28 Film Discussion Threads Later

[balmakboor]

I've been doing this in my head since seeing it. I have to at least give it credit for being a spectacular failure, one that inspires me to want to like it more than I do.

I'm sure I'll do my share of bending and twisting for it as well. Hell, I'm the guy who didn't think Bonfire was all that bad and who bent far backward to read Mission to Mars as an expansion of a scene from Carrie.

[Raiders]

I'm no De Palma sympathizer (I love some of his films but don't bend over backwards defending his failures) and I thought Redacted was very effective at being a piece of media filtered through various sources. Its stance on the war is reductive in that De Palma himself has done this before, but I think the message that counts is in the style, and I found it very effective.

[Rowland]

I'm sure I'll do my share of bending and twisting for it as well. Hell, I'm the guy who didn't think Bonfire was all that bad and who bent far backward to read Mission to Mars as an expansion of a scene from Carrie.I just checked out 24Lies, and it seems to me that most of them like it. A lot of them come across as remarkably sycophantic and smug too, which I don't like.

[Rowland]

I'm no De Palma sympathizer (I love some of his films but don't bend over backwards defending his failures) and I thought Redacted was very effective at being a piece of media filtered through various sources. Its stance on the war is reductive in that De Palma himself has done this before, but I think the message that counts is in the style, and I found it very effective.I found it too unconvincing to be effective. The movie is just a retelling of Casualties of War told through shifting media perspectives, none with the verisimilitude of the Be Black Baby sequence from Hi! Mom. There isn't even any messy incongruence between the shifts, the narrative is very straightforward and easy to follow, which strikes me as a considerable error in judgment from a writing perspective. As such, there is a constant distancing effect at work that saps the movie of all emotional resonance (for me), coupled with a naive, wishy-washy political stance and an overriding sense of the director flailing about in a confused, angry tumble.

[balmakboor]

I just checked out 24Lies, and it seems to me that most of them like it. A lot of them comes across as remarkably sycophantic and smug too, which I don't like.

I better go back and check again. The last time I was there, I thought for sure the detractors were winning.

They can be smug. Not nearly as smug though as some of the guys I used to read at alt.movies.kubrick.

[balmakboor]

I just read Ebert's favorable, near rave review of Redacted and am now looking forward to it again. It is some of Ebert's best and most impassioned writing in a while. He also wrote something that echoed a comment I made to my wife last night. We had just watched Louis Malle's God's Country and I commented that I really love it when documentary subjects behave very uncomfortably in front of the camera. It adds a whole level of authenticity to their characters.

What Ebert wrote was: "The acting is curious. Some of it is convincing, and some of the rest is convincing in a different way: It convinces us that non-actors know they are being filmed and are acting and speaking slightly differently than they otherwise would. That makes some try to appear nicer, and other try to appear tougher or more menacing. That edge of inauthentic performance paradoxically increases the effect: Moments seem more real because they are not acted flawlessly."

[Rowland]

What Ebert wrote was: "The acting is curious. Some of it is convincing, and some of the rest is convincing in a different way: It convinces us that non-actors know they are being filmed and are acting and speaking slightly differently than they otherwise would. That makes some try to appear nicer, and other try to appear tougher or more menacing. That edge of inauthentic performance paradoxically increases the effect: Moments seem more real because they are not acted flawlessly."I've read this defense before, but it is flawed because the performances are always the same, even when the characters don't know they're being filmed. And besides, there is a lot more than just the performances that make it all feel amateurish and false. De Palma must be really out of touch if he believes his movie has the potential to be a rallying cry, as it only kinda sorta works as an academic exercise.

[Russ]

What Ebert wrote was: "The acting is curious. Some of it is convincing, and some of the rest is convincing in a different way: It convinces us that non-actors know they are being filmed and are acting and speaking slightly differently than they otherwise would. That makes some try to appear nicer, and other try to appear tougher or more menacing. That edge of inauthentic performance paradoxically increases the effect: Moments seem more real because they are not acted flawlessly."
That pretty much sums up how I feel about the mix of actors and non-actors in Salt of the Earth, but could never state it as eloquently as Ebert. On the surface it initially registers as cringeworthy, but in the context of the film, it does indeed come across as a sort of impaired sincerity. And yeah, I'd say the effect increases the film's impact, much in the way I'd imagine Readacted does.

[Duncan]

And just like his previous films, deeply manipulative and misleading. Maybe even more than usual in this film. Using England, Canada, France and (gasp!) Cuba as models of excellence is foolhardy. Their systems are far more flawed than ours. What makes you claim this? I don't know about the other countries, but as a guy who divides his time between the US and Canada, I would choose the Canadian health care system in an instant.

[Doclop]

Saw a couple films over the holiday. Brief reviews below.

Margot at the Wedding
I liked it better than The Squid and the Whale, but not by much. I really enjoyed how the film is alternatively abrasive and sweet, seemingly changing its mind on a dime, not unlike Margot herself. I thought all the performances were good, but no one stands outs. The film loses track of its characters sometimes, often leading to moments where the film itself begins to feel completely lost; however, I enjoyed the characters' neuroses and complexities and I appreciated the sincerity that seems to win out even if the film is exaggerated in its depiction of a Dysfunctional Family. It's a film I'll likely see again, as I think there is still much more I can take from it. It's certainly worthwhile and certainly happy to punch you in the face.

Enchanted
Fairly charming and features a couple sharp scenes bolstered by a fun performance by Amy Adams, but what mixed messages! The film seems preoccupied with the concept of reality over fantasy and even creates Giselle's entire arc around this ideology, but the ending entirely negates the concept and makes Patrick Dempsey's entire thought process wholly useless. I'm not sure what this film was trying to say, but it seems fairly indifferent toward the feminist tract it compromises, yet still seems to bring up. Anyway, it's conventional, anti-climactic, but still a relatively competent film for those who expect very little.

[balmakboor]

De Palma must be really out of touch if he believes his movie has the potential to be a rallying cry, as it only kinda sorta works as an academic exercise.

Now that I fear I will completely agree with. It's how I felt about The Black Dahlia (not the "potential to be a rallying cry" part of course, just the academic exercise part).

[Derek]

I've read this defense before, but it is flawed because the performances are always the same, even when the characters don't know they're being filmed.

Except that he's saying that the actors themselves know they are being filmed and act/speak differently, not the characters.

[Spinal]

Would anybody care to recommend me what they feel is the best Shakespeare adaption onto film? Yxklyx's avatar of King Lear has sparked my attention. I might check that film out. Keep in mind, I don't know much about Shakespeare at all.

Don't know how many answers you got to this, but Branagh's Henry V is probably the best choice for someone new to Shakespeare.

[Rowland]

Except that he's saying that the actors themselves know they are being filmed and act/speak differently, not the characters.Oh... well that makes even less sense as a defense. Because nothing seems more real and convincing than false acting in the service of false writing in a multitude of scenarios that feign verisimilitude but feel false.

To those of you who have seen Redacted, what was the deal with the "bad apple" scene where the two Southern/Conservative/Sexist/Racist/Rapist/Good Ol' Boy dickwads are filming themselves with the camera? Seriously, not only was it excruciating to sit through, but I have no idea what De Palma was trying to say.

[Raiders]

Oh... well that makes even less sense as a defense.

No, not really. He's making a point that the amateur actors are obviously trying to act and therefore come across as mannered and unbelievable, the same way someone in a documentary becomes uncomfortable in front of the camera. We can see right through the facade in both cases, and because of the film's construct as a media saturated docu-drama, this air of falsity adds to the experience.

[balmakboor]

Except that he's saying that the actors themselves know they are being filmed and act/speak differently, not the characters.

I'm confused. Don't actors always know they're being filmed? Except when the director tricks them. I thought Ebert meant that actors in Redacted are portraying non-actor documentary subjects and acting purposefully in an awkward manner to heighten the effect.

I should probably just shut up for now until I've actually seen the movie. It hasn't played my town yet though.

[Rowland]

No, not really. He's making a point that the amateur actors are obviously trying to act and therefore come across as mannered and unbelievable, the same way someone in a documentary becomes uncomfortable in front of the camera. We can see right through the facade in both cases, and because of the film's construct as a media saturated docu-drama, this air of falsity adds to the experience.Right, well that just sounds like it's trying way too hard to intellectually excuse a film that utterly fails on an experiential level. It's a concept, not a movie. Taken on the basis of what De Palma claims his movie is supposed to be, it's a failure. People who claim to be shaken by it, I can't help but wonder if this has more to do with their politics being scratched right where they itch, or if they somehow buy into it at face value, which I can't even begin to imagine.

[Derek]

I'm confused. Don't actors always know they're being filmed? Except when the director tricks them. I thought Ebert meant that actors in Redacted are portraying non-actor documentary subjects and acting purposefully in an awkward manner to heighten the effect.

I should probably just shut up for now until I've actually seen the movie. It hasn't played my town yet though.

No, I think Raiders nailed it. The point is that the amateur actors are trying to act yet can't hide the falseness of it in the same way people filmed casually or even in documentaries pretend to act natural yet come of as mannered.

[Rowland]

No, I think Raiders nailed it. The point is that the amateur actors are trying to act yet can't hide the falseness of it in the same way people filmed casually or even in documentaries pretend to act natural yet come of as mannered.So what's the point? There is no truth, everything is false, you are a dope if you take this at face value, or what? Are you arguing that this was intentional on De Palma's part, or it's just a happy accident that their false acting (as much a fault of the writing as anything) reflects the movie's (supposed) all-encompassing thematic conceit? If so, what is the viewer supposed to take away from this? Don't believe anything you see? De Palma has argued that the movie was made in response to a lack of war images making it to the public. Assuming he isn't bullshitting, how are we supposed to take the sequence of images that close the movie when the rest of it is just conceptual noodling? Oh, but even they are redacted! And there are staged images amidst the real ones!

[Derek]

Right, well that just sounds like it's trying way too hard to intellectually excuse a film that utterly fails on an experiential level. It's a concept, not a movie. Taken on the basis of what De Palma claims his movie is supposed to be, it's a failure. People who claim to be shaken by it, I can't help but wonder if this has more to do with their politics being scratched right where they itch, or if they somehow buy into it at face value, which I can't even begin to imagine.

