28 Film Discussion Threads Later

[lovejuice]

i love love love the saddest music in the world.

[Qrazy]

My Girl?

I was thinking of Tank Girl, the initial post was the joke, all the disgusting picture stuff was just a collective freudian slip.

[Yxklyx]

What is Guy Maddin's masterpiece?

I will have to go with the populous and say The Saddest Music in the World primarily for the music. I prefer films which incorporate music when they do it so well.

[dreamdead]

weekend (or today-thursday, which is more likely)

Bringing Up Baby
Green Snake
Lady Chatterley
end of season 1 to Veronica Mars

[baby doll]

Weekend:

The Counterfeiters (Stefan Ruzowitzky)
Lady Chatterley (Pascale Ferran)
A River Called Titus (Ritwik Ghatak)

[Morris Schæffer]

All this made me distrust the film. Plus, I can't completely like anything with Natalie blech Portman in it.

That would be Natalie Portmehn then.:)

[Yxklyx]

Weekend:

Go Tell the Spartans

maybe:

Equinox Flower
Teorema

[origami_mustache]

R.I.P. Ivan Dixon
http://www.msnbc.msn.com/id/23700118/

http://i154.photobucket.com/albums/s280/7A696BC5/92C6EB06.jpg

I loved him in Nothing But a Man (1964) which is truly an iconic film for African American cinema and will probably soon be watching Spook Who Sat By the Door (1973), which he directed.

[Philosophe_rouge]

Weekend
Catch-22
Les Miserables 35'/52'
Naughty Girl
Triple Agent
Nobody Knows
Paprika

[Ezee E]

The Beach certainly has a blueprint of being a good movie. Whether it be dealing with a utopian society, in which the possibility of it being destroyed leads to a dying man simply being pulled away from earshot, or a young kid going on an Into the Wild-esque journey, it manages to always take a wrong turn. Most of it all having to deal with the French. :)

What a drag.

[Wryan]

Correct me if I'm wrong, but I think that that's the Dracula movie that monolith94 is referring to.

I was talking about that one too. Just worded it oddly. Replace "myself" with "too." More or less. :)

[Wryan]

Howl's Moving Castle is not a roaring success, but it has its triumphs. I liked the American voice acting just fine. The castle design is spectacular and some of the film's notions about obsolescence are simple yet striking. The war machines are a wonder but the war itself seems tacked on and the resolution is pat. Howl is a fascinating character to me. He's presented as a petulant, fey young man yet he's ostensibly the love interest for Sophie. Interesting form for one of the film's heroes. Loved the Witch of the Waste and the stair-climbing "competition." Billy Crystal is a bit annoying even though he's appropriate.

[Philosophe_rouge]

Hangmen Also Die (1943) is great, Lang is reminding me why I hold him in such high regard. The film is unabashedly propaganda for the Allies cause but presented in a way only Lang could muster. It's immediate, violent and effecting. The black and white cinematography is particularly stylized and harsh, really lending to the overall mood of the film. While a bit over the top, I thought it was a nice touch that right before "The End" popped up, another caption "Not" was added. Interesting enough, it was actually banned about a decade later for being too "subversive" under McCarthyism's "reign". The writer was even blacklisted... strange world. I also love the title.

[Wryan]

Hangmen Also Die (1943) is great, Lang is reminding me why I hold him in such high regard. The film is unabashedly propaganda for the Allies cause but presented in a way only Lang could muster. It's immediate, violent and effecting. The black and white cinematography is particularly stylized and harsh, really lending to the overall mood of the film. While a bit over the top, I thought it was a nice touch that right before "The End" popped up, another caption "Not" was added. Interesting enough, it was actually banned about a decade later for being too "subversive" under McCarthyism's "reign". The writer was even blacklisted... strange world. I also love the title.

The Naked Spur is a great movie.

[Philosophe_rouge]

The Naked Spur is a great movie.
Agreed. I'm really going to have to watch more Mann. My video store has a ton of his stuff. It was certainly strange to see so much smiling from Robert Ryan.

[Spinal]

Hangmen Also Die (1943) is great, Lang is reminding me why I hold him in such high regard. The film is unabashedly propaganda for the Allies cause but presented in a way only Lang could muster. It's immediate, violent and effecting. The black and white cinematography is particularly stylized and harsh, really lending to the overall mood of the film. While a bit over the top, I thought it was a nice touch that right before "The End" popped up, another caption "Not" was added. Interesting enough, it was actually banned about a decade later for being too "subversive" under McCarthyism's "reign". The writer was even blacklisted... strange world. I also love the title.

Yes! Great film. One of my favorites. Sometimes 'propaganda' isn't a bad thing, particularly when it is anti-Nazi. It's an utterly captivating film from start to finish, I think. It contains enough reason and insight to earn its emotional pleas. And it's got one hell of an ending. The title is even better when you put an exclamation point on it.

[Raiders]

I love watching Hangmen Also Die and This Land is Mine in tandem to see how two different directors manage great wartime propaganda in vastly different ways.

[Philosophe_rouge]

Yes! Great film. One of my favorites. Sometimes 'propaganda' isn't a bad thing, particularly when it is anti-Nazi. It's an utterly captivating film from start to finish, I think. It contains enough reason and insight to earn its emotional pleas. And it's got one hell of an ending. The title is even better when you put an exclamation point on it.
I find most cinematic propaganda at the very least fascinating, and in some cases (this included) it can be completely enriching. I especially like the British filmmakers work during WW2, Powell/Pressburger, Humphrey Jennings and the like. Most work on two levels. I forgot the exclamation point!


I love watching Hangmen Also Die and This Land is Mine in tandem to see how two different directors manage great wartime propaganda in vastly different ways.
I haven't seen This Land is Mine yet, I will get to it though!

[eternity]

No Country was my #13 of 2007, now it's my #2.

[Philosophe_rouge]

No Country was my #13 of 2007, now it's my #2.
It was my #1, and then after seeing it again I loved it more... and it's still there. Great film, and I can only see it getting better the more I think/watch it

[Yxklyx]

Go Tell the Spartans (1978, Ted Post) starts off very inauspiciously - so badly in fact that I didn't think I'd be able to finish it. At first appearance it looks like the pilot to a failed 70s TV show - and is actually directed by a TV man. The score is very low TV quality and some of the acting is as well - but it has a good (though somewhat predictable) story and Burt Lancaster as a very old but believable remnant from WWII. The writing starts off poorly as well but it does pick up and finds its groove quite nicely - with many of the lines actually being quite shocking. There are some great memorable one-liners here and Burt gets most of them. The day shots look a lot like from MASH the TV show - but things improve greatly at night and that's when most of the firefights occur. If you can get over the TV aspects it plays more like a good quality B movie reminding one of Fuller's films. Eventually, it pulls itself up and ends very well. A very surprising work. 8/10

P.S. Unfortunately, the DVD version is Pan and Scan.

[origami_mustache]

Sazen Tange and the Pot Worth a Million Ryo (Sadao Yamanaka, 1935)

http://wildgrounds.com/img/jap/tangesazen35/3.jpg

In his film Humanity and Paper Balloons, director Sadao Yamanaka deconstructs the jidai-geki genre, taking a more psychologically oriented approach. Here he does the same, but in a much different manner. Humanity and Paper Balloons explores the deeply tragic life of a masterless samurai. Sazen Tange and the Pot Worth a Million Ryo instead utilizes a genre based around reversal of expectations to do exactly that. The film begins with a classic setup for a traditional moral tale about greed vs. honor as we are quickly told of a pot that contains a map to the whereabouts of a hidden fortune. We soon discover that the pot is more of a mcguffin than anything else, as the characters have other concerns and we are in fact watching a comedy. The original owner of the pot pretends to be in search of it while spending his days away from his wife shooting arrows and flirting with girls which is where he meets the ex-samurai Sazen Tange with one arm and one eye, who now works for the mistress for food and shelter (the dynamic relationships between the men and women are also worth noting.)

Sazen Tange was a popular figure who made many appearances in Japanese popular culture during this period, so it was a pretty bold choice for Yamanaka to alter his character, although now it is the most widely recognized portrayal. Sazen Tange was originally characterized as a ruthless swordsman, but Yamanaka humanizes his character as he cares for an orphaned child who just so happens to own the pot worth one million ryo. Yamanaka's direction is almost flawless and the script is wonderful. The score and music pieces the mistress plays within the film are quite enjoyable. I was also impressed with how effectively editing is used to enhance the narrative and the comedy without any detrimental stylization. Throughout Yamanaka uses elliptical cuts for comic effect where character's say one thing and then do or allow the opposite to occur. This old comic device as well as the use of callbacks are expertly done. There are also several brief montage transitional scenes, sound bridges, and other technical and formal devices that work very well. I found the film to be quite funny without resorting to slapstick and still maintaining the tradition of Japanese humanism and offering social commentary.

[Qrazy]

Thelma and Louise was idiotic. Why is this a classic?

[dreamdead]

Thelma and Louise was idiotic. Why is this a classic?

It came along when film studies had been granted legitimacy as a film of study, and the fact that a woman wrote it allowed a lesser film to be hailed by critics as the definitive hard-hitting account of women's oppression by men?

[Bosco B Thug]

Watched Singin' in the Rain. The directing is amazingly stupendous, the dancing plain fantastic, the first half = gold, but once Gene Kelly wins over Debbie Reynolds and the conflict switches to the half-assed lampoon of the transition to sound, the film loses some of its "edgy"-steam (Reynolds's character especially becomes boring real quick and is brought nowhere) and you realize the story's complete bokum. Also, I found great irritation in the notion that, okay, he's overcome by euphoria and the urge to sing in the rain the same night his career is severely threatened, why? Presumably because they came up with this idea that might very well completely not work and not solve anything? Or because he's high on love for a girl he's already been happily dating for an extended amount of time now?

But the directing/choreography/musical numbers are dynamite, and it is strangely subversive how evasive the film is. Watched the film in a class, so we were alerted to the undercurrents of theft, credit, and the film as a subconscious response to the promulgation of African American performance and the fringe-area place it had in American performance culture, and it certainly is striking and fascinating, but I don't think the film is compelling enough to truly support those ideas. Plus, the film feels a bit overlong, I suppose partly due to the fact I personally can only take so much dancing and frothy musical numbers ("Good Morning, Good Morning" I'm looking at you), but then again I'd rather have that enticing 15-minute musical digression with Cyd Charrise than some of the film's more sluggish non-musical stretches (I really was not very impressed with the sound technology/transition parodying).

And... The Texas Chainsaw Massacre 2 is still unadultered awesomeness.

WEEKEND: Starship Troopers, North By Northwest, The Killing of a Chinese Bookie

[Sycophant]

I suppose that me giggling in glee at the mere thought of "Good Morning, Good Morning," means we just won't see eye-to-eye on the film. Glad you liked it over all.

[Melville]

The Man Who Fell to Earth was one of the most relentlessly silly things I've ever seen. Roeg's direction, with its wild zooms, pans, and cuts (not too mention all the shots of silver spacemen flying through the air) did a great job of... something, but I didn't really care for that something.

