28 Film Discussion Threads Later

[Colonel Blimp]

Everything he does is so refreshingly unique.

Anyone seen or know anything about The Adventure of Iron Pussy (2003)?

I dled it on KG a while back, but haven't gotten around to watching it....He apparently was codirector on this...it looks completely different than anything he's done.

That's a rich title.

By the way, many, many months ago, I believe you recommended me Sjöström's He Who Gets Slapped. Was that you? I seem to remember it being on of your favourites, so maybe it was implicit.

http://i171.photobucket.com/albums/u309/SuperSveny123/slapped.jpg

If so, I enjoyed it immensely. Lon Chaney must be one of the great silent actors.

[Stay Puft]

I dled it on KG a while back, but haven't gotten around to watching it

Same.

My understanding is that Weerasethakul considers it more Michael Shaowanasai's film. I don't know much about him other than he's a performance artist. The movie looks like a blast, though.

[origami_mustache]

That's a rich title.

By the way, many, many months ago, I believe you recommended me Sjöström's He Who Gets Slapped. Was that you? I seem to remember it being on of your favourites, so maybe it was implicit.

http://i171.photobucket.com/albums/u309/SuperSveny123/slapped.jpg

If so, I enjoyed it immensely. Lon Chaney must be one of the great silent actors.

It is one of my favorites, so I probably recommended it...glad you enjoyed and welcome.

[Philosophe_rouge]

That's a rich title.

By the way, many, many months ago, I believe you recommended me Sjöström's He Who Gets Slapped. Was that you? I seem to remember it being on of your favourites, so maybe it was implicit.

http://i171.photobucket.com/albums/u309/SuperSveny123/slapped.jpg

If so, I enjoyed it immensely. Lon Chaney must be one of the great silent actors.
Lon Chaney is incredible, I really need to watch more of his films, especially his Browning collaborations. I've only seen thE Unknown.

[Beau]

That's a rich title.

By the way, many, many months ago, I believe you recommended me Sjöström's He Who Gets Slapped. Was that you? I seem to remember it being on of your favourites, so maybe it was implicit.

http://i171.photobucket.com/albums/u309/SuperSveny123/slapped.jpg

If so, I enjoyed it immensely. Lon Chaney must be one of the great silent actors.

This looks interesting. The title is priceless.

[SirNewt]

I'm such a modern film-loving bastard. All ever.

Takeshi Kitano
Woody Allen
Wes Anderson
Isao Takahata
Takashi Miike
Stephen Chow
Charles Chaplin
Preston Sturges
Akira Kurosawa
Alfred Hitchcock

I'm really sure that Leo McCarey, Orson Welles, and Yasujiro Ozu will end up here eventually, but I need to see a lot, lot more of their work till I can do that.

Good, then perhaps we balance this place out.

Mine are all dead.

Mizoguchi
Wilder
Kubrick
Fellini
Curtiz
Ozu
Hitchcock
Kurosawa
Bresson
Tarkovsky

[SirNewt]

BTW, all. How many currently in your Netflix queue?

399 here

[EyesWideOpen]

BTW, all. How many currently in your Netflix queue?

399 here

mine's at about 420 although i've only watched like 1 movie in the last three weeks so it's not going down anytime soon.

[Kurosawa Fan]

445 movies in my queue.

[origami_mustache]

BTW, all. How many currently in your Netflix queue?



maxed out

[MadMan]

So The General was quite funny, and really highly entertaining. I know that there's a difference between Buster Keaton's work and Charlie Chaplin's, but I haven't seen enough from either one to really put my finger on what it is. Anyways this being my first Keaton I really enjoyed it, and I liked some of the stunts he performed and the fact that his expression really never changed. Which reminds me a lot of Bill Murray actually, in terms of the whole deadpan comedic bit. So far this year has seen me seeing a bit more in terms of silent film, and I'm actually bummed that I have to work this Sunday seeing as I'll miss half of the Abel Gance double bill they're going to be showing that night.

[Beau]

So The General was quite funny, and really highly entertaining. I know that there's a difference between Buster Keaton's work and Charlie Chaplin's, but I haven't seen enough from either one to really put my finger on what it is. Anyways this being my first Keaton I really enjoyed it, and I liked some of the stunts he performed and the fact that his expression really never changed. Which reminds me a lot of Bill Murray actually, in terms of the whole deadpan comedic bit. So far this year has seen me seeing a bit more in terms of silent film, and I'm actually bummed that I have to work this Sunday seeing as I'll miss half of the Abel Gance double bill they're going to be showing that night.

Yeah, that's a good film. Although the critical praise it receives is often a bit astonishing, to be honest. Still, very funny, contains some classic scenes, fabulous stunts, and is very well-paced. That said, I think Sherlock Jr. is superior. The stunts are just as spectacular, but the film itself is more formally inventive, and frankly, more interesting, dealing as it does with meta-narrative conceits, visual tricks, and the powerful grasp of fiction. Wonderful movie - should be your next Keaton foray.

[origami_mustache]

Yeah, that's a good film. Although the critical praise it receives is often a bit astonishing, to be honest. Still, very funny, contains some classic scenes, fabulous stunts, and is very well-paced. That said, I think Sherlock Jr. is superior. The stunts are just as spectacular, but the film itself is more formally inventive, and frankly, more interesting, dealing as it does with meta-narrative conceits, visual tricks, and the powerful grasp of fiction. Wonderful movie - should be your next Keaton foray.

I've only seen a couple other Keaton films and some shorts and I like his films quite a bit, but this is a case where I think the reputation far exceeds the product. There is scarcely enough of a narrative here for this to exceed 30 minutes, yet they stretch it out and really beat the stunts and gags into the ground until they don't aren't even very funny or exciting towards the end. The Confederate protagonists was also a turn off for me.

[baby doll]

Everything he does is so refreshingly unique.See, I didn't think Syndromes and a Century was either refreshing or unique; in fact, not only is he blatantly repeating himself, but he even starts cribbing from Antonioni at the end. There's some amusing stuff (the monk who wants to be a DJ), but it's just so tedious and dull.

[MacGuffin]

See, I didn't think Syndromes and a Century was either refreshing or unique; in fact, not only is he blatantly repeating himself, but he even starts cribbing from Antonioni at the end. There's some amusing stuff (the monk who wants to be a DJ), but it's just so tedious and dull.

Sooriyakumaran, how I have missed conversing with thee! How's Korea? Oh, and you're wrong. ;)

[Beau]

I've only seen a couple other Keaton films and some shorts and I like his films quite a bit, but this is a case where I think the reputation far exceeds the product. There is scarcely enough of a narrative here for this to exceed 30 minutes, yet they stretch it out and really beat the stunts and gags into the ground until they don't aren't even very funny or exciting towards the end. The Confederate protagonists was also a turn off for me.

What, The General? Yeah, I was also underwhelmed. Largely because, despite its stunts and production values, there was little else to the film - the formal elements are not as interesting as in other silent films, and the story was sweet, but not remarkably engaging. That said, I enjoyed it, but cannot agree with the critical consensus.

By the way, glad you enjoyed Landscapes in the Mist. I would rate it higher, personally, but all positive scores are fine by me.

[Spinal]

The General is awesome, but Seven Chances is the straight-up funniest.

[ledfloyd]

Allen
Welles
Coens
Hitchcock
Kieslowski
Hawks
Wilder
Lynch
Kubrick
Leone

Truffaut and Fellini just miss the cut

[origami_mustache]

What, The General? Yeah, I was also underwhelmed. Largely because, despite its stunts and production values, there was little else to the film - the formal elements are not as interesting as in other silent films, and the story was sweet, but not remarkably engaging. That said, I enjoyed it, but cannot agree with the critical consensus.

By the way, glad you enjoyed Landscapes in the Mist. I would rate it higher, personally, but all positive scores are fine by me.

Yeah, I completely agree, the train gimmick just got tedious...I mean I still liked the film, but the other stuff I've seen from Keaton is on a different level.

As for Landscapes in the Mist, I guess I just wasn't blown away by it. There are some striking images and scenes, but the formula was certainly something I've seen before. I guess I felt some things were a bit heavy handed as well, however I think Angelopoulos handles the material well on the whole and does brings something unique to the table.

[Derek]

BTW, all. How many currently in your Netflix queue?

399 here

Been maxed out (500) for a few years now.

[Beau]

As for Landscapes in the Mist, I guess I just wasn't blown away by it. There are some striking images and scenes, but the formula was certainly something I've seen before. I guess I felt some things were a bit heavy handed as well, however I think Angelopoulos handles the material well on the whole and does brings something unique to the table.

I can't say I ever thought it was heavy-handed, personally. Some of the things that happen to the siblings are admittedly brutal and harsh. But I thought there was a calm sadness to the film's aesthetic that gave each episode a kind of emotional gravity, preventing the story from ever becoming mawkish. It's a visually poetic piece, shot with a kind of lingering, curious quality that I found emotionally resonant, and even mysterious.

[origami_mustache]

I can't say I ever thought it was heavy-handed, personally. Some of the things that happen to the siblings are admittedly brutal and harsh. But I thought there was a calm sadness to the film's aesthetic that gave each episode a kind of emotional gravity, preventing the story from ever becoming mawkish. It's a visually poetic piece, shot with a kind of lingering, curious quality that I found emotionally resonant, and even mysterious.

I agree with for the most part. There were just a few minor moments that come to mind; the story the children tell each other and the way the girl articulated things in her letters. I think I'm just turned off by poetic dialogue.

The helicopter carrying the stone hand could be considered heavy handed as well. (badum ching)

[chrisnu]

Anyone hear anything about The Visitor? Interesting to see Richard Jenkins in a leading role. I enjoyed The Station Agent quite a bit, so this piqued my interest.

http://imdb.com/title/tt0857191/

[SirNewt]

Been maxed out (500) for a few years now.

Guess I never knew the max. I imagine my next film research binge will cause me to hit maxed

[Sven]

Hooray for Tati's Trafic and anamorphic High and Low being announced for July (Criterion).

[MacGuffin]

Guess I never knew the max. I imagine my next film research binge will cause me to hit maxed

I only have Dans Paris and Frontiers in my queue, neither of which are out yet. I used to have over 300 or so, but that was just too overwhelming. Now I just pick what I'm up for seeing any given week.

[MacGuffin]

Hooray for Tati's Trafic and anamorphic High and Low being announced for July (Criterion).

I thought you should know I caught Sunset Boulevard a while back, and loved it.

[Beau]

The helicopter carrying the stone hand could be considered heavy handed as well. (badum ching)

I should slap you for that one. :lol:

[Sycophant]

Everything he does is so refreshingly unique.

Anyone seen or know anything about The Adventure of Iron Pussy (2003)?

I dled it on KG a while back, but haven't gotten around to watching it....He apparently was codirector on this...it looks completely different than anything he's done.