I can't even begin to imagine anyone buying into the film at face value either, since that'd certainly be missing the point. I think looking at this film purely as a rallying cry is extremely misguided, despite what De Palma claims his intent was. I think there are parts that are emotionally engaging, but for the most part it's meant to be a more detached experience, overwhelming not because of the offensiveness of the central act but by the disorienting effect of the films constantly shifting visual styles. In fact, I'd argue that the distancing effect is essential to the films major point - that media saturation combined with the multitude of ways we are informed about the war desensitize us. The fragmented narrative mimics the way we ultimately piece together any big, important story that occurs over there and the failure of Redacted as a "call to action" is the failure of the media to do the same. I never same this film as being about the rape as much as discourse in general and the way information is delivered to a population already distanced from the war by thousands of miles. Perhaps the film does fail on an experiential level, but in my mind, it succeeds admirably on an intellectual level despite its faults.

[Derek]

To those of you who have seen Redacted, what was the deal with the "bad apple" scene where the two Southern/Conservative/Sexist/Racist/Rapist/Good Ol' Boy dickwads are filming themselves with the camera? Seriously, not only was it excruciating to sit through, but I have no idea what De Palma was trying to say.

I have no clue. It seemed completely unnecessary and I agree it could easily have been cut or at least trimmed.

[Raiders]

I can't even begin to imagine anyone buying into the film at face value either, since that'd certainly be missing the point. I think looking at this film purely as a rallying cry is extremely misguided, despite what De Palma claims his intent was. I think there are parts that are emotionally engaging, but for the most part it's meant to be a more detached experience, overwhelming not because of the offensiveness of the central act but by the disorienting effect of the films constantly shifting visual styles. In fact, I'd argue that the distancing effect is essential to the films major point - that media saturation combined with the multitude of ways we are informed about the war desensitize us. The fragmented narrative mimics the way we ultimately piece together any big, important story that occurs over there and the failure of Redacted as a "call to action" is the failure of the media to do the same. I never same this film as being about the rape as much as discourse in general and the way information is delivered to a population already distanced from the war by thousands of miles. Perhaps the film does fail on an experiential level, but in my mind, it succeeds admirably on an intellectual level despite its faults.

Indeed.

[Rowland]

I can't even begin to imagine anyone buying into the film at face value either, since that'd certainly be missing the point. I think looking at this film purely as a rallying cry is extremely misguided, despite what De Palma claims his intent was. I think there are parts that are emotionally engaging, but for the most part it's meant to be a more detached experience, overwhelming not because of the offensiveness of the central act but by the disorienting effect of the films constantly shifting visual styles. In fact, I'd argue that the distancing effect is essential to the films major point - that media saturation combined with the multitude of ways we are informed about the war desensitize us. The fragmented narrative mimics the way we ultimately piece together any big, important story that occurs over there and the failure of Redacted as a "call to action" is the failure of the media to do the same. I never same this film as being about the rape as much as discourse in general and the way information is delivered to a population already distanced from the war by thousands of miles. Perhaps the film does fail on an experiential level, but in my mind, it succeeds admirably on an intellectual level despite its faults.Bu-bu-bu-bu-bu- :frustrated:

Yeah yeah, but it's still not insightful. We don't know what we're looking at, we can't know what we're looking at, and it's annoying as hell. I don't see the value in this. It's a smug, endlessly self-justifying black hole, and worse, I feel like De Palma is having a laugh at everyone's expense by selling it as serious agitprop. Redacted has no soul.

[Boner M]

Thoughts on After the Wedding, Derek? Rating is spot-on.

Also Raiders, in case you haven't noticed, I loved Bigger Than Life and wrote a brief comment on it last week. My tentative favorite Ray film.

[Raiders]

Also Raiders, in case you haven't noticed, I loved Bigger Than Life and wrote a brief comment on it last week. My tentative favorite Ray film.

This post is rep whoring isn't it?

[Winston*]

This post is rep whoring isn't it?
You know what film is great? Every one in your top 100.

[Raiders]

You know what film is great? Every one in your top 100.

Yeah, I already knew that though.

[Boner M]

This post is rep whoring isn't it?
Your animation thread rules.

[Spinal]

Everyone knows that the easiest way to get rep is to go into the College Football thread and make disparaging remarks about Ohio State football.

[Boner M]

In all honesty, I wasn't trying to get rep. I just know that Raiders usually at least 'indeeds' my correct responses to films, so I assumed he hadn't noticed the rating or what I had to say about the film. Which, uh... would be a shame. Yes, that's it.

[Winston*]

I definitely feel like I overrated After the Wedding and I'm not really sure why. I'm seeing all this negativity directed towards it and I'm finding myself agreeing with quite a bit of it in retrospect. Sucks, I don't like mistrusting my initial reactions.

[Derek]

Thoughts on After the Wedding, Derek? Rating is spot-on.

Well, films that begin with Sigur Ros and shots of a poor town automatically make me a bit suspicious. :) Basically, I hated how manipulative and dishonest the film was and save for a rare moment or two, it felt entirely disingenuous and concerned only with setting us up for the next devastating blow rather that achieving any sort of consistency in tone or characters.

[DavidSeven]

So, I saw a couple of films over the break:

A Bittersweet Life - Fairly superficial revenge flick of little consequence. Mostly interesting as a stylistic exercise. Requires a pretty sizable suspension of disbelief. Overall, it's kind of mediocre.

Ocean's Thirteen - Fairly superficial revenge flick of little consequence. Mostly interesting as a stylistic exercise. Requires a pretty sizable suspension of disbelief. Overall, I was thoroughly entertained.

[Rowland]

Ocean's Thirteen - ...Overall, I was thoroughly entertained.I seem to be one of the only people who found this an overly lifeless, uninspired, conceited affair, especially after Twelve, which was just content with (and succeeded at) being a bouncy, all-inclusive exercise in playful style. The rapid-fire freeze-frame introduction to Amsterdam in that movie was cooler than anything in Thirteen.

[DavidSeven]

I seem to be one of the only people who found this an overly lifeless, uninspired, conceited affair, especially after Twelve, which was just content with (and succeeded at) being a bouncy, all-inclusive exercise in playful style. The rapid-fire freeze-frame introduction to Amsterdam in that movie was cooler than anything in Thirteen.

Twelve was definitely more aesthetically interesting. I liked the mixed elements of 1960's Hollywood and French New Wave techniques. Thirteen has the 1970's vibe with the orange hue and grainy photography, which isn't quite as appealing visually. Still, I like the way Soderbergh has infused each film with influences from a different generation of filmmaking. But really, the most important thing is that the gags continue to work for me, and I still find these guys to be engaging.

[MadMan]

Everyone knows that the easiest way to get rep is to go into the College Football thread and make disparaging remarks about Ohio State football.That's not true!




Awww hell I'd probably dole out rep to people who mock OSU. And of course give out rep to those who mock Michigan as well :twisted:

PS: I'll also take Spinal's post as free whoring for my thread. Wahoo! :lol:


In other news I just watched Secret Honor and quite disliked it.You mean the movie staring Phillip Baker Hall as Nixon, directed by Robert Altman? I thought that movie was fantastic, even though it was really just a stage play that jumped to the screen. The ending actually sent chills down my spine, and the film itself is a great mixture of fact and paranoid fiction. Which really is what Nixon's life and career were-its extremely hard to separate the myth from the actual man. Just like most most presidents. And I think Altman captured that perfectly as well. Plus Hall's performance managed to nail down the complexity of Nixon, and the fact that he was both an intelligent man and extremely fearful of enemies both real and imagined, which provided to be his downfall.

[Henry Gale]

I actually had the more fun with Ocean's Thirteen than the first two (which I also love). Something about the whole atmosphere, the way it was all shot, the performances and the script, the direction and everything all just really slick without feeling scummy or anything but just laid-back and cool. It all worked in a really effectively way that for me made it one of the more just all-out fun times I've had at the movies all year.

Also, I don't know if that hotel/casino really exists or if the interior shots were real places, but I thought the design of the whole thing (if it was just for the film or not) just made for perfect and amazingly eye-catching playgrounds for the characters to go about in.

[Rowland]

Worst of all, Thirteen condescended to the viewer by showing how Ocean's crew were down with the "little people", from the various facets of the plan right down to where all of the money went and the closing scene. I imagine they concocted this in response to the criticisms directed at Twelve over how it felt like watching wealthy superstars just mess around without any consequence. Hell, at least they were being honest.

And this can't be emphasized enough, but half the movie is watching the actors sit around and talk about nothing terribly engaging. The scene early in the movie where Clooney and Pitt try to convince Izzard to join their team or whatever drags on foreeeeever.

[megladon8]

I realize I'm a few pages behind, but I just wanted to mention my love for The Matador.

I think it's one of the funniest movies in years. And Brosnan's performance was one of the best of 2005.

[DSNT]

The most important thing that Sicko does is force Americans to rethink their assumption that just because it is American, it must necessarily be the best. I think it's clear that Moore purposefully portrays the other countries as virtual xanadus, partially for comic effect, but also as a direct challenge to our sometimes stubborn patriotic assumptions.

That didn't seem to be his intent. As you mentioned previously, his typical humor was mostly absent, and he appeared to take a more straightforward approach to presenting his arguments. As for confronting the American myth, I'd say he succeeded at that with Bowling for Columbine, which is easily his best film in my opinion.

I'm not going to defend our system against others, especially since I agree with most of Moore's points. The number of uninsured in this country is ridiculous, and don't get me started on doctors rates, malpractice insurance, and so forth. It needs work and hopefully it will be fixed in the next administration. My point was that by encouraging the worst anecdotal cases you can find, you could make a negative movie about any health care system, or any institution period.

[MacGuffin]

After the Wedding is my favorite film of 2006!

[lovejuice]

I realize I'm a few pages behind, but I just wanted to mention my love for The Matador.

I think it's one of the funniest movies in years. And Brosnan's performance was one of the best of 2005.

yes. it's my favorite film of 2005.

[Spinal]

That didn't seem to be his intent. As you mentioned previously, his typical humor was mostly absent, and he appeared to take a more straightforward approach to presenting his arguments.

No, no, no. The film had fewer outright gags, but the stock footage and melodramatic underscoring and Moore's characterization of himself as the earnest American all serve to let the viewer know that he is painting a rosy picture intentionally in order to make a polemical point. This is utterly clear when watching the film.

[DavidSeven]

I remember Death Proof being fairly well liked around here. I guess I was wrong.

