is notably not a bare essential for this type of fare. Everything else is basically a string of explosively over-the-top, borderline-abstract set pieces.

[Rowland]

I re-watched The Black Dahlia last night. I still haven't decided if it is De Palma's greatest film or a train wreck. I have thought about it a lot today though.Greatest film? Inconceivable.

[Rowland]

And yeah, Wendigo is amazing. I wish more horror movies were so thoughtfully written and directed with such formal verve.

[Qrazy]

On a related note, I re-watched Mission to Mars and I must admit a re-watch made me appreciate it much more. I'm going to compose something for it.

I liked it when I first watched it actually in theaters, but I have a feeling a re-watch (after seeing and being underwhelmed by a lot of other de palma) would do it harm.

[ledfloyd]

I liked it when I first watched it actually in theaters, but I have a feeling a re-watch (after seeing and being underwhelmed by a lot of other de palma) would do it harm.
I agree. I saw this in the theater when i was 15 and liked it. I haven't rewatched it but I've found most DePalma I've seen since then disappointing. Black Dahlia I absolutely loved until the third act.

[MacGuffin]

I'm thinking about giving Paprika another chance simply because I was tired when I first tried to watch it, I think. Anyways, it's either that or La Haine or maybe something else; should something else spark my interest.

[Grouchy]

I re-watched The Black Dahlia last night. I still haven't decided if it is De Palma's greatest film or a train wreck. I have thought about it a lot today though.
I'm going with train wreck. The book is fascinating, but the transition to film was surprisingly fucked up, maybe because it was too damn faithful to every complicated plot turn in the story. Now, Mission to Mars, that's a great film filled with wonderful moments. Kind of naif, but that didn't bother me.

Viewers giving stuff like Paprika and Exiled "second chances"? That's fucking goofy. Those movies should give THEM second chances.

[transmogrifier]

Atonement

A missed opportunity, all told, for the director to tease out the themes of the book in a visual medium, and to investigate the uneasy relationship between literature and film. The first section is the best, every now and then tapping the flowery, head-in-the-clouds psychoanalysis of the book through montage and odd editing rhythms, though it struggles to keep the story clear (the subplots with the twins and their sister seems shoehorned in at random intervals, putting pin pricks in the atmosphere). It is in the second section that Wright drops the ball - the film should have become distinctly different in style. Harder, faster, more direct. Instead, he lets the mood of the first section seep into it, and it reduces the effectiveness of the depiction of an artistic sensibility in evolution. By the end, the film has become a bit of a mish mash, and the coda, while undeniably affecting, is pretty hamfisted in its directness

I can't understand why Wright would actually show the deaths of Cecelia and Robbie on screen - the whole point has been that the movie up to now has been the work of a woman trying to reconfigure the past and give her sister a happy ending. It doesn't make sense to then mix images of the truth into the "story". I think it would have been much better to have filmed the birthday party from the book, with the lack of talk about C & R being the first clue, before simply revealing it in the interview with no flashbacks

[Rowland]

So negative, and yet it still ranks on your top ten for the year. :)

[transmogrifier]

So negative, and yet it still ranks on your top ten for the year. :)

Just explaining what kept it from being #1 :)

Actually, the first section up to the arrest is very, very good. The rest is unfortunately somewhat truncated and not very well-thought out, but still engaging.

[MacGuffin]

Does anybody know what dreamdead's avatar is from?

[soitgoes...]

Does anybody know what dreamdead's avatar is from?
Cyclo I imagine.

[MacGuffin]

Cyclo I imagine.

Thanks!

[Melville]

I do an okay job here...

http://www.genrebusters.com/film/top100_55exiled.htm

;)

What I enjoy most about it, beyond the sheer perfection of its craft and acting, is the mystical quality. It is fascinating how To wraps his gangster epic around a plot that sends the characters on a mythical quest into the wilderness, to Buddha Mountain, and where they find the courage within themselves to turn back and face their destinies. It's very powerful, and it possesses a thoughtfulness that most gangster films do not.
That review seems to be describing a film quite different from the one I saw, which was absurdly flamboyant and tonally tongue-in-cheek. And while I can see why you'd like the narrative structure, given your infatuation with the Hero's Journey, I just can't see much depth in it. Sure, it uses the Hero's Journey narrative, but it doesn't do anything with that narrative other than wrap a lot of shootouts and male camaraderie around it. It certainly doesn't engage with Buddhist ideas in any meaningful way, other than via superficial sops like the non-attachment/judgement invoked in the coin toss.

Also, this statement seems odd to me:

this is not to say that the characters are merely puppets, strung along by the gods like some Greek tragedy
I don't know which Greek tragedies you've been reading, but it's safe to say they're the wrong ones.


Films like these examine the end of an era for a particular breed of hero and villain.

