28 Film Discussion Threads Later

[Duncan]

No, never really felt driven to say much. I thought the filmmaking was stellar and the film's human focus, as opposed to a more ecological one, was a fresh, nice surprise. The shots of white tourists (on "goodbye tours," an ironic title since these goodbye tours are there to welcome Westerners to the "new" China) matched with the flooded homes and shops was nicely done and subtly critical. In general, it is a rather delicate film, though I think the idealism is a bit naive (to suggest that Chinese heritage is "up the creek" over the future symbolized by the dam ignores the necessity of change). I think the film is wonderfully successful though in capturing the change and the groans of a society forced to accept it (the two central characters working the tours show in their own way the difficulties faced). I am reminded of many fiction films that have stressed the change from ruralism to modern civilization and I think the real characters here are even more sympathetic.

Ultimately, it isn't a film that opened my eyes or really made me feel all that much emotionally, which may say something about me or the film, but I think for what the film wanted to tell, it did it as gracefully as possible.

Yeah, I guess I feel similarly. I was hoping it would bring something new to light. I don't think I really learned anything. Just got to know a couple of Chinese kids a bit. The reason it seems like a failure in my eyes is that the white people were the most compelling. It's just weird that the crew traveled all the way to China and the most interesting people were the Americans.

[Qrazy]

Yeah, I guess I feel similarly. I was hoping it would bring something new to light. I don't think I really learned anything. Just got to know a couple of Chinese kids a bit. The reason it seems like a failure in my eyes is that the white people were the most compelling. It's just weird that the crew traveled all the way to China and the most interesting people were the Americans.

Not that weird really, all creeds and cultures pale in comparison to the great Americana.

[number8]

Do you guys read Andrew Sarris at all? I don't read him regularly but I studied his cinematic theories for a film analysis class and found his ideas interesting.

Anyway, he said after seeing The Dark Knight he's including Nolan in his top filmmakers of the 21st century.

[Sven]

Do you guys read Andrew Sarris at all? I don't read him regularly but I studied his cinematic theories for a film analysis class and found his ideas interesting.

Anyway, he said after seeing The Dark Knight he's including Nolan in his top filmmakers of the 21st century.

Sarris post-1990 is a little nutty. Then, I never much cared for his 70s work much either.

[Raiders]

In Sarris' review (which I put in the film's actual thread--hint, hint), he says he'll have to rethink Nolan's place in the 21st century, not that he necessarily considers him among the best.

[MadMan]

Do you guys read Andrew Sarris at all? I don't read him regularly but I studied his cinematic theories for a film analysis class and found his ideas interesting.

Anyway, he said after seeing The Dark Knight he's including Nolan in his top filmmakers of the 21st century.I believe I had to read some of his theories for a film analysis class I took sophomore year at my local community college. I recall them being interesting, but I really don't remember much of what he wrote.

[megladon8]

Pirates of the Caribbean: At World's End is better than the second entry, but still not too great.

It suffers from all the same problems as the previous two, plus some of its own...

-Too damn long, with too many false endings
-Orlando Bloom is not a suitably charismatic (or believable) action hero
-The character of Beckett was not a threatening or well-written villain
-So overdone and loud (literally) that at many times I found it quite difficult to tell what was being said, and what the hell was going on

Brave of the filmmakers to have a bittersweet ending to a trilogy of uber-popular kids' flicks.

Also, in 5 years' time, Keith Richards' appearance will mean absolutely nothing. And to add insult to injury, the actual character is totally pointless, and was simply there as a nod to fans who wanted to see Richards play Depp's father. It was the equivalent of having a Britney Spears joke - too topical.

[Pop Trash]

Andrew Sarris (who has to be older than dirt now) was the first American critic to seriously use the auteur theory with films. He wrote a book that essentially broke down films of the classic Hollywood period (up to 1960 or so) by who directed them and how worthy that director was in total and how much he put his own stamp in his films and if their films carried similar themes throughout. So if you think film criticism is too attached to who directed the film, you have him to thank. I know the French like Andre Bazin and Truffaut were using this in the 50s too but I don't know who started the theory or if it was just similar minds arriving at the same conclusion.

[MacGuffin]

Has anybody read "Godard on Godard"?

[origami_mustache]

Sarris' film ratings consistently baffle me.

[Derek]

Has anybody read "Godard on Godard"?

Yes. It's essential reading for even the most half-hearted Godard fans.

[MacGuffin]

Yes. It's essential reading for even the most half-hearted Godard fans.

Sweet, I'll start it right after I finish "Essential Cinema".

[origami_mustache]

quiet here...I think everyone is at The Dark Knight.

[soitgoes...]

quiet here...I think everyone is at The Dark Knight.I'm not. I'm getting ready to watch Return of the One-Armed Swordsman. I know it's probably not Italian enough for your current tastes, but I'm mildly excited about it.

[number8]

I'm not.

Wow. What a prick.

[soitgoes...]

Wow. What a prick.
I don't follow.

[Derek]

quiet here...I think everyone is at The Dark Knight.

I'm not. Just sipping cappuccino and searching online for a new beret for beat poetry night tomorrow.

[origami_mustache]

anyone seen Breakin'?

http://www.youtube.com/watch?v=BVrWDPi12zE

pretty sure it is a must see after seeing this clip...hahahaha

[Qrazy]

anyone seen Breakin'?

http://www.youtube.com/watch?v=BVrWDPi12zE

pretty sure it is a must see after seeing this clip...hahahaha

An even better reason to see it...

http://www.youtube.com/watch?v=3cuLcCPVYLc

Young Jeanne Claude Van Damme in spandex.


Yeah I'm not at Dark Knight either, too sold out and busy and stuff. Watching Star Trek instead, lolzors.

[Derek]

anyone seen Breakin'?

http://www.youtube.com/watch?v=BVrWDPi12zE

pretty sure it is a must see after seeing this clip...hahahaha

I'd say go straight to Breakin' 2: Electric Boogaloo (http://www.youtube.com/watch?v=PzysbFcCYS8), if you can handle it.

[Derek]

An even better reason to see it...

http://www.youtube.com/watch?v=3cuLcCPVYLc

Young Jeanne Claude Van Damme in spandex.

1:22 to 1:29 is by far the most entertaining 7 seconds of JCVD ever put to film. :)

[Winston*]

Film Festival starts tomorrow. Going to go see Hunger, I think.

This movie wasn't as fun as I thought it was going to be.

[Qrazy]

1:22 to 1:29 is by far the most entertaining 7 seconds of JCVD ever put to film. :)

It's fairly bafflingly awe-inspiring.

[Boner M]

This movie wasn't as fun as I thought it was going to be.
It's somethin', 'ey.

[soitgoes...]

anyone seen Breakin'?

http://www.youtube.com/watch?v=BVrWDPi12zE

pretty sure it is a must see after seeing this clip...hahahaha
I remember it continually popping up on HBO in the 80's. Perhaps it was it's sequel. Either way I don't think I've actually watched it.

[Winston*]

It's somethin', 'ey.

Oh yeah, it's pretty amazing.

[MacGuffin]

After watching the movie Ugetsu, I have nothing but respect for Kenji Mizoguchi as a filmmaker. Even though it was the only movie I've ever seen by him, it was simply a masterfully made movie. I was really too engrossed in it to speak critically (thematically, formally, or otherwise), but I can't give it enough praise either way.

As for The Umbrellas of Cherbourg, another great movie indeed. It too is the first Demy I've seen, and I'm curious if it is original in that it is all sung dialogue, or if most of his movies are like that (I'm particularly interesting in seeing his The Young Girls of Rochefort next). It's not a flaw, but it simply takes some getting used to as someone who has never really understood musicals. But I dug the sets, and it really, surprisingly, worked on an emotional level for me, and I cared more for the characters than I thought I would. Even if I didn't understand how we were supposed to feel with Geneviéve's decision (is it based on the fact that Guy may not return? Or did she really love Roland? For some reason, I'm led to believe the former, since the other man was not present in the final scene. Still, that may have just been set up to get the two back together). Either way, amazing movie.

[soitgoes...]

As for The Umbrellas of Cherbourg, another great movie indeed. It too is the first Demy I've seen, and I'm curious if it is original in that it is all sung dialogue, or if most of his movies are like that (I'm particularly interesting in seeing his The Young Girls of Rochefort next). Not sure about much outside of Umbrellas and Young Girls, but Young Girls isn't completely sung like Umbrellas.

[origami_mustache]

An even better reason to see it...

http://www.youtube.com/watch?v=3cuLcCPVYLc

Young Jeanne Claude Van Damme in spandex.



woow I have to see this soon...preferably with a large group of people for lolz

[Philosophe_rouge]

Peau D'Ane is not all sung either, I think it's only Cherbourg that does it. I really want to see Lola.

[MadMan]

Yeah Dark Knight was fucking awesome. Ledger ran away with the whole goddamn movie pretty early on.

[Kurious Jorge v3.1]

I'm curious if it is original in that it is all sung dialogue

Evita :) wella lmost all of that film is sung dialogue.

[Ezee E]

I got a Staff Position, as an Usher no less, at the Telluride Film Festival. Free pass (worth $500+), free food, and I get to go to some other events.

Awesome.

[balmakboor]

I took my first look at Trafic (Tati) last night. While I agree it's no Playtime, I still loved it. It is shot much more loosely and Tati seems less in control that his total control over mise-en-scene in Playtime, but that isn't completely a bad thing. Trafic feels more alive in a way than prior Hulot films. What I like most about Tati is still intact though. I love watching the behavior of all the characters. His films are like carefully choreographed dances with every character major to very minor in the background being individually choreographed with very specific motions and ways of moving by Tati. Once you get a feel for those ways of moving, Tati's films become essentially an elaborate and complex ballet.

[balmakboor]

My teenage daughter saw The Dark Knight at midnight last night. I caught her before she left for work this morning and her report was that Heath Ledger is unbelievable and that the movie is very long.

I wonder why so many movies -- especially summer blockbusters like the Pirates of the C movies -- have to be so long. Do the studios think people will feel ripped-off if a movie is only 2 hours?

[balmakboor]

Yeah Dark Knight was fucking awesome. Ledger ran away with the whole goddamn movie pretty early on.

I love it when villians run away with movies. I also love it when they get away at the end. Do I need therapy?

[origami_mustache]

I love it when villians run away with movies. I also love it when they get away at the end. Do I need therapy?

I'm with you...and I like it even more when the villain outright kill the hero. :crazy:

[Rowland]

I wonder why so many movies -- especially summer blockbusters like the Pirates of the C movies -- have to be so long. Do the studios think people will feel ripped-off if a movie is only 2 hours?Maybe Nolan felt the movie needed to be that long?

[D_Davis]

I got a Staff Position, as an Usher no less, at the Telluride Film Festival. Free pass (worth $500+), free food, and I get to go to some other events.

Awesome.

That's way cool man! Telluride always looks like a cool festival.

[Benny Profane]

Why haven't more people seen Zero Day?

Zero Day > Elephant.

[balmakboor]

Maybe Nolan felt the movie needed to be that long?

That could be. I don't think very highly of Nolan to begin with so I tended to think of the film more as a studio blockbuster rather than the work of an auteur. I think very few movies "need" to be that long though and tend to disagree with their directors who think otherwise.

[Ezee E]

That's way cool man! Telluride always looks like a cool festival.
I've been to many film festivals. None compare to Telluride.

[Kurosawa Fan]

Why haven't more people seen Zero Day?

Zero Day > Elephant.

I'm not sure I'd say it's better than Elephant, but it's on par for sure. Zero Day made my top five for the consensus. Glad you liked it as much as I did.

[MacGuffin]

I can't stop thinking about Ugetsu! Raiders might be right. Just an absolutely incredible movie. Wow.

[MadMan]

I love it when villians run away with movies. I also love it when they get away at the end. Do I need therapy?Nope. I often don't mind when a villain gets away or they run away with the movie, so long as they aren't really really evil. The Joker certainly is evil, but he's more chaotic evil. I'm not excusing his actions, but unlike say other villains he can't control it. Its who he is. That's why the Joker is one scary mofo, and I actually feel that the quote in my sig from Alfred that was in TDK perfectly explains the Joker's personality.


I got a Staff Position, as an Usher no less, at the Telluride Film Festival. Free pass (worth $500+), free food, and I get to go to some other events.