Not quite. It's the best thing Tarantino has done since Pulp Fiction. One of the year's best.

[Sven]

Mission To Mars RUUUUULES!

Rep? Anyone? Please?

[Rowland]

I can't wait to see where you stand on Redacted, iosos.

[Qrazy]

Mission To Mars RUUUUULES!

Rep? Anyone? Please?

Where do you think this is? Slant's forums?

[Sven]

I can't wait to see where you stand on Redacted, iosos.

Me too. I keep going back and forth in levels of anticipation. And my tolerance for liberal rah-rah-isms is very very low. But I do love the De Palma so.

[Sven]

Where do you think this is? Slant's forums?

Do they like it there?

[Melville]

I liked but had some problems with Cyclo... but The Scent of Green Papaya is worth checking out?
The two are drastically different, but I thought that The Scent of Green Papaya was probably a bit more cohesive. What were your problems with Cyclo?

[Qrazy]

The two are drastically different, but I thought that The Scent of Green Papaya was probably a bit more cohesive. What were your problems with Cyclo?

A bit too meandering in the second half, the shift in narrative focus never really congealed into anything especially meaningful for me and just felt like a semi-arbitrary excuse to take the film in disparate visual/tonal directions. The visual elements and progression were interesting on their own, but the framework propping them up... the other cyclo team, their demise etc... struck me as a bit poorly fleshed out, which may or may not have been part of the point, but it just didn't work for me.

[Qrazy]

Do they like it there?

To the best of my recollection.

[Melville]

The whole picture is principally about the collision of pleasure and pain. With Stuntman Mike, we have three levels of this collision: within himself (the sadomasochist), within his car (which is a chambered extension of himself, as illustrated in the McGowan sequence), and on the road (the crash with Jungle Julia, et al, illustrates their pain, his pleasure, the crash at the end is the reversal, his pain, their pleasure). And just as this dichotomy is formally illustrated in the text, so is it represented in structural terms, ie, the first half collides with the second half, the first half representing pain, the second half, pleasure. The film itself is sadomasochistic, like Mike, and is thereby represented on multiple levels with this illustration of collision.

Far out. As you said before, I don't think any of that really provides any insight into sadomasochism, and I think the presentation of the ending is sufficiently muddy that it doesn't really make any good points about anything, and I'm still not quite sure that such an interpretation would justify the shift in styles between the two halves, but that's an interesting interpretation.


I don't think that their being one-dimensional is a bad thing. They had precisely the amount of dimension required to serve Tarantino's needs. I notice you admire Ordet and Tropical Malady. Now, while I agree that those are better films, I don't find their characters any less one-dimensional. They hit the fews notes they must to fit into a director's carefully worked out design.
But in Tropical Malady we aren't forced to listen to endless conversations between the characters, and in Ordet each character's one dimension is developed to perfection.

Anyway, I have a much better idea now of why people would think highly of the film, so I'll join Bosco and Qrazy in agreeing to disagree at this point.

[Melville]

A bit too meandering in the second half, the shift in narrative focus never really congealed into anything especially meaningful for me and just felt like a semi-arbitrary excuse to take the film in disparate visual/tonal directions. The visual elements and progression were interesting on their own, but the framework propping them up... the other cyclo team, their demise etc... struck me as a bit poorly fleshed out, which may or may not have been part of the point, but it just didn't work for me.
Yeah, it's definitely a bit gonzo. I liked it for that reason, as I mentioned a couple pages ago, but it's pretty easy to understand someone disliking it for the same reason. It definitely made an interesting comparison with Death Proof in its play with genre and whatnot.

[Melville]

I didn't want to join the Death Proof discussion, but I'd just like to say that the discussion came across as almost prudish to me. Tarantino can be in awe of his actresses and their sexuality without "exploiting" them. He has the patience and respect for his characters to let them live and breathe individually, even the ones who he tragically (or in the case of Stuntman Mike, not so tragically) kills off. For all the talk in this thread from both sides, it is remarkably free of pretense.
I'm trying to figure out which posts could be construed as prudish. I don't think anybody on either side was suggesting that Tarantino was exploiting his characters' sexuality... or maybe I just glossed over those posts. The only comment I can think of along those lines was Boner's reference to the characters as "Maxim girls." Are you suggesting that Boner has been hiding his prudishness behind a mask of innuendo this whole time?

[balmakboor]

I thought I'd just comment that I find movies that are split into two distinct halves that play off each other very satisfying. Tropical Malady, Full Metal Jacket, Barry Lyndon, The Mirror (Panahi), and Death Proof are a few examples.

[Qrazy]

I thought I'd just comment that I find movies that are split into two distinct halves that play off each other very satisfying. Tropical Malady, Full Metal Jacket, Barry Lyndon, The Mirror (Panahi), and Death Proof are a few examples.

I don't really, much prefer the three pronged break down... I must have Hegelian synthesis!

[Melville]

I don't really, much prefer the three pronged break down... I must have Hegelian synthesis!
So do you prefer Lost Highway to Mulholland Dr.?

[Melville]

The Mirror (Panahi)
I don't think I've ever heard of this. What's it about?

[Qrazy]

So do you prefer Lost Highway to Mulholland Dr.?

Well no, I just mean in most cases. Actually, I rather dislike Lost Highway. Mulholland Drive I like, but not as much as most.

[Duncan]

Killer of Sheep (Burnett) - 7

Thoughts?

[Qrazy]

Naked Island was terrific. I think Onibaba, Woman in the Dunes and this would make a fantastic triple bill.

[balmakboor]

I don't think I've ever heard of this. What's it about?

A father forgets to pick up his young daughter after school so she heads for home on her own. The first half is a very beautifully composed movie about her ordeal. Then at midpoint the actress decides she doesn't want to be in the movie any more and walks off the set. Panahi and his crew then do their best to follow her through the city -- Tehran I think -- as the actress walks to her own home. The first half is very calm. The second half is full of panic since the filmmakers no longer have control over the situation or her safety. At times they even lose visual contact with her, but can hear her surroundings because she is still wearing her radio mic.

I'm not sure how much of it was a setup -- or if it was an accident that they just went with. Most likely a well executed setup.

[Philosophe_rouge]

Just finished Casque D'Or, and frankly I was overwhelmed. It seemed very pedestrian, and as though I've seen it done before and better. The shining light though was Claude Dauphin in a supporting role as Felix Leca. I think it's a good film, just nothing particularly memorable.

[Grouchy]

I'm not going to defend our system against others, especially since I agree with most of Moore's points. The number of uninsured in this country is ridiculous, and don't get me started on doctors rates, malpractice insurance, and so forth. It needs work and hopefully it will be fixed in the next administration. My point was that by encouraging the worst anecdotal cases you can find, you could make a negative movie about any health care system, or any institution period.
From my limited knowledge working at a health insurance call center for Anthem Wellpoint, the little piece of the business that I got to know is basically one big scam. I remember one exclusion was that if you were ta-ta-ta miles from an urban center and were attacked by a bear or something, Anthem didn't cover that. It was your fault you decided to go camping. If I remember correctly, Sicko actually interviews a couple of call center workers on those aspects. I wouldn't say it's a case of bending the balance one way or another, it's just that US health insurance is particularly a scam.

I just saw a pretty stupid but deeply surrealistic vampire comedy, Vamp. I rented it because of Grace Jones, who figures as the top-billed star in posters and IMDb. Well, it turns out she has like 15 minutes of screentime despite supposedly being the queen of the vampire ring. Awesome minutes (http://www.youtube.com/watch?v=U09CQtMPusA), awesome indeed (http://www.youtube.com/watch?v=1xuH9sVmhNQ&feature=related), but when most of the other minutes are occupied by over-talkative and uber-annoying blood-vessel frat boys, they are way too few. If the whole movie had more of her screaming, dancing alluringly and ripping hearts from chests with her fists, it would be better. The movie is a particular oddity at least, and some of the gags work while others fall flat - it also doesn't care about making sense, to the point where the frat boys enter an unexplained space warp that takes them from a regular street to some kind of vampire town or something. Pretty much a big bunch of B-trash - if you click the links above, you've seen the best the movie has to offer.

[Mysterious Dude]

Anybody seen Shohei Imamura's Vengeance Is Mine? I thought it was really great. I love movies about killers that take it seriously. Many Japanese movies are violent, but the violence here is not sensationalized. Iwao Enokizu is a killer, but he's not a samurai. When he kills, it's messy. In one scene, he has to wash the blood of his hands with his own urine. There is a great authenticity to the filmmaking that you don't see too often anymore (it's based on a true story).

I think I'd like to see more Japanese movies from the seventies. It seems to be an area of film history that I have neglected.

[megladon8]

Anybody seen Shohei Imamura's Vengeance Is Mine? I thought it was really great. I love movies about killers that take it seriously. Many Japanese movies are violent, but the violence here is not sensationalized. Iwao Enokizu is a killer, but he's not a samurai. When he kills, it's messy. In one scene, he has to wash the blood of his hands with his own urine. There is a great authenticity to the filmmaking that you don't see too often anymore (it's based on a true story).

I think I'd like to see more Japanese movies from the seventies. It seems to be an area of film history that I have neglected.


Are you specifically looking for yakuza films?

Even if you're not, I know some great ones you should check out.

[Mysterious Dude]

Are you specifically looking for yakuza films?

Even if you're not, I know some great ones you should check out.
Anything will work.

[Sven]

Anything will work.

See The Street Fighter, with Sonny Chiba. It's awesome! Though now that I think of it, it doesn't really seem like an "Antoine" kind of movie.

[Grouchy]

Solid Japanese movies from the '70s:
Dersu Uzala
Cops vs. Thugs
In the Realm of the Senses

[Mysterious Dude]

Dersu Uzala
In the Realm of the SensesHmm, I guess I haven't neglected it that much (already seen these two). Thanks, though.

[Qrazy]

Also Dodesukaden, Yakuza Papers and Lone Wolf and Cub.

[Qrazy]

Hmm, I guess I haven't neglected it that much (already seen these two). Thanks, though.

There really wasn't much going on there in the way of arthouse in the 70's imho.

[megladon8]

Anything will work.


Well, in my experience pretty much any of Kinji Fukasaku's yakuza flicks rock.

Yakuza Graveyard and Street Mobster are my two favorites of his.

