28 Film Discussion Threads Later

[lovejuice]

I have a question for those more up on things. The film felt really disjointed like there is a much better and very different director's cut out there somewhere. What's the history of this thing? I thought I read way back that it was yanked out of Taymor's hands and drastically recut.

i have the exact feeling. it's very hard for me to believe the version we see is actually taymor's. perhaps taymor's compromising with studio's?

[lovejuice]

ok, i always have this question about the phantom menace. so is it true that there exist a pirate but better edited version of the film. back in 1999~2000, people around me have been talking about this. some even claims they watched the thing. if this was true, how come the like news never surfaced regarding CLONE? in fact i haven't heard it mentioned since.

[Sycophant]

The trailer for The Phantom Menace was better-edited and an overall better film than the feature-length version. Was that it?

[Rowland]

ok, i always have this question about the phantom menace. so is it true that there exist a pirate but better edited version of the film. back in 1999~2000, people around me have been talking about this. some even claims they watched the thing. if this was true, how come the like news never surfaced regarding CLONE? in fact i haven't heard it mentioned since.I imagine you're referring to this (http://en.wikipedia.org/wiki/Phantom_edit).

[Stay Puft]

Haven't seen Linger yet - haven't even heard of it! :)

That's the thing with To: any director who makes 2 or 3 films a year is bound to make some stinkers.

I just really like that he is constantly working and doing new things, because I think he learns from even his most troubled failures.

He certainly stays busy. To the point where I have to now correct myself, because I just found out Linger (which came out Jan 10th 2008) isn't technically his new movie anymore. His new movie, The Sparrow, premiered at a film festival last month and begins opening in theatres next month. Three months into the year and he has already released two movies!

[lovejuice]

I imagine you're referring to this (http://en.wikipedia.org/wiki/Phantom_edit).

yes. anyone actually watched the thing? it seems like an old news now. imagine if that happened in a youtube age.

[D_Davis]

He certainly stays busy. To the point where I have to now correct myself, because I just found out Linger (which came out Jan 10th 2008) isn't technically his new movie anymore. His new movie, The Sparrow, premiered at a film festival last month and begins opening in theatres next month. Three months into the year and he has already released two movies!

Yeah - I had heard of Sparrow, but not Linger.

[Sycophant]

What did you think of Brandon Routh taking over the role?

I really loved him, and I was very sad to hear that he may not be in the coming movies.

There are spots during the movie where he both looks and sounds almost creepily like Christopher Reeve.Honestly, my memories of the initial Superman franchise films are so hazy that I can't really say how well he did in emulating Reeve. The choice to cast someone so young is an interesting one, as five years before the film, he must have been all of nineteen.

Last I heard was that Routh was eager to return to the role. Is Warner thinking of rejecting him?

[Raiders]

The choice to cast someone so young is an interesting one, as five years before the film, he must have been all of nineteen.

I think Reeve looked older than he was. He was only 28 when the second film premiered and Routh was 27 for this film. So, technically he is only about five years too young. He simply has a more youthful appearance, and given the relative naivete inherent in the Superman persona (one Singer does great things with in terms of his beyond-human humanism), I thought his appearance was perfect.

[Rowland]

Salon's Andrew O'Hehir on Joe Swanberg's latest:

It wasn't until late Sunday night, with the premiere of Joe Swanberg and Greta Gerwig's low-budget, high-nudity improvisation "Nights and Weekends," that I got the prickly, flawed, urgent SXSW experience I'd been waiting for. Swanberg is a young Chicago director associated with the so-called mumblecore movement, but maybe after "Nights and Weekends" we can retire that term forever. This is a vastly leaner and more elliptical film than "Hannah Takes the Stairs," the ambitious, self-conscious ensemble piece Swanberg premiered last year here -- and for which he took a critical kicking after it became the first mumblecore film to find mainstream release.

Swanberg and Gerwig (the self-absorbed, serial-monogamist title character in "Hannah") co-directed "Nights and Weekends" and appear together in every scene and almost every shot. In the first half of the film their characters, James and Mattie, go through the rapid meltdown of their long-distance New York-Chicago relationship. In the second they meet a year later, long after their breakup and discovering that the passionate push-pull dynamic between them hasn't faded. Other people exist only as background or as fateful catalyst: In section two they meet James' brother, sister-in-law and infant niece, representing a family life they'll never have; in section two a photographer who's shooting James assumes they're a couple, and urges them into ever more intimate and affectionate poses.

If Swanberg's "Hannah" was overloaded with confession and self-analysis (much of it purposefully specious), "Nights and Weekends" withholds much more than it gives up. Very little back story is explained, there's not much intra-relationship yakking and we never see the breakup. Instead we watch James and Mattie thrown together and torn apart, thrown together and torn apart, in a sort of erotic molecular action. There's an intimacy and a universality to these characters that feels a world away from the post-collegiate claustrophobia of "Hannah Takes the Stairs."

Take away their cell phones and throw some different outfits on them, and James and Mattie could be characters from Cassavetes or the French New Wave or Bergman. (Whether accidentally or not, the film contains echoes of "Last Tango in Paris," "Scenes From a Marriage" and "Une liaison pornographique," to name a few.) They're adults on the cusp of headlong transformation, and in the year they're apart they become notably more self-assured and develop more expensive tastes. Their pathologies have also hardened; Mattie has become visibly crazier and more needy, while James' insensitive-dick tendencies are no longer outweighed by his earnestness and intensity.

At the post-screening Q&A Swanberg and Gerwig -- who despite all the rampant on-screen coupling are not involved in real life -- explained that making the film had drained them, and that they saw the end of James and Mattie's relationship as a corollary to the end of their own working relationship. The two segments of "Nights and Weekends" really were separated by a year, which was an accidental result of their herky-jerk, no-budget production process but in this case a crucial one. This is a new-school independent film with old-school integrity, one where nakedness is more a matter of emotion than physique, one whose makers risked something more important than money. (Which they didn't have in any case.)

At least two people I talked to afterwards absolutely hated "Nights and Weekends." Four others, myself included, felt energized and exhilarated by it. Word spread after the screening that IFC has acquired the film for theatrical and video-on-demand release, so both of those reactions will be replicated on a larger scale. The thing is, there we were, standing around in the chilly Texas night outside the grim concrete slab of the Austin Convention Center, arguing about a movie that had moved us and unsettled us and pissed us off, instead of retreating, anesthetized, into our caves. That right there was enough to make my weekend.

[soitgoes...]

Fulltime Killer has some great sequences, but yeah, it becomes increasingly stupid the longer it goes. Can't be my least favorite To, though, because I just finished his new movie, Linger, and that was pretty damn weak.
Hmm. This is disappointing. I might not prioritize watching Linger this week.

[Spinal]

I Am Curious - Yellow (1967) ***½

Glad to see you liked this one. I think it's pretty great, but I never expect anyone else to enjoy it.

[dreamdead]

Thanks for posting the Salon review, Rowland. Joe Swanberg is the one that-which-shall-not-be-named whom I've yet to see anything by, and it looks like I can expect some fun divisiveness once that one premieres.

Still might check the Hannah... film only because it gets bashed enough that I'm intrigued to see why....

[Bosco B Thug]

Just spent the last 10 minutes finally exposing myself to pretty much all the Bujalski/Swanberg/Katz mumblecore films (count 'em six?) via youtube trailers. I kinda regret it now, pouring through all six's trailers for some reason. I should've just given one of them a watch, disassociated from the "movement" as much as possible.

[Rowland]

Just spent the last 10 minutes finally exposing myself to pretty much all the Bujalski/Swanberg/Katz mumblecore films (count 'em six?) via youtube trailers. I kinda regret it now, pouring through all six's trailers for some reason. I should've just given one of them a watch, disassociated from the "movement" as much as possible.Ugh, the Funny Ha Ha trailer is hideous. Talk about misrepresentation.

[Wryan]

Seven Brides for Seven Brothers is terrific! Donen scores another one. So guilelessly incorrect and brazen. No mistake that miniscule Jane Powell is a central force in the film around those staggeringly large mountain men, with burly Keel outstripping them all. The barn-raising scene is justly famous. Just a treat, really. Sits along SITR on the mantle quite nicely.

[Melville]

Bigger than Life was a brilliant subversion of the 1950s ideal nuclear family, drenching that ideal in Noir shadows, scathing humor, and pulpy melodrama. And James Mason was pure manic gold.

Ray rated:

In a Lonely Place - 9.5
Bigger than Life - 9
On Dangerous Ground - 8
Rebel without a Cause - 7.5
They Live by Night - 7.5

[Raiders]

Bigger than Life was a brilliant subversion of the 1950s ideal nuclear family, drenching that ideal in Noir shadows, scathing humor, and pulpy melodrama. And James Mason was pure manic gold.

Indeed.

[megladon8]

Honestly, my memories of the initial Superman franchise films are so hazy that I can't really say how well he did in emulating Reeve. The choice to cast someone so young is an interesting one, as five years before the film, he must have been all of nineteen.

Last I heard was that Routh was eager to return to the role. Is Warner thinking of rejecting him?


Routh wants to do it, and Singer wants him if he is making the next film, but WB didn't like Routh much at all.

[MadMan]

The Omega Man is hilarious.I love that goofy, cheesy, action packed film. A YouTube video actually scores scenes from the film with I Wear My Sunglasses At Night by Corey Hart :lol:

That said, even though the film is not at all faithful in any real way to the book, I find the movie to be interesting in that it somewhat reflects the pessimisstic, reactionary times of the 1970s. Also the standium set piece is pretty awesome, and I have to say I enjoyed watching Heston go all gung ho at the end against the zombie hippie vampires (okay they were probably more like yuppies/nihinists or something like that). I actually want to revisit the film now, as even though I've seen it five times I haven't seen it in a couple of years.

[Wryan]

http://www.diplomatie.gouv.fr/en/IMG/jpg/02-18.jpg

Nearly forgot how hypnotic Caro/Jeunet can be. Lovely fantasia.