[Melville]

Weekend:

some of the following:

Man from Laramie
Steamboat Bill Jr.
Suspicion
Morocco
The Great Dictator
Diary of a Country Priest

[Bosco B Thug]

I suppose that me giggling in glee at the mere thought of "Good Morning, Good Morning," means we just won't see eye-to-eye on the film. Glad you liked it over all. I don't remember as dynamic or entertaining dancing in that number, but that was the time I'd most likely be at my most dismissive (it following the "sound technology" portion). Right now all I remember is them stopping the dancing to play with their umbrellas.

[Grouchy]

And... The Texas Chainsaw Massacre 2 is still unadultered awesomeness.
It's a great dark satire. Historically one of the finest Horror sequels ever.

[Melville]

The majority of The Great Dictator was up there with Chaplin's best—his delivery of Hitler-esque spittle-spewing speeches was amazing, and the Tramp's confused defiance of the world of Nazi Germany was inspired—but it really went off the rails at the end. The whole bit with Mussolini, while it had its funny moments, seemed distractingly out of place, and the final speech is overstated and at odds with the subversion-through-comedy of the rest of the film.

[Spinal]

Thelma and Louise was idiotic. Why is this a classic?

I have never understood it. There are so many other films that could have taken its place as 'the' iconic feminist film. Films that are actually good.

[Qrazy]

I have never understood it. There are so many other films that could have taken its place as 'the' iconic feminist film. Films that are actually good.

For sure, it's feminism feels so watered down and false too. The only free alternative a woman has in this world is as outlaw? Are extreme violence and murder the only reasonable feminist responses to sexism and chauvinism? It's female empowerment at it's most insipid. Also that trucker character has to be one of the worst performances I've ever seen in a major, acclaimed motion picture.

Heavenly Creatures, The Color Purple and Mildred Pierce are all much, much better films.

[Qrazy]

So what's the final verdict on Youth Without Youth (Coppola)?

[Melville]

Bresson's Diary of a Country Priest was amazing. Bresson's formal austerity, the rhythmic narration, and Claude Laydu's anguished face made for one of the best depictions of existential crisis and struggling faith that I've ever seen. The editing, with its constant fades (frequently to a black screen), added immeasurably to the sense of weariness and melancholy. The scene where he the priest helps the Countess find her faith, and the final shot of the cross with the voice-over, were incredibly powerful. Magnificent.

[MacGuffin]

Bresson's Diary of a Country Priest was amazing. Bresson's formal austerity, the rhythmic narration, and Claude Laydu's anguished face made for one of the best depictions of existential crisis and struggling faith that I've ever seen. The editing, with its constant fades (frequently to a black screen), added immeasurably to the sense of weariness and melancholy. The scene where he the priest helps the Countess find her faith, and the final shot of the cross with the voice-over, were incredibly powerful. Magnificent.

I've heard that it's his worst. But maybe I'll check it out sometime on your intriguing recommendation.

[Melville]

I've heard that it's his worst.
Really? Madness! I'd put it just behind Au hasard Balthazar... maybe even ahead.

[balmakboor]

Thelma and Louise was idiotic. Why is this a classic?

I've always enjoyed it, but it's been too long to comment in much detail. Maybe try asking Syd Field. He devoted 1/4 of his book Four Screenplays to it.

[megladon8]

I've always enjoyed it, but it's been too long to comment in much detail. Maybe try asking Syd Field. He devoted 1/4 of his book Four Screenplays to it.


Ugh.

Don't get me started.

We use one of his books as a textbook in ScreenWriting class, and the guy honestly sees something brilliant in that movie which I cannot see at all.

[Derek]

I've heard that it's his worst. But maybe I'll check it out sometime on your intriguing recommendation.

That's an odd post. Who in their right mind would say it's his worst film??? It's widely acknowledged and celebrated as one of his best.

[Melville]

That's an odd post. Who in their right mind would say it's his worst film??? It's widely acknowledged and celebrated as one of his best.
Aha! I've been vindicated by the resident Bresson expert!

[MacGuffin]

That's an odd post. Who in their right mind would say it's his worst film??? It's widely acknowledged and celebrated as one of his best.

I think it was Nikolus from the old forums.

[balmakboor]

Diary of a Country Priest is my favorite Bresson. It is where he first developed the particular non-emotive, minimalist acting style he become known for. I think it works much better in Country Priest with only one actor though. It really alienates the priest from the other characters. In something like Balthazar, with every character using the style, it remains interesting but loses some of its impact.

[Melville]

Diary of a Country Priest is my favorite Bresson. It is where he first developed the particular non-emotive, minimalist acting style he become known for. I think it works much better in Country Priest with only one actor though. It really alienates the priest from the other characters. In something like Balthazar, with every character using the style, it remains interesting but loses some of its impact.
I was actually surprised by how emotive the acting was... you know, for a Bresson film.

[balmakboor]

I was actually surprised by how emotive the acting was... you know, for a Bresson film.

I don't think the performance is emotive. The emotions come from the viewer. It's a peculiar effect.

I've been taking some time off from Bresson along with Ozu and Dreyer (you know, Schrader's Holy Trinity). I'll be getting back to them in a while (probably when the next Ozu box drops) and possibly even come away with a completely different impression.

[Melville]

I was just perusing the Bresson Concensus thread at the old site, and it seems that almost everybody has seen more of his films than I have. Nothing that I've seen from him is less than great, so apparently I should be watching more of his stuff. Here's what I've seen:

Au hasard Balthazar - 9.5
Diary of a Country Priest - 9.5
Mouchette - 8.5
A Man Escaped - 8

Recommendations for future viewings?

[Melville]

I don't think the performance is emotive. The emotions come from the viewer. It's a peculiar effect.
That's true most of the time in Bresson's films, but here there were definitely a few moments where Laydu looked outright anguished.

Edit: "outright anguished" is probably an overstatement. But he certainly looked pensive and disheartened.

[Mysterious Dude]

I just watched a Bresson film, too.

It'll be a long time before I watch another one.

[Qrazy]

Olmi's The Legend of the Holy Drunk was very touching. It possesses those rare qualities of quiet beauty and tranquility as only Olmi can express them. It's not as strong or formally potent as Il Posto, I Fidazanti, or The Tree of Wooden Clogs, but it's very good in it's own right. It never tries to over extend itself, and as such what we're left with, in those still shots of a bar at night or dawn under a cobblestone bridge, remain singular and compelling images. The aesthetic has the earthy tones and smoky shadows of films like The Garden of the Finzi Continis and Death in Venice. It also has that feeling of slight remove from the proceedings that both of those films share, but where those films stagger narratively and tonally, The Legend of the Holy Drunk succeeds more admirably. It's far from a perfect film, a fair number of characters from his past which the Drunk meets, lack a distinct personality and there's something slightly off about the English language audio track. That feeling of removal that all three films possess, both as a result of their aesthetic and as a result of editing directly into the film their protagonists memories of the past, creates an interesting tone but also a fairly un-engaging one. Thematically this would make for a good companion piece with Schroeder's Barfly. Personally I think Legend is the much stronger film, but both possess compelling lead performances (Rutger Hauer and Mickey Rourke) and Barfly does delve into the seedier side of alcoholism, something which Legend only touches upon.

[Qrazy]

I was just perusing the Bresson Concensus thread at the old site, and it seems that almost everybody has seen more of his films than I have. Nothing that I've seen from him is less than great, so apparently I should be watching more of his stuff. Here's what I've seen:

Au hasard Balthazar - 9.5
Diary of a Country Priest - 9.5
Mouchette - 8.5
A Man Escaped - 8

Recommendations for future viewings?

I recommend Pickpocket next and predict you will also love it. The rest can come after.

[Qrazy]

I think it was Nikolus from the old forums.

Yep, a bunch of others in the thread jumped on his band wagon too, so that was my only consensus knowledge of Diary as well. I still have yet to see it but I think the greater film canon (outside of film forums) still values Diary quite highly. I know Tarkovsky certainly does.

[origami_mustache]

My friend invited to me a screening of Wet Hot American Summer at The Silent Theater, with the director and members of the cast in attendance. I really didn't expect much out of this, but it turned out to be a genuinely hilarious spoof of 80s summer camp movies. Writers Michael Showalter and David Wain's sketch comedy sensibilities are apparent as many of the gags could play as individual sketches and are often over the top, but to their credit they work as a coherent whole to progress the story and to provide lots of laughs. It had a great ensemble cast, consisting of members of The State: Michael Showalter, Michael Ian Black, Joe Lo Truglio, Ken Marino, as well as Janeane Garofalo, David Hyde Pierce, Paul Rudd, Amy Poehler, and Molly Shannon. Also I got a free copy of Showalter's comedy album so that was a plus...ust a shame the after party wasn't open bar.

[zazen]

A Man Escaped and Mouchette are my favorite Bresson films, but if you haven't seen Pickpocket and L'Argent, you should do so right away!

[Boner M]

The Fire Within was decidedly underwhelming. I think I have a thing against films about emotional stasis where the character(s) are able to articulate their feelings as eloquently as one could imagine; it's all tell tell tell and no show, and I could never work up much empathy for the central character as result. Outstanding performance by Maurice Ronet nonetheless, and some of the most beautiful b&w photography I've seen, but a frustratingly remote experience. Guess Malle isn't for me; had similar feelings toward Elevator to the Gallows.

[Qrazy]

The Railway Children was fairly cloying and overly sentimental. Still, it's heart seems to be mostly in the right place, I can imagine young kids enjoying the film a great deal. The craftsmanship was fairly standard, all in all not recommended, but the Britishness of the entire affair redeems it somewhat. If you have a sentimental streak, might be worth a look. *shrug*

[origami_mustache]

The Fire Within was decidedly underwhelming. I think I have a thing against films about emotional stasis where the character(s) are able to articulate their feelings as eloquently as one could imagine; it's all tell tell tell and no show, and I could never work up much empathy for the central character as result. Outstanding performance by Maurice Ronet nonetheless, and some of the most beautiful b&w photography I've seen, but a frustratingly remote experience. Guess Malle isn't for me; had similar feelings toward Elevator to the Gallows.

I loved both of these films, The Fire Within quite a bit more, but I guess I can understand what you mean about the over articulation of intangible emotions. I had the exact same sentiments about My Dinner With Andre. However with this film, I found myself relating to a lot of these feelings, from both the main character and his optimistic friend which most likely contributed to me enjoying the film so much. These kinds of thoughts aren't often explored, and I suppose the whole point is to get you inside his head and to feel his inner turmoil and self loathing which isn't an easy task to accomplish without telling. I didn't find it too far fetched that Alain was able to express his feelings so well due to the fact that he had plenty of time to reflect and grapple with his thoughts in the rehabilitation clinic. I think to a certain extent a film has to relate to the viewer on a personal level at some point to be truly appreciated by that particular individual, so you might be right, maybe Malle isn't for you.

[balmakboor]

I picked up The Thin Red Line at Walmart a while back for $5.00 and finally watched it yesterday. I first watched it years ago and pretty much hated it. I can't quite remember why.

Yesterday, I truly, madly, and deeply loved it. I'm talking all time top 10 favorite potential. It is so stunningly made in every way. The cinematography especially. Interpretation-wise, it seemed to me the most spiritual of wars films. It's like how everyone -- me, you, everyone -- is always years away or perhaps just seconds away from death and if they are aware of this fact, they are constantly in a state of preparation for what they expect to follow this life. The theater of war only magnifies this 100 fold.

