28 Film Discussion Threads Later

[Raiders]

None Shall Escape (De Toth, 1944) ****
Indeed.

Here's my review (http://matchcut.org/viewtopic.php?t=10169).

[megladon8]

Baby Face is great.

I wish ELO's "Evil Woman" had played during the end credits.

[Kurosawa Fan]

Baby Face is great.

I wish ELO's "Evil Woman" had played during the end credits.

While I'm certain you're joking, just the thought made me cringe a little.

[megladon8]

While I'm certain you're joking, just the thought made me cringe a little.


You don't like that song?

Oh man, you're missing out.

[Philosophe_rouge]

Baby Face is great.

I wish ELO's "Evil Woman" had played during the end credits.
Yea, love this one, has put me on a Stanwyck kick. I'm watching The Bitter Tea of General Yen, Miracle Woman and Stella Dallas soon. It's one of the few films I would love to have gone back in time to see what the audience reaction was at the time. Disgust? Inspiration? Pride? Certainly it would fluctuate from area to area, but it still intrigues me. It's a shame the "full"version wasn't played either, as those extra scenes like the revelation that her father has been whoring her out since she was 14 add that extra punch to the story.

[dreamdead]

Even though Pierrot le Fou works as a pastiche of styles and genres, and even though it holds my interest throughout through some interesting philosophical musings, they feel too generically integrated and not really examined enough. That is to say, even thou Godard examines the nature of identity and gender here, it's done in too glib of a fashion to generate much of any real reaction. There's a powerful scene with Ferdinand questioning identity (through cinema and the double and whether he can really ever know Marianne) amongst the countryside, but too often the film flits between contemplation and by-now-rote-Godardian elements of breaking the "walls" of cinema. Thus, whereas it feels like there's something of consequence left damaged and in ruin at the end of My Life to Live or Contempt, here it feels muted and unfulfilled.

In contrast, Rohmer's A Tale of Winter, despite the mediocre vhs transfer that I watched, is vibrant and fulfilling philosophically and cinematically. Though Rohmer does his typical approach to the invisible style of filmmaking, the opening here is richly modulated, suggesting a breadth of connection between the summertime romance of Félicie and Charles that is then doomed by her accidental deliverance of a wrong address. This exchange, and the ease in which Rohmer suggests a depth of emotional and mental desire, possesses the texture of his strongest work, and Félicie's exchanges with Loïc are similarly modeled on a genuinely interested examination of basic philosophical principles of faith, Christianity, and trust. I like the subtlety Rohmer weaves in having Loic disappear from the film at the end, which suggests, albeit ambiguously, a possible prayer that he wished for Félicie. And the way the film continues after the end credits suggests the continued progression of the characters. Just marvelous all-around. I do believe Rohmer has finally and officially been supplanted Godard as my favorite French filmmaker.

[Rowland]

Anchorman is still hilarious. I need to see Talladega Nights, and I now can't wait for Step Brothers.

[Kurosawa Fan]

Anchorman is still hilarious. I need to see Talladega Nights, and I now can't wait for Step Brothers.

I also find Anchorman hilarious, and didn't laugh at the first hour of Talladega Nights. Not once. I didn't bother with the rest.

[transmogrifier]

I also find Anchorman hilarious, and didn't laugh at the first hour of Talladega Nights. Not once. I didn't bother with the rest.

Boo. TN is the funniest comedy since....Austin Powers 2.

[soitgoes...]

Boo. TN is the funniest comedy since....Austin Powers 2.
Wow! Wrong twice in one post. Good show. :lol:

[transmogrifier]

Here's a list of comedies that got 75 or higher over the last 10 years:

Eternal Sunshine of the Spotless Mind (94)
Fight Club (91)
The Emperor's New Groove (90)
Roger Dodger (85)
The Iron Giant (84)
The School of Rock (81)
East is East (81)
About a Boy (80)
Austin Powers 2 (79)
Finding Nemo (79)
Borat (79)
The Darjeeling Ltd (78)
Friends with Money (78)
Talladega Nights (76)

So there you have my sense of humor. However, my rating reflects more than the laugh quotient, hence my previous claim. Though I think ENG is probably a better benchmark than AP2.

[ledfloyd]

I also find Anchorman hilarious, and didn't laugh at the first hour of Talladega Nights. Not once. I didn't bother with the rest.
i thought TN was funnier than Anchorman. the stuff with Gary Cole was especially sidesplitting.

[Kurosawa Fan]

Boo. TN is the funniest comedy since....Austin Powers 2.

That actually affirms my original post. :P

[balmakboor]

Yep. Diary rocks.

[Scar]

I had to shut off TN.....

[Sycophant]

I think someone may have even already repped me for this exact statement once before, but I'll say it again. Talladega Nights is thus far the funniest American comedy of the century.

[Qrazy]

I think someone may have even already repped me for this exact statement once before, but I'll say it again. Talladega Nights is thus far the funniest American comedy of the century.

Hrm... neg rep.

[Wryan]

I watched Jaws again for the first time last night. Awesome!

[megladon8]

Abominable was pretty bad.

Jeffrey Combs and Lance Henriksen save the few scenes they're in, but it needed a lead who wasn't so...vacuous. Matt McCoy sucked all the energy and excitement out of that script (which wasn't great to begin with).

The monster is cartoonishly funny looking, and there are some great kills - but the whole thing is really dragged down by shoddy acting and a first-time director who really didn't know what he was doing.

I expected worse, since it's a Sci-Fi Channel original movie, but it also could have been much, much better.

[Qrazy]

An abomination?

[megladon8]

Catching up...

Anchorman is wonderful, but Talladega Nights was pretty awful. Like KF, I don't think I laughed once. And I did watch the whole movie.

I owuld hardly say Diary of the Dead rocks, but it's better than Land of the Dead.

It had the worst script of all the Dead movies, and that main girl was absolutely awful. But visually it was great, and there were some moments that actually creeped me out quite a bit.

[Scar]

I watched Once Bitten last night on Retro or whatever the fuck that channel is. Yeah, it sucked, literally. 'Cept for Cleavon Little, he was hilarious.

[Spinal]

Amazing how many people like Anchorman. I think I laughed once. Which is one more than the amount of times I laughed at Dodgeball.

[Qrazy]

Days of Eclipse is indeed Sokurov's crowning jewel... a beautiful, tonally unique, thoughtful piece of film... the drama feels a bit odd at times in it's zany and abrupt execution of certain integral moments (soldier holding hostage, kid taken away...) but that's not really where Sokurov's central interest lies... and the potent imagery and atmospheric inertia more than make up for it.

[Qrazy]

Amazing how many people like Anchorman. I think I laughed once. Which is one more than the amount of times I laughed at Dodgeball.

Yeah, I was not impressed with Anchorman either. I think I enjoyed Talladega Nights a bit more, but it too is very uneven and disposable... but there's a few compelling comic non sequitur's. At least it's a step up from Anchorman's absolutely inept use of a camera.

[MacGuffin]

I was thinking it might be cool to do a battle of the top ten lists or something like that.

[Ezee E]

I was thinking it might be cool to do a battle of the top ten lists or something like that.
Tranny was already working on that.

[Winston*]

I was thinking it might be cool to do a battle of the top ten lists or something like that.

What does that mean? Who has the bestest top ten list? Because the answer would be me, ask anybody.

[Qrazy]

What does that mean? Who has the bestest top ten list? Because the answer would be me, ask anybody.

Won't everyone just vote for themselves...?

[Grouchy]

Finally saw Vincent, the Tim Burton short. Region 4 copies of Nightmare Before Christmas don't carry it as an extra, and since someone mentioned it to me recently, I said "fuck, why did I never thought of youtubing it?". It's every bit as awesome as predicted, the animation is extremely evolved and it's strange how the Burton style was completely developed from the get-go, maybe from his drawing work. I could see it working as a children's book. I could hear Price's voice for ages and never get tired, specially quoting The Raven.

Another late catch-up, I rounded up the Ford Cavalry Trilogy with Rio Grande. I've decided those films are the most boring in Ford's filmography, with the best being obviously Fort Apache. This is a sequel of sorts to the first movie, if only because it's the same John Wayne character only older and with a disfunctional family on his shoulders. I find Ford sort of didn't allow himself to really flesh out tragic events and complicated moral situations in these films because, in a way, they're patriotic propaganda and they're supposed to be uplifting. That explains why absolutely none of the main characters are killed even though there are a thousand moments were by all means they should be. Also, knowing that Ford made this movie in order to get financing for The Quiet Man explains why it's so derivative of earlier films. Some nice horsemanship on display, though.

[megladon8]

What should I watch tonight?

Mulberrry St.?
Frontier(s)?
Teeth?
Come Drink With Me?
Heroes of the East?

[Grouchy]

What should I watch tonight?

Mulberrry St.?
Frontier(s)?
Teeth?
Come Drink With Me?
Heroes of the East?
I'd watch Teeth. It's always out at my video store and I always ask for it.

But then again, I've never heard of any of the others.

[megladon8]

I'd watch Teeth. It's always out at my video store and I always ask for it.

But then again, I've never heard of any of the others.


Mulberry St. - giant rats make zombies in New York City.

Frontier(s) - "The French answer to Saw and Hostel!"

Come Drink With Me - kung fu film starring the old woman with the flying ribbon from Crouching Tiger, Hidden Dragon

Heroes of the East - kung fu film starring Gordon Liu, and one of D_Davis' favorites

[Winston*]

Won't everyone just vote for themselves...?
No, everybody will vote for me. My list is cinema. Check this shit out:

1-9 - Every movie that ever has or will be made
10 - Down to Earth with Chris Rock

[Spinal]

Chris Rock is cinema. The man is the modern day Rohmer.

[Grouchy]

Mulberry St. - giant rats make zombies in New York City.

Frontier(s) - "The French answer to Saw and Hostel!"