[Rowland]

Nearly forgot how hypnotic Caro/Jeunet can be. Lovely fantasia.City of the Lost Children? It looked great, but I found it deadening to watch, leaving me completely cold at the end. I'd rather watch Alien Resurrection again.

[Wryan]

City of the Lost Children? It looked great, but I found it deadening to watch, leaving me completely cold at the end. I'd rather watch Alien Resurrection again.

Blech. Both of those films left me agape for extended periods of time, but only City accomplished that for good reasons. :)

[D_Davis]

City of the Lost Children? It looked great, but I found it deadening to watch, leaving me completely cold at the end. I'd rather watch Alien Resurrection again.

I'm with you man. Every time I start CotlC, I think, oh man, this looks awesome, and it's going to be awesome. Then, about 40 minutes into it I think, oh man, when is this going to be over?

It's gorgeous to look at, sounds amazing, and has many inventive scenarios, but I'll be damned if its not one of the most boring movies I've ever set through. For all its technical marvel, and inventive design, it just doesn't have any life or emotion.

I prefer Delicatessen and even A Very Long Engagement.

[Rowland]

I'm with you man. Every time I start CotlC, I think, oh man, this looks awesome, and it's going to be awesome. Then, about 40 minutes into it I think, oh man, when is this going to be over?

It's gorgeous to look at, sounds amazing, and has many inventive scenarios, but I'll be damned if its not one of the most boring movies I've ever set through. For all its technical marvel, and inventive design, it just doesn't have any life or emotion.And that's why you're the man.

[megladon8]

Alien: Resurrection is a thoroughly entertaining piece of absolute cinematic garbage.

It really doesn't have many redeeming qualities at all, but it's fun - pehaps in part because of how much it stinks.

[Rowland]

Alien: Resurrection is a thoroughly entertaining piece of absolute cinematic garbage.

It really doesn't have many redeeming qualities at all, but it's fun - pehaps in part because of how much it stinks.Well I disagree about it being absolute cinematic garbage. I think it's a better "comic book"-esque action movie than much of what we've seen of late, and it expands the Alien mythos and its core thematic ideas in reasonably interesting, logical ways. Yes, I even like the hybrid alien.

[Sycophant]

I'm wracking my brain and I can't come up with a movie that I would describe as being both "fun" and "garbage."

[megladon8]

Well I disagree about it being absolute cinematic garbage. I think it's a better "comic book"-esque action movie than much of what we've seen of late, and it expands the Alien mythos and its core thematic ideas in reasonably interesting, logical ways. Yes, I even like the hybrid alien.


I thought it took ideas which were subtle in the other films, and made them so over-the-top that some of it became creepy and uncomfortable - and not in a good way.

All the sexual undertones in the other films are overtones here, and it made it hard to decide whether it was trying to be sarcastically funny, or was playing in straight and failing miserably.



I'm wracking my brain and I can't come up with a movie that I would describe as being both "fun" and "garbage."

I can think of lots - most of them having to do with childhood favorites that I still enjoy for nostalgic value.

Superman IV, Mortal Kombat. Hell, I even liked Street Fighter as a kid, and that's one of the worst movies ever.

[D_Davis]

I'm wracking my brain and I can't come up with a movie that I would describe as being both "fun" and "garbage."

Troll 2
Jason X
Feeders 1 and 2
Saurians
Samurai Cop


Just to name a few...

[Rowland]

I thought it took ideas which were subtle in the other films, and made them so over-the-top that some of it became creepy and uncomfortable - and not in a good way.

All the sexual undertones in the other films are overtones here, and it made it hard to decide whether it was trying to be sarcastically funny, or was playing in straight and failing miserably.Which ideas do you believe Resurrection renders overly creepy and uncomfortable? Undertones, overtones... sexuality plays a large part in the entire series. You are right however that Resurrection does emphasize sex, and more specifically a female sort of sexuality, more than any other entry in the series, which I think is wonderful.

[Qrazy]

I agree with you guys about City of Lost Children although not as vehemently. And I wasn't so much bored as just really disappointed throughout at what an uninteresting storyline this fascinating world had been built around. I wish they'd team up again though, maybe bring in a writer or adapt a work.

[megladon8]

Which ideas are you referring to? Undertones, overtones... sexuality plays a large part in the entire series.


Phallic symbols, ideas which were used symbolically - or at least not as overtly - in the previous entries, such as the alien face huggers looking like vaginas, and impregnating people.

In Alien: Resurrection, it's literally turned into Ripley having sex with the aliens.

I couldn't tell if these were little winks at the audience, or if they expected us to take it seriously...because if it's the latter, I have a hard time taking much of anything in that movie seriously.

I enjoy it as entertainment, but I can't see much artistic value or any contribution to film or the sci-fi genre, whereas all three previous entries I thought were some of the best films of their respective years.

[Rowland]

Phallic symbols, ideas which were used symbolically - or at least not as overtly - in the previous entries, such as the alien face huggers looking like vaginas, and impregnating people.

In Alien: Resurrection, it's literally turned into Ripley having sex with the aliens.

I couldn't tell if these were little winks at the audience, or if they expected us to take it seriously...because if it's the latter, I have a hard time taking much of anything in that movie seriously.Why does overt sexuality have to be a wink to the audience? Why can't it be taken seriously? If anything, Resurrection is the least prude entry in the series.

[megladon8]

Why does overt sexuality have to be a wink to the audience? Why can't it be taken seriously? If anything, Resurrection is the least prude entry in the series.


I don't see being more in-your-face with the sexuality of the images and themes as the film being "less prude".

This is definitely a case where the "less is more" rule applies. The disturbingly sexual attacks by the alien facehuggers, followed by the phallic shape of the alien itself in Alien, didn't need alien-human sex scenes to emphasize the beings' disturbing, primal nature.

The Ripley-alien sex scene (as well as that hoaky "re-birth" scene with Ripley breaking out of the cocoon) in Resurrection were just too much. I really felt it bordered on self-parody.

[Ezee E]

Alien: Resurrection was great until that scene. Then it collapsed.

[Rowland]

I don't see being more in-your-face with the sexuality of the images and themes as the film being "less prude".It's the first entry in the series to not only overtly foreground sexuality (and in particular female sexuality, which is generally a no-no for action fare), but it's the first to cast sexual innuendo in a pleasurable light.

This is definitely a case where the "less is more" rule applies. The disturbingly sexual attacks by the alien facehuggers, followed by the phallic shape of the alien itself in Alien, didn't need alien-human sex scenes to emphasize the beings' disturbing, primal nature.Who says the alien-human sex scene has anything to do with emphasizing the aliens' "disturbing, primal nature?" The first Alien was about the primal terror of sexual imagery wrought grotesquely abstract, thank god the series evolved with each new entry.

[D_Davis]

Alien Resurrection is pretty awesome if you watch it with the sound off. Holy crap is that dialog terrible.

[megladon8]

Alien Resurrection is pretty awesome if you watch it with the sound off. Holy crap is that dialog terrible.


WHAT'S IN-FUCKING-SIDE ME????

[Philosophe_rouge]

Yea, In Bruges as pretty awesome. It has it's faults, mostly due to Martin McDonagh's directing skills. This isn't to say he's bad, merely adequate. It often feels as though he doesn't know exactly when to cut a scene, and there is one slow motion shot that I thought was ridiculously redundant. These are really minor though, and don't really interrupt my general appreciation for the film. The trailers are misleading, the film is quite funny, but it's also quite dark and tragic. I particularly enjoyed the juxtaposition of two seemingly opposing emotions in not only a single scene or conversation, but really in the same moment. It's difficult to explain, and saying "I didn't know wether to laugh or cry" doesn't seem to adequatly describe the sentiment. The writing is quite wonderful, as is the cinematography. The film is able to overcome feeling like an inflated play, into something a little more as it incorporates visual ironies, and it really does capture the beauty of Bruges in an almost unconventional way... almost. The acting is all around great, and I'm reminded why I really used to like Colin Farrell. He deserves better material than he gets and/or takes, he's very good with both comedy and drama and this role is really tailor fit for his persona. Strangely enough, he strikes me as being the only actor working today who could play the lead in Odd Man Out, if they ever DARE to remake it... although already he still seems a little too old. A shame really. Uhh, yes. I liked the writing, more than just being funny or tragic, it does leave some food for thought about politics and facing death. I think they're more alluded to then really tackled, but I may see more in this on a second viewing. This has been ranty and wonderful.

[Rowland]

Hmm, well that's a good way to dodge a discussion. :P

That's okay, I'd like to refresh myself by watching the movies again before starting a serious analytical discussion anyway, though I remain confident in my assertion that Resurrection is a thorny movie, maybe even transgressive for a studio-derived franchise sequel, for exactly the reasons so many choose to dismiss it. And it still works as a ridiculous action movie with cheese-ball one-liners aplenty. Of course, this is coming from someone whose personal favorite entry in the series is Alien 3, so my thoughts should probably be taken with a grain of salt.

[megladon8]

Sorry, I didn't mean for it to seem like I'm avoiding discussion - I have a 25 page script due tomorrow, and am currently on page 5.

I understand what you're saying about the sexuality - and your point about it being particularly female in Resurrection while the other entries were very much male-centric in this regard is interesting. It's definitely made me want to revisit it with these thoughts in mind.

I just found the whole thing quite ham-handed, where the other films tackled the material with a little more finesse.

[Rowland]

I have a 25 page script due tomorrow, and am currently on page 5. Ouch. Sounds like you'd better get your ass out of here and start writing.

[Stay Puft]

Oh shit. Brian De Palma's Hi, Mom! is incredible. Maybe his best film. What a trip.

[Philosophe_rouge]

Watching a Clockwork Orange dubbed in French when you should be sleeping is strangely rewarding and not-so-strangely wigging.

