28 Film Discussion Threads Later

[Teh Sausage]

Aw, I saw the original Body Snatchers for the first times a few months ago and thought it was one of the best genre films I'd ever seen. One moment I find interesting was when the protagonist cries, "Stop trying to rationalise everything, we have a mystery on our hands!" - even though Miles' occupation requires him to look at the world through the lens of science and rationality. I don't quite buy the idea that it's a McCarthyist allegory - not an intentional one anyway - I see it as a study of rationality vs irrationality, and how human beings are fundamentally an irrational, emotional species. The way the girl illogically decides her uncle isn't her uncle is great, for me, because it's this fuzzy intuition that the logical-minded aliens would lack. It's the anti-Thing to Come, where the Utopian "science conquers all" ideals in plenty of SF is criticised, for the future they dream up can only function if we were to shed our humanity.

[Raiders]

Aw, I saw the original Body Snatchers for the first times a few months ago and thought it was one of the best genre films I'd ever seen. One moment I find interesting was when the protagonist cries, "Stop trying to rationalise everything, we have a mystery on our hands!" - even though Miles' occupation requires him to look at the world through the lens of science and rationality. I don't quite buy the idea that it's a McCarthyist allegory - not an intentional one anyway - I see it as a study of rationality vs irrationality, and how human beings are fundamentally an irrational, emotional species. The way the girl illogically decides her uncle isn't her uncle is great, for me, because it's this fuzzy intuition that the logical-minded aliens would lack. It's the anti-Thing to Come, where the Utopian "science conquers all" ideals in plenty of SF is criticised, for the future they dream up can only function if we were to shed our humanity.

Yeah, it isn't an intentional allegory as Siegel himself admitted. I think the film is a glorious product of its time, a direct result of the cultural unease of the period. I think it very much is rational complacency vs. emotional man film that intentional or not directly tapped in to the societal fears of the 1950s.

[D_Davis]

Aw, I saw the original Body Snatchers for the first times a few months ago and thought it was one of the best genre films I'd ever seen.

I need to see this now, as an adult. I recently read the book, and it is quite good. Genuinely creepy in parts.

[Ezee E]

Heh, The Invasion has been on TV a few times. If that movie weren't so cut up and played with, it could've been good. It's the fastest paced movie I can think of, as far as not building any tension or character involvement whatsoever.

I have yet to see Siegel's, but I doubt it beats Kaufman.

[Watashi]

Vagabond would make a nice companion film with Into the Wild. Like McCandless, Mona leaves her mundane routine life behind and wanders free amongst the countryside hitching rides and impacting different people along the way. The same flaws for Into the Wild can be applied to Varda's film as well. Mona is not a likeable protagonist and we never get a fully logical explanation for her snide behavior to those who help. It's an intense character study of how a wandering nobody can affect so many lives just by contact, and yet when all is done, we aren't really left with anything to cling on emotionally as everything ends hopelessly bleak. Still have no idea what that ending is about. It needed more drunk granny. She ruled.

[Scar]

Alright, Match-Cut, Speed Racer (Blu-Ray), is the #1 movie in my queue, and should ship today....

[Ezee E]

Alright, Match-Cut, Speed Racer (Blu-Ray), is the #1 movie in my queue, and should ship today....
You should be satisfied.

[Scar]

You should be satisfied.

Yeah, the trailers are growing on me like a fungus.

[dreamdead]

When Wats has seen a Varda film before I have, something's wrong. Still, kudos for what I can only assume to be good taste. Now I need to get to that film in the next month...

Howard Hawks' Gentlemen Prefer Blondes is largely a pedestrian affair, coupling obvious plot arcs with traditional love stories, so the only thing keeping it afloat is the occasional sexual critique that still bites through generations later. With Lorelei (M. Monroe) and Dorothy (R. Russell) serving opposites ends of marrying for money or love, the film is distilled down to its primal element: studying how women market themselves in order to secure financial bliss later down the road. Yet because Monroe's Lorelei uncomfortably vacillates between wicked sophistication and childlike glee for diamonds and anything sparkly, the film's commentary is undercut by an inconsistent spokeswoman for the female predator, especially since the whole affair is played for laughs rather than for any real critical breakthrough. Still, Monroe does get a solid last line when she tells a prospective mate's wealthy father why she's marrying him, "I'm not marrying him for his money; I'm marrying him for your money."

That kind of line is perfectly in keeping with Monroe's portrayal and doesn't degenerate into any weakness, so it's a shame that the whole film cannot likewise achieve that balance.

[thefourthwall]

Yet because Monroe's Lorelei uncomfortably vacillates between wicked sophistication and childlike glee for diamonds and anything sparkly, the film's commentary is undercut by an inconsistent spokeswoman for the female predator, especially since the whole affair is played for laughs rather than for any real critical breakthrough.


Or is that the commentary? Maybe, just as Lorelei revels herself to be intentional and aware with her line to the future father-in-law, the film plays at being a comedy, only to offer the critique that Lorelei gives to her (estranged) fiancee: "Men like you have made me the way l am. lf you loved me at all, you'd feel sorry for my troubles...instead of holding them against me."

Not that I'm suggesting she should be able to simply play the victim card and get away with bad behavior, as the film allows, but as a critique of how men treat women, it works. Indeed the film, albeit comedically, suggests that males are raised to objectify females through the use of the adolescent Mr. Henry Spofford, III who, after being placed at Lorelei and Dorothy's table notes "l'm old enough to appreciate a good-looking girl. This promises to be quite a trip. Personally, l don't intend to miss a meal" in a disturbingly Lothario-esque tone.

[dreamdead]

Or is that the commentary? Maybe, just as Lorelei revels herself to be intentional and aware with her line to the future father-in-law, the film plays at being a comedy, only to offer the critique that Lorelei gives to her (estranged) fiancee: "Men like you have made me the way l am. lf you loved me at all, you'd feel sorry for my troubles...instead of holding them against me."


This reading would work for me if Dorothy demonstrated sorrow toward her rather than tired exasperation. But since there's seldom that sort of contemplation, the accusation from Monroe comes off as empty and generally myopic. It's a defeatist stance to take, especially when her worldview is constantly challenged by Dorothy's, but Lorelei instead outright dismisses such a impoverished notion of love. She wants to claim victim, but preys upon that same victimhood, which may be why it works as a comedy rather than drama, but it deflates that self-same philosophy as anything beyond vapid materialism, especially in comparison to Dorothy.



Not that I'm suggesting she should be able to simply play the victim card and get away with bad behavior, as the film allows, but as a critique of how men treat women, it works. Indeed the film, albeit comedically, suggests that males are raised to objectify females through the use of the adolescent Mr. Henry Spofford, III who, after being placed at Lorelei and Dorothy's table notes "l'm old enough to appreciate a good-looking girl. This promises to be quite a trip. Personally, l don't intend to miss a meal" in a disturbingly Lothario-esque tone.

And this I'll grant, though the film also concentrates on the female figure and highlights Dorothy and Lorelei's outfits, which never do anything to refuse this sort of predatory agency. That is to say, the women are trafficking in the same capitalist enterprise that the film espouses to critique (being that they are risque singers), and so while it may deserve credit for even suggesting that women are objectified, it vicariously celebrates that same objectification in the film's message ("Diamonds are a Girl's Best Friend"). The true question, and what intrigues me about this film, is how much Dorothy ever exists outside of the materialist culture that she traffics in, even though she hates it.

[Grouchy]

I just wanted to add to the Body Snatchers debate that indeed the way people act in Siegel's movie is how I imagine real people dealing with that situation. A child, of all people, would instantly recognize that it's not that his uncle had gone mad - it's rather that he's suddenly not his uncle anymore. Of course none of the characters imagine the reason for this, but there's quite a distinction between someone you've known all your life acting weird and that person suddenly not being himself and having none of his personality traits. I also agree that that's exactly the human factors that the aliens couldn't conceive of.

Both Siegel and Kaufman's versions are excellent, though the '70s one is clearly the winner. The Invasion is a hilarious mess. I can't believe I watched that shit on theaters.

[thefourthwall]

This reading would work for me if Dorothy demonstrated sorrow toward her rather than tired exasperation.

I'd say that telling the police that she is Lorelei and dealing with the whole court issue goes above and beyond exasperation.


That is to say, the women are trafficking in the same capitalist enterprise that the film espouses to critique (being that they are risque singers), and so while it may deserve credit for even suggesting that women are objectified, it vicariously celebrates that same objectification in the film's message ("Diamonds are a Girl's Best Friend").

Exactly. These women are working to be active participants in the commodified world of relationships, rather than just passive goods. They are aware of the natural resources they possess and are directing how those are used rather than letting men dictate it. Clearly, men can't be counted on to have their best interests at heart (selfish Piggies), so the women must take care of themselves. The empty praises "a kiss on the hand" that men offer as tokens of affection are as fleeting as their interests, so least they be doomed to impoverished lives always dependent on men, Lorelei and Dorothy are working to achieve their own agency.

While I'd have to think on it some more, I'm not certain that Lorelei and Dorothy are so diametrically opposed in their views on relationships (love vs. money). I think it's more complicated than that. Certainly Lorelei is also looking for love, and Dorothy isn't opposed to money.

[The Mike]

No love for the '93 version from anyone?

Definitely a more interesting remake than Kaufman's.

[Raiders]

No love for the '93 version from anyone?

Definitely a more interesting remake than Kaufman's.

I wouldn't say I like it more than Kaufman's, but yes it is a pretty decent film. The most interesting aspect being the use of military "grunts" to blur the line between human and alien.

[Rowland]

I found the '93 version fairly heavy-handed and vacuous in its transposing of the Body Snatcher themes to a military context, and far less formally adventurous or evocative than Kaufman's film, which is the haunting, gorgeous epic to Ferrara's scrappy, generic thriller.

[Qrazy]

For colorified Hawks sexual politics cinema I greatly preferred Man's Favorite Sport. Since you seemed at least somewhat positive on Gentleman Prefer Blondes Dreamdead (I'm not really), you might want to give it a look.

[Sven]

The dd/4thw back and forth made me laugh. Because I'm all like "why don't you guys just say those things to each other?" Then I was all like "Wait a minute, they've kind of made me want to see that movie again, so I'm glad their conversation was public." Curse you two for making me want to see what is easily my least favorite Hawks film again. And close to my least favorite Marilyn vehicle (the first being the shockingly tepid Preminger film River of No Return).

For underrated Hawks films, my vote is Hatari!

[Watashi]

Speed Racer on Blu-Ray = Orgasmic.

[Derek]

For underrated Hawks films, my vote is Hatari!

So much rep!

[Sven]

Raiders, did you check this out?

http://img.photobucket.com/albums/v350/iosos/matchcut%20misc/455_box_348x490.jpg

[Spinal]

http://img.photobucket.com/albums/v696/joel_harmon/europa.jpg

[Sven]

I am less enthused about the von Trier film release, because that movie made me feel physically sick. Kind of an extension of The Element of Crime's griminess. Maybe I was just young and dumb.

[Spinal]

I am less enthused about the von Trier film release, because that movie made me feel physically sick.

Huh? Not sure I understand that reaction.

[Raiders]

Raiders, did you check this out?

So awesome.

[Boner M]

Great film, lousy cover. I'll definitely buy it, though.

[Sven]

Great film, lousy cover. I'll definitely buy it, though.