To's Exiled also does this. What's most fascinating is that he sets the film outside of Hong Kong. To realizes that modern HK has moved on, especially in terms of this kind of genre story telling. He was at the vanguard of its creation and knows it better than anyone. So To removes these characters from HK, and places them in a different world. He also plays with conventions and archetypes he had previously established. Anthony Wong, usually the head-strong leader, turns to the flipping of a coin for direction. In Exiled, these characters find themselves outside of their element, and they realize that they cannot continue to live in this world.
I don't see how moving the location of the film indicates that it is about the ending of an era. But I'll agree that the film as a whole did seem to function as a commentary on its genre; and I'll admit that, as Rowland said, that's kind of lost on me, since I have little affection for and less knowledge of the genre.


I meant in regards to the narrative and characters. Then again, To does honor the character of the wife with a graceful subplot, which is notably not a bare essential for this type of fare. Everything else is basically a string of explosively over-the-top, borderline-abstract set pieces.
Hmm... the subplot involving the wife struck me as the most ridiculous, graceless part of the whole film, with her character sketched in broad, haphazard strokes. Also, I must be confused about what you meant by "modern western", since I wouldn't think of over-the-top, borderline abstract set pieces as the essence of any kind of western.

[dreamdead]

Does anybody know what dreamdead's avatar is from?

Yeah, it's Tran's Cyclo. Narratively and tonally, it can be a bit all over the place, but it's got a sumptuous visual flow and poeticism to it that just knocks me dead. I owe this and Vertical Ray of the Sun another viewing this year....

[Rowland]

Also, I must be confused about what you meant by "modern western", since I wouldn't think of over-the-top, borderline abstract set pieces as the essence of any kind of western.That was in reference to the narrative and characters, which even I'd say are little more than sketches. Heck, I watched the making-of documentary on the DVD and wasn't the least bit surprised to learn that To made up the narrative while filming. He thought of the set pieces first and filled in the blanks as they went along. The actors had no idea what was going on through most of the filming, which makes the final product's coherence (on its own terms) all the more impressive.

[Rowland]

I don't see how moving the location of the film indicates that it is about the ending of an era.For what it's worth, Walter Chaw argues that "there's sharp political subtext in the picture's millennial tale of another colonial outpost returning to the Motherland; it all ends up somehow as Treasure of the Sierra Madre." I didn't pick up on this during my two viewings, but it's worth considering.

[Stay Puft]

but it's got a sumptuous visual flow and poeticism to it that just knocks me dead

This is what strikes me about the film, too. I recall my experience with the film being an entirely instinctual response to its formal aesthetics. I don't even recall many plot details at this point. I just see the images playing together in my head. It was one of the best film experiences I had last year but I always found myself incapable of explaining why that was to other people.

I'm planning on rewatching all of his films once I get a copy of Green Papaya (which I still haven't seen).

[number8]

All Westerns are about drifters and twilight men trying to build a new life for themselves out of nothing by trekking through violent confrontations.

What about Exiled doesn't fit into that?

[D_Davis]

That was in reference to the narrative and characters, which even I'd say are little more than sketches. Heck, I watched the making-of documentary on the DVD and wasn't the least bit surprised to learn that To made up the narrative while filming. He thought of the set pieces first and filled in the blanks as they went along. The actors had no idea what was going on through most of the filming, which makes the final product's coherence (on its own terms) all the more impressive.

Many HK film directors do this. Shoot, Tsui Hark rewrote entire sequences while in the editing room. The term "lip rape" was practically created for Tsui.

[D_Davis]

That review seems to be describing a film quite different from the one I saw...

This is probably the problem. You must have seen the wrong film.


I can totally understand you hating this though. To me, it is so much like Once Upon a Time in the West, and so I can see this not agreeing with you on any level.

And you're right, I meant to say Greek mythology not tragedy, to refer to the way the Gods often toyed with the mortals. Thanks! I reworked the sentence to better illustrate what I was trying to say. :)

[megladon8]

Legendary Weapons of China was pretty awesome.

The plot was a little convoluted at times, but there is also some wonderful characterization in there, as well as one of the better subtexts dealing with dehumanization of soldiers that I have seen in a long time.

The final fight between the two masters as they go through several of the 18 weapons was pretty freaking awesome. Definitely a great moment in that era of martial arts films.

I think this is something D_Davis has mentioned many times before, but I am now really coming to see for myself how incredible the camerawork was in these classic kung fu flicks. I am starting to see the skill involved in effectively capturing these martial arts fights.

So many films (not always American-made, but they seem to be the worst offenders in this regard) seem to think that they need to augment a fight with fancy-shmancy camerawork.

If the actors are skilled enough, and the fight scene is well-choreographed and interesting, then this is NOT needed at all.

In Legendary Weapons of China, the camerawork is very simplistic, and is as unobtrusive as possible. It captures the actors' skill and the balletic movements of the fight sequence perfectly. The fanciest camerawork in the whole movie involves maybe 5 very short instances of slow motion, and those themselves were pretty sweet.

So it wasn't the best kung fu film ever - it has some flaws in its plot which made it needlessly confusing. But it was a great time, and both Gordon Liu and Lau Kar Leung are gods.

[D_Davis]

The final sequence in Legendary Weapons..., featuring Lau Kar Leung and Lau Kar Wing, is probably the single greatest example of on screen martial arts ever filmed.

Two bona fide masters, duking it out with amazing skill, using every single major weapon.

It doesn't get any better.