Awesome.Very nice dude. Congrats :cool:

I think that TDK's length was fine. The film's final act sort of demanded the a necessarily longer running time to properly get its effect across.

[Melville]

Beat the Devil was pretty silly. For some reason I expected it to be zany noir in the vein of The Big Sleep, rather than an outright parody.

[Duncan]

Saw The Goddess. Yeah, pretty good. I think I've seen one too many hooker with a heart of gold stories though. I took a class on Chinese history a few years ago. Wish I could remember what the socio-political climate was like when this was made. I remember the early 20th century being a see-saw.

[Ezee E]

IMDb synopsis of some 2009 movie:


A thriller centered on a young woman and her autistic little brother who are trapped in a house with a ravenous tiger during a hurricane.

Um, movie of the decade?

[Yxklyx]

IMDb synopsis of some 2009 movie:



Um, movie of the decade?

Sounds like Cujo.

[origami_mustache]

Saw The Goddess. Yeah, pretty good. I think I've seen one too many hooker with a heart of gold stories though. I took a class on Chinese history a few years ago. Wish I could remember what the socio-political climate was like when this was made. I remember the early 20th century being a see-saw.

Right wing nationalists vs. communist insurgents and non communist leftists

[Winston*]

IMDb synopsis of some 2009 movie:



Um, movie of the decade?

I love it so much.

[Philosophe_rouge]

Rewatched Kill Bill Vol. 1, I wasn't a fan the first time I saw it, but this time I have to say I fell for it's stylistic indulgence. The first half in particular had me completely enthralled. I loved the episodic madness of it, that was somewhat abandoned in the final half, to my chagrin. Still, I'm now excited to see Kill Bill Vol.2.

[Kurious Jorge v3.1]

nevermind! already in the Batman topic.

[ledfloyd]

i really love the second half of vol. 1. i think the house of blue leaves sequence, as far as visceral action goes, is up there with the truck chase in raiders of the lost ark. the way it hits all the right notes and builds tension and release, along with the musical cues. it's exhilirating. even if it's all style and no substance, it's very well composed.

[soitgoes...]

The Dark Knight is now the third best movie of all times on imdb.Of course it is. Half of it's votes probably have come from people who haven't even seen it yet.

[Philosophe_rouge]

i really love the second half of vol. 1. i think the house of blue leaves sequence, as far as visceral action goes, is up there with the truck chase in raiders of the lost ark. the way it hits all the right notes and builds tension and release, along with the musical cues. it's exhilirating. even if it's all style and no substance, it's very well composed.
I don't find either sequence particularly thrilling, straight out action, rarely does anything for me.

[Mysterious Dude]

Why haven't more people seen Zero Day?

Zero Day > Elephant.
This strikes me as a case similar to that of Capote vs. Infamous, where people who disliked the popular one prefer the unpopular one, but no one really likes the unpopular one as much as the people who like the popular one.

[ledfloyd]

I don't find either sequence particularly thrilling, straight out action, rarely does anything for me.
i'm often bored by it, but both of those sequences are exceptions.

[Winston*]

Curse of the Golden Flower was great!

[Watashi]

Curse of the Golden Flower was great!

I hope this is sarcasm.

[Winston*]

I hope this is sarcasm.
Nope.

That line from Starman is weird to me, since he's making this general statement on humanity based solely on this one woman he's come in contact with. A bunch of people are trying to kill him for god's sake.

[soitgoes...]

So the 5 minute force feeding scene in Wiseman's Titicut Follies had me more on edge than the whole of The Ruins, which I also watched tonight. I'm very excited to see more from Wiseman, though his 3 1/2 hour view on the Idaho State Legislature will probably always remain unwatched by me.

[balmakboor]

So the 5 minute force feeding scene in Wiseman's Titicut Follies had me more on edge than the whole of The Ruins, which I also watched tonight. I'm very excited to see more from Wiseman, though his 3 1/2 hour view on the Idaho State Legislature will probably always remain unwatched by me.

Near Death is mighty long and depressing as well. It is also constantly absorbing.

[Sven]

I'd really love to see Curse of the Golden Flower again, because in retrospect, I'm thinking it's beautiful and wonderful and it works. But then I think about when I watched it and I remember thinking it was miserable and silly.

[Benny Profane]

This strikes me as a case similar to that of Capote vs. Infamous, where people who disliked the popular one prefer the unpopular one, but no one really likes the unpopular one as much as the people who like the popular one.

But I liked Elephant.

[Ezee E]

Golden Flower is both beautiful and ridiculously silly.

[D_Davis]

Golden Flower is both beautiful and ridiculously silly.


Yeah - I think this is kind of the point of the film.

[Sven]

Yeah, it's certainly pictorially pleasing (except for those big CG-ified army sequences, which I thought were comparatively atrocious to look at), but the "silly" vibe I got while watching it was not of the intentional heightened family melodrama kind, but rather a more negative kind. An "isn't it silly that this movie thinks I'm going to like it" silly. For all its delicious colors and operatic action (which wasn't staged very well, I think), it never felt like it gelled into anything reasonable. A mish-mash of disparate qualities.

But again, maybe I wasn't in the right frame of mind. Perhaps it was an expectation thing or something. As I say, in retrospect, I find myself thinking of it favorably, so I'd like to try it again.

[Pop Trash]

So the 5 minute force feeding scene in Wiseman's Titicut Follies had me more on edge than the whole of The Ruins, which I also watched tonight. I'm very excited to see more from Wiseman, though his 3 1/2 hour view on the Idaho State Legislature will probably always remain unwatched by me.

Model is quite good and much less tough and depressing than Titicut Follies. I'm guessing it's one of his more entertaining films since it has to do with the fashion industry. High School is also a must see.

[Scar]

Curse of the Golden Flower was great!

Fucking love that movie.

[Rowland]

I thought Curse of the Golden Flower was ugly as hell, very garish... which I understand was the point, but I don't care.

[Yxklyx]

Billy Liar (1963, John Schlesinger) was very good. Reminded me a lot of If... but seemed more focused while still keeping some of the wackiness. The lead is a lot like Malcolm McDowell as well. Very very funny in bits and ends very well. A black comedy through and through.

[Spinal]

Curse of the Golden Flower is totally intentionally humorous and silly. Great film.

[Watashi]

Curse of the Golden Flower is totally intentionally humorous and silly. Great film.

Then it fails, because it's not funny at all, but just lame.

[Ezee E]

Then it fails, because it's not funny at all, but just lame.
More this. It's laughably silly, but not in a good way, even if it is intentional. It starts off taking itself pretty seriously it seems.

[Melville]

How many of the Top 100 Chinese films have people seen? Here's the list, as selected by the Hong Kong Awards Association:


1 Spring in a Small Town 1948 China Fei Mu
2 A Better Tomorrow 1986 Hong Kong John Woo
3 Days of Being Wild 1990 Hong Kong Wong Kar-Wai
4 Yellow Earth 1984 China Chen Kaige
5 City of Sadness 1989 Taiwan Hou Hsiao-hsien
6 Long Arm of the Law 1984 Hong Kong Johnny Mak
7 Dragon Gate Inn 1967 Taiwan King Hu
8 Boat People 1982 Hong Kong Ann Hui
9 A Touch of Zen 1971 Taiwan King Hu
10 Crouching Tiger, Hidden Dragon 2000 Taiwan/Hong Kong Ang Lee
11 Street Angel 1937 China Yuan Muzhi
12 A Brighter Summer Day 1991 Taiwan Edward Yang
13 The Private Eye 1976 Hong Kong Michael Hui
14 The Mission 1999 Hong Kong Johnnie To
15 One Armed-Swordsman 1967 Hong Kong Chang Cheh
16 Fist of Fury 1972 Hong Kong Lo Wei
17 In the Heat of the Sun 1994 China Jiang Wen
18 In the Face of Demolition 1953 Hong Kong Li Tie
19 A Chinese Odyssey 1995 Hong Kong Jeffery Lau
20 The Arch 1970 Hong Kong Tang Shu-Shuen
21 Rouge 1987 Hong Kong Stanley Kwan
22 Chungking Express 1994 Hong Kong Wong Kar-Wai
23 Homecoming 1984 Hong Kong Yim Ho
24 The Time to Live and the Time to Die 1985 Taiwan Hou Hsiao-hsien
25 Red Sorghum 1987 China Zhang Yimou
26 Father and Son 1981 Hong Kong Allen Fong
27 The Spring River Flows East 1947 China Cai Chusheng
28 Comrades: Almost a Love Story 1996 Hong Kong Peter Chan
29 The Goddess 1934 China Wu Yonggang
30 The Big Road 1934 China Sun Yu
31 The Secret 1979 Hong Kong Ann Hui
32 Infernal Affairs 2002 Hong Kong Andrew Lau, Alan Mak
33 Drunken Master 1978 Hong Kong Yuen Wo Ping
34 The Butterfly Murders 1979 Hong Kong Tsui Hark
35 Ashes of Time 1994 Hong Kong Wong Kar-Wai
36 Made in Hong Kong 1997 Hong Kong Fruit Chan
37 Sorrows of the Forbidden City 1948 China Zhu Shilin
38 Liang Shan-po and Chu Ying-t'ai 1963 Hong Kong Li Han Hsiang
39 The Story of A Discharged Prisoner 1967 Hong Kong Lung Kong
40 Zu Warriors 1983 Hong Kong Tsui Hark
41 The Terrorizer 1986 Taiwan Edward Yang
42 The Killer 1989 Hong Kong John Woo
43 Once Upon a Time in China 1991 Hong Kong Tsui Hark
44 Centre Stage 1992 Hong Kong Stanley Kwan
45 The Story of Qiu Ju 1992 China Zhang Yimou
46 This Life of Mine 1950 China Shi Hui
47 Kingdom and the Beauty 1959 Hong Kong Li Han Hsiang
48 The Winter 1969 Taiwan Li Han Hsiang
49 An Autumn's Tale 1987 Hong Kong Mabel Cheung
50 A Chinese Ghost Story 1987 Hong Kong Ching Siu-Tung
51 The Purple Hairpin 1959 Hong Kong Li Tie
52 The Orphan 1960 Hong Kong Lee Sun-Fung
53 Two Stage Sisters 1965 China Xie Jin
54 City on Fire 1987 Hong Kong Ringo Lam
55 Farewell My Concubine 1993 Hong Kong/China Chen Kaige
56 Yi Yi: A One and a Two 2000 Taiwan Edward Yang
57 Cold Nights 1955 Hong Kong Lee Sun-fung
58 Po Xiao Shi Fen 1967 Taiwan Sung Tsu-shou
59 Raining in the Mountain 1979 Taiwan King Hu
60 Police Story 1985 Hong Kong Jackie Chan
61 C'est la vie, mon chéri 1993 Hong Kong Derek Yee
62 The Wedding Banquet 1993 Taiwan Ang Lee
63 Platform 2000 China Jia Zhangke
64 The Wild, Wild Rose 1960 Hong Kong Wang Tian-Lin
65 The Great Devotion 1960 Hong Kong Chor Yuen
66 My Intimate Partner 1960 Hong Kong Kim Chun
67 Dangerous Encounters of the First Kind 1980 Hong Kong Tsui Hark
68 Ah Ying / Ban Bian Ren 1983 Hong Kong Allen Fong
69 Durian Durian 2000 Hong Kong Fruit Chan
70 Little Toys 1933 China Sun Yu
71 Ai Le Zhong Nian 1949 China Sang Hu
72 The House of 72 Tenants 1973 Hong Kong Chor Yuen
73 Nomad 1982 Hong Kong Patrick Tam
74 Dust in the Wind 1986 Taiwan Hou Hsiao-hsien
75 92 Legendary La Rose Noire 1992 Hong Kong Jeffrey Lau
76 Shaolin Soccer 2001 Hong Kong Stephen Chow
77 Song at Midnight 1937 China Ma-Xu Weibang
78 China Behind 1974 Hong Kong Tong Shu-Shuen
79 The Spooky Bunch 1980 Hong Kong Ann Hui
80 Taipei Story 1985 Taiwan Edward Yang
81 The Blue Kite 1993 China Tian Zhuangzhuang
82 Tai Tai Wan Sui 1948 China Sang Hu
83 Mambo Girl 1957 Hong Kong Yi Wen
84 Feast of a Rich Family 1959 Hong Kong Lee Sun-Fung, Li Tie, Ng Wui, Lo Ji-Hung
85 Execution in Autumn 1972 Taiwan Lee Hsing
86 Hibiscus Town 1986 China Xie Jin
87 God of Gamblers 1989 Hong Kong Wong Jing
88 As Tears Go By 1988 Hong Kong Wong Kar-Wai
89 Happy Together 1997 Hong Kong Wong Kar-Wai
90 In the Mood for Love 2000 Hong Kong Wong Kar-Wai
91 The Light of Ten Thousand Homes 1948 China Shen Fu
92 Festival Moon 1953 Hong Kong Zhu Shilin
93 Parents' Hearts 1955 Hong Kong Kim Chun
94 Lin Zexu 1959 China Zheng Junli
95 Dreams of the Red Chambers 1962 China Cen Fan
96 Digital Master 1983 Hong Kong Kirk Wong
97 Shanghai Blues 1984 Hong Kong Tsui Hark
98 Eight Diagram Pole Fighter 1984 Hong Kong Liu Chia-Liang
99 The Black Cannon Incident 1985 China Huang Jianxin
100 Rebels of the Neon God 1992 Taiwan Tsai Ming-liang
101 In the Hands of a Puppet Master 1993 Taiwan Hou Hsiao-hsien
102 Summer Snow 1995 Hong Kong Ann Hui
103 Not One Less 1998 China Zhang Yimou

I've only seen ten or so.