I bought a copy last year. Been meaning to watch it, but kind of feel like I should see at least one more of Joe's films aside from Syndromes and a Century before I watch it.

[Sven]

I thought you should know I caught Sunset Boulevard a while back, and loved it.

It's quite excellent. I was floored the first time I saw it, but its effect somehow, I don't know if it was through ubiquity or what, became nerfed on repeat viewings. I watched it again a month or so ago (on a big screen) and I was overcome with love for it again.

[Sycophant]

Anyone hear anything about The Visitor? Interesting to see Richard Jenkins in a leading role. I enjoyed The Station Agent quite a bit, so this piqued my interest.

http://imdb.com/title/tt0857191/Saw it at Sundance. It's good, but not quite Station Agent good. However, it is one I've htought about quite a lot since seeing it three months ago.

[MacGuffin]

It's quite excellent. I was floored the first time I saw it, but its effect somehow, I don't know if it was through ubiquity or what, became nerfed on repeat viewings. I watched it again a month or so ago (on a big screen) and I was overcome with love for it again.

Yeah, it's really exceptional stuff. I didn't really know what I thought of it, and didn't think I'd be able to write about it, but sure enough, my thoughts flew out once I started type. I want to see it again sometime, and will probably see Ace in the Hole next by Billy Wilder.

[Sven]

... will probably see Ace in the Hole next by Billy Wilder.

That movie is killer. A splendid and horrifying entertainment.

[Colonel Blimp]

Hooray for Tati's Trafic and anamorphic High and Low being announced for July (Criterion).

Finally! Stuff I'd want!

I'm not complaining when I can add more Tati to my collection, even if it is minor work. That Kurosawa has suspiciously flown under my radar for quite some time; though, I must admit, I have a bit of a love/indifferent relationship with the fellow. The release is a good time as any to finally see it, anyways.

[Beau]

Finally! Stuff I'd want!

I'm not complaining when I can add more Tati to my collection, even if it is minor work. That Kurosawa has suspiciously flown under my radar for quite some time; though, I must admit, I have a bit of a love/indifferent relationship with the fellow. The release is a good time as any to finally see it, anyways.

High and Low is fantastic - and I also have an ambivalent relationship with Kurosawa.

[Sven]

I hereby declare that you two noobs not speak another word about Kurosawa during your tenure here.

[Spinal]

Kurosawa ambivalence weirds me out.

[Colonel Blimp]

I hereby declare that you two noobs not speak another word about Kurosawa during your tenure here.

Sacred territory?

*kicks floor*

[megladon8]

I used to be ambivalent towards Kurosawa.

Then I pulled my head out of my ass and joined the real world.

[Sven]

Sacred territory?

*kicks floor*

Not really. Just strategically sound.

[Beau]

I hereby declare that you two noobs not speak another word about Kurosawa during your tenure here.

By ambivalence, I meant that my feelings for his films run the entire spectrum, from utter love, to strong dislike, or partial strong dislike. As such:

Love: Ikiru, High and Low, and Throne of Blood

Like: Seven Samurai and Rashomon

Like some parts, but Hate others: Dersu Uzala and Dreams

Just plain dislike: Stray Dog

[Spinal]

I used to be ambivalent towards Kurosawa.

Then I pulled my head out of my ass and joined the real world.

I'm totally picturing meg doing one of those Scared Straight! programs where he berates people for their Kurosawa ambivalence.

[Watashi]

Just plain dislike: Stray Dog

:crazy:

[Beau]

:crazy:

Perhaps 'dislike' is a strong word. I'm not sure. I just felt it pushed its themes to the point of redundancy, and was filled with awkward, over-the-top sequences that I found rather jarring. As it stands, it's an often fascinating travelogue of post-war Japan, marred by certain dramatic elements that I thought were sub-par. On the whole, for a modern-day Kurosawa dealing with social themes, I thought High and Low was a superior creation, in nearly every way.

[Colonel Blimp]

Perhaps 'dislike' is a strong word. I'm not sure. I just felt it pushed its themes to the point of redundancy, and was filled with awkward, over-the-top sequences that I found rather jarring. As it stands, it's an often fascinating travelogue of post-war Japan, marred by certain dramatic elements that I thought were sub-par. On the whole, for a modern-day Kurosawa dealing with social themes, I thought High and Low was a superior creation, in nearly every way.

I feel similarly towards a couple of his well-loved films.

But I mustn't exert onto those grounds.

I've been warned.

http://icine.org/forums/images/smiles/shifty.gif

They're watching me.

[soitgoes...]

I just finished Frenzy, and I'd have to say that Hitchcock actually improved on his own film, The Lodger. I love how he's constantly able to get the viewer to sympathize with the antagonist in his movies. I mean we know that so-and-so is guilty. We've witnessed him murder people. But Hitchcock is still able to create a great amount of tension while we watch the murderer try and cover his tracks, thus further damning our protagonist. Haneke would be proud.

[origami_mustache]

Films of Kenneth Anger: Vol. 1.

Fireworks (1947)

http://www.sensesofcinema.com/images/27/cteq/fireworks.jpg

A fantastically surreal depiction of a dream Anger had where he is violently beaten and raped by a group of sailors. Fireworks explores the plight of the outsider using stylized ballet-like movements and homoerotic imagery. What's most impressive is that Anger made this debut avante-garde psychoanalysis of his own fears and sexuality at the age of 17. Truly a bold cinematic statement at the time this was made and the beginning of Anger's influential and controversial career.


Puce Moment (1949)

http://www.jonasmekas.com/Merchant2/graphics/00000001/PUCE-MOMENT.jpg


A Colorfully photographed look at a diva from the silent film era going about her afternoon routine, originally meant to be a segment of a project titled Puce Women that never ended up happening. The look of the film and the music by Jonathan Halper make it seem very 60s, but the folk rock soundtrack was added decades later. It is interesting to see Anger's perception and fascination with this glamorous lifestyle of the era presented in color as it is not often associated with the 20s. I myself always find the 20s to seem like a distant fantasy dimension, and I think Puce Moment makes this world seem more tangible yet at the same time still exotic.


Rabbit's Moon (1950)

http://www.cinemastrikesback.com/news/films/kennethanger2/rabbits_moon_01.jpg

Anger's knowledge and fascination with different characters and folklore from around the world surfaces here as he combines a Japanese fairytale and Commedia dell'Art. Pierrot, a French mime stock character is taunted by Harlequin, the servant character from the Italian Commedia dell'Arte when he projects an image of Columbine, also a French stock character. On top of this, the film is juxtaposed with a soundtrack consisting of various doo-wop hits.


Eaux d'artifice (1953)

http://www.coffeecoffeeandmorecoffee. com/archives/filmstills/anger2.jpg
http://bp3.blogger.com/_Aq2WzR0aua8/ReZ8nY8SbTI/AAAAAAAAANU/Fe2plNrwBeY/s320/anger.jpg

This is one of the most gorgeous films I've seen and certainly my favorite film from Films of Kenneth Anger: Vol. 1. Anger's film begins with his always opulent title cards and then we are taken to the beautiful water gardens of Tivoli, Italy. Anger shot on black and white film using only sunlight and red filters and then printed the film on color stock to create a blue hue. Shooting required elaborate planning to get the lighting just right to give the flowing water a 3-D quality. We see a woman periodically between the montage of stone faced fountains jets, and streams of dancing water droplets, but she is always at a distance, dwarfed by the landscape. When we first see her she is slowly descending a staircase, but her pace is hastened and by the end she is running until her plumes and period costuming transforms into a fountain. The classical score is equally beautiful serving as the perfect companion.


Inauguration of the Pleasure Dome (1954)

http://www.johncoulthart.com/feuilleton/wp-content/uploads/2007/01/cameron.jpg


What begins as a fairly restrained theatrical and perhaps opera influenced piece set to "A Slavonic Mass" by Leos Janácek ends in a visually stimulating sensory experience that looks like some sort of a surreal hallucinogenic acid trip employing frantic editing and double exposures. The characters in the pleasure dome indulging in decadent rituals and debauchery are apparently representative of historical figures, biblical characters, and mythical creatures symbolizing everything from satanism and paganism to Catholicism.

[Qrazy]

Yeah, that's a good film. Although the critical praise it receives is often a bit astonishing, to be honest. Still, very funny, contains some classic scenes, fabulous stunts, and is very well-paced. That said, I think Sherlock Jr. is superior. The stunts are just as spectacular, but the film itself is more formally inventive, and frankly, more interesting, dealing as it does with meta-narrative conceits, visual tricks, and the powerful grasp of fiction. Wonderful movie - should be your next Keaton foray.

Yeah I found both Sherlock Jr. and Steamboat Bill Jr. to be more formally impressive, inventive and complete. I think General usually gets the praise because it's the most 'epic' of the bunch, but the others deserve it more. Still I'd put it just after those two and then Seven Chances, The Navigator and Our Hospitality.

[Qrazy]

That movie is killer. A splendid and horrifying entertainment.

For some reason when I think of these movies I think something like this:

On the waterfront: A Face in the Crowd as Sunset Boulevard: Ace in the Hole

That's not especially thematic either... just the latter two are ultimately both the lesser films but both have a scope, ambition and execution which although they are lesser seen and discussed, they're still amazing films.

[Qrazy]

Finally! Stuff I'd want!

I'm not complaining when I can add more Tati to my collection, even if it is minor work. That Kurosawa has suspiciously flown under my radar for quite some time; though, I must admit, I have a bit of a love/indifferent relationship with the fellow. The release is a good time as any to finally see it, anyways.

Traffic is probably his second best film.

[Qrazy]

Kurosawa ambivalence weirds me out.

Yeah what the fuck is with these matchcutters and that... Kurosawa is on a Fellini, Bergman, Kubrick, Tarkovsky level of excellence (in terms of output and consistency).

[Qrazy]

Perhaps 'dislike' is a strong word. I'm not sure. I just felt it pushed its themes to the point of redundancy, and was filled with awkward, over-the-top sequences that I found rather jarring. As it stands, it's an often fascinating travelogue of post-war Japan, marred by certain dramatic elements that I thought were sub-par. On the whole, for a modern-day Kurosawa dealing with social themes, I thought High and Low was a superior creation, in nearly every way.

Drunken Angel and Stray Dog are minor works. High and Low is certainly the better film.

[Ezee E]

Lars and the Real Girl is strangely good. Almost great, except that I still don't buy into the fact that the entire town would rally behind the idea of treating it normally.

Lars wasn't even the weirdest guy. The girl that wanted to date someone like him clearly has bigger problems.

Also, I'm glad the movie didn't delve into how "everyone has problems" like I thought it would for a second. Instead it pretty much stayed with Lars.

Oh yeah, Paul Schneider is awesome in it. He's quickly becoming one of my fave supporting actors now.