[megladon8]

The final sequence in Legendary Weapons..., featuring Lau Kar Leung and Lau Kar Wing, is probably the single greatest example of on screen martial arts ever filmed.

Two bona fide masters, duking it out with amazing skill.

It doesn't get any better.


Yes, it was freaking awesome. I watched it twice.

What did you think of the overall movie? Sorry if I've missed a write-up you've already done on it.

[D_Davis]

Yes, it was freaking awesome. I watched it twice.

What did you think of the overall movie? Sorry if I've missed a write-up you've already done on it.

The movie itself is merely okay. Definitely a lesser effort from LKL and crew.

It's got some great moments, but dammit if I can't remember a dang thing about the plot.

It's a fun but unremarkable film with the greatest finale of all time.

And you are right, the camera work on this one is especially good. The final fight is a premier example I would use to illustrate the HK technique to the uninitiated.

[MadMan]

When I first saw High Noon years ago I didn't know who most of the cast members were. Now that I've seen a good many more westerns and I actually have film knowledge I think the film has a pretty good cast. Hell Thomas Mitchell is even in this as is Lloyd Bridges and a young Lee Van Cleef along with of course the stoic, manly Gary Cooper and the lovely Grace Kelly.

[Wryan]

When I first saw High Noon years ago I didn't know who most of the cast members were. Now that I've seen a good many more westerns and I actually have film knowledge I think the film has a pretty good cast. Hell Thomas Mitchell is even in this as is Lloyd Bridges and a young Lee Van Cleef along with of course the stoic, manly Gary Cooper and the lovely Grace Kelly.

Tiomkin's score at the end when they're waitin on the train always chills me to the bone. Sounds very modern in fact. Like it was composed just yesterday.

[Melville]

That was in reference to the narrative and characters, which even I'd say are little more than sketches.
Ah, I read your paragraph to mean that the narrative, in so far as it consists of a string of over-the-top set pieces, strips the modern Western down to its essence, with the lone exception of the wife's subplot.


All Westerns are about drifters and twilight men trying to build a new life for themselves out of nothing by trekking through violent confrontations.

What about Exiled doesn't fit into that?
Yeah, it totally makes sense, especially with the focus on male camaraderie. I just thought that Rowland was including the style of the film as part of that Western essence.

[Melville]

I can totally understand you hating this though. To me, it is so much like Once Upon a Time in the West, and so I can see this not agreeing with you on any level.
Strangely, I disliked the tone of Once upon a Time in the West for being too serious, while I disliked the tone of Exiled for being too tongue-in-cheek (or maybe it was so overly serious that I mistook its seriousness for parody).


On a completely different subject, I just watched The Thin Man, and I thought its editing and cinematography had a major deficit of jauntiness. The pacing of each scene seemed too languorous for the material; After the Thin Man was a lot slicker in that regard. However, Myrna Loy was dead sexy.

[MadMan]

Tiomkin's score at the end when they're waitin on the train always chills me to the bone. Sounds very modern in fact. Like it was composed just yesterday.I'll take note of it when I get to that point (I'm rewatching it right now on TCM). What's also highly remarkable about this film is that the film's "reel time" matches "real time." Something that 24 mostly does now. But for a movie that's just really cool and impressive.

Oh and I'm reminded of Tony Soprano's obssession with Gary Cooper. "The strong and silent type" he was found of saying. I'm surprised that Cooper made this picture despite the fact that it was really about the HUAC trials of the 1950s. He was a hardcore conservative.

PS: Dude Harry Morgan who was in the Support Your.... films is also in this.

[Sven]

I'm surprised that Cooper made this picture despite the fact that it was really about the HUAC trials of the 1950s. He was a hardcore conservative.

One of the (only) interesting things about that movie is that it's not overly pro- or anti- HUAC. It has been used to bolster both sides of the issue.

[MacGuffin]

So, Exterminating Angels is definitely something I'll dislike?

[Raiders]

Watching Mission to Mars for the second time, I become aware of how much of the film seems to be about the subtleties of humanity, which by I mean the graciousness and expanse of the human mind. There are acts of beauty (the space dance) and sacrifice (the removal of a helmet) in the film that are overwhelming in their extension of the human spirit. Gary Sinise's final act, coupled with the film's quick flashback montage (unfortunate but necessary) is subtly set up by the rest of the film. In particular is his peering into the past at his wife, taken from him by disease. His journey into the deepest recesses of human evolution brings about a shot that culminates much like Kubrick's epic space film, with the "next" evolutionary step. Only in De Palma's film, it is not a new creature as much as a new understanding. It is telling the only real violence in the film is brought about by a misunderstanding, or rather a lack of knowledge. De Palma's film is about discovery and exploration, of going millions of miles only to find the greatest leaps in understanding happen within.

The dialogue is almost completely useless and I can barely remember a single line from the film. Rather, it is the images that linger. From the weightless dancing (is there a more sublime image or a more nuanced and joyous extension of the human spirit?) to the splatters of blood being used as a guide to fix the ships' hole (in retrospect it practically seems like foreshadowing of the film's organic and evolutionary second half). I wouldn't ever go so far to agree with Armond White's absurd assertion that disliking this film is disliking cinema, but it is hard to argue with his sentiment that this film very much displays a superb balance of form and content.