[Ezee E]

Our list is better.

[Qrazy]

How many of the Top 100 Chinese films have people seen? Here's the list, as selected by the Hong Kong Awards Association:

I've only seen ten or so.

14, I didn't realize I'd failed so miserably at Chinese cinema.

[Melville]

Our list is better.
We have a list of best Chinese movies?

[Philosophe_rouge]

I've seen 2.

[soitgoes...]

Then it fails, because it's not funny at all, but just lame.
This. One of only 2 Zhang missteps that I've seen.

[soitgoes...]

How many of the Top 100 Chinese films have people seen? Here's the list, as selected by the Hong Kong Awards Association:


1 Spring in a Small Town 1948 China Fei Mu
2 A Better Tomorrow 1986 Hong Kong John Woo
3 Days of Being Wild 1990 Hong Kong Wong Kar-Wai
4 Yellow Earth 1984 China Chen Kaige
5 City of Sadness 1989 Taiwan Hou Hsiao-hsien
6 Long Arm of the Law 1984 Hong Kong Johnny Mak
7 Dragon Gate Inn 1967 Taiwan King Hu
8 Boat People 1982 Hong Kong Ann Hui
9 A Touch of Zen 1971 Taiwan King Hu
10 Crouching Tiger, Hidden Dragon 2000 Taiwan/Hong Kong Ang Lee
11 Street Angel 1937 China Yuan Muzhi
12 A Brighter Summer Day 1991 Taiwan Edward Yang
13 The Private Eye 1976 Hong Kong Michael Hui
14 The Mission 1999 Hong Kong Johnnie To
15 One Armed-Swordsman 1967 Hong Kong Chang Cheh
16 Fist of Fury 1972 Hong Kong Lo Wei
17 In the Heat of the Sun 1994 China Jiang Wen
18 In the Face of Demolition 1953 Hong Kong Li Tie
19 A Chinese Odyssey 1995 Hong Kong Jeffery Lau
20 The Arch 1970 Hong Kong Tang Shu-Shuen
21 Rouge 1987 Hong Kong Stanley Kwan
22 Chungking Express 1994 Hong Kong Wong Kar-Wai
23 Homecoming 1984 Hong Kong Yim Ho
24 The Time to Live and the Time to Die 1985 Taiwan Hou Hsiao-hsien
25 Red Sorghum 1987 China Zhang Yimou
26 Father and Son 1981 Hong Kong Allen Fong
27 The Spring River Flows East 1947 China Cai Chusheng
28 Comrades: Almost a Love Story 1996 Hong Kong Peter Chan
29 The Goddess 1934 China Wu Yonggang
30 The Big Road 1934 China Sun Yu
31 The Secret 1979 Hong Kong Ann Hui
32 Infernal Affairs 2002 Hong Kong Andrew Lau, Alan Mak
33 Drunken Master 1978 Hong Kong Yuen Wo Ping
34 The Butterfly Murders 1979 Hong Kong Tsui Hark
35 Ashes of Time 1994 Hong Kong Wong Kar-Wai
36 Made in Hong Kong 1997 Hong Kong Fruit Chan
37 Sorrows of the Forbidden City 1948 China Zhu Shilin
38 Liang Shan-po and Chu Ying-t'ai 1963 Hong Kong Li Han Hsiang
39 The Story of A Discharged Prisoner 1967 Hong Kong Lung Kong
40 Zu Warriors 1983 Hong Kong Tsui Hark
41 The Terrorizer 1986 Taiwan Edward Yang
42 The Killer 1989 Hong Kong John Woo
43 Once Upon a Time in China 1991 Hong Kong Tsui Hark
44 Centre Stage 1992 Hong Kong Stanley Kwan
45 The Story of Qiu Ju 1992 China Zhang Yimou
46 This Life of Mine 1950 China Shi Hui
47 Kingdom and the Beauty 1959 Hong Kong Li Han Hsiang
48 The Winter 1969 Taiwan Li Han Hsiang
49 An Autumn's Tale 1987 Hong Kong Mabel Cheung
50 A Chinese Ghost Story 1987 Hong Kong Ching Siu-Tung
51 The Purple Hairpin 1959 Hong Kong Li Tie
52 The Orphan 1960 Hong Kong Lee Sun-Fung
53 Two Stage Sisters 1965 China Xie Jin
54 City on Fire 1987 Hong Kong Ringo Lam
55 Farewell My Concubine 1993 Hong Kong/China Chen Kaige
56 Yi Yi: A One and a Two 2000 Taiwan Edward Yang
57 Cold Nights 1955 Hong Kong Lee Sun-fung
58 Po Xiao Shi Fen 1967 Taiwan Sung Tsu-shou
59 Raining in the Mountain 1979 Taiwan King Hu
60 Police Story 1985 Hong Kong Jackie Chan
61 C'est la vie, mon chéri 1993 Hong Kong Derek Yee
62 The Wedding Banquet 1993 Taiwan Ang Lee
63 Platform 2000 China Jia Zhangke
64 The Wild, Wild Rose 1960 Hong Kong Wang Tian-Lin
65 The Great Devotion 1960 Hong Kong Chor Yuen
66 My Intimate Partner 1960 Hong Kong Kim Chun
67 Dangerous Encounters of the First Kind 1980 Hong Kong Tsui Hark
68 Ah Ying / Ban Bian Ren 1983 Hong Kong Allen Fong
69 Durian Durian 2000 Hong Kong Fruit Chan
70 Little Toys 1933 China Sun Yu
71 Ai Le Zhong Nian 1949 China Sang Hu
72 The House of 72 Tenants 1973 Hong Kong Chor Yuen
73 Nomad 1982 Hong Kong Patrick Tam
74 Dust in the Wind 1986 Taiwan Hou Hsiao-hsien
75 92 Legendary La Rose Noire 1992 Hong Kong Jeffrey Lau
76 Shaolin Soccer 2001 Hong Kong Stephen Chow
77 Song at Midnight 1937 China Ma-Xu Weibang
78 China Behind 1974 Hong Kong Tong Shu-Shuen
79 The Spooky Bunch 1980 Hong Kong Ann Hui
80 Taipei Story 1985 Taiwan Edward Yang
81 The Blue Kite 1993 China Tian Zhuangzhuang
82 Tai Tai Wan Sui 1948 China Sang Hu
83 Mambo Girl 1957 Hong Kong Yi Wen
84 Feast of a Rich Family 1959 Hong Kong Lee Sun-Fung, Li Tie, Ng Wui, Lo Ji-Hung
85 Execution in Autumn 1972 Taiwan Lee Hsing
86 Hibiscus Town 1986 China Xie Jin
87 God of Gamblers 1989 Hong Kong Wong Jing
88 As Tears Go By 1988 Hong Kong Wong Kar-Wai
89 Happy Together 1997 Hong Kong Wong Kar-Wai
90 In the Mood for Love 2000 Hong Kong Wong Kar-Wai
91 The Light of Ten Thousand Homes 1948 China Shen Fu
92 Festival Moon 1953 Hong Kong Zhu Shilin
93 Parents' Hearts 1955 Hong Kong Kim Chun
94 Lin Zexu 1959 China Zheng Junli
95 Dreams of the Red Chambers 1962 China Cen Fan
96 Digital Master 1983 Hong Kong Kirk Wong
97 Shanghai Blues 1984 Hong Kong Tsui Hark
98 Eight Diagram Pole Fighter 1984 Hong Kong Liu Chia-Liang
99 The Black Cannon Incident 1985 China Huang Jianxin
100 Rebels of the Neon God 1992 Taiwan Tsai Ming-liang
101 In the Hands of a Puppet Master 1993 Taiwan Hou Hsiao-hsien
102 Summer Snow 1995 Hong Kong Ann Hui
103 Not One Less 1998 China Zhang Yimou

I've only seen ten or so.
I've seen 18. Out of those listed Dragon Inn is the best. I really find it exciting that I haven't seen a lot of the "great" Chinese films yet. It gives me a whole section of world film to explore.

[soitgoes...]

Model is quite good and much less tough and depressing than Titicut Follies. I'm guessing it's one of his more entertaining films since it has to do with the fashion industry. High School is also a must see.
I've got Zoo and Juvenile Court in my possession to see next. I really want to see High School, especially after Watashi's glowing mini-review a week or so ago.

[Duncan]

I've only seen 9. China's films have never really appealed to me on a national level. I've seen a bunch of Zhang films. Some are great, but I'm usually not so big on melodrama. WKW is great (that so many of his films are listed here suggests to me that there isn't a whole lot of depth to the film history there), but I'm much more interested in works like In the Mood for Love than his gangster stuff. I've never been too into John Woo for the same reason. With apologies to Davis, what I've seen from Tsui Hark hardly inspires me to see more.

Definitely want to see more by Jia and Yang.

[Melville]

WKW is great (that so many of his films are listed here suggests to me that there isn't a whole lot of depth to the film history there), but I'm much more interested in works like In the Mood for Love than his gangster stuff.
Hasn't WKW only made one gangster movie?

I have Spring in a Small Town downloaded, so I'll report back if it's better than the other ten films I've seen from that list.

[Winston*]

We have a list of best Chinese movies?

We have a list of best Japanese movies, but same diff.

[origami_mustache]

How many of the Top 100 Chinese films have people seen?


16...mostly WKW and HHH

3 Days of Being Wild 1990 Hong Kong Wong Kar-Wai
5 City of Sadness 1989 Taiwan Hou Hsiao-hsien
10 Crouching Tiger, Hidden Dragon 2000 Taiwan/Hong Kong Ang Lee
22 Chungking Express 1994 Hong Kong Wong Kar-Wai
29 The Goddess 1934 China Wu Yonggang
35 Ashes of Time 1994 Hong Kong Wong Kar-Wai
41 The Terrorizer 1986 Taiwan Edward Yang
42 The Killer 1989 Hong Kong John Woo
56 Yi Yi: A One and a Two 2000 Taiwan Edward Yang
74 Dust in the Wind 1986 Taiwan Hou Hsiao-hsien
76 Shaolin Soccer 2001 Hong Kong Stephen Chow
88 As Tears Go By 1988 Hong Kong Wong Kar-Wai
89 Happy Together 1997 Hong Kong Wong Kar-Wai
90 In the Mood for Love 2000 Hong Kong Wong Kar-Wai
100 Rebels of the Neon God 1992 Taiwan Tsai Ming-liang
101 In the Hands of a Puppet Master 1993 Taiwan Hou Hsiao-hsien

[Mysterious Dude]

1 Spring in a Small Town **½
3 Days of Being Wild ***
9 A Touch of Zen **½
10 Crouching Tiger, Hidden Dragon ****
22 Chungking Express ***
29 The Goddess ***½
44 Centre Stage ***½
55 Farewell My Concubine ***½
56 Yi Yi **½
81 The Blue Kite **½
90 In the Mood for Love ****

[Duncan]

Hasn't WKW only made one gangster movie? I guess. I was including Days of Being Wild and Fallen Angels. I love Fallen Angels, but the hitman segments are the least interesting to me.