[Boner M]

The new Pacino thriller, 88 Minutes, has a rating of 2 on metacritic (http://www.metacritic.com/film/titles/88minutes). Only 5 reviews, but... wow.

Anywho, weekend schedule is more or less the same as last time, minus a couple.

The Neon Bible
My Brother's Wedding
Children Shouldn't Play With Dead Things
Good Men, Good Women
Daisy Kenyon
The Face of Another
the rest of The Best of Youth

Theatre:

Gone Baby Gone
The Painted Veil (finally arrived in Australian theatres after 1 1/2 years, despite having an Aussie star and director. WTF?)
Ruthless (Edgar G. Ulmer... anyone seen it?)

[Philosophe_rouge]

Weekend
A Woman Under Influence
Army of Shadows
Day of the Dead
Das Boot
The Adventures of Robin Hood

[Raiders]

Weekend:

Flight of the Red Balloon
My Blueberry Nights
Beau travail
Fixed Bayonets!
Forgetting Sarah Marshall (for Bell)

[Boner M]

I'll probably end up seeing FSM with friends, despite unfamiliarity with Bell (h/s Veronica Mars... I know, I know), and an extreme wariness of all things Apatow.

[Qrazy]

Weekend
A Woman Under Influence
Army of Shadows
Day of the Dead
Das Boot
The Adventures of Robin Hood

Stop putting off your film project!

[Philosophe_rouge]

Stop putting off your film project!
I can't even work on it weekends! I'm editing it on Final Cut, the school labs are only open during the week.

[Spinal]

Yeah what the fuck is with these matchcutters and that... Kurosawa is on a Fellini, Bergman, Kubrick, Tarkovsky level of excellence (in terms of output and consistency).

Including Tarkovsky among the cinematic greats also weirds me out.

[Qrazy]

Including Tarkovsky among the cinematic greats also weirds me out.

You fail on every possible level.

He is the greatest.

[dreamdead]

Weekend:

The Big Red One

I've decided to be realistic about the weekend viewing this time. I should get to that one, though.

[dreamdead]

Neil Jordan's Mona Lisa creeps up on you in its power. Initially it feels like a subtle revision of Vertigo in its crawling study of the ideal woman, but it slowly opens up into a profound study on desire, reintegrating into society (or not) and the loss of the ideal. Hoskins is superb, and there's a lot of fancy cinematic details that Jordan secures through his framing and color compositions. That beginning walk over the titles has such promise, only it is elided so quickly once Hoskins' wife denies him. It's just clever little details like that that are quietly wonderful; it's exploration of space is also reminiscent of Dressed to Kill to me, what with appearing figures with switchblades and all. A quietly devastating finale; the only bit that feels off is the end sequence as Hoskins, his daughter, and Coltrane all leave. It's necessary, but feels off somehow. I'll have to deliberate on it a bit more, I guess.

[Qrazy]

Neil Jordan's Mona Lisa creeps up on you in its power. Initially it feels like a subtle revision of Vertigo in its crawling study of the ideal woman, but it slowly opens up into a profound study on desire, reintegrating into society (or not) and the loss of the ideal. Hoskins is superb, and there's a lot of fancy cinematic details that Jordan secures through his framing and color compositions. That beginning walk over the titles has such promise, only it is elided so quickly once Hoskins' wife denies him. It's just clever little details like that that are quietly wonderful; it's exploration of space is also reminiscent of Dressed to Kill to me, what with appearing figures with switchblades and all. A quietly devastating finale; the only bit that feels off is the end sequence as Hoskins, his daughter, and Coltrane all leave. It's necessary, but feels off somehow. I'll have to deliberate on it a bit more, I guess.

Didn't care for it, felt it was fairly average... felt the same way about The Long Good Friday and Body Heat... for some reason all films I equate for some reason in tone and level of formal execution.

[Beau]

Including Tarkovsky among the cinematic greats also weirds me out.

And then they call me nuts...

[Beau]

Yeah what the fuck is with these matchcutters and that... Kurosawa is on a Fellini, Bergman, Kubrick, Tarkovsky level of excellence (in terms of output and consistency).

Well, can't agree with the 'consistency' part, but when Kurosawa is great, he's up there with them, sure...

[SirNewt]

Well, can't agree with the 'consistency' part, but when Kurosawa is great, he's up there with them, sure...

Ran
Kagemusha
Red Beard
High & Low
Sanjuro
Yojimbo
The Hidden Fortress
The Lower Depths
Throne of Blood
Seven Samurai
Ikiru
Rashomon
Stray Dog


An argument, qualifying them as a masterpieces, could be made for any number of films in that list.

[Spinal]

And then they call me nuts...

Kurosawa vs. Tarkovsky? I feel comfortable with the side I've picked.

[Qrazy]

Ran
Kagemusha
Red Beard
High & Low
Sanjuro
Yojimbo
The Hidden Fortress
The Lower Depths
Throne of Blood
Seven Samurai
Ikiru
Rashomon
Stray Dog


An argument, qualifying them as a masterpieces, could be made for any number of films in that list.

Frankly I think Dersu Uzala is an amazing film as well. It's so unique and beautiful, completely different than what we expect from most narrative films. I love Dodeska'den too although I think it has a couple narrative missteps.

[lovejuice]

You fail on every possible level.

He is the greatest.

with you here. tarkovsky > kurosawa. although i can be veeeery partial to a guy who adapted shakespeare.

[Beau]

Ran
Kagemusha
Red Beard
High & Low
Sanjuro
Yojimbo
The Hidden Fortress
The Lower Depths
Throne of Blood
Seven Samurai
Ikiru
Rashomon
Stray Dog


An argument, qualifying them as a masterpieces, could be made for any number of films in that list.

I'm still going through his oeuvre. From I've seen, my feelings waver between films. Which is why I cannot agree with the idea of 'consistency.' Of course, my opinion may change when I complete his filmography. I entertain that possibility. It's not like I'm bashing the man. He has three films in my top hundred. And more may join in the future. So...

[Beau]

Kurosawa vs. Tarkovsky? I feel comfortable with the side I've picked.

As do I.

[SirNewt]

I'm still going through his oeuvre. From I've seen, my feelings waver between films. Which is why I cannot agree with the idea of 'consistency.' Of course, my opinion may change when I complete his filmography. I entertain that possibility. It's not like I'm bashing the man. He has three films in my top hundred. And more may join in the future. So...

Understandable, I just wanted to give a foundational reason for his consideration as a great. I did it in that firm way because I don't want to see this ridiculous discussion snowball.

[Beau]

Understandable, I just wanted to give a foundational reason for his consideration as a great. I did it in that firm way because I don't want to see this ridiculous discussion snowball.

Well, I find it somewhat doubtful that the "Kurosawa Ambivalence Club" would grow to any considerable size. But I guess I can't fault you for being careful. Heh.

[Watashi]

Weekend:

Forgetting Sarah Marshall
The Forbidden Kingdom
My Blueberry Nights
The Big Red One

[Spinal]

Weekend:

Lars and the Real Girl
Where in the World is Osama Bin Laden?

[monolith94]

Kurosawa vs. Tarkovsky? I feel comfortable with the side I've picked.
false binary! false binary!

it should be noted that Tarkovsky's premature death prevented him from putting into action an adaptation of King Lear that he had been hoping to make.

[Rowland]

Walter Chaw's credibility continues to dwindle... (http://filmfreakcentral.blogspot.com/2008/04/trench.html) Stick around for the comments section.

His pathological, increasingly misanthropic solipsism saddens me.

[Rowland]

I don't get the moderately positive buzz for The Forbidden Kingdom. Lame lame lame, and worst of all tedious, without so much as a single memorable martial arts moment.

[number8]

Walter Chaw's credibility continues to dwindle... (http://filmfreakcentral.blogspot.com/2008/04/trench.html) Stick around for the comments section.

His pathological, increasingly misanthropic solipsism saddens me.

I never liked him or FFC.

[Spinal]

Walter Chaw's credibility continues to dwindle... (http://filmfreakcentral.blogspot.com/2008/04/trench.html) Stick around for the comments section.

His pathological, increasingly misanthropic solipsism saddens me.

Yikes. I bailed out early. I'm staying well clear of this mess.

[Raiders]

Walter Chaw's credibility continues to dwindle... (http://filmfreakcentral.blogspot.com/2008/04/trench.html) Stick around for the comments section.

His pathological, increasingly misanthropic solipsism saddens me.

I don't like his opinion, but it is a good piece.

[Colonel Blimp]

Traffic is probably his second best film.

Oh, neat.

I don't think I know anyone who had actually seen it, so this excites me. They've also done quite a fantastic job with his transfers thus far.

My weekend will probably consist of:
Libeled Lady
Kin-Dza-Dza
A Canterbury Tale
My Friend Ivan Lapshin
Girl With a Suitcase
Hangmen Also Die!

There's also a much cleaner transfer of Chimes at Midnight posted on KG [that I'd like to revisit]. The Brazilian release, which had poor sound and video quality, was a great watch as-is.

[Spinal]

My weekend will probably consist of:
Hangmen Also Die!

It's great!

[Colonel Blimp]

It's great!

Good t' hear! Lang's a goldmine of obscure nuggets. I should attempt to finish his canon in the next couple months.

[Qrazy]

false binary! false binary!

it should be noted that Tarkovsky's premature death prevented him from putting into action an adaptation of King Lear that he had been hoping to make.

That would have been amazing. :(

[Spinal]

Good t' hear! Lang's a goldmine of obscure nuggets. I should attempt to finish his canon in the next couple months.

I did a short writeup for it when it appeared in my top 100 at the old site. It can be found at the bottom of this page (http://matchcut.org/viewtopic.php?t=7971&postdays=0&postorder=asc&start=1380).

[Qrazy]

Oh, neat.

I don't think I know anyone who had actually seen it, so this excites me. They've also done quite a fantastic job with his transfers thus far.

Kin-Dza-Dza
My Friend Ivan Lapshin


I love you.

[Colonel Blimp]

I did a short writeup for it when it appeared in my top 100 at the old site. It can be found at the bottom of this page (http://matchcut.org/viewtopic.php?t=7971&postdays=0&postorder=asc&start=1380).
Wonderful; I've bookmarked it. I'll shoot back my thoughts when I get around to watching it.

[soitgoes...]

Some of the following for the weekend:
Before the Devil Knows You're Dead
The Backwoods
Senso
Floating Clouds
Away from Her
The Tale of the Crucified Lovers

[Ezee E]

Weekend:
The English Patient
The Day the Earth Stood Still
Backdraft

Shine A Light (if it's still in theaters) :(

[MadMan]

Yeah, that's a good film. Although the critical praise it receives is often a bit astonishing, to be honest. Still, very funny, contains some classic scenes, fabulous stunts, and is very well-paced. That said, I think Sherlock Jr. is superior. The stunts are just as spectacular, but the film itself is more formally inventive, and frankly, more interesting, dealing as it does with meta-narrative conceits, visual tricks, and the powerful grasp of fiction. Wonderful movie - should be your next Keaton foray.Duly noted concerning Sherlock Jr..