The film is adrift in homages to films like 2001, and while it doesn't quite rival that film, I would say it is filled much more by a love of humanity. While Kubrick's film suggested an evolution almost beyond mankind's own comprehension, De Palma's film places humanity at the very center. From the images of memory, human idiosyncracies to the multiple scenes featuring our literal DNA, it is a very scientific and yet emotional exploration of our species. The science is constantly contrasted and reflected in emotion, allowing a rather expansive and nuanced picture to emerge. And the final reveal, told in the kind of corny-yet-wondrous spirit of the 50s sci-fi films, marks the final piece of the puzzle. We know what we're made of, what we're capable of and our own limitations. But finally, in a gesture of intergalactic racial equality (it is almost spiritual in its "we're all equal and come from the same foundation" insinuations), the film tells us where we're from. Its picture of humanity is complete.

[Watashi]

Mission to Mars would have been a great sci-fi classic without the Jerry O'Connel character. Man, he was a crutch to otherwise good film. He didn't even fit De Palma's universe and felt like a studio-created character.

[Rowland]

So, Exterminating Angels is definitely something I'll dislike?Well, it may just be worth seeing as some of the most arousing erotica around. I'm not sure about Brisseau as an artist, but he sure as hell knows how to elicit effective performances from his unbelievably hot young actresses. Otherwise, eh.

[Sven]

You win, Raiders. Coincidentally, I just turned in a paper today comparing the establishing moments in 2001 and Mission to Mars. It touches on the contrast between Kubrick's and De Palma's stylistic concerns and philosophical frameworks, and how both pictures ultimately result in nearly identical thematic schemes: considering the progress that man is able to effect within the cosmic equation and exploring the bounds of mortality that restrain his potential.

[Raiders]

Mission to Mars would have been a great sci-fi classic without the Jerry O'Connel character. Man, he was a crutch to otherwise good film. He didn't even fit De Palma's universe and felt like a studio-created character.

He does seem rather superfluous, but he never really bothered me enough to detract from the film.

[Raiders]

You win, Raiders. Coincidentally, I just turned in a paper today comparing the establishing moments in 2001 and Mission to Mars. It touches on the contrast between Kubrick's and De Palma's stylistic concerns and philosophical frameworks, and how both pictures ultimately result in nearly identical thematic schemes: considering the progress that man is able to effect within the cosmic equation and exploring the bounds of mortality that restrain his potential.

What I found most remarkable, and likely a testament to De Palma's gracious and overwhelming sense of humanism, is that the final flashback montage, a technique I typically despise, filled me with emotion. It was almost as if the film itself was reflecting on all its own human idiosyncrasies, both scientific and emotional, and leaving us with the image of the enlightened and evolved man, the film's "resolution" to all the bits before.

[Sven]

What I found most remarkable, and likely a testament to De Palma's gracious and overwhelming sense of humanism, is that the final flashback montage, a technique I typically despise, filled me with emotion. It was almost as if the film itself was reflecting on all its own human idiosyncrasies, both scientific and emotional, and leaving us with the image of the enlightened and evolved man, the film's "resolution" to all the bits before.

I don't think I've ever agreed with every word of a post of yours this intensely in a while. Normally it's tacky, but for some reason, and I know I've written about it at length somewhere, it is feels ecstatic here.

[Rowland]

De Palma's last two efforts have curdled my passion for him a bit, but I still look forward to eventually giving Mission to Mars another chance. I wasn't too keen on it after my first viewing, but I'm willing to admit with myself that my reaction may have been overly tempered by my knowledge of its reputation.

[Sven]

Here's my gushing review (http://matchcut.org/viewtopic.php?p=472339#472339) from the Minority Report thread, in case you want to read it again. It's really vague... lots of things in here that I'd like to expand on someday.

[megladon8]

It's a fun but unremarkable film with the greatest finale of all time.


This is pretty much how I would sum it up, as well.

As you can see by my rating, I really enjoyed it, but it didn't redefine kung-fu cinema or anything. It's just a well-made entry into the genre, and there's definitely nothing wrong with that.



On a completely different subject, I just watched The Thin Man, and I thought its editing and cinematography had a major deficit of jauntiness. The pacing of each scene seemed too languorous for the material; After the Thin Man was a lot slicker in that regard. However, Myrna Loy was dead sexy.

I completely agree, though I think I enjoyed the first one a little more than you did (just judging by your rating).

After the Thin Man is perfect. I'd rank it among the best films of that era/style ("Golden Age" Hollywood).

[MadMan]

One of the (only) interesting things about that movie is that it's not overly pro- or anti- HUAC. It has been used to bolster both sides of the issue.Hmm, after seeing the film for a second time I'm not so sure about that. I think the film is more anti-HUAC.

Anyways its a really great film, and one of the best westerns I have ever seen. I will hopefully by next year be ready to finally unveil my Best Westerns of All Time list. I may have to Netflix some of the older ones though.