[Melville]

I guess. I was including Days of Being Wild and Fallen Angels. I love Fallen Angels, but the hitman segments are the least interesting to me.
Gotcha. The hitman half of Fallen Angels pretty much ruined the movie for me. The whole premise and its presentation were way too cute, and the smeared-out aesthetic needed to be reined in a bit.

[number8]

Mmm, too lazy to count, but skimming through I think I got 25-30.

[monolith94]

2 A Better Tomorrow 1986 Hong Kong John Woo
A
10 Crouching Tiger, Hidden Dragon 2000 Taiwan/Hong Kong Ang Lee
A+
22 Chungking Express 1994 Hong Kong Wong Kar-Wai
A
42 The Killer 1989 Hong Kong John Woo
A+
43 Once Upon a Time in China 1991 Hong Kong Tsui Hark
A
55 Farewell My Concubine 1993 Hong Kong/China Chen Kaige
A
90 In the Mood for Love 2000 Hong Kong Wong Kar-Wai
A

Only 8! I certainly like what I've seen of those, though. A bit surprised to see A Better Tomorrow so high up. Scratch that, I'm very surprised.

[Stay Puft]

I've seen 19:

2 A Better Tomorrow
3 Days of Being Wild
10 Crouching Tiger, Hidden Dragon
14 The Mission
15 One Armed-Swordsman
19 A Chinese Odyssey
22 Chungking Express
32 Infernal Affairs
33 Drunken Master
42 The Killer
43 Once Upon a Time in China
50 A Chinese Ghost Story
54 City on Fire
55 Farewell My Concubine
60 Police Story
76 Shaolin Soccer
90 In the Mood for Love
97 Shanghai Blues
100 Rebels of the Neon God

I have copies of a few others that I simply haven't watched yet, such as Platform, Yi Yi, Dragon Gate Inn, Touch of Zen, Eight Diagram Pole Fighter, Spring in a Small Town, The Goddess.

Surprised to see Shanghai Blues, but not Peking Opera Blues. I guess I just figured the latter was the more acclaimed.

[Qrazy]

1941 - I'm surprised this film is so disliked. I mean yeah plot-wise it's a mess but that's half the fun. It struck me as Spielberg's It's a Mad Mad Mad Mad World except with more interesting set pieces (ferris wheel, plane attack, dance sequence), better pyrotechnics, generally more effective humor and substituting greed for paranoia as the primary enemy. Some of the humor aims too broadly and the slapstick comes in rapid fire doses but Belushi is hilarious, zonked out Akroyd is hilarious, Slim Pickens and Warren Oates are class and then you've got Mifune, Lee, McNamara and a wealth of other characters leftover for dipping sauce.

[Qrazy]

You know what contemporary cinema could use more of? Witty Repartee. There are so few witty characters and exchanges these days.

[D_Davis]

How many of the Top 100 Chinese films have people seen? Here's the list, as selected by the Hong Kong Awards Association:


30.

Nice to see the Tsui Hark love on that list.

Pretty good list. More Shaw Brothers stuff is needed though.

[D_Davis]

Very odd to see Eight Diagram Pole Fighter and not 36th Chamber of Shaolin or Executioners of Shaolin.

But it is awesome to see this many great martial arts films on a list of a country's top 100 films. That rules.

[Winston*]

Shoot 'em Up was pretty fun. I liked how pretty much everything in it could be appreciated ironically and unironically at the same time, that's multiple levels right there.

[soitgoes...]

Ah, The King of Comedy... I miss the good Robert De Niro. You know, the one who'd take on exciting atypical roles. Also, who'd a thunk someone would be able to create and write a role in which I would find Jerry Lewis to be brilliant, instead of obnoxious? Kudos to you Mr. Zimmerman, Mr. Scorsese, and even you Mr. Lewis.

Oooo, and also Sandra Bernhard. How the hell did I end up liking this film so much?

[Winston*]

70s film star who's become the least of a parody of themself in the following decades - who are you going for?

[ledfloyd]

70s film star who's become the least of a parody of themself in the following decades - who are you going for?
that's a tough one. the first ones that come to mind (gould, hackman, deniro, hoffman, nicholson, pacino, etc) have all done a good job parodying themselves over the last few years.

how bout meryl streep? does she count? she kinda snuck in at the end of the decade.

[Mysterious Dude]

So does this happen to anybody else? When I search for something on Netflix, half the time they give me The Water Horse: Legend of the Deep, no matter what words I use. I just went through that Chinese list, looking for what might be on Netflix. The Black Cannon Incident: Water Horse. Rebels of the Neon God: Water Horse. In the Hands of a Puppet Master: Water Horse. Is it part of some conspiracy to make me watch Water Horse?

[Ezee E]

70s film star who's become the least of a parody of themself in the following decades - who are you going for?
Jon Voight?

Jeff Bridges? Would he be considered a star

[Kurosawa Fan]

After walking around Ann Arbor all day yesterday, I came home exhausted and, after watching the end of the Tiger game ( :| ), decided to see what was on the movie channels. The Heartbreak Kid was just starting, and so I decided to give it a chance. I blame my exhausted mind. It wasn't good. At all.

[Winston*]

Jon Voight?


Wha? I suppose it could be hazy what a Jon Voight parody might actually entail, but Jon Voight played the headmaster in the movie Bratz.

[Ezee E]

Wha? I suppose it could be hazy what a Jon Voight parody might actually entail, but Jon Voight played the headmaster in the movie Bratz.
More of an embarassment than a parody.

[Mysterious Dude]

70s film star who's become the least of a parody of themself in the following decades - who are you going for?
How about Michael Caine? Was he enough of a star in the 70's? Anyway, he seems to be doing pretty well for himself.

Martin Sheen, maybe? It's sad that I have to kind of reach for "stars".

[balmakboor]

So does this happen to anybody else? When I search for something on Netflix, half the time they give me The Water Horse: Legend of the Deep, no matter what words I use. I just went through that Chinese list, looking for what might be on Netflix. The Black Cannon Incident: Water Horse. Rebels of the Neon God: Water Horse. In the Hands of a Puppet Master: Water Horse. Is it part of some conspiracy to make me watch Water Horse?

My guess: It's like google advertising where you can pay to have your site jump to the top of search results. Only on Netflix it is taken to a new extreme by having movies jump to the top whether they match your search terms or not.

It does the same for me as well. A search for Rebels of the Neon God also offers me The Nanny Diaries and The Bucket List.

[Russ]

70s film star who's become the least of a parody of themself in the following decades - who are you going for?
I say Robert Redford. Add Eastwood to the other group.

[Boner M]

70s film star who's become the least of a parody of themself in the following decades - who are you going for?
Peter Fonda, maybe? His best work has been in the last decade, with Ulee's Gold and The Limey.

EDIT: OK, I didn't read his IMDB filmography before posting that. I feel stupid.

[Sven]

Peter Fonda, maybe? His best work has been in the last decade, with Ulee's Gold and The Limey.

Ghost Rider, dude. And Wild Hogs.

Edit: Forgiven.

[EyesWideOpen]

After walking around Ann Arbor all day yesterday, I came home exhausted and, after watching the end of the Tiger game ( :| ), decided to see what was on the movie channels. The Heartbreak Kid was just starting, and so I decided to give it a chance. I blame my exhausted mind. It wasn't good. At all.

I did the same thing recently with "The Third Wheel". It's a 2002 film that stars Luke Wilson, Denise Richards, Ben Affleck & Matt Damon that was bad enough to not get a theatrical release and went straight to dvd a few years ago. It popped up on one of the encore channels and for some reason i couldn't stop watching it.

[Kurosawa Fan]

I did the same thing recently with "The Third Wheel". It's a 2002 film that stars Luke Wilson, Denise Richards, Ben Affleck & Matt Damon that was bad enough to not get a theatrical release and went straight to dvd a few years ago. It popped up on one of the encore channels and for some reason i couldn't stop watching it.

At least I don't feel alone in my laziness. :)

A couple other things of note. I watched Mr. Maglorium's Wonder Emporium with my son. Fluff, but enjoyable fluff for the most part. He enjoyed it. I liked the kid with the hats. He was nice.

Also, while wifey and I were in Ann Arbor yesterday, the kids were with my parents. They took them to Barnes and Noble, where they always offer to buy them books. Along with the books, their grandparents thought it wise to purchase Alvin and the Chipmunks for them (yes, the newer movie with Jason Lee). It's been tough to open it and let them watch it, but it's a rainy day and so I finally caved. The film opening with that "Had a Bad Day" song made me leave the room. I just can't bring myself to watch it with them. I'm pretty sure we'll be searching for different people to watch our kids the next time we leave for the day.

[Stay Puft]

It popped up on one of the encore channels and for some reason i couldn't stop watching it.

Yup, been there, too. A couple friends and I were hanging out once and it was just one of those days - didn't feel like going anywhere or even getting back up once we were sitting down. Television was on, turned to a movie channel, but none of us wanted to get up and find the remote. See Spot Run (starring David Arquette!) was just starting and we watched the whole thing.

[Kurosawa Fan]

Watched my first Johnnie To film (I tried to watch Exiled but someone switched the DVD and the one Netflix sent me was a different region and wouldn't play on my player) today in Mad Detective. Excellent stuff. I'm excited to check out more of his work. It's playing on IFC OnDemand for anyone interested.

[megladon8]

Peter Fonda, maybe? His best work has been in the last decade, with Ulee's Gold and The Limey.

EDIT: OK, I didn't read his IMDB filmography before posting that. I feel stupid.


Speaking of The Limey, I'd actually say Terence Stamp is a better answer for Winston*'s question.

[Qrazy]

Watched my first Johnnie To film (I tried to watch Exiled but someone switched the DVD and the one Netflix sent me was a different region and wouldn't play on my player) today in Mad Detective. Excellent stuff. I'm excited to check out more of his work. It's playing on IFC OnDemand for anyone interested.

I liked it quite a bit as well but it's actually second tier compared to a lot of his films so you're in for some good stuff.

[Kurosawa Fan]

I liked it quite a bit as well but it's actually second tier compared to a lot of his films so you're in for some good stuff.

Awesome. I noticed today that Exiled is now a part of Netflix's Instant Viewing so I should be seeing it soon.

[Sycophant]

The Seventh Seal is further proof that I need to see a lot more Bergman. Fantastic.

[MadMan]

Last House on the Left was actually very creepy, un-nerving and disturbing. I think that the film succeeds where as I Spit On Your Grave failed because it takes the material fairly seriously, and is also represents a good deal of craft on Wes Craven's part. I think that the revenge element is just as strong, powerful and freaky as the actual crimes committed, with the vengeance coming at a fairly high price. I now want to get my hands on The Virgin Spring, which "Left" is a remake of, if only to compare the two. I actually can see why Raiders thinks the film is great, and I plan on asking him his thoughts-although I gave the film only a 85/100. Oh and some of the movie gives off a "You wander into a bad neighborhood so bad shit happens" after-school special vibe that only made the film more tense than it already was.

[Spinal]

... although I gave the film only a 85/100.

Only an 85? Seems plenty generous.

[MadMan]

Only an 85? Seems plenty generous.Really? I think it fits the film just fine, unlike some of my past ratings which when I think about them were pretty generous. I'd say in many ways "Left" was better than A Nightmare on Elm Street, but not better than Scream. I'm somewhat interested in seeing more of Craven's work, although I suspect that I've already seen most of his "best" work.

[Kurosawa Fan]

Oh and some of the movie gives off a "You wander into a bad neighborhood so bad shit happens" after-school special vibe that only made the film more tense than it already was.

I always found these to be mutually exclusive.

[Spinal]

Really? I think it fits the film just fine, unlike some of my past ratings which when I think about them were pretty generous. I'd say in many ways "Left" was better than A Nightmare on Elm Street, but not better than Scream.

The problem is that you watched it right after I Spit on Your Grave. Compared to that, anything's gonna look like gold. :)

[megladon8]

The Seventh Seal is further proof that I need to see a lot more Bergman. Fantastic.


Yep.

This is one of the very first foreign films I ever saw, back when I was really getting into cinema.

To this day it's still one of my favorites.

[MadMan]

I always found these to be mutually exclusive.Heh, perhaps.

And Spinal I actually watched "Left" after We Own The Night, which I didn't really bother to review since it was solid and entertaining but nothing more, and the day after I went to see The Dark Knight at a midnight showing. So if anything the film that benefited from being seen after "Grave" was the 2007 cop drama instead. Its been a while since I saw so many films in a row-July on the whole has been a slow movie viewing month for me.