Come Drink With Me - kung fu film starring the old woman with the flying ribbon from Crouching Tiger, Hidden Dragon

Heroes of the East - kung fu film starring Gordon Liu, and one of D_Davis' favorites
Yeah, checked them out. Heroes of the East looks good and it comes recommended.

[Qrazy]

I haven't seen any of those but I still feel confident in saying that Come Drink with Me will be the best.

[Watashi]

I've seen Paranoid Park twice now and I'm declaring it my favorite movie of the year so far (until June 27th). It's so weird. Gus Van Sant makes films I should hate, but I'm mesmerized by them on an artistic level and a spiritual one. I'm not a sk8rboi and I usually dislike the skater stereotype I see everyday, but somehow all the scenes at the PP clicked with me and I understood Van Sant's attempt at creating a microcosmic utopia out of the skater community to parallel the larger-than-life issues happening overseas (Iraq War, starvation in Africa, etc.). I also love how he changes up the soundtrack to drown out the background and show focus on Alex's face and moods.

[berlin wallflower]

I watched Time Out last night. I found it mesmerizing. In scene after scene, you can't believe what this man is doing. It's inexplicable. But Vincent's plight resonated with me. He continued to alienate everyone because he was going through something that he didn't even understand, creating a "web of lies" that could effectively ruin his life. The suspense that came from the tense situations he had created for himself felt so real. There were so many opportunities for him to come clean, but he didn't take them. The last scene is haunting. As you look into his eyes, you know that he is unhappy, that he must feel trapped.

[Boner M]

Time Out was really good, but I watched it directly after losing my job last year and I related to the main character too much for me to bear. Inevitably, the film improves upon retrospect.

[berlin wallflower]

Yeah, this makes me excited about seeing The Class.

[Watashi]

Oh man, even after the umpteenth viewing, Ratatouille is still a perfect film. It's definitely secured a spot in my top ten.

Now bring on WALL-E!

[Philosophe_rouge]

Well, I'm having one of the worst nights in a while so I decided to stay up late and watch a movie instead of bawling my eyes out. I checked out Stella Dallas (1937), and while it certainly didn't help the not crying bit, I kinda fell in love with it. I'm on a huge Stanwick kick and this might be her very best performance. The film is a melodrama, and as such is over the top, but somehow her character and performance feels so understated, so real and tender. The direction is anything but visually stimulating or adventurous, but perhaps that's why it works so effectively. There are barely any close-ups, and not only unusual for the time and style, it treats it's melodramatic subject matter with a strange kind of respect. That the character's movements and actions, and what they don't say will speak more than a face, or even dialogue. It's unusual and incredibly powerful.

[soitgoes...]

Another late catch-up, I rounded up the Ford Cavalry Trilogy with Rio Grande. I've decided those films are the most boring in Ford's filmography,
So having seen these, I should safely assume that the 100 some odd films of his I haven't seen yet are more exciting. Yes!

[baby doll]

Yeah, this makes me excited about seeing The Class.It just won the highest prize in the world of cinema, but you weren't excited to see it until now? Actually, to be honest, I'm not that excited either.

I still haven't seen Ressources humaines (1999), but I liked L'Emploi du temps (2001) when it came out. Vers le sud (2004) had its rewards but it also struck me as terminally familiar. Entre les murs just looks okay.

It goes without saying that there were far more deserving movies in competition. Just look at last year: 4 Months, 3 Weeks and 2 Days wouldn't have won had it been made in any other former Soviet Bloc country. (Personally, I would've handed the Palme to Bela Tarr's The Man From London--and I still have to see Alexandra, Import/Export, Secret Sunshine, Silent Light, Une vieille maitresse and Zodiac.)

Atom Egoyan, the most impressive living North American filmmaker, had a new movie in competition, yet neither the New York Times nor the Village Voice mentioned it once in their coverage of the festival.

Of the big prize winners, I'm most looking forward to Nuri Bilge Ceylan's Three Monkeys, the Dardenne brothers' La Silence de Lorna (despite the so-so reviews), Arnaud Desplechin's Un conte de Noel, and Matteo Garrone's Gomorrah.

Of the doubtlessly more interesting films overlooked by the jury, I'm particularly pumped to see Ari Folman's Waltz With Bashir, Philippe Garrel's La Frontiere de l'aube, James Gray's Two Lovers (We Own the Night just opened in South Korea and it rocks), Jia Zhang-ke's 24 City, Charlie Kaufman's Synecdoche, New York, Lucrecia Martel's The Headless Woman and Koren Mundruczo's Delta.

From Un Certain Regard, I can't wait to see Bong Joon-ho, Leos Carax and Michel Gondry's Tokyo!, Raymond Depardon's La Vie moderne (like it'll ever find a distributor), Steve McQueen's Hunger, Kelly Reichardt's Wendy and Lucy (even though Old Joy bored me), and James Toback's Tyson.

[Winston*]

Yi Yi was SOooooo goooooodddd....

Super Mario Bros.: The Movie was SSooooooo BAAAdddddd....

I haven't seen the latter in probably over 10 years, but I feel fairly confident in the accuracy of my statement.

[Boner M]

Hey Fassbinder nuts, I'm writing an essay for class and need some help... which of his films is most immersed in American culture or most concerned with its encroaching effects on Europe? I have nearly all of 'em at my disposal, thankfully.

[Grouchy]

So having seen these, I should safely assume that the 100 some odd films of his I haven't seen yet are more exciting. Yes!
Hahah, yeah. I recommend Stagecoach, My Darling Clementine, The Searchers and The Man Who Shot Liberty Valance.

[Raiders]

Hahah, yeah. I recommend Stagecoach, My Darling Clementine, The Searchers and The Man Who Shot Liberty Valance.

Then there's me, where my two favorites are 3 Godfathers and 7 Women. I guess Ford + integer = quality.

Liberty Valance and The Searchers would be right behind.

[balmakboor]

my two favorites are 3 Godfathers and 7 Women. I guess Ford + integer = quality.



rep for 3 Godfathers

I haven't seen 7 Women yet. I'm very partial to his non-Westerns like How Green Was My Valley, Young Mr Lincoln, The Grapes of Wrath, and The Quiet Man.

[Raiders]

rep for 3 Godfathers

I haven't seen 7 Women yet. I'm very partial to his non-Westerns like How Green Was My Valley, Young Mr Lincoln, The Grapes of Wrath, and The Quiet Man.

I've always really wanted to see The Sun Shines Bright, which a couple people I know declare it his best film.

[Grouchy]

Then there's me, where my two favorites are 3 Godfathers and 7 Women. I guess Ford + integer = quality.

Liberty Valance and The Searchers would be right behind.
3 Godfathers is cool. Half an hour into the film, it clicked me that that was the inspiration behind Tokyo Godfathers.

I haven't seen 7 Women. That one, Sergeant Rutledge and The Quiet Man are on my to do list.

[balmakboor]

I've always really wanted to see The Sun Shines Bright, which a couple people I know declare it his best film.

Yeah, I really need to get on TSSB. I've heard nothing but praise.

[balmakboor]

3 Godfathers is cool. Half an hour into the film, it clicked me that that was the inspiration behind Tokyo Godfathers.

I haven't seen 7 Women. That one, Sergeant Rutledge and The Quiet Man are on my to do list.

I caught Sergeant Rutledge on TCM years ago. It's definitely worth seeking out. Jeffrey Hunter and its flashback structure reminded me of The Searchers.

[balmakboor]

If you could trace your entire movie obsession to one film, what would it be?

Mine is Ford's The Searchers. Saw it in a college film class and it opened my eyes to so many things about film. Plus it was obviously a favorite of both my film prof and his two student teachers. They spoke so passionately about it. I'd never considered a film capable of inspiring such passion until then.

[monolith94]

If you could trace your entire movie obsession to one film, what would it be?


http://images.contentreserve.com/ImageType-100/1096-1/%7B065400EC-3968-4DC5-9CB6-1470E4EC6261%7DImg100.jpg

[Philosophe_rouge]

Same as monolith, mine was born from Michael Powell and the Red Shoes.

[balmakboor]

Same as monolith, mine was born from Michael Powell and the Red Shoes.

That was an earlier Thief of Bagdad than Powell's. Great pick with Red Shoes though.

[Philosophe_rouge]

That was an earlier Thief of Bagdad than Powell's. Great pick with Red Shoes though.
Right :p

[Grouchy]

If you could trace your entire movie obsession to one film, what would it be?

http://blogs.ya.com/stranger/files/Vertigo783711.jpg

And it's STILL my favorite film.

[Kurosawa Fan]

Mine was actually Pulp Fiction. I can remember when it ended feeling like I had never seen anything like it. At the time, I was a freshman in high school and really hadn't seen anything with more substance than a Steven Segal movie. It made me want to explore different films than my mom and dad were watching.

[megladon8]

Anyone else seen Frontier(s)?

Not sure what to think of it, mainly because I do not understand its political aspirations at all.

[Derek]

Hey Fassbinder nuts, I'm writing an essay for class and need some help... which of his films is most immersed in American culture or most concerned with its encroaching effects on Europe? I have nearly all of 'em at my disposal, thankfully.

From what I've seen, your best bets are Fox and His Friends and Mother Kusters Goes to Heaven.

[Ezee E]

Fight Club really got me interested in film obsession. There were movies that had trick endings. Heck, the big one of the year was The Sixth Sense, but this made me look at movies completely differently. Whether it be the two characters, or interacting with penguins, or use of a narrator, I loved it. I had to see movies that were like it. And there it began.

[megladon8]

I've been obsessed with movies since birth.

[Raiders]

My obsession can be traced to Fellini's 8 1/2 I guess, though it was a bunch of films I saw all in the same summer back in 2001 that really lit my desire.

[MacGuffin]

Anyone else seen Frontier(s)?