Weekend:

Honestly maybe something at the theater, although I'll have to see what's playing in my home town. Other than that, not a damn thing.

[Qrazy]

Backdraft


Did all the hate expressed a few pages back motivate this viewing?

[Spinal]

Did all the hate expressed a few pages back motivate this viewing?

Yeah, I've learned that vitriol tends to have the opposite of the desired effect here. It's a bizarre phenomenon, as evidenced by all the signatures with Southland Tales ratings.

[Watashi]

Yeah, I've learned that vitriol tends to have the opposite of the desired effect here. It's a bizarre phenomenon, as evidenced by all the signatures with Southland Tales ratings.
Heh. I actually have this at home from Netflix right now.

Blame Davis.

[dreamdead]

Or E's just decided to watch every firefighter film ever made, so that he can decide whether or not to write the ultimate (and with firsthand perspective) firefighter film...

[Rowland]

Heh. I actually have this at home from Netflix right now.

Blame Davis.I've had it at home too, but you can blame Amy Taubin, Manohla Dargis, J. Hoberman, Nathan Lee, and others who have been buzzing about it the last year or two. And I still like Donnie Darko (and Domino).

[Ezee E]

Or E's just decided to watch every firefighter film ever made, so that he can decide whether or not to write the ultimate (and with firsthand perspective) firefighter film...
It appears that it won't be very hard.

[origami_mustache]

Total KVZ: 12 = Pauline Kael/James Agee-lovechildesque

missing Rossellini, Keaton, and Strurges for the Agee factor which I could easily substitute...but he is my favorite critic. :)


You fail on every possible level.

He is the greatest.

http://files.windingroad.com/newsuploads/2006/11/monocle.gif

Agreed gent...to think otherwise is insanity I say.

[origami_mustache]

Lars and the Real Girl

Oh yeah, Paul Schneider is awesome in it. He's quickly becoming one of my fave supporting actors now.

I loved Paul Schneider...his reaction shots are the best part of the film.

I just didn't buy into the whole town helping out either, and after the first 45 minutes I pretty much knew exactly how everything was going to end.

What was the deal with everyone dressing in bad 80s sweaters, listening to out of date music, and having giant computer monitors? I couldn't tell if this was supposed to be taking place in the 80s or if they were just mocking small Midwestern towns to an extreme level.

Weekend:
Kenneth Anger Films: Vol.2
By Brakhage: An Anthology
Mister Lonely

[Spinal]

Yeah, that's pretty much who I figured Tarkovsky films appealed to. Old guys with monocles.

[Sven]

Walter Chaw's credibility continues to dwindle... (http://filmfreakcentral.blogspot.com/2008/04/trench.html) Stick around for the comments section.

His pathological, increasingly misanthropic solipsism saddens me.

I don't know... this is some of the most interesting stuff he's written in a while.

[D_Davis]

Yeah, that's pretty much who I figured Tarkovsky films appealed to. Old guys with monocles.

:lol:

[D_Davis]

Heh. I actually have this at home from Netflix right now.

Blame Davis.

Lucky likes it too!

One of the GB editors, D.S., ranked it his #1 from last year.

[Sven]

At the ending of Orlando, when Swinton and her child see the castrato angel, and we see it through the video camera held by the child (very importantly, a female child), the film that had already melted my icy temperament through its vast and ambitious insight into transgender representation (in art and in life) grabbed my heart from inside my chest and pumped it vigorously, making me dizzy with elation. This film has answers, and not just of an obvious feminist sort. It does work as a disciplined and blunt tome about gender transgression, but it's also a gorgeous fairy tale, steeped in the loveliest theatrics and most wonderful design this side of Greenaway. Swinton is beautiful and her eyes tear right through the screen. This is the kind of movie that makes me want to make movies in the hopes that I would be able to affect someone even half as much.

[Spinal]

At the ending of Orlando, when Swinton and her child see the castrato angel, and we see it through the video camera held by the child (very importantly, a female child), the film that had already melted my icy temperament through its vast and ambitious insight into transgender representation (in art and in life) grabbed my heart from inside my chest and pumped it vigorously, making me dizzy with elation. This film has answers, and not just of an obvious feminist sort. It does work as a disciplined and blunt tome about gender transgression, but it's also a gorgeous fairy tale, steeped in the loveliest theatrics and most wonderful design this side of Greenaway. Swinton is beautiful and her eyes tear right through the screen. This is the kind of movie that makes me want to make movies in the hopes that I would be able to affect someone even half as much.

Aw, man. I just repped you for something else. I'll have to come back and get this one tomorrow. :pritch:

[Yxklyx]

Weekend:

Salvador
Betty Blue

[Sven]

Aw, man. I just repped you for something else. I'll have to come back and get this one tomorrow. :pritch:
:)

I had seen it before when I was younger. My mother wanted to see it, and this is the last film a child of, what, twelve is going to want to watch. I'm so glad that I watched it again, although I don't know if it was my age and experience that aided in my acceptance of it. I watched it in my film class and right when it was finished, this dude behind me belted "It's like Highlander, without the swords!" His comment was met with much laughter (I was laughing at the ridiculousness of such a person) and derisive snickering about the movie. To my surprise and much to my dismay, one of the elements that the class seemed hardest to accept was the angel at the end, which, in my opinion, was an absolute masterstroke.

[Watashi]

The angel is one of the most creepiest moments in film I have ever seen.

My skin literally jumped off my body when I saw it. I had nightmares.

[Ezee E]

I loved Paul Schneider...his reaction shots are the best part of the film.

I just didn't buy into the whole town helping out either, and after the first 45 minutes I pretty much knew exactly how everything was going to end.

What was the deal with everyone dressing in bad 80s sweaters, listening to out of date music, and having giant computer monitors? I couldn't tell if this was supposed to be taking place in the 80s or if they were just mocking small Midwestern towns to an extreme level.


I never picked up on that actually, until you mentioned it. The only time I thought the music was strange was at the Christmas party because I think it was Mariah Carey, and not even Christmas music.

[MacGuffin]

I watched Profit motive and the whispering wind last night. It was great. Avant garde documentary that looks at memorials, monuments and graves around the world, at the same time chronicling America's past of protesting with graves of people like Mother Jones and César Chávez, as well as sites like the place of the unmarked Boston Massacre. It's intensely beautiful for its 60 minute duration. I still haven't seen Gianvito's earlier movie, but maybe I'll rent it eventually.

[Melville]

Walter Chaw's credibility continues to dwindle... (http://filmfreakcentral.blogspot.com/2008/04/trench.html) Stick around for the comments section.

His pathological, increasingly misanthropic solipsism saddens me.


2 + 2 = 4, pi = 3.14, evolution isn't a theory, and there's a difference between what you like and what's good.
One out of four ain't bad.

[Sven]

One out of four ain't bad.

Even that one is debatable.

[Philosophe_rouge]

Oh, neat.

I don't think I know anyone who had actually seen it, so this excites me. They've also done quite a fantastic job with his transfers thus far.

My weekend will probably consist of:
Libeled Lady
Kin-Dza-Dza
A Canterbury Tale
My Friend Ivan Lapshin
Girl With a Suitcase
Hangmen Also Die!

There's also a much cleaner transfer of Chimes at Midnight posted on KG [that I'd like to revisit]. The Brazilian release, which had poor sound and video quality, was a great watch as-is.
I'm going to bet you won't like A Centerbury Tale, it's a hunch.


Good t' hear! Lang's a goldmine of obscure nuggets. I should attempt to finish his canon in the next couple months.
Not before me!

[MacGuffin]

Even that one is debatable.

2 + 2 isn't 4? :crazy:

[Melville]

Even that one is debatable.
Well, I'm giving him the benefit of the doubt and assuming that he's using mathematics in a purely symbolic way, in which case 2 + 2 = 4 is a tautology in any reasonable axiomatization of integer arithmetic.

[Qrazy]

Well, I'm giving him the benefit of the doubt and assuming that he's using mathematics in a purely symbolic way, in which case 2 + 2 = 4 is a tautology in any reasonable axiomatization of integer arithmetic.

Indeed.

[Rowland]

Guys, just stop.

[Sven]

Well, I'm giving him the benefit of the doubt and assuming that he's using mathematics in a purely symbolic way, in which case 2 + 2 = 4 is a tautology in any reasonable axiomatization of integer arithmetic.

Of couse. I'm just saying, if you're willing to concede to one ubiquitous school of thought, where do draw the line and say that pi does not equal 3.14?

[Melville]

Of couse. I'm just saying, if you're willing to concede to one ubiquitous school of thought, where do draw the line and say that pi does not equal 3.14?
? But I'm not conceding to one school of thought. I'm just assuming that Chaw is using common definitions of the words and symbols in his statements, in which case 2+2 is indeed equal to 4 but pi is not equal to 3.14.

[Melville]

Guys, just stop.
I've been doing math for the last 11 hours. I can't stop now!

[Sven]

But pi is not equal to 3.14.

I guess there's a very fine distinction to draw between what's considered "common" and what's mathematically "correct". I remember that my Pre- and Intermediate Algebra courses suggested that 3.14 is a good enough approximation to be plugged into rudimentary formulas. It's not pi, exactly, but could be used as such, in some instances.

[SirNewt]

Looks like

Roberta
The Virgin Spring
and Port of Shadows

for me.

Where in the World is Osama Bin Laden? if it's playing in this backward town.

Oh and I'm losing my DVR soon so I better watch Tokyo Drifter.

[origami_mustache]

I never picked up on that actually, until you mentioned it. The only time I thought the music was strange was at the Christmas party because I think it was Mariah Carey, and not even Christmas music.

Yeah, with all of the kitsch decor and intentionally lame production design, it's about as patronizing as Junebug.

[Beau]

Weekend:

Syndromes and a Century
Les Diaboliques
Koyaanisqatsi
Le Notti Bianche

The last two would be rewatches, the first two are introductions. I hope to get a few of them watched, along with, maybe, some other random film, if the opportunity presents itself.

[Boner M]

Walter Chaw reminds me of an intelligent adult who never got over his Palahniuk phase in his teens.

[Rowland]

Walter Chaw reminds me of an intelligent adult who never got over his Palahniuk phase in his teens.Or he still cries himself to sleep over The Cure. I hate to say it, but I've had that same impression as of late. He wasn't always that bad in this respect, but it has been more pronounced over the last year, which I hate to see because I've been enjoying his writing for years.

[Dead & Messed Up]

Les Diaboliques

:)

I believe it was Buffaluffasaurus who introduced me to Clouzot with this picture. The Raven and The Wages of Fear are as suspenseful, and just as stylish, too. The dude's awesome.