[Wryan]

http://ecx.images-amazon.com/images/I/51D06T4616L._AA240_.jpg

Off of a recommendation from a friend, I watched the Canadian teenish horror film Fear of the Dark with Kevin Zegers (Transamerica) and Jesse James (heh, yeah, "Jesse James") playing brothers, the latter of which is still afraid of the dark at 12; he's got good reason too, though, as this dark can reach out and tangibly injure him in addition to scaring the shit out of him. I admit I was broadsided by this. I also admit I brushed it off before I sat down to watch it, pegging it a 31-Days-of-Halloween Disney Channel snooze fest. Although it has almost no blood or gore, it's a far cry from that derision. It genre-checks Poltergeist, some Elm Streets, Beetlejuice, and others, but never unfairly. In fact, the level of fright is almost inappropriate, as when the younger brother is watching a cartoon and the TV begins to change the channel on him, returning again and again, against his will, to the bellowing ghoul-possession scene at the beginning of Evil Dead. Evil Dead for fuck's sake! The movie is above-average, very solidly made (save for some dicey choices on the soundtrack and in the sound design), the two leads give great, convincing performances as brothers. Taking the subtle road, the creepies are rarely seen and kept in shadow, though they are pretty successful, too, when seen clearly. No competition for the above films, but solid as hell.

[Spinal]

Brian De Palma's Hi, Mom! is incredible. Maybe his best film.

Yes, indeed. It's probably my favorite of his as well. It's one of those "they-don't-make-em-like-that-any-more" films.

[number8]

Heh. I got quoted alongside Armond White and Anthony Lane:

http://www.seemagazine.com/article/screen/screen-review/beyond-blurbs0306/

[transmogrifier]

Heh. I got quoted alongside Armond White and Anthony Lane:

http://www.seemagazine.com/article/screen/screen-review/beyond-blurbs0306/


Good stuff. I'm glad to say that your quote was actually meaningful, whereas White yet again dives head first into totally random abstractions. It almost reads like the parodies boner is writing in the Top 20 thread.

[Velocipedist]

Jeunet stinks. End of story.

[megladon8]

http://ecx.images-amazon.com/images/I/51D06T4616L._AA240_.jpg

Off of a recommendation from a friend, I watched the Canadian teenish horror film Fear of the Dark with Kevin Zegers (Transamerica) and Jesse James (heh, yeah, "Jesse James") playing brothers, the latter of which is still afraid of the dark at 12; he's got good reason too, though, as this dark can reach out and tangibly injure him in addition to scaring the shit out of him. I admit I was broadsided by this. I also admit I brushed it off before I sat down to watch it, pegging it a 31-Days-of-Halloween Disney Channel snooze fest. Although it has almost no blood or gore, it's a far cry from that derision. It genre-checks Poltergeist, some Elm Streets, Beetlejuice, and others, but never unfairly. In fact, the level of fright is almost inappropriate, as when the younger brother is watching a cartoon and the TV begins to change the channel on him, returning again and again, against his will, to the bellowing ghoul-possession scene at the beginning of Evil Dead. Evil Dead for fuck's sake! The movie is above-average, very solidly made (save for some dicey choices on the soundtrack and in the sound design), the two leads give great, convincing performances as brothers. Taking the subtle road, the creepies are rarely seen and kept in shadow, though they are pretty successful, too, when seen clearly. No competition for the above films, but solid as hell.


Wow...sounds really interesting.

Thanks for posting thoughts. I'll be sure to keep my eye out for this one.

[balmakboor]

I'm with you man. Every time I start CotlC, I think, oh man, this looks awesome, and it's going to be awesome. Then, about 40 minutes into it I think, oh man, when is this going to be over?

Wow. And I thought I was the only one.

[Raiders]

Wow. And I thought I was the only one.

Nope. I too feel the same way.

[Kurosawa Fan]

Nope. I too feel the same way.

Add me to that list.

[Watashi]

I think everyone feels that way.

I don't like Jenuet at all.

He's like the retarded cousin of Terry Gilliam.

Oh, how I wish he wasn't doing Life of Pi.

[MadMan]

The Limey (1999) 10-First time viewing? Because I feel the same way. Great, underrated flick, and Terrence Stamp's performance in it is awesome too boot. "You tell him I'm coming! You tell him I'm fucking coming!" His speech to Bill Duke about "Biding your time" is simply brilliant.

PS: I liked Amelie. I have not seen any other Jenuet films. I didn't know he was so unliked around here though.

[D_Davis]

I like some of his films. I think both Delicatessen and A Very Long Engagement are pretty good, especially the former.

[lovejuice]

i like Jeunet. never really in love with any of his films, but they all contain enough visual pleasantry to satisfy me. lost children is actually my favorite, but i somehow agree with d. my problem though is its energy. the movie doesn't have quite enough of that. curious about what he'll do with Pi. it has a potential to be his best work.

[balmakboor]

After spending another lunch break there reading, I have to say I love the approach to film writing taken by Metaphilm.com.

[Rowland]

Wow, and I thought I was in the minority with my muted reaction to City of Lost Children. The only other Jeunet movies I've seen are Alien Resurrection (which I've already talked about enjoying) and Amelie, which I loved six years ago. I should revisit it.

[Yxklyx]

Wow, and I thought I was in the minority with my muted reaction to City of Lost Children. The only other Jenuet movies I've seen are Alien Resurrection (which I've already talked about enjoying) and Amelie, which I loved six years ago. I should revisit it.


Most of the time while watching CoLC I anticipate the exquisite flea sequence - that keeps me going - but yeah I agree, the movie lacks something. It starts and stops like an old car from the 20s.

[monolith94]

Jeunet is the best director of the last 20 years.

[Raiders]

Jeunet is the best director of the last 20 years.

I was waiting for you to show up.

[lovejuice]

Jeunet is the best director of the last 20 years.

he's better than del toro.

*run*

[D_Davis]

he's better than del toro.

*run*

I agree.

*staying put*

[Raiders]

he's better than del toro.

*run*

That's random. And wrong.

[Kurosawa Fan]

I still adore Amelie, even if I also find Jeunet's body of work to be mediocre at best.

[Ezee E]

While I think Jeunet is some type of twin of Gilliam, I won't say that he's a poor man's Gilliam. While City of Lost Children and Delicatessen are simply okay, I really like A Very Long Engagement, and Amelie is one of my favorites. The problem with Resurrection is its script, something Jeunet had no control over. The movie is pretty damn great for a good portion, even with the bad script.

[lovejuice]

While I think Jeunet is some type of twin of Gilliam, I won't say that he's a poor man's Gilliam.

it bleeds me really to say this -- brazil is among my top 20 or 10 films of all time -- but at this rate soon gilliam'll become a poor man's jeunet.

[Derek]

A Very Long Engagement is absolutely abysmal. That awful theatrical experience is forever burned in mind and I can remember sitting there literally digging my nails into the arm rest and listening to the old couple behind gasp at how oh-so gorgeous it was. It's the closest I've come to walking out on a film, but once I hit the hour mark I figured I was past the point of no return. City of Lost Children is also pretty terrible, but not quite as grating. I also remember liking Amelie a lot when it came out, but I haven't seen it since '02. I have the Alien Quadrilogy so I'll eventually get around Resurrection.

[Spinal]

A Very Long Engagement is absolutely abysmal. That awful theatrical experience is forever burned in mind and I can remember sitting there literally digging my nails into the arm rest and listening to the old couple behind gasp at how oh-so gorgeous it was.

Well, it is gorgeous. Unfortunately, the storytelling is disastrous. Truly a disappointing film.

[Raiders]

Eh, I rather liked A Very Long Engagement. Actually, it is likely my favorite Jeunet film.

[D_Davis]

A Very Long Engagement is absolutely abysmal. That awful theatrical experience is forever burned in mind and I can remember sitting there literally digging my nails into the arm rest and listening to the old couple behind gasp at how oh-so gorgeous it was. It's the closest I've come to walking out on a film, but once I hit the hour mark I figured I was past the point of no return. City of Lost Children is also pretty terrible, but not quite as grating. I also remember liking Amelie a lot when it came out, but I haven't seen it since '02. I have the Alien Quadrilogy so I'll eventually get around Resurrection.

Why didn't you just leave, could have saved yourself the theatrics.

I've left the theatre during quite a few films.

[balmakboor]

A Very Long Engagement is absolutely abysmal. That awful theatrical experience is forever burned in mind and I can remember sitting there literally digging my nails into the arm rest and listening to the old couple behind gasp at how oh-so gorgeous it was. It's the closest I've come to walking out on a film, but once I hit the hour mark I figured I was past the point of no return. City of Lost Children is also pretty terrible, but not quite as grating. I also remember liking Amelie a lot when it came out, but I haven't seen it since '02. I have the Alien Quadrilogy so I'll eventually get around Resurrection.

Yeh, I've been trying to lay low on my Jeunet bashing (his films are quite pretty), but I have to say that "A Very Long Engagement" was, as its title suggests, a very long experience. I was positively numb from boredom long before it was over. I've never even tried to put a finger on what the guy is doing wrong for me.

I did like Amelie although I’ve never done anything like somersaults on its behalf. I've never seen his Alien movie or Delicatessen.

[Spinal]

Why didn't you just leave, could have saved yourself the theatrics.

I've left the theatre during quite a few films.

Sometimes I stay simply to put some kind of phantom validation on my negative opinion. I feel like I won't be taken seriously unless I actually make it through the whole thing. Silly, probably. But I remember that's pretty much why I stuck it out through The Pianist, for example.

[Spinal]

Yeh, I've been trying to lay low on my Jeunet bashing (his films are quite pretty), but I have to say that "A Very Long Engagement" was, as its title suggests, a very long experience. I was positively numb from boredom long before it was over.

In my opinion, that film fails because it is so overstuffed with information and plot development. It never has a chance to breathe and live because it is too busy telling us ... "and then this happened, and then this happened, and then this happened .."

[Watashi]

I get can't the Jodie Foster sex scene in AVLE out of head. It is burned into my skull permanently. Thanks Jeunet.

[Sycophant]

I pretty much never abort a viewing of a film. I've paid my money. I'm gonna see all the movie. Even if it didn't cost me a thing.

The only exceptions I can think of are:
1) Twenty minutes into Underworld, a film in a group setting everyone else had already seen and I was being forced to watch against my will.
2) Recently, Why Did I Get Married? which I just was not in the mood for. I pretty much unconsciously pulled out my Game Boy and started playing FFVI during it.