It is a bit hipster T-shirt-y.

[Sven]

Huh? Not sure I understand that reaction.

I watched the two films roughly close to one another (Element first) and I picked up on a very similar dreamy vibe. Where Element is pukey, though, this one is kind of... I don't know how to say it... like, it tapped into the same kind of muddled expository vein and gave me a feeling of feverishness.

Like I said, I was probably young and dumb. I'm certainly not wanting to write it off.

Edited for clarity.

[Raiders]

It is a bit hipster T-shirt-y.

Coincidentally, I see it will include a new essay on the film by Armond White.

[Spinal]

Where Element is pukey, though, this one is kind of... I don't know how to say it... like, it tapped into the same kind of muddled expository vein and gave me a feeling of feverishness.


Hmmm ... I didn't find Europa to be all that complicated/muddled in regards to narrative, though I do kinda know what you mean about Element of Crime.

[Sven]

Coincidentally, I see it will include a new essay on the film by Armond White.

Rich.

I'm excited to meet him. We're now doing press screenings for the NYFF, and I know he's attending (I've seen his press pass). From what everyone around me has been saying (in my school program and at the internship), he's supposedly very soft-spoken and considerate in person.

[Ivan Drago]

I'm still waiting for a Weekend Criterion. If Salo can get one, so can that.

[Philosophe_rouge]

Reflection in a Golden Eye (1967) is one weird-ass movie... I don't really know what to make of it, it's all over the place, but still oddly compelling. I found the yellow-tint surprisingly beautiful, something that I didn't expect. The film is touching on so many ideas, mostly relating to relationships, sex and normality. It has some very strange and campy moments too, I'm surprised this hasn't caught on as a cult favourite yet.

[thefourthwall]

The dd/4thw back and forth made me laugh. Because I'm all like "why don't you guys just say those things to each other?" Then I was all like "Wait a minute, they've kind of made me want to see that movie again, so I'm glad their conversation was public." Curse you two for making me want to see what is easily my least favorite Hawks film again. And close to my least favorite Marilyn vehicle (the first being the shockingly tepid Preminger film River of No Return).

Well, we don't see each other every day, and this was day after film reflecting for me...

Why is it your least favorite?

[B-side]

I'm still waiting for a Weekend Criterion. If Salo can get one, so can that.

I haven't seen Salo, but I'm guessing the reason Weekend hasn't gotten a Criterion is because it sucks.:eek:

Yeah, I said it.

[Raiders]

I haven't seen Salo, but I'm guessing the reason Weekend hasn't gotten a Criterion is because it sucks.:eek:

Yeah, I said it.

There are likely people here who agree with you. I am not one of them.

Besides, by this logic only great films receive Criterion treatment. Therefore, Michael Bay must be among the finest directors currently working.

[Mysterious Dude]

They've already done Tout va bien, which is at least as bad as Weekend.

[Grouchy]

Von Sternberg's classic The Devil is a Woman is a complicated melodrama told in flashbacks that finds Lionet Attwill completely obsessed with Marlene Dietrich to the point of self-destruction and Cesar Romero trying very hard not to be gay - nah, seriously now, he's a good actor. It's a cliché, but the camera is in love with Marlene too, and I can't imagine any other actress suggesting so much sex while baring so little skin and pleasing the Hays office. In many ways, the film reminds me of Vadim/Duvivier films of the '60s about Brigitte Bardot and how men are only puppets on her hands, only made a lot earlier than the French New Wave, of course. The only other Sternberg/Dietrich I've seen is The Blue Angel, which is comparatively a lot bolder and, if that's possible, even more cynical than this one. The depiction of Spain by Hollywood here is very very wrong. Overall, good (not great) stuff. I'm curious as to what are the other must-see Dietrich vamp films. Blonde Venus any good?

[Raiders]

I'm curious as to what are the other must-see Dietrich vamp films. Blonde Venus any good?

Not sure how much of a "vamp" film it is, but definitely check out The Scarlett Empress.

[B-side]

There are likely people here who agree with you. I am not one of them.

Besides, by this logic only great films receive Criterion treatment. Therefore, Michael Bay must be among the finest directors currently working.

I was just messing around. I can see where people like it, but I found it cold and tedious.

[Malickfan]

I was just messing around. I can see where people like it, but I found it cold and tedious.

I hated Weekend as well. Read on that Criterion messageboard that was linked yesterday, that they did Armageddon and some other films to help build up their cashflow in the 90's.

[Raiders]

After American Beauty and now Towelhead, I am keeping Alan Ball the hell away from my future teenage daughters.

[B-side]

I hated Weekend as well. Read on that Criterion messageboard that was linked yesterday, that they did Armageddon and some other films to help build up their cashflow in the 90's.

Oh yeah, no doubt.

[MadMan]

I was going to finally respond to Spinal's thoughts on the 56 "Body Snatchers" flick, but others said what I was going to say even better than I could have. I have to say that the two reviews I wrote of the film over on the Axis sum up how I feel about the film fairly well.

[Philosophe_rouge]

Von Sternberg's classic The Devil is a Woman is a complicated melodrama told in flashbacks that finds Lionet Attwill completely obsessed with Marlene Dietrich to the point of self-destruction and Cesar Romero trying very hard not to be gay - nah, seriously now, he's a good actor. It's a cliché, but the camera is in love with Marlene too, and I can't imagine any other actress suggesting so much sex while baring so little skin and pleasing the Hays office. In many ways, the film reminds me of Vadim/Duvivier films of the '60s about Brigitte Bardot and how men are only puppets on her hands, only made a lot earlier than the French New Wave, of course. The only other Sternberg/Dietrich I've seen is The Blue Angel, which is comparatively a lot bolder and, if that's possible, even more cynical than this one. The depiction of Spain by Hollywood here is very very wrong. Overall, good (not great) stuff. I'm curious as to what are the other must-see Dietrich vamp films. Blonde Venus any good?
Unfortunately, I haven't seen either so I can't really comment on your thoughts. I'm on a real Dietrich kick though, so I'll get to them soon enough. I can recommend The Scarlet Empress though, my favourite of the 3 Sternberg/Dietrich collabs I've seen.

[Derek]

Every von Sternberg/Dietrich collab I've seen is worth checking out. The order of 2-5 is almost interchangeable depending on my mood and it's been a while since I've seen The Blue Angel, so that deserves another look.

1) The Scarlett Empress
2) Morocco
3) The Devil Is a Woman
4) Shanghai Express
5) Blonde Venus (though it has Dietrich in a gorilla suit, so factor that into your desire to see it)
6) The Blue Angel

[Yxklyx]

Hmmm ... I didn't find Europa to be all that complicated/muddled in regards to narrative, though I do kinda know what you mean about Element of Crime.

I was surprised to find how similar Europa was to Maddin's Archangel from the previous year.

[Grouchy]

5) Blonde Venus (though it has Dietrich in a gorilla suit, so factor that into your desire to see it)
Now I have to see it.

And The Scarlett Empress too, that seems to be the consensus here.

[B-side]

Lilya 4-Ever was good. Didn't blow my mind, but that ending packed a serious punch. I loved it. It's predictable and incessant, but its message is a good one.

[soitgoes...]

its message is a good one.Sex slavery is bad?

[B-side]

Sex slavery is bad?

Absolutely. Terrible, terrible thing.:lol:

[Grouchy]

After watching The Bohemian Life by my new hero Aki Kaurismäki, I think I've discovered the theory behind his unique style. He simply can't be bothered with keeping up with the illusion of reality cinema is supposed to maintain. In his world, a shadow projected over a garage door and some smoke is a moving train, a few seats, music and two actresses effectively convey a night at the opera, and so on. Similarly, when he uses pop songs and not classical music, the lyrics reflect exactly the situation that's happening. Unlike in Bresson, though, his actors are incredible thespians even though the actual acting is minimal. This movie is incredible, and I wish I'd seen it before the 1992 Consensus. It makes you laugh your guts off for most of its running time, while at the same time telling a deeply sad story with heartbreaking, endearing characters. It's a love song to friendship and to a free-wheeling lifestyle that sadly almost doesn't exist anymore.

[Ezee E]

Snow Angels -- most depressing movie of the year. It's a great ensemble piece though (a la In the Bedroom), and David Gordon Green is at his All The Real Girls stage here. Kate Beckinsale shows off some great acting chops too. It's too bad that nobody's seen it really.

[Boner M]

w/e home options:

Little Odessa
The State of Things
Through the Olive Trees
Drop Dead Fred
The Fisher King
Boudu Saved From Drowning
Scarface (32)

theatre options:

Heaven's Gate
Waltz With Bashir
Step Brothers
My Blueberry Nights
Funny Games US

[baby doll]

Lilya 4-Ever was good. Didn't blow my mind, but that ending packed a serious punch. I loved it. It's predictable and incessant, but its message is a good one.That's a lot to keep up with. It's good but didn't blow your mind until the very end so you loved it even though it's predictable and incessant but redeemed by a good message.

[baby doll]

Weekend:

An Autumn Afternoon (1962)
Early Spring (1956)
Early Summer (1951)
Late Spring (1949)

[Winston*]

Still got Sweet Smell of Success, Angel Heart and the Umbrellas of Cherbourg that I got out last week. Probably watch one or two of them before I take them back.

[soitgoes...]

Weekend options:

Through the Olive Trees
The Philosopher's Stone
Throw Away Your Books, Rally in the Streets
Sympathy for the Underdog
Dragnet Girl
Judex (Franju)

[soitgoes...]

Speed Racer was a joy. I had major doubts about it, but what can I say, it blew me away. Everything turning to hearts when Speed and Trixie get all :pritch: at the beginning is one of the best moments in film this year.

[balmakboor]

theatre options:

Heaven's Gate

:pritch: You know what you gotta do.

[Ezee E]

WEEKEND:
The Castle
Bullet Ballet
Liberty Heights

Burn After Reading

[Raiders]

Snow Angels -- most depressing movie of the year. It's a great ensemble piece though (a la In the Bedroom), and David Gordon Green is at his All The Real Girls stage here. Kate Beckinsale shows off some great acting chops too. It's too bad that nobody's seen it really.

Acting was good, I guess, but for Green is was a big disappointment. Tonally very uneven and I was left more bewildered than moved.

[The Mike]

This weekend I hope to get through some combination of The Inglorious Bastards, Benny & Joon, Child's Play, War of the Gargantuas, Frankenstein Conquers the World, and The Lost Boys 1 & 2. I also must scope out Lakeview Terrace, and might hit Tropic Thunder again.

EDIT: Didn't realize Igor comes out this week. Definitely going to see that ASAP.

[Philosophe_rouge]

Weekend
Lust, Caution
The Furies
Sergeat Rutledge
My Kid Could Paint that

Maybe...
Burn after REading

[dreamdead]

Weekend:
Stage Door
Platform
Drifters

Maybe The New World again as well....

[Raiders]

Weekend:

Daisy Kenyon
The Yards
Liberty Heights
Flow: For Love of Water

[Kurosawa Fan]

Weekend:

Ace in the Hole
Angels With Dirty Faces
The Misfits
3:10 to Yuma (1957)
In the Heat of the Night

One or two of those.

[Stay Puft]

Weekend:
Drifters

Xaioshuai Wang's film? I enjoyed that one quite a bit.