[Qrazy]

70s film star who's become the least of a parody of themself in the following decades - who are you going for?

Malcolm Mcdowell

[megladon8]

Actually, once again speaking of The Limey, I should watch that again soon.

Great movie, that one is.

[Qrazy]

I love it when films kill off a character then resurrect them only to kill them off again. Wait, not I don't, I think it's fucking stupid. Fuck you Matrix Revolutions and Star Trek Generations.

[Spinal]

Watched the last half of Burton's Batman over the weekend and boy, it was lamer than I remembered.

[Qrazy]

Watched the last half of Burton's Batman over the weekend and boy, it was lamer than I remembered.

This.

I caught the end of Batman Returns on television a few years ago and the penguin attack of the city is so absurd that I didn't know whether to laugh or cry. I did enjoy the penguins carrying Penguin's dead body into the water though... seemingly without touching him.

[megladon8]

Well, I like Steve Martin, but The Jerk was kind of awful.

[Sycophant]

Well, I like Steve Martin, but The Jerk was kind of awful.
Any time I hear the word "jerk," I want to pop this movie in. As such, I can't imagine what you mean.

[Qrazy]

Any time I hear the word "jerk," I want to pop this movie in. As such, I can't imagine what you mean.

Yeah I'd say it's probably Martin's best film.

[Ezee E]

Well, I like Steve Martin, but The Jerk was kind of awful.

:crazy:

[megladon8]

I laughed about 3 times.

It just wasn't very funny.

Unfunny comedy = fail.

[Sycophant]

I laughed about 3 times.

It just wasn't very funny.

Unfunny comedy = fail.

No, no, no, no. It's hilarious. See, this is how it works:


Well, I like Steve Martin, but The Jerk was kind of awful. = fail.

[Philosophe_rouge]

Father of the Bride was wondeful, it's been a long time since I've seen a Spencer Tracy film and I've forgotten both how good and likeable he is onscreen. The film is nothing special, it's light and fluffy... but it does it so well that I can't help getting swept up in it. The cast is great, and it has a very fun nightmare sequence. I can't imagine the sequel lives up to it, but I'll probably check it out soon enough.

[Winston*]

how bout meryl streep? does she count? she kinda snuck in at the end of the decade.
Eh. Not really a star until the eighties.


How about Michael Caine? Was he enough of a star in the 70's? Anyway, he seems to be doing pretty well for himself.
Hmmm. I dunno, Michael Caine is kind of a knowing parody.

I say Robert Redford.
Maybe. He's more of a crusty Robert Redford than a parody Robert Redford.

Speaking of The Limey, I'd actually say Terence Stamp is a better answer for Winston*'s question.
Terrence Stamp is totally a parody of Terrence Stamp.

Malcolm Mcdowell
That's mean.

[Spinal]

Since I hadn't seen any Bela Tarr yet, I decided it might be fun to watch his work in chronological order as best I can. Family Nest was a promising start. I gather that the style of this film, which oddly resembles a Frederick Wiseman documentary as much as anything, is not exactly what he is best known for. Still, despite the fact that I am often wary of naturalism, I found the social concerns to be quite engaging and the loose structure to be surprisingly effective. Excellent ensemble acting, although more than a few scenes become repetitive as they go on for too long. Other scenes (I can think of at least three) are raw and heartbreaking.

[Ezee E]

How about Warren Beatty?

[Winston*]

How about Warren Beatty?

Did you see Town & Country? Neither did I.

[Ezee E]

Did you see Town & Country? Neither did I.
Stupid IMDB.

[Qrazy]

That's mean.

Is it?

[Winston*]

Is it?
Were you being sincere, somehow?

[Qrazy]

Were you being sincere, somehow?

Um I dunno, I guess it depends. Are you of the opinion that his recent turns in Halloween and Doomsday outclass his work for Kubrick and Lindsay Anderson?

[Winston*]

Um I dunno, I guess it depends. Are you of the opinion that his recent turns in Halloween and Doomsday outclass his work for Kubrick and Lindsay Anderson?
What? Dude, re-read the post you originally responded to.

[Qrazy]

What? Dude, re-read the post you originally responded to.

Hrm I still don't really understand the wording so you mean someone who has been doing well for themselves from the 70's onward?

[Winston*]

Hrm I still don't really understand the wording so you mean someone who has been doing well for themselves from the 70's onward?
I was asking who is the least of a parody of his or herself.

[Qrazy]

I was asking who is the least of a parody of his or herself.

Robert Duvall
Clint Eastwood
Jack Nicholson
Martin Sheen

Have all been doing alright for themselves.

[Spinal]

Nicholson has been a parody of himself for at least 20 years now.

[Watashi]

Finally saw Sunrise. Good stuff. It's a film deserved to be studied for its revolutionary camerawork rather than its simple, fable-like story.

[Winston*]

Finally saw Sunrise. Good stuff. It's a film deserved to be studied for its revolutionary camerawork rather than its simple, fable-like story.I was surprised how funny it was.

[Qrazy]

Nicholson has been a parody of himself for at least 20 years now.

Depends how you define parody I suppose, for decades he's been hamming it up but he's also managed to stay in high profile films... even if I'm not huge on them... As Good as it Gets, About Schmidt and The Departed are a cut above a lot of the schlock other 70's stars have fallen into.

[Raiders]

Finally saw Sunrise. Good stuff. It's a film deserved to be studied for its revolutionary camerawork rather than its simple, fable-like story.

The narrative may be simple, but the film goes far beyond its camera work.

[Boner M]

Watched my first Johnnie To film (I tried to watch Exiled but someone switched the DVD and the one Netflix sent me was a different region and wouldn't play on my player) today in Mad Detective. Excellent stuff. I'm excited to check out more of his work. It's playing on IFC OnDemand for anyone interested.
Really? I thought it was pretty cool, but all the convolutedness bothered me, in spite of the film's ironic awareness of it. I did love the final shot though, and credit to To for managing to make the film feel action-packed than it actually is, simply through his sheer formal mastery. I vastly prefer Sparrow, his latest.

Granted, I had a pretty big migraine at the time; one that seems to be popping up during every film I've been excited to see recently.

I also saw The Wackness with Nick last night. It's not good. The first half is amiable enough, but the rest is maudlin, sad-song montage hell. It's also the most obnoxiously stylised film I've seen it a while. The whole film has a gray-ish sheen that makes it look like a flashback scene in a cheap crime TV show. Nick's profuse balking during the film was more entertaining than the film itself.

[Kurosawa Fan]

Really? I thought it was pretty cool, but all the convolutedness bothered me, in spite of the film's ironic awareness of it. I did love the final shot though, and credit to To for managing to make the film feel action-packed than it actually is, simply through his sheer formal mastery. I vastly prefer Sparrow, his latest.

Granted, I had a pretty big migraine at the time; one that seems to be popping up during every film I've been excited to see recently.

I didn't find it terribly convoluted. That final shot was fantastic, as was the entire finale. I haven't seen anything else by To, so I didn't have anything to compare it to, but this was imaginative, and I was sucked into the film from the start. I agree with you that it feels more action-packed than it is, and that's probably due to the first few minutes, with the introduction to Bun and the chase through the woods. It was such a fierce and semi-disturbing opening that I was on edge the rest of the film.


I also saw The Wackness with Nick last night. It's not good. The first half is amiable enough, but the rest is maudlin, sad-song montage hell. It's also the most obnoxiously stylised film I've seen it a while. The whole film has a gray-ish sheen that makes it look like a flashback scene in a cheap crime TV show. Nick's profuse balking during the film was more entertaining than the film itself.

Wow. You've seriously bummed me out. Not sure why, but this was a film I was really anticipating, but my big fear was that it would be too caught up in 90's reference and montage. That really sucks. Guess I won't go out of my way to catch it.

[Rowland]

I didn't find it terribly convoluted. That final shot was fantastic, as was the entire finale. I haven't seen anything else by To, so I didn't have anything to compare it to, but this was imaginative, and I was sucked into the film from the start. I agree with you that it feels more action-packed than it is, and that's probably due to the first few minutes, with the introduction to Bun and the chase through the woods. It was such a fierce and semi-disturbing opening that I was on edge the rest of the film.Check out Exiled next, it's effing brilliant.

[Spinal]

Depends how you define parody I suppose, for decades he's been hamming it up but he's also managed to stay in high profile films... even if I'm not huge on them... As Good as it Gets, About Schmidt and The Departed are a cut above a lot of the schlock other 70's stars have fallen into.

I don't really know what the quality of the film has to do with the question. The point is that he has been trading in on his established shtick and getting paid handsomely for it. Haven't seen About Schmidt, but the other two are perfect examples. Hammy performances with seemingly little care or thought put into them. Just a recycling of his previously established devilishly 'charming' boor personality.

[D_Davis]

Watched my first Johnnie To film (I tried to watch Exiled but someone switched the DVD and the one Netflix sent me was a different region and wouldn't play on my player) today in Mad Detective. Excellent stuff. I'm excited to check out more of his work. It's playing on IFC OnDemand for anyone interested.

He's a fantastic filmmaker, and he has a unique voice.

I highly recommend The Mission, Exiled, and PTU.

[Qrazy]

I don't really know what the quality of the film has to do with the question. The point is that he has been trading in on his established shtick and getting paid handsomely for it. Haven't seen About Schmidt, but the other two are perfect examples. Hammy performances with seemingly little care or thought put into them. Just a recycling of his previously established devilishly 'charming' boor personality.

This is where we differ. They're not as thoughtful as his 70's work and they're certainly hammy, but I still find them to be engaging, at least memorable and sometimes potent performances.

[balmakboor]

I watched Spirit of the Beehive for the first time. Wow, it is truly one of those "why did I wait so long to see this?" films. It is so purely, poetically, and enigmatically cinematic. One of the great films about children and their coping and dealing with the adult world. It has a power only really to be elsewhere in the greatest fairytales. I look forward to revisiting it after a while and will probably add it to my collection to make this easy.

[balmakboor]

Well, I like Steve Martin, but The Jerk was kind of awful.

Man, my wife and I quote and laugh about this movie almost daily.

[Duncan]

I watched Spirit of the Beehive for the first time. Wow, it is truly one of those "why did I wait so long to see this?" films. It is so purely, poetically, and enigmatically cinematic. One of the great films about children and their coping and dealing with the adult world. It has a power only really to be elsewhere in the greatest fairytales. I look forward to revisiting it after a while and will probably add it to my collection to make this easy.

Some days I call this my favourite film. You should try to see El Sur and The Quince Tree Light as well. Both are excellent.

[balmakboor]

I think Jarmusch just set some kind of record for me. Biggest improvement from first feature to second feature.

Stranger Than Paradise still holds up as one of the most purely delightful little slices of deadpan whatever it is. I could watch it endlessly. It is in a tie with Mystery Train as my favorite Jarmusch.

Permanent Vacation is barely watchable and only interesting to a total Jarmusch nut like myself for having two or three glimpses of the Jarmusch that would suddenly blossom in his next film. I guess I know now why it took so long for it to reach home video and hasn't been shown very much.

[balmakboor]

Some days I call this my favourite film. You should try to see El Sur and The Quince Tree Light as well. Both are excellent.

Thanks for the tips. I will look for them.

[Raiders]

I should re-watch Stranger Than Paradise, which I liked but found somewhat forgettable, but I don't think Jarmusch will ever top Dead Man for me.

[balmakboor]

I should re-watch Stranger Than Paradise, which I liked but found somewhat forgettable, but I don't think Jarmusch will ever top Dead Man for me.

I think I need to keep fine-tuning my brain or something. I admire Dead Man, but it is the one Jarmusch where I always find my mind wandering during the midsection. Not sure why.

[Ezee E]

Vote people! (http://match-cut.org/showthread.php?t=1087)

[number8]

Down by Law is where it's at.

[Idioteque Stalker]

Some of you might remember me from my song list about a year and a half ago at the old site, but I still read through the forums almost every day and I thought I might as well start posting. That being said: any tips on how to pick the right image type and/or size for an avatar? I'd like my old one, but I don't know where I've "put" it.

Oh and, even though I've only seen it and Dead Man, there's little doubt in my mind that 8 has the right idea about Jarmusch.

EDIT: I've got Stranger than Paradise coming in the mail soon, however, and I'm looking forward to it especially after its appearance on Boner's list.