Oh I love the film's ending. Cooper throwing the star down into the dust as he leaves town, disgusted by the people who failed to help him is one of the coolest "Fuck you's!" ever. Plus he runs and guns and with the help of his wife takes out four hardened killers. Badass stuff indeed.

[D_Davis]

Strangely, I disliked the tone of Once upon a Time in the West for being too serious, while I disliked the tone of Exiled for being too tongue-in-cheek (or maybe it was so overly serious that I mistook its seriousness for parody).


Nothing in Exiled struck me as tongue in cheek, and perhaps herein lies the main problem. I think you are correct in saying that it is a very genrecentric film. If you are not interested in these conventions and archetypes, and how To crafted his own versions of them throughout his career, you probably won't be too interested in the film because it really does get straight to the essence of what a To film is.

If you were to boil down and reduce PTU, The Mission, Where a Good Man Goes, and A Hero Never Dies to their most basic ingredients, and then make a film from this reduction, it would be Exiled.

As far as the location goes, I see it as To making a commentary on the HK film industry. The HK film industry has, for the most part, moved away from these kinds of films, a certain kind of heroic bloodshed. HK has turned its back on these films and has moved on. I think To pulled the narrative away from an HK setting out of respect for his characters. Why thrust them into a world that no longer wants them?

If you've seen The Mission, I think this makes more sense. The Mission features most of the same cast, playing very similar, albeit much younger, versions of the characters they do in Exiled. These characters were born in HK, lived their lives their, and then retired to another place. In a way, To let these characters out to pasture, to die in a place more beautiful.

[megladon8]

One of Dragon Dynasty's March releases is PTU.

That's one I'll definitely get at some point, to replace my horrible VCD I got off eBay, and am still bitter about buying since it was advertised as an offricial DVD and came in a jewel case with "PTU" written on the disc in permanent marker.

[D_Davis]

One of Dragon Dynasty's March releases is PTU.

That's one I'll definitely get at some point, to replace my horrible VCD I got off eBay, and am still bitter about buying since it was advertised as an offricial DVD and came in a jewel case with "PTU" written on the disc in permanent marker.


What are they going to rename that one?

Legend of Demon's Golden Revolver

[megladon8]

What are they going to rename that one?

Legend of Demon's Golden Revolver


Nope, it's PTU. :P

http://img301.imageshack.us/img301/8894/ptucoverqh6.th.jpg (http://img301.imageshack.us/my.php?image=ptucoverqh6.jpg)

[D_Davis]

That cover really tries to sell it as an action film.

People are going to be very disappointed.

I like this one more:

http://www.lovehkfilm.com/reviews/ab3219/ptu.jpg

[megladon8]

Yes that is a great cover image.

I thought it was a fantastic movie. Looking forward to a rewatch. I also own The Mission, but it came in the same package as PTU, and was an even worse copy. It's full screen, dubbed, and looks like it was recorded off TV - I didn't even bother watching past the first 5 minutes.

[D_Davis]

Yes that is a great cover image.

I thought it was a fantastic movie. Looking forward to a rewatch. I also own The Mission, but it came in the same package as PTU, and was an even worse copy. It's full screen, dubbed, and looks like it was recorded off TV - I didn't even bother watching past the first 5 minutes.

That sucks.

The only version of The Mission available looks about the same. It is terrible. The DVD has ghost images of the opening credits throughout the entire thing. It's a total shame that a film as good and as highly praised as this hasn't been remastered.

[MadMan]

I wish I didn't have class tomorrow in the morning so I could stay up and watching The Seventh Samauri a second time and Rashomon for the first time. After TCM is done with 31 Days of Oscar I hope they go back to showing foreign films on Sunday nights.

[Ezee E]

Rendition turned out to be pretty good. Pretty much along the same lines as Michael Clayton as far as the storytelling goes, I'm surprised nobody made mentions of it. Jake's suitable, I just don't think he's old enough for the character he portrayed. Reese ends up being a supporting character at most. And that was good. When dealing with the politics of torture, it became pretty interesting to watch.

[number8]

They didn't rename PTU only because Miramax already released an R1 DVD a few years back. If they renamed it, they wouldn't be able to put SPECIAL COLLECTOR'S EDITION on the cover. :P

[Bosco B Thug]

Atonement

A missed opportunity, all told, for the director to tease out the themes of the book in a visual medium, and to investigate the uneasy relationship between literature and film. The first section is the best, every now and then tapping the flowery, head-in-the-clouds psychoanalysis of the book through montage and odd editing rhythms, though it struggles to keep the story clear (the subplots with the twins and their sister seems shoehorned in at random intervals, putting pin pricks in the atmosphere). It is in the second section that Wright drops the ball - the film should have become distinctly different in style. Harder, faster, more direct. Instead, he lets the mood of the first section seep into it, and it reduces the effectiveness of the depiction of an artistic sensibility in evolution. By the end, the film has become a bit of a mish mash, and the coda, while undeniably affecting, is pretty hamfisted in its directness

I can't understand why Wright would actually show the deaths of Cecelia and Robbie on screen - the whole point has been that the movie up to now has been the work of a woman trying to reconfigure the past and give her sister a happy ending. It doesn't make sense to then mix images of the truth into the "story". I think it would have been much better to have filmed the birthday party from the book, with the lack of talk about C & R being the first clue, before simply revealing it in the interview with no flashbacks Completely agree, especially with your spoiler. It would have been much more graceful to just let her speak and push the tenuous grip between history and personal cognizance.