Not sure what to think of it, mainly because I do not understand its political aspirations at all.

Yeah, I thought it was shit.

[megladon8]

Yeah, I thought it was shit.


Good input. Thanks.

[MacGuffin]

Good input. Thanks.

I don't recall you asking for input assuming this is sarcasm.

[BirdsAteMyFace]

If you could trace your entire movie obsession to one film, what would it be?Caught a restored version showing of Rear Window in Switzerland back in the summer of 2000 (which puts me at 15). Had some time to kill before meeting up with the family for dinner, so I thought, "Sure, why not?" My first Hitchcock film, as well. Magnificent experience.

[balmakboor]

Caught a restored version showing of Rear Window in Switzerland back in the summer of 2000 (which puts me at 15). Had some time to kill before meeting up with the family for dinner, so I thought, "Sure, why not?" My first Hitchcock film, as well. Magnificent experience.

Sounds like a lot of correlation between Hitchcock and obsession so far.

[ledfloyd]

To Be or Not To Be is one of the funniest movies i've ever seen.

i'm on an insane streak of movies. i think the last 8 or 10 i've seen have been rated ***1/2 or higher. brazil, fanny and alexander, f for fake, mr arkadin, cyber seduction, 12 monkeys, don't look back, to be or not to be. i might be forgetting another one somewhere in there.

[soitgoes...]

Hahah, yeah. I recommend Stagecoach, My Darling Clementine, The Searchers and The Man Who Shot Liberty Valance.
I've seen all of those. I just thought it was funny that you declared his Cavalry trilogy the most boring in Ford's filmography, when I'd be surprised if an living human has even seen Ford's complete filmography. I do agree with your intentions though that they do mark a low point in what I have seen.

As for me, I've seen 28 of his films. In my eyes he is hardly ever great (just 3 of films I would consider great), but he is consistently good.

[Qrazy]

It just won the highest prize in the world of cinema, but you weren't excited to see it until now? Actually, to be honest, I'm not that excited either.

Is that the palme d'or? Because frankly although it represents a different critical cross-section than the Oscar I find that still a lot of mediocre films have won over better films in the course of history... Gate of Hell, Garden of the Finzi Continis, Man of Iron, Fahrenheit 9/11 to name a few.

[Philosophe_rouge]

To Be or Not To Be is one of the funniest movies i've ever seen.

i'm on an insane streak of movies. i think the last 8 or 10 i've seen have been rated ***1/2 or higher. brazil, fanny and alexander, f for fake, mr arkadin, cyber seduction, 12 monkeys, don't look back, to be or not to be. i might be forgetting another one somewhere in there.
Top 10 for me, I'm happy you loved it so much :pritch:

[Qrazy]

As for me, I've seen 28 of his films. In my eyes he is hardly ever great (just 3 of films I would consider great), but he is consistently good.

Which three? I agree with your assessment otherwise.

[megladon8]

It was really nice of Maple (Canadian version of Lions Gate) to put unskippable advertisements on the DVD of Frontier(s) for websites that cannot be accessed in Canada.

[ledfloyd]

Top 10 for me, I'm happy you loved it so much :pritch:
easily my fav lubitsch. i've seen ninotchka and heaven can wait (***) shop around the corner (***1/2) and now this. i think i might tackle trouble in paradise next. hard to top this one though. the dialogue is brilliant. i loved the motifs throughout "so they call me 'concentration camp' ehrhardt, eh?" the direction is close to flawless, and the fact that he made this during world war II is amazing to me. so they call me 'concentraion camp' ehrhardt?

[Qrazy]

easily my fav lubitsch. i've seen ninotchka and heaven can wait (***) shop around the corner (***1/2) and now this. i think i might tackle trouble in paradise next. hard to top this one though. the dialogue is brilliant. i loved the motifs throughout "so they call me 'concentration camp' ehrhardt, eh?" the direction is close to flawless, and the fact that he made this during world war II is amazing to me. so they call me 'concentraion camp' ehrhardt?

I thought you'd react that way.

[Philosophe_rouge]

easily my fav lubitsch. i've seen ninotchka and heaven can wait (***) shop around the corner (***1/2) and now this. i think i might tackle trouble in paradise next. hard to top this one though. the dialogue is brilliant. i loved the motifs throughout "so they call me 'concentration camp' ehrhardt, eh?" the direction is close to flawless, and the fact that he made this during world war II is amazing to me. so they call me 'concentraion camp' ehrhardt?
To Be or not to be is my favourite, but I do think you have a lot of his best up ahead. I don't consider Ninotchka or Heaven can Wait among his best, although Shop Around the Corner is up there. Trouble in Paradise is divine, I'd also add to your to see list Cluny Brown, One Hour with You and Design for Living.

[soitgoes...]

Which three? I agree with your assessment otherwise.

The Grapes of Wrath, The Searchers, and The Man Who Shot Liberty Valance, none of which would score a 10/10 from me. As for the Match Cut love affair with My Darling Clementine, I just couldn't get passed the awful twisting of history. Maybe a re-watch is in order with a different frame of mind, because it did have it's share of positives.

[Mysterious Dude]

If you could trace your entire movie obsession to one film, what would it be?
I can trace my obsession with film to The Jetsons.

http://img2.timeinc.net/ew/dynamic/imgs/070821/jetsons_l.jpg

Before I was interested in film, I was interested in art. The art design of The Jetsons is what drew me to it. You see those inexplicable little circles around the antennae on the television set? I thought those were cool. This, in turn, inspired an interest in science fiction in general, which led me to Star Wars and Star Trek, and then, finally, Metropolis, which I just happened to pick up at the video store one day, not knowing it was a silent film.

[MadMan]

Hmm, I'd say my obession with movies pretty much started thanks to Casablanca, although Jurassic Park and The Wizard of Oz are also contenders for that spot.

Recently I viewed The Assassination of Jesse James by the Coward Robert Ford. Needless to say it met my pretty high expectations, although the film's length could have been trimed a good deal and the results would have been the same. I'll have to try and drum up a review in the next couple of weeks, if only because its one of the handful of films I've seen over the past month that warrents any effort on my part.

[Ezee E]

Hmm, I'd say my obession with movies pretty much started thanks to Casablanca, although Jurassic Park and The Wizard of Oz are also contenders for that spot.

Recently I viewed The Assassination of Jesse James by the Coward Robert Ford. Needless to say it met my pretty high expectations, although the film's length could have been trimed a good deal and the results would have been the same. I'll have to try and drum up a review in the next couple of weeks, if only because its one of the handful of films I've seen over the past month that warrents any effort on my part.
What parts do you think could've been trimmed?

[MadMan]

What parts do you think could've been trimmed?Some of the middle section of the film for sure, but especially the ending. It really didn't have to be that long to get many of the final act's points across, although I really dug the rather abrupt finale scene.

[transmogrifier]

I want to watch nothing but 70s movies for the rest of the year. (except TCCoBB)

[monolith94]

I feel I should add that while my passion may have begun with The Thief of Bagdad, my passion for thinking more critically and thoughtfully (academically?) about movies began really with Blue Velvet, and the presentation I gave on it my freshman year of college.

[Grouchy]

I've seen all of those. I just thought it was funny that you declared his Cavalry trilogy the most boring in Ford's filmography, when I'd be surprised if an living human has even seen Ford's complete filmography. I do agree with your intentions though that they do mark a low point in what I have seen.

As for me, I've seen 28 of his films. In my eyes he is hardly ever great (just 3 of films I would consider great), but he is consistently good.
Huh. Ok, misunderstood.

I've seen 11. I think he´s a master storyteller and I love the easy-going ways in which his films unfold. The Man Who Shot Liberty Valance I'd call a masterpiece.

Blue Velvet was also a kind of epiphany for me, as were Pulp Fiction and Eyes Wide Shut.

[Qrazy]

The Grapes of Wrath, The Searchers, and The Man Who Shot Liberty Valance, none of which would score a 10/10 from me. As for the Match Cut love affair with My Darling Clementine, I just couldn't get passed the awful twisting of history. Maybe a re-watch is in order with a different frame of mind, because it did have it's share of positives.

Yeah I think we're pretty much on the same page about Ford.

[Qrazy]

I want to watch nothing but 70s movies for the rest of the year. (except TCCoBB)

It's a pretty strong decade for sure... I love the gritty aesthetic that developed during that time period.

[Ezee E]

Whoa (http://ericmarshland.com/blog/)

Either this is Wats, or he has a doppelganger watching the same exact films as him.

[Watashi]

Whoa (http://ericmarshland.com/blog/)

Either this is Wats, or he has a doppelganger watching the same exact films as him.
He doesn't like The Fountain, so he can't be me.

[Qrazy]

Whoa (http://ericmarshland.com/blog/)

Either this is Wats, or he has a doppelganger watching the same exact films as him.

They do seem to be watching many of the same films lately... but The Sacrifice banner leads me to believe/conclude it's not him... also the lack of any recent animated films reviewed.

[Qrazy]

So Sokurov, Russian cinema and unique but intelligent sci-fi cinema fans... Day of Eclipse... get on it.

[MadMan]

The 70s is my favorite decade for film.

[Winston*]

i think the only logical conclusion to be drawn from this is that Watashi doesn't exist. Sorry, Watashi.

[MadMan]

i think the only logical conclusion to be drawn from this is that Watashi doesn't exist. Sorry, Watashi.So Wats is really Kaiser Soyze? :eek:

[Winston*]

So Wats is really Kaiser Soyze? :eek:

Kaiser Soyze is a fictional character in a movie. Christ, MadMan.

[Ezee E]

i think the only logical conclusion to be drawn from this is that Watashi doesn't exist. Sorry, Watashi.
repped for making me laugh.

[MadMan]

Kaiser Soyze is a fictional character in a movie. Christ, MadMan.That's what he wants you to think man. Your letting him outsmart you Winston. This isn't like you. I expect better.