I can see TTRL as being a movie that only deepens as a person ages. One of my friends -- in his 60s at the time -- loved this far beyond Saving Private Ryan when they came out and I never quite understood why until now. He passed away a few years later, very calmly, very much at peace with his life.

[Melville]

I recommend Pickpocket next and predict you will also love it.
Yeah, I've wanted to see that one for years. I just discovered that Les Dames du Bois de Boulogne is based on a novel by Diderot, which makes it pretty enticing.

[Sven]

I picked up The Thin Red Line at Walmart a while back for $5.00 and finally watched it yesterday. I first watched it years ago and pretty much hated it. I can't quite remember why.

Yesterday, I truly, madly, and deeply loved it.

I think many people share this reaction. I remember when it first came out and there was a huuuuuge opposition. Now, it's, like, uncool to hate it.

[Spinal]

On the current IMDb poll, "favorite Mel Brooks comedy", Robin Hood: Men in Tights is comfortably ahead of The Producers. IMDb or not, I could not let that go without comment.

[balmakboor]

I think many people share this reaction. I remember when it first came out and there was a huuuuuge opposition. Now, it's, like, uncool to hate it.

What may be responsible for my turning around on Malick is my liking The New World. It's interesting though that I'm now not quite as impressed by TNW because it doesn't really say much that Malick hadn't already said very well with TTRL. I'm finally feeling driven toward seeing Days of Heaven now.

[Melville]

What may be responsible for my turning around on Malick is my liking The New World. It's interesting though that I'm now not quite as impressed by TNW because it doesn't really say much that Malick hadn't already said very well with TTRL.
Really? I thought The New World had plenty to say about love and societal evolution that was never said in TTRL.

[baby doll]

I was just perusing the Bresson Concensus thread at the old site, and it seems that almost everybody has seen more of his films than I have. Nothing that I've seen from him is less than great, so apparently I should be watching more of his stuff. Here's what I've seen:

Au hasard Balthazar - 9.5
Diary of a Country Priest - 9.5
Mouchette - 8.5
A Man Escaped - 8

Recommendations for future viewings?Pickpocket, Une femme douce, Lancelot du lac, Le Diable probablement and L'Argent all kick tons of ass.

[dreamdead]

With only Faces left to tackle in the Cassavetes Criteron box set, I have decided that noncanonical Cassavetes interests me far more than A Woman Under the Influence. That film, for all its many strengths, feels too insular in its cultural study; Opening Night and now The Killing of a Chinese Bookie offer a far more panoramic and sustained study of community (as opposed to just the individual). Gazzara’s Cosmo is so distinct from the typical noir-laced antiheros, and the study of inarticulation nicely aligns with any implicit critique of the whole genre of noir. The stalking scene between Cosmo and the assassin in the building rachets up the suspense in ways I would never have anticipated from Cassavetes, and there's a true sense of respect for the old chinaman that's communicated through mise en scene alone. In fact, this film is all-around progressive in its study of minorities, as all of the minorities are granted a purity that seems beyond the reach of Cosmo himself.

Need to dwell on this one longer, but it's wonderful stuff.

[Qrazy]

Yeah, I've wanted to see that one for years. I just discovered that Les Dames du Bois de Boulogne is based on a novel by Diderot, which makes it pretty enticing.

It's one of his weakest, but I guess it's passable.

[Melville]

Pickpocket, Une femme douce, Lancelot du lac, Le Diable probablement and L'Argent all kick tons of ass.
After reading a summary of L'Argent, that one looks extremely promising. I notice that Une femme douce is adapted from Dostoevsky's A Gentle Creature. Have you read it? If so, how does the film compare?


It's one of his weakest, but I guess it's passable.
But, but... it's Bresson adapting Diderot. How could it go wrong?

[Qrazy]

But, but... it's Bresson adapting Diderot. How could it go wrong?

It was before he adopted his typical style. Some of the photography is nice, the narrative is largely forgettable, not much has really stuck with me.

[Boner M]

I didn't find it too far fetched that Alain was able to express his feelings so well due to the fact that he had plenty of time to reflect and grapple with his thoughts in the rehabilitation clinic.
That's a good point. My qualms with the film aren't that it doesn't offer insight into Alain's turmoil so much as I rarely found room to breathe. But maybe that's the point. Eh.

I don't think I'll entirely give up on Malle since his filmography is so vast and varied; there's bound to be something I'll like in there.

[Boner M]

The stalking scene between Cosmo and the assassin in the building rachets up the suspense in ways I would never have anticipated from Cassavetes, and there's a true sense of respect for the old chinaman that's communicated through mise en scene alone.
Well said. The shot of the titular character wading across his pool before he's shot - the attention to his weathered, old naked body, his frail movement - is a particularly lingering example of what you're getting at. You get the sense that the whole film was made on Cassavetes' gut-level dislike of 'pulp', and the result is just an ecstatic, singular form of heightened emotional poetry.

What version did you watch, btw?

[Qrazy]

That's a good point. My qualms with the film aren't that it doesn't offer insight into Alain's turmoil so much as I rarely found room to breathe. But maybe that's the point. Eh.

I don't think I'll entirely give up on Malle since his filmography is so vast and varied; there's bound to be something I'll like in there.

Give Au Revoir Les Enfants a try.

[Derek]

Scattered Clouds is yet another delicate, astutely observant masterpiece from Mikio Naruse. Like most of his great films, emotional resonance is accumulated through a series of subtle, understated interactions which convey not simple linear progression in its characters growth, but a near-constant struggle to balance personal feelings with social expectations and, in this case, coming to terms with the past in order to find happiness in the present. Naruse is a master at tempering his melodrama with light-hearted touches, always keeping the emotions bubbling under the surface beneath his actors typically restrained performances. The small contrivance of a romance developing between a woman and the man who accidentally killed her husband in a car accident is easily overcome by the patience shown in portraying both of their struggles to cope with the guilt and anguish of the random tragedy. While Yoko Tsukasa is no Hideko Takamine, Naruse's former muse, she has a way of communicating all of her conflicted feelings through slight gestures and glances, creating a character with emotional and psychological depth who is also capable of the unpredictable decisions true to all human behavior.

This is also the first color film I've seen by Naruse and it doesn't miss a beat. The final act is especially gorgeous as the film opens up to exterior locations, mirroring the protagonists attempts to battle social restrictions and their own memories.

[Melville]

Give Au Revoir Les Enfants a try.
Seconded. I've only seen that one and Murmur of the Heart, but from what I've seen Malle does an amazing job of incorporating social milieus and a sense of history into very particular coming of age stories.

[Grouchy]

Winchester '73 is a gritty, wise western from Anthony Mann that really packs a punch and a half. Relentless in action and in emotional moments, it has many pleasures, like seeing early performances by Rock Hudson (as a fucking Indian Chief, no less) and Tony Curtis, and, of course, it has James Stewart as a badass hellbent on revenge. Without giving away many plot details, the movie is about violence, gun fetish, chauvinism and revenge. Mann is really underrated as a western director (also seen Man of the West with Gary Cooper), and I look forward to seeing more of his work with Stewart.

[Bosco B Thug]

It's a great dark satire. Historically one of the finest Horror sequels ever. I'd love to find a really good critical essay on this film. It's plain entertaining and slick as hell, but I do appreciate the film's semiotic condensation of rustic Americana and the pointed dialogue and characterization given to its crazies.

[MadMan]

Winchester '73 is a gritty, wise western from Anthony Mann that really packs a punch and a half. Relentless in action and in emotional moments, it has many pleasures, like seeing early performances by Rock Hudson (as a fucking Indian Chief, no less) and Tony Curtis, and, of course, it has James Stewart as a badass hellbent on revenge. Without giving away many plot details, the movie is about violence, gun fetish, chauvinism and revenge. Mann is really underrated as a western director (also seen Man of the West with Gary Cooper), and I look forward to seeing more of his work with Stewart.The Man From Larmie rocks as well. I haven't seen his other westerns/films besides those though. And so far I'm a pretty big fan of Jimmy Stewart. To me both westerns have film noir and crime drama elements, which make them all the more interesting and a high step up from the standard western film.

[balmakboor]

I just had a review of Redacted published to blogcritics.org. The editor wouldn't accept it though until I softened my wording where I called Bill O'Reilly a "raving lunatic." It was actually kind of refreshing having to get something accepted for publication on the Internet.

[dreamdead]

Well said. The shot of the titular character wading across his pool before he's shot - the attention to his weathered, old naked body, his frail movement - is a particularly lingering example of what you're getting at. You get the sense that the whole film was made on Cassavetes' gut-level dislike of 'pulp', and the result is just an ecstatic, singular form of heightened emotional poetry.

What version did you watch, btw?

I highly agree with the first paragraph. There's something so appealing to a cinematic style like Cassavetes where I'm not asked to necessarily empathize with Cosmo. Yet, like you say elsewhere, I'm not asked to look down on him, either. It's a strange sense of subjectivity, and it balances the appropriation of genre storytelling even as transgresses against the basic archetypes. Also love the lack of explanation on how Cosmo gets away from the assassin in the building. It's a hilarious reversal after the systematic build-up of tension that occurs previously.

I did the '78 (108 minute) cut. Nothing felt extrenuous or overly long, so I'm almost curious enough to check the differences, though I doubt I'll actually do it.

[Philosophe_rouge]

Naughty Girl (1956) is a mildly amusing comedy starring Bardot, although ideologically I find it very puzzling, if not downright nauseating. Bardot is a young girl (although it's very explicitly stated several times she is of legal age), who behaves like a child but has the body of a woman. The characters lust and "fall in love" with her, while abandoning the smart, confidant and mature women in her favour (these women are also no less beautiful than Bardot, if not more conventional). These type of things just irk me, it's lowest common denominator and if it took the time to be self reflective it could be far more interesting and far less icky. There is an interesting dream sequence, but overall I couldn't recommend this.

[Spinal]

The editor wouldn't accept it though until I softened my wording where I called Bill O'Reilly a "raving lunatic."

I think Bill would have a difficult time disproving your assertion in a court of law.

Congratulations on the publication.

[Boner M]

It's a strange sense of subjectivity, and it balances the appropriation of genre storytelling even as transgresses against the basic archetypes.
You should check out Wanda for a similar approach. It almost does for Bonnie & Clyde-style crime spree films what Bookie does for gangster films.

[Stay Puft]

Tsui Hark's Shanghai Blues is a wonderful, wonderful film. I finished it almost a couple hours ago and I still have a huge grin on my face. A great companion piece to Peking Opera Blues, as well (for thematic strands as well as the endearing and gorgeous Sally Yeh).

Gonna watch Green Snake tomorrow. No Sally Yeh, but if it's half as good as the two aforementioned films I am certainly in for a treat. Tsui Hark rocks my socks.

[Bosco B Thug]

Starship Troopers = I approve. In-your-face satire tempered by a straight-arrow narrative and high drama... of the teen TV drama show kind. It works like gangbusters, though. The acting is brilliant, and I love the "three friends" aspect of the story.