Now what to make of Margot at the Wedding... I haven't seen any of Baumbach's other films. I like his style, though. He's got that delicacy I like in his observation of his characters, their interactions, and their subjectivities - the most obvious example that comes to me right now (not the best, this one's probably the most blatantly precocious) was Kidman's "Experience in the Tree" scene - but I'm not sure I get that delicacy in his script. There are lots of outlandish lines in the film that are a little too jokey, too off-the-cuff to feel like they really should be coming out of these characters mouths. Maybe it's just me having a hard time grasping the film's dense, idiosyncratic psychologies, but it seems to set-up Margot's pathological faults but not really illuminate them. Margot's clearly the most important figure in the film, but stretches of it too frequently, I think, leave her character hanging. Also, I don't think I'm opposed to a film leaving its characters in the ruts they're in (but a little more enlightened, as is the case here), but the ending also left me high and dry and lost. Catherine Breillat's Fat Girl probes a sister relationship in an even more cryptic way than this film, but that film was clearly structured and sharp as a tack - Slant's probably close to it when he says this film "wallows" in its story, but I'd say instead of their claim that it is wallowing in cruelty, I think it wallows in redundant, unilluminating humor. For instance, I thought the son and Jack Black's Malcolm brought very very little to the picture. Turturro had a good scene, though.

[Derek]

For instance, I thought the son and Jack Black's Malcolm brought very very little to the picture.

Woah there! Jack Black's certainly not entirely necessary and seems to be there mostly to provide some light comic touches inappropriate for the other characters, but I don't see how Margot's son isn't crucial. So much of the film is centered on the way Margot manipulates him, using him as a crutch and essentially as an earpiece to which she can always turn to to prop up her ego and undermine others behind their backs. As a character himself, I agree he's not all that interesting, since he's really just there to illuminate Margot's psychological tendencies, but still I found his passiveness interesting in parts and I loved their interactions whenever he had the balls to call her bullshit. You could take Black out and have a pretty similar film, but I don't think you can say that about Margot's son.

[D_Davis]

I just ordered Sukiyaki Western Django!

Strange, the Japanese DVD has English audio....

I wonder what this is all about?

[Morris Schæffer]

I re-watched The Black Dahlia last night. I still haven't decided if it is De Palma's greatest film or a train wreck. I have thought about it a lot today though.

I'm having trouble understanding how someone can have such wildly divergent either/or thoughts on a single movie. I'm sure you have your reasons and I'll read them if you get around to posting them. If one of the possible alternatives is "train wreck" then perhaps it's safe to not label it his greatest. ;)

[DavidSeven]

Michael Clayton (2007) 74

Alarmingly high. It's totally Meh-chael Clayton.

[Sycophant]

I just ordered Sukiyaki Western Django!

Strange, the Japanese DVD has English audio....

I wonder what this is all about?
:lol:

Oh, man. I'm trying to spend less on DVDs, but I may have to break down and pick up this and Mad Detective. Apparently, Sukiyaki Western Django is going to be cut everywhere outside Japan, so it's my only chance to see it unaltered.

Please tell me it has English subtitles, too...

[D_Davis]

:lol:

Please tell me it has English subtitles, too...

Nope. Every DVD I've seen, from legit Japanese to bootleg, has English audio and Japanese subs.

[Rowland]

Wasn't it shot in English?

[Eleven]

I just ordered Sukiyaki Western Django!

Strange, the Japanese DVD has English audio....

I wonder what this is all about?

The movie's in English. That wacky ol' Miike.

[Sycophant]

Nope. Every DVD I've seen, from legit Japanese to bootleg, has English audio and Japanese subs.Oh, damn. 'Cause it was shot in English... and I've heard that English subtitles can be a great, um, assist.

[Sycophant]

Weekend:
Vengeance Is Mine
Running Scared
I Know Who Killed Me
Persepolis
Dororo
September

[D_Davis]

Wasn't it shot in English?


The movie's in English. That wacky ol' Miike.

Cool, I hadn't heard.

I wonder if he was messing around with how so many of the Italian westerns were released in English even though many of the actors weren't actually speaking English?

[Philosophe_rouge]

WEEKEND!!
Peeping Tom
Pat Garrett and Billy the Kid
Out of Sight
Rouge
Les Amants reguliers
A Slightly Pregnant Man

[Raiders]

Alarmingly high. It's totally Meh-chael Clayton.

I'm trying to get some thoughts going, but I thought it was the pinnacle of solid storytelling, and the complaints against Clayton's relative lack of heroics I find to be entirely the point of the film.

By the way, that use of 'meh' was alarmingly awful.

[number8]

Of course it's in English. What, you expect QT to speak Japanese? He's hard to follow as it is! :P

[D_Davis]

Of course it's in English. What, you expect QT to speak Japanese? He's hard to follow as it is! :P

I can totally imagine QT trying to speak Japanese...oh man.