[soitgoes...]

So Sokurov, Russian cinema and unique but intelligent sci-fi cinema fans... Day of Eclipse... get on it.
What would be a good entry point for Sokurov?

[Qrazy]

What would be a good entry point for Sokurov?

Hrm... not really sure... I can't think of any particular good gateway film for him like a lot of directors have. Days of Eclipse or Russian Ark would be good starting places I suppose.

Here's how I'd rank... all positive except for the last one although I'm less enthused by Mother and Son and Father and Son then the first three. Although many consider Mother and Son to be his best film so take that for what it's worth.

Days of Eclipse > Second Circle > Russian Ark >> Mother and Son > Father and Son > Empire

I'll be checking out The Lonely Voice of Man next.

[Spinal]

If you could trace your entire movie obsession to one film, what would it be?


Prospero's Books. Shook up my notions of what film/art could be, etc.

[origami_mustache]

Finally saw the eyegasm inducing sensory experience known as Speed Racer and loved just about every minute of it. I'd really like to see this get nominated for an editing Oscar, although not likely, I think it's certainly deserving.

[Sven]

Finally saw the eyegasm inducing sensory experience known as Speed Racer and loved just about every minute of it. I'd really like to see this get an nominated for an editing Oscar, although not likely, I think it's certainly deserving.

I don't know... those rotating heads got real old real quick.

[Winston*]

Why have I only just heard about the existence of this movie now?

http://www.youtube.com/watch?v=MnuRQR-3Ui8

[Boner M]

Weekend viewings:

Of Time and the City (Terence Davies)
Distant Voice, Still Lives (Terence Davies)
You, the Living (Roy Andersson)
Hunger (Steve McQueen)
Import/Export (Ulrich Seidl)
Silent Light (Carlos Reygadas)
Wild Reeds (Andre Techine)

[Philosophe_rouge]

Weekend
Standard Operating Procedure (maybe)
Miracle Woman
Betty Blue
Daddy Long Legs (1919)
Peyton Place
Henry and June

[origami_mustache]

I don't know... those rotating heads got real old real quick.

hmm, well I do agree the heads were overused, but at the same time I admire the fact that they just went for it and remained consistently bold.

[Sycophant]

Weekend:

The Fall (2nd)
The Seventh Seal
Shall We Dansu?
Son of Rambow

[Grouchy]

Why have I only just heard about the existence of this movie now?

http://www.youtube.com/watch?v=MnuRQR-3Ui8
That looks like it could make The Godfather seem like an amateur home video. Dog power all the way.

[Ezee E]

Weekend:
The Strangers

Cassandra's Dream
Boarding Gate (ARGENTO!!!11!!!)
Ordinary People / Weeds: Season 3 (whatever Netflix decides)

[Watashi]

Weekend:

Kung Fu Panda
Safe
Some Fuller stuff from KG

[Derek]

So Sokurov, Russian cinema and unique but intelligent sci-fi cinema fans... Day of Eclipse... get on it.

Already have this one and I'm a fan of all three you mentioned. I'll try to get to it in the next week or so.


Weekend viewings:

Distant Voice, Still Lives (Terence Davies)

Such a beautiful film. Hope you love it!

As for the weekend:

The Fall or The Visitor in the theater, maybe
Summer
Le Gai Savoir
or none of the above and I'll get to some of the 50 movies I have from KG and on my DVR

[Boner M]

Such a beautiful film. Hope you love it!
I've already seen it 5 years ago, but it was on a crappy tape and I couldn't get into it. This time it's a 35mm print, and I loved The House of Mirth and The Long Day Closes, so expect to be essentially seeing it for the first time again.

[Raiders]

Weekend:

Mother of Tears
Friday Night
La Chinoise

[Watashi]

Planet Terror (2007) 65
Death Proof (2007) 53


Oh no no no no.

[Spinal]

I will probably watch The Conformist and Kung Fu Panda this weekend. Maybe Crazed Fruit.

[MacGuffin]

I will probably watch The Conformist and Kung Fu Panda this weekend. Maybe Crazed Fruit.

I was just thinking about watching The Conformist and maybe Last Tango in Paris for the first time. Let me know what you think, please?

[Kurosawa Fan]

I'm planning on reading a lot this weekend, but if I do get to a film it will likely be Out of the Past.

[Winston*]

Oh no no no no.

Yeah, the Death Proof score's too high.

[Raiders]

Oh no no no no.

Yes. These films don't make sense on their own, and the additional time added no value to either, especially Tarantino's (except maybe for the lap dance). If I'm judging it as a stand-alone film (and not part of some grindhouse revival, which in its newly-edited, stand alone form is how I should judge it), then frankly I am more bored than anything. Too much stops for useless dialogue (is name-checking Vanishing Point necessary, let alone that I don't believe any of them would know about that film) and all this jibber-jabber about feminism is just ridiculous. I suppose the film intends to juxtapose the first group of girls with the second, but Tarantino seems more interested in the first group (based on screen-time and his camera angles), which only shows his own desire to seem them mowed down. At least Rodriguez's film entertains. It may not be much of a grindhouse film (it has far too much impressive action), but in certain sequences (such as Brolin's doctor getting oozed in the hospital) the film's framing is perfectly reminiscent of low budget zooms and angles. Tarantino meanwhile attempts to tap more into the questionable morality and vigilante justice, but the film never takes any moment to analyze. It's all build-up and in the last ten minutes, Tarantino shoots his load and then cut to black. The first 90 minutes are alright, they exude a great vibe, but when Tarantino decides to play role reversal, he cuts character and mood short, and goes straight for the jugular (as opposed to the slow-grind of the first part, all we get here is a back seat-cum-lunch table discussion about banality). It's off-balanced and leaves me just sort of "meh."

[Spinal]

At least Rodriguez's film entertains.

Lots of good stuff, but this is what it boils down to for me. I don't give a rat's ass about any issues of genre authenticity. Rodriguez's film gives us a good time. Tarantino's mostly wants to talk our ear off. The funny thing is that the worst part of Rodriguez's film is probably Tarantino as well.

[Watashi]

*shrug*

I could have listened to Zoe Bell talk for hours.

[Sven]

let alone that I don't believe any of them would know about that film

This part doesn't make a lot of sense. Because they're stunt people who like cars. OF COURSE they're going to know what Vanishing Point is. It's not like it's an esoteric picture.

[Ezee E]

This part doesn't make a lot of sense. Because they're stunt people who like cars. OF COURSE they're going to know what Vanishing Point is. It's not like it's an esoteric picture.
But they are girls...

[megladon8]

I agree with Raiders here.

My first viewing of Grindhouse - in a packed theatre on opening night - was fun as everyone was so into it.

Subsequent viewings weren't kind.

The dialogue in Death Proof is Tarantino jerking off in our faces for lengths at a time, and it's not pleasant.

[Sycophant]

The dialogue in Death Proof is Tarantino jerking off in our faces for lengths at a time, and it has an almost pastoral kind of beauty to it.

Fixed.

[Sven]

New consideration when compiling a potential Top Whatever of 2005:

R. Kelly's Trapped in the Closet.

Holy moly.

[Winston*]

less references 2 tarantino masturbating plz

[Sycophant]

New consideration when compiling a potential Top Whatever of 2005:

R. Kelly's Trapped in the Closet.

Holy moly.I need to watch it again. Almost everyone seems to think it's insipid and only good for a "ohemgee-it's-so-bad-it's-good-lawl" kind of viewing, but I really, really enjoyed it and found it strangely refreshing.

That is to say, holy moly, indeed.

[Sven]

I need to watch it again. Almost everyone seems to think it's insipid and only good for a "ohemgee-it's-so-bad-it's-good-lawl" kind of viewing, but I really, really enjoyed it and found it strangely refreshing.

That is to say, holy moly, indeed.

Fuck them. It's good.

[Winston*]

Trapped in the Closet is good in the way this is good:

http://www.youtube.com/watch?v=ZPeHk4WMWpY

[Sven]

Unnecessary profanity on my part. I was feelin' the R. Kelly buzz. Needless to say, I apologize, but my sentiment stands: it's good--immensely witty.

[Sven]

Trapped in the Closet is good in the way this is good:

http://www.youtube.com/watch?v=ZPeHk4WMWpY

I cannot figure out this Chuggo thing. I have no idea what to think of it. And you are wrong.

[Winston*]

I cannot figure out this Chuggo thing. I have no idea what to think of it.
It brings the lulz

And you are wrong.
Never.

[Winston*]

Oh, I saw Cries and Whispers last night. Didn't love it.

[megladon8]

I watched some of Cube today - it was on IFC.

I really need to pick this one up. I've seen it several times, and I like it a lot.

[EyesWideOpen]

I watched some of Cube today - it was on IFC.

I really need to pick this one up. I've seen it several times, and I like it a lot.

THe original is pretty good, the rest of the series not so much.

[Yxklyx]

Trapped in the Closet was good fun. Yeah, I laughed at it but it was also refreshing. Kelly has a good voice. I've only seen the first half though.

[Rowland]

I watched some of Cube today - it was on IFC.

I really need to pick this one up. I've seen it several times, and I like it a lot.The original Cube is pretty damn good, but the sequels are terrible. Still, at least Hypercube is entertainingly campy in its badness, while the third is just insipid.

[Qrazy]

Such a beautiful film. Hope you love it!


I liked it but do they really have to burst into song so often? I mean come on.