[Rowland]

I Now Pronounce You Chuck and Larry - For all of its many faults, this was surprisingly funny and endearing, as well as clever in how it ropes in, skewers, and rebukes its target audience, and most importantly for a message movie of this nature, it felt sincere. It's still not very good though, for the same reasons as most Happy Madison productions, but it was still better than my low expectations were prepared for.

Resident Evil - Still fun as propulsive, pulpy trash, packed with set pieces, hammy acting, and apparently half-finished effects. The opening act is the highlight, told with surprising economy, wit, and style. I *heart* all of the cheesy flashbacks.

The Crimson Rivers - A Gallic serial killer movie trying too hard to emulate its Hollywood brethren remains reasonably involving thanks to a thickly baroque, distinctly European style reminiscent of Giallos, an increasingly absurd (and thus entertaining) mystery, charismatic lead performances, atmospheric locations, and the occasional non sequitur, including a fight scene out of a trashy Besson action flick. Unfortunately, this all serves to hide the fact that there is virtually no substance to the picture, nothing much happens (20 minutes of the running time must be spent watching people travel), and it ultimately doesn't make a lick of sense. Oh, and the conclusion is a terrible anti-climax comprised of embarrassingly cheap special effects that don't suit the tone of the picture up to that point, ending the movie on a distinctly sour note.

[Sven]

Weekend:

Ace in the Hole
Angels With Dirty Faces
The Misfits
3:10 to Yuma (1957)
In the Heat of the Night

One or two of those.

Wow. Take your pick. All of those are pretty fantastic.

[Kurosawa Fan]

Wow. Take your pick. All of those are pretty fantastic.

These have all been on my radar for a long time. Ace in the Hole is probably guaranteed because it's a Netflix. The others are on my DVR.

[Dead & Messed Up]

Weekend:
The Bridge on the River Kwai
The Spiral Staircase

I'd like to watch more, but I have to come into work on Saturday. Yay for overtime, boo for work. Maybe I can find time for The Host.

[Rowland]

The Spiral StaircaseThis one is quite good, assuming that you are referring to the '46 version. It's one of the earliest examples of the giallo-style horror film, told with great style.

[Dead & Messed Up]

This one is quite good, assuming that you are referring to the '46 version. It's one of the earliest examples of the giallo-style horror film, told with great style.

Indeed. I'm trying to find more Gothic horror flicks from that era, since I've pretty much exhausted the Universal horrors and Lewtons.

Thanks for the heads-up! I'll probably notice more on first viewing.

[Yxklyx]

Indeed. I'm trying to find more Gothic horror flicks from that era, since I've pretty much exhausted the Universal horrors and Lewtons.

Thanks for the heads-up! I'll probably notice more on first viewing.

You might want to check out my movie log. For the past few years I dedicate October mostly to horror films I haven't seen. There might be something there you missed.

Weekend:

Detective Story (Wyler)
Satantango [finale]
The 3 Penny Opera

[Kurosawa Fan]

Oh wow. Ace in the Hole. Wow.

[Raiders]

I still think Ace in the Hole is only middle-of-the-pack Wilder. It walks a fine line with being overbearing in its satire and occasionally I was cringing at the ridiculousness. It is certainly in-your-face but still witty and elegant enough to work.

My thoughts (http://matchcut.org/viewtopic.php?p=442190#442190)

[MadMan]

Horror oriented weekend (cause I felt like it and we're getting closer to October):

*Its Alive(1974)
*The Haunting(1963)
*Friday the 13th: Part 2(1981)
*Friday the 13th: Part 3(1982)

[Kurosawa Fan]

I'm just floored by how confrontational it was. It's moments of ridiculousness were forgivable to me. And Douglas, Sterling and Benedict were fantastic. I agree with your assessment that it's laid on too thick, especially the carnival and the final scene between Douglas and Sterling, but it all worked well enough for me to turn a blind eye and just go with it.

[Qrazy]

I still think Ace in the Hole is only middle-of-the-pack Wilder. It walks a fine line with being overbearing in its satire and occasionally I was cringing at the ridiculousness. It is certainly in-your-face but still witty and elegant enough to work.

My thoughts (http://matchcut.org/viewtopic.php?p=442190#442190)

Well-ish depends how big the pack you're discussing is... are we talking his entire filmography? I'd say it's top 7 material, there are a few which certainly greatly outstrip it. I think it's still pretty great though.

[Sven]

I still think Ace in the Hole is only middle-of-the-pack Wilder. It walks a fine line with being overbearing in its satire and occasionally I was cringing at the ridiculousness. It is certainly in-your-face but still witty and elegant enough to work.

My thoughts (http://matchcut.org/viewtopic.php?p=442190#442190)

You do realize that you say that Wilder's message is both clear and clouded, right?

Frankly, I don't know what to make of a criticism taking aim at the film's fantasy. Does the film need to be "realistically" or even sensibly proportioned? The whole topic of the film is LARGER THAN LIFE, so Wilder relates it sensationally. This is real corrupt journalistic filmmaking at its most deliciously double-handed. Layers, dude. Layers.

[B-side]

That's a lot to keep up with. It's good but didn't blow your mind until the very end so you loved it even though it's predictable and incessant but redeemed by a good message.

Heh. That pretty much covers it.:P

[Boner M]

Man, really wished Cat Power had been the lead instead of Jones in My Blueberry Nights. She was so good in her little cameo.

Many other inadequecies, but Wong strutting his stuff in an inconsequential vehicle still makes for a pleasant time at the movies.

[Winston*]

Turned off The Umbrellas of Cherbourg after 20 minutes, I cannot take another 70 of that.

Sweet Smell of Success, on the other hand, was totally great dudes. Best movie I've seen in ages.

[Raiders]

You do realize that you say that Wilder's message is both clear and clouded, right?

Yes.


Frankly, I don't know what to make of a criticism taking aim at the film's fantasy. Does the film need to be "realistically" or even sensibly proportioned? The whole topic of the film is LARGER THAN LIFE, so Wilder relates it sensationally. This is real corrupt journalistic filmmaking at its most deliciously double-handed. Layers, dude. Layers.

What purpose does a film serve as a biting and angry rant against the power of the media and the power we give the media if we just toss its over-the-topness to the side as a flight of fantasy? I realize it isn't to be taken literally, but nonetheless I still found it a little much to swallow to see an actual ferris wheel. It threatens to make the film, to me, a little bit of a joke and undercuts the viciousness.

I am still quite a fan of the film.

[Sven]

Turned off The Umbrellas of Cherbourg after 20 minutes, I cannot take another 70 of that.

Sweet Smell of Success, on the other hand, was totally great dudes. Best movie I've seen in ages.

This is the rightest post ever.

[Sven]

Yes.

Forgive me, but I do not think your capsule adequately reconciles this apparent contradiction. How can it be both clear and clouded?


What purpose does a film serve as a biting and angry rant against the power of the media and the power we give the media if we just toss its over-the-topness to the side as a flight of fantasy?

I never called it a "flight" of fantasy. I think its fantasy is well-rooted in its drama. It's there to echo the sensationalism of its lead (and the pliability of his readers). You can't make an anti-war film without dramatizing violence, nor could you go far making an anti-porno film without a little bumping. It's all wrapped up in Wilder's message of turning tragedy into obsession, yes, to the point of kitsch (or rather, to the highest echelons of meaninglessness, perfectly captured by a ferris wheel and hot dog vendor). You say that undercuts the message. I say that IS the message.

[Watashi]

Turned off The Umbrellas of Cherbourg after 20 minutes, I cannot take another 70 of that.

Your loss.

[Scar]

Speed Racer may eventually make its way into my Blu-Ray collection.


Goddamnit. :lol:

[Qrazy]

Yes.



What purpose does a film serve as a biting and angry rant against the power of the media and the power we give the media if we just toss its over-the-topness to the side as a flight of fantasy? I realize it isn't to be taken literally, but nonetheless I still found it a little much to swallow to see an actual ferris wheel. It threatens to make the film, to me, a little bit of a joke and undercuts the viciousness.

I am still quite a fan of the film.

I honestly don't think a ferris wheel is that much of a stretch. I've seen similar and worse things at these sorts of media frenzies.

[BIOspasm]

I've got a long weekend of nothing but movies ahead of me. Many of these are re-watches and others I've just put off for too long.

Weekend:
Citizen Kane: Ebert commentary
Stalker
Eyes Without a Face
The Killing of a Chinese Bookie
Youth of the Beast
Ashes of Time
The Third Man
Le Notti Bianche
Last Year at Marienbad
The Red Shoes

[Qrazy]

I didn't realize until today that Jim 'My Left Foot', 'In the Name of the Father', 'In America' Sheridan made 50 Cent's Get Rich or Die Tryin'... that's... weird...

[Sven]

I didn't realize until today that Jim 'My Left Foot', 'In the Name of the Father', 'In America' Sheridan made 50 Cent's Get Rich or Die Tryin'... that's... weird...

Terrible, terrible movie. Which is also weird, given the high quality of even his prior "bad" films, The Field and The Boxer.

[Kurosawa Fan]

Yet, not so surprising considering the mediocrity of My Left Foot (DDL performance aside) and In America.

[Sven]

Yet, not so surprising considering the mediocrity of My Left Foot (DDL performance aside) and In America.

You, sir, are a punkass.

[Qrazy]

Yet, not so surprising considering the mediocrity of My Left Foot (DDL performance aside) and In America.

Mediocre and abysmal are still fairly different.

[Qrazy]

I watched Kaufman's The Wanderers a few days ago. I liked it quite a bit more than the Warriors and quite a bit in general as a coming of age piece. Both films are focused on gangs but The Wanderers actually fleshes out it's characters somewhat significantly. It's very rough around the edges, but it works.

[Dead & Messed Up]

I've got a long weekend of nothing but movies ahead of me. Many of these are re-watches and others I've just put off for too long.

Weekend:
Citizen Kane: Ebert commentary
Stalker
Eyes Without a Face
The Killing of a Chinese Bookie
Youth of the Beast
Ashes of Time
Trouble Every Day
The Fall
Last Year at Marienbad
The Red Shoes

...do you sleep?

[Raiders]

Yet, not so surprising considering the mediocrity of My Left Foot (DDL performance aside) and In America.

You so crazy.

[Kurosawa Fan]

:lol:

I knew it was coming, but it was still funny.





























Seriously though.... mediocre.

[BIOspasm]

...do you sleep?

On occasion.

[BIOspasm]

Just listened to Eberts Kane Commentary. It was fascinating. And I usually find commentaries boring. I thought it was cool that his favorite scene is also mine. That is, the monologue about the woman in the white dress.

[Kurosawa Fan]

Watched Cashback because... well, I'm not really sure why. I liked the stopping time. It was a nice concept that led to some really nice compositions. The film had some charm to it, but the dialogue was pretty awful for the most part. It was like patchwork from other romantic comedies. In fact, I'm nearly certain that the closing line was the same closing line used in Ferris Beuller's Day Off, word for word. Haven't seen it in a while, so don't quote me. Also, I found much of the humor bland, and it felt like it was trying to be a longer film than it needed to be.

[Rowland]

Alright, I was wrong about Sicko, it really is a great documentary. I'm going to watch it again with my family.

[Torgo]

After watching George Washington (which I loved), I'm now hungry for more "young friends making big discoveries" stories. I've seen Stand By Me, and hope to catch River's Edge very soon. Is there anything else in this genre that I should check out?