[MadMan]

Finally saw Sunrise. Good stuff. It's a film deserved to be studied for its revolutionary camerawork rather than its simple, fable-like story.To me the fable like story is one of the best things about it. Great flick though.

I've only seen Dead Man from Jarmusch. I want to see more.

[megladon8]

Dracula: Prince of Darkness remains one of my favorites of the Hammer horror films, and Terence Fisher's gothic visions of horror are still untouched.

While I think Gary Oldman played Dracula beautifully and gave a definitive representation of the tragic side of the character, I think Lee is the best on-screen Dracula we've had.

I love these Hammer films. Even the ones that aren't so great, are still great - if you get what I mean.

[Watashi]

Roeper leaving "Ebert & Roeper"


CHICAGO - Chicago Sun-Times columnist Richard Roeper announced Sunday he is leaving the nationally syndicated show "At the Movies with Ebert & Roeper" after eight seasons.

In a statement, Roeper said he had failed to reach agreement with Disney-ABC Domestic Television on extension of his contract, so his last show will air the weekend of Aug. 16-17.

Roeper joined Sun-Times movie critic Roger Ebert on the show in 2000, after the 1999 brain tumor death of Ebert's original co-host, Chicago Tribune film critic Gene Siskel.

"Several months ago, Disney offered to extend my contract, which expires at the conclusion of the 2007-08 season," Roeper said. "I opted to wait. Much transpired after that behind the scenes, but an agreement was never reached, and we are all moving on."

Citing unidentified industry sources, the Sun-Times reported Disney is contemplating a reinvention of the nationally syndicated movie review program with more of a Hollywood focus, along the lines of CBS Television Distribution's "Entertainment Tonight."

"I wish Disney the best of luck with their new show, whatever form it may take," Roeper said in his statement. "In the meantime, it is my intention to proceed elsewhere with my ninth year as the co-host of a movie review show that honors the standards established by Gene Siskel and Roger Ebert more than 30 years ago. I will be free to share the details on that program in the near future."

Spokesmen for Disney were unavailable for comment late Sunday.

Siskel and Ebert had begun reviewing movies in tandem on television together in 1975 on Chicago public broadcasting's WTTW, which eventually took their program national. The pair jumped to commercial television through the Tribune Co.'s TV syndication wing in 1982, switching to Disney in 1986.

Roeper was chosen from among a large group of contenders to be the permanent replacement for Siskel after his death.

Ebert has been sidelined the last two years because of health issues that have robbed him of his voice.

"Over the last two seasons, as Roger has bravely coped with his medical issues, I've continued the show with a number of guest co-hosts," Roeper said in his statement. "It's never been the same without Roger, but I'm proud of the work we've done and I'm grateful to all the co-hosts who stepped in -- and to the viewers that stayed loyal to the show."

Ebert's reponse:


After 33 years on the air, 23 of them with Disney, the studio has decided to take the program named "Siskel & Ebert" and then "Ebert & Roeper" in a new direction. I will no longer be associated with it.

The show was a wonderful experience. It was a great loss to me when surgery in July 2006 made it impossible for me to appear on the air any longer. Although I remained active behind the scenes, I feel that Richard Roeper and several co-hosts, notably Michael Phillips and A.O. Scott, have excelled at carrying on the tradition Gene Siskel and I began in 1975 with "Sneak Previews" on PBS.

Gene and I felt the formula was simplicity itself: Two film critics, sitting across the aisle from each other in a movie balcony, debating the new films of the week. We developed an entirely new concept for TV. Few shows have been on the air so long and remained so popular. We made television history, and established the trademarked catch-phrase "Two thumbs up."

The trademark still belongs to me and Marlene Iglitzen, Gene's widow, and the thumbs will return. We are discussing possibilities, and plan to continue the show's tradition. -- Roger Ebert

[megladon8]

Sweet, a job opening for me.

[Sycophant]

Roeper leaving "Ebert & Roeper"

Ebert's reponse:
I haven't been paying attention to the show since Ebert left (and the few times I've tuned in, I found the show hinging entirely on who was reviewing in his place). This is probably for the best. I don't like Roeper much as a critic, but even he doesn't deserve to be involved in a reinvention of the program in the ET/Access Hollywood vein. Hope they find some way to keep reasonably intelligent film discussion on the air.

[soitgoes...]

Well, Hiroshi Shimizu is two for two. His Japanese Girls at the Harbor was great. Could've been better if there had been some sort of musical accompaniment to go along with it. As it was, it was completely silent, which was my first such attempt in a viewing. It was a task to keep my attention for it's entirety. His film, made in 1933, contained some interesting camerawork as well as editing. In a spectacular scene towards the beginning, Shimizu's use of the jump-cut multiple times in row actually roused a "woah" from me. He showed the leading lady standing in front of a church door from afar. He jumped in closer and closer, until we are looking at a gun in her hand. She shoots, and the Shimuzu jump-cuts back to the initial shot, inter-cut with title cards saying "God" 3 times. It's quite the scene. One of the best scenes I've scenes from that time period.

All who have access to KG should check out some of his work. 2 box sets of his were recently released in Japan, and the quality of the films is great. Especially for an unknown director over here in the West.

[Spinal]

In the meantime, it is my intention to proceed elsewhere with my ninth year as the co-host of a movie review show that honors the standards established by Gene Siskel and Roger Ebert more than 30 years ago.

:|

[Grouchy]

Some of you might remember me from my song list about a year and a half ago at the old site, but I still read through the forums almost every day and I thought I might as well start posting. That being said: any tips on how to pick the right image type and/or size for an avatar? I'd like my old one, but I don't know where I've "put" it.
I don't understand. You want to resize an image for your avatar? Or just know the size of avatar the site allows?

Haven't seen many movies lately, and the ones I've seen, I've rewatched, like, heh, Batman Begins and Batman: Mask of the Phantasm. I've got my Dark Knight IMAX ticket for tomorrow afternoon.

Today it was raining so hard I got into a coffee shop and read for two hours. Then I got out and it was still raining cats, dogs and elephants, so I looked for any movie theater to watch anything. I ended up at an arthouse showing TV shorts of some German guy. One of them was a 10-minute interview with Godard where Jean-Luc made some jokes. Most of the questions were goofy and show-off as hell. The others were experimental "documentaries" about executing murderous elephants, castration during the Holocaust and NASA safety regulations. All of them had loud noises and made zero sense.

[number8]

It's hilarious to me that they're saying that they're "moving in a new direction" when they are pretty much cancelling the show altogether.

Folks, when you let go the two stars, Ebert & Roeper, from a show called Ebert & Roeper, and then change the format of the show completely and will obviously alter the title as well... That's called creating a new show.

[Mysterious Dude]

I know a lot of people think Roeper is lame, but I still watch the show every week and I think it's a great way to see what movies are coming out and what they're like, and gauge whether I'll like them or not. Giving the show a more "Hollywood focus" will not help, so I hope Roeper finds a way to do the show in the "Siskel & Ebert" format.

[Ezee E]

I can't wait for that douche that named the winners of the Golden Globes to talk with some model chic, and that other douche from IFC about movies, and how Angelina Jolie isn't as hot in The Changeling as she was in Wanted.

[Spinal]

New show should have Jo Bob Briggs and Henry Rollins as hosts.

[Ezee E]

New show should have Jo Bob Briggs and Henry Rollins as hosts.
Henry Rollins I wouldn't mind honestly.

[Ezee E]

And in other news, Rza is going to direct his first movie, The Man With the Iron Fist.

I haven't seen anything by him, but I actually think he could turn out something good. Only bad thing is that Eli Roth is helping him out.

[Spinal]

Henry Rollins I wouldn't mind honestly.

Neither would I. I wasn't even joking this time.

[dreamdead]

Wisit Sasanatieng’s Citizen Dog exploits the pathologies of Pod and Jin, two individuals so alien to the machinations of typical Thai life that they find comfort only in small, obsessional quirks. The film begins as a study of alienation placed upon the people of Bangkok, an alienation that is largely absent from Pod’s life in the rural village before he moves to the city, and this alienation is complete with Metropolis-like work stations that personify namelessness and a labor that is devoid of meaning (best exemplified in the sardine factory). This critique is similarly present in the uniformity of Jin’s job as a maid, where individual expression and curiosity are mocked, though these issues are complicated because Jin retains a compliance in things she cannot understand, preferring to trust in the mediation of books, protest, or television than in her emotions. Wisit utilizes a vibrant mise-en-scene, together with flights of fancy, to emphasize this contemporary age as one of hopeless repetition if the people in it are not able to achieve honest reciprocity. As the love story takes hold, the film’s cultural analysis fades to the background, rendering the film interesting formally, but slightly absent in meaning beyond the love story itself (despite wonderful small moments).

I feel the rating could go up if I better understood what the tails are meant to represent (both within one's personal life and within the capitalist milieu of the film), since it seems to signal the fall of individuality, and thus the loss of one's most priceless commodity...

[MadMan]

New show should have Jo Bob Briggs and Henry Rollins as hosts.That would rock my face off. I would defiantly watch it.

[Derek]

That would rock my face off. I would defiantly watch it.

I'm not sure who would be trying to stop us, but I'll defy the bastards with you if that show ever makes it on air.

[megladon8]

Just jumping back to Steve Martin for a sec (I know I'm 24 hours late, but who cares!)...

For my money, none of his movies have come close to his stand-up.

Man, he is one of my favorite stand-up comedians.

[Derek]

Just jumping back to Steve Martin for a sec (I know I'm 24 hours late, but who cares!)...

For my money, none of his movies have come close to his stand-up.

Man, he is one of my favorite stand-up comedians.

King Tut = laaaaame

The Jerk = hilarious

I honestly haven't seen much of his stand-up, but the bits I have caught have aged terribly.

[Ezee E]

Just jumping back to Steve Martin for a sec (I know I'm 24 hours late, but who cares!)...

For my money, none of his movies have come close to his stand-up.

Man, he is one of my favorite stand-up comedians.
I think Bowfinger is one of the funniest comedies evah!

[megladon8]

I think Bowfinger is one of the funniest comedies evah!


I really want to see this one.

[Yxklyx]

Glen or Glenda (1953, Ed Wood) - I've never seen anything quite like it. I wonder if there were other movies like this made during the same period that didn't survive. It comes across as a very frank and honest essay on Transvestitism. Nearly the whole movie is surreal - if you're a fan of 50s avante-garde you should check this one out - and while it has a very amateurish feel to many of the scenes there is such a candid approach to the whole endeavor that it's hard NOT to like the film. Oh, and it's LOL funny too! 8/10

[balmakboor]

For many years, I've known that if the movie has Steve Martin in it, I'll like it. Or at least I'll like him in it. And right now I can't think of any Steve Martin movies I dislike. Not a one. Not even the "bad" ones. He is like my wandering hopelessly through video store aisles escape hatch.

[balmakboor]

Glen or Glenda (1953, Ed Wood) - I've never seen anything quite like it. I wonder if there were other movies like this made during the same period that didn't survive. It comes across as a very frank and honest essay on Transvestitism. Nearly the whole movie is surreal - if you're a fan of 50s avante-garde you should check this one out - and while it has a very amateurish feel to many of the scenes there is such a candid approach to the whole endeavor that it's hard NOT to like the film. Oh, and it's LOL funny too! 8/10

Yeh, the oddest thing about the whole Ed Wood worst director in the world cult thing is that at least two of his films are actually pretty darn good. G or G and Plan 9 definitely have charm and passion and more to say than most "good" movies.

[monolith94]

somewhat film related: http://video.google.com/videoplay?docid=63765125052829 89431&q=kirsten+dunst+young&total=55&start=0&num=10&so=0&type=search&plindex=0

I found this video which shows Kirsten Dunst's parents nagging her and getting her to train for interviews pretty revealing. I like how she points out their hypocrisy re: church. Pretty funny. I would've enjoyed hearing her talk about how weird Tom Cruise is!

[Sven]

somewhat film related: http://video.google.com/videoplay?docid=63765125052829 89431&q=kirsten+dunst+young&total=55&start=0&num=10&so=0&type=search&plindex=0

I found this video which shows Kirsten Dunst's parents nagging her and getting her to train for interviews pretty revealing. I like how she points out their hypocrisy re: church. Pretty funny. I would've enjoyed hearing her talk about how weird Tom Cruise is!