[Qrazy]

Yes. These films don't make sense on their own, and the additional time added no value to either, especially Tarantino's (except maybe for the lap dance). If I'm judging it as a stand-alone film (and not part of some grindhouse revival, which in its newly-edited, stand alone form is how I should judge it), then frankly I am more bored than anything. Too much stops for useless dialogue (is name-checking Vanishing Point necessary, let alone that I don't believe any of them would know about that film) and all this jibber-jabber about feminism is just ridiculous. I suppose the film intends to juxtapose the first group of girls with the second, but Tarantino seems more interested in the first group (based on screen-time and his camera angles), which only shows his own desire to seem them mowed down. At least Rodriguez's film entertains. It may not be much of a grindhouse film (it has far too much impressive action), but in certain sequences (such as Brolin's doctor getting oozed in the hospital) the film's framing is perfectly reminiscent of low budget zooms and angles. Tarantino meanwhile attempts to tap more into the questionable morality and vigilante justice, but the film never takes any moment to analyze. It's all build-up and in the last ten minutes, Tarantino shoots his load and then cut to black. The first 90 minutes are alright, they exude a great vibe, but when Tarantino decides to play role reversal, he cuts character and mood short, and goes straight for the jugular (as opposed to the slow-grind of the first part, all we get here is a back seat-cum-lunch table discussion about banality). It's off-balanced and leaves me just sort of "meh."

I think I concur.

[Qrazy]

New consideration when compiling a potential Top Whatever of 2005:

R. Kelly's Trapped in the Closet.

Holy moly.

Yeah pretty much, it's a mind blowing experience.

[Qrazy]

I need to watch it again. Almost everyone seems to think it's insipid and only good for a "ohemgee-it's-so-bad-it's-good-lawl" kind of viewing, but I really, really enjoyed it and found it strangely refreshing.

That is to say, holy moly, indeed.

Wow.

[Qrazy]

Fuck them. It's good.

Wow. Wow.

[MadMan]

Oh no no no no.I agree with Wats here, although upon reflection my ratings for both films were a bit on the high side.

Weekend viewings? Eh, probably not this weekend. But if I do watch a film its going to be either Kiss Kiss Bang Bang or On Her Majesty's Secret Service.

[Grouchy]

Count me with those who prefer Planet Terror.

Death Proof is Tarantino's only bad movie so far.

[Derek]

It may not be much of a grindhouse film (it has far too much impressive action)

If there's anything Rodriguez's films are lacking, it's too much of anything impressive.


Unnecessary profanity on my part. I was feelin' the R. Kelly buzz. Needless to say, I apologize, but my sentiment stands: it's good--immensely witty.

Watch your fucking mouth, buddy.


I liked it but do they really have to burst into song so often? I mean come on.

Yes? Are you not a fan of Umbrellas of Cherbourg? I think it's especially powerful given the songs intrinsic attachment to familial (or lack thereof) and community bonding.

[Sven]

If there's anything Rodriguez's films are lacking, it's too much of anything impressive.

Nice.

[Boner M]

Regarding the question about what film you can trace your film obsession back to, for me it's The Shining when I was 12 or 13. I even gave up skateboarding shortly after I saw it.

[transmogrifier]

Forced to watch SatC tomorrow. Stop.
Send help. Stop.
Or cyanide. Stop.

[Spinal]

Forced to watch SatC tomorrow. Stop.
Send help. Stop.
Or cyanide. Stop.

Dead man walking!

[Sven]

Hate to be a cliche and say that Kubrick hooked me on movies, but such was the case. It was a summer in Arizona, roughly 1996, at my grandparents' home and they had a free weekend of Cinemax. I saw a commercial advertising a double showing of Dr. Strangelove and A Clockwork Orange. They both looked weird and compelling and beautiful. My mother wouldn't let me watch them for whatever reason mothers don't allow their children to watch things (what with the ol' ultraviolence and all), but luckily it was one of those "We'll show these two movies all night" kind of programs, so I tip-toed out of my bedroom and watched them. I was elated and devastated and thrilled beyond measure. I loved film before this--my family has always been well watched. But that late-night excursion with Cinemax, into a heart of darkness that could cheerily anounce the end of humanity and aestheticize brutality to the synthesized strains of Beethoven's Ninth, heavily upped the ante. It was like a beautiful, terrifying dream. I needed more and more and more. You know the rest.

[Boner M]

Hate to be a cliche and say that Kubrick hooked me on movies, but such was the case. It was a summer in Arizona, roughly 1996, at my grandparents' home and they had a free weekend of Cinemax. I saw a commercial advertising a double showing of Dr. Strangelove and A Clockwork Orange. They both looked weird and compelling and beautiful. My mother wouldn't let me watch them for whatever reason mothers don't allow their children to watch things (what with the ol' ultraviolence and all), but luckily it was one of those "We'll show these two movies all night" kind of programs, so I tip-toed out of my bedroom and watched them. I was elated and devastated and thrilled beyond measure. I loved film before this--my family has always been well watched. But that late-night excursion with Cinemax, into a heart of darkness that could cheerily anounce the end of humanity and aestheticize brutality to the synthesized strains of Beethoven's Ninth, heavily upped the ante. It was like a beautiful, terrifying dream. I needed more and more and more. You know the rest.
Great post.

[soitgoes...]

Weekend:
The Second Circle
You, the Living
Princess Yang Kwei-fei

[Our Aurora]

Weekend:
Witness for the Prosecution

and maybe...

Son of Rambow
Diabolique

[soitgoes...]

You, the Living is fantastic. Roy Andersson gives us over 50 vignettes of a sort of dream-like life in Stockholm. Everything is blanched out. People talk, but no one really listens or cares. The first scene has an overweight couple in a park. The lady is telling us that no one cares for her. Her boyfriend, standing a few feet behind her, is trying to comfort her, telling her he's there for her. She's not paying attention. She breaks out into song. We cut to a member of a brass band practicing his tuba in his apartment, much to the chagrin of his wife and neighbors. And on and on.

Andersson keeps his camera trained on a particular scene for minutes at a time. He lets the action (or inaction) on the screen sink in. Every shot is beautifully composed. We visit some people for a few seconds, others will keep re-entering the film from time to time. All are part of Andersson's absurd humanistic comedy. Very highly recommended. My words definitely don't do this film justice.

[Boner M]

You, the Living is fantastic... Very highly recommended. My words definitely don't do this film justice.
Awesome, seeing this Monday. I liked Songs From the Second Floor well enough, though not as much as I'd hoped to.

[soitgoes...]

Awesome, seeing this Monday. I liked Songs From the Second Floor well enough, though not as much as I'd hoped to.
I haven't seen that one yet, but you can bet it will bounce up my "too see" list rather quickly.

[Yxklyx]

Dersu Uzala was very solid - near brilliant. Just when I thought I had seen all the Kurosawa I should see another one of his movies captures me. He's gotta be the best director of all time.

[Yxklyx]

Songs from the Second Floor is the perfect movie to see when you've broken up with someone.

[Scar]

I watched Grandma's Boy last night. Most of the time was spent shaking my head, but I did laugh a bit during the last ten or fifteen minutes, I think.

[Rowland]

I watched Grandma's Boy last night. Most of the time was spent shaking my head, but I did laugh a bit during the last ten or fifteen minutes, I think.One of my best friends loved this and kinda forced me to watch it. Surprisingly, I didn't hate it, as I found it to be a lot less mean-spirited and hypocritical than most Happy Madison productions, giving off a pleasantly genial vibe. Mind you, it's not a good movie, but I wouldn't say I disliked it.

[Qrazy]

Yes? Are you not a fan of Umbrellas of Cherbourg? I think it's especially powerful given the songs intrinsic attachment to familial (or lack thereof) and community bonding.

It's not really trying to be that type of film though and the songs don't propel anything forward as they do in Demy's films they all just sit around and sing pub songs. Although yes it demonstrates a certain sense of community bonding but it demonstrates this incessantly... contrasted with Huston's adaptation of Joyce's The Dead and it seems somewhat unnecessary. I could have used half the songs, fill the rest in with more character development/interaction and it would have felt more potent to me... the whole experience actually struck me as a bit forced.

[Qrazy]

Awesome, seeing this Monday. I liked Songs From the Second Floor well enough, though not as much as I'd hoped to.

I'm with you on this.

[Qrazy]

One of my best friends loved this and kinda forced me to watch it. Surprisingly, I didn't hate it, as I found it to be a lot less mean-spirited and hypocritical than most Happy Madison productions, giving off a pleasantly genial vibe. Mind you, it's not a good movie, but I wouldn't say I disliked it.

Ah, I thought we were talking about the Harold Lloyd film. I disliked it.

[Rowland]

Ah, I thought we were talking about the Harold Lloyd film. I disliked it.Were we talking about it recently? It didn't occur to me that Scar may have been talking about that one, my mistake.

[Scar]

Were we talking about it recently? It didn't occur to me that Scar may have been talking about that one, my mistake.

*checks IMDB*

Yeah.... I didn't see the one from 1922. :P

[Qrazy]

Were we talking about it recently? It didn't occur to me that Scar may have been talking about that one, my mistake.

Ah no I meant that I was mistaken. But yeah I brought it up quite a few pages back so that's why I thought for a moment you guys were referring to it... but I didn't remember any HappyMadison relation to the work.

[ledfloyd]

i'll not be cliche and claim kubrick as the source of my film fandom. no, the first movie i became obsessed with was... good will hunting. i still am very fond of this movie. the two movies shortly after that i became obsessed with and watched over and over again were fight club and american beauty. then the oeuvre of kevin smith. since then my tastes have improved to the point where i still enjoy these films but recognize they're not that great. except for good will hunting. it has a place in my heart and that will never change.

[monolith94]

What does SatC stand for?

[Rowland]

Sex and the City, I assume. Someone tried to drag me to it, but thankfully she found a gay friend replacement.

[Spinal]

What does SatC stand for?

Cosmopolitans, promiscuity and inane dialogue.

[Spinal]

Clint to Spike: Shut your face. (http://www.huffingtonpost.com/2008/06/05/clint-eastwood-spike-lee_n_105584.html)

[Scar]

Clint to Spike: Shut your face. (http://www.huffingtonpost.com/2008/06/05/clint-eastwood-spike-lee_n_105584.html)

Clint Eastwood is my homey.