One reason I don't believe in walking out or aborting films is for hope of reemption or to be able to combat subsequent claims that "it gets better" or "the latter half justifies the first half." I nearly watched ten more hours of the insufferable series Samurai 7 for just that reason, but a friend talked me out of it and I watched GTO instead.

Yes, I have that much time in my life to waste. I've got another fifty years to exist, probably, and I really have maybe three weeks' worth of plans.

Though I don't really consider time spent with movies a waste. I hated the hell out of Sahara, which has provided probably ten hours of conversation in the aggregate.

[Winston*]

I like Jeunet's films.

[D_Davis]

Sometimes I stay simply to put some kind of phantom validation on my negative opinion. I feel like I won't be taken seriously unless I actually make it through the whole thing. Silly, probably. But I remember that's pretty much why I stuck it out through The Pianist, for example.

If I don't like something, I'm done with it. My free time is too valuable, and there are too many other things out there to try and like. I've given up on books with only a chapter or two remaining - that's a solid hour or so that I could be spend on reading something good.

[MadMan]

Its been a long time since I have seen a film I've wanted to walk out of. Either I choose wisely when it comes to theater viewings or I simply lower my standards at times.

[Spinal]

If I don't like something, I'm done with it. My free time is too valuable, and there are too many other things out there to try and like.

You've convinced me to send Roman Polanski an invoice.

[Derek]

Why didn't you just leave, could have saved yourself the theatrics.

I've left the theatre during quite a few films.

I make a point of not walking out on films. I might do so if I'm at a festival and there's another film I could catch instead, but otherwise I'm in for the long haul. Like Spinal said, it is in some part to validate my negative opinion and I don't think you can have a meaningful opinion of a film unless you've seen the whole thing. I could've walked out halfway through Little Children, but I wouldn't have been able to delve into what I hated about the film and what didn't work for me afterwards. For me, it's less of a waste of time to complete the film so I can consider everything that caused me to hate it rather than to walk out and forget about it forever. And for the record, I wasn't making a show out of my displeasure or anything like that, so it never quite got theatrical. :)

As for the film being beautiful - yes, it's beautiful in a Hallmark sort of way, which, when linked to a war story, I find repulsive. It's surface beauty with zero depth.

[Wryan]

Goddamn at all the Jeunet hate! City of Lost Children, Amelie, Very Long Engagement, Alien Resurrection. Love the first two, like the third, meh on the fourth. It's not like his oeuvre is enormous at this point. But from what he's done, he's got a very good headspace for a filmmaker, I think.

[Qrazy]

he's better than del toro.

*run*

Agree, quite a bit better. Jeunet's films are flawed but they're all still worthwhile viewing experiences.

[Derek]

If I don't like something, I'm done with it. My free time is too valuable, and there are too many other things out there to try and like. I've given up on books with only a chapter or two remaining - that's a solid hour or so that I could be spend on reading something good.

I guess this is where we differ. I see value in watching films that I dislike because it gives me a better idea what I like about film, what works for me and what doesn't. And not that I go out of my way to see bad films, but if I've already set the time aside for a film, take the time drive to the theater, sit through the previews and half of the movie, I'd basically be throwing all that out the window if I leave early. If I stick it out, at least I have the opportunity to discuss the film with other people. I dunno, I think there's more to film appreciation and criticism than only sticking to what I like, especially as my tastes are almost constantly changing.

[Spinal]

I would anticipate a new Jeunet film more than I would a new del Toro film, although I'm not sure why the two are being compared.

[Raiders]

This Del Toro hating is absurd.

[Wryan]

He's like the retarded cousin of Terry Gilliam.


Time Bandits blows so many chunks.

[Spinal]

Time Bandits blows so many chunks.

Absurd!

[Wryan]

Del Toro ≠ Jeunet

I like DT a wee better though.

[Qrazy]

I guess this is where we differ. I see value in watching films that I dislike because it gives me a better idea what I like about film, what works for me and what doesn't. And not that I go out of my way to see bad films, but if I've already set the time aside for a film, take the time drive to the theater, sit through the previews and half of the movie, I'd basically be throwing all that out the window if I leave early. If I stick it out, at least I have the opportunity to discuss the film with other people. I dunno, I think there's more to film appreciation and criticism than only sticking to what I like, especially as my tastes are almost constantly changing.

Plus films are a collection of their parts. The film as a whole can fail abysmally but you can spend your time focusing instead on whatever is there that works. Rather than deciding 10 minutes into a film, I hate this and then seething with rage and disgust at everything that follows for the next hour and 20 some odd minutes, one can focus on interesting shots or cinematography, a good performance, sound design, set design, etc and so forth.

[Wryan]

Absurd!

If I had said Jabberwocky was better, that would be absurd.

[Qrazy]

This Del Toro hating is absurd.

I wouldn't say hating. I like them both.

[Spinal]

If I had said Jabberwocky was better, that would be absurd.

I am not going to defend that one. Fire at will.

[Wryan]

I am not going to defend that one. Fire at will.

:lol:

[Qrazy]

Imdb suggests Juenet's off Pi and onto something else entirely.

[lovejuice]

This Del Toro hating is absurd.

at this point to express my disliking for pan's is quite redundant, but i think, i deserve some credit for actually comparing the two. the fantasy/sci-fi element, the war motive, the emphasize on visual, and not to mention both film-makers deal with a creature that has a smaller mouth/jaw within another, or that's how i remember the vampire in blade 2 sorta looks like.

[Spinal]

This reminds me that I've got to give 12 Monkeys another try. I can't remember very well why it didn't work for me the first time. Maybe it'll click this time.

[lovejuice]

Sometimes I stay simply to put some kind of phantom validation on my negative opinion. I feel like I won't be taken seriously unless I actually make it through the whole thing. Silly, probably. But I remember that's pretty much why I stuck it out through The Pianist, for example.

i'll rep you if this means you don't like the film.

[Spinal]

i'll rep you if this means you don't like the film.

Hate it.

[Qrazy]

Hate it.

Why?

[Qrazy]

This reminds me that I've got to give 12 Monkeys another try. I can't remember very well why it didn't work for me the first time. Maybe it'll click this time.

It better or I'll break your legs.

[lovejuice]

Hate it.

care to contemplate.

i don't remember why i dislike it, but mainly has something to do with being bored by looking at a guy trying to duck his way all through the war. though, i think, that's the intension of sort.

[Spinal]

Why?

In brief, I felt that it was a pornography of the Holocaust, stringing together a series of nasty events and pushing our faces in the misery in an attempt to elicit easy emotional response without offering any substantial reason for us to have taken the journey. It's empty-headed. It takes us nowhere meaningful. And the artlessness with which the horrors are piled upon the viewer (particularly in the first hour) make them begin to feel ludicrous rather than horrifying (the wheelchair scene in particular).

I should warn you that it is a position I've discussed many times, so any future reponses from me on the topic will probably not be terribly enthusiastic.

[Spinal]

It better or I'll break your legs.

There go my ballet aspirations.

[Sycophant]

If I see the trailer for Under the Same Moon again, I'll probably die.

[Rowland]

If I see the trailer for Under the Same Moon again, I'll probably die.I know exactly how you feel. It's painful to sit through.

[Stay Puft]

If I see the trailer for Under the Same Moon again, I'll probably die.

Ha, yes. I've seen that in front of every movie I've seen at the theatres lately.

And no Primer rating? What did you think?

[Sycophant]

And no Primer rating? What did you think?I'm still working out my thoughts on it. It may be something I need to revisit (and thanks to its 77-minute length, I could do that soon) to really arrive at a conclusion, because I may not have been in the right frame of mind to fully appreciate the film, as I often found myself obsessed with the visual aesthetics and its general technical accomplishment. Certainly, however, I liked it.

[Qrazy]

In brief, I felt that it was a pornography of the Holocaust, stringing together a series of nasty events and pushing our faces in the misery in an attempt to elicit easy emotional response without offering any substantial reason for us to have taken the journey. It's empty-headed. It takes us nowhere meaningful. And the artlessness with which the horrors are piled upon the viewer (particularly in the first hour) make them begin to feel ludicrous rather than horrifying (the wheelchair scene in particular).

I should warn you that it is a position I've discussed many times, so any future reponses from me on the topic will probably not be terribly enthusiastic.

Ah, can't say I particularly agree. Those were horrifying times where that kind of ugliness happened daily. But it does lack that overwhelming sense of purpose which would push it from a good film to a great film.

[Rowland]

I didn't like The Pianist either. Nothing about the movie struck me as terribly inspired or interesting, it was just consistently pedestrian. I'd be happy to give it another shot though, since I don't much trust myself from five years ago, and the nigh unanimous critical praise is difficult to ignore.

I love this observation by D'Angelo: "Not a single inspired moment or unexpected fillip emerges from this somber Holocaust primer, directed on Oscar-bait autopilot by Polanski and populated by characters who seem to have wandered in from a contemporary Shoah seminar. "There are only 60,000 of us left," one starving ghetto Jew explains, as his compatriots visibly resist the urge to pull out a ballpoint and start taking notes. "Originally we numbered 500,000." Like, what, did the Nazis have a big McDonald's-style sign on every street corner: "Over 439,000 annihilated"? I mean jesus." :lol:

[Wryan]

I was surprised how invested I got in Westworld. Brynner would have made a bad-ass Terminator, though he's obviously almost there here anyway. The concept is just great fun and I was entertained full way through. Question though: I thought, of the married couple who went to Medieval world, that the wife became the queen, but was later proven to be a robot trying to get her husband killed. Yes? No? It seemed a little unclear to me. Otherwise, very fun, cheesy, engaging.

[Wryan]

I love this observation by D'Angelo: "Not a single inspired moment or unexpected fillip emerges from this somber Holocaust primer, directed on Oscar-bait autopilot by Polanski and populated by characters who seem to have wandered in from a contemporary Shoah seminar. "There are only 60,000 of us left," one starving ghetto Jew explains, as his compatriots visibly resist the urge to pull out a ballpoint and start taking notes. "Originally we numbered 500,000." Like, what, did the Nazis have a big McDonald's-style sign on every street corner: "Over 439,000 annihilated"? I mean jesus."