Seems kind of phony. I dunno. Very weird stuff.

[Sven]

Seems kind of phony. I dunno. Very weird stuff.

Wow. The longer it goes on, the more disturbing it kind of gets, especially the religious stuff. This is a very strange clip. I wonder why/how it was released. I'm still getting a feeling of it being a constructed gag. It's a bit on-the-nose.

Edit: I'm thinking this is a creative audition tape.

[chrisnu]

Love Streams. I think I'm gonna need to watch this a second time, digest things a little more. Cassavetes creates characters that are a frustrating as hell, but you want to know more. What I liked most about Sarah's character is the concept that you can want something to succeed so much, that you end up smothering it, and hurting what you love the most. Robert, he seems completely love-starved, wanting approval, wants to do more than scratch the surface of people, but is too afraid to do so. I'm greatly oversimplifying the nuances of these characters, but he understands feeling ugly, the longing and the hunger.

[Grouchy]

Made myself a classic Hollywood Western/War double feature today.

While I hate to use the word, Three Violent People felt dated. Since the whole dramatic conflict is about Anne Baxter trying to hide from her Civil War hero husband the fact that she used to be a whore, but the script can't mention that fact out loud, well, the situation gets pretty goofy at times. Specially an early love scene between Heston and Baxter when they decide to marry on the run that belongs in the screwball genre, and the movie never picks up the tone of that particular scene again. The performances are adequate, and the Charlton Heston brand of machismo is always cool to see. However, for all the drama heights the movie achieves, the resolution is comfortable, overly neat and predictable. Compare that to the way the redemption scene plays out in Ride the High Country.

The Bridges at Tokio-Ri is an anti-war statement from the '50s. This one made me ponder that William Holden is one actor that always seems to be playing psychologically complex and very human characters, even when the movie (like Damien: Omen II) happens to be fluff. The director is Mark Robson, and I recognized the name from Val Lewton films like Bedlam and Isle of the Dead. While obviously a studio hand and in no way an auteur, he was a very skilled director. The closing scenes are very suspenseful and the outcome unexpected. The movie also has Grace Kelly and a funny performance by Mickey Rooney as the token brawling Irishman. While some of the culture clash scenes (like the one with Holden and family in a Japanese bath house) feel forced by today's standards, it's nice to see a war movie so open-minded being made during one of the most patriotic decades of American cinema.

[monolith94]

Wow. The longer it goes on, the more disturbing it kind of gets, especially the religious stuff. This is a very strange clip. I wonder why/how it was released. I'm still getting a feeling of it being a constructed gag. It's a bit on-the-nose.

Edit: I'm thinking this is a creative audition tape.
On further consideration, something like this seems likely. Still, I can easily imagine parents who are assholes.

[MacGuffin]

Some negative thoughts on Fellini's Amarcord (sorry for the lack of caps, I quickly typed this while watching the movie and really looking at the keyboard):

negatives on fellini's amarcord:

poor editing, feels like a series of skits with no meaning. some good stuff here, some bad. like selected pieces from two separate puzzles, nothing adds up and you're left with a lot of irrelevancy considering the "themes".

does fellini like his hometown? considering it's a movie about nostalgia, i could only imagine so. so why does this movie make it look like ass? for example, the party scene at the grand hotel. it was probably filmed on a set, but couldn't he have at least used some sort of background instead of just black? a seaside? maybe? this is a seaside town. it's shit like this that really makes me question this movie's authenticity. it's other little things too like the lack of shot depth. the camera distances itself from the characters, but doesn't give us much else to look at. some trees if you're lucky, maybe a building or something too. there's only a few good shots in the entire movie towards the end that aren't boring.

so safe and unchallenging. when the character who could've very well have represented fellini appears onscreen, it takes the role of the "coming of age comedy" it claims to be, but, like the television show south park or the movie rushmore, never has anything to say regarding what the characters are going through; it merely portrays events. it may only exist to show how "quirky" his town was (i.e. the guy in the tree who kept shouting how he wanted a woman).


I watched Amarcord last night and I feel like I have to be missing something. I think giving it two stars would be generous. I didn't really like much at all. Some of the set pieces were impressive but weren't given time to develop. And the whole thing didn't seem to add up to much. I'm disappointed because I was expecting it to be great and I've loved the Fellini I've seen so far.

Yeah. You say it better than I do regarding the lack of development. It was just too poorly edited and quick. 100% agreed on everything.


Amarcord is a masterpiece. Obviously, if you don't like "disjointed" movies, you're not gonna like it. It's as disjointed as disjointed gets.

I don't have a problem with disjointed movies, I have a problem with disjointed movies where half the fragments don't mean anything and the rest add up to nothing relevant to what the movie seems to be exploring.

[origami_mustache]

You shouldn't dismiss the scenes as meaningless just because they don't mean anything to you personally. I didn't see this so much as a coming of age story at all, but more of collected fragments of life, ranging from all sorts of emotions that make it worth living.

[MacGuffin]

You shouldn't dismiss the scenes as meaningless just because they don't mean anything to you personally.

I only meant to dismiss certain scenes (mostly anything not related to a character who could've been Fellini, like the witch burning scene) as meaningless with regards to what the movie was trying to do.

[Sven]

I didn't. I dismissed certain scenes (mostly anything not related to a character who could've been Fellini, like the witch burning scene) as meaningless with regards to what the movie was trying to do.

If the film is presenting you with scenes that don't have anything to do with the Fellini surrogate, chances are great that what the film is trying to do extend past the Fellini surrogate.

[MacGuffin]

If the film is presenting you with scenes that don't have anything to do with the Fellini surrogate, chances are great that what the film is trying to do extend past the Fellini surrogate.

Well, that's just unfocused. I for one was just as confused as those three ladies in the movie as to the relevancy of the witch burning sequence. I think I would have let it by if there was some sort of commentary involved. But no, all of those "extensions" just seem to exist to highlight the town's individualism.

[Sven]

Well, that's just unfocused. I for one was just as confused as those three ladies in the movie as to the relevancy of the witch burning sequence. I think I would have let it by if there was some sort of commentary involved. But no, all of those "extensions" just seem to exist to highlight the town's individualism.

It seems to me that "individualism of a town" is a focused topic. I mean, "town" is a broader communal entity than "individual" or "family". But I think much of Fellini's nostalgia, as with all of us, extends past himself and encompasses the lives of the people he knows. I don't see how this is bad at all. If only more films had such a strong sense of community.

[MacGuffin]

It seems to me that "individualism of a town" is a focused topic. I mean, "town" is a broader communal entity than "individual" or "family". But I think much of Fellini's nostalgia, as with all of us, extends past himself and encompasses the lives of the people he knows. I don't see how this is bad at all. If only more films had such a strong sense of community.

If only this particular film had that said sense of community. For one thing, the editing makes it so that each scene feels a bit like a vignette. The problem isn't that though, it's that they are so loosely tied together, that even though Fellini examines aspects of this community, they're a) shown with a lack of perspective. The narrations by the townspeople are humorous, but why not a narration by Fellini? Or maybe his character? b) examined individually. The classroom scenes introduce us to the teachers, but we never see these teachers together except in a snapshot. The cigarette shop lady is examined in one scene literally isolated in her shop away from the community, and her interaction with the young man ends without any perspective. The episode with the priest is interrupted by obtrusive and pointless flashbacks. His interactions with the young men are limited to a few lines. The witch burning scene is probably the only scene where the whole community is viewed together as a whole, but the extent of community interaction is one man's refusal to give the ladder to another man atop the bonfire. Even the wedding sequence at the end when they're all back together takes the same distant stance away from the community only approaching to see the woman in her wedding dress.

[origami_mustache]

In my opinion, Fellini's intent is not so much to show the community as in harmonious unity, but rather through the vignettes, he shows how different people within it influenced and affected one another. There is more of an unspoken bond, between characters and I see it more as a tribute or thank you to the forgotten ghosts of his childhood. The film almost has a magical feel to it as the memories and the characters within become exaggerated caricatures, distorted over time. I also love the juxtaposition of humor and a festive passion for life with more serious issues like the Fascist politics of the time and the death of family members.

[MacGuffin]

In my opinion, Fellini's intent is not so much to show the community as in harmonious unity, but rather through the vignettes, he shows how different people within it influenced and affected one another. There is more of an unspoken bond, between characters and I see it more as a tribute or thank you to the forgotten ghosts of his childhood. The film almost has a magical feel to it as the memories and the characters within become exaggerated caricatures, distorted over time. I also love the juxtaposition of humor and a festive passion for life with more serious issues like the Fascist politics of the time and the death of family members.

I didn't see how special this town was since Fellini made it so hard to see past the crassness he throws at the audience.

[origami_mustache]

Why are there so few Roberto Rossellini films available on DVD?

I have seen The neorealist trilogy, will be watching The Flowers of St. Francis, and also have The Rise of Louis XIV and RoGoPaG downloaded.

What else should I seek out?

[soitgoes...]

Why are there so few Roberto Rossellini films available on DVD?

I have seen The neorealist trilogy, will be watching The Flowers of St. Francis, and also have The Rise of Louis XIV and RoGoPaG downloaded.

What else should I seek out?I've only seen the trilogy as well, but I've heard some positive things about Europa '51 and Stromboli.

[soitgoes...]

Come Drink with Me was somewhat of a disappointment compared with Hu's exceptional Dragon Inn. Since it's such a groundbreaking film, I suppose some slack is needed. Cheng Pei-pei's fight scenes were the weak point. It seemed as if she was learning as she went. I did love the scene where Drunken Cat is introduced to Golden Swallow. A great use of song to help the plot along. Also it's rumored that a little Jackie Chan is in the scene, which is pretty cool if true. Next up on my Hong Kong binge is Eight Diagram Pole Fighter, which also either sports one of the coolest film titles or one of the worst.

[soitgoes...]

Variety Lights (Federico Fellini and Alberto Lattuada, 1950) - 7
I watched the Lattuada film Mafioso a few weeks ago. Some funny stuff. You might want to check it out if you haven't yet.

[happ]

I just want to say that There Will Be Blood's soundtrack was fantastic. The track "Prospectors Arrive" was so haunting; it's a beautiful piece of music but I can't listen to it without thinking of the film, and it makes me sad. The way the melody was played near the end of the film as Daniel remembers back to the time when HW was still a boy is very emotional.

To me, TWBB was a good example of how to use music in a film. Like Bresson theorized, if music is used in a film, the best way is to use it as a "refrain," the best example in Bresson's films being the use of Mozart's Kyrie from the Mass in C Minor in A Man Escaped. Tarkovsky did the same thing in Solaris with Bach's Chorale-Prelude. But Bresson was always reluctant about music in films, knowing that film music can easily become a crutch for the images, to make the audience feel the right emotions for the scene. He even goes so far as to say that there should be no music in cinema, except that being played by instruments (or on the radio, etc.). He breaks his own maxim several times, so I don't know how serious he was, but still, I tend to agree that music should be used sparingly.

[balmakboor]

Some negative thoughts on Fellini's Amarcord (sorry for the lack of caps, I quickly typed this while watching the movie and really looking at the keyboard):

negatives on fellini's amarcord:

poor editing, feels like a series of skits with no meaning. some good stuff here, some bad. like selected pieces from two separate puzzles, nothing adds up and you're left with a lot of irrelevancy considering the "themes".

does fellini like his hometown? considering it's a movie about nostalgia, i could only imagine so. so why does this movie make it look like ass? for example, the party scene at the grand hotel. it was probably filmed on a set, but couldn't he have at least used some sort of background instead of just black? a seaside? maybe? this is a seaside town. it's shit like this that really makes me question this movie's authenticity. it's other little things too like the lack of shot depth. the camera distances itself from the characters, but doesn't give us much else to look at. some trees if you're lucky, maybe a building or something too. there's only a few good shots in the entire movie towards the end that aren't boring.

so safe and unchallenging. when the character who could've very well have represented fellini appears onscreen, it takes the role of the "coming of age comedy" it claims to be, but, like the television show south park or the movie rushmore, never has anything to say regarding what the characters are going through; it merely portrays events. it may only exist to show how "quirky" his town was (i.e. the guy in the tree who kept shouting how he wanted a woman).



Yeah. You say it better than I do regarding the lack of development. It was just too poorly edited and quick. 100% agreed on everything.