[Rowland]

The Raven and The Wages of Fear are as suspenseful, and just as stylish, too. The dude's awesome.I should see them. Les Diaboliques was artfully directed and sometimes suspenseful, but I kinda ruined it for myself by guessing the twist early on.

[BirdsAteMyFace]

Walter Chaw reminds me of an intelligent adult who never got over his Palahniuk phase in his teens.:|

NEG RAPE in yer butt. :evil:

[Boner M]

:|

NEG RAPE in yer butt. :evil:
Regardless of what you thing of his writing, you have to consider yourself a member of a terrible fanbase (but not a terrible member, of course!)

[Ezee E]

Fan of early Palahniuk.

His stuff now sucks.

[balmakboor]

Walter Chaw's credibility continues to dwindle... (http://filmfreakcentral.blogspot.com/2008/04/trench.html) Stick around for the comments section.

His pathological, increasingly misanthropic solipsism saddens me.

Compared to 99% of the things I read on blogs, this post by Chaw is pretty fucking great reading. It's also just what I look for in such a rant, somethings to agree with, somethings to disagree with.

The two worst things a critic can do is write something that I disagree with completely and write something that I agree with completely. With the former, there's no common ground to stand on while we wrestle. With the latter, I may as well just spend my day reading my own blogs.

Btw, I've never read Chaw before.

[BirdsAteMyFace]

Regardless of what you thing of his writing, you have to consider yourself a member of a terrible fanbase (but not a terrible member, of course!)Fine, sure. I forgive you.


Fan of early Palahniuk.

His stuff now sucks.Ditto, and agree.

[balmakboor]

Saw To Kill a Mockingbird on the big screen tonite. Beautiful print. Great time. It's amazing how you never really see a film until you see it in a theater. Man, if I could write something 1/10 as good as that once in my life, I'd die a happy man.

[Beau]

Saw To Kill a Mockingbird on the big screen tonite. Beautiful print. Great time. It's amazing how you never really see a film until you see it in a theater. Man, if I could write something 1/10 as good as that once in my life, I'd die a happy man.

That may indeed be true. I had always loved Blade Runner, but it was not until I saw it at the cinema that I finally understood how it moved - the pace suddenly revealed itself to me as a natural ingredient, intrinsically related to the overall feeling of the piece. That is, I finally 'got' how the film worked, and why it chose to work at that speed.

[Sven]

It's amazing how you never really see a film until you see it in a theater.

I don't think I believe this oft-recited postulate.

[megladon8]

I don't think I believe this oft-recited postulate.


Me either.

Most all of my favorite films have not been seen in the theatre. I don't consider my experience with them to be any "less" than what other peoples' experiences were if/when they saw them in the theatre.

Now, watching them on a portable player/cell phone/iPod/whatever, for the first time, I would debate that's not really "seeing" the movie.

But watching a movie on my 52" screen with 6.1 surround, I would say I've experienced it just fine.

[balmakboor]

I don't think I believe this oft-recited postulate.

I always hope it's not true because the vast majority of the films I've seen have been on my TV. But, everytime I get a chance to see something I've long been familiar with finally in a theater -- Nashville, Apocalypse Now, Annie Hall, Dr Strangelove, Young Frankenstein to name a few recent examples -- I find that maxim ringing undeniably true.

[balmakboor]

Me either.

Most all of my favorite films have not been seen in the theatre. I don't consider my experience with them to be any "less" than what other peoples' experiences were if/when they saw them in the theatre.

Now, watching them on a portable player/cell phone/iPod/whatever, for the first time, I would debate that's not really "seeing" the movie.

But watching a movie on my 52" screen with 6.1 surround, I would say I've experienced it just fine.

Just wait.

[megladon8]

In fact, some of the greatest, most memorable viewings I've had in my life have been at home, rather than in a theatre.

[Sven]

But watching a movie on my 52" screen with 6.1 surround, I would say I've experienced it just fine.

Eh... that's pretty much a theater.

[Watashi]

I vastly prefer theater viewings than at home. The presentation and the lack of temptation of pausing it to post here makes it a much more richer experience.

Plus sometimes, crowds do help depending on the film (say, Spiderman 3 for example).

[megladon8]

More often than not I find crowds annoying and obnoxious.

People shouldn't be told to turn their cell phones off. They should have them forcefully taken away.

[Rowland]

Yeah, despite all the hype about how the theater experience supposedly sucks now, I prefer theater viewings myself.

[Watashi]

More often than not I find crowds annoying and obnoxious.

People shouldn't be told to turn their cell phones off. They should have them forcefully taken away.
Don't go to any primetime showings.

I went to the very last of showing of There Will Be Blood, and while it was completely sold out, the entire crowd was filled with PTA fanboys and everyone got really into it.

[Sven]

I prefer the theater too. However, I don't think that seeing it in a theater somehow makes your experience of the film "complete". The idea is ridiculous to me.

[balmakboor]

Eh... that's pretty much a theater.

Unless his house is a lot more hopping that mine, it is missing one crucial thing, people. Now, I've long made it a habit to complain about my terrible theater experiences and they are usually due to the rude assholes that slither out of their livingrooms to go and treat theaters life extensions of their homes. But my greatest experiences have also been due to the people. Young Frankenstein never seemed as funny as when I saw it with a crowd last year. Tonight, To Kill a Mockingbird was tremendously more moving playing to a packed and appreciative theater than it has ever been at home. I actually was moved to tears twice. I almost never do that.

[Sven]

Tonight, To Kill a Mockingbird was tremendously more moving playing to a packed and appreciative theater than it has ever been at home. I actually was moved to tears twice. I almost never do that.

What was it about the presence of other people that made the film more emotional?

[balmakboor]

What was it about the presence of other people that made the film more emotional?

That's a very good question. I think in the case of tonight it's a sort of contagious thing. There were people visibly around me having emotional reactions. The scenes that got me seemed more moving than usual because you could sense the whole room being moved by them. The crowd got so quiet at those points that we could almost hear each other breathe.

I've had some weird theater experiences. I got very uncomfortable watching the Piano Teacher a few years ago because I could sense how uncomfortable the scenes were making others. I would've been fine with it at home alone. During college, I saw Deep Throat and Insatiable on a double-bill with 100s of college students. What a trippy experience. Nothing at all like my porn experiences at home on my computer.

[Rowland]

Nothing at all like my porn experiences at home on my computer.Sweet jesus, I hope not.

[Sven]

Well, I'm definitely not going to argue against the truth of collective experience the way I tried to argue that pi = 3.14.

The reason I prefer the theater to the home is it forces you to watch it more than home viewings do. You paid money, you're sitting in a seat presumably surrounded by other stuck in the same situation. You've gotta sit there. No pauses. No rewinds. You're glued to the screen for 100 minutes. You don't get that kind of enforcement at home.

Still, I see films more as texts than experiences. And I don't think one needs size and surround sound to illuminate the text very often. Sometimes the experience can be distracting, even. Case in point, I was much more fascinated by The Fellowship of the Rings when I watched it at home on my 13" mono tv than I was when I saw it in the theater. The film worked for me better as a textual artifact than it did as an experience. Some films, it's the other way around. But if a movie is good enough, I don't think I need it to be fifty feet tall in order for it to suck me in.

[ledfloyd]

.I've had some weird theater experiences. I got very uncomfortable watching the Piano Teacher a few years ago because I could sense how uncomfortable the scenes were making others.
This is very true. If I'm listening to odd music or watching an arty movie with friends or my parents and I can tell they aren't loving it, I'm very self-conscious and more or less unable to enjoy it myself.

Case in point, I love listening to Phish shows while driving. However, all my friends hate Phish, with them in the car, I hear everything they hate about it and very little that I love.

I'm not sure which is the objective experience. Are they helping me see the flaws in it, or is their discomfort making it uncomfortable for me? Depending on the instance I've came down on both sides on this one.

As far as the theater vs. home. I typically prefer home. Although, if I get a chance to see something I love in the theater I jump on it. Seeing Citizen Kane in the theater was one of the better movie experiences I've had.

[megladon8]

Batman Begins in the theatre on opening night is probably the crowning achievement of my entire existence.

People were there dressed in costumes, and there was a big, staged Batman vs. Scarecrow fight in the lobby afterwards.

It was completely sold out, and everyone was ecstatic at just the right points during the film to.

However, while I definitely agree it adds to the experience, my memory wouldn't have been any less fond had it been at home.


When I saw The Exorcist on opening night, there was a girl behind me who would scream, cry, and kick me in the back of the head with stiletto heels every time something even remotely scary happened. All in all it was a miserable theatre experience, but it's still one of the most memorable movie experiences I've had because it scared the living shit out of me.

[Derek]

I don't understand how anyone can argue that home viewings are as good or the same as theater viewings. The differences between watching a film in a pitch-black room on a screen the size of a giant wall and watching on what is, essentially, another piece of furniture are too apparent that it seems even silly to discuss. Televisions also reflect quite a bit of light back into the room so even if all the lights are off, your eyes are naturally drawn away from the screen at times. And if we're talking proportions, I imagine the difference in size between even a 53" tv and theatrical screen isn't all that much less than that between the same tv and an IPhone. Why is one difference considered negligible and the other entirely detrimental? Of course I'm not at all arguing against home viewings as that's where I watch most films and there are many favorite films I've only seen on VHS or DVD, but to shrug and say they're the same [awaits *shrug* response] is crazy. It's obviously not the case with all films, but the likes of 2001, Lawrence of Arabia and Playtime are completely different beasts when seen properly.

[Sven]

I'm not gonna shrug, but I am going to reiterate that immersion, to me, with the way I watch films, is unnecessary. I still prefer the theater (that's a no-brainer), but I don't think that home viewing makes your experience with the film less "complete".

[megladon8]

I'm not gonna shrug, but I am going to reiterate that immersion, to me, with the way I watch films, is unnecessary. I still prefer the theater (that's a no-brainer), but I don't think that home viewing makes your experience with the film less "complete".


Yes.

A theatre viewing would be ideal for every movie - that is, a good theatre viewing, where you're not kicked in the head 10+ times.

But I don't think I've lost anything by having only seen 2001: A Space Odyssey on my TV. It'd be super-sweet to see it in the theatre, but I'm not going to make any ridiculous claims like "oh, I've never seen this movie because I've only seen it on my TV"...that would be silly.

[Spinal]

But I don't think I've lost anything by having only seen 2001: A Space Odyssey on my TV. It'd be super-sweet to see it in the theatre, but I'm not going to make any ridiculous claims like "oh, I've never seen this movie because I've only seen it on my TV"...that would be silly.

You've seen it. But you most certainly have lost something.

[Spinal]

Dang it, I got to get myself a Brimley av. All Derek's posts seem so down-to-earth and full of folksy charm.

[megladon8]

You've seen it. But you most certainly have lost something.