[Duncan]

Some of you may have already noticed, but Senses of Cinema updated. It was news to me. In the interview with Welles that is posted he says he filmed a theatrical version of Moby Dick. Apparently the film has been subsequently lost. What the fuck.

[Philosophe_rouge]

Colour me surprised, I adored Les Misérables (1935). I've been looking forward to it for years, and it exceeded all expectations. It's difficult to really capture the film's beauty through screencaps as it relies very much on moving light, darkness, quick edits, and patterned use of diagonals and a general off kilter composition. Fredric March, one of my favourites, delivers his best performance as Jean Valjean a man sent to prison for ten years for stealing a loaf of bread and spends the rest of his life running from his past. I don't think I've seen a film (aside from Dreyer's LA Passion de Jeanne D'Arc) that uses the close-up so extensively, and so effetively. Many unconventional and truly thrilling blockings and cuts are used. One scene ends as a hat flies directly into the camera blackening it so the next reel can be replaced. Truly fantabulous.
http://i217.photobucket.com/albums/cc211/zombierouge/vlcsnap-5043.png

[Philosophe_rouge]

Some of you may have already noticed, but Senses of Cinema updated. It was news to me. In the interview with Welles that is posted he says he filmed a theatrical version of Moby Dick. Apparently the film has been subsequently lost. What the fuck.
Was this the one with Laurence Harvey ? In the documentary "One Man Band" I think I remember seeing some footage of him on a ship from one of his films, I can't be sure if it was Moby Dick. However I do know, whichever film it was, Welles had nearly completely filming when Harvey died and didn't have enough funds to reshoot the film or something.

[Boner M]

Daughters of Darkness was a bizarre, atmospheric, menacing delight. Probably the best lesbian vampire film I've seen, managing to compel in spite of a baffling lack of sex. Delphine Seyrig = uiwfgyuiwgfhejwb, and the other two women are only slightly less hot. Way better than Vampyros Lesbos, that's for sure.

[megladon8]

Daughters of Darkness was a bizarre, atmospheric, menacing delight. Probably the best lesbian vampire film I've seen, managing to compel in spite of a baffling lack of sex. Delphine Seyrig = uiwfgyuiwgfhejwb, and the other two women are only slightly less hot. Way better than Vampyros Lesbos, that's for sure.


I was actually more than disappointed with Daughters of Darkness.

I just found it quite boring.

Sorry I can't give any stronger of a debate - I honestly don't remember it well. It's been well over a year.

[D_Davis]

Tsui Hark's Shanghai Blues is a wonderful, wonderful film. I finished it almost a couple hours ago and I still have a huge grin on my face. A great companion piece to Peking Opera Blues, as well (for thematic strands as well as the endearing and gorgeous Sally Yeh).

Gonna watch Green Snake tomorrow. No Sally Yeh, but if it's half as good as the two aforementioned films I am certainly in for a treat. Tsui Hark rocks my socks.

Sweet, glad to hear it. I tried to dl it, but no seeds.

Oh well. I'll wait until I can buy a copy on DVD...my Tsui shelf will need it.

Green Snake is good. The opening 5 minutes are among my favorite from the director.

[balmakboor]

From DVD Beaver:

ADDITION - Universal - NTSC - March 2008: Well, it looks as though Universal have done a slap-dash job with bringing this title to DVD (finally). I suspect they are unfamiliar with this film's vast appeal (they could have first checked the number of hits on this webpage at the bottom). Aside from there being no extras the image has had some definite red/black boosting. It is darker than the PAL releases and correspondingly skin tones look less accurate. Detail seems strong though. The 5.1 track sounded pretty strong but is eclipsed by both the UK and French editions that also offer DTS.

The only positives about this Universal DVD would be the optional subtitles, the original NTSC running time (no 4% PAL loss) and the reasonable price. Gee Universal, you could have really dolled this up - supplements (maybe a commentary), given us an un-manipulated image and charged a pretty penny (maybe making it a 2-disc'er) - I'll wager it would have sold well for you. I expect many will scoop this up solely because they are region-locked... and the decent price. For purists I suppose we'll continue to recommend the Cinema Club (or mk2) for superior image and extras.

*sigh* That's too bad.

[Russ]

I think Beaver missed the boat on this one. Based on those screencaps, the new Universal release seems to be much more faithful to Lynch's intent (I thought this was the one he supervised, right?). I saw LH twice during its original theatrical run and it was intentionally a very dark film, much more so than those mk2 caps. So, if anything, I think we may be getting the most correct print yet. Shame about the lack of extras (esp. that DTS track), tho..

[megladon8]

I wish I knew what movie that DVD review was for...

[DavidSeven]

Horton Hears a Who! was quite good. It's challenging enough in both a high level and low level way to be interesting for all age groups. I appreciated the way the tension was mounted from the very beginning and didn't really let up until the finale. The style of humor was often pleasantly odd. There's some curious missteps along the way, including a 2D Japanimation hallucination and a pop soundtrack sing-a-long - both kind of cringe inducing, but the positives here far outweigh a couple minor annoyances.

[Russ]

I wish I knew what movie that DVD review was for...
Lost Highway.

[balmakboor]

I wish I knew what movie that DVD review was for...

I didn't even notice it didn't say Lost Highway anywhere.

[DavidSeven]

Oh, and Clerks was annoying.

[balmakboor]

It's never a good day when Netflix's site is down. :cry:

[lovejuice]

Horton Hears a Who! was quite good. It's challenging enough in both a high level and low level way to be interesting for all age groups. I appreciated the way the tension was mounted from the very beginning and didn't really let up until the finale. The style of humor was often pleasantly odd. There's some curious missteps along the way, including a 2D Japanimation hallucination and a pop soundtrack sing-a-long - both kind of cringe inducing, but the positives here far outweigh a couple minor annoyances.

i'll say that's not a japanimation at all. it's a bastardized american version. and yes, it's annoying as hell.

as expected anything based on the book is glorious, and almost everything that they need to add to complete the running length falls left and right. i especially hate the characterization of the evil kangaroo. only addition that works is jo-jo, the youngest son, and i love the machine in the planetary.

while the "adaptation" fails miserably, they do a surprisingly good job with "translating" seuss's material. i wish they do two or three shorts rather than a single running feature.

[Spinal]

i'll say that's not a japanimation at all. it's a bastardized american version. and yes, it's annoying as hell.

I didn't think it was a great idea, but I also didn't think it was that irritating. It's pretty brief and I did chuckle once. It's just kind of bizarre.



only addition that works is jo-jo, the youngest son, and i love the machine in the planetary.

Jo-Jo isn't actually an addition. He's in the book, but only mentioned once. He is just a little kid with a yo-yo. In the film, they unneccessarily flesh him out and make him the mayor's son and in doing so, they muddy the character's purpose. The whole point of Jo-Jo is that even the smallest voice matters and that the young should be aware of their situation and speak up. Instead, they do this banal father-son reconciliation thing where Jo-Jo is presumably now free to pursue his secret hobby with his father's approval. You know, that's a fine thing to have in a kid's story, but it really doesn't fit this one and it just ends up distracting from the simple potency of one wee voice speaking up in a crisis.

[number8]

*hyperventilates*

I get to do a phone interview with Wong-Kar Wai in the coming weeks.

I don't think I've ever been more nervous for an interview.

[Sycophant]

*hyperventilates*

I get to do a phone interview with Wong-Kar Wai in the coming weeks.

I don't think I've ever been more nervous for an interview.Just watch that heavy breathing when you're on the phone with him. I'm sure it'll be difficult.

That, uh, is amazing.

[lovejuice]

In the film, they unneccessarily flesh him out and make him the mayor's son and in doing so, they muddy the character's purpose. The whole point of Jo-Jo is that even the smallest voice matters and that the young should be aware of their situation and speak up. Instead, they do this banal father-son reconciliation thing where Jo-Jo is presumably now free to pursue his secret hobby with his father's approval. You know, that's a fine thing to have in a kid's story, but it really doesn't fit this one and it just ends up distracting from the simple potency of one wee voice speaking up in a crisis.

as said i pretty much hate all additions, but at least jo-jo sits good with me. you're right that it distracts from the original message. still i don't find it as cringe inducing as the kangaroo.

[Spinal]

*hyperventilates*

I get to do a phone interview with Wong-Kar Wai in the coming weeks.

I don't think I've ever been more nervous for an interview.

Wow, man, that's really incredible. Congrats.

[Spinal]

Watched The Guernica Tree last night and it was great. Probably Arrabal's best (of the three I have seen). Certainly the most linear although still with plenty of shocks and symbolic touches. In brief, it tells the story (yes, there is a story!) of a small Spanish town holding out against a siege by fascist soldiers after bohemian locals overthrow the local government and church officials. It's sort of like Bunuel meets Salo meets the barricade scenes from Les Miz with a few scenes guest-directed by Jodorowsky. I hope to write something longer on this one as there doesn't seem to be many reviews on-line at this point. Maybe tonight.

[DavidSeven]

i'll say that's not a japanimation at all. it's a bastardized american version. and yes, it's annoying as hell.

It was just a term I threw out there without intending it to be the strict definition of what they were going for. But yeah, it was pretty annoying.

[Spinal]

still i don't find it as cringe inducing as the kangaroo.

Kangaroo sympathizer.

[MadMan]

*hyperventilates*

I get to do a phone interview with Wong-Kar Wai in the coming weeks.

I don't think I've ever been more nervous for an interview.Awesome.


On the current IMDb poll, "favorite Mel Brooks comedy", Robin Hood: Men in Tights is comfortably ahead of The Producers. IMDb or not, I could not let that go without comment.I haven't even seen Robin Hood. But I know there is no way in hell that it is better than The Producers. IMDb.com continues to live up to its reputation as an idiots paradise.

Oh and Spinal your monkey avatar reminded me that yesterday while randomly thinking during my drive home I realized that both The Beatles and the Rolling Stones have songs that mention monkeys and have monkeys in the title. I think Bob Dylan also has a song that features a "monkey man" as well. Why this is I donno, but perhaps it has something to do with all of the drugs they were taking at the time. Or maybe not.

[Spinal]

Oh and Spinal your monkey avatar reminded me that yesterday while randomly thinking during my drive home I realized that both The Beatles and the Rolling Stones have songs that mention monkeys and have monkeys in the title. I think Bob Dylan also has a song that features a "monkey man" as well.

Beastie Boys too.

[Sycophant]

The Monkees? No songs about monkeys.

[Grouchy]

*hyperventilates*

I get to do a phone interview with Wong-Kar Wai in the coming weeks.

I don't think I've ever been more nervous for an interview.
Fucking incredible.

You should ask him what's his favorite dish with noodles.

[Spinal]

The Monkees? No songs about monkeys.

The Rolling Stones didn't sing about a rolling stone and yet Bob Dylan did. This all gets very confusing.

[MadMan]

The Rolling Stones didn't sing about a rolling stone and yet Bob Dylan did. This all gets very confusing.True. Maybe Dylan was picking up the slack :P

[number8]

The Rolling Stones didn't sing about a rolling stone and yet Bob Dylan did. This all gets very confusing.

They did do a famous cover and got Michel Gondry to shoot the video. Doesn't that count?