[MadMan]

Alright, I was wrong about Sicko, it really is a great documentary. I'm going to watch it again with my family.Awesome. I think its Moore's best film. Incidentally enough though my favorite movie of his is actually his only non-documentary film, Canadian Bacon(1995). But then I'm a huge John Candy fan.

[Derek]

Brief thoughts...

In Between Days - Yet another quietly observant coming of age film, but unfortunately these observations don't amount to much. The attempted subtleties in acting and minimal plot only serve to temporarily mask its ultimate shallowness. The push-pull dynamic essentially defines the central relationship, which is never given any depth beyond the passive-aggressive tit-for-tat and uncomfortable silence that fills nearly every scene in the film.

Je t'aime, je t'aime - I can only assume I'm not the first person to bring up Eternal Sunshine in relation to this film as the character trapped inside his own mind, left to travel uncontrollably through his own memories is essentially the same premise. Where Gondry went for total erasure and the impossibility of losing the painful memories while keeping the good, Resnais is more interested in the the way seemingly simple, even mundane, events and conversations shape our memories and the power these memories, in turn, have in shaping our lives. The fragmented structure and non-linear editing mimics the non-sequiturial nature of getting lost in ones thoughts as effectively as any film I've seen; in this case, driven by guilt, regret and a longing to reverse the past. It doesn't wear its emotions on its sleeve like Gondry's film, but its a surprisingly powerful, emotionally engaging film from a director often pidgeon-holed as a purely intellectual filmmaker.

[Russ]

I watched Kaufman's The Wanderers a few days ago. I liked it quite a bit more than the Warriors and quite a bit in general as a coming of age piece. Both films are focused on gangs but The Wanderers actually fleshes out it's characters somewhat significantly. It's very rough around the edges, but it works.
Yeah, I also greatly prefer it to The Warriors, a film to which it's often unfairly lumped in with because of the proximity of their release dates and the fact that they were both "gang" movies, but they really had nothing in common. And you're right, it is a little rough around the edges, but I've always loved it, warts and all. It has a fantastic cast too. Sometimes it tried to cover too much territory, so its reach definitely exceeds its grasp. But there is so much that it gets right. Its one of my favorite films, I think it made my top 5 consensus list for 1979.

[dreamdead]

After watching George Washington (which I loved), I'm now hungry for more "young friends making big discoveries" stories. I've seen Stand By Me, and hope to catch River's Edge very soon. Is there anything else in this genre that I should check out?

Wats recommended me Mean Creek at some point last year, which is a marvel in this vein. It teeters on formula initially, but there's enough distinctiveness and vision that it divorces itself from that by-the-numbers sense early on.

[Philosophe_rouge]

How about it guys, I think we should have another film swap soon! It's been quite a while since the last one.

[Watashi]

How about it guys, I think we should have another film swap soon! It's been quite a while since the last one.
Yes!

I was just thinking about starting one, but you should do the honors.

[Philosophe_rouge]

Yes!

I was just thinking about starting one, but you should do the honors.
I have to think of a theme, but sounds good. If anyone has any suggestions, let me know, I'll try and have something up tonight :)

[Watashi]

I have to think of a theme, but sounds good. If anyone has any suggestions, let me know, I'll try and have something up tonight :)
Does it need to have a theme?

How about "Only movies directed by Brad Bird".

[Philosophe_rouge]

Does it need to have a theme?

How about "Only movies directed by Brad Bird".
THemes are fun :D But maybe I won't go for that, since I'm too lazy to think.

Uhhh, I'll file that under "maybe"

[Grouchy]

How about genres?

MatchCut's Western Film Swap
MatchCut's Noir Film Swap
MatchCut's Horror Film Swap
MatchCut's Giant Monkeys Film Swap

[Watashi]

H
MatchCut's Giant Monkeys Film Swap

Film Swamp Members:

Spinal

That is all.

[Philosophe_rouge]

Hmmm, how about Film Swapping only films with less than 1000 votes on IMDB? I think accessibility might become an issue though.

Genres isn't a bad idea either, I might go for that... I'm leaning towards westerns or horror personally.

[Philosophe_rouge]

Actually, since Octobre is about a week away, I think horror might be a great idea.

[MadMan]

Actually, since Octobre is about a week away, I think horror might be a great idea.That would interest me. Although I, um, still owe certain people film reviews from previous swaps (Stay Puft the "In The Mood for Love" write up needs some more work! I swear! Um Morris, I did see actually see "Aliens." The review is, on the way...*shifty eyes*)

But I'd make good on it this time. If I decided to participate.

[Winston*]

Your loss.
It's like they just took a regular script and decided to sing every line in it. I find it unpleasant to listen to.

[Kurosawa Fan]

I'd be up for another film swap. It's been long enough.

[Qrazy]

Yeah, I also greatly prefer it to The Warriors, a film to which it's often unfairly lumped in with because of the proximity of their release dates and the fact that they were both "gang" movies, but they really had nothing in common. And you're right, it is a little rough around the edges, but I've always loved it, warts and all. It has a fantastic cast too. Sometimes it tried to cover too much territory, so its reach definitely exceeds its grasp. But there is so much that it gets right. Its one of my favorite films, I think it made my top 5 consensus list for 1979.

I agree with most of your points except I think that there are few enough gang films that that alone merits comparison.

[Qrazy]

Hmmm, how about Film Swapping only films with less than 1000 votes on IMDB? I think accessibility might become an issue though.


I'm a fan of this idea, availability be damned.

[Spinal]

I found My Left Foot to be shockingly disappointing. I was so sure that I was gonna love that one.

[Watashi]

Runaway Train is such an awesome, awesome movie. Never did I think I would be captivated by 2 hours of nothing but Jon Voight and Eric Roberts. There's a monologue that Voight gives that belongs with one of the best.

[Russ]

Runaway Train is such an awesome, awesome movie. Never did I think I would be captivated by 2 hours of nothing but Jon Voight and Eric Roberts. There's a monologue that Voight gives that belongs with one of the best.
Never thought I'd find myself saying this, but...Wats, you're absolutely right.

[MadMan]

Its Alive(1974) is a bit silly at times, and the FX really is very dated. Still the killer mutant baby looks creepy enough, and the film in some ways is about the age old folk tale of "Science messing up nature and creating bad things." That sort of motif, which was especially popular back in the 1950s, when monster movies were all the rage. I must say that not only does this film have a rather high body count, but the last act is very surprising. I didn't really expect it in some regards, which is cool and all. So far I've seen three films for Larry Cohen and liked them all, and I would love to get my hands on Gold Told Me To especially. 79

[Russ]

So far I've seen three films for Larry Cohen and liked them all
Have you seen Q? One of my favorite Cohen films and Michael Moriarty is awesome in it.

[MadMan]

Have you seen Q? One of my favorite Cohen films and Michael Moriarty is awesome in it.No, but that's another on my to see list. I've only also viewed Hell Up in Harlem and Black Caesar, two really entertaining blackexplotation films.

[BIOspasm]

What is a film swap? I might participate.

[The Mike]

Have you seen Q? One of my favorite Cohen films and Michael Moriarty is awesome in it.

I second this recommendation.

The only other thing I've seen from him was his Masters of Horror episode Pick Me Up, which is one of my faves from that series.

[Ezee E]

Damn... Another reason to love Bowfinger... Downey is in this.

Also, Harold from Harold+Kumar. Not a great reason though.

Downey is pure "Downey" in his cameo.

[Sven]

Downey is pure "Downey" in his cameo.

I don't think I've ever seen any other version of "Downey".

[The Mike]

Damn... Another reason to love Bowfinger... Downey is in this.

Also, Harold from Harold+Kumar. Not a great reason though.

Downey is pure "Downey" in his cameo.

Excellent flick, and excellent cameo.

[Ezee E]

I don't think I've ever seen any other version of "Downey".
Hmm... Good call.

U.S. Marshals? Heh.

[Winston*]

Downey Jr. - Closest thing to a modern day Jimmy Stewart IMO

[Russ]

A bit OT, but here's 50 Incredible Film Posters from Poland (http://wellmedicated.com/inspiration/50-incredible-film-posters-from-poland/). Which are your favorites?

Mine:

Raging Bull
Raiders of the Lost Ark
Old Yeller
Eyes Wide Shut
Under The Volcano
Don't Look Now
Critters
Fanny and Alexander
Son of Godzilla
Breakfast at Tiffany's
Alphaville


I love how there is no difference in the quality of design for great movies and really terrible movies.

[Sven]

Wow, that Eyes Wide Shut one is something else. Also really dig the Empire Strikes Back. The Short Circuit one is classic. The Son of Godzilla... :eek:

My all-time favorite one is the Paper Moon one, not shown here.

http://www.posteritati.com/jpg/P3/PAPER%20MOON%20POL.JPG

[Sycophant]

Poland got Harry & the Hendersons II?

Those are all pretty fantastic.

[The Mike]

Downey Jr. - Closest thing to a modern day Jimmy Stewart IMO

Downey, Jr.'s response - "That's ridiculous, I'm not even a pilot."

OK, it's a stretch, but I had to try....

[MadMan]

Those movie posters are utterly amazing. I might request an avatar or two of some of those. Probably on another site with size requirements more fitting to the actual size of those posters online. A few are in a wider format though.

[The Mike]

Only the Polish could make Flipper trippy. :lol:

[chrisnu]

The NeverEnding Story :eek:

[Watashi]

The NeverEnding Story :eek:

http://www.alicia-logic.com/capsimages01/tns_031NoahHathawayArtax.jpg

[Morris Schæffer]

http://wellmedicated.com/wp-content/uploads/2008/08/airplane2thesequel.jpg

Behold! The plane that's licking its own arse.

[Morris Schæffer]

Runaway Train is such an awesome, awesome movie. Never did I think I would be captivated by 2 hours of nothing but Jon Voight and Eric Roberts. There's a monologue that Voight gives that belongs with one of the best.

I believe it is based on an original screenplay by Kurosawa who originally intended for this to be more comedic.

Anyway, one of my all-time favorites. And that ending!!!!:eek:

[Morris Schæffer]

Its Alive(1974) is a bit silly at times, and the FX really is very dated. Still the killer mutant baby looks creepy enough, and the film in some ways is about the age old folk tale of "Science messing up nature and creating bad things." That sort of motif, which was especially popular back in the 1950s, when monster movies were all the rage. I must say that not only does this film have a rather high body count, but the last act is very surprising. I didn't really expect it in some regards, which is cool and all. So far I've seen three films for Larry Cohen and liked them all, and I would love to get my hands on Gold Told Me To especially. 79

I've seen The Ambulance. A pretty sinister little movie.

[Kurosawa Fan]

I found My Left Foot to be shockingly disappointing. I was so sure that I was gonna love that one.

Vindication is mine!!!

[dreamdead]

Raiders knew his stuff when he recommended La Cava's Stage Door so highly for the '37 consensus. Even though there are sufferings, this is especially fascinating in its gender study of lead women (Hepburn and Rodgers) who abandon any binding sort of male (financial) security so that they can gain their own private success. It seems almost one of a kind in this respect, and especially modern. Only a few too many reaction shots of the girls in the theatre during Hepburn's climactic speech prevent this from being a complete masterpiece. Otherwise, a wonderfully cyclical and open film.