Well, unfortunately it's something I am never going to gain, because I'm never going to see it in the theatre.

[Sven]

Dang it, I got to get myself a Brimley av. All Derek's posts seem so down-to-earth and full of folksy charm.

They also seem awful diabetic, so there's a trade-off.

[D_Davis]

I prefer watching films at home.

But I have a pretty kick ass set up, with a projector and a 100'' screen.

I prefer it because it is much cheaper, I can sit in my recliner, in my PJs, drink good coffee, don't have to drive, park, or any thing.

I get to experience all the good stuff without any of the bad.

The only theater I go to on a regular basis is the Grand Illusion, and it is actually in a room only slightly bigger than my movie room on a screen roughly the same size. I go to it because they play old cult and genre flicks.

I also don't go to the theater much because they rarely play the kinds of films I am interested in.

I do like going to festivals though, and I look forward to SIFF every year.

[Philosophe_rouge]

I watched the Return (2003) earlier today... I liked it, but it's really growing on me as the day's going on. The relationships, and character arcs are really astounding. Plus it's so pretty to look at.

About theatre VS. screen, there is a book/essay written about how we perceive these images differently, psychologically and physically. One medium reflects the image directly to you (TV), the other something is reflected onto a different medium. I wish I remembered the name of it.

[Spinal]

Well, unfortunately it's something I am never going to gain, because I'm never going to see it in the theatre.

Why do you say that? It's a film that will probably be re-released many times in your lifetime.

[Raiders]

I think for certain films a theater screen offers a more impressive "experience," but I can't say that it has ever really changed or altered my perception of a film. I have seen 2001, Playtime and Lawrence of Arabia in both the theater and on my TV, and while the theater showing was certainly the more memorable, I didn't get anything from the film(s) that I didn't get the times before simply because the picture was bigger.

I believe that many years ago when the disparity between picture quality and before the invention of the DVD (and subsequently HD and Blu-ray), it was difficult to even come close to recreating the theater experience at home. But I think that gap has certainly been reduced substantially.

[Derek]

I'm not gonna shrug, but I am going to reiterate that immersion, to me, with the way I watch films, is unnecessary. I still prefer the theater (that's a no-brainer), but I don't think that home viewing makes your experience with the film less "complete".

I wouldn't say incomplete either, but different. In a bad way. Like "Hey, that Bob is kind of...um, different, wouldn't you say?" That kind of different.


You've seen it. But you most certainly have lost something.

Exactly. And with that film, it's a lot.


Dang it, I got to get myself a Brimley av. All Derek's posts seem so down-to-earth and full of folksy charm.

Hells yeah. I love filtering everything I say through Brimley's mug. It'll be a tough decision to ever change it.


Well, unfortunately it's something I am never going to gain, because I'm never going to see it in the theatre.

That's an odd thing to say, unless you don't like it?

[megladon8]

Why do you say that? It's a film that will probably be re-released many times in your lifetime.


Well, as of right now living in Ottawa, it won't happen.

When I move to New York City, the chances will be higher. But still, it's a question of motivation.

If I'm living in New York City, it will mean I have found work in the USA. Which would mean I would be busy a lot. And work as a writer isn't that great of a paycheck (unless I get a fantastic career going) and I don't know that I would be willing to spend $12.00+ to see it on the big screen in a nice theatre, plus transportation costs, when I own the DVD/Blu-Ray/whatever and could watch it whenever I want at home.

And, frankly, if a new Batman movie was out and I could see either that or 2001 on the big screen, I would see the Batman movie.

[Raiders]

And, frankly, if a new Batman movie was out and I could see either that or 2001 on the big screen, I would see the Batman movie.

That is why you fail.

[megladon8]

That's an odd thing to say, unless you don't like it?


Oh no, I adore it.

But there are plenty of films I would like to see on the big screen before that one.

I like seeing films on the big screen that I haven't seen before.

Which is, of course, why I saw Batman Begins 5 times in the theatre. :P


Honestly, I'm freaking exhausted right now, and my logic is not coming through here. But it all makes sense in my head, and that's what counts.

[Derek]

I have seen 2001, Playtime and Lawrence of Arabia in both the theater and on my TV, and while the theater showing was certainly the more memorable, I didn't get anything from the film(s) that I didn't get the times before simply because the picture was bigger.

Tomato/tomahto. I can't argue with anyone's individual experiences though I had a much greater appreciation of the scope of the first and last films and Tati's use of space in the second. Did I walk away with a better understanding of the themes or plot? Obviously not, but in each case I felt like I was getting something that I couldn't get through a television, 15" or 60".

[Ezee E]

Sure, I had a hell of an experience seeing 2001 in my home. However, if I got to see it on the big screen for my first experience, it would probably be one of the best things i ever saw.

Although, majority of my top ten are movies I saw at home, usually on a bigger screen at my parents or on a projector somewhere.

I need one of those.

[Winston*]

If I lived in New York 20 years from now and I was given the option to see either 2001 or the new Batman movie (since they were on at exactly the same time and that was the only time I could see either of these movies ever, due to circumstances possibly involving a wizard), I think I'd just stay home and play with my Viewmaster. It's a Disney Viewmaster and it's shaped like Mickey's head! And all his pals are there, Donald, Goofy, Pluto..hell, all the gang's in there. It totally rules. What you do is you look into and pull the leaver on the side that's when the magic starts....wait..what the hell am I doing I here, I could be playing my with it right now...*leaves*

[Raiders]

:eek:

[Ezee E]

If I lived in New York 20 years from now and I was given the option to see either 2001 or the new Batman movie (since they were on at exactly the same time and that was the only time I could see either of these movies ever, due to circumstances possibly involving a wizard), I think I'd just stay home and play with my Viewmaster. It's a Disney Viewmaster and it's shaped like Mickey's head! And all his pals are in there, Donald, Goofy, Pluto..hell, all the gang in there. It totally rules. What you do is you look into and pull the leaver on the side that's when the magic starts....wait..what the hell am I doing I here, I could be playing my with it right now...*leaves*
ZOMG!LKJ!LKJLJDDKKI(@#)!(#$)@# (()

[Sven]

I can't argue with anyone's individual experiences

It is my experience that home viewings are not substantially lesser to the theatrical experience. There. Now shuddup. :)

[Spinal]

Derek argues with my individual experiences all the time. I don't know what the hell he's talking about.

[Derek]

Derek argues with my individual experiences all the time. I don't know what the hell he's talking about.

Good point, Mr. Tinto Brass > Tarkovsky. Ahhhhh, much better. ;)

[Spinal]

Good point, Mr. Tinto Brass > Tarkovsky. Ahhhhh, much better. ;)

Not only that. He fights dirty.

[Melville]

I can honestly say that watching a movie in a theater has never significantly improved my experience of that movie. (Although I've never seen a proper visual epic like 2001 or Lawrence in a theater.) I can also say that I've never looked into a Viewfinder. But I used to have great fun looking into kaleidoscopes. Those things are awesome.


I guess there's a very fine distinction to draw between what's considered "common" and what's mathematically "correct". I remember that my Pre- and Intermediate Algebra courses suggested that 3.14 is a good enough approximation to be plugged into rudimentary formulas. It's not pi, exactly, but could be used as such, in some instances.
Well, if by "common" you mean "incoherent" or "undefined" (which is probably accurate when it comes to math), then you're right in making a distinction. But the two statements "pi is equal to 3.14" and "3.14 is not pi" (or "3.14 is an approximation to a more accurate expression for pi") are obviously contradictory, so anybody making the two claims probably wouldn't even have a well defined notion of the meaning of the equal sign. Even if people commonly lack a definition of the equal sign, that lack of definition isn't the same as a common definition of the equal sign.

[Derek]

Not only that. He fights dirty.

Nah, I just like saying Tinto Brass.

[Sven]

Melville, obviously, you are right.

Speaking of films with ecstatic endings, I also saw Beau Travail for the first time today and was walloped with not only one of the better films operating in the school of hand-held meditations on God-knows-what, but with one of the most expressive, jolting, and in the end moving finales, like, pretty much ever. I've heard people speak of its inexplicability, but I found it completely sensible, insofar as any ending on such a discombobulating film could be. Not only is Galoup's dance a literal manifestation of his emotional repression (I love the way he starts and stops and starts and stops), but cross cut with his suicidal preparations it becomes a terrifying, fractured panic--a perfect expression of self annihilation.

A frightful, beautiful film. Can't believe it's taken me so long to see it.

[MacGuffin]

Melville, obviously, you are right.

Speaking of films with ecstatic endings, I also saw Beau Travail for the first time today and was walloped with not only one of the better films operating in the school of hand-held meditations on God-knows-what, but with one of the most expressive, jolting, and in the end moving finales, like, pretty much ever. I've heard people speak of its inexplicability, but I found it completely sensible, insofar as any ending on such a discombobulating film could be. Not only is Galoup's dance a literal manifestation of his emotional repression (I love the way he starts and stops and starts and stops), but cross cut with his suicidal preparations it becomes a terrifying, fractured panic--a perfect expression of self annihilation.

A frightful, beautiful film. Can't believe it's taken me so long to see it.

Indeed! Rep 4 u. One of the best endings ever.

[monolith94]

Well, if by "common" you mean "incoherent" or "undefined" (which is probably accurate when it comes to math), then you're right in making a distinction. But the two statements "pi is equal to 3.14" and "3.14 is not pi" (or "3.14 is an approximation to a more accurate expression for pi") are obviously contradictory, so anybody making the two claims probably wouldn't even have a well defined notion of the meaning of the equal sign. Even if people commonly lack a definition of the equal sign, that lack of definition isn't the same as a common definition of the equal sign.

Isn't it circumstances like this that gave rise to the use of the "≈" sign?

[Melville]

Melville, obviously, you are right.
Well, I'm usually working under the assumption that I'm obviously right, but sometimes it's hard to tell if others see the validity of my assumption.


One of the best endings ever.
Hell yes. Lest we forget:

http://youtube.com/watch?v=8e5g_wXJf1I

[Spinal]

Nah, I just like saying Tinto Brass.

You can't spell Tinto Brass without A-S-S.

[MadMan]

Actually I'm glad that I didn't see 2001 on the big screen. Sure I thought the film was great and that the images were amazing, but it almost put me to sleep at times. And I was watching it during the day, although I viewed it on a really nice widescreen computer monitor. Look I too would rather see a new Batman film on the bigscreen instead of 2001 as well, although I'd choose viewing a good western over both anyways. That's just me though :P

[Boner M]

Melville, obviously, you are right.

Speaking of films with ecstatic endings, I also saw Beau Travail for the first time today and was walloped with not only one of the better films operating in the school of hand-held meditations on God-knows-what, but with one of the most expressive, jolting, and in the end moving finales, like, pretty much ever. I've heard people speak of its inexplicability, but I found it completely sensible, insofar as any ending on such a discombobulating film could be. Not only is Galoup's dance a literal manifestation of his emotional repression (I love the way he starts and stops and starts and stops), but cross cut with his suicidal preparations it becomes a terrifying, fractured panic--a perfect expression of self annihilation.