[Watashi]

I liked Speaking Parts, even though I have no idea what the hell happened in those final 10 minutes. I felt like I was being bombarded with Egoyan's tactics of employing that we are being watched while watching others watch (in a Rear Window kinda way). I've been fully engaged with every Egoyan film I've seen so far, though only Sweet Hereafter is the only one that has truly blown me away.

[Spinal]

number8 --

This may not be your top priority in the time you have with Wong Kar-Wai, but I'd be curious to hear his thoughts on working with Chan Marshall if you have a chance to ask him.

[Yxklyx]

*hyperventilates*

I get to do a phone interview with Wong-Kar Wai in the coming weeks.

I don't think I've ever been more nervous for an interview.

Ask him how often he watches films. What was the last film he saw that gave him a lasting impression?

[Sycophant]

I'd ask him if he's planning any future collaborations with Jeff Lau.

[megladon8]

Dan in Real Life was alright.

Could have been better...but also could have been much worse. Especially with Dane Cook present...*shudder*

My favorite part was Sondre Lerche's music. I'm a fan.

[megladon8]

Where are all these people who see Tyler Perry's movies over, and over, and over again?

Because I don't know any of them.

I've never even met any of them.

[Philosophe_rouge]

The Day the Earth Stood Still (1951) was more interesting than it was engrossing, although I must confess I wasn't necessarily in the mood to watch it. I caught it on TV just as it began and just went with it despite some reluctance. I liked the look of it, and as I said the ideas presented. It addresses my own thoughts and beliefs very well, but there just wasn't enough conflict or sense of danger to really justify the film in my esteem. I don't know, didn't entirely work for me.

[megladon8]

The Day the Earth Stood Still (1951) was more interesting than it was engrossing, although I must confess I wasn't necessarily in the mood to watch it. I caught it on TV just as it began and just went with it despite some reluctance. I liked the look of it, and as I said the ideas presented. It addresses my own thoughts and beliefs very well, but there just wasn't enough conflict or sense of danger to really justify the film in my esteem. I don't know, didn't entirely work for me.


Jen watched this last week and she felt much the same.

She said it "made her hate humanity."

[Philosophe_rouge]

Jen watched this last week and she felt much the same.

She said it "made her hate humanity."
It certainly can have that effect. It's hardly the poster film for humanity's contribution to well anything of value ever.

[Spinal]

Where are all these people who see Tyler Perry's movies over, and over, and over again?


The American South, I would imagine.

[ledfloyd]

The American South, I would imagine.
but they hate black people

[Sycophant]

but they hate black peoplePsssst.... there are also Black people in the American South.

[ledfloyd]

Psssst.... there are also Black people in the American South.
they hate themselves?

[Sycophant]

they hate themselves?
Some must. They watch Tyler Perry movies.

CHEAP ZING!

[DavidSeven]

So I'm pretty sure I "hated" Mike Leigh's Naked. Frownland has a hilarious scene that parodies the kind of pseudo-intellectual horseshit the protagonist of this movie vomits all over the place. I felt like it tried to make Johnny likable by giving him all these witticisms and making him read books and stuff; it was cheap, like if Kubrick actually meant to humanize Alex by throwing Beethoven in. I don't have a problem with movies that depict characters who are borderline-unwatchable; in fact, I kind of love when they do that; but this doesn't want to commit all the way to "gritty" realism and instead tries to give the characters and their situations more depth than they actually have (which is to say, none).

Bravo. I'm not sure if we disliked it for precisely the same reasons, but hey, dissent is dissent!

[Rowland]

The American South, I would imagine.Black communities. They do lots of business around my area, in the city of Buffalo, Western New York.

[D_Davis]

Just watched Tsui Hark's A Chinese Feast. It is pretty good. The first 1/3 is okay, the second 1/3 is good, and the final 1/3 is excellent.

I'm going to watch more of his comedies this week. Well, everything except for Shanghai Blues which I still can't find...Scarecrow doesn't even have it.

:(

I've got All The Wrong Clues, Tri-Star, and Working Class lined up as well. And a rewatch of The Raid, an action flick he co-directed with Ching Siu Tung.

He is such a fascinating director. He can so effortlessly do high octane action, comedy, romance, and drama, and do them all well while still maintaining his personal touch. Each film of his that I watch makes more confident in declaring him my favorite director.

[Stay Puft]

Well, everything except for Shanghai Blues which I still can't find...

Jump on the KG torrent. I'll try and seed it tomorrow.

I might grab Chinese Feast this week, too. Still haven't had a chance to watch Green Snake, maybe tomorrow.

D, have you seen A Better Tomorrow III? I think it's the only Tsui Hark film I've seen that I didn't enjoy, but I was also kind of sick of the franchise at that point anyways.

[Rowland]

Have you seen Time and Tide, Stay Puft? My reaction to that one was very mixed.

[Stay Puft]

Have you seen Time and Tide, Stay Puft? My reaction to that one was very mixed.

Yes, I enjoyed that one enough to watch it twice in one week. I think it's a lot of fun, and a lot of that has to do with how kinetic and even sloppy the whole production seems. I don't think it's one of his better films, there are some elements I could do without (some of the melodrama, the soundtrack), but it's crazy enough to love.

Not to mention the baby throwing. So awesome.

[Spinal]

Watched the first half-hour of Elizabeth 2. Wowzers. I guess I just didn't believe that it could possibly be as bad as people were saying.

"Do we discover the New World, Mr. Raleigh? Or does the New World discover us?"

Oh man. I'll probably finish it tomorrow if I can take it.

[number8]

"Ey, dawg. Are you playing that game, or is that game playing you?"

Snakes on a Plane = Awesome.

[Qrazy]

Imaginative short animation... The Diary of Tortov Roddle! Enjoy.

http://www.youtube.com/watch?v=GI32gQp9Y5g&feature=related

First part of six, the others are there too.

[Duncan]

Imaginative short animation... The Diary of Tortov Roddle! Enjoy.

http://www.youtube.com/watch?v=GI32gQp9Y5g&feature=related

First part of six, the others are there too. Love the fifth one.

[Sven]

I imagine because most metropolitan cities have large black communities that Tyler Perry's films do well in most metropolitan areas. He's crazy big in Brooklyn.

[D_Davis]

D, have you seen A Better Tomorrow III? I think it's the only Tsui Hark film I've seen that I didn't enjoy, but I was also kind of sick of the franchise at that point anyways.

Yeah - it's not so good. He definitely has his misses, but this is part of the reason why I like him so much. He's constantly trying new things, and sometimes he hits, and sometimes he misses.


Yes, I enjoyed that one enough to watch it twice in one week. I think it's a lot of fun, and a lot of that has to do with how kinetic and even sloppy the whole production seems. I don't think it's one of his better films, there are some elements I could do without (some of the melodrama, the soundtrack), but it's crazy enough to love.

Not to mention the baby throwing. So awesome.

Time and Tide is awesome. It's definitely his best post-97 film. It's sloppy as heck, but it's also got style and energy to spare. The final act is incredible.


I'll grab the KG torrent for SB - thanks!

[MadMan]

"Ey, dawg. Are you playing that game, or is that game playing you?"

Snakes on a Plane = Awesome.Pretty much. After the snakes get released the movie is pretty much non-stop entertainment.


Watched the first half-hour of Elizabeth 2. Wowzers. I guess I just didn't believe that it could possibly be as bad as people were saying.

"Do we discover the New World, Mr. Raleigh? Or does the New World discover us?"

Oh man. I'll probably finish it tomorrow if I can take it.That line is really in the film? Wow. Just wow :lol:

So I have a chance to watch Jamaica Inn this week thanks to TCM. Should I even bother? I've heard its one of his worst films.

[Sycophant]

Pretty much. After the snakes get released the movie is pretty much non-stop entertainment. The first ten or twenty minutes of the movie are the best. And though there are a couple good jokes and moments peppered throughout, on the whole, the film's pretty damn meh.

[Sycophant]

Village Voice fires Nathan Lee.
Village Voice critic Nathan Lee fired for 'economic reasons.' The former New York Sun and New York Times contributor, who was hired as a staff critic by The Village Voice just 18 months ago, was axed yesterday by the newspaper's parent company, New Times. In an email sent to friends and colleagues -- including House contributors -- last night, Lee wrote:

["In great Village Voice tradition, I was abruptly laid off today for 'economic reasons.' My employment at the paper ends immediately: someone else, alas, will be tasked with specifying the precise shade of periwinkle frosting atop the cupcakes in My Blueberry Nights. And so I am, as they say, 'looking for work,' though presumably not as a staff film critic as such jobs no longer appear to exist.]
Damn.

[Spinal]

Village Voice fires Nathan Lee.
Damn.

Wait, this is the guy who was singing the praises of Asia Argento? This is an outrage!

[D_Davis]

"Do we discover the New World, Mr. Raleigh? Or does the New World discover us?"


Sounds like the lyrics of a Bush song...

Are you sick of being tired, or are you tired of being sick?

RAWK!11!

[Rowland]

Village Voice fires Nathan Lee.
Damn.Yep, it seems that "film critic" is dying career position. All that will be left soon are a few big names amidst a sea of anonymous freelancers, with most film criticism being written as a hobby by those who care on the internet. I'd like to see Nathan Lee start a blog, as I wish Charles Taylor had. I wonder where he is now.

[Rowland]

Shitty critic Luke Y. Thompson gets his ass handed to him in a comments section over the firing of Nathan Lee. (http://www.thereeler.com/the_blog/lower_your_voice_nathan_lee.ph p)

[Raiders]

Shitty critic Luke Y. Thompson gets his ass handed to him in a comments section over the firing of Nathan Lee. (http://www.thereeler.com/the_blog/lower_your_voice_nathan_lee.ph p)

Good to see Charles Taylor is still alive, anyway.

[Watashi]

I don't know who Luke Thompson is, but most of those remarks towards him seemed pretty unnecessary.

[Philosophe_rouge]

Bunny Lake is Missing (1965) was interesting, and at the very least engrossing... but I'm puzzled at how much I'm supposed to take it at face value. If I'm to take it as an objective account of a kidnapping, then the film becomes extremely simplistic and problematic. On the other hand, if it's more subjective and symbolic than I'm giving it credit too, I feel I'm overanalyzing or trying to find something that simply isn't there. Either way, I think the film is imperfect at least in that it's either too blunt or far too subtle... weird. I do like it quite a bit though.

[Bosco B Thug]

I don't know who Luke Thompson is, but most of those remarks towards him seemed pretty unnecessary.
I dunno, his comment was pretty petty. Unless "brown-trout" is a racial slur I don't know about.

[Raiders]

I don't know who Luke Thompson is, but most of those remarks towards him seemed pretty unnecessary.

http://www.lytrules.com

He wrote for the New Times, the news company that bought Village Voice, whom I think he now sporadically writes for.

[Stay Puft]

Oh man, I just remembered Tsui Hark directed the Black Mask sequel. I think I watched about 20 minutes or so before turning it off. Wasn't feeling it at all. So that's two.

Can't say I'm excited about another Eye film, either.


He definitely has his misses, but this is part of the reason why I like him so much. He's constantly trying new things, and sometimes he hits, and sometimes he misses.

Yes, this is a work ethic I can get behind.