Jia's Platform, meanwhile, is impressive for its use of space to suggest the social and psychological claustrophobia that faced many of rural China's youth in the '80s. The camera frequently captures characters divided by filmic space (such as when architectural columns dwarf them and their conversations, resulting in isolated perspectives). Likewise, the myopic nature of their conversations that is at root in so many of their conversations adds weight to the alienation that they feel, resulting in a film that directly mirrors the aimlessness of the youth's lives. Not quite the revelation that Still Life was for me, but definitely stronger and more formally organic than The World.

[balmakboor]

Its Alive(1974) is a bit silly at times, and the FX really is very dated. Still the killer mutant baby looks creepy enough, and the film in some ways is about the age old folk tale of "Science messing up nature and creating bad things." That sort of motif, which was especially popular back in the 1950s, when monster movies were all the rage. I must say that not only does this film have a rather high body count, but the last act is very surprising. I didn't really expect it in some regards, which is cool and all. So far I've seen three films for Larry Cohen and liked them all, and I would love to get my hands on Gold Told Me To especially. 79

I actually like It's Alive II & III even better. God Told Me To is pretty terrific also, but my favorite Cohen is Bone.

[transmogrifier]

A Boy and His Dog - Amatuerish but interesting.

Mad Max 2 - Slight, but well-directed action.

Fright Night - hugely enjoyable no-brainer 80s comedy-horror, better than any of the Evil Dead films, to name names.

[balmakboor]

A bit OT, but here's 50 Incredible Film Posters from Poland (http://wellmedicated.com/inspiration/50-incredible-film-posters-from-poland/). Which are your favorites?

Mine:

Raging Bull
Raiders of the Lost Ark
Old Yeller
Eyes Wide Shut
Under The Volcano
Don't Look Now
Critters
Fanny and Alexander
Son of Godzilla
Breakfast at Tiffany's
Alphaville


I love how there is no difference in the quality of design for great movies and really terrible movies.

I've always LOVED Polish movie posters. I think just about every one of those 50 is better than anything Hollywood puts out. I also really love the Eyes Wide Shut one as well as the Stroszek one. The Days of Heaven one is striking although I don't think it represents the film very well, or at least nothing like the usual representations of the film.

[Grouchy]

What is a film swap? I might participate.
People recommend movies to each other, everyone sees the movie they've been appointed and does a bit of writing on it.

The End.

[Spinal]

People recommend movies to each other, everyone sees the movie they've been appointed and does a bit of writing on it.

The End.

More like ...

People recommend movies. Half the people see the movie they have been assigned. About a quarter get around to writing something eventually.

[The Mike]

Fright Night - hugely enjoyable no-brainer 80s comedy-horror, better than any of the Evil Dead films, to name names.Truth. I'd add that Roddy McDowell is perfect as the Hammer-esque hero.

[chrisnu]

More like ...

People recommend movies. Half the people see the movie they have been assigned. About a quarter get around to writing something eventually.
You're such a pessimist. :sad:

But it's true...

[Rowland]

Ehh, I found Fright Night to be mostly lame and tedious, like a feature length Are You Afraid of the Dark episode with a bigger budget. It isn't a hair on Evil Dead's nutsack.

"Oh, you're so cool, Brewster!"

[Stay Puft]

I was obsessed with Fright Night when I was a kid. I should revisit that someday.

[MadMan]

A Boy and His Dog - Amatuerish but interesting.

Mad Max 2 - Slight, but well-directed action.

Fright Night - hugely enjoyable no-brainer 80s comedy-horror, better than any of the Evil Dead films, to name names.Okay, now I have to see Fright Night. If only partly for the purpose of finding out if that statement has any truth to it.

[The Mike]

I might not call Fright Night better than The Evil Dead films (particularly the first), but I think it's infinitely more fun.

And I'm shocked that, considering how many beloved 80's horrors are uber-silly (anything with Friday the 13th or A Nightmare on Elm Street in the title, Child's Play, Pumpkinhead), this isn't regarded more highly among the hits of the genre.

[transmogrifier]

Okay, now I have to see Fright Night. If only partly for the purpose of finding out if that statement has any truth to it.


Trust me.

Don't trust Rowland.

It's as simple as that.

Bear in mind, though, that I think the Evil Dead films are monumentally overrated by just about everyone.

[Derek]

Trust me.

This phrase should not be uttered by anyone rating Fright Night as high as Sunset Blvd. and higher than The Trial and Road Warrior. If you're having a bad week, so be it, but leave the crazy at home trans. We've got enough of it here.

[Raiders]

This phrase should not be uttered by anyone rating Fright Night as high as Sunset Blvd. and higher than The Trial and Road Warrior. If you're having a bad week, so be it, but leave the crazy at home trans. We've got enough of it here.

And rating Welles' film lower than the truly god-awful A Boy and His Dog.

[Kurosawa Fan]

In the Heat of the Night was pretty great. Not sure why it took me so long to see it. Steiger was the highlight for me.


Wasn't much like the TV show.

[balmakboor]

Ans rating Welles' film lower than the truly god-awful A Boy and His Dog.

I've never seen A Boy and His Dog, but I found The Trial to be a rather tedious and strained affair. I've been very hit or miss with Welles actually.

[Qrazy]

I've never seen A Boy and His Dog, but I found The Trial to be a rather tedious and strained affair. I've been very hit or miss with Welles actually.

Fail.

[transmogrifier]

This phrase should not be uttered by anyone rating Fright Night as high as Sunset Blvd. and higher than The Trial and Road Warrior. If you're having a bad week, so be it, but leave the crazy at home trans. We've got enough of it here.

Sunset Bvld is good, but I hated the voice-over. It spells out every single little thing, making explicit what the mise-en-scene and acting is doing fine by itself.

[transmogrifier]

I've never seen A Boy and His Dog, but I found The Trial to be a rather tedious and strained affair. I've been very hit or miss with Welles actually.

The Trial = great camera direction and set design, but a wearying tone and no emotional connection whatsoever.

[MacGuffin]

I don't see what the big deal about The Exorcist is. On one side, I applaud the transgressive nature, but on the other, it is too superficial with the good vs. evil metaphor: the sort of film I can't imagine anybody who isn't religious calling it "the scariest movie ever made", but do correct me if I'm wrong. Some chilling moments however to be sure.

[Winston*]

Saw that Wall-E, it was pretty good I guess. There was this kid behind me that wouldn't shut up though and that kind of made it hard for me to get all that into it. Can I blame Pixar for the annoyance that kid brought me? I think I can. Two stars.

[Winston*]

Did you just delete and repost that post so you could be at the top of this page rather than the bottom of the last page?

EDIT: Well now I look like a crazy person.

[transmogrifier]

Saw that Wall-E, it was pretty good I guess. There was this kid behind me that wouldn't shut up though and that kind of made it hard for me to get all that into it. Can I blame Pixar for the annoyance that kid brought me? I think I can.

I'll be seeing this tomorrow. Expect my slam shortly thereafter.

[/provocative]

[transmogrifier]

I'm on a 40 posts per page, so I'm halfway through the page...

[Bosco B Thug]

A bit OT, but here's 50 Incredible Film Posters from Poland (http://wellmedicated.com/inspiration/50-incredible-film-posters-from-poland/). Which are your favorites? I wonder how self-conscious these artists are about the transnational fascination these posters elicit. Like, do they think "This isn't weird enough!" or "This is too weird!" or are they as too-cool-for-school as I like to imagine they are.

These are always great to peruse through though. The The Fly one and Critters one are particularly ridiculous in that lovable way.


I actually like It's Alive II & III even better. God Told Me To is pretty terrific also, but my favorite Cohen is Bone. I forget where but I came across another person recently who gave a favorable nod to It's Alive II, which I never gave two thoughts to after my first viewing. I ought to revisit it. I love It's Alive III as well, but honestly, I can't bring myself to actually call it a "good movie," technically. It's so goofy and sloppily made! But yes, and awesome. The first one remains my favorite for now.

Bone was pretty great, though, I agree! More people should see that one and dig the sexy racial tension.

[Philosophe_rouge]

Did you just delete and repost that post so you could be at the top of this page rather than the bottom of the last page?

EDIT: Well now I look like a crazy person.
THe first time I saw it I was beside a kid like this, she was like 8 and none too bright. She kept on asking dumb questions like "Where is Wall-E?", I wanted to scream at her that he hasn't left the frame in 3 or 4 scenes... I feel like aterrible person.

[Winston*]

THe first time I saw it I was beside a kid like this, she was like 8 and none too bright. She kept on asking dumb questions like "Where is Wall-E?", I wanted to scream at her that he hasn't left the frame in 3 or 4 scenes... I feel like aterrible person.

Heh. There was a girl at my screening who kept saying that same thing, but she was like 2 years old so it was kind of cute and didn't bother me too much. That little cunt behind me though, I hope he dies young.

[Sven]

In the Heat of the Night was pretty great. Not sure why it took me so long to see it. Steiger was the highlight for me.


Wasn't much like the TV show.

Happy to be of use. :)

[Yxklyx]

Little Murders (1971, Alan Arkin) was excellent (except for Alan Arkin)
I'm really surprised at the below 7 rating for this movie on imdb. The only thing I can think of is that the characters don't really come across as people but as allegorical ideas - and while I usually don't care for up-front allegory in movies (most movies do a better job at hiding it), here it works. The comedy in this one is not dated at all (except for Alan Arkin's over-the-top humor bit - but his scene is just a minor cameo). Donald Sutherland has this incredible scene as an existential live and let live (go with the flow) wedding ceremony presider where the "deity is not to be mentioned". Elliot Gould (who I'm not a big fan of) here is at his best. He's got a monologue sequence reminiscent of Nicholson's in The King of Marvin Gardens. It all wraps up excellently - it's absurd, it's dark, it's evocative. 9/10

[Dead & Messed Up]

I might not call Fright Night better than The Evil Dead films (particularly the first), but I think it's infinitely more fun.

And I'm shocked that, considering how many beloved 80's horrors are uber-silly (anything with Friday the 13th or A Nightmare on Elm Street in the title, Child's Play, Pumpkinhead), this isn't regarded more highly among the hits of the genre.

Complete disagreement. Fright Night was endearing chiefly on the strength of Roddy McDowall, who I found the undeniable high point of the film. But it's just too damned long. Holland's heart is clearly in the more satirical elements of the film, and the suspense just doesn't work.

Which is odd, because Child's Play is a fantastic little chiller that's predicated completely on suspense.

Anyway, my point is this. I'm about to watch the Sisters remake, and I don't really want to.

[The Mike]

I'm about to watch the Sisters remake, and I don't really want to.
After reading this, I'll just agree with everything else you said.

Poor bugger.

[The Mike]

One more thing on Fright Night, because I'm revisiting it right now:

The "death" of Evil Ed is one of the most awesome horror scenes of the '80's, hands down. Completely tragic, and McDowell sells it like Heidi Fleiss.

Yup, I still love it.

[Derek]

Be Kind Rewind - Awful. Shockingly awful.

[transmogrifier]

Be Kind Rewind - Awful. Shockingly awful.

Derek's Post - Wrong. Monumentally wrong.

[Morris Schæffer]

Saw that Wall-E, it was pretty good I guess. There was this kid behind me that wouldn't shut up though and that kind of made it hard for me to get all that into it. Can I blame Pixar for the annoyance that kid brought me? I think I can. Two stars.