A frightful, beautiful film. Can't believe it's taken me so long to see it.
Repfast in bed! Goddamn, you've been on such a roll lately. I've also put Orlando at the top of my viewing list just cos of your glowing capsule on the other page.

[Melville]

Isn't it circumstances like this that gave rise to the use of the "≈" sign?
Sure. π ≈ 3.14, π = 3.14 ± 0.01, π = 3.14 + O(1/1000)... they're all good. (Jeez, the HTML pi really looks crappy.)

[monolith94]

Eh, it looks kind of like a dwarfish rune.

[Bosco B Thug]

Walter Chaw's credibility continues to dwindle... (http://filmfreakcentral.blogspot.com/2008/04/trench.html) Stick around for the comments section.

His pathological, increasingly misanthropic solipsism saddens me. It's sad, maybe, but it seems he's pretty comfortable with his scurrility, which reassures me. He's understandably frustrated with the un-specialization going on around his vocation, and I think a debase personality, transgressive romances, and elitist ramblings (on a blog, though, which is kind of ironic) - as long as you're self-conscious of it a little - will work to ultimately adjust you. Or not, I don't know. :lol:

Watched Tobe Hooper's Salem's Lot. Mr. Hooper does a very adequate job, but overall, and I hate to say it, the miniseries was a big meh. Hooper's direction is still strikingly fluid, but the film is very "watery" dramatically and thematically - the cohesion between subplots and character dynamics and narrative is very weak; there's no "sense" of anything, whether the "seemy underside of small town USA" or "the plaguing of a whole town" or "a character study of one boy's alienation" or whatever. It's just very rote, even if Hooper injects some energy into the scares. I wish I loved it, but Hooper shows his limitations here - although I'm sure it was the impositions of a dry 3-hour teleplay and the creative box that is television production also. Of course. All hail Tobe Hooper. I was impressed by its ability to scare a contemporary audience. It caused a number of jumps among some Saw-conditioned people.

[Spinal]

Lars and the Real Girl exceeded all my expectations. Such a beautiful little film. Very funny and also deeply moving. It's a masterful piece of writing, depicting the alienation of modern living and how we can find solace in the artificial (the 'real girl' is the internet, video games, television, whatever). Of course, we know that Lars will eventually need to re-establish human connection. But the way the film gets us there and the optimism with which it champions community was stirring. Excellent performances all around, particularly Gosling and Clarkson as the shrink who doesn't let on that she is a shrink. Truly a gem.

[origami_mustache]

Lars and the Real Girl exceeded all my expectations. Such a beautiful little film. Very funny and also deeply moving. It's a masterful piece of writing, depicting the alienation of modern living and how we can find solace in the artificial (the 'real girl' is the internet, video games, television, whatever). Of course, we know that Lars will eventually need to re-establish human connection. But the way the film gets us there and the optimism with which it champions community was stirring. Excellent performances all around, particularly Gosling and Clarkson as the shrink who doesn't let on that she is a shrink. Truly a gem.

:rolleyes: the performances were the best asset of the film, but I was never really moved other than the occasional..."aw that's cute." I guess I was into it for the first half, but it got progressively more lame and predictable to me.

[Watashi]

Winston returning and Spinal kicking ass?

Clearly this is the best day ever.

[Spinal]

:rolleyes: the performances were the best asset of the film, but I was never really moved other than the occasional..."aw that's cute." I guess I was into it for the first half, but it got progressively more lame and predictable to me.

Lame? Nah. It approaches magical. It taps into the crisis of modern existence without resorting to the smirkiness that pervades much of modern comedy. It's about much more than a guy and a sex doll. It about reestablishing human connection. (Derek, you can go ahead and put that in your sig now.)

[Spinal]

Winston returning and Spinal kicking ass?

Clearly this is the best day ever.

You were ahead of the curve on this one. Gotta go back and read your thoughts now.

[Watashi]

You were ahead of the curve on this one. Gotta go back and read your thoughts now.
Here you go:
http://match-cut.org/showthread.php?t=429&highlight=retrospective

[Derek]

(Derek, you can go ahead and put that in your sig now.)

Hehe. Sorry bud, it doesn't beat rouge's quote in there now. Plus, the sooner I forget about your Lars rating, the better. ;)

[origami_mustache]

Lame? Nah. It approaches magical. It taps into the crisis of modern existence without resorting to the smirkiness that pervades much of modern comedy. It's about much more than a guy and a sex doll. It about reestablishing human connection. (Derek, you can go ahead and put that in your sig now.)

Well, yeah I got that but...(Yawn)...this formula is so played out. By the way I didn't realize modern existence consisted of entire towns furnishing their houses and shopping for clothes at Goodwill. I mean c'mon look at this:

http://nymag.com/images/2/daily/entertainment/07/08/09_therealdoll_lgl.jpg

[baby doll]

Sooriyakumaran, how I have missed conversing with thee! How's Korea? Oh, and you're wrong. ;)Well, you know, it's Asia.

And I hope that I am wrong, as the alternative is that Joe is running on empty and the critical establishment (the Film Comment crowd) is backing an emperor with no clothes.

What did Ebert say about Tropical Malady? Something about it lingering on a "pretentious nothingness"?

[origami_mustache]

See, I didn't think Syndromes and a Century was either refreshing or unique; in fact, not only is he blatantly repeating himself, but he even starts cribbing from Antonioni at the end. There's some amusing stuff (the monk who wants to be a DJ), but it's just so tedious and dull.

Maybe structurally and thematically repeating himself, which many filmmakers do...as do they borrow from other influences either consciously or subconsciously. Unique and refreshing are relative terms, so if you thought it was dull, I'm not going to be able to persuade you otherwise. I however had a lot of fun with all the memory cues and such. It was like an exercise demonstrating how the human brain works. The closest thing to it that I can think of is perhaps Tarkovsky's The Mirror.

[Raiders]

Melville, obviously, you are right.

Speaking of films with ecstatic endings, I also saw Beau Travail for the first time today and was walloped with not only one of the better films operating in the school of hand-held meditations on God-knows-what, but with one of the most expressive, jolting, and in the end moving finales, like, pretty much ever. I've heard people speak of its inexplicability, but I found it completely sensible, insofar as any ending on such a discombobulating film could be. Not only is Galoup's dance a literal manifestation of his emotional repression (I love the way he starts and stops and starts and stops), but cross cut with his suicidal preparations it becomes a terrifying, fractured panic--a perfect expression of self annihilation.

A frightful, beautiful film. Can't believe it's taken me so long to see it.

Trying to steal my thunder, eh?

We'll have to see. I don't think I have anticipated a viewing more than this one in a long, long time.

[Boner M]

Well, you know, it's Asia.

And I hope that I am wrong, as the alternative is that Joe is running on empty and the critical establishment (the Film Comment crowd) is backing an emperor with no clothes.

What did Ebert say about Tropical Malady? Something about it lingering on a "pretentious nothingness"?
Didn't you like Tropical Malady and Blissfully Yours? I would think the former is just as indebted to the latter as Syndromes is to Malady (heyyy...).

Ebert is a dummy when it comes to these things, tho I imagine he will be trumpeting Joe when/if his next film plays at Cannes, complaining about a barrier preventing America from seeing his films. Lolz.

[Spinal]

Well, yeah I got that but...(Yawn)...this formula is so played out.

I have no idea how you can accuse this film of being formulaic.

EDIT: I mean, I guess it does follow a formula, but it is so clever and insightful with the way it negotiates that formula that it hardly matters.

[Sven]

Aw, man. I just repped you for something else. I'll have to come back and get this one tomorrow. :pritch:

*ahem*

[Sven]

:pritch:

[Watashi]

:pritch:

[D_Davis]

:pritch:

[Sycophant]

:|

[Ezee E]

:crazy:

[Spinal]

http://whitenarcissus.files.wordpress .com/2007/07/dancing-yanong.gif

[Rowland]

LOL

[origami_mustache]

I have no idea how you can accuse this film of being formulaic.

EDIT: I mean, I guess it does follow a formula, but it is so clever and insightful with the way it negotiates that formula that it hardly matters.

Eh, I'm not seeing it...quirky guy meets quirky girl...insert conflict and community assistance in between a forced emotional breakdown from Emily Mortimer that causes unintentional laughter and an even more ridiculous happy ending. The film pretty much follows the same structure as The 40 Year Old Virgin, Thumbsucker, Garden State, and even Punch-Drunk Love which did it so much better it hurts.

[Spinal]

Eh, I'm not seeing it...quirky guy meets quirky girl...insert conflict and community assistance in between a happy ending.

You're conveniently leaving out the part where the girl is a sex doll. That changes the whole meaning of the film and you know it. It's not a romantic comedy. Much like Me and You and Everyone We Know, it's a film about establishing human connection in modern society and how easy it is to supplement our needs with things that are artificial.



Emily Mortimer's breakdown scene was so forced it was painful to watch.


Can't agree. Excellent performance. Genuine and charismatic.



The film pretty much follows the same structure as The 40 Year Old Virgin, Thumbsucker, Garden State, and even Punch-Drunk Love which did it so much better it hurts.

I like Punch-Drunk Love, but that film is much more self-conscious and aggressively quirky than this one which, beyond its unusual premise, offers scene after scene that is effortlessly heartfelt and poignant.

[origami_mustache]

You're conveniently leaving out the part where the girl is a sex doll. That changes the whole meaning of the film and you know it. It's not a romantic comedy. Much like Me and You and Everyone We Know, it's a film about establishing human connection in modern society and how easy it is to supplement our needs with things that are artificial.


The whole sex doll delusion is plausible I suppose, but I just didn't buy into the whole town getting emotionally distraught over it, nor do I think this was the correct way to handle his case. I also found it laughable how the doctor of a small practice in what is depicted as a backwards hick town immediately comes up with her precise diagnosis after talking with him for 30 seconds. No doctor would write off the other possibilities so quickly. Sure the sex doll part makes it slightly more interesting and meaningful than a typical romantic comedy, but personally I just didn't see it as rising above the clichés associated with the genre. As for Punch-Drunk Love being more self conscious and aggressively quirky, you might have an argument there as it contains some pretty absurd moments, but to me the situations and interactions, as odd as they may be at times, are delivered a lot more naturally.

[Spinal]

The whole sex doll delusion is plausible I suppose, but I just didn't buy into the whole town getting emotionally distraught over it, nor do I think this was the correct way to handle his case. I also found it laughable how the doctor of a small practice in what is depicted as a backwards hick town immediately comes up with her precise diagnosis after talking with him for 30 seconds. No doctor would write off the other possibilities so quickly.