[D_Davis]

Oh man, I just remembered Tsui Hark directed the Black Mask sequel. I think I watched about 20 minutes or so before turning it off. Wasn't feeling it at all. So that's two.

Can't say I'm excited about another Eye film, either.

Yes, this is a work ethic I can get behind.

Black Mask 2 is terrible.

He's got three films coming out in the next year or so:

The Missing - sounds great
The Eye 3 - really?
Judge D - don't know much about

Plus, he said he will be breaking ground soon on Seven Swords 2, so hopefully this also means we will get the full cut of the first film.

[Boner M]

http://www.lytrules.com

On A Woman Under the Influence: "Cassavetes' son Nick essentially directed a variation on this same theme with 1997's She's So Lovely, and it was a massive improvement, adding more characters and actual story. That it was based on yet another script by his father suggests that the elder Cassavetes should perhaps have cranked out a few more drafts before actually making this one."

Seriously VV, what the fuck?

btw, my browser can't open that Reeler link. Anyone care to copy what Taylor said for me?

[Sven]

btw, my browser can't open that Reeler link. Anyone care to copy what Taylor said for me?

Thompson wrote:


I know I'm probably persona non grata here to even comment on this, but is it possible his recent extended leave for unspecified personal reasons had something to do with this?

I claim no insider knowledge and don't know the answer. But it seems possible.

Posted by LYT

To which Taylor wrote:


There are plenty of lousy critics who also manage to be good colleagues and good people. Nathan Lee is a good critic and a good colleague.

Luke Y. Thompson, who is neither, shows his class is every bit equal to his critical acumen by pedaling gossip about a colleague who has just lost his job.

Luke, why don't you see if they need film critics in Iraq? Preferably outside the Green Zone.

Posted by Charles Taylor

[Rowland]

Yeah, I discovered LYT while searching for reviews to vindicate my lukewarm response to Good Night, and Good Luck back when it was released. His review was one of the few negative ones, and lord was it terrible. If I recall correctly, his review essentially boiled down to how much he hates jazz music, so he couldn't stand the movie. And now he writes for the Village Voice...

[number8]

I don't think I can take a critic seriously if he dyes his hair like this.

http://www.lytrules.com/images/heads/LYT_Head_Goof.jpg

[monolith94]

I don't know who Luke Thompson is, but most of those remarks towards him seemed pretty unnecessary.
If LYT had contributed to our 2001 MC census...

http://www.lytrules.com/articles/ShutUpandWatch.htm

[ledfloyd]

Lust, Caution was slightly disappointing. The sex was hot.

[Rowland]

The sex was hot.Really?

[Qrazy]

Really?

The sex was slimy, as sex is wont to be.

[Rowland]

The sex was slimy, as sex is wont to be.I thought the sex was cold, dispassionate, and mechanical, as I'm pretty sure it's meant to be.

[Sycophant]

I don't think I can take a critic seriously if he dyes his hair like this.

http://www.lytrules.com/images/heads/LYT_Head_Goof.jpgLet alone that he deigns to feature it on his website.

[MadMan]

The first ten or twenty minutes of the movie are the best. And though there are a couple good jokes and moments peppered throughout, on the whole, the film's pretty damn meh.Perhaps I'm just easily entertained. Or a second viewing will one day be in order. I'm actually thinking of buying it on DVD.

[Spinal]

If LYT had contributed to our 2001 MC census...

... I would have ridiculed him for having a tie at #1.

[ledfloyd]

I thought the sex was cold, dispassionate, and mechanical, as I'm pretty sure it's meant to be.
hmm... i could go for some cold, dispassionate, mechanical sex if that's the case.

[Qrazy]

I thought the sex was cold, dispassionate, and mechanical, as I'm pretty sure it's meant to be.

I haven't actually seen the film, just wanted to throw slimy out there.

[D_Davis]

So, Tsui Hark's Working Class is not so good. Couldn't even finish it. I think it's really hard for a westerner to appreciate these early '80s HK comedies. They're pretty much just one loud slapstick moment after another, without much plot in between.

[Qrazy]

So, Tsui Hark's Working Class is not so good. Couldn't even finish it. I think it's really hard for a westerner to appreciate these early '80s HK comedies. They're pretty much just one loud slapstick moment after another, without much plot in between.

Oh man, just finished Madhouse's Death Note. If any of you out there are a fan of cat and mouse style thrillers check out this anime. Here's the entire season, three episodes in and you'll be hooked for the duration.

http://www.tv-links.cc/anime/death-note.htm

[Qrazy]

So when's Danny Boyle going to stop pulling a Spielberg and fucking up the end of his movies?

[Spinal]

So when's Danny Boyle going to stop pulling a Spielberg and fucking up the end of his movies?

Heeeere we go.

[number8]

I didn't even know that's called pulling a Spielberg.

[MadMan]

So when's Danny Boyle going to stop pulling a Spielberg and fucking up the end of his movies?Considering I haven't seen any of the Spielberg films with said controversial/not well liked endings for now I can say I've been satisfied with the endings Spielberg has for his movies.

[Spinal]

I can't think of a compelling reason to spend another hour and a half finishing Elizabeth: The Golden Age, so I think we're just going to go our separate ways and pretend last night didn't happen.

[MadMan]

I can't think of a compelling reason to spend another hour and a half finishing Elizabeth: The Golden Age, so I think we're just going to go our separate ways and pretend last night didn't happen.Its really that bad? I'm almost tempted to see it now. But I will resist. I am reminded of how during this month I had two aborted/failed viewings (both on TCM). I actually hate abandoning a film halfway through, but so long as you're not seeing it in theaters I don't have a problem with doing it.

[Sven]

After conquering Jeanne Dielman, I don't think I can ever again say that a movie bored me. Just wouldn't be right.

[Raiders]

After conquering Jeanne Dielman, I don't think I can ever again say that a movie bored me. Just wouldn't be right.

I have read this ten times and I still don't understand it.

[Mysterious Dude]

I have read this ten times and I still don't understand it.
I interpreted it to mean that Jeanne Dielman is so boring that all other movies are interesting or entertaining by comparison.

[Qrazy]

Considering I haven't seen any of the Spielberg films with said controversial/not well liked endings for now I can say I've been satisfied with the endings Spielberg has for his movies.

# Munich (2005)
# War of the Worlds (2005)
# The Terminal (2004)
# Minority Report (2002)
# Artificial Intelligence: AI (2001)
... aka A.I. Artificial Intelligence (USA: poster title)
# Saving Private Ryan (1998)
# The Lost World: Jurassic Park (1997)

I would go so far as to say that every single one of these films (to varying degrees), has had a weaker (to down right bad) third act than the earlier portions of each film. Let me rectify my statement to say that sometimes it's just the last few minutes of each film and not the entire third act.


# Sunshine (2007)
# Millions (2004)
# 28 Days Later... (2002)

Same thing here, maybe not that badly with Millions.

[Qrazy]

I didn't even know that's called pulling a Spielberg.

Perhaps I should have said a contemporary Spielberg.

It's really a shame too since the endings of his earlier films (by and large) often contained the strongest, most engaging and climactic moments of the films.

[Spinal]

Munich (2005) No
War of the Worlds (2005) No
The Terminal (2004) Haven't seen
Minority Report (2002) Yes
Artificial Intelligence: AI (2001) Yes
Saving Private Ryan (1998) No, it's the middle part that sucks
The Lost World: Jurassic Park (1997) No, the whole film (apart from one action set piece) sucks
Sunshine (2007) No
Millions (2004) Haven't seen
28 Days Later... (2002) No

[Melville]

# 28 Days Later... (2002)
I thought the third act in 28 Days Later was pretty damn funny. Nothing like a previously average guy turning into a crazd killer commando all of a sudden for no discernible reason.

[Russ]

# Munich (2005)
# War of the Worlds (2005)
# The Terminal (2004)
# Minority Report (2002)
# Artificial Intelligence: AI (2001)
... aka A.I. Artificial Intelligence (USA: poster title)
# Saving Private Ryan (1998)
# The Lost World: Jurassic Park (1997)

I would go so far as to say that every single one of these films (to varying degrees), has had a weaker (to down right bad) third act than the earlier portions of each film.

I would add The Color Purple to this list. However, I disagree with The Lost World. The last act was the best part, imo.

[Qrazy]

I thought the third act in 28 Days Later was pretty damn funny. Nothing like a previously average guy turning into a crazd killer commando all of a sudden for no discernible reason.

It's like Straw Dogs... but from the outside in!

[Qrazy]

I would add The Color Purple to this list. However, I disagree with The Lost World. The last act was the best part, imo.

Even the speech at the end of Schindler's List is probably the weakest part of the film, the one major thing I would change about the film.

It's been too long for The Lost World for me to defend including that one, you may be right.

[monolith94]

Well, the Terminal doesn't really fit because that just sucked all around.

[Qrazy]

Well, the Terminal doesn't really fit because that just sucked all around.

Yeah, but the ending still managed to be the worst part... the opening of the box, the mop defense? Good lordy god.

[Morris Schæffer]

War of the Worlds (2006) No
Minority Report (2002) Yes

Is there a deeper reasoning here (major plot hole perhaps) or do things boil down to "why the heck does it have to be a "happy" ending?" I don't understand your approval of War of the Worlds, but not the 2002 movie.

[Grouchy]

The worst part about Munich's third act (or, more like everything after Bana returns from the mission than an actual third act) is that it puts on the screen the discussion the audience should have on their way out of the movie.

[MadMan]

# Munich (2005)
# War of the Worlds (2005)
# The Terminal (2004)
# Minority Report (2002)
# Artificial Intelligence: AI (2001)
... aka A.I. Artificial Intelligence (USA: poster title)
# Saving Private Ryan (1998)
# The Lost World: Jurassic Park (1997)

I would go so far as to say that every single one of these films (to varying degrees), has had a weaker (to down right bad) third act than the earlier portions of each film. Let me rectify my statement to say that sometimes it's just the last few minutes of each film and not the entire third act.


# Sunshine (2007)
# Millions (2004)
# 28 Days Later... (2002)

Same thing here, maybe not that badly with Millions.Out of those I've only seen The Terminal, SPR, and TLW. "Terminal" has a weak third act that almost ruins the film, but I found the ending to be satisfying. I really wish they had dumped the love subplot in that movie as it almost destroys anything good the film accomplishes. SPR's ending actually had meaning, although I don't know if Spielberg should have ended with that scene. I imagine to many vets of the war though it was pretty emotional for them to watch. I'm trying not to assume that however. TLW's third act is pretty mediocre, and only drags out a film that wears out its welcome really fast. But hey the evil corporate dude gets eaten! :lol:

Oh and the most boring film I've ever seen is Swimming Pool(2003). Yes I'm going to continue bashing that film, especially since it even had tits and ass for God's sake and still not a damn thing of real interest even happened.

[baby doll]

I interpreted it to mean that Jeanne Dielman is so boring that all other movies are interesting or entertaining by comparison.Well that's just nuts, because Jeanne Dielman is anything but boring.