The more I think about this one, the less I like it. I can't reconcile with that truly abysmal and utterly irresponsible ending. Ultra-lame how the writers set up a provocative situation that suggests desolation, loneliness and a planet gone to irreversible hell and then, in one of the worst final acts in quite some time, sort of rewind everything back to square one even though not a single thing has changed. Yes, Eve has found one lousy little plant and yes that was her mission objective I suppose, but talk about unpersuasive and facile. What exactly is this movie saying? That mankind shouldn't give up on planet earth quite so easily? Even when it has transformed into an uninhabitable wasteland? Wall-E would have worked better as a cautionary tale. Indeed, it seems to be headed in just such a direction judging from the first 45 minutes which were pretty good, but then there's that ending which seems to be shouting "hey it's not so bad. Fooled ya!"

Blech!

[Watashi]

The more I think about this one, the less I like it. I can't reconcile with that truly abysmal and utterly irresponsible ending. Ultra-lame how the writers set up a provocative situation that suggests desolation, loneliness and a planet gone to irreversible hell and then, in one of the worst final acts in quite some time, sort of rewind everything back to square one even though not a single thing has changed. Yes, Eve has found one lousy little plant and yes that was her mission objective I suppose, but talk about unpersuasive and facile. What exactly is this movie saying? That mankind shouldn't give up on planet earth quite so easily? Even when it has transformed into an uninhabitable wasteland? Wall-E would have worked better as a cautionary tale. Indeed, it seems to be headed in just such a direction judging from the first 45 minutes which were pretty good, but then there's that ending which seems to be shouting "hey it's not so bad. Fooled ya!"

Blech!
The final act of WALL-E is the best part of the film with the stunning end credit sequence to cap it off.

So shut up, Morris. You love the craptacular The Rookie.

[Winston*]

The more I think about this one, the less I like it. I can't reconcile with that truly abysmal and utterly irresponsible ending. Ultra-lame how the writers set up a provocative situation that suggests desolation, loneliness and a planet gone to irreversible hell and then, in one of the worst finhttp://www.match-cut.org/images/editor/menupop.gifal acts in quite some time, sort of rewind everything back to square one even though not a single thing has changed. Yes, Eve has found one lousy little plant and yes that was her mission objective I suppose, but talk about unpersuasive and facile. What exactly is this movie saying? That mankind shouldn't give up on planet earth quite so easily? Even when it has transformed into an uninhabitable wasteland? Wall-E would have worked better as a cautionary tale. Indeed, it seems to be headed in just such a direction judging from the first 45 minutes which were pretty good, but then there's that ending which seems to be shouting "hey it's not so bad. Fooled ya!"

Blech!
LOVE CONQUERS ALL

[Boner M]

So shut up, Morris. You love the craptacular The Rookie.
*can't remember if this was one of the drinking game rules*

*drinks anyway, and motions that it should be one of them*

[balmakboor]

The more I think about this one, the less I like it. I can't reconcile with that truly abysmal and utterly irresponsible ending. Ultra-lame how the writers set up a provocative situation that suggests desolation, loneliness and a planet gone to irreversible hell and then, in one of the worst final acts in quite some time, sort of rewind everything back to square one even though not a single thing has changed. Yes, Eve has found one lousy little plant and yes that was her mission objective I suppose, but talk about unpersuasive and facile. What exactly is this movie saying? That mankind shouldn't give up on planet earth quite so easily? Even when it has transformed into an uninhabitable wasteland? Wall-E would have worked better as a cautionary tale. Indeed, it seems to be headed in just such a direction judging from the first 45 minutes which were pretty good, but then there's that ending which seems to be shouting "hey it's not so bad. Fooled ya!"

Blech!

I agree. I found the re-winding of things in Funny Games to be just as disappointing of a cop-out. Although at least it made sense in Haneke's universe, a place I've never felt a need to spend much time.

[balmakboor]

Fail.

No, just honest.

[balmakboor]

Blind Shaft - terrifically dark look at the kind of entrepreneurs a terribly depressed economy can produce. Very timely for America I'm afraid.

[Morris Schæffer]

The final act of WALL-E is the best part of the film with the stunning end credit sequence to cap it off.

I can't fault the visuals of the movie, but the ending just strikes me as false. I don't understand why these rotund humans would want to return. Do they not notice that everything is exactly as they left it? Is it suddenly ok to live amidst an enormous wasteland? Because one little robot has awoken them from their slumber? Quite regressive really when their original solution, to relocate to the stars, at least showed proactive thought. Perhaps they could have found another planet. Why remain in the depths of space? Perhaps this was explained in the movie. I forgot.

[Qrazy]

The more I think about this one, the less I like it. I can't reconcile with that truly abysmal and utterly irresponsible ending. Ultra-lame how the writers set up a provocative situation that suggests desolation, loneliness and a planet gone to irreversible hell and then, in one of the worst final acts in quite some time, sort of rewind everything back to square one even though not a single thing has changed. Yes, Eve has found one lousy little plant and yes that was her mission objective I suppose, but talk about unpersuasive and facile. What exactly is this movie saying? That mankind shouldn't give up on planet earth quite so easily? Even when it has transformed into an uninhabitable wasteland? Wall-E would have worked better as a cautionary tale. Indeed, it seems to be headed in just such a direction judging from the first 45 minutes which were pretty good, but then there's that ending which seems to be shouting "hey it's not so bad. Fooled ya!"

Blech!

Ehh the themes of love and never giving up were fairly constant throughout. I don't see that the ending was much of a stretch from everything that came before at all.

[Qrazy]

No, just honest.

Sincere fail? ;)

[Qrazy]

I can't fault the visuals of the movie, but the ending just strikes me as false. I don't understand why these rotund humans would want to return. Do they not notice that everything is exactly as they left it? Is it suddenly ok to live amidst an enormous wasteland? Because one little robot has awoken them from their slumber? Quite regressive really when their original solution, to relocate to the stars, at least showed proactive thought. Perhaps they could have found another planet. Why remain in the depths of space? Perhaps this was explained in the movie. I forgot.

There aren't many habitable planets within reasonable traveling distance. They realized it was time to change their modus operandi and start putting work in in order to get something out of life.

[Grouchy]

Kaurismäki fucking tricked me. I decided to rent a movie of his to show my girlfriend his style, and I went with The Matchstick Factory Girl. Problem is, I'd told her the man's movies were hilarious, and what I got to watch is a somber, depressing crime drama. Not that it's bad in any way, on the contrary, but simply not the mood I was preparing to be in. Kati Outinen continues the trend of awesome, subdued performances, and the cinematography is essential here as it subtly changes as the story plunges into more darkness. Definitively a change of pace for Aki here, and ending at 68 minutes, it's a smart, heartfelt tiny movie.

[balmakboor]

Kaurismäki fucking tricked me. I decided to rent a movie of his to show my girlfriend his style, and I went with The Matchstick Factory Girl. Problem is, I'd told her the man's movies were hilarious, and what I got to watch is a somber, depressing crime drama. Not that it's bad in any way, on the contrary, but simply not the mood I was preparing to be in. Kati Outinen continues the trend of awesome, subdued performances, and the cinematography is essential here as it subtly changes as the story plunges into more darkness. Definitively a change of pace for Aki here, and ending at 68 minutes, it's a smart, heartfelt tiny movie.

This totally reminded me of Mouchette. I'm looking forward to the Eclipse box so I can watch them back to back. And then kill myself.

[Spinal]

Be Kind Rewind - Awful. Shockingly awful.

Thank you.

[Kurosawa Fan]

Angels With Dirty Faces was fantastic as well. A bit heavy-handed at times, and it suffered a bit from the El Dorado/Rio Bravo syndrome (in this case with The Roaring Twenties), but aside from that it was quite the film. Cagney is a stud.

Outside of Wanted, which was putrid, this has been one heck of a weekend for me.

[MacGuffin]

Angels With Dirty Faces was fantastic as well. A bit heavy-handed at times, and it suffered a bit from the El Dorado/Rio Bravo syndrome (in this case with The Roaring Twenties), but aside from that it was quite the film. Cagney is a stud.


I think this is the movie Kevin watches in Home Alone, right?

[origami_mustache]

I think this is the movie Kevin watches in Home Alone, right?

welcome back Clipper

[MacGuffin]

welcome back Clipper

Thanks, man.

[Rowland]

The Last Winter -Too explicit as a commentary/admonishment on Global Warming and the conflict between the right and left pertaining to it, Fessenden is still admirably gracious in writing all of his characters as people rather than mere spouters of talking points, including the character emblematic of the right played by Ron Perlman, who gives a phenomenal performance. The piece is very well measured until the introduction of an outside element that jump-starts the third act, bringing with it a series of awkward missteps that cumulate to an embarrassing epiloque. What does work is very effective however, and Fessenden's respect for the audience and the genre is palpable. Instead of the commonly cited sequence involving a Blair Witch-style camera, I was most chilled by a brilliantly minimalist scene involving nothing more than a single tracking shot down a long highway and a tragic discovery at the end.

Baby Mama - Trite sitcom-ish comedy that elicited little more than a few brief chuckles, nothing much to chew on otherwise. Minor credit given for a sharp supporting turn from Romany Falco and an all-around sweet-natured tone that serves as a stark contrast to the mean-spirited quality of so many modern comedies, which just makes me wish even more that it was actually funny.

Sicko - Moore's best documentary, with a few poorly judged missteps in the closing act that drain the terrifyingly effective polemic of some of its power. Nevertheless, it's intricately measured to respond to every argument and prejudice most viewers could bring to it, and it's emotionally involving, affecting, informative, and funny to boot.

[Kurosawa Fan]

I think this is the movie Kevin watches in Home Alone, right?

No, it's a parody. The film he watches, to my knowledge, isn't a real film.

[EyesWideOpen]

No, it's a parody. The film he watches, to my knowledge, isn't a real film.

yeah its fake and called Angels with Filthy Souls.

[Amnesiac]

I watched my first Tsai Ming-Liang film today, What Time Is It There?

Alienation. Loneliness. Ennui. Monotony. Futility. And the way we claw, cope and scramble against those insurmountable factors. Yeah, not exactly an enlightening review but these are the obvious themes I saw swirling around the film. It's a pretty alienating film itself, the static shots and the lack of music certainly cements the dismal and monotonous existence of our characters... and I suppose it encourages us to intently observe. But there is also a fine line between an invitation to observe and a test of endurance (i.e, the urine scenes with our main character, the extended take of his mother making virtual love to her husband, etc.) Some shots seem to linger more than they have to...but if it's a film about ennui and monotony, then maybe this is apt.

Oh, and in Ebert's review, he mentions that the main character confides to the big white fish. I never saw him do so much as tap the fish tank to try and goad him into eating the cockroach. When does he ever confide to the fish?

http://hcl.harvard.edu/hfa/images/films/2003fall/architecture_time.jpg

And what can be derived from Jean-Pierre Leaud's cameo? That the actor who captured the frivolous exploits of Antoine Doinel from The 400 Blows is now an odd old man propositioning himself to Taiwanese tourists in a cemetery? What's the message there, I wonder ...?