Also stuff by Seijun Suzuki. His '65 one Tattooed Life is fantastic.

[Mysterious Dude]

There really wasn't much going on there in the way of arthouse in the 70's imho.
Well, I'll always have Vengeance Is Mine, I guess.

I am interested in Yakuza Papers. I've seen parts of it (not sure which parts) when IFC played them a few months ago. I admired the style, but had trouble following it. I suppose it would be better to start at the beginning.

[Qrazy]

Well, I'll always have Vengeance Is Mine, I guess.

I am interested in Yakuza Papers. I've seen parts of it (not sure which parts) when IFC played them a few months ago. I admired the style, but had trouble following it. I suppose it would be better to start at the beginning.

Even starting at the beginning it cuts all over the place. Fukasaku doesn't seem to care much for narrative accessibility. The music that places when someone is murdered actually gets pretty hilarious after a while.

[Boner M]

Anybody seen Shohei Imamura's Vengeance Is Mine?
One of my favorites (http://matchcut.org/viewtopic.php?p=468215&highlight=imamura#468215). Glad you're a fan too.

[dreamdead]

Count me as another fan of Vengeance is Mine. Others have already identified how it treats the serial killer motif with sophistication and craft, so I'll point to my love of the film's crosscutting of chronology and that gorgeous almost magical-realist ending, which shifted my opinion of the film from a solid mark to an exclamation of euphoria that Imamura risked the switch for such a great, poetic result.

[Rowland]

I wish Black Book had more moments like the pube-dyeing scene or provocative images like the jewels and money being pushed out from underneath a cross adorning a coffin (even if I'm not really sure what that metaphor was saying beyond broad satire). Speaking of being unsure, what was the deal with the last image? My history is hazy, so I had to look up what historical event was being referenced, but I still don't understand its significance as a bookending coda, beyond some banal sort of truism about war never ending or something that feels like it belongs in a different movie.

[Rowland]

D'Angelo bumped his score for Gone Baby Gone up ten points. "The last 20 minutes are so devastating that I just don't care how preposterous it all is." Good man.

[DavidSeven]

Anybody seen Shohei Imamura's Vengeance Is Mine? I thought it was really great. I love movies about killers that take it seriously. Many Japanese movies are violent, but the violence here is not sensationalized. Iwao Enokizu is a killer, but he's not a samurai. When he kills, it's messy. In one scene, he has to wash the blood of his hands with his own urine. There is a great authenticity to the filmmaking that you don't see too often anymore (it's based on a true story).

I think I'd like to see more Japanese movies from the seventies. It seems to be an area of film history that I have neglected.

I saw this for a film swap with Boner. (http://matchcut.org/viewtopic.php?t=9786) Great, great flick.

[Derek]

D'Angelo bumped his score for Gone Baby Gone up ten points. "The last 20 minutes are so devastating that I just don't care how preposterous it all is." Good man.

Where does D'Angelo comment on films? He hasn't written anything in his screening log this whole year.

[Grouchy]

Speaking of being unsure, what was the deal with the last image? My history is hazy, so I had to look up what historical event was being referenced, but I still don't understand its significance as a bookending coda, beyond some banal sort of truism about war never ending or something that feels like it belongs in a different movie.
I took it as meaning that history is cyclical and that, years from WWII, the world hasn't found peace. In fact, it's a pretty clear ending image, methinks.

You didn't like it much? I thought it was very good, and my only complain was that it was overscored. If the movie had less abrasive music and it was used less often, I think it might've enhanced the drama.

[Briare]

Lars and the Real Girl (Craig Gilleppsie, 2007)

I have rarely cried at the movies. I have never cried at any moment over the death of an inanimate object but I'd be lying if I said I didn't shed a few tears over the "death" of Bianca as I watched Lars and the Real Girl come to a close. The plot of this film is so ludicrous and unrealistic that only in the realm of fiction could it ever come to fruition. It lives on its characters, a fantastic cast lead by Ryan Gosling. Gosling injects the right amount of sympathy into Lars. He gives the character a kind of insecure stability that in the hands of another performer might have been forced or overacted, instead we are given a character of immense humanity. A scene near the end of the film can accuratly sum up the entire performance- Lars kisses his mail order bride and discovers she won't kiss him back. He cries, and in the minute he pronounces her dead. The smile at her funeral that adorns Lars' face might suggest he pulled a kind of dupe over on the small town. He had made a woman made of plastic a part of his family, a part of his community- a real person but this would add a mean streak to a character who never before showed it. No it would be more accurate to say that Lars wanted companionship, made it for himself in the only way he knew how- by himself. The oppurtunity to make this film dirty or stupid is there but it never resorts to it and instead holds its own with remarkable restraint and humanity.

[Boner M]

Where does D'Angelo comment on films? He hasn't written anything in his screening log this whole year.
His twitter (http://twitter.com/gemko) account, which allows him to write 140 character comments because long blog entries and actual insight is too taxing. *won't let his Love Streams comment go*

[Yxklyx]

Just finished Casque D'Or, and frankly I was overwhelmed. It seemed very pedestrian, and as though I've seen it done before and better. The shining light though was Claude Dauphin in a supporting role as Felix Leca. I think it's a good film, just nothing particularly memorable.

Overwhelmed by Pedestrianism?

[Yxklyx]

Your Friends & Neighbors is a rare dud from LaBute. The writing is just not there as usual.

[Scar]

Ladies and gentlemen, (there are at least a couple ladies in here, right?), I've recently received Nosferatu: Phantom der Nacht in the mail, (along with a plethera of Christopher Lee flicks), and was wondering which version y'all recommend I watch first. I'm leaning towards German....

[Melville]

Thoughts?
Not really. The acting was bad, the music was good, and the central character was a good archetypal struggling everyman. It didn't really inspire much thought on my part.

[Benny Profane]

Speaking of being unsure, what was the deal with the last image? My history is hazy, so I had to look up what historical event was being referenced, but I still don't understand its significance as a bookending coda, beyond some banal sort of truism about war never ending or something that feels like it belongs in a different movie.

I took it as an anti-Israeli statement. You have Jews fighting against oppression and occupation in WWII with help from other nations, and then once they got their freedom in the present time, the Jews are oppressing and occupying Palestine. Now Palestine is fighting back with the help of other nations. And so forth...

[ledfloyd]

after all the death proof talk i gave it another watch. (my 4th) it's odd, in the theater i thought the first half worked better than the second. but after a few home viewings, perhaps it's cause of the added scenes, i think the first half drags and the second half is near flawless.

even as a fan of the film i can still sympathize with the criticisms in regards to the dialogue. in the first half especially. it's very dialogue heavy, but there's no royale with cheese dialogue, or superman dialogue, or madonna likes big dicks dialogue. the few extremely quotable things said in the first half of the film come out of the mouths of stuntman mike and sheriff mcgraw, rather than the girls we spend most of it with. certain bits seem forced, and others drag on too long. i'm thinking in particular of the beginning in the car being too long and the acting out the date scene seeming forced. and quentin's acting always seems forced.

the second half on the other hand. at least from the point they pick up zoe on. i'm hard-pressed to find much of anything wrong with it. the dialogue is interesting and delivered well if not always incredibly quotable. and almost all of it serves a direct purpose. it's set up for future pay offs. and i don't think they spend ridiculous amounts of time prattling on about vanishing point as has been said. it's quick and out, and i think everything out of the mouths of the characters is pretty believable. where in the first half it can seem forced. probably has something to do with the better actors.

none-the-less i dropped my rating from ***1/2 to ***. the first half takes awhile, but the payoff is ultimately good. everything out of stuntman mike's mouth is gold, though that's not always enough. the second half is great. but reliant on th efirst half to pack a compleat punch.

for reference:
Jackie Brown ****
Pulp Fiction ****
Kill Bill ****
Reservoir Dogs **1/2

[Spinal]

Lars and the Real Girl (Craig Gilleppsie, 2007)

Please do not indiscriminately reveal the ending of movies. Use spoiler tags. I'm kind of irked about this one, because this was a movie I wanted to see.

[Rowland]

I took it as meaning that history is cyclical and that, years from WWII, the world hasn't found peace. In fact, it's a pretty clear ending image, methinks.Yeah, so just as I deduced, war never ends.


You didn't like it much? I thought it was very good, and my only complain was that it was overscored. If the movie had less abrasive music and it was used less often, I think it might've enhanced the drama.It was okay. It would have benefited from being even pulpier, and less dependent on its overstuffed plot machinations that make the last half hour pretty ridiculous (in a way that's more annoying than fun). Ang Lee's veeeery similar Lust Caution is better.

[Philosophe_rouge]

Overwhelmed by Pedestrianism?

I meant underwhelmed, heh. No more late night typing on sugar highs!

[Rowland]

I meant underwhelmed, heh. No more late night typing on sugar highs!Sugar highs are a myth, they don't exist. ;)

[Philosophe_rouge]

Sugar highs are a myth, they don't exist. ;)
Lapses in reason then? :P

[Rowland]

Lapses in reason then? :POr droopy eyes, or your brain shutting down from sleep-deprivation. Whatever works for you. :cool:

[Philosophe_rouge]

Or droopy eyes, or your brain shutting down from sleep-deprivation. Whatever works for you. :cool:
Droopy eyes works fine for me :pritch:

[Rowland]

Has anyone seen Angel-A? If it's anything to go by, Besson should stick to screenwriting and producing for others, because he doesn't appear to be aging too gracefully.

[Duncan]

Not really. The acting was bad, the music was good, and the central character was a good archetypal struggling everyman. It didn't really inspire much thought on my part.

Hmm, I thought it could be one of those 'develops its characters through moods' films that you really like. Oh well.

[Grouchy]

Ladies and gentlemen, (there are at least a couple ladies in here, right?), I've recently received Nosferatu: Phantom der Nacht in the mail, (along with a plethera of Christopher Lee flicks), and was wondering which version y'all recommend I watch first. I'm leaning towards German....
I don't know what to tell you, because they're basically the same movie and the differences are very minor. They were shot at the same time, the English take after the German one, and in dialogue-free takes (which are a lot) it's the same one. I've seen both versions and I'd be hard-pressed to say one is better than the other. It's a very good film, whatever language you decide to watch it in.

What Christopher Lee movies did you get?