I don't have a problem with disjointed movies, I have a problem with disjointed movies where half the fragments don't mean anything and the rest add up to nothing relevant to what the movie seems to be exploring.

"I quickly typed this while watching the movie and really looking at the keyboard"

I don't think this is the most effective way of launching into a critique of a film. :)

I haven't cared much for the few later period Fellinis I've seen -- Satyricon, Amarcord, and And the Ship Sails On. He moved toward a very theatrical, artifice heavy approach that just didn't work for me. And I generally love artifice in my movies. The Tales of Hoffmann, Marnie, and One From the Heart are all personal favorites. Fellini almost gets away with it with Ship Sails On because the vision is so whimsical and unhinged (the first 15 minutes of the film is possibly my favorite thing Fellini ever did) but Amarcord really needed something different. I thought it needed to be much more grounded in reality like a neo-realistic return to I Vitelloni territory.

Or, in short, I don't care for Amarcord very much either.

[origami_mustache]

I didn't see how special this town was since Fellini made it so hard to see past the crassness he throws at the audience.

I find it a little odd you weren't a fan of Armarcord, considering how much you like Gummo, which is in many ways very similar in my opinion.

[balmakboor]

I find it a little odd this film you weren't a fan of Armarcord, considering how much you like Gummo, which is in many ways very similar in my opinion.

I love Gummo. Maybe I should give Amarcord another chance.

[origami_mustache]

I love Gummo. Maybe I should give Amarcord another chance.

Gummo is much more grounded in reality, which is what you felt was missing in Amarcord....so maybe your opinion wouldn't sway much. Clipper felt that meaning was lacking in certain segments, so I don't see how Gummo differs much from that stance.

[Bridget Jones]

More news about the Ebert/Roeper departures:


Disney announced that E! critic Ben Lyons and TCM host Ben Mankiewicz have signed on to co-host the new show.


Uh...

[Wryan]

More news about the Ebert/Roeper departures:

Uh...


/has stinging pain run up and down his arm like an LSD-addled gerbil having Nam flashbacks

[Teh Sausage]

(Stupid site wouldn't log me in for 15 minutes, gah...anyway)



so safe and unchallenging. when the character who could've very well have represented fellini appears onscreen, it takes the role of the "coming of age comedy" it claims to be, but, like the television show south park or the movie rushmore, never has anything to say regarding what the characters are going through; it merely portrays events. it may only exist to show how "quirky" his town was (i.e. the guy in the tree who kept shouting how he wanted a woman)

In an interview, Fellini stated that he believed that Fascism and the Catholic Church's repressive ways put people in a kid of 'perpetual adolescence'. these may only appear to be small elements in Amarcord but, as Bondanella explores in The Films of Federico Fellini, the film shows how living under them has so affected the way people live their lives. I don't see the guy in the tree as an example of 'quirkiness': his immature cries of wanting a woman reveals how one can sink to such a state due to sexdual repression, and the nun who gets him out of the tree represents the institutuon which caused him to become this way.

[Duncan]

Out of Africa - Went in with low expectations and was pleasantly surprised. Streep, man, she's really good. But I didn't like how her v/o had a heavier accent than her normal speaking voice. Anyway, it was kind of a serene way to spend a few hours. I think if I had been in a different mood I may have hated it. But as it stands I was content to see pretty landscapes and animals and stuff filmed classically and competently.

The Texas Chainsaw Massacre (1974) - One of the more stylish horror flicks I've seen. I guess I understand the appeal, but it's not for me. But that guy in the wheelchair, wow, comedy gold. Every thing he said or did was hilarious.

Also watched an hour of Celine and Julie Go Boating...I might finish tonight. Might not.

[Spinal]

Also watched an hour of Celine and Julie Go Boating...I might finish tonight. Might not.

It gets better.

[Grouchy]

I don't have a problem with disjointed movies, I have a problem with disjointed movies where half the fragments don't mean anything and the rest add up to nothing relevant to what the movie seems to be exploring.
I think your rejection of Amarcord has a lot to do with your expectations. You expected Fellini to draw some sort of conclusion from his childhood memories. Why? That's not what Fellini wanted to do. He wanted to express his memories in cinema. Nostalgia doesn't pass judgement. I think he also wanted to show how fantasy mixes with reality on one individual's mind. Hence the witches burning.

If you've seen 8 1/2, well, that movie is a lot more conclusive and focused on one character, true, but it doesn't pass judgement or really analyze Guido's psyche in any way. It expresses the character's emotions.

[Sven]

I think I'm just about at the point where I no longer feel I have to apologize for liking Kill Bill. Eat it, haters.

[Rowland]

I think I'm just about at the point where I no longer feel I have to apologize for liking Kill Bill. Eat it, haters.Why did you feel you had to before? I suppose I understand where the haters are coming from, but I derive far too much joy from the movies to feel any less than enthusiastic in my vocal appreciation of them.

[D_Davis]

I think I'm just about at the point where I no longer feel I have to apologize for liking Kill Bill. Eat it, haters.

Kill Bill rules.

[Spinal]

You only have to apologize for not thinking that the Superman speech is pure dorkfest.

[Sven]

Why did you feel you had to before?

I think it comes down to my feeling that I have to acknowledge trends, as my opinion is invariably part of one. Contextualization and all that. Just seems like more people rag on it than not these days. But as I said, I'm coming to a point where that feeling of needing to include in my response a rationale for my opinion's position within the scope of that film's popularity is no longer a strong one.

[Sven]

You only have to apologize for not thinking that the Superman speech is pure dorkfest.

Then I can safely withhold an apology. I admit it: that part makes me cringe a little.

[MacGuffin]

He wanted to express his memories in cinema.

Fine. But they're not exactly memories I was given a chance to care about. As ledfloyd said, every scene just seems to end far to soon because of the abysmal editing. I would've prefered it if the movie had just taken its time. Instead, Fellini goes for this in your face, abrasive style that just doesn't work for me. The difference between this and Gummo aside from major tones and themes (I don't see that muc of a resemblance origami moustache) is pacing and how in the latter, we're actually given a chance to get to know the characters in relation to the town they live in.


If you've seen 8 1/2, well, that movie is a lot more conclusive and focused on one character, true, but it doesn't pass judgement or really analyze Guido's psyche in any way. It expresses the character's emotions.

I think that's a fair critique, but I loved 8 1/2 so maybe I'm biased. But I don't think Amarcord expressed anybody's emotions, rather than simply putting them on display. It feels like a mixtape of emotions, if that mixtape sucked. None of the scenes work together or compliment each other, so nothing is every really fulfilled.

[DrewG]

So I just finished [I]Sid and Nancy[I] and I think I quite enjoyed it. The plot is really pretty loose, but the dreamy feel and that whole lo-fi aesthetic really separates it, for me at least, from most of the musical biopic field. That, and the whole British punk invasion is of great interest to me, as is the incredibly destructive relationship between Sid and Nancy. A few gripes, such as The Sex Pistols disbanding feels weird and forced, almost too sudden are really only hiccups in a movie that is pretty well paced.

There are some SERIOUSLY gorgeous shots in this film, I think I saw that Roger Deakins did it and that makes perfect sense. The cramped, dim quarters of the Chelsea Hotel, the slow motion flames that Sid and Nancy watch, Sid's fall through the door, the slow motion kiss in the alley way while the garbage falls...all these gorgeous visual setups are complemented very well by the score. And that ending shot? Sublime.

[MacGuffin]

Does anybody else watch silent movies silently? I did this with Nosferatu last night. The score was irritating. I'll probably do this unless I like the score from now on.

[Rowland]

The accompanying score for the version of Tod Browning's The Unknown that I watched was awesome. Hell, I'd listen to it on its own.

[Ezee E]

I think I'm just about at the point where I no longer feel I have to apologize for liking Kill Bill. Eat it, haters.
Remains in my favorites. It's been a while since I've seen it, but I'll never turn my back on it.

[soitgoes...]

Does anybody else watch silent movies silently? I did this with Nosferatu last night. The score was irritating. I'll probably do this unless I like the score from now on.I did this the other night. My mind tends to wander more often with no sound. That said, certain silent films that I have seen have been hampered by an awful soundtrack, and my viewing experience probably would've been better without those distractions.

[Sven]

I tend to start nodding off if there's no score on a silent. I definitely prefer the music. Without the music, it's far too much like a dream, which is kind of awesome in its own right, but initially I prefer to be able to pay attention to the movie I'm watching.

[Ezee E]

I tend to start nodding off if there's no score on a silent. I definitely prefer the music. Without the music, it's far too much like a dream, which is kind of awesome in its own right, but initially I prefer to be able to pay attention to the movie I'm watching.
Yeah, I think after seeing so many movies and television, that it almost seems distracting to not have some type of sound with it.

[Spinal]

Only feature length film I've ever watched completely silent was Birth of a Nation. I find it quite challenging.

[D_Davis]

Does anybody else watch silent movies silently? I did this with Nosferatu last night. The score was irritating. I'll probably do this unless I like the score from now on.

I usually listen to my own soundtrack.

Nosferatu is awesome with some Dead Can Dance or something similar.

[balmakboor]

So I just finished [I]Sid and Nancy[I] and I think I quite enjoyed it. The plot is really pretty loose, but the dreamy feel and that whole lo-fi aesthetic really separates it, for me at least, from most of the musical biopic field. That, and the whole British punk invasion is of great interest to me, as is the incredibly destructive relationship between Sid and Nancy. A few gripes, such as The Sex Pistols disbanding feels weird and forced, almost too sudden are really only hiccups in a movie that is pretty well paced.

There are some SERIOUSLY gorgeous shots in this film, I think I saw that Roger Deakins did it and that makes perfect sense. The cramped, dim quarters of the Chelsea Hotel, the slow motion flames that Sid and Nancy watch, Sid's fall through the door, the slow motion kiss in the alley way while the garbage falls...all these gorgeous visual setups are complemented very well by the score. And that ending shot? Sublime.

Yes, it is a terrific movie. So is Repo Man. Too bad it was all downhill after that for Alex Cox. I finally caught up with Walker last week. I even watched it twice hoping I was just too tired the first time. Nope.

[MadMan]

You only have to apologize for not thinking that the Superman speech is pure dorkfest.:| Superman speech is awesome. And I'm not even a big fan of Superman as a comic book super hero character.


I think I'm just about at the point where I no longer feel I have to apologize for liking Kill Bill. Eat it, haters.I've always liked both Kill Bills. And I've never seen the need to apologize for liking anything, period.

I love Repo Man. I think its one of the handful of movies that truly captures the spirit of the 80s, and really can be taken as a representation of the decade as a whole.

[balmakboor]

:| Superman speech is awesome. And I'm not even a big fan of Superman as a comic book super hero character.

I've always liked both Kill Bills. And I've never seen the need to apologize for liking anything, period.

I love Repo Man. I think its one of the handful of movies that truly captures the spirit of the 80s, and really can be taken as a representation of the decade as a whole.

I love the Superman speech in Kill Bill. (Kill Bill is very much one movie to me.) It's like a summation of the whole Kill Bill mythology. Plus I've always found it a fine piece of writing. Go figure.

[D_Davis]

I love the Superman speech in Kill Bill. (Kill Bill is very much one movie to me.) It's like a summation of the whole Kill Bill mythology. Plus I've always found it a fine piece of writing. Go figure.

Same here.

[Sven]

...pure dorkfest.
_________________________

:| Superman speech is awesome.

I love the Superman speech in Kill Bill.

Same here.

:)

[origami_mustache]

The difference between this and Gummo aside from major tones and themes (I don't see that muc of a resemblance origami moustache) is pacing and how in the latter, we're actually given a chance to get to know the characters in relation to the town they live in.


Amarcord is basically the prototype for Korine's concept of making a movie full of memorable scenes. The characters' relation to the town plays a large role in both as they are all products of their environment. Gummo's happens to be a disgusting world of trailer trash and Amarcord's is a world based in Fellini's imagination and memories, however their is a passion for life as well as nostalgia to be found in both.

[Spinal]

It's like a summation of the whole Kill Bill mythology.

But it's a martial arts film. It doesn't even fit. It makes no sense coming out of the mouth of the character it has been assigned to. Maybe it would make sense in Unbreakable, but here it sticks out like a sore thumb. Bad writing in my opinion.

[Mysterious Dude]

The "Superman" speech is, I think, a clear example of the author speaking through the character, and one of the reasons I never found Bill to be a particularly memorable or interesting character.