Doe-moe awrrigatoe, Djayngoe-sawn!

[Rowland]

the complaints against Clayton's relative lack of heroics I find to be entirely the point of the film.Is that a common complaint? If so, that is indeed a misreading of the movie. If anything, there are too many "heroics" as it is, if one should label the climax as such, and even that's debatable.

[Watashi]

Weekend:

Vengeance is Mine
From Dusk till Dawn
Midnight Cowboy
Semi-Pro

Possibles:

In Bruges
The Counterfeiters

Does anyone know if the Spy Kids movies are worth checking out?

[D_Davis]

Does anyone know if the Spy Kids movies are worth checking out?

I had fun with the first one.

Never saw the others.

[Rowland]

Does anyone know if the Spy Kids movies are worth checking out?The first two have their share of charming elements, and they were certainly critical darlings IIRC, but I don't know if I think they're necessarily worth going out of your way to see.

[Raiders]

Is that a common complaint?

Not the way I worded it I suppose. I meant more that I have read complaints he is very static throughout the film and that he doesn't really do anything that out of character (i.e., no sacrificing heroics). While I disagree that his final act isn't very sacrificial, I think ultimately the film displays him trying very hard to maintain everything around him as-is since that is his job, to clean up messes. Up until the very end, everything he does is more or less directed at his job and his function, sacrificing personal stability.

Like I said, I'm going to say more I think, but I haven't had much time to compose anything substantial.

[lovejuice]

Does anyone know if the Spy Kids movies are worth checking out?

haven't watched the third, but the first is a very well-crafted rodriquez's family action feature -- which means it's what it's supposed to be considered the director and the genre. the second is even more kiddy than the first, and i think it's already cross the line separating a family and a kid film. still well-crafted though.

[Morris Schæffer]

Weekend:

There Will Be Blood

[Morris Schæffer]

Atonement
It is in the second section that Wright drops the ball - the film should have become distinctly different in style. Harder, faster, more direct. Instead, he lets the mood of the first section seep into it, and it reduces the effectiveness of the depiction of an artistic sensibility in evolution.

I'm not sure what this means, but I believe you're saying that the middle section is too long, that Wright should have abandoned Robbie more rapidly to focus on Briony. I'll leave that in the middle, but I will say that this is as much about romance and separation as it is about atonement and from the start it is clear that all three characters deserve their time in the spotlight. I don't think the full extent of what Briony did is evident without spending at least as much time with Robbie and to a lesser extent Celia. I think it's a laudable balancing act and "drops the ball" seems a bit harsh. Had the movie focused more on Briony, it might have resulted in a more nuanced character study. I don't think it would have been quite as devastating had it sped through the Robbie segments though. And I'm certainly grateful that, tonally, the second half is very similar to the first with an undeniable sense of longing present.


I can't understand why Wright would actually show the deaths of Cecelia and Robbie on screen - the whole point has been that the movie up to now has been the work of a woman trying to reconfigure the past and give her sister a happy ending. It doesn't make sense to then mix images of the truth into the "story". I think it would have been much better to have filmed the birthday party from the book, with the lack of talk about C & R being the first clue, before simply revealing it in the interview with no flashbacks

I disagree with your spoiler, but I'd like to have seen your ending because it might have worked as well, but not as well as the existing one I think. Although based on the title, it can be deduced that the film is ultimately about Briony and her attempts to "reconfigure the past and give her sister a happy ending," by the time the ending rolls along this film was about all three people equally. At least, that's how I see it. It is also about Robbie desperately wanting to reconnect with Cee and vice versa. It isn't just about any one point methinks. One cannot truly feel the damage done by Briony without spending time with Robbie and Cee. Why doesn't it make sense to include those short sequences towards the end? Why can't those fateful images be juxtaposed with elderly Briony's voiceover? Is the film now less about Briony because of a few extra seconds of Robbie and Cee footage?

[DavidSeven]

Is that a common complaint? If so, that is indeed a misreading of the movie. If anything, there are too many "heroics" as it is, if one should label the climax as such, and even that's debatable.

I was hoping that Clayton would...

...take the money. I was loving that final scene with Clooney and Swinton until they pulled the uber-generic wire-tap/recording device card. Had it been played the other way, it would have been a real nice twist on expectations.

[Teecee]

I was hoping that Clayton would...

...take the money. I was loving that final scene with Clooney and Swinton until they pulled the uber-generic wire-tap/recording device card. Had it been played the other way, it would have been a real nice twist on expectations.

I think the strength of the final scene lies not in what Clayton does but why he does it.

Clayton took a pay-off from his bosses and sold out Arthur in the process. He subsequently did the right thing only because he was personally attacked and pissed off about it ("I'm not the guy you kill. I'm the guy you buy.") In my eyes, his doing the right thing is not noble so much as vindictive -- and that's the twist.

[lovejuice]

I think the strength of the final scene lies not in what Clayton does but why he does it.