[Scar]

I don't know what to tell you, because they're basically the same movie and the differences are very minor. They were shot at the same time, the English take after the German one, and in dialogue-free takes (which are a lot) it's the same one. I've seen both versions and I'd be hard-pressed to say one is better than the other. It's a very good film, whatever language you decide to watch it in.

Thanks!



What Christopher Lee movies did you get?

I, MONSTER
HORROR EXPRESS
CURSE OF FRANKENSTEIN, THE
HORROR OF DRACULA
DRACULA HAS RISEN FROM THE GRAVE

One last DeepDiscount splurge.

[megladon8]

I, MONSTER
HORROR EXPRESS
CURSE OF FRANKENSTEIN, THE
HORROR OF DRACULA
DRACULA HAS RISEN FROM THE GRAVE

One last DeepDiscount splurge.


Sweet!!

Be prepared for some awesome gothic horror-ness.

[origami_mustache]

I'm Not There was so good it hurt.

[megladon8]

I'm Not There was so good it hurt.


I have to ask once again - do you need to like Bob Dylan to like the movie?

I can't stand him, but I would like to see the movie.

[MadMan]

Thanks!



I, MONSTER
HORROR EXPRESS
CURSE OF FRANKENSTEIN, THE
HORROR OF DRACULA
DRACULA HAS RISEN FROM THE GRAVE

One last DeepDiscount splurge.I've only seen Horror Express and that movie is great fun. Back in my home town the community college I went to has their own channel, and they've show that flick a bunch of times. I want to see it again so I can finally write a proper review of it here and on the Axis. Plus it has Peter Cushing and Kojack as well :cool:

[Qrazy]

I have to ask once again - do you need to like Bob Dylan to like the movie?

I can't stand him, but I would like to see the movie.

I haven't seen the film, but I'm going to guess, no.

[Watashi]

I'm Not There comes out this Friday.

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

[Winston*]

I'm Not There comes out this Friday.

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

I'm getting it in May.

:sad:

[Briare]

Please do not indiscriminately reveal the ending of movies. Use spoiler tags. I'm kind of irked about this one, because this was a movie I wanted to see.

I apologize.

[Rowland]

I'm going to devote my next few rentals to '07 releases I haven't heard much about, to broaden the scope of my viewing experience for the year. They will include:

Ten Canoes
Colma: The Musical
Into Great Silence
The Wendell Baker Story
The Italian

Has anyone seen any of these?

[Sycophant]

I'm going to devote my next few rentals to '07 releases I haven't heard much about, to broaden the scope of my viewing experience for the year. They will include:

Ten Canoes
Colma: The Musical
Into Great Silence
The Wendell Baker Story
The Italian

Has anyone seen any of these?Ten Canoes could've been a good deal better if it were a bit tighter and, frankly, a bit more conventional.

Colma: The Musical is available to rent?! :eek: I've been wanting to see this for what seems like ages! [adds, moves to top of queue]

[soitgoes...]

I'm going to devote my next few rentals to '07 releases I haven't heard much about, to broaden the scope of my viewing experience for the year. They will include:

Ten Canoes
Colma: The Musical
Into Great Silence
The Wendell Baker Story
The Italian

Has anyone seen any of these?
Into Great Silence was wonderful. You definitely have to have the right mindset going into it though, as it's 2 1/2+ hours of almost silent, plotless filmmaking. Still a great look into the lives of monks. Men who have more devotion to one cause than I've ever had for anything.

[Ezee E]

I'm going to devote my next few rentals to '07 releases I haven't heard much about, to broaden the scope of my viewing experience for the year. They will include:

Ten Canoes
Colma: The Musical
Into Great Silence
The Wendell Baker Story
The Italian

Has anyone seen any of these?
I saw Wendell Baker at a film festival a few years ago.

It's mehowulf.

[Duncan]

I'm going to devote my next few rentals to '07 releases I haven't heard much about, to broaden the scope of my viewing experience for the year. They will include:

Ten Canoes
Colma: The Musical
Into Great Silence
The Wendell Baker Story
The Italian

Has anyone seen any of these?

My review (http://matchcut.org/viewtopic.php?t=10216)of Into Great Silence.

[koji]

Has anyone seen Angel-A? If it's anything to go by, Besson should stick to screenwriting and producing for others, because he doesn't appear to be aging too gracefully.I saw it and was stunned by the B&W shots of Paris: for example, shots from two bridges over on the Loire from where the actors are speaking. Maybe I'm a sucker for B&W, but I loved how it looked. Otherwise, I think Besson was trying to update Frank Capra, which was done reasonably well.

[Grouchy]

I, MONSTER
HORROR EXPRESS
CURSE OF FRANKENSTEIN, THE
HORROR OF DRACULA
DRACULA HAS RISEN FROM THE GRAVE

One last DeepDiscount splurge.
The only one I haven't seen is I, Monster. With all the other ones I can guarantee at least a fun time. At most (Horror Express, Horror of Dracula) an instant classic.

Anyone saw Scorsese's short version of a lost Hitchcock film? Heh (http://www.scorsesefilmfreixenet.com/).

[Melville]

Hmm, I thought it could be one of those 'develops its characters through moods' films that you really like. Oh well.
Yeah, it does seem like something I would really like. I was really tired when watching it, and I actually had to rewind it at one point after drifting off for a couple minutes, so maybe I was just in the wrong state of mind to appreciate its mood.

[Paranoid Android]

The only one I haven't seen is I, Monster. With all the other ones I can guarantee at least a fun time. At most (Horror Express, Horror of Dracula) an instant classic.

Anyone saw Scorsese's short version of a lost Hitchcock film? Heh (http://www.scorsesefilmfreixenet.com/).

That was awesome. :lol:

I love listening to Scorsese talk. He reminds me of my grandpa.

[Sven]

P. Android, your avatar rocks.

[MacGuffin]

I can't stand him, but I would like to see the movie.

What an idiotic and stupid statement. Seriously, this is dumber than half the shit I write.

[MadMan]

That was awesome. :lol:

I love listening to Scorsese talk. He reminds me of my grandpa.Yeah that avatar is cool. Great to see yah here PA...I didn't know you were registered on this site.

[megladon8]

What an idiotic and stupid statement. Seriously, this is dumber than half the shit I write.


Good post.

I'm sure you'll be well liked around here.

[MadMan]

What an idiotic and stupid statement. Seriously, this is dumber than half the shit I write.So meg doesn't like Dylan? Big fat hairy deal. Get over it man. This post to me was idiotic.

[origami_mustache]

I have to ask once again - do you need to like Bob Dylan to like the movie?

I can't stand him, but I would like to see the movie.

Well I like Bob Dylan's earlier stuff, especially the albums from the 60s, but I am by no means a Bob Dylan buff. I can't predict how much personal bias will play a factor, but in my opinion the film is awarding based on the fact that it's an anti-biopic done in an avant-garde style exploring the multi dimensional personalities of one man. This film could have been made about anyone fictional or nonfictional using this technique, and I believe I would have loved it all the same. The film is very fragmented and dreamlike, reflecting Dylan's anti-nature sentiments, stating that "dreams are the most natural thing there is because of the lack of interferences." Haynes raises interesting philosophical questions about "personality" and "self." Are we as humans more multi dimensional than given credit for and entitled to more complex portrayals of our lives through art and entertainment mediums? After watching I'm Not There it will be difficult for me to ever look at a biopic in the same way, let alone film. Bob Dylan's iconic status just serves as a springboard to perpetuate these ideas to a broader audience, but it is a fitting choice, as his poetic lyrics and anti establishment attitude coincide with the unconventional visual poem style filmmaking.

[megladon8]

Well I like Bob Dylan's earlier stuff, especially the albums from the 60s, but I am by no means a Bob Dylan buff. I can't predict how much personal bias will play a factor, but in my opinion the film is awarding based on the fact that it's an anti-biopic done in an avant-garde style exploring the multi dimensional personalities of one man. This film could have been made about anyone fictional or nonfictional using this technique, and I believe I would have loved it all the same. The film is very fragmented and dreamlike, reflecting Dylan's anti-nature sentiments, stating that "dreams are the most natural thing there is because of the lack of interferences." Haynes raises interesting philosophical questions about "personality" and "self." Are we as humans more multi dimensional and entitled to more complex portrayals of our lives through art and entertainment mediums? After watching I'm Not There it will be difficult for me to ever look at a biopic in the same way, let alone film. Bob Dylan's iconic status just serves as a springboard to perpetuate these ideas to a broader audience, but it is a fitting choice, as his poetic lyrics and anti establishment attitude coincide with the unconventional visual poem style filmmaking.


I really want to see it based on this, because it seems like it can be enjoyed simply as an unconventional film about a musician's life and influence - not necessarily a splurge-fest of "Bob Dylan is so awesome".

Though at the same time, I find song lyrics very hard to understand - as I've said before. I doubt I would pick up on the poetic element of his lyrics...will that infringe on my ability to understand/enjoy the film?

[MacGuffin]

Good post.

I'm sure you'll be well liked around here.

Why would you bother to see a film about someone you can't stand? The time some people waste. That's not even to mention that you can't stand Bob Dylan, no less. That's fucking strange.

[Paranoid Android]

P. Android, your avatar rocks.

Heh, thanks man. :)


Yeah that avatar is cool. Great to see yah here PA...I didn't know you were registered on this site.

Thanks MadMan. I actually just joined up today, Rouge convinced me. It's kind of cool seeing all these posters I remember from my early early RT days.

[megladon8]

Why would you bother to see a film about someone you can't stand? The time some people waste.


So I have to like Hitler to see Downfall?

Your logic is flawless, sir.

[MacGuffin]

Origami, how would you rank I Don't Want To Sleep Alone alongside Tsai's other work?

[MacGuffin]

So I have to like Hitler to see Downfall?

Your logic is flawless, sir.

Why would you want to watch Downfall? Sounds like a dumb idea if I've ever heard of one.

[megladon8]

So I guess I shouldn't waste my time with that Hitler documentary, huh?


Wow...weird how we practically posted the same rebuttal.

*gets teary-eyed*

...brother??

[MacGuffin]

Only half? Don't sell yourself short.

Three quarters?