"Fillip"? Really, Mike?

[origami_mustache]

Agree, quite a bit better. Jeunet's films are flawed but they're all still worthwhile viewing experiences.

I agree. At the very least they offer something unique that you won't get from another director. The sex scene in Delicatessen is great.

http://youtube.com/watch?v=I-pTWCarCwc

[Rowland]

I was surprised how invested I got in Westworld. Brynner would have made a bad-ass Terminator, though he's obviously almost there here anyway. The concept is just great fun and I was entertained full way through. Question though: I thought, of the married couple who went to Medieval world, that the wife became the queen, but was later proven to be a robot trying to get her husband killed. Yes? No? It seemed a little unclear to me. Otherwise, very fun, cheesy, engaging.Yes, Westworld is the shit. :cool:

[Qrazy]

I didn't like The Pianist either. Nothing about the movie struck me as terribly inspired or interesting, it was just consistently pedestrian. I'd be happy to give it another shot though, since I don't much trust myself from five years ago, and the nigh unanimous critical praise is difficult to ignore.

I love this observation by D'Angelo: "Not a single inspired moment or unexpected fillip emerges from this somber Holocaust primer, directed on Oscar-bait autopilot by Polanski and populated by characters who seem to have wandered in from a contemporary Shoah seminar. "There are only 60,000 of us left," one starving ghetto Jew explains, as his compatriots visibly resist the urge to pull out a ballpoint and start taking notes. "Originally we numbered 500,000." Like, what, did the Nazis have a big McDonald's-style sign on every street corner: "Over 439,000 annihilated"? I mean jesus." :lol:

I don't think I'm playing the holocaust card when I say I find that remark to be rather tasteless and unfunny. It's possible to point out anachronistic dialogue, to even point it out with humor, without relegating an entire group of people to the status of cattle.

[Wryan]

Pick my next film viewing...

Who's Afraid of Virginia Woolf?
Oliver!
Barry Lyndon
Doctor Zhivago
Dead Ringers
The Hunger
Stroszek
Lilya 4-ever
The Enigma of Kaspar Hauser

My fate is in your hands. Don't fuck it up.

[Rowland]

without relegating an entire group of people to the status of cattle.Talk about contortion.

[Philosophe_rouge]

Pick my next film viewing...

Who's Afraid of Virginia Woolf?
Oliver!
Barry Lyndon
Doctor Zhivago
Dead Ringers
The Hunger
Stroszek
Lilya 4-ever
The Enigma of Kaspar Hauser

My fate is in your hands. Don't fuck it up.

Virginia Woolf

[Eleven]

Pick my next film viewing...

My three favorites:


Barry Lyndon
Dead Ringers
Stroszek

[Bosco B Thug]

This reminds me that I've got to give 12 Monkeys another try. I can't remember very well why it didn't work for me the first time. Maybe it'll click this time. I thought I loved 12 Monkeys from a first viewing years and years ago, but a recent viewing proved it not quite as complicated and poignant as I remembered. And then I just watched La Jetee last month and that one's got lots of complications. Lots of great stuff about it, though. Like Madeleine Stowe. Between this and Short Cuts, I wish she was in more stuff I wanted to see. She's a spicy meatball.

[Rowland]

but a recent viewing proved it not quite as complicated and poignant as I remembered.Yeah, I never understood the reputation 12 Monkeys holds as a mindfuck, since I thought it was fairly straightforward.

[Wryan]

She's a spicy meatball.

Just an aside, but I typed in "stereotypical Italian" to Google Images and this came up second:

http://www.themushroomkingdom.net/mania/images/icecapades/icecapades24.jpg

This picture is funny, but moreso when you imagine the overstuffed mustachioed plushman to be reciting something poignant and melancholy from Macbeth.

[Wryan]

Yeah, I never understood the reputation 12 Monkeys holds as a mindfuck, since I thought it was fairly straightforward.

It's a mindfuck for slower people.

/congas

[Sven]

Kaspar Hauser.

[Qrazy]

Talk about contortion.

For the premise of the joke that's basically what he's doing. I'm not saying he believes that, I'm saying that the joke is premised on that association. I don't find it funny.

[Qrazy]

It's a mindfuck for slower people.

/congas

What's congas?

[number8]

Alien Resurrection is the best Alien ever.

*stands tall*

[Qrazy]

Yeah, I never understood the reputation 12 Monkeys holds as a mindfuck, since I thought it was fairly straightforward.

Personally I find the Peoples script much more nuanced than it's La Jetee precursor. They took Marker's central idea and ran with it. Certainly the former lacks the stylistic Deleuzian ramifications of the latter, but what it lacks in formal intrigue it makes up for with character extrapolation and visual bravura.

It's usually the case that anyone who recommends a particular film as a 'mindfuck' is usually not especially well versed in the intricacies of cinematic and narrative communication. However, their individual struggle with comprehension certainly doesn't limit or negate the information expressed by and in the film. The film can be interpreted in many different ways. Was it all for naught? Or is there hope at the end? It is heavily suggested in the film that there is hope at the end, but even then something could go wrong once more, re-affirming the inescapable reality of the future. Either way, what is more interesting is the time rift's affect on the film's central relationship. Two people that feel they know each other, that love one another based upon... what? A former life? Or the fact that they have been playing out this temporal dance with one another for ages? They have become caught in their own causal loop in which one is always just on the edge of awareness about the truth behind one's birth, life and death. It is only at the moment of death that we understand and then... too late. But then there is birth once more and while understanding evades us, existence pervades us.

[Rowland]

For the premise of the joke that's basically what he's doing. I'm not saying he believes that, I'm saying that the joke is premised on that association. I don't find it funny.Ahh, well that's a shame.

[Qrazy]

Ahh, well that's a shame.

Not really.

[Rowland]

Not really.Sure it is. The image of giant McDonalds-style street signs tallying the holocaust toll for all to see as the source for that dialog is funny. I'm sorry you can't get past correlating the Jews with hamburgers. ;)

[lovejuice]

Alien Resurrection is the best Alien ever.

*stands tall*

i only like it less than aliens. due to some strange reason, the original is a movie that i can't hype up much love for.

[Qrazy]

Sure it is. The image of giant McDonalds-style street signs tallying the holocaust toll for all to see is funny. I'm sorry you can't get past correlating the Jews with hamburgers. ;)

Would it be funny if it were a sign for Tutsi's or for Vietnamese peasants? If not, why not?

[Qrazy]

i only like it less than aliens. due to some strange reason, the original is a movie that i can't hype up much love for.

It was probably the flacid rubber alien bouncing against the outside of the spaceship at the end. That's the moment that really unsuspended my disbelief.

[Philosophe_rouge]

I tried to watch Tout va bien a few days ago, just couldn't get through it. Political Godard is so damn bleh to me, even though I always find his compositions on the interesting side. I'll probably return it without finishing it.

[Rowland]

Would it be funny if it were a sign for Tutsi's or for Vietnamese peasants? If not, why not?Are you insinuating that I'm antisemitic now? Jesus christ dude, lighten up.

[Qrazy]

I tried to watch Tout va bien a few days ago, just couldn't get through it. Political Godard is so damn bleh to me, even though I always find his compositions on the interesting side. I'll probably return it without finishing it.

Godard has always liked flat images too much for me. He enjoys pushing his backgrounds and foregrounds together. For the most part that kind of aesthetic grates on me after a while.

[Yxklyx]

Daisy Kenyon was excellent. Crawford, Andrews, and Fonda are perfect in a very tight script that breezes along to a very satisfying conclusion. I never thought Fonda could be so... affable and this is the best I've seen Andrews. I thought the moral sensibilities were very modern - well they typically are in a Preminger film but here every aspect of the film is complementary. A finely tuned work.

[lovejuice]

It was probably the flacid rubber alien bouncing against the outside of the spaceship at the end. That's the moment that really unsuspended my disbelief.

i admire its philosophy. no doubt the original is still the deepest within the series. but damn, all the technique that cameron bestows on his sequel are staggeringly amazing. moreover, besides Halloween III, this is perhaps the first hollywood sequel that intentionally departs from the original. and i don't even think season of the witch should be counted.

[Winston*]

moreover, besides Halloween III, this is perhaps the first hollywood sequel that intentionally departs from the original.

Bride of Frankenstein?

[Philosophe_rouge]

Godard has always liked flat images too much for me. He enjoys pushing his backgrounds and foregrounds together. For the most part that kind of aesthetic grates on me after a while.
I actually really like this look, but am frustrated by the lack of diversity in shots for the most part. Holding on three guys talking about the workers situation for about 10 minutes is probably more interesting than reading it on paper, the actual shot composition is interesting for about a minute, but then.. it goes on and on, and become grating on a visual and political level.

[Philosophe_rouge]

Bride of Frankenstein?
Curse of the Cat People too... if you even call it a sequel

[Boner M]

Daisy Kenyon was excellent. Crawford, Andrews, and Fonda are perfect in a very tight script that breezes along to a very satisfying conclusion. I never thought Fonda could be so... affable and this is the best I've seen Andrews. I thought the moral sensibilities were very modern - well they typically are in a Preminger film but here every aspect of the film is complementary. A finely tuned work.
This is encouraging.

I watched Paul Morrissey's Heat last night. Not as much fun as I'd been led to expect; Morrisey's anti-aesthetic doesn't suit the campiness of the material. Trash and Flesh were more invigorating. STILL, it has a fairly awesome performance by Silvia Myles and some of the funniest scenes I've seen in any film (the masturbating poolside mute, the lesbian discussion), and that inexplicable trademark charm that all of Morrissey's productions have. Never can tell what his intentions are, and the films are more interesting for that.

[Qrazy]

Are you insinuating that I'm antisemitic now? Jesus christ dude, lighten up.