[Qrazy]

i'll not be cliche.

I will be and say my film fandom went through three stages... piqued by Memento... hedged on by Fellowship of the Ring and cemented by Stalker.

[Qrazy]

Ferrara/Herzog, Eastwood/Lee... I guess now we have to wait for the Coens to respond to Reygadas. On a similar note, Spinal you seem rather fond of the juicy filmmaker vs. filmmaker gossip.

[ledfloyd]

Ferrara/Herzog, Eastwood/Lee... I guess now we have to wait for the Coens to respond to Reygadas. On a similar note, Spinal you seem rather fond of the juicy filmmaker vs. filmmaker gossip.
i can't imagine the coens getting their collective panties in a bunch over things other filmmakers say.

[Thirdmango]

I just watched Shoot 'Em Up. Wow. What an awful, over the top funny movie.

[Qrazy]

The Time Machine - It's good to know that a million years in the future women will still be worrying about their hairstyle... the threads that bind us.

[Qrazy]

i can't imagine the coens getting their collective panties in a bunch over things other filmmakers say.

Although they might get in a bunch given that two people are trying to wear one pair of panties at the same time.

[Raiders]

I guess now we have to wait for the Coens to respond to Reygadas.

What did he say?

[Sycophant]

I just watched Shoot 'Em Up. Wow. What an awful, over the top funny movie.
I was with you up to the f-word.

[Thirdmango]

yeah I don't really mean funny ha ha, as much as I mean funny ohh. Let's just say I liked Ultraviolet more then Shoot Em Up.

And I just now watched Walk Hard and I liked that one.

[Yxklyx]

The Time Machine - It's good to know that a million years in the future women will still be worrying about their hairstyle... the threads that bind us.

Was this the original or the remake? I think the original had funky hair so the remake spoofed it or somethin'.

[Sven]

Saw Mother of Tears today. Depressingly awful. Practically below straight-to-DVD caliber. Cheap-looking and poorly constructed. That this was a labor of love is embarrassing. The theme song that plays over the end credits, however, was awesome. I am now aware that Argento is capable of floundering in sub-mediocrity. Sad day indeed.

Then, on a whim, I went to a film I hadn't heard of: Stuart Gordon's Stuck, with Stephen Rea and Mena Suvari. It was pretty good! Tight and excruciating. There's a bit of seemingly unnecessary commentary surrounding its economic subtext--immigrant hesitance toward naturalization and exercising a willful disparity through that disconnection. It's not really resonant, but it does magnify the drama a bit, which was appreciated. Very low key, and rushed-feeling, but that only made everything more unexpected. I liken it to Red Eye, only not as slick. Check it out.

[lwilson85]

To those who have seen Fulci's The New York Ripper... call me crazy but is it just me or am I the only one who thinks Fay was the killer? after all it seemed as if by using surrealist theory, Fay was normal most of the time but had hallucinations of the killer, even hallucinated marks from the killer (?). Also seemed to randomly become the killer. Anyways, she called her boyfriend and made the duck voice. Which doesn't make sense when he does the duck voice after she supposedly killed him.Is it just that I'm thinking too much for Fulci's surrealist bent world, or am I on the right track? Wrong?

[Rowland]

Then, on a whim, I went to a film I hadn't heard of: Stuart Gordon's Stuck, with Stephen Rea and Mena Suvari. It was pretty good! Tight and excruciating. There's a bit of seemingly unnecessary commentary surrounding its economic subtext--immigrant hesitance toward naturalization and exercising a willful disparity through that disconnection. It's not really resonant, but it does magnify the drama a bit, which was appreciated. Very low key, and rushed-feeling, but that only made everything more unexpected. I liken it to Red Eye, only not as slick. Check it out.I'm really looking forward to this, the reactions have been extremely positive at every fest in which it plays, and I like Gordon as a filmmaker.

[Sven]

I'm really looking forward to this, the reactions have been extremely positive at every fest in which it plays, and I like Gordon as a filmmaker.

Mena Suvari slams a naked woman in the face with a frying pan.

[Boner M]

What did he say?
See my film fest log.

[Bosco B Thug]

I still think every word in Death Proof is enticing, perfectly organic, and always respectful and revealing of its characters. Never useless or hard to swallow (imo).


I watched some of Cube today - it was on IFC.

I really need to pick this one up. I've seen it several times, and I like it a lot. Cube's a surprising movie. A bit hard to swallow sometimes, but I'm always surprised by how fully it grasps all the facets and implications of its allegory.

*is aware of the one-too-many use of phrase "hard to swallow"*

WEEKEND: Indiana Jones and the Kingdom of the Crystal Skull, The Mother of Tears

[Qrazy]

Was this the original or the remake? I think the original had funky hair so the remake spoofed it or somethin'.

The original there's a scene where the future woman asks how they did their hair back then.

[Qrazy]

What did he say?

I don't know, Boner or Derek or someone mentioned something a few pages back.

[Ezee E]

Just finished watching Game 6 again. Jees what an underseen movie featuring one of the weirder Downey performances with what could be Keaton's best.

The dialog in that movie, especially in that bar scene as the inevitable starts to happen, is incredibly done.

[Sycophant]

Shall We Dance? is positively lovely.

I didn't realize it was coming from director Masayuki Suo, whose first film in ten years, I Just Didn't Do It, is something I've been longing to see for quite a while now.

[Yxklyx]

Weekend:

Pierrot Le Fou
The Cincinnati Kid (maybe)

[ledfloyd]

Just finished watching Game 6 again. Jees what an underseen movie featuring one of the weirder Downey performances with what could be Keaton's best.

The dialog in that movie, especially in that bar scene as the inevitable starts to happen, is incredibly done.
that was one of my absolute favorites the year it came out.

[NickGlass]

Then, on a whim, I went to a film I hadn't heard of: Stuart Gordon's Stuck, with Stephen Rea and Mena Suvari. It was pretty good! Tight and excruciating. There's a bit of seemingly unnecessary commentary surrounding its economic subtext--immigrant hesitance toward naturalization and exercising a willful disparity through that disconnection. It's not really resonant, but it does magnify the drama a bit, which was appreciated. Very low key, and rushed-feeling, but that only made everything more unexpected. I liken it to Red Eye, only not as slick. Check it out.

I almost saw this tonight (at the Angelika?), but instead I caught a matinée of The Edge of Heaven at the Film Forum. What a fantastic film. It depicts life as chaotic and then finds a plausible rhythm within the chaos. Wonderful.

[Boner M]

The Edge of Heaven ... What a fantastic film. It depicts life as chaotic and then finds a plausible rhythm within the chaos. Wonderful.
I was underwhelmed by this. It's cleverly written for sure, but also contains the elements of Kieslowski that leaves me cold - characters as pawns, no room in the narrative to breathe. It felt neither chaotic nor rhythmic, with a disctinct lack of formal rigor; the use of a security camera angle to film Hanna Schygulla's breakdown felt particularly contrived, like Akin was feeling guilty for not keeping any sort of critical distance from the melodramatics during the rest of the film, so he had to atone by deflating the most potentially emotional moment.

Better than Babel... but so is rabies.

[dreamdead]

Clouzot's Quai des Orfèvres is marvelous in its structural rhythm and humane sensibility. For what is ostensibly a study on the detective/crime genre, this film is largely governed by human action and psychology, and so the internal, often fear-plagued mindset rules much of this film. Yet all of the leads are nicely fleshed out (and is that an innuendo to Dora loving Jenny? Woah!), and characters remain devoted even when outwardly they would have so much more to gain if they were not. Also loved how shots were flavored with an occasional off-center framing, yet maintained a traditional sense of morality as this isn't quite a film concerned with any amoral or existential age. Rather, it's very much attuned to traditional rules of ethics and it's strong point is how the entirety of the film builds on that sense, especially with the church bells that become their own character by the end of the film. Excellent film all around, with the only false note coming in the last frame via the snowball that adds just a bit too much levity to the proceedings...

[Sven]

I almost saw this tonight (at the Angelika?)

Yeah, that's where I saw it. Are you in New York now? I recall you said you were moving here a while ago? Is this the case?

[NickGlass]

Yeah, that's where I saw it. Are you in New York now? I recall you said you were moving here a while ago? Is this the case?

Yup. Well, I'm in NYC basically every weekend--I moved back home to NJ, but I get terribly bored here and I have better friends in the city than in the 'burbs.

As for theatre viewings, I still need to see Stuck ,The Go-Getter and perhaps Derek.

[NickGlass]

I was underwhelmed by this. It's cleverly written for sure, but also contains the elements of Kieslowski that leaves me cold - characters as pawns, no room in the narrative to breathe. It felt neither chaotic nor rhythmic, with a disctinct lack of formal rigor; the use of a security camera angle to film Hanna Schygulla's breakdown felt particularly contrived, like Akin was feeling guilty for not keeping any sort of critical distance from the melodramatics during the rest of the film, so he had to atone by deflating the most potentially emotional moment.

Really? I didn't find the film's characters hollow at all. In fact, I almost wished the last 15 minutes of the film did not exist (even though I'm glad it ended "abruptly," before it shot its whole load) because I felt the characters were already so well established. I wanted them to breathe outside of the frame. They were all so instantly endearing. I mean, pawns? They're flawed and absurdly likable--and I admire Akin's skill in molding these characters, even if I feel they're organic constructions (funny phrase, but I feel it's apt). There's quite a bit of "convenient philanthropy," but it's plausible. The characters recognize a vulnerability within each other, transcending culture and developing a trust within mourning. I thought it was beautiful.