[MadMan]

Heh, thanks man. :)



Thanks MadMan. I actually just joined up today, Rouge convinced me. It's kind of cool seeing all these posters I remember from my early early RT days.I know. Its awesome. Wryan recently joined the site and there was much rejoicing :)

meg don't waste your time on that guy. He's clearly lacking some sort of capacity to engage in civilized discussion and doesn't have the ability to engage in un-asshole like behavior. Perhaps we should all get together, pool our resources and buy him the book "Posting 101."

[origami_mustache]

I really want to see it based on this, because it seems like it can be enjoyed simply as an unconventional film about a musician's life and influence - not necessarily a splurge-fest of "Bob Dylan is so awesome".

Though at the same time, I find song lyrics very hard to understand - as I've said before. I doubt I would pick up on the poetic element of his lyrics...will that infringe on my ability to understand/enjoy the film?

The film contains a lot of Dylan's words from interviews and such along with songs throughout, but although I consider it a tribute to the man, it's also objective, letting Dylan's words and actions speak for themselves. I'm not sure if that would hinder it for you too much, but I think it offers something unique and can still definitely be enjoyed.

[megladon8]

meg don't waste your time on that guy. He's clearly lacking some sort of capacity to engage in civilized discussion and un-asshole like behavior. Perhaps we should all get together, pool our resources and buy him the book "Posting 101."


Yeh, he's obviously just a troll.

Don't feed it, and it'll wither away.

[megladon8]

The film contains a lot of Dylan's words from interviews and such along with songs throughout, but although I consider it a tribute to the man, it's also objective, letting Dylan's words and actions speak for themselves. I'm not sure if that would hinder it for you too much, but I think it offers something unique and can still definitely be enjoyed.


Well I definitely have interest in it for the Bale factor.

Also just the entire concept of having the various actors represent different stages of his life is a really cool idea.

I'll see it when it comes to DVD. Maybe it'll give me a deeper appreciation of Dylan's music.

[Raiders]

Why would you want to watch Downfall? Sounds like a dumb idea if I've ever heard of one.

I sometimes find people I don't like to be fascinating. Your posts, for example, make me tingle with joy.

[MacGuffin]

I sometimes find people I don't like to be fascinating. Your posts, for example, make me tingle with joy.

I try.

[dreamdead]

I want to see I'm Not There because I like the idea that Bob Dylan has boobs. I'm easy to please nowadays.

[MadMan]

Yeh, he's obviously just a troll.

Don't feed it, and it'll wither away.Sometimes its fun to feed them. But I must remind myself of the story "If you give a mouse a cookie...." That story is a lesson for all us. And our future children. And their future children.

[Paranoid Android]

I sometimes find people I don't like to be fascinating. Your posts, for example, make me tingle with joy.

It's a strange art, trolling. The best are not too over-the-top, but with just enough attitude to "scrape the icing of ones cup-cake", and with style.

I personally don't think this guy has what it takes.

[origami_mustache]

Origami, how would you rank I Don't Want To Sleep Alone alongside Tsai's other work?

On par with his best work. I personally like others like The River, Hole, What Time is it There, and The Wayward Cloud perhaps a little more, but a Tsai film is always a treat. I suppose it lacked a little more in the subtle comic elements that I enjoy most.

[megladon8]

It's strange art, trolling. The best are not too over-the-top, but with just enough attitude to "scrape the icing of ones cup-cake", and with style.

I personally don't think this guy has what it takes.


I love your avatar :)

[Raiders]

He's not a troll, just bitter that cinema is dead.

[MadMan]

It's a strange art, trolling. The best are not too over-the-top, but with just enough attitude to "scrape the icing of ones cup-cake", and with style.

I personally don't think this guy has what it takes.He won't make it. ;)

[DSNT]

Oh noes, it's the 2nd coming of FilmsRPriceless and this time he's pissed!

[MadMan]

Oh noes, it's the 2nd coming of FilmsRPriceless and this time he's pissed!Is it really him? If so whoa. If not, oh well.

[Ezee E]

That was awesome. :lol:

I love listening to Scorsese talk. He reminds me of my grandpa.
Damn. It's not working right now in English. It just keeps loading and loading.

[DSNT]

Is it really him? If so whoa. If not, oh well.

I doubt it. Just a strong resemblance. We'll have to see if he plagiarizes anything.

[MadMan]

I doubt it. Just a strong resemblance. We'll have to see if he plagiarizes anything.Oh. And :lol: to the second part of your post. I remember the epic battle between him and IC in that one thread. Funny stuff.

[Paranoid Android]

He won't make it. ;)

Hah! At least not with these efforts. ;)



I love your avatar :)

Thanks! :)

[Ezee E]

I'm pretty sure fRp slit his wrists, but lived, and is in a psych ward for life. All he gets to watch is Firewall and Not Another Teen Movie. Why those movies, we'll never know.

[MadMan]

I'm pretty sure fRp slit his wrists, but lived, and is in a psych ward for life. All he gets to watch is Firewall and Not Another Teen Movie. Why those movies, we'll never know.That's not a psych ward. Its hell on earth. Although "Teen Movie" isn't half bad....and I guess there are worse movies he could be forced to watch. So its more like limbo or purgatory instead.

[Ezee E]

That's not a psych ward. Its hell on earth. Although "Teen Movie" isn't half bad....and I guess there are worse movies he could be forced to watch. So its more like limbo or purgatory instead.
Hi-Yo. I have a rep power of two now.

Bend over for me people.

[MadMan]

Hi-Yo. I have a rep power of two now.

Bend over for me people.That last part didn't sound right :P

[Winston*]

Why you people gotta be such dicks to Electrorain?

[Rowland]

Right...

... so anyway, Before the Devil Knows You're Dead rocks old-school. It's refreshing to watch something directed with the crisp, deceptively casual patience and steadiness of an old pro.

[Bosco B Thug]

His twitter (http://twitter.com/gemko) account, which allows him to write 140 character comments because long blog entries and actual insight is too taxing. *won't let his Love Streams comment go* Ooh, cool. 29 for The Last Winter, ouch. 78 for There Will Be Blood, that sounds about right.

[Watashi]

Giving negative rep never felt so good.

[Watashi]

Oh, and I demand a Robin Hood-off between me and PA. I bet I love the film more than he does.

[Qrazy]

What an idiotic and stupid statement. Seriously, this is dumber than half the shit I write.

You're ability to say stupid shit, especially when you think you're saying intelligent shit, astounds me.

[Watashi]

You're ability to say stupid shit, especially when you think you're saying intelligent shit, astounds me.

You really need to get an avatar, dude.

Sorry, it's just been bothering me forever.

[Sycophant]

You really need to get an avatar, dude.

Sorry, it's just been bothering me forever.
It's been bothering a lot of us.

Qrazy, man, we love you. We just want what's right for you. And that's an avatar.

[Sycophant]

To Each His Cinema (Various, 2007) - 7.5
How did you happen to see this?

[Duncan]

Pasolini tribute. Which of these (http://www.filmlinc.com/wrt/onsale/pasolini/program.html)should I prioritize?

[Spinal]

Pasolini tribute. Which of these (http://www.filmlinc.com/wrt/onsale/pasolini/program.html)should I prioritize?

Teorema and, if you're up for it, Salo.

[Duncan]

Teorema and, if you're up for it, Salo.

Oh, I'm up for it. That was the only one I was sure I wanted to see. Thanks.

[Boner M]

Mamma Roma and The Gospel... are the only ones I've seen; I'd recommend the former without hesitation, but can't remember much of the latter, though many say it's his best.

[Winston*]

Am I missing something with Eastern Promises? Seemed like fairly standard gangster fair for the most part. Cronenberg's hand is only really noticeable in a few scenes, I have a feeling he did the film solely so he could shoot that bathhouse sequence.

Plot kind of hinges on Naomi Watts' character being an idiot.

[ledfloyd]

Temple of Doom is worse even than i remembered. if it didn't have indiana jones in it the score would likely be worse.

[Boner M]

Am I missing something with Eastern Promises? Seemed like fairly standard gangster fair for the most part. Cronenberg's hand is only really noticeable in a few scenes, I have a feeling he did the film solely so he could shoot that bathhouse sequence.

Plot kind of hinges on Naomi Watts' character being an idiot.
I thought of it in the same way at first - although I liked it as a straight-up genre exercise more than you. But after reading Bordwell's piece (http://www.davidbordwell.net/blog/?p=1412) on how it complements AHoV I came to appreciate it more. And I don't know how you can say that Cronenberg's presence isn't felt all that much; the enthrallingly precise, surgical touch is on display in every scene, and it's an unlikely but fitting vehicle for him to exercise his ongoing fascination with the corporeal without treading water. What it all adds up to, I'm not sure of yet... but at least it feels like something more's going on, and combined with an engaging surface, makes it something worth mulling over to me.

[Qrazy]

It's been bothering a lot of us.

Qrazy, man, we love you. We just want what's right for you. And that's an avatar.

When I tried to add a Stalker one it just wasn't working the other day, I think my firefox was having some difficulties. I'll try again.

[Qrazy]

Pasolini tribute. Which of these (http://www.filmlinc.com/wrt/onsale/pasolini/program.html)should I prioritize?

Gospel According to St. Matthew
Mamma Roma

[Scar]

Giving negative rep never felt so good.

Yeah, that one did feel good.

[MadMan]

Giving negative rep never felt so good.So someone finally got negative rep? Whoa. Its a milestone in Match-Cut history. Or a low if you look at it that way ;)

PS: Its actually better if I abstain from giving negative rep. That 2 points I got is dangerous. Dangerous I tell yah.

[Qrazy]

Someone rep me for adding an av, come on ya know you want to.

[Sycophant]

Someone rep me for adding an av, come on ya know you want to.Dude, I did.

[Qrazy]

Dude, I did.

lol, classic.

[Scar]

Someone rep me for adding an av, come on ya know you want to.

I got you for somethin' else....

[megladon8]

So someone finally got negative rep? Whoa. Its a milestone in Match-Cut history. Or a low if you look at it that way ;)

PS: Its actually better if I abstain from giving negative rep. That 2 points I got is dangerous. Dangerous I tell yah.


I got negative rep for saying I didn't like Heroes.

That was lame.

[Sycophant]

I got negative rep for saying I didn't like Heroes.

That was lame.:sad:

The only thing lamer than that was the first season finale of Heroes.

[balmakboor]

Temple of Doom is worse even than i remembered. if it didn't have indiana jones in it the score would likely be worse.