[transmogrifier]

The more I think about this one, the less I like it. I can't reconcile with that truly abysmal and utterly irresponsible ending. Ultra-lame how the writers set up a provocative situation that suggests desolation, loneliness and a planet gone to irreversible hell and then, in one of the worst final acts in quite some time, sort of rewind everything back to square one even though not a single thing has changed. Yes, Eve has found one lousy little plant and yes that was her mission objective I suppose, but talk about unpersuasive and facile. What exactly is this movie saying? That mankind shouldn't give up on planet earth quite so easily? Even when it has transformed into an uninhabitable wasteland? Wall-E would have worked better as a cautionary tale. Indeed, it seems to be headed in just such a direction judging from the first 45 minutes which were pretty good, but then there's that ending which seems to be shouting "hey it's not so bad. Fooled ya!"

Blech!


You have a point, because I think the ecological sermon was pretty ham-fisted (the ruins of the first part spoke for themselves, and having the humans suddenly come over all nostalgic rang hollow, seeing as it was apropos of nothing - the captain decides he wants to go to Earth, and suddenly everyone does?), but luckily - and most importantly - the primary point of the movie, the title character and his journey is so warm and entrancing. I don't buy any interpretation that he "shows" humans how beautiful they can be (unfortunately, nothing comes close to that - the film is basically a love story stapled to a Miyasaki cautionary tale), but the "relationship" between him and Eve is perfectly calibrated, and it makes the movie. Probably the second-best Pixar film behind Nemo.

Stanton >>>>>>> Bird

[Boner M]

Drop Dead Fred - Always a little dispiriting to check out a supposedly overlooked & unjustly neglected pop item like this, only to agree with the mainstream critical consensus. The use of Rik Mayall's punkish lout persona as an embodiment of arrested development is clever, and the celebration of a woman's regression puts a refreshing spin on the usual Hollywood formula, but the gags are so badly executed and obvious, and the direction so uninspired that the whole thing remains joyless and static.

Funny Games U.S. - More than anything, I found the experience of watching this seven years since seeing the original to be almost the exact opposite of what Haneke has intended as the experience for the casual cinema-goer. It's all such old hat, so crude, so blunt, that unless the idea of 'audience complicity' is lost on you, the film collapses and you're left in exactly the uncritical and passive position that Haneke is criticising. Ironically, the rote thriller stuff still works like gangbusters, mainly due to performances that seem more alive and tactile that the original's, which means at least some of the film gets it's job done for the viewer who 'doesn't need it'; ie, me.

Little Odessa - I refuse to believe that Gray was 24 years old when he made this stunning debut, out of sheer jealousy. Proof positive that an explicitly pronounced fetish for downbeat 70's cinema can't get in the way of creating a world that feels completely lived-in, and characters that breathe.

The Passing - Connected with this a lot more than the other Viola stuff I've seen. Hauntingly beautiful, even though the necessity of video to capture these images isn't as immediately apparent to me as some of his other work.

Boudu Saved From Drowning - Thoroughly effective comedy of manners, slightly marred by a flabby and repetitive mid-section.

[Morris Schæffer]

There aren't many habitable planets within reasonable traveling distance. They realized it was time to change their modus operandi and start putting work in in order to get something out of life.

Warp Speed! Considering that Wall-E seems to take place in the future, and that their ship looks about as stupendous as any other spaceship in existence, faster-than-light travel would not have been a stretch at all. Had this movie been really gutsy, it would have dispensed with the humans alltogether because I don't feel there's a place for them in this movie as it exists. It would have been better had they remained in space, reminiscing about the old days on terra firma and regretting the mistakes that were made.

[Raiders]

Warp Speed! Considering that Wall-E seems to take place in the future, and that their ship looks about as stupendous as any other spaceship in existence, faster-than-light travel would not have been a stretch at all. Had this movie been really gutsy, it would have dispensed with the humans alltogether because I don't feel there's a place for them in this movie as it exists. It would have been better had they remained in space, reminiscing about the old days on terra firma and regretting the mistakes that were made.

Jeez, what a pessimistic, joyless person you must be.

"Humanity? Fuck 'em I say."

I don't think there is anything particularly gutsy about leaving humanity to rot in a spaceship, and getting rid of them altogether would kind of nullify the entire point of the film.

[transmogrifier]

If that was the point of the film, then it failed. However, as I mentioned previously, the central pairing is strong enough that the film works wonderfully on an elemental level.

[Yxklyx]

Little Murders (1971, Alan Arkin) was excellent (except for Alan Arkin)...

I forgot to mention the awe inspiring preaching judge scene. Man, everyone needs to see this one!

[D_Davis]

I watched Metallica: Some Kind of Monster yesterday. It was excellent.

[Cherish]

And what can be derived from Jean-Pierre Leaud's cameo? That the actor who captured the frivolous exploits of Antoine Doinel from The 400 Blows is now an odd old man propositioning himself to Taiwanese tourists in a cemetery? What's the message there, I wonder ...?

I liked that scene. I don't think I got any moral message from it, but it was a well-done scene showing how hard it was for her to communicate. I didn't get a "dirty old man" vibe, although he might have been attracted to her. I thought it was essentially a friendly gesture. And, I thought the cameo was cool.

Overall, I couldn't love What Time Is It There? but I was consistently engaged by it.

[Cherish]

I don't understand why these rotund humans would want to return. Do they not notice that everything is exactly as they left it? Is it suddenly ok to live amidst an enormous wasteland? Because one little robot has awoken them from their slumber? Quite regressive really when their original solution, to relocate to the stars, at least showed proactive thought. Perhaps they could have found another planet. Why remain in the depths of space? Perhaps this was explained in the movie. I forgot.

The whole point of Eve's mission is that plants can now grow on the planet. Presumably, when they left, that was impossible. The humans on the space ship have been waiting hundreds of years for that to happen. That is their motivation.

I just realized that the movie is really Noah's ark in space (without the animals). Eve is the dove that brings proof of life.

It's funny that I should be defending Wall-E, since I didn't even like it very much. But the ending definitely isn't a cop-out. It's just a little over-simplified.

[Amnesiac]

I don't think I got any moral message from it, but it was a well-done scene showing how hard it was for her to communicate.

Yeah, this was another instance of miscommunication but I figured it was also trying to indicate something beyond that by using Jean-Pierre Leaud. Are we supposed to consider the fact that Hsiao-Kang romanticized Paris through Leaud's character in The 400 Blows and in the contemporary reality ... he's just some old, lonely man in a cemetery? Maybe it was an attempt to connect him to the film's theme of loss, longing and nostalgia - only in this case, it would be the loss of the French New Wave.

Or are we simply meant to observe the parallel between Hsiao-Kang's Shiang-chyi's encounter with this icon of the French New Wave. Kang used him in an attempt to connect and long for something meaningful in the midst of his dreary life, and Shiang-chyi was unable to connect or forge anything meaningful with him when he was seated right next to her. I'm not sure. One scene deals with longing and coping with dismal surroundings by vicariously channeling a different surrounding (via The 400 Blows), whereas the other deals with the dismal reality of actually being in that surrounding and being no less lost because of it ... I don't know, is it a warning against romanticism?


I didn't get a "dirty old man" vibe, although he might have been attracted to her.

Neither did I. Odd, not "dirty".

[Raiders]

The Yards - Confirms Gray is a major directing talent though the moral ambiguities aren't quite as strong as We Own the Night and a late-film accidental murder is a bit too melodrama and overwrought. But on the whole, Gray weaves a wonderful, um, "gray" film that doesn't really make moral or ethical judgments but presents a no-win situation and the shades of reason that bring about the decisions made (in particular is Caan's uncle/father-figure character who is equally devoted to family and business, the two of which continually conflict). I think the film subtly links the role of parent-child into the ultimate moral decisions that are made.

Daisy Kenyon - For a long time I kept thinking that Henry Fonda's character here is the most pragmatic man ever to appear on screen. The ending shows him more shrewd, though I think it ultimately cripples the finale which begins as a woman's stand against her being used as a prop for two men's own psychological traumas and ends with her giving into the man who was essentially playing hard to get. It winds up showing a dependence we thought she was fighting out of as well as just plain confusing the man's actions for the past 30 minutes. But, nonetheless, it is an excellent film featuring three characters and actors forming a unique emotional epicenter in constant flux. Preminger's camera alternates between flowing around the spatial spaces they inhabit and suffocating them in awkward, angled close-ups. I especially love the dichotomy between two shots, both eclipsing Crawford in her surroundings: one, early in the film after a tryst with her beau, becomes shrouded in the shadows of her apartment; late in the film we see her now covered in the white-out of the snow, signifying the clarity with which she later claim to see her role in the film's milieu.

[Morris Schæffer]

The whole point of Eve's mission is that plants can now grow on the planet. Presumably, when they left, that was impossible. The humans on the space ship have been waiting hundreds of years for that to happen. That is their motivation.

Perhaps I'm mistaken, but didn't she fail? Or at least, didn't the captain or onboard computer misinterpret the sample she returned? All she found was a plant that just so happened to be preserved inside an old shoe thanks to one lone survivor, Wall-E. There's next to no reason to assume Earth is suddenly fertile.


It's funny that I should be defending Wall-E, since I didn't even like it very much. But the ending definitely isn't a cop-out. It's just a little over-simplified.

Still going with cop-out since Eve didn't really succeed at all. I actually feel that mankind is running around in circles thanks to her.


I don't think there is anything particularly gutsy about leaving humanity to rot in a spaceship, and getting rid of them altogether would kind of nullify the entire point of the film.

For a Pixar film, it would have been a milestone.

Would you say that the survivors of Battlestar Galactica are simply rotting away on their ships? It was clear to me that there was no turning back the clock. Earth was lost, beyond salvation, that was the premise as I saw it and the way it plays out here is fairly unsatisfying.

[Raiders]

Perhaps I'm mistaken, but didn't she fail? Or at least, didn't the captain or onboard computer misinterpret the sample she returned? All she found was a plant that just so happened to be preserved inside an old shoe thanks to one lone survivor, Wall-E. There's next to no reason to assume Earth is suddenly fertile.

You are mistaken. The on-board computer was following its secret protocol which was to keep the humans away from Earth and lied about EVE's sample.


Still going with cop-out since Eve didn't really succeed at all. I actually feel that mankind is running around in circles thanks to her.

What are you even talking about? Her mission is to find that life on Earth is possible. The plant proves that there is some small hope that vegetation can grow and humans can once again inhabit the whole planet. Breath air, walk around... be human again.


Would you say that the survivors of Battlestar Galactica are simply rotting away on their ships?

No, but they seem pretty determined to not live there forever. Maybe you can understand that Earth is far preferable a place to live than a confined spaceship with no sunshine, no beaches and so on. Maybe you can't.


It was clear to me that there was no turning back the clock. Earth was lost, beyond salvation, that was the premise as I saw it and the way it plays out here is fairly unsatisfying.

It wasn't clear to me that Earth would never again be able to sustain life. That was never part of the premise.

[Cherish]

Or are we simply meant to observe the parallel between Hsiao-Kang's Shiang-chyi's encounter with this icon of the French New Wave. Kang used him in an attempt to connect and long for something meaningful in the midst of his dreary life, and Shiang-chyi was unable to connect or forge anything meaningful with him when he was seated right next to her.

That's it, I think.

I can't believe that the old man represents anything negative or lost about Paris. Shiang-chyi's failure to connect with anyone in Paris was her own fault, because she didn't know enough French. The old man's kindness might have been her chance at a breakthrough, a hint at the romanticized version of Paris, but she failed again, distracted by thoughts of Hsiao-kang.