No no not at all, I'm just saying I think the holocaust is beginning to take on an over-exposed role in our society such that it's becoming more acceptable to make the kind of joke that D'angelo did. The whole thing has become culturally engrained to the point where we now have this Nazi and Jew archetype as these evil villians versus the helpless innocents. The social conception is beginning to lose it's reality and it's humanity to the point where critics can lambast these movies as 'just another holocaust film, beating that dead horse'. Artistic contrivance is contrivance and should be called out as such, if and when one feels it. I don't deny that, and it's fine to feel it and call it out in The Pianist or other war films. One doesn't have to think the film is any good simply because it's about painful subject matter (as the Academy often seems to) but a certain degree of sensitivity should still be engaged in when creating and reviewing these types of films.

That's why I made my comment about Tutsis. Chronological immediacy aside, I think a Tutsi joke wouldn't have been made or seem funny to anyone because it doesn't have that simplified cultural iconicity that the Holocaust has.

[Qrazy]

I actually really like this look, but am frustrated by the lack of diversity in shots for the most part. Holding on three guys talking about the workers situation for about 10 minutes is probably more interesting than reading it on paper, the actual shot composition is interesting for about a minute, but then.. it goes on and on, and become grating on a visual and political level.

What are we talking about, the one you just watched which I haven't seen or a similar sounding shot in Weekend?

[dreamdead]

So Miike's exploration of reality-tv taken to the extreme in Visitor Q is simultaneously interesting and interminable. The first ten or so minutes, coupled with the finale where the father attacks the bulleys, all work and possess several shocking, deplorable scenarios with which Miike indicts contemporary culture's fascination with recording humiliation/pain/alienation. However, the film also has a certain ephemeral quality to it in that much of the film's excess (see almost all the lactating sequences) do little but add to Miike's persona of an extreme director. The middle's repetitions of thematic elements just pushes this film over to the absurd until it loses any sense of true ribald critique. If this one had about twenty minutes trimmed off of it, it'd be more effective as cultural critique. As it is, it's merely a study in how uncomfortable you get watching it.

[Wryan]

What's congas?

To do a conga-dance.

"/does the conga" didn't sound terse enough. :)

[Philosophe_rouge]

What are we talking about, the one you just watched which I haven't seen or a similar sounding shot in Weekend?
I'm talking about Tout Va bien, there is a point aroudn the 20 minute mark where there are three workers staring into the camera talking about their condition, politically and socially. It's not exactly ten minutes, but it's damn long. I haven't seen Weekend.

[monolith94]

Alien Resurrection is the best Alien ever.

*stands tall*
Whoah, seriously? I wouldn't have expected you to take that position. Good call, though, even if I (only slightly) prefer Aliens.

[Yxklyx]

The theater of absurdity continues with the dissing of the original Alien with preference given to its sequels.

[Wryan]

The theater of absurdity continues with the dissing of the original Alien with preference given to its sequels.

I agree..............tho Aliens is fine work.

[Rowland]

The theater of absurdity continues with the dissing of the original Alien with preference given to its sequels.I don't see anyone dissing Alien.

[transmogrifier]

Alien 82
Aliens 90
Alien 3 85
Alien Resurrection 37
Alien vs Predator 34

[Ezee E]

Aliens was on TV today. Yeah, nothing comes close.

[Wryan]

Alien: ****
Aliens: ****
Alien 3: ***
Alien Resurrection: **1/2
Alien vs. Predator: *

[lovejuice]

I don't see anyone dissing Alien.

word. it's a really good movie. it's just not directed by cameron. (uber-fanboyism.)

[Boner M]

I must say, Paranoid Park has been growing in my esteem immensely after being underwhelmed by it last week. I still think it's more 'miss' than 'hit' in it's attempts at lyricism, but damn if those hits aren't stunning. I also think the Super 8 skateboarding footage feels more purposeful in retrospect; an apt evocation of a wayward soul drifting through the peaks and troughs of the murky haze that is adolescence.

Old rating: 59, new one: 70.

[Winston*]

Alien's the best in the series by a space mile (that's a million earth miles).

[Boner M]

Count me as a fan of Alien Resurrection, FWIW. Actually, I like all the Jeunet films I've seen, even though I don't like his emptily flashy aesthetic in theory.

[Raiders]

I must say, Paranoid Park has been growing in my esteem immensely after being underwhelmed by it last week. I still think it's more 'miss' than 'hit' in it's attempts at lyricism, but damn if those hits aren't stunning. I also think the Super 8 skateboarding footage feels more purposeful in retrospect; an apt evocation of a wayward soul drifting through the peaks and troughs of the murky haze that is adolescence.

Old rating: 59, new one: 70.

An old friend of mine who has seen this and who also was ambivalent about Van Sant's last film as I was stated this was one of the best films he had seen from the last ten years and the best thing Van Sant has made. I'm very excited to see it.

[Winston*]

I must say, Paranoid Park has been growing in my esteem immensely after being underwhelmed by it last week. I still think it's more 'miss' than 'hit' in it's attempts at lyricism, but damn if those hits aren't stunning. I also think the Super 8 skateboarding footage feels more purposeful in retrospect; an apt evocation of a wayward soul drifting through the peaks and troughs of the murky haze that is adolescence.

Old rating: 59, new one: 70.

Changing your mind on Death Proof and now this? Stand strong, boner.

[Boner M]

An old friend of mine who has seen this and who also was ambivalent about Van Sant's last film as I was stated this was one of the best films he had seen from the last ten years and the best thing Van Sant has made. I'm very excited to see it.
It's definitely the kind of film that you'll either be really excited about, or just shrug off as a glorified student effort. I'm sorta in-between, but the fact that there's moments where I felt like I was watching a new cinematic language been established, ultimately makes me give Van Sant the benefit of a doubt.

[Boner M]

Changing your mind on Death Proof and now this? Stand strong, boner.
Not all boners were built to last.

[transmogrifier]

Stand strong, boner.

I hope you intend to neg rep yourself. Shameful.

[trotchky]

I saw Paranoid Park last year, loved it, but then Van Sant spoke afterwards and he was kind of a dumbass. That sort of ruined the movie for me. I guess I should see it again though.

[Winston*]

I hope you intend to neg rep yourself. Shameful.

It won't let me negative rep myself. I'll entrust you with the honour.

[Melville]

Not all boners were built to last.
I heard that tantric stuff works wonders.

[Bosco B Thug]

Personally I find the Peoples script much more nuanced than it's La Jetee precursor. They took Marker's central idea and ran with it. Certainly the former lacks the stylistic Deleuzian ramifications of the latter, but what it lacks in formal intrigue it makes up for with character extrapolation and visual bravura.

Either way, what is more interesting is the time rift's affect on the film's central relationship. Two people that feel they know each other, that love one another based upon... what? A former life? Or the fact that they have been playing out this temporal dance with one another for ages? I thought definitely Willis and Stowe created great, engaging protagonists for us and Gilliam got some striking scenes in there and I agree the film's most affecting aspect is the relationship they build around evading time/the apocalypse, but the film fell short for some reason - it's not consistent, needed more moments of genuine delicacy, the ending doesn't resonate as much as it should... my memory can't give much detailed criticism. One thing, though - the Vertigo scene had lasted in my memory from my first viewing, and I had inflated it in my mind to contain some profound subtext or meta-parallelism whatnot, and I was disappointed when it turned out rather straight-forward on re-view, or when I wasn't even moved by the scene as much as I remembered. Anyway, I'd love to give it another chance - not because I think I missed too much (I'd love to eat my hat on this, though), but because I do enjoy it immensely, it's a solid (just not extraordinary) pic. Are you a big fan of the film? If so, I'd be interested in what you think are the most effective parts of the film.

[Qrazy]

I thought definitely Willis and Stowe created great, engaging protagonists for us and Gilliam got some striking scenes in there and I agree the film's most affecting aspect is the relationship they build around evading time/the apocalypse, but the film fell short for some reason - it's not consistent, needed more moments of genuine delicacy, the ending doesn't resonate as much as it should... my memory can't give much detailed criticism. One thing, though - the Vertigo scene had lasted in my memory from my first viewing, and I had inflated it in my mind to contain some profound subtext or meta-parallelism whatnot, and I was disappointed when it turned out rather straight-forward on re-view, or when I wasn't even moved by the scene as much as I remembered. Anyway, I'd love to give it another chance - not because I think I missed too much (I'd love to eat my hat on this, though), but because I do enjoy it immensely, it's a solid (just not extraordinary) pic. Are you a big fan of the film? If so, I'd be interested in what you think are the most effective parts of the film.

Well no I'm not a huge fan but where you say solid I would say excellent, not extraordinary. It's not ivy league but it's second tier.

[MadMan]

Alien-100
Aliens-97
Alien 3-75

I haven't seen the forth film. I'm in no rush to do so.

[origami_mustache]

Pick my next film viewing...



Stroszek
Barry Lyndon
Who's Afraid of Virginia Woolf?

[Dead & Messed Up]

Alien: ****
Aliens: ****
Alien 3: ***
Alien Resurrection: **1/2
Alien vs. Predator: *

This is exactly correct.

[Boner M]

Weekend viewings:

Flight of the Red Balloon
Before the Devil Knows You're Dead
Tonight, Let's All Make Love in London
Woman in the Dunes
Letter From an Unknown Woman
Wanda

[ledfloyd]

God do I love Some Like it Hot. Lemmon's performance is so gloriously over the top, and Curtis's Grant impression is hysterical. The mob elements tie in well as well. Wilder is my hero.

[number8]

Well, Death Note sucked.

[Philosophe_rouge]

God do I love Some Like it Hot. Lemmon's performance is so gloriously over the top, and Curtis's Grant impression is hysterical. The mob elements tie in well as well. Wilder is my hero.
I've seen the film like half a million times... a lot of times and I never get tired of it. Last time I saw it was on a big screen, and it was even more glorious that way! Everything was amplified, emotions and intentions somehow became clearer. Curtis is so good at playing a slimy asshat, it's unbelievable... here and in Sweet Smell of Success. If I didn't have class in four hours I'd totally watch it right now.