I love how the mine car chase looks so obviously like a bunch of models. It reminds me of Spielberg's roots filming his toy trains. I actually -- and quite rarely -- completely agree with Pauline Kael on this one. I think it is the best Indy movie despite a significant miscalculation in tone during the part with the flaming pit and an ending that comes up short.

[balmakboor]

I got negative rep for saying I didn't like Heroes.

That was lame.

I'll admit that I've never watched Heroes. Maybe that'll take some of the heat off of you.

[Raiders]

I just can't imagine finding something of greater value in Temple of Doom than in Raiders of the Lost Ark.

[Kurosawa Fan]

I got negative rep for saying I didn't like Heroes.

That was lame.

That's ridiculous.

[balmakboor]

I just can't imagine finding something of greater value in Temple of Doom than in Raiders of the Lost Ark.

As the opening song declares, "Anything goes." I just think the film has a lot of fun following through on that promise. Plus I just happen to really enjoy Spielberg's films where he forgets about even trying to be a grown-up and lets his inner boy run amok. I also love 1941 and most of Hook for this reason.

[Qrazy]

I just can't imagine finding something of greater value in Temple of Doom than in Raiders of the Lost Ark.

Ditto.

I too have a soft spot for Hook... perhaps because my grandmother sent it to us three Christmas's in a row when the Alzheimers began to take hold.

[Raiders]

Plus I just happen to really enjoy Spielberg's films where he forgets about even trying to be a grown-up and lets his inner boy run amok. I also love 1941 and most of Hook for this reason.

OK. Fair enough. I think you're nuts, but everyone has their vices.

[MadMan]

I got negative rep for saying I didn't like Heroes.

That was lame.Really? Shit man I thought most people around here didn't like that show.

Scar where is the quote in your sig from? I kinda dig it.

Temple of Doom is the weakest of the trilogy. Well the trilogy that exists for now until the 4th film comes out.

[Sycophant]

When I watched Temple of Doom for the first time about 18 months ago, I found it a troubling mess, with its fun subverted by its absurd, scattershot plotting and dubious cultural depictions. Maybe I was being a stiff-neck or maybe my own memory of the other 2 films (which I haven't seen in seven years) wouldn't hold up today, but I ended up with a deep loathing for the film.

[Rowland]

My favorite part of Temple of Doom is the opening sequence. It's brilliant in its assemblage.

[balmakboor]

When I watched Temple of Doom for the first time about 18 months ago, I found it a troubling mess, with its fun subverted by its absurd, scattershot plotting and dubious cultural depictions. Maybe I was being a stiff-neck or maybe my own memory of the other 2 films (which I haven't seen in seven years) wouldn't hold up today, but I ended up with a deep loathing for the film.

I think the absurdity of the plot is all quite intentional. Remember? Anything goes?

One thing I'll never hold against it is its dubious cultural depictions. It wasn't even trying to be culturally accurate any moreso than the films that inspired it.

I've said in the past at RT that I consider Raiders to be a skillfully made director-for-hire exercise. Temple of Doom, for all its flaws, feels like a Spielberg movie. So does Last Crusade, but that one just seems overblown to me. I always feel exhausted more than entertained when it's over.

[Ezee E]

Someone rep me for adding an av, come on ya know you want to.
But it's just an okay av.

[megladon8]

I don't think Temple of Doom is nearly as good as the other two - it's without a doubt the weakest in the series.

But at the same time, I don't think it's the travesty that many seem to think it is. I think it's a lot of fun, it's just not a masterful action/adventure full like the others.

[Sven]

After having watched all of them fairly recently, I feel confident in saying:

Crusade >>> Raiders = Temple

Buff would give me rep. :(

[D_Davis]

My favorite part of Temple of Doom is the opening sequence. It's brilliant in its assemblage.

The opening sequence is brilliant, and totally classy. I enjoy the film, it is fun, but damn is it ever an example of cultural imperialism. I mean, the gross abundance of stereotypes in this film is disgusting. I understand that they were paying homage to the serials of yore, but damn, there are reasons why the Charlie Chan, Dr. Fu Manchu, and Ming the Merciless type characters should no longer be used.

[MadMan]

After having watched all of them fairly recently, I feel confident in saying:

Crusade >>> Raiders = Temple

Buff would give me rep. :(Pretty much :P

I think its Raiders>Crusade by a hair. Saying that Raiders=Temple is :crazy: though.

[megladon8]

The opening sequence is brilliant, and totally classy. I enjoy the film, it is fun, but damn is it ever an example of cultural imperialism. I mean, the gross abundance of stereotypes in this film is disgusting. I understand that they were paying homage to the serials of yore, but damn, there are reasons why the Charlie Chan, Dr. Fu Manchu, and Ming the Merciless type characters should no longer be used.


Yeh but there's also an enormous stereotype in the other two films that anyone German is a Nazi.

[Raiders]

Yeh but there's also an enormous stereotype in the other two films that anyone German is a Nazi.

What??? When is that ever implied? The film only shows the Nazi Germans because there isn't any need for others to be shown.

[megladon8]

What??? When is that ever implied? The film only shows the Nazi Germans because there isn't any need for others to be shown.


What about the whole book burning thing in Crusade?

Seems to me that not everyone there was wearing a Nazi uniform, but everyone was having a jolly-good time tossing books into the fire.

[Sven]

Scar where is the quote in your sig from? I kinda dig it.

Gremlins 2

[Raiders]

What about the whole book burning thing in Crusade?

Seems to me that not everyone there was wearing a Nazi uniform, but everyone was having a jolly-good time tossing books into the fire.

It was a Nazi demonstration. So it could reasonably be assumed everyone attending such an event was a Nazi.

[D_Davis]

The Shortround character and the feast sequence are far more insulting than anything used in Raiders or Crusade.

[megladon8]

It was a Nazi demonstration. So it could reasonably be assumed everyone attending such an event was a Nazi.


But even the one German character we are lead to believe is not in league with the Nazis - Elsa - turns out at the end to be a backstabbing greedy Nazi symapthizer.

[Raiders]

But even the one German character we are lead to believe is not in league with the Nazis - Elsa - turns out at the end to be a backstabbing greedy Nazi symapthizer.

Actually, she was more interested in finding the Grail than being a member of the Nazi party. Besides, what does her one character have anything to do with all Germans being Nazis?

[lovejuice]

sorry, i know it sucks, but i can't hate Temple of Doom. it's against my religious belief.

[megladon8]

Actually, she was more interested in finding the Grail than being a member of the Nazi party. Besides, what does her one character have anything to do with all Germans being Nazis?


Well as you said there aren't really any other Germans in the films except for the Nazis.

So the one character wh's German and isn't a Nazi then turning out to be one seems to say something.

I'm sure it's unintentional, just like the Asian stereotypes that D_Davis mentioned were surely not intended to be offensive. But these movies are built on stereotypes. Even Indiana Jones himself could be seen as a stereotype for the white all-American hero.

[lovejuice]

So the one character wh's German and isn't a Nazi then turning out to be one seems to say something.


i might be totally wrong, but i think she's austrian. (just like the fuhrer, so at that period, it probably makes little different.)

[Yxklyx]

I got negative rep for saying I didn't like Heroes.

That was lame.

What's Heroes?

[Raiders]

But that isn't a stereotype, just a plot convenience. Making all the Nazis evil, stuffy bastards is a stereotype, though one I doubt anyone really wants to go against.

[Sven]

What's Heroes?

It's better if you don't know. Trust me.

[Sycophant]

I just discovered that Makoto Shinkai (The Place Promised in Our Early Days) has a new film out (available on DVD in Hong Kong) called 5 Centimeteres Per Second. I think I'll have to snag that soon.

[Sycophant]

The opening sequence is brilliant, and totally classy. I enjoy the film, it is fun, but damn is it ever an example of cultural imperialism. I mean, the gross abundance of stereotypes in this film is disgusting. I understand that they were paying homage to the serials of yore, but damn, there are reasons why the Charlie Chan, Dr. Fu Manchu, and Ming the Merciless type characters should no longer be used.
Hey, remember how the British come in to save the day at the end? Oh, man! What a movie.

[D_Davis]

I just discovered that Makoto Shinkai (The Place Promised in Our Early Days) has a new film out (available on DVD in Hong Kong) called 5 Centimeteres Per Second. I think I'll have to snag that soon.

Heck yeah. I had the trailer posted on the Upcoming Films thread at the old Match Cut. It looks beautiful. It's in my shopping cart on DDDHouse, I just need to finalize the purchase.

[balmakboor]

It looks like my next Netflix experience will be Paprika. I don't have a great track record with anime, but am still quite looking forward to this.

[Sycophant]

It looks like my next Netflix experience will be Paprika. I don't have a great track record with anime, but am still quite looking forward to this.Have you seen any of Satoshi Kon's other work before?

I was actually pleasantly surprised to see that Sony's put a decent amount of substantial extras on the American disc, including a featurette about Yasutaka Tsutsui and a feature-length commentary. I can't wait to dig into it.

[Winston*]

I thought of it in the same way at first - although I liked it as a straight-up genre exercise more than you. But after reading Bordwell's piece (http://www.davidbordwell.net/blog/?p=1412) on how it complements AHoV I came to appreciate it more. And I don't know how you can say that Cronenberg's presence isn't felt all that much; the enthrallingly precise, surgical touch is on display in every scene, and it's an unlikely but fitting vehicle for him to exercise his ongoing fascination with the corporeal without treading water. What it all adds up to, I'm not sure of yet... but at least it feels like something more's going on, and combined with an engaging surface, makes it something worth mulling over to me.

I meant kind of narratively and thematically. And I do see this as treading water for Cronenerg, it feels like him doing what he can to enliven a poor script by infusing it with some of his human body obesssions, which never really become the focus of the film (even if that's clearly what Cronenberg's most interested in).

I'll read the Bordwell piece later, tho I'm not a fan of History of Violence either

[balmakboor]

Have you seen any of Satoshi Kon's other work before?

Nope. I'm a Satoshi Kon virgin I guess.

[Rowland]

It seems to me that Cronenberg is settling into a mainstream phase, in which he is craftily infusing more straightforward projects with his sensibilities. A History of Violence and Eastern Promises are both expertly crafted from a sheer filmmaking perspective too, which obviously helps. Somehow, this seems fitting after Spider, which is probably the least audience-friendly movie of his recent career.