As for the "oh, look how that ties up!" angle--well, maybe I am cutting the film a bit of slack, but I easily overlooked any part of the film that can be interpreted as a cheesy craigslist "missed connection" post, because I felt it was not essential. Sure, I cringed a bit when the camera lingered on the "Do You Know This Woman" poster once the main character had taken it down, but I didn't let this distract me from the deep relationships and narrative flow.

[ledfloyd]

I was underwhelmed by this. It's cleverly written for sure, but also contains the elements of Kieslowski that leaves me cold - characters as pawns, no room in the narrative to breathe. It felt neither chaotic nor rhythmic, with a disctinct lack of formal rigor; the use of a security camera angle to film Hanna Schygulla's breakdown felt particularly contrived, like Akin was feeling guilty for not keeping any sort of critical distance from the melodramatics during the rest of the film, so he had to atone by deflating the most potentially emotional moment.

Better than Babel... but so is rabies.
i haven't seen this movie. but kieslowski doesn't use characters as pawns nor do his narratives feel suffocated.

[Qrazy]

i haven't seen this movie. but kieslowski doesn't use characters as pawns nor do his narratives feel suffocated.

Agreed, he's one of the few... for lack of a better term... intellectual directors who grounds his ideas in the presence of characters who are real people, experiencing real hardships and emotions... particularly in The Decalogue more so than the trilogy.

[megladon8]

"I am hoping that I can be known as a great writer and actor some day, rather than a sex symbol."

-Steven Seagal

[Qrazy]

"I am hoping that I can be known as a great writer and actor some day, rather than a sex symbol."

-Steven Seagal

He'll always be a great sex writer in my heart.

[Grouchy]

Clint to Spike: Shut your face. (http://www.huffingtonpost.com/2008/06/05/clint-eastwood-spike-lee_n_105584.html)
The whole reason why they're fighting is ridiculous. And yeah, Spike should shut his face. Why is he even saying this now, a full two years since the WWII movies were released?

[transmogrifier]

So after re-watching Temple of Doom, it's now clear that the Indie series has become progressively worse.

Indie 1 70ish
Indie 2 68
Indie 3 61
Indie 4 48

I wonder why I was always so negative about ToD in the past. Sure, there are hokey, silly moments, but I like that the story is compact and linear (no endless location hopping and contrived run-ins with the bad guy) and it starts and ends exceptionally.

[Qrazy]

Mon Oncle D'amerique was a fairly obnoxious experience. Sometimes I really can't tolerate a certain trend in French artistry. It grates on my nerves.

[Qrazy]

So after re-watching Temple of Doom, it's now clear that the Indie series has become progressively worse.

Indie 1 70ish
Indie 2 68
Indie 3 61
Indie 4 48

I wonder why I was always so negative about ToD in the past. Sure, there are hokey, silly moments, but I like that the story is compact and linear (no endless location hopping and contrived run-ins with the bad guy) and it starts and ends exceptionally.

I find location hopping to be a good thing in these types of films. That's one of the reasons I prefer Empire Strikes Back to A New Hope because we don't spend an inordinate amount of time in a fairly boring locale (Temple in Doom, Death Star in A New Hope).

[Qrazy]

Has anyone else been having problems loading the site? It's sporadic but noticeable.

[MadMan]

"I am hoping that I can be known as a great writer and actor some day, rather than a sex symbol."

-Steven SeagalThat quote cracks me up every time I read it.


I just watched Shoot 'Em Up. Wow. What an awful, over the top funny movie.I feel that film deserves a review, if only because it manages to be highly conservative yet also contain some sort of weird ant-gun message, or at least be about not letting so called "idiots" and bastards wield fire arms. The second half pretty much is a throw back to 80s action cinema.


Clint Eastwood is my homey.Yeah Clint is pretty awesome. He's one of the handful of film makers I would love to meet. I'd have him autograph my copy of The Good, the Bad, and the Ugly SE.

PS: Eastwood has a point there, although I don't think telling Lee to shut up was the right response.


I watched Grandma's Boy last night. Most of the time was spent shaking my head, but I did laugh a bit during the last ten or fifteen minutes, I think.I laughed my ass off when I first saw it. I'm sure a re-watch wouldn't be half as enjoyable, but I still like the film well enough.


Forced to watch SatC tomorrow. Stop.
Send help. Stop.
Or cyanide. Stop.That's a crime against not only good movie watching, but also man-dom.


So after re-watching Temple of Doom, it's now clear that the Indie series has become progressively worse.

Indie 1 70ish
Indie 2 68
Indie 3 61
Indie 4 48

I wonder why I was always so negative about ToD in the past. Sure, there are hokey, silly moments, but I like that the story is compact and linear (no endless location hopping and contrived run-ins with the bad guy) and it starts and ends exceptionally.I disagree with all of your ratings, and I don't think the series really got progressively worse. I think that a revisiting of TOD soon will reveal that I was a bit harsh on the film. As for Last Crusade, that movie is considered the second best and even the best of the series, and deservedly so (I think its second best). I've accepted that I'm going to be one of the handful of people on this website that really liked the 4th film.

Oh and I can't wait to watch John Carpenter's The Thing with commentary from Carpenter and Kurt Russell on. Great film indeed.

[transmogrifier]

I find location hopping to be a good thing in these types of films. That's one of the reasons I prefer Empire Strikes Back to A New Hope because we don't spend an inordinate amount of time in a fairly boring locale (Temple in Doom, Death Star in A New Hope).

Well, it seems you have issues with the locale itself, rather than the decision to stay there. Myself, I'm sick to death of adventure films that are set up as "exposition - new location - action scene - exposition - new location - action scene - exposition - new location - action scene" as it is substitutes shallow ethnic stereotyping (Hollywood style!) for creativity.

[Sven]

Once upon a time there was a film called Sansho the Bailiff. Many people said that it was a great and wonderful film. Iosos, a proud, self-taught connoisseur of many great and wonderful things cinematic, always remained somehow outside the experience of Sansho the Bailiff. He didn't know how or why. It was one of those films of which you cannot account for your ignorance.

One day, iosos, now enjoying the full benefit of Netflix as inherited him by his betrothal to a woman who shared his passions, although to lesser degrees (whose waning interest in the medium was redeemed by her related resources, one of which being the aforementioned service), decided to give Sansho the Bailiff the, as they say, ol' college try.

The sheer, aching beauty of the film, as captured and exploited by one Kenji Mizoguchi, iosos found to be thick, almost stifling, and difficult to handle. The film's sad subject, slave trading, coupled with the naturally resultant theme of life as perpetual torture, devastating though it was, seemed impossible to reconcile with Mizoguchi-san's gorgeous aesthetic. It's a strange disparity, one that has been the subject of many a modern film's dismissal ("you're making the pain beautiful!"), but one that has also been often strategically overlooked in many films deemed classic (I think of violence, primarily, as opposed to tragedy: Apocalypse Now, The Godfather, etc). Couple this with the need for familiarization with Japanese art, as well as normative cultural behaviours and expressions--and throw in a touch of iosos's general aesthetic preference of conflicted forms of expression, as well as a tendency to admire artists who can speak of life's woes while retaining visual splendor and optimism--and you can believe that iosos was enraptured.

He sat there, watching Sancho the Bailiff, the occasional image pressing deep into his chest, causing him to quake with compassion. As it ended, iosos was at once elated and saddened. His favorite moment was the dissolve between the rings in the water indicating where a character had drowned herself and an enormous round statue of the Buddha. That dissolve encompasses the entire film, and communicates an unfortunate humanity were charity and empathy are always predicated on tragedy, but at the same time, the very fact that charity and empathy exist is a miracle in itself.

Iosos blinked, turned off the DVD player, sat for a moment to collect his thoughts, and made his way to the computer to throw his thoughts out into the vast expanse of interconnected tubes and wires, to be seen by few, cared about by fewer, acknowledged by even fewer, and yet, his enormous love for cinema, community, and expression, stirred into motion by a film of extraordinary power, inspires him to compile his response anyway, in the form of a lame third person narrative. The End.

Great film.

[transmogrifier]

I disagree with all of your ratings, and I don't think the series really got progressively worse. I think that a revisiting of TOD soon will reveal that I was a bit harsh on the film. As for Last Crusade, that movie is considered the second best and even the best of the series, and deservedly so (I think its second best). I've accepted that I'm going to be one of the handful of people on this website that really liked the 4th film.


The Last Crusade is overly self-satisfied (the lazy opening sequence having Indy collect all his iconic features in a single adventure plays badly, for example), and is merely a series of poorly strung together set-pieces, which of themselves run from the very good to by-the-numbers.

[Sven]

I rewatched the Indy films fairly recently and have come to the conclusion that The Last Crusade is the only one I think is good. Perhaps I enjoyed its more kinetic action, its quicker pace, its relative reduction of exposition, its emphasis on humor (or maybe just that it's funnier). The prologue is definitely a strike against it, as is the biplane action sequence (in a film where everything else looked fairly authentic, the projection on that one was tacky). But you can't beat that desert chase, and the staging of the entire finale in the cave is lovely.

[Qrazy]

The sheer, aching beauty of the film, as captured and exploited by one Kenji Mizoguchi, iosos found to be thick, almost stifling, and difficult to handle. The film's sad subject, slave trading, coupled with the naturally resultant theme of life as perpetual torture, devastating though it was, seemed impossible to reconcile with Mizoguchi-san's gorgeous aesthetic. It's a strange disparity, one that has been the subject of many a modern film's dismissal ("you're making the pain beautiful!"), but one that has also been often strategically overlooked in many films deemed classic (I think of violence, primarily, as opposed to tragedy: Apocalypse Now, The Godfather, etc).

Great film.