[origami_mustache]

I liked the premise of 3-Iron, but didn't like the direction Kim took it. The film hits on some interesting themes and does do a lot of things well, but overall I found it to be a little too frivolous for my taste. I never quite understood a lot of the character's actions and motivations, but didn't really care either. I did however enjoy how the 2 major characters never talked throughout.

[Winston*]

The Man Who Would Be King - Wow, I did not enjoy that at all. Probably a good example of a time that the D_Davis "Don't like it, turn it off" rule would've been wise to implement.

[EvilShoe]

Well, Death Note sucked.
The movie?
If so, then I can't say I disagree.
The second part is equally terrible.

[Qrazy]

The Man Who Would Be King - Wow, I did not enjoy that at all. Probably a good example of a time that the D_Davis "Don't like it, turn it off" rule would've been wise to implement.

I thought it was OK but yeah I don't particularly understand it's classic status.

[Boner M]

I saw The Man Who Would Be King in early '04 and I remember literally nothing except for the setting and the actors involved.

[Raiders]

The Man Who Would Be King - Wow, I did not enjoy that at all. Probably a good example of a time that the D_Davis "Don't like it, turn it off" rule would've been wise to implement.

I thought it was pretty good, and it is probably my favorite Huston film. Though that likely says more about my feelings on Huston than on the film.

[Ezee E]

WEEKEND:
Doomsday
Funny Games ('08)

Election
Exiled
Hitman

[Kurosawa Fan]

Weekend:
Be Kind Rewind
Destry Rides Again
The General

[dreamdead]

Weekend:

The Naked Kiss
Lady Chatterley
The Trial
Pulse (rewatch)

[Raiders]

The Naked Kiss


I'll be re-watching this as well. It was my second Fuller film and I didn't love it, but considering I now worship the man's cinema, I think perhaps I should revisit this.

Rest of weekend:

In Bruges
Be Kind Rewind

[Grouchy]

I think Jeunet was a good team with Caro. Delicatessen is the only excellent movie he was ever involved with, and put his style into the appropriate direction. His solo movies are just annoying, specially the Tatou ones and, yeah, specially A Long-Ass Engagement. It's laughable to think of him as a better director than Del Toro, who's a master storyteller while Jeunet couldn't write a decent plot structure to use a toilet seat.

Alien: Resurrection is just a giant joke of a film for me. It's the equivalent of Batman & Robin for the Alien universe. Like meg said, the previously subtle sexual invasion cues were turned into gross-out comedy and the resurrection of Ripley is an idiotic way to continue a character arc that had already reached a perfect conclusion. It's even more damnable because the three films that preceded it are all excellent in their own different way.

And huh, The Man who could be King is glorious. I think it works better if you're an old school adventure fan like me, because it's like a loving parody of the adventurers in H. Ridder Haggard novels and the like who patronized native civilizations with European charm.

[lovejuice]

Well, Death Note sucked.

to hell, i even think the manga sucks.

[Duncan]

Weekend:

Theater
Paranoid Park
Last Year at Marienbad

Home
Pather Panchali

[Raiders]

Created a blog for my top 100 so as to keep it constantly updated. Just in case you were, you know, curious.

http://philstop100.blogspot.com/

[D_Davis]

I, too, really like The Man Who Would be King. I love how it follows the evolution of a myth and legend from conception to rejection.

[Duncan]

Created a blog for my top 100 so as to keep it constantly updated. Just in case you were, you know, curious.

http://philstop100.blogspot.com/
Meshes of the Afternoon at the 9 spot. Interesting.

[Sycophant]

Created a blog for my top 100 so as to keep it constantly updated. Just in case you were, you know, curious.

http://philstop100.blogspot.com/

You're just a blog-creating machine lately. *adds to subscriptions*

[Duncan]

Re: The Cook the Thief His Wife & Her Lover

Greenaway may turn out to be an artist I respect, but whose wavelength is just out of phase with my own. I recognize his formal mastery and I appreciate this film’s uncompromised nature. However, I have yet to embrace Greenaway’s version cinema.

When I watched A Zed and Two Naughts I was thrown off by the need to interpret everything immediately. There was a sense watching it that every corner of every frame meant something, and I just wasn't reading the images fast enough. I was determined this time around to just watch the film, and not worry so much about its literary aspects. Nevertheless, I don't think Greenaway's cinema allows for this type of purely sensual viewing because it is so heavily reliant on symbols. I've listened to Greenaway speak and he seems like enough of an intellectual to avoid arbitrariness. His symbols have purpose. In this case there is the color scheme, the various food dishes, the books, the rotting meat, the gun, etc. And I think I made coherent sense of them all (except perhaps the Frans Hals backdrop). This, though, is precisely the problem. I run into what Tarkovsky refers to as an idea ceiling. Greenaway’s arguments have been well presented and understood, so where else is there to go?

Many films answer this question by way of aesthetics. There is an essential ambiguity to, say, the ending of Haneke’s Code Unknown that strikes an emotional chord rather than an intellectual one. I compare Greenaway to Haneke because both are known as highly intellectual filmmakers. I see Haneke’s work as mysterious, whereas Greenaway’s seems hermetic. Naturally, others would argue differently and many seem to appreciate Greenaway’s films very deeply. I see brilliance in his work – inspiring moments – and will continue to explore his oeuvre. For now, however, I remain ambivalent.

[Rowland]

Alien: Resurrection is just a giant joke of a film for me. It's the equivalent of Batman & Robin for the Alien universe. Like meg said, the previously subtle sexual invasion cues were turned into gross-out comedy and the resurrection of Ripley is an idiotic way to continue a character arc that had already reached a perfect conclusion. It's even more damnable because the three films that preceded it are all excellent in their own different way.
As the fourth entry in the series, I think introducing a larger degree of irreverence was justified. The resurrection of Ripley (and the aliens along with her) through cloning methods isn't merely used as a contrived means of returning them to the Alien universe however, because the movie takes that as a starting point to explore cloning and its ramifications as the primary thematic point, using the classic Frankenstein model as an inspiration. It isn't a thematic retread of the previous movies.

[Raiders]

You're just a blog-creating machine lately. *adds to subscriptions*

I figured it was the best way to get Rowland to read my posts.

[Rowland]

Oh, and...

Alien ***½
Aliens SE ****
Alien 3 TE ***½
Alien Resurrection ***
AVP *½

[Rowland]

I figured it was the best way to get Rowland to read my posts.Ha....

Why haven't you updated your films-by-year blog in like two months?

[Spinal]

I never bothered with the fourth Alien film because I found the third to be a very satisfying conclusion.

[MadMan]

Hmm, I actually don't have any weekend viewings planned for once. I may go see a movie currently in theaters though. Perhaps either The Bank Job or 10,000 B.C.. Or I'll just rent something instead.


I never bothered with the fourth Alien film because I found the third to be a very satisfying conclusion.My thoughts as well. Plus I still think it looks like a piece of crap. Maybe I'll view it simply to see why number8 and others thought it was a decent movie.

[lovejuice]

all this discussion make me want to revisit the third and the fourth alien. i like the fourth for the reason that grouchy hates it -- subtlety be damn, it's a gruesome sci-fi farce of a movie, and i like it for that.

[Raiders]

Ha....

Why haven't you updated your films-by-year blog in like two months?

Laziness.

[Rowland]

Laziness.Alright. I was beginning to think you'd just abandoned it. Accordingly, I'll stop checking it. ;)

[Raiders]

Alright. I was beginning to think you'd just abandoned it. Accordingly, I'll stop checking it. ;)

I'll update it again real soon. In the past couple months I have probably only seen a handful of films anyway.

[Rowland]

Charlize Theron to produce and star in a remake of Sympathy for Lady Vengeance? (http://www.boston.com/ae/movies/articles/2008/03/08/shes_more_than_that/?page=3)

[Sycophant]

to hell, i even think the manga sucks.But how was the Death Note anime? Anything there?

[DavidSeven]

Charlize Theron to produce and star in a remake of Sympathy for Lady Vengeance? (http://www.boston.com/ae/movies/articles/2008/03/08/shes_more_than_that/?page=3)

ARGH!

[/Charlie Brown]

[Sycophant]

Charlize Theron to produce and star in a remake of Sympathy for Lady Vengeance? (http://www.boston.com/ae/movies/articles/2008/03/08/shes_more_than_that/?page=3)Interesting. I'd certainly be curious to see what it looks like and who else would be attached. I'd prefer if Roy Lee stayed away from it.

[Qrazy]

I thought it was pretty good, and it is probably my favorite Huston film. Though that likely says more about my feelings on Huston than on the film.

Maltese, Treasure, Asphalt Jungle, Beat the Devil, Key Largo, Fat City? Come on now. I don't have much love for his later works, or The African Queen but all of those are great.

[Qrazy]

I think Jeunet was a good team with Caro. Delicatessen is the only excellent movie he was ever involved with, and put his style into the appropriate direction. His solo movies are just annoying, specially the Tatou ones and, yeah, specially A Long-Ass Engagement. It's laughable to think of him as a better director than Del Toro, who's a master storyteller while Jeunet couldn't write a decent plot structure to use a toilet seat.

Pan's Labyrinth is the only thing Del Toro has done that's even good, let alone great (note: Still haven't seen Devil's Backbone).

Hellboy, Blade 2 and Mimic show good costume design... and that's about it. They were passable popcorn films and nothing more.

While Jeunet's films all have their flaws, primarily narrative, they're still fascinating from start to finish.

[Watashi]

Weekend:

Paranoid Park
Doomsday
Funny Games (08)
Horton Hears a Who
Election (2005)
Bad Lieutenant

[Sycophant]

Weekend:
Mulholland Drive
Vengeance Is Mine
Die Hard quadrilogy
4 Months, 3 Weeks, 2 Days
The Band's Visit
Horton Hears a Who (maybe, maybe not)

[Qrazy]

Die Hard[/i] quadrilogy

I really need to see Die Hard 3 so I can finish up the series.

[Watashi]

Any thoughts on The Bank Job, Rowland? We were the only two to see it. I'm sure my thoughts will mirror yours. I felt it was a tad overlong, but Statham is proving himself to carry his charisma on his back and I'm just waiting for a director to give him his big due as a bonafide American household name.