[balmakboor]

I thought I'd elaborate on my anime comment. I've only seen a handful that I've really liked -- Grave of the Fireflies, My Neighbor Totoro, Spirited Away mostly. But I keep getting that feeling that I'm really close to getting it and keep on renting them. I pretty much liked Techonkinkreet. It did look great. In fact, I think stills from most anime films look really great except for how all of the characters seem to have the same big doe eyes. There is just something about putting those images in motion and telling a story that doesn't work for me.

My feelings toward anime kinda started with a bad experience. About 11 years ago, a teenage friend wanted me to watch his favorite film with him, Akira. Wow! Was I ever bored into a stupor. I don't know why exactly. The description on paper sounded like something I'd really like.

My youngest daughter, now kinda famous around here, is obsessed with Miyazaki and this is having a turning off effect as well. She is always wanting me to watch them with her. I mean every day. I have liked most of his films at least a bit and would say I actually loved the two I mentioned above -- the first time or two that I watched them. But they just don't hold a lot of repeat viewing interest for me.

She often says she wishes there were more directors like Miyazaki. (This was her first brush with director awareness -- not bad for a ten-year-old. I was well up into my teens before I became aware of Spielberg and De Palma.) And I too wish there were more directors like him so she wouldn't keep asking me to watch Castle in the Sky for the 25th time.

I'll add that maybe it is just some little cultural shift in contemporary Japanese storytelling style that I haven't caught up with yet. Audition is the only Takashi Miike film that engaged me on a story level. I didn't think Versus worked either in this respect.

[Sycophant]

Fasozupow, whether or not you like Kon's Paprika, be sure to check out Millennium Actress and Tokyo Godfathers. They're both quite family-friendly, and the latter has become requisite holiday viewing on my front.

[balmakboor]

Fasozupow, whether or not you like Kon's Paprika, be sure to check out Millennium Actress and Tokyo Godfathers. They're both quite family-friendly, and the latter has become requisite holiday viewing on my front.

I'll give'em a shot. Been meaning to for a while actually.

[Ezee E]

It looks like my next Netflix experience will be Paprika. I don't have a great track record with anime, but am still quite looking forward to this.
Same goes for me. It's actually at home right now. It's on Blu-Ray, so I'm expecting visual greatness at the very least.

[D_Davis]

She often says she wishes there were more directors like Miyazaki.

Two words:

Makoto Shinkai

He is poised to be the next "Miyazaki."

[balmakboor]

Yes, anime just feels like this great train I missed at the station. So many people love it. Every Cinema 100 series survey brings more requests for anime. We are actually trying to get Paprika into the next series, due to my persistent lobbying. Nobody else on the selection committee is very in tune to anime and they are mostly 40-somethings like me or older.

[balmakboor]

Two words:

Makoto Shinkai

He is poised to be the next "Miyazaki."

I noticed that when I looked up 5 Centimeters a short while ago. I smiled that maybe I've found what she's looking for.

[D_Davis]

I noticed that when I looked up 5 Centimeters a short while ago. I smiled that maybe I've found what she's looking for.

His films are incredible.

[Sven]

Just got done watching Raising Cain on the new TV. If De Palma never makes a film as good as that one, he'd still be one of the greatest filmmakers ever on the basis of that one alone. It's practically perfect.

[Raiders]

I must see Raising Cain. I think I'll make an iosos double feature of that and American Pop. Should be interesting.

[Sven]

I must see Raising Cain. I think I'll make an iosos double feature of that and American Pop. Should be interesting.

:) You will get rep from me if you do, regardless of your reactions!

[Derek]

I must see Raising Cain.

It's the only De Palma film I flat-out dislike. Lithgow is great and the film's never a bore, but as a Hitchcock homage I found it rather uninspired. There are, of course, a few amazing shots, but I wouldn't go in expecting one of his best. And don't worry iosos, I'll give it another shot eventually as I find even DP's failures fascinating to watch.

[Raiders]

After Dark (Bigelow, 1987) 6.5

Psh. Wrong. You can't even get the name right.

[Rowland]

Raising Cain is his most blatantly surreal movie, which is fascinating in and of itself. Thankfully the movie is a hoot as well, though I imagine only for viewers at least somewhat attuned to his wavelength.

[Sven]

It's the only De Palma film I flat-out dislike. Lithgow is great and the film's never a bore, but as a Hitchcock homage I found it rather uninspired. There are, of course, a few amazing shots, but I wouldn't go in expecting one of his best. And don't worry iosos, I'll give it another shot eventually as I find even DP's failures fascinating to watch.

I cannot imagine not loving it. I mean, it's all so extraordinarily De Palma: the long shots and strange camerawork, the lighting, the strings, the crazy psychoses, the wild colors, the dream within a dream within a dream bit. The only thing missing is the split screen. I love its expressionism. All that guilt and fear just oozing everywhere, out of every corner, every composition, every edit.

But I am super-happy you recognize Lithgow's great performance, as it is always incredible to watch.

[Qrazy]

I think the absurdity of the plot is all quite intentional. Remember? Anything goes?

One thing I'll never hold against it is its dubious cultural depictions. It wasn't even trying to be culturally accurate any moreso than the films that inspired it.

I've said in the past at RT that I consider Raiders to be a skillfully made director-for-hire exercise. Temple of Doom, for all its flaws, feels like a Spielberg movie. So does Last Crusade, but that one just seems overblown to me. I always feel exhausted more than entertained when it's over.

Except intentionality does not equal intelligibility.

[Qrazy]

But it's just an okay av.

Don't think, rep.

[Rowland]

I cannot imagine not loving it. I mean, it's all so extraordinarily De Palma: the long shots and strange camerawork, the lighting, the strings, the crazy psychoses, the wild colors, the dream within a dream within a dream bit. The only thing missing is the split screen. I love its expressionism. All that guilt and fear just oozing everywhere, out of every corner, every composition, every edit.Do you appreciate it on a deeper level, or do you accept it primarily as a surfeit of surface pleasures?

I'd love to read an Armond White review for it.

[Derek]

Psh. Wrong. You can't even get the name right.

D'oh, I knew it was Near Dark, but mixed it up with an album title I like from this year. Anyway, there's really a lot to like here, but I thought it foundered in the third act once the father and sister show up. The first hour was a fascinating study of the transient nature of the vampire and the longing for home and stability when neither is possible. I suppose because of the themes, there's really no other way for the film to resolve itself, but it still felt awkward and out of place. Perhaps it's my unfamiliarity with all of the rules of the vampire, but I couldn't see why they were so dead set on getting revenge on Caleb once he was cured. Their mission was suicidal and taking such risks seemed pointless considering they had clearly managed to survive for so many years. Despite that, I'd still recommend it since it's a beautifully directed film with that great Tangerine Dream soundtrack.

[Qrazy]

Two words:

Makoto Shinkai

He is poised to be the next "Miyazaki."

Don't think so. He hasn't crafted anything with nearly as engaging plotting, fleshed out characters or timeless a story as anything Miyazaki has done. He's good, he has a great visual sense and I like him but he makes me think of a more sensitive, anime version of Wong Kar Wai if anything. Kon and Takahata have more Miyazaki-esque sensibilities in my book, although Kon adds a slightly more adult edge to most of his work and Takahata for the most part prefers to find the magical moments within reality rather than create magic via world building.

[Sven]

Do you appreciate it on a deeper level, or do you accept it primarily as a surfeit of surface pleasures?

I'd love to read an Armond White review for it.

I know he says that it's De Palma's best movie of the 90s. He dropped that in some review somewhere.

Certainly it's a film with a treasure (or surfeit, if you prefer) of technical and superficial pleasures. I admire it most as a surreal thriller, just as I admire most of Hitchcock's work for their ingenious thrills, rather than anything Freudian or philosophical or whatever. I'm not saying it doesn't exist, and I'm positive someone could get a lot of mileage out of Raising Cain approaching it psychologically. It is pretty complex, and there's certainly a lot of subconscious expression in it (I loooove the wife's triple dream sequence and the recurring spear thing... the sundial on the truck element in the final setpiece is inspired). And I think the fact that it's not Schizophrenia for Dummies, ala A Beautiful Mind, magnifies my appreciation. But mostly, I love it for its remarkable imagination and expression and thrills and technique.

[Sven]

Bigelow's masterpiece is Strange Days. Point Break is a close second. She's a real solid director, but The Weight of Water was terrible.

[balmakboor]

Except intentionality does not equal intelligibility.

I've never been the least bit confused by the storytelling in Temple of Doom, if that's what you mean.

[Rowland]

I know he says that it's De Palma's best movie of the 90s. He dropped that in some review somewhere.He has also referred to it as avant-garde and neo-Bunuel.


And I think the fact that it's not Schizophrenia for Dummies, ala A Beautiful Mind, magnifies my appreciation.That's an odd comparison. You mean how it doesn't take itself too seriously compared to the Howard movie...?

[soitgoes...]

She's a real solid director.
I don't know if this can be correct. Granted, I've only seen four of her works. Two were good, not great by any means, and two were approaching awful. I still need to see Strange Days, but I doubt it will make me think she's a solid director.

[Ezee E]

Don't think, rep.
Oh. Okay.

done.

[Sven]

That's an odd comparison. You mean how it doesn't take itself too seriously compared to the Howard movie...?

No. I'm saying that De Palma deepens the schizophrenic experience more than than Howard does. Howard's approach is cut and dry: there's Russell Crowe, there's his imaginations. De Palma, in my opinion, paints a more complex picture, we're never sure at any one point where exactly our protagonist is, mentally. Howard cheapens it by making it a twist. De Palma respects it by never treating the audience like they're not in on it.

I will say, though, that the lack of taking itself too seriously helps. That said, it's seriously entertaining.

[Ezee E]

Near Dark - eh
Point Break - been too long
Strange Days - pretty good from what I remember
The Hurt Locker - can't wait for it.

I can't say I've loved any of her movies, but yet, all her projects are intriguing in the Michael Bay way. Looks good, but ends up with disappointment.

[lovejuice]

I can't say I've loved any of her movies, but yet, all her projects are intriguing in the Michael Bay way. Looks good, but ends up with disappointment.

she needs to make more movies, but from her oeuvre so far, she is already a cut above bay. besides, how can i not root for cameron's ex. :)

[Raiders]

but yet, all her projects are intriguing in the Michael Bay way.

:|