[Cherish]

Perhaps I'm mistaken, but didn't she fail? Or at least, didn't the captain or onboard computer misinterpret the sample she returned? All she found was a plant that just so happened to be preserved inside an old shoe thanks to one lone survivor, Wall-E. There's next to no reason to assume Earth is suddenly fertile.

Still going with cop-out since Eve didn't really succeed at all. I actually feel that mankind is running around in circles thanks to her.


She didn't fail. Forget the silly stuff with the on-board computer; that's where the story lost its focus. The existence of the plant is what's significant. It means Earth is no longer completely toxic. So what if it's in an old shoe?

[Amnesiac]

I can't believe that the old man represents anything negative or lost about Paris. Shiang-chyi's failure to connect with anyone in Paris was her own fault, because she didn't know enough French. The old man's kindness might have been her chance at a breakthrough, a hint at the romanticized version of Paris, but she failed again, distracted by thoughts of Hsiao-kang.

Hm. I rather like the idea of Jean-Pierre Leaud's cameo, which takes place in a cemetery, with Ebert's conjecture that the grave Shiang-chyi visited was that of Francois Truffaut, indicating the death of an aspect of Paris culture, the French New Wave. I thought it fit, thematically. And it doesn't go against the idea that it is largely Shiang-chyi's fault that she feels so lost in Paris, nor is it some criticism that the culture of Paris is bankrupt, but simply a sort of nod to a movement that has since evaporated ...

But I suppose the other idea works, too. I'm not sure.

And I'm not even entirely sure Shiang-chyi she was distracted by thoughts of Hsiao-kang. We get the indication that he's thinking of her but never anything as overt in regards to her. Perhaps I missed something.

I read something about this film being less about symbols and their related meanings but emotional triggers (i.e., the suitcase floating listlessly in the end). An excuse to avoid interpreting some of the esoteric elements of the film ... or is it the way Tsai wants us to view it?

[Cherish]

Hm. I rather like the idea of Jean-Pierre Leaud's cameo, which takes place in a cemetery, with Ebert's conjecture that the grave Shiang-chyi visited was that of Francois Truffaut, indicating the death of an aspect of Paris culture, the French New Wave.

I just don't know how Tsai could be saying anything about Paris when Shiang-chyi is so clearly responsible for her lack of experience.


And I'm not even entirely Shiang-chyi she was distracted by thoughts of Hsiao-kang. We get the indication that he's thinking of her but never anything as overt in regards to her. Perhaps I missed something.

Whoops! I thought the phone number she was looking for in the cemetary was his. Did I just make that up?


I read something about this film being less about symbols and their related meanings but emotional triggers (i.e., the suitcase floating listlessly in the end). An excuse to avoid interpreting some of the esoteric elements of the film ... or is it the way Tsai wants us to view it?

Personally, that's pretty much how I saw it...

[Amnesiac]

I just don't know how Tsai could be saying anything about Paris when Shiang-chyi is so clearly responsible for her lack of experience.

Okay, consider the idea outside of the notion that it is some comment on Paris. Just think of it as him nodding to the French New Wave, a since-extinct movement and one of it's most famous proponents. We see this in juxtaposition with the lively excerpts from The 400 Blows and we have another little instance of the loss and nostalgia that the film seems concerned with.




Whoops! I thought the phone number she was looking for in the cemetary was his. Did I just make that up?

She was looking for something but when asked what she was looking for, she said she had forgot. But, you know, you could easily be right ... what else would she be looking for? And there were slightly ambiguous scenes of her calling someone earlier in the film.



Personally, that's pretty much how I saw it...

Because of that quality, I'm surprised people aren't more divided with this film. Or maybe I haven't been reading the right opinions. Everyone seems to love it. Well, you mentioned not necessarily loving it. So, there's that. I'm not sure how I feel about it.

[Cherish]

Okay, consider the idea outside of the notion that it is some comment on Paris. Just think of it as him nodding to the French New Wave, a since-extinct movement and one of it's most famous proponents. We see this in juxtaposition with the lively excerpts from The 400 Blows and we have another little instance of the loss and nostalgia that the film seems concerned with.

OK, got it. I like that. It's interesting to think of Tsai Ming-Liang trying to evoke nostalgia for those movies within his own starkly different movie.


Because of that quality, I'm surprised people aren't more divided with this film. Or maybe I haven't been reading the right opinions. Everyone seems to love it. Well, you mentioned not necessarily loving it. So, there's that. I'm not sure how I feel about it.

I liked it, but I didn't get much emotional satisfaction from it. I prefer The Hole and The Wayward Cloud, but it's hard to explain why. Especially in The Wayward Cloud, I thought I had a better grasp of the characters' motivations. But, it's probably no coincidence that those are the two with zany musical numbers, which, while still rather alienating, kept me entertained.

[Morris Schæffer]

You are mistaken. The on-board computer was following its secret protocol which was to keep the humans away from Earth and lied about EVE's sample.

No, wat I mean was that Eve's mission was succesful because, yes, she was able to find evidence of fertility, but just how persuasive was this evidence? In the end, if it hadn't been for Wall-E and his plant, Eve wouldn't have found anything at all but a barren and uninhabitable wasteland. There's scant little reason (none in fact) for our rotund little humans to return at the end. Earth hasn't changed at all. So why return? Man I really feel this movie goes nowhere interesting when it's all over.

[dreamdead]

Derek Jarman's The Last of England is near a non-narrative film, tied together by its projection of the ruin that Thatcher-led England was headed toward even if the film lacks any explicit historical context. Jarman's strengths lie in an innovative editing system, with cuts that interweave between two and three images climaxing together again and again. It's oddly appealing even if any conventional narrative is forsaken, as the film's finale is notable for its representation of (and mourning of) the past, seen as Tilda Swinton. Cool stuff.

[Sven]

Watched Do the Right Thing again the other night w/girl I married. Far less ambiguous than I remember it being. Perhaps it's just that the film has become such a part of my bloodstream that my response to it feels so natural.

Very good movie. Love Rosie Perez in it. LOVE her!

[Derek]

No, wat I mean was that Eve's mission was succesful because, yes, she was able to find evidence of fertility, but just how persuasive was this evidence? In the end, if it hadn't been for Wall-E and his plant, Eve wouldn't have found anything at all but a barren and uninhabitable wasteland. There's scant little reason (none in fact) for our rotund little humans to return at the end. Earth hasn't changed at all. So why return?

Aside from the fact that after hundreds of years of leaving the earth to its own volition, it has finally recovered from the damage humans have done to it and shows proof that it is no longer toxic and can once again become habitable to us and we no longer need to live on a spaceship so long as we're willing to do the requisite work to clean up the mess and ensure that life continues to grow there, I see no reason at all to return either. I too like the idea of living out my existence in a plastic chair with a screen one foot in front of my face that assures me I'll never be bored.

[Kurosawa Fan]

I understand what Morris means, but I disagree with its overall impact on the film. I do think it was a mistake to have that plant grow in a boot stuffed inside a locker (I hope I'm remembering this correctly, but if I'm not, it's not far off). They should have discovered the plant outside somewhere. I was wondering if they'd revisit that once the humans returned to Earth, that perhaps it wasn't inhabitable, and that the plant was an anomaly because of where it was located. It just felt a bit weird that the only place where vegetation was really growing was tucked away from the atmosphere outside.

[Amnesiac]

But if it wasn't found growing in a boot, they wouldn't be able to use it as a clever 'reboot' motif.

[Qrazy]

Warp Speed! Considering that Wall-E seems to take place in the future, and that their ship looks about as stupendous as any other spaceship in existence, faster-than-light travel would not have been a stretch at all. Had this movie been really gutsy, it would have dispensed with the humans alltogether because I don't feel there's a place for them in this movie as it exists. It would have been better had they remained in space, reminiscing about the old days on terra firma and regretting the mistakes that were made.

It doesn't make sense with the central storyline. The humans traveled into space to wait for Earth to be ready for them again. They haven't invented that level of high speed travel yet or they would have already gone to a new planet and colonized that... problem solved in a sense, but this film is about responsibility and about planet earth. Faster than light travel is not going to be easy, it may not even be possible.

I would agree with you that a different movie without humans focusing on robots would and could be excellent and needs to be made, but I don't agree that it could have been this movie.

[Kurosawa Fan]

But if it wasn't found growing in a boot, they wouldn't be able to use it as a clever 'reboot' motif.

:)

Fair enough. Have it growing in the boot, but outdoors, in the supposedly getting-fresher air.

[Qrazy]

I liked that scene. I don't think I got any moral message from it, but it was a well-done scene showing how hard it was for her to communicate. I didn't get a "dirty old man" vibe, although he might have been attracted to her. I thought it was essentially a friendly gesture. And, I thought the cameo was cool.

Overall, I couldn't love What Time Is It There? but I was consistently engaged by it.

Well it's referencing his Doinel character and his general alienated, distanced, social outcast thing he has going on... more so in 400 Blows. Meeting the girl in the park I took to be referencing Truffaut's riffing on the transient yet still meaningful nature of connection.

[Qrazy]

Yeah, this was another instance of miscommunication but I figured it was also trying to indicate something beyond that by using Jean-Pierre Leaud. Are we supposed to consider the fact that Hsiao-Kang romanticized Paris through Leaud's character in The 400 Blows and in the contemporary reality ... he's just some old, lonely man in a cemetery? Maybe it was an attempt to connect him to the film's theme of loss, longing and nostalgia - only in this case, it would be the loss of the French New Wave.

Or are we simply meant to observe the parallel between Hsiao-Kang's Shiang-chyi's encounter with this icon of the French New Wave. Kang used him in an attempt to connect and long for something meaningful in the midst of his dreary life, and Shiang-chyi was unable to connect or forge anything meaningful with him when he was seated right next to her. I'm not sure. One scene deals with longing and coping with dismal surroundings by vicariously channeling a different surrounding (via The 400 Blows), whereas the other deals with the dismal reality of actually being in that surrounding and being no less lost because of it ... I don't know, is it a warning against romanticism?



Neither did I. Odd, not "dirty".

You're trying to pidgeon-hole it too much. Film is metaphor. It is most of the things you mentioned to certain degrees, as well as many others.

[Qrazy]

Perhaps I'm mistaken, but didn't she fail? Or at least, didn't the captain or onboard computer misinterpret the sample she returned? All she found was a plant that just so happened to be preserved inside an old shoe thanks to one lone survivor, Wall-E. There's next to no reason to assume Earth is suddenly fertile.



Still going with cop-out since Eve didn't really succeed at all. I actually feel that mankind is running around in circles thanks to her.



For a Pixar film, it would have been a milestone.

Would you say that the survivors of Battlestar Galactica are simply rotting away on their ships? It was clear to me that there was no turning back the clock. Earth was lost, beyond salvation, that was the premise as I saw it and the way it plays out here is fairly unsatisfying.

Yeah... no... the radiation levels went down, that's why the plant could grow.

[Qrazy]

I understand what Morris means, but I disagree with its overall impact on the film. I do think it was a mistake to have that plant grow in a boot stuffed inside a locker (I hope I'm remembering this correctly, but if I'm not, it's not far off). They should have discovered the plant outside somewhere. I was wondering if they