Also, even though days have passed, I'm still thinking about We Own the Night. I'm kinda baffled by critics who are accusing Gray of injecting bits of the same ole' formula and too many plot twists (I'm looking at you Roeper!). The film was a pure time vault of the 70's, one where cop dramas got straight to the point, putting it's mission first, and ignoring subplots (even the strained Eva Mendes character was handled firmly). The three action set pieces are incredible and as intense as you can get. My only weak link is Duvall, who basically hammed in his usual Duvall performance. What impressed me most was the cinematography. I would never thought to place this film with giants of last year in that department, but I could fill up a photobucket account of stunning composition from Gray's film. There were moments where I had to pause the film and just admire the techinical craft.

[lovejuice]

Any thoughts on The Bank Job, Rowland? We were the only two to see it. I'm sure my thoughts will mirror yours. I felt it was a tad overlong, but Statham is proving himself to carry his charisma on his back and I'm just waiting for a director to give him his big due as a bonafide American household name.


i too saw the film, and like it more than both of you. agree that statham owns.

i also like the unique structure of its story-telling. instead of keeping everything in the dark and give us a big revelation, this movie bares its hand from the beginning. we know more than characters do, and anticipate the finale.

on the other hand, i still feel like it can have a stronger, less disjointed opening.

[DavidSeven]

Also, even though days have passed, I'm still thinking about We Own the Night. I'm kinda baffled by critics who are accusing Gray of injecting bits of the same ole' formula and too many plot twists (I'm looking at you Roeper!). The film was a pure time vault of the 70's, one where cop dramas got straight to the point, putting it's mission first, and ignoring subplots

I'm surprised that you or anyone would like it this much given how basic it is (though I guess some guy at Slant gave it the same rating), but I liked it too.


(even the strained Eva Mendes character was handled firmly).

After seeing the film, I'd handle her firmly too.

[Watashi]

Oh my Jesus.... :eek:

Gingerdead Man 2: The Passion of the Crust (http://www.joblo.com/video/arrow/player.php?video=ginger2)

Film. of. the. Decade.

[balmakboor]

I recently posted the following on metaphilm.com in response to an essay about "Who Framed Roger Rabbit." (Or as the author incorrectly called it, "Who Framed Roger Rabbit?")

---

The title of the film isn’t “Who Framed Roger Rabbit?” It is “Who Framed Roger Rabbit.” It is a statement, not a question. Ignoring the possibility of a typographical error, I’ve always thought of it as a puzzle with the answer right in front of our eyes. Who framed Roger Rabbit? Why, Who did of course.

It is similar to the play on words of “Cast Away” (as opposed to “Castaway") and “What Lies Beneath” (as again opposed to “What Lies Beneath?").

“Who,” “What” ... Will Zemeckis next pose a non-question beginning with “Where?”

---

Is Zemeckis playing some kind of weird meta-textual game?

[Barty]

Oh my Jesus.... :eek:

Gingerdead Man 2: The Passion of the Crust (http://www.joblo.com/video/arrow/player.php?video=ginger2)

Film. of. the. Decade.

That is the most disturbing, indescribable thing I have ever seen. :| I mean....jeez. Seriously.

[Rowland]

Any thoughts on The Bank Job, Rowland? We were the only two to see it. I'm sure my thoughts will mirror yours. I felt it was a tad overlong, but Statham is proving himself to carry his charisma on his back and I'm just waiting for a director to give him his big due as a bonafide American household name.Well, I've been a fan of Statham for some time, so his presence didn't strike me as terribly notable, though you're correct that he does capably anchor the movie. There isn't much to be said about it, truth be told. I'm tempted to bump my score down to two stars because it left so little of an impression, but I can't deny the efficiency with which it delivers its simple pleasures, the clarity-of-vision applied to its intricate narrative, the appeal inherent to its seedy machinations, and a certain incongruous vibe that is pleasurable in large part because we don't see many entertainments that feel like it. Still, it's light as a feather, so I wouldn't recommend it as more than a cheap rental.

[Watashi]

Well, I've been a fan of Statham for some time, so his presence didn't strike me as terribly notable, though you're correct that he does capably anchor the movie. There isn't much to be said about it, truth be told. I'm tempted to bump my score down to two stars because it left so little of an impression, but I can't deny the efficiency with which it delivers its simple pleasures, the clarity-of-vision applied to its intricate narrative, the appeal inherent to its seedy machinations, and a certain incongruous vibe that is pleasurable in large part because we don't see many entertainments that feel like it. Still, it's light as a feather, so I wouldn't recommend it as more than a cheap rental.

Did your audience laugh at when they revealed John Lennon and Yoko Ono at the party?

In other news.... awesome (http://www.slantmagazine.com/film/film_review.asp?ID=3518).

[Rowland]

Did your audience laugh at when they revealed John Lennon and Yoko Ono at the party?Nope, but there were only 4-5 others in the audience. I recognized them immediately, but I can't say it made me laugh either, as clever as it was, given the context with the preceding scene.

[Sycophant]

In other news.... awesome (http://www.slantmagazine.com/film/film_review.asp?ID=3518).Crazy . 75 score on Metacritic, too.

Yep, I'm gonna have to see it.

[Spinal]

In other news.... awesome (http://www.slantmagazine.com/film/film_review.asp?ID=3518).

I'm confused. Did they put all the annoying stuff in the trailer? :confused:

I guess I'll give it a shot at some point.

[Watashi]

I'm confused. Did they put all the annoying stuff in the trailer? :confused:

I guess I'll give it a shot at some point.
I'm sure your kid wants to see it, so you could always use that as an excuse.

I mean, you saw The Wild for God's sake!

[Raiders]

Psh. The Grinch TV special is fine, but The Lorax is where it's at. I'm hoping Schager just hasn't seen it.

[Watashi]

The Grinch is so much better than The Lorax.

[Sycophant]

The Grinch is so much better than The Lorax.I'd give the edge to The Lorax. Good thing they're both great! :pritch:

Coming sooon: Will Ferrell as the Lorax?

[Raiders]

The Grinch is so much better than The Lorax.

The opposite of truth.

[Winston*]

Seth Rogen as the Blue fish! John C Reilly as the Wocket!

[NickGlass]

The Lorax, in any medium, trumps anything else Seuss or Seuss-inspired.

[Rowland]

I guess I should see this Lorax thing.

[Watashi]

I guess I should see this Lorax thing.
It's being way overhyped. Those damn songs keep it from being legendary.

[Spinal]

The Lorax, in any medium, trumps anything else Seuss or Seuss-inspired.

Yes. This is correct. Also, most things not related to Seuss at all.

[Watashi]

Only on Match Cut....

[Spinal]

Only on Match Cut....

... would someone question the greatness of The Lorax.

[NickGlass]

... would someone question the greatness of The Lorax.

I know, yeesh. I once devoted two weeks of my life to write a fifteen-page research essay on environmental children's literature and the success of The Lorax was the crux of my thesis.

The Giving Tree, though--well, that's another story...

[Qrazy]

The opposite of truth.

Yeah I agree, people needs to be rewatching some Lorax yo.

http://www.youtube.com/watch?v=o-Y0Az-4wUg

[MadMan]

Oh my Jesus.... :eek:

Gingerdead Man 2: The Passion of the Crust (http://www.joblo.com/video/arrow/player.php?video=ginger2)

Film. of. the. Decade.That trailer was utterly hilarious. It looks like the funniest movie of the year.

I don't think I've ever seen The Lorax.

[Qrazy]

And the Xarol!

http://www.youtube.com/watch?v=PKz6Xu1aETs&feature=related

The Onceler learns his lesson.

[Bosco B Thug]

http://ecx.images-amazon.com/images/I/51D06T4616L._AA240_.jpg

solid as hell. Cool. I spent some good years staring at this DVD art back in my Hollywood Video days. I enjoy a DTV horror now and then. Quarterly maybe. You just made the chances of me seeing this movie go from zero to, oh, maybe 13%. But what to do in Spring and I have to choose between this and Gingerdead Man 2: The Passion of the Crust?

Speaking of which, I got my Winter view in with Mike Mendez's The Convent. The first thirty minutes I was lapping it up. Hyper-stylized opening set to Leslie Gore, very nice. Then it got ordinary. Then it got fun. Then very ordinary. Then it got inspired again. Then back to ordinary and boring. Then the spark returns. Then meh. Less then 80 minutes of that, so nothing to complain about.


Sheitan (Chapiron, 2006) ** Pretty pointless movie, huh?

WEEKEND: Either The Killing of a Chinese Bookie or Shadows, and Funny Games '07 hopefully

[Spinal]

Pretty pointless movie, huh?

Yeah, disappointing. I rented it mostly for Roxanne Mesquida. She was good, but her character really didn't make much sense. I'd like to see her in more stuff. The biblical allusions were silly. The plot twists were silly. Vincent Cassell was very silly, although kind of entertaining. I thought there were some nice moments of tension between the city kids and the country kids, but they were fleeting. Watchable, but very little of lasting value.

[ledfloyd]

Psh. The Grinch TV special is fine, but The Lorax is where it's at. I'm hoping Schager just hasn't seen it.
there's a Lorax special!? where have i been? why didn't i know about this. the lorax is my favorite seuss book. dammit, it's not available on netflix. i bet the once-ler has something to do with this.

[BirdsAteMyFace]

Weekend:

Funny Games ('08)
The Taste of Tea - third attempt
The Happiness of the Katakuris
The Funeral

[Philosophe_rouge]

Weekend
Funny Games (maybe)
The Double Life of Veronique
Dance, Girl, Dance
Teorema
Bleu
Cleo 5 a 7

[Spinal]

Weekend:

Only thing I know for sure is The Devil. Hopefully, Netflix will send me The Guernica Tree too.

[ledfloyd]

Weekend:
No Country for Old Men rewatch
Syndromes and a Century
Private Fears in Public Places
Heaven Can Wait

[Russ]

Weekend:

The Milky Way
Paris, Texas
Make Way for Tomorrow