It sounds like you're filtering it through the lens of realism. I saw it more as an absurdist comedy in which existential despair is replaced with faith in the basic goodness of humanity. Plausible? Definitely not. But I loved it all the same for how it embraced community, tolerance and compassion.

[Qrazy]

Ebert is a dummy when it comes to these things, tho I imagine he will be trumpeting Joe when/if his next film plays at Cannes, complaining about a barrier preventing America from seeing his films. Lolz.

Ebert is a status quo'er, he hates things that push against his comfort bubble. This is why he fails... at life.

[Dead & Messed Up]

Ebert is a status quo'er, he hates things that push against his comfort bubble. This is why he fails... at life.

He broke his hip today. Cut the guy some slack.

[dreamdead]

Why in the world is there so little attention given to Samuel Fuller's The Big Red One? It's flat-out wonderful, with enough time to build out individual characteristics amidst the war archetypes, and it has the man's trademark irony wrapped around the humanism that is such a part of his best work. The film works as a study of the double with Lee Marvin and the German soldier who constantly war with one another, yet it avoids becoming a machination of war signposts through Fuller's adroit handling of the material, which privileges the infantry and their inner identities over and above a direct commentary on the war. That scene with Marvin and the boy on his shoulders is haunting stuff, as is the scene where Mark Hamill finally fires his gun. Fascinating work, and it probably vaults Shock Corridor as my favorite of his work.

[MacGuffin]

Is Stay Puft the only one who saw Hitman here, and if so, did anybody like it at all? I kinda want to see it. Frontiers comes out soon, too. I loved the games as well. I just think it could be cool.

[megladon8]

Is Stay Puft the only one who saw Hitman here, and if so, did anybody like it at all? I kinda want to see it. Frontiers comes out soon, too. I loved the games as well. I just think it could be cool.


I saw Hitman.

It's one of the worst movies I've seen in my entire life.

But if you find Olga Kurylenko hot, then by all means see it. Even when she's clothed, you can pretty much see everything.

[MacGuffin]

I saw Hitman.

It's one of the worst movies I've seen in my entire life.

But if you find Olga Kurylenko hot, then by all means see it. Even when she's clothed, you can pretty much see everything.

Are you a fan of the games? They're pretty subdued. I'm curious if the movie is like that too and everybody just got bored.

[Rowland]

Even when she's clothed, you can pretty much see everything.http://img169.imageshack.us/img169/9881/patrickstewartro2.jpg

[megladon8]

Are you a fan of the games? They're pretty subdued. I'm curious if the movie is like that too and everybody just got bored.


I thought the games were great fun...well, the two I played.

The dialogue sounds like it's written by a 12 year old. The acting is horrendous. It's poorly paced - not just slow, but epileptic at points.

A few nicely framed shots cannot save it from being a piece of crap.

[megladon8]

http://img169.imageshack.us/img169/9881/patrickstewartro2.jpg


:lol:

"And then I biked away.......on the grass!"

[MacGuffin]

I thought the games were great fun...well, the two I played.

The dialogue sounds like it's written by a 12 year old. The acting is horrendous. It's poorly paced - not just slow, but epileptic at points.

A few nicely framed shots cannot save it from being a piece of crap.

:sad:

I may still have to see it regardless.

[megladon8]

:sad:

I may still have to see it regardless.


Hopefully you'll like it more than I did.

I just found absolutely nothing positive to take away from the experience. The writing was so bad that I honestly couldn't fault the actors (especially Dougray Scott, whose dialogue was on "extra retarded mode").

[MacGuffin]

Hopefully you'll like it more than I did.

I just found absolutely nothing positive to take away from the experience. The writing was so bad that I honestly couldn't fault the actors (especially Dougray Scott, whose dialogue was on "extra retarded mode").

I'll heed the warnings and then perhaps you'll be able to say that you told me so.

[MacGuffin]

Zombie Strippers gets 2½ stars from Slant Magazine. (http://www.slantmagazine.com/film/film_review.asp?ID=3614)

[Rowland]

Zombie Strippers gets 2½ stars from Slant Magazine. (http://www.slantmagazine.com/film/film_review.asp?ID=3614)Yeah, but it's Rob Humanick.

[MacGuffin]

Yeah, but it's Rob Humanick.

I don't think that I am familiar with him.

[Qrazy]

Why in the world is there so little attention given to Samuel Fuller's The Big Red One? It's flat-out wonderful, with enough time to build out individual characteristics amidst the war archetypes, and it has the man's trademark irony wrapped around the humanism that is such a part of his best work. The film works as a study of the double with Lee Marvin and the German soldier who constantly war with one another, yet it avoids becoming a machination of war signposts through Fuller's adroit handling of the material, which privileges the infantry and their inner identities over and above a direct commentary on the war. That scene with Marvin and the boy on his shoulders is haunting stuff, as is the scene where Mark Hamill finally fires his gun. Fascinating work, and it probably vaults Shock Corridor as my favorite of his work.

Fuller as a humanist... I don't see it, maybe in an incredibly un-nuanced way (his humanism I mean).

[baby doll]

Didn't you like Tropical Malady and Blissfully Yours? I would think the former is just as indebted to the latter as Syndromes is to Malady (heyyy...).

Ebert is a dummy when it comes to these things, tho I imagine he will be trumpeting Joe when/if his next film plays at Cannes, complaining about a barrier preventing America from seeing his films. Lolz.It's the principle of diminishing returns: I loved Blissfully Yours, liked Tropical Malady (which I found started to lose its way in the second half), and was bored out of my skull by Syndromes and a Century.

[MacGuffin]

It's the principle of diminishing returns: I loved Blissfully Yours, liked Tropical Malady (which I found started to lose its way in the second half), and was bored out of my skull by Syndromes and a Century.

Read my essay if you want to see why I loved it so much. It's not much. It can be found on the second page of my blog (click my name and then go to my website).

[Winston*]

Mind Game - Yes
A Guide to Recognising Your Saints - Yes
Sarah Silverman: Jesus is Magic - Yes
Idiocracy - Nah
Black Snake Moan - maybe
The Seventh Continent - Yes
Umberto D. -Yes
The Mist - Nah
All That Jazz - Yes
Before Sunrise - Nah
Man With a Movie Camera - Yes
Tokyo Drifter - Yes
Starman - Yes

[Spinal]

Sarah Silverman: Jesus is Magic - Yes
Before Sunrise - Nah

Glorious.

[Winston*]

Glorious.

http://i14.photobucket.com/albums/a332/colpot/thumbsup.gif

[Philosophe_rouge]

I'm usually pretty lazy/uninteresting in featurettes and docs about films, but I really enjoyed "Rip Van Marlowe", which explored the conception and making of The Long Goodbye. I really can't get enough of this film as of late, and with interviews with Altman and Gould, I think it gives a pretty good portrait of how the film was made. I particularly liked the explanation of Altman's philosophy on how he makes pictures, and chooses to use techniques like the moving camera...

[origami_mustache]

It sounds like you're filtering it through the lens of realism.

Yeah, I crave realism especially when pathos are involved.

[Boner M]

WTF, In the City of Sylvia isn't on the program for Sydney's Spanish Film festival this year. And yet... there's a sidebar program dedicated to Maribel Verdu.

NYC constantly beckons.

Anyway, could anyone recommend anything from this list (http://www.spanishfilmfestival.com/Sydney/films.aspx), thx.

[Watashi]

Jesus Christ, The Forbidden Kingdom was awful.

I guess that's what I get for wasting my time on the visual talents of..... Rob Minkoff.

[Spinal]

Gummo (Harmony Korine, 1997) [2nd viewing] - 9
Citizen Kane (Orson Welles, 1941) [2nd viewing] - 9

You are a brave soul to have these in your sig at the same time. :)

[SirNewt]

Fuller as a humanist... I don't see it, maybe in an incredibly un-nuanced way (his humanism I mean).

Have you seen 'The Steel Helmet'? The burden of death in film was strongly humanistic.

[origami_mustache]

You are a brave soul to have these in your sig at the same time. :)

:)

Citizen Kane's technical merits and it's place in cinematic history can't be lauded enough, but I find all the flash and style to be detrimental to the emotional resonance. In the end I don't really care much about Charles Foster Kane at all.

[Dead & Messed Up]

Zulu was fabulous, entertaining from beginning to end. Shocking, how it's clearly a battle of races, and yet it doesn't come off as racist. Both sides respect each other, as the British are genuinely impressed by the Zulu battle strategy and the Zulu are impressed by the British bravery.

No doubt history wasn't quite so clandestine, but isn't it nice to think so?

The battle scenes are fantastic, and the camerawork takes its time, allowing the viewer to feel the dread that the men at Rorke's Drift must've felt.

I really, really got a kick out of this movie.

[balmakboor]

:)

Citizen Kane's technical merits and it's place in cinematic history can't be lauded enough, but I find all the flash and style to be detrimental to the emotional resonance. In the end I don't really care much about Charles Foster Kane at all.

I love this response positioning Kane as the film whose presence is in need of an explanation. If someone offered me a copy of Kane in one hand and Gummo in the other, I'd grab Gummo and run.

[balmakboor]

Zombie Strippers gets 2½ stars from Slant Magazine. (http://www.slantmagazine.com/film/film_review.asp?ID=3614)

Interesting. I'd love to see zombies infiltrate every genre. Heck, I'd love to see some clever director digitally add zombies to classic films like Casablanca and Gone With the Wind.

[origami_mustache]

I love this response positioning Kane as the film whose presence is in need of an explanation. If someone offered me a copy of Kane in one hand and Gummo in the other, I'd grab Gummo and run.

hehe obviously repping this.

[Qrazy]

Have you seen 'The Steel Helmet'? The burden of death in film was strongly humanistic.

Yes I've seen it. I enjoyed it as I enjoy most of his work, on a pulp level. It's portrayal of battle and the enemy seemed fairly shallow to me. I don't see the humanism. Humanism requires more depth of emotion and pathos towards the portrayal of the 'enemy'.

[Qrazy]

Zulu was fabulous, entertaining from beginning to end. Shocking, how it's clearly a battle of races, and yet it doesn't come off as racist. Both sides respect each other, as the British are genuinely impressed by the Zulu battle strategy and the Zulu are impressed by the British bravery.

No doubt history wasn't quite so clandestine, but isn't it nice to think so?

The battle scenes are fantastic, and the camerawork takes its time, allowing the viewer to feel the dread that the men at Rorke's Drift must've felt.

I really, really got a kick out of this movie.

Yeah I quite enjoyed it too... all the characters and their arcs are fairly forgettable but the overall picture stays with you.

[Qrazy]

I love this response positioning Kane as the film whose presence is in need of an explanation. If someone offered me a copy of Kane in one hand and Gummo in the other, I'd grab Gummo and run.

*shudders*