[number8]

# Munich (2005) - So boring I've never made it to the ending.
# War of the Worlds (2005) - The entire movie sucked, not just the ending.
# The Terminal (2004) - See above.
# Minority Report (2002) - It's weak, but it's so predictably telegraphed that I don't see how anyone can be disappointed by it.
# Artificial Intelligence: AI (2001) - The ending ruled.
# Saving Private Ryan (1998) - The ending is the best part.
# The Lost World: Jurassic Park (1997) - The ending MADE the movie.

[Qrazy]

# Artificial Intelligence: AI (2001) - The ending ruled.
# Saving Private Ryan (1998) - The ending is the best part.

I'm not one of the big haters of the AI ending, but I still think it's poorly paced.

Ehh, I don't like when Spielberg book ends his movies, always seems like overkill to me... even when it sort of kind of works thematically it's always an aesthetic stumble.

[baby doll]

Might as well weigh in:

Munich (2005): The ending was way heavy-handed, just like the rest of the movie.
War of the Worlds (2005): I liked this ending better when it was called The Searchers.
The Terminal (2004): The ending was especially retarded.
Catch Me if You Can (2002): Mildly amusing heist flick stretched out beyond any reasonable measure.
Minority Report (2002): An unambiguously happy ending is still an unambiguously happy ending, even if it's ambiguous whether or not he's dreaming.
A.I. Artificial Intelligence (2001): The ending rules.
Saving Private Ryan (1998): The ending sucked, like everything else.

[dreamdead]

Polanski's The Tenent is unfortunately most interesting in the first thirty minutes to me, when Polanski's Trelkovsky and Stella fashion a relationship of sexual pleasures out of an interest in a dying friend. Being a whole study of internal psychopathology and warped impressions in apartment building (a la Repulsion and Rosemary's Baby), though, I felt that the lack of narrative logic during the end damaged the film's cohesiveness here, as the whole film becomes a circular act without any real entryway in. That is, the film feels incomplete and unclear in its own narrative, which hinders any sense of my interest.

Interesting to see cinematographer Sven Nykvist subordinate his usual Bergman tendencies for this type of a film.

[Qrazy]

...

And on Boyle?

[Watashi]

Spielberg has never made a bad ending.

[Qrazy]

Polanski's The Tenent is unfortunately most interesting in the first thirty minutes to me, when Polanski's Trelkovsky and Stella fashion a relationship of sexual pleasures out of an interest in a dying friend. Being a whole study of internal psychopathology and warped impressions in apartment building (a la Repulsion and Rosemary's Baby), though, I felt that the lack of narrative logic during the end damaged the film's cohesiveness here, as the whole film becomes a circular act without any real entryway in. That is, the film feels incomplete and unclear in its own narrative, which hinders any sense of my interest.

Interesting to see cinematographer Sven Nykvist subordinate his usual Bergman tendencies for this type of a film.

I didn't really have those problems with the film, I just thought it was generally more interesting that Repulsion on most levels (and as you note they deal with similar themes). I really loved Polansky's use of mirrors during the dream sequence to create a disorienting environment in the stairwells.

[baby doll]

And on Boyle?I've just seen Trainspotting and Millions, and didn't have a problem with either ending.

[Benny Profane]

Anyone who has a problem with Trainspotting's ending can see me out in the parking lot.

[Qrazy]

Anyone who has a problem with Trainspotting's ending can see me out in the parking lot.

No one does.

[Benny Profane]

No one does.

I was just saying.

[Qrazy]

I was just saying.

Fair.

[Ivan Drago]

# Artificial Intelligence: AI (2001)
... aka A.I. Artificial Intelligence (USA: poster title)


AI's third act made me bawl my fucking eyes out because it was so powerful.

[number8]

I'm not one of the big haters of the AI ending, but I still think it's poorly paced.

Meh. You know what's poorly paced? Schindler's List's ending.


Ehh, I don't like when Spielberg book ends his movies, always seems like overkill to me... even when it sort of kind of works thematically it's always an aesthetic stumble.

Sorry, I was thinking about the third act, which is the only part worthwhile in that movie. But the bookend only works because of the twist. Otherwise it's hammy, but that's already set up with the super-hammy opening.

[Yxklyx]

AI's third act made me bawl my fucking eyes out because it was so powerful.

The Third Act or the Epilogue? I always considered the scenes after the Underwater Blue Fairy as an epilogue.

[Spinal]

Do they make four-act and five-act films? If so, what would be an example?

[Qrazy]

Meh. You know what's poorly paced? Schindler's List's ending.

Well yeah.


Sorry, I was thinking about the third act, which is the only part worthwhile in that movie. But the bookend only works because of the twist. Otherwise it's hammy, but that's already set up with the super-hammy opening.

Yeah, no one's saying these endings come out of left field, they just don't stack up to the rest of the film.

[Rowland]

Yeah, the ending to Schindler's List is dreadful.
War of the Worlds is nearly a masterpiece until the last act.
Munich's ending is twice as long as it needs to be.
The ending for Saving Private Ryan is fine, but the bookending cemetary stuff tickles my gag reflex.
The Terminal is lame all-around. The scene with the janitor running out onto the runway is the worst part, was that near the ending?
A.I.'s ending is wonderful once you get the gist of what Spielberg is doing.
Nobody has mentioned it, but Empire of the Sun has a fantastic ending.
I'd need to see Minority Report again to judge its ending. Ditto Catch Me If You Can.
I don't remember Amistad's ending, but I'm sure it sucked.

[Duncan]

Do they make four-act and five-act films? If so, what would be an example?

Lawrence of Arabia?

And if you're going to count episodic narrative structure then there're tons.

[Spinal]

Lawrence of Arabia?

And if you're going to count episodic narrative structure then there're tons.

Yeah, I guess Dogville fits the bill somehow.

[Ivan Drago]

The Third Act or the Epilogue? I always considered the scenes after the Underwater Blue Fairy as an epilogue.

The epilogue, as you call it.

[baby doll]

Do they make four-act and five-act films? If so, what would be an example?I'm pretty sure Chinatown has more than five plot twists: when the guy dies would be the first act break, and then when Faye Dunaway hires him that would be another act break. And of course the last act break is the whole "my sister, my daughter" scene. So that's already four acts, counting everything after the last act break.

[Spinal]

I'm pretty sure Chinatown has more than five plot twists: when the guy dies would be the first act break, and then when Faye Dunaway hires him that would be another act break. And of course the last act break is the whole "my sister, my daughter" scene. So that's already four.

Good example. I bring it up because people seem to use the act-structure in regards to film synonomously with "beginning, middle and end" with the assumption that there are always three acts. I was just wondering how much this stuff gets thought through.

[baby doll]

Good example. I bring it up because people seem to use the act-structure in regards to film synonomously with "beginning, middle and end" with the assumption that there are always three acts. I was just wondering how much this stuff gets thought through.It seems to me that terms like "three act script" get filtered down into the mainstream discourse about film without them ever being properly explained. I mean, some one just said they felt everything after the Blue Fairy in A.I. was the epilogue, but in scriptwriting there is no such thing as an epilogue. When David wakes up to his perfect day with Monica, that's the beginning of the last act. (The last act is always the shortest because it's what happens after the last plot twist.) So in fact, after the Blue Fairy, there are really two act breaks: when the robots find him 2000 years later, and the last day with Monica.

[Qrazy]

Good example. I bring it up because people seem to use the act-structure in regards to film synonomously with "beginning, middle and end" with the assumption that there are always three acts. I was just wondering how much this stuff gets thought through.

It gets thought through a lot. I have rarely seem anyone mistakenly identify the major acts of a film.

[Spinal]

It gets thought through a lot. I have rarely seem anyone mistakenly identify the major acts of a film.

OK then, if Baby Doll's definition is accurate, why have I never seen a film criticized for running into trouble in the 4th act?

[Qrazy]

It seems to me that terms like "three act script" get filtered down into the mainstream discourse about film without them ever being properly explained. I mean, some one just said they felt everything after the Blue Fairy in A.I. was the epilogue, but in scriptwriting there is no such thing as an epilogue. When David wakes up to his perfect day with Monica, that's the beginning of the last act. (The last act is always the shortest because it's what happens after the last plot twist.) So in fact, after the Blue Fairy, there are really two act breaks: when the robots find him 2000 years later, and the last day with Monica.

Acts are just divisions into major sections, either narrative, tonal or both.

Of course there are epilogues in films, what are you talking about?

[Spinal]

Of course there are epilogues in films, what are you talking about?

I think Y tu mama tambien pretty clearly has an epilogue, but what do I know?

[baby doll]

Acts are just divisions into major sections, either narrative, tonal or both.

Of course there are epilogues in films, what are you talking about?In the case of A.I. you could make the argument that there are three major act breaks--bringing David home, dropping him in the woods, and then the last day with Monica--and then in between, you have all these smaller act breaks like when Monica's biological son miraculously getts better, or when he goes to Manhattan and learns all that stuff, and when the aliens find him, and so on.

[Qrazy]

OK then, if Baby Doll's definition is accurate, why have I never seen a film criticized for running into trouble in the 4th act?

Because usually the two middle acts can be grouped as one, making four act films (even plays) the exception. Plus a lot of modern films drift all over the place, so grouping them in a classical three act structure doesn't really work.

I suppose quite a few films that are split down the middle could be further subdivided into four or more, if it made sense to, but it's usually just easier to critique the second half of such a film (ala Full Metal Jacket) than the second half of the second half or the first half of the second half.

[baby doll]

I think Y tu mama tambien pretty clearly has an epilogue, but what do I know?It's been a while since I've seen it, but if memory serves, the big reveal is that she has cancer which I think happens in the coffee shop sequence at the end, so the last act of that movie is really short and to the point. An epilogue would be something like Animal House where there's text explaining what happens to the characters twenty years down the road.

[Qrazy]

In the case of A.I. you could make the argument that there are three major act breaks--bringing David home, dropping him in the woods, and then the last day with Monica--and then in between, you have all these smaller act breaks like when Monica's biological son miraculously getts better, or when he goes to Manhattan and learns all that stuff, and when the aliens find him, and so on.

Sure, I'm not saying AI shouldn't be said to have basically four acts (further subdivisions may as well just be labeled scenes in my opinion, for simplicity's sake). All I'm saying is that films can certainly have epilogues.

[baby doll]

Sure, I'm not saying AI shouldn't be said to have basically four acts (further subdivisions may as well just be labeled scenes in my opinion, for simplicity's sake). All I'm saying is that films can certainly have epilogues.I don't know if scenes are interchangable with act breaks. I mean, a scene is anything that happens in a particular location. To take another example from A.I., when he eats at the dinner table, that's a scene and something happens, but it's not a turning point in the narrative.

[Qrazy]

It's been a while since I've seen it, but if memory serves, the big reveal is that she has cancer which I think happens in the coffee shop sequence at the end, so the last act of that movie is really short and to the point. An epilogue would be something like Animal House where there's text explaining what happens to the characters twenty years down the road.

I'd say Return of the King has a nearly half hour epilogue, particularly if the last half hour is viewed in relation to the entire series. I wonder if some day soon they'll broadcast the series on TV ala the extended Godfather cut. The Two Towers extended is the only one I thought benefited the original film, but if it was split up decalogue style I think the additions would work a lot better... so that it feels like an expansion of the world more so than unnecessary excess.