Clayton took a pay-off from his bosses and sold out Arthur in the process. He subsequently did the right thing only because he was personally attacked and pissed off about it ("I'm not the guy you kill. I'm the guy you buy.") In my eyes, his doing the right thing is not noble so much as vindictive -- and that's the twist.

agree. i think clayton's decision there is perfect. i still don't like the movie though.

[Ezee E]

WEEKEND:

A Zed & Two Noughts
The Corner
Bright Future or if Netflix sends something on a "wait"

[DavidSeven]

I think the strength of the final scene lies not in what Clayton does but why he does it.

Clayton took a pay-off from his bosses and sold out Arthur in the process. He subsequently did the right thing only because he was personally attacked and pissed off about it ("I'm not the guy you kill. I'm the guy you buy.") In my eyes, his doing the right thing is not noble so much as vindictive -- and that's the twist.

I agree about the motivation behind it, but I thought there was an inevitable sense of nobility that was conveyed in that final scene. Even though the logic behind the move works, it still didn't feel like it suited Clayton to me. I think a different ending could have still worked with the ideas presented in the film about corporate/legal dealings and about Clayton himself while giving us a nice little kick to the stomach.

[Grouchy]

Regarding the Exiled discussion, I don't see anything "tongue-in-cheek" about the movie and I don't think it's being cynical or post-modern about HK cinema other than the fact that it's a Triads story set outside Hong Kong.

I see it as a simple drama about friendship under fire and life-defining choices. The gravity-defying action sequences are a plus to me, not an in-joke from To. I think some of you (and when I say "some of you" I mean Melville) are reading too much into it, refusing to acknowledge the pure cinema that's right in front of your eyes.

[lovejuice]

I agree about the motivation behind it, but I thought there was an inevitable sense of nobility that was conveyed in that final scene.

speaking as an anti-clooney, what else do you expect from this guy? :twisted:

[Rowland]

I agree about the motivation behind it, but I thought there was an inevitable sense of nobility that was conveyed in that final scene. Even though the logic behind the move works, it still didn't feel like it suited Clayton to me. I think a different ending could have still worked with the ideas presented in the film about corporate/legal dealings and about Clayton himself while giving us a nice little kick to the stomach.I don't think it's entirely vindictive, at least in the retaliative sense for a personal affront. The horses and their big honking symbolism as tying in with his son's book and Arthur's copies points to something in more of a gray area, which suits the last shot.

[Boner M]

weekend:

Late Spring
Xiao Wu
The Best of Youth (or at least part of it)
Accatone
We Own The Night

[Ivan Drago]

Weekend:

Semi-Pro
Maybe Across The Universe (2nd)

[soitgoes...]

Weekend:
Triangle
Peking Opera Blues
Altered States
Persepolis
The Bare-Footed Kid

[Winston*]

Weekend

Baraka
Mind Game
The Blue Angel

[D_Davis]

Weekend:
Triangle
Peking Opera Blues
The Bare-Footed Kid

Awesome!

[Stay Puft]

Weekend:
My Life to Live

That's probably it. I have to write an essay this weekend.

[soitgoes...]

Awesome!
I know you have seen Peking Opera Blues, but have you seen the other two? I'm especially interested in The Bare-Footed Kid, which I guess is a non-gangster To film. A first for me as all of the To films I've seen to date have had a gangster element to them.

[Rowland]

Remember the news about a Suspiria remake? Might it be directed by David Gordon Green? (http://www.latimes.com/entertainment/news/movies/la-et-green26feb26,1,2762002.story?t rack=rss&ctrack=3&cset=true)

[lovejuice]

Remember the news about a Suspiria remake? Might it be directed by David Gordon Green? (http://www.latimes.com/entertainment/news/movies/la-et-green26feb26,1,2762002.story?t rack=rss&ctrack=3&cset=true)

:|

actually this can be interesting. i hope DGG makes it his instead of trying to emulate argento's.

[Qrazy]

Did anyone see House of Sand? It looks like a remake of Woman in the Dunes.

[origami_mustache]

Read this in Film Comment and got excited:

"Gaspar Noe describes his latest project, Enter the Void, which has been gestating for almost 5 years as a cross between Altered States and Jacob's Ladder with elements of 2001, Videodrome, Phillip K. Dick, and The Tibetan Book of the Dead tossed into the mix. The story follows a U.S.-born teenage brother and sister, who, during the course of their travels abroad, become so completely drug-infested that they tap into the afterlife. The special effects are apparently so complex that post production work will continue until at least 2009."

[D_Davis]

I know you have seen Peking Opera Blues, but have you seen the other two? I'm especially interested in The Bare-Footed Kid, which I guess is a non-gangster To film. A first for me as all of the To films I've seen to date have had a gangster element to them.

I have Triangle, haven't watched it yet. I've heard mixed things. I am hoping to mildly enjoy it, at least on a technical level. With Tsui and To, it can't be terrible.

Knock Off...never mind. It might be.

The Bare-Footed Kid is To's take on the old school martial arts genre. It's his second Shaw Brothers film, made after The Mad Monk with Stephen Chow. It's good. It's totally To, but also totally Shaw Brothers. I like it. It's not amazing, but it is totally enjoyable.