Glad you liked it and love cinema in general but... a) Please never review a film in that manner again b) I know this isn't what you concluded at all but just as an aside, I've never found the 'ugly themes can't be portrayed beautifully' notion to hold any water. Similarly to you I've heard the critique leveled against many great films modern or otherwise (Ivan's Childhood for instance) and it just strikes me as utterly absurd to believe that pain and suffering can't and/or should not be demonstrated through beautiful imagery... as if only moments of kindness and happiness can be beautiful and any violence or misery must be portrayed in dark, grainy, poor compositions in order to legitimize it's presence.

[MadMan]

The Last Crusade is overly self-satisfied (the lazy opening sequence having Indy collect all his iconic features in a single adventure plays badly, for example), and is merely a series of poorly strung together set-pieces, which of themselves run from the very good to by-the-numbers.If only Buff was still here....he loves Last Crusade. Anyways I don't see how the film is self satisified. I find it to be a really highly entertaining, well made action/adverture film just like the other ones, although a step up from Temple and the 4th flick and just a step down from Raiders. The set pieces work extremely well, and I liked the added father-son dynamic between Connery and Ford, as the two play off each other extremely well.

As for the film's opener, I think its really awesome although looking back the second film has the best opener out of the entire series.

[lwilson85]

Mon Oncle D'amerique was a fairly obnoxious experience.

Have you seen Muriel?

[Sven]

Glad you liked it and love cinema in general but... a) Please never review a film in that manner again

I really didn't mean to. Just kind happened.


b) I know this isn't what you concluded at all but just as an aside, I've never found the 'ugly themes can't be portrayed beautifully' notion to hold any water. Similarly to you I've heard the critique leveled against many great films modern or otherwise (Ivan's Childhood for instance) and it just strikes me as utterly absurd to believe that pain and suffering can't and/or should not be demonstrated through beautiful imagery... as if only moments of kindness and happiness can be beautiful and any violence or misery must be portrayed in dark, grainy, poor compositions in order to legitimize it's presence.

It's an issue, though. Like you, I don't think I buy it, but I'm not sure why. The beautification of ugliness is not something I can accept so lightly. Because sometimes it's fine, sometimes it's not, and I'm not sure why it works when it does.

I don't think it's so much a "happiness = pretty shots v. sadness = ugly shots" model, though in today's metacinemaville, that seems to be the case. No sane director should ever aspire to ugliness of execution, I think, but when ugliness of theme is told with visual ecstasy (not just proficiency, but actual beauty), it becomes an issue. Maybe I will pick up Eco's books On Beauty and On Ugliness. Perhaps they will shed some light on things.

[transmogrifier]

If only Buff was still here....he loves Last Crusade. Anyways I don't see how the film is self satisified. I find it to be a really highly entertaining, well made action/adverture film just like the other ones, although a step up from Temple and the 4th flick and just a step down from Raiders. The set pieces work extremely well, and I liked the added father-son dynamic between Connery and Ford, as the two play off each other extremely well.

As for the film's opener, I think its really awesome although looking back the second film has the best opener out of the entire series.


Eh, except for his David Fincher love, I agreed with Buff on pretty much nothing, so I don't think trotting him out will do your argument much good :)

[Qrazy]

It's an issue, though.

I don't see that it ever is though. Please give me some examples if you feel differently. The glorification of ugliness is what I find to be problematic, not a well composed shot in which ugliness takes place.

[Qrazy]

Have you seen Muriel?

Not yet, but I have it.

[Qrazy]

If only Buff was still here....he loves Last Crusade. Anyways I don't see how the film is self satisified. I find it to be a really highly entertaining, well made action/adverture film just like the other ones, although a step up from Temple and the 4th flick and just a step down from Raiders.

I agree with you.

[Qrazy]

I was surprised to see a Raiders of the Lost Ark homage in Full Metal Alchemist... traps/rolling ball etc... just kind of came out of the blue.

[MadMan]

I agree with you.Cool. And duly noted. Heh.


Eh, except for his David Fincher love, I agreed with Buff on pretty much nothing, so I don't think trotting him out will do your argument much good :)Nah, I was just mentioning that he's a huge fan of Last Crusade, and that he would vigerously defend the film if he were here. What the hell happened to Buff anyways? He hasn't shown up on either here or the Axis in weeks, maybe even months.

[Sven]

The glorification of ugliness is what I find to be problematic, not a well composed shot in which ugliness takes place.

You don't see how making things pretty is a form of glorification (to any degree)?

[Ezee E]

The more I watch it, the more I like Last Crusade as well. Iosos' post pretty much says everything I believe in.

[Watashi]

The more I watch it, the more I like Last Crusade as well. Iosos' post pretty much says everything I believe in.
You don't like Raiders of the Lost Ark?

Anyone who doesn't like that film, I don't like them period.

[Qrazy]

You don't see how making things pretty is a form of glorification (to any degree)?

Not really, I don't see that beauty in form has a necessary connection to thematic ugliness and it really depends what you mean by pretty. If we're talking like lots of bright colors and vibrancy in the presence of a rape scene then yeah there's a problem but the problem then isn't the beauty of the shot, it's the tonal inconsistency of the shot. But the shot can be tonally consistent and still be formally beautiful... the Irreversible rape shot for instance or as a less extreme example... some of the shots in The Killing of a Chinese Bookie which don't glorify that lifestyle (the reverse actually) but are still aesthetically exceptional.

Again give me some examples where you think the beauty of the shot harms the content.

[MacGuffin]

Qrazy, are you an Assayas fan?

[soitgoes...]

It doesn't make sense to me when someone says any of the Indy films are better than or even approach the greatness achieved by Raiders. I've read the arguments before in the various incarnations of Match Cut, and my only response is :rolleyes:.

[Sven]

Again give me some examples where you think the beauty of the shot harms the content.

I don't know if I can think of any, because I'm on your side, remember? What I'm questioning is WHY I don't think ugliness and beauty are mutually exclusive.

[Qrazy]

I don't know if I can think of any, because I'm on your side, remember? What I'm questioning is WHY I don't think ugliness and beauty are mutually exclusive.

Ah k, sorry not trying to push you into an opposing position although it probably seems that way. Just to venture a supposition... maybe it has something to do with the tonal issue I brought up? As in one wouldn't want to see a violent murder in a light hearted Amelie-esque composition.

[Qrazy]

Qrazy, are you an Assayas fan?

Haven't seen anything yet but I'm guessing I probably will be.

[MacGuffin]

Haven't seen anything yet but I'm guessing I probably will be.

I just saw my second movie by him called Boarding Gate and it was a really brilliantly constructed movie. I may have even liked it more than Demonlover.

[Ezee E]

You don't like Raiders of the Lost Ark?

Anyone who doesn't like that film, I don't like them period.

Iosos doesn't like Raiders of the Lost Ark?

Then I take back my statement.

I think Raiders and Last Crusade are both just about perfect.

[Qrazy]

I am curious as to which Jean Marais and Jean Gabin films/shots were used in Mon Oncle D'amerique though.

[trotchky]

I watched Man Bites Dog last night/this afternoon and thought it was pretty interesting and wouldn't mind seeing it again. I think it has a lot more to say than an inane and ineffectual "the media promotes violence"-message; namely, it seems to be interested in the ways realities are constructed and perceived, and the ways standards of normalcy are established.

[Boner M]

i haven't seen this movie. but kieslowski doesn't use characters as pawns nor do his narratives feel suffocated.
I don't feel that way about all his films, but stuff like Blind Chance epitomises why I can't get into him, and why I can't properly articulate why his films leave me cold; even when there are moments in that film where he gives his characters some sort of 'breathing space', it never feels organic to me... I feel he's interested solely in philosophizing and very little else. It's the reason why I have the exact same reaction to that film as I do reading an analysis of it.

[Dead & Messed Up]

I watched Man Bites Dog last night/this afternoon and thought it was pretty interesting and wouldn't mind seeing it again. I think it has a lot more to say than an inane and ineffectual "the media promotes violence"-message; namely, it seems to be interested in the ways realities are constructed and perceived, and the ways standards of normalcy are established.

Hrm. I thought it said little, if anything, and its one interesting angle (the crew's complicity) doesn't get any room to breathe. Oddly, I found Behind the Mask: The Rise of Leslie Vernon more fascinating as a faux-documentary about a genial killer.

[Rowland]

When I was growing up, The Last Crusade was my favorite Indy movie, and Raiders my least favorite. I'd need to see them again to see how I feel now, but I'm fairly confident in asserting that Kingdom of the Crystal Skull is the least of the series.

[megladon8]

Seeing Heat again was orgasmic.

That is one of the best crime films ever made.

[Boner M]

Wild Reeds was excellent, albeit for boring reasons. Not that I want to undermine Techine's achievements, I just like it when a film invites more interesting accolades than 'heartfelt', 'wise' and 'naturalistic'. Or 'sharply observed'. Or 'shrewdly intertwines the political and the personal'. I think I'll stop there.

[lovejuice]

in france, i so much want to see le grand alibi and jcvd, but of course they have no english subtitle. :cry:

[Winston*]

How come Adrien Brody gets all deadpan perplexed when Indian kids play cricket with a tennis ball? I feel like the key to the movie is contained somewhere within the depths of that line and the deadpan perplexity of it's expression.

[monolith94]

Jaques Demy's Lola was great, just great. There was one scene done in slow motion that totally predates Wes Anderson and feels so much like something he would do today, complete with harpsichord.

[Grouchy]

Just came back from Cassandra's Dream and, I gotta say, it's practically a master class in what Before the Devil Knows You're Dead should have been. They share basically the exact same premise, but Lumet's movie has stilted dialogue, forced situations, unrealistic characters and you never get a sense that the material gain is enough to justify the atrocities. All that was done much better by Allen in this movie, which is a lot more human and wittier. It's also ten times better than Allen's earlier Match Point. If you count Crimes and Misdemeanors as a drama, then this is the Woodster's best thriller effort so far.

I realize I've just evaluated a movie solely by comparing it to other movies, but, what can I say? It's a common topic anyway.