[Qrazy]

I don't know if scenes are interchangable with act breaks. I mean, a scene is anything that happens in a particular location. To take another example from A.I., when he eats at the dinner table, that's a scene and something happens, but it's not a turning point in the narrative.

Maybe, but very often in cinema you have scenes that don't really take place in a particular location as a result of montage (JFK, Lynch films, etc) but still demand tonal separation from preceding scenes.

[baby doll]

Maybe, but very often in cinema you have scenes that don't really take place in a particular location as a result of montage (JFK, Lynch films, etc) but still demand tonal separation from preceding scenes.There's a difference between a scene and a sequence, a scene being confined to one location at one time, and a sequence having a beginning, middle and an end. In the case of JFK, there's a sequence where they're talking about Oswald over dinner and the conversation is inter-cut with shots of photos being doctored in a lab, which is two scenes, shot on two different days, but it's one sequence.

[baby doll]

I'd say Return of the King has a nearly half hour epilogue, particularly if the last half hour is viewed in relation to the entire series.And I would say it's the longest final act in the history of cinema, especially if you consider the trilogy one continuous film (and you could make that case, since the goal all along is for them to destroy the ring and that doesn't happen until the third film).

[Grouchy]

People, not every plot twist is an act break. I'm not thinking in a case by case basis about other movies, but out of all those you already mentioned (Chinatown, Dogville), I don't think any of them have more than two act breaks.

[Spinal]

People, not every plot twist is an act break. I'm not thinking in a case by case basis about other movies, but out of all those you already mentioned (Chinatown, Dogville), I don't think any of them have more than two act breaks.

So what is an act then? It sounds like to you the three-act structure is synonomous with "beginning, middle and end". Yes? No?

[Qrazy]

There's a difference between a scene and a sequence, a scene being confined to one location at one time, and a sequence having a beginning, middle and an end. In the case of JFK, there's a sequence where they're talking about Oswald over dinner and the conversation is inter-cut with shots of photos being doctored in a lab, which is two scenes, shot on two different days, but it's one sequence.

Scenes also have beginnings, middles and ends. Anyway, I prefer Bickham's definition of a scene... Statement of a goal, introduction and development of conflict, failure of the character to reach his goal. I prefer this way particularly because even in theater you can have scenes which take place in multiple locations and it allows for more discrete groupings. That is to say that you can have multiple scenes following each other which both take place in the same location, but still ought to be grouped separated (Rope, Tape, etc) for narrative and tonal reasons.

I find it makes more sense to group a montage sequence in JFK inside a scene rather than the other way around.

[Grouchy]

So what is an act then? It sounds like to you the three-act structure is synonomous with "beginning, middle and end". Yes? No?
Yes. YES! I'm square as a dice.

No, in all seriousness, I think that the many plot twists in Chinatown, for example, don't always change the meaning of the story and the purpose of the protagonist in the larger scheme of the movie. And the big reveal at the end, I don't know about counting that as an act break. The same way Bruce Willis being dead in Sixth Sense is not an act break, since the movie ends with the plot twist.

[dreamdead]

Speaking of lameness, so is your rating for Polanski's film.

First hour is awesomeness, nicely contained and atmospheric. Paradoxically for me, though, the second hour loses its narrative thread even as it becomes more and more about the atmosphere. I find the "twist" at the end to be mind-numbingly bad, and so that offsets the intrigue in how Trelkovsky can do the jump twice. In other words, it doesn't feel dreamy enough throughout to justify the transition to complete dream logic by story's end.


It's the spelling that I find objectionable.

I know not from which thee speak.

[Qrazy]

First hour is awesomeness, nicely contained and atmospheric. Paradoxically for me, though, the second hour loses its narrative thread even as it becomes more and more about the atmosphere. I find the "twist" at the end to be mind-numbingly bad, and so that offsets the intrigue in how Trelkovsky can do the jump twice. In other words, it doesn't feel dreamy enough throughout to justify the transition to complete dream logic by story's end.



I know not from which thee speak.

I dunno man, it felt pretty dreamy to me throughout... a man's descent into madness.

It's actually spelled The Tenasplakjsefnt.

[Spinal]

It's actually spelled The Tenasplakjsefnt.

This always throws people because the f is silent.

[Yxklyx]

It seems to me that terms like "three act script" get filtered down into the mainstream discourse about film without them ever being properly explained. I mean, some one just said they felt everything after the Blue Fairy in A.I. was the epilogue, but in scriptwriting there is no such thing as an epilogue. When David wakes up to his perfect day with Monica, that's the beginning of the last act. (The last act is always the shortest because it's what happens after the last plot twist.) So in fact, after the Blue Fairy, there are really two act breaks: when the robots find him 2000 years later, and the last day with Monica.

I call it an epilogue because the story/movie could have ended right there. Also, because epilogues tend to be short, as this is. Maybe there's another word for this?

[Spinal]

I call it an epilogue because the story/movie could have ended right there. Also, because epilogues tend to be short, as this is. Maybe there's another word for this?

A coda?

[Yxklyx]

Bunny Lake is Missing (1965) was interesting, and at the very least engrossing... but I'm puzzled at how much I'm supposed to take it at face value. If I'm to take it as an objective account of a kidnapping, then the film becomes extremely simplistic and problematic. On the other hand, if it's more subjective and symbolic than I'm giving it credit too, I feel I'm overanalyzing or trying to find something that simply isn't there. Either way, I think the film is imperfect at least in that it's either too blunt or far too subtle... weird. I do like it quite a bit though.

I liked it a lot as well but mostly because of Olivier - and I'm not a big fan of his. I usually just respect his performances. He was fantastic in this.

[Mysterious Dude]

So what is an act then? It sounds like to you the three-act structure is synonomous with "beginning, middle and end". Yes? No?

What I learned in screenwriting class is that Act I ends when the protagonist sets out to accomplish something (i.e. David decides to look for mom/become a real boy), and Act II ends when he either succeeds or fails to accomplish that task. I'd say Act III begins when the robots decide to resurrect Mom for a day.

That might be an oversimplification, and of course, not all movies are about a person trying to accomplish something (but most are, especially Spielberg's).

[Yxklyx]

Netflix needs to fix their suggestion algorithm:

"You have 803 Suggestions from 2118 ratings"

That's a ridiculously large number of suggestions.

[number8]

What I learned in screenwriting class is that Act I ends when the protagonist sets out to accomplish something (i.e. David decides to look for mom/become a real boy), and Act II ends when he either succeeds or fails to accomplish that task. I'd say Act III begins when the robots decide to resurrect Mom for a day.

That might be an oversimplification, and of course, not all movies are about a person trying to accomplish something (but most are, especially Spielberg's).

Correctness, finally.

It's almost always related to the character arc.

ACT I = Normal life --(catalyst happens)--> New life.
ACT II = Reacting to the new life --(various shit occurs)--> Rock bottom/success.
ACT III = Second try/unexpected shit --(the last haul)--> Normal life (but a new status quo).

If you simplify stories this way, almost every movie ever made will fit into the template.

But really, the main reason why so many movies fit to this (and why it's so commonly accepted) is because they're purposefully made that way. I've learned that one very important thing to do when you . This way they can visualize the lenght and pacing of the film as they listen to the story.

This is in a way similar to the audience's reaction. Not every plot twist is an act break, as Grouchy said, but when you watch Hollywood films you generally have an idea as to how far into the journey you are.

[D_Davis]

What's more, with the general 120 page limit of most scripts, the acts can be further broken down by number of pages.

He talks about this in his book The Writer's Journey; it's quite good.

[Qrazy]

What's more, with the general 120 page limit of most scripts, the acts can be further broken down by number of pages.

He talks about this in his book The Writer's Journey; it's quite good.

Writer's Journey... Hero's Journey... Jesus murphy I feel the need to slap some book titler's in the face.

[balmakboor]

What's more, with the general 120 page limit of most scripts, the acts can be further broken down by number of pages.

He talks about this in his book The Writer's Journey; it's quite good.

I don't remember Vogler being into page counting. I thought it was started by Syd Field and then taken to its ridiculous conclusion by that write a script in 21 days chick (can't remember her name, too lazy to look it up). She proposed you start a script by binding 121 blank sheets of paper together (including title page) and fanning through it a few times. A copy of her book can be glimpsed in an exec's drawer during a scene in The Player.

[Spinal]

What's more, with the general 120 page limit of most scripts, the acts can be further broken down by number of pages.

He talks about this in his book The Writer's Journey; it's quite good.

Of all the reasons to break up a script into acts, "what page you are on" seems one of the least compelling.

[Mysterious Dude]

Of all the reasons to break up a script into acts, "what page you are on" seems one of the least compelling.

Plus, you're supposed to establish who you're talking about before you go around using pronouns like "he."

[Spinal]

This is all much easier in the theatre world where act breakdowns occur at the place where you think it is likely the audience will have to pee.

I believe that's right out of Aristotle's Poetics.

[Spinal]

If I enjoyed Norbit, Netflix thinks that I will also like License to Wed.

I cannot argue with that logic.

[Qrazy]

This is all much easier in the theatre world where act breakdowns occur at the place where you think it is likely the audience will have to pee.

I believe that's right out of Aristotle's Poetics.

Earlier even, here's what the bible has to say concerning the length of intermissions, and I quoteth:

And the Lord spake, saying, "First shalt thou place in the interval. Then shalt thou count to three, no more, no less. Three shall be the number thou shalt count, for this is the time taken to expel thine urinary fluids. Four shalt thou not count, neither count thou two, excepting that thou then proceed to three. Five is right out. Once the number three, being the third number, be reached, then proceedeth to the next act, which shall lasteth until the filling of the bladder once more, Amen."

[D_Davis]

Of all the reasons to break up a script into acts, "what page you are on" seems one of the least compelling.

Woops! :lol:

He = Christopher Vogler

But to Spinal's point... Vogler, after professionally reading over 10,000 of scripts, found that there is indeed a pattern that most (we are speaking in generalizations here) follow. It closely follows the hero's journey.

This is not a "magical formula" or a set in stone practice, but what Vogler found is this:

Act 1 - 30 pages
1. Ordinary World
2. Call Adventure
3. Refusal of the call
4. Meeting the mentor
5. Crossing the first threshold

Act 2 - 60 pages
6. Tests, allies, and enemies
7. Approach to the inmost cave
8. Ordeal
9. Reward

Act 3 - 30 pages
10. The road back
11. Resurrection
12. Return with the elixer

Again, it's not that authors/screenwriters consciously followed this formula, it just so happens that, since so many stories follow the inadvertently follow the hero's journey, enough screenplays have act breaks that come right on or right around these page marks.

He uses this to coach new or developing writers, as something to shoot for. And, since studios really do like that 120-page length, it is something to keep in mind when writing. It's no different than keeping a word-count total in mind when writing a novel.

[Duncan]

Act 1 - 30 pages
1. Ordinary World
2. Call Adventure
3. Refusal of the call
4. Meeting the mentor
5. Crossing the first threshold

Act 2 - 60 pages
6. Tests, allies, and enemies
7. Approach to the inmost cave
8. Ordeal
9. Reward

Act 3 - 30 pages
10. The road back
11. Resurrection
12. Return with the elixer

Describing a film like this is almost like pleading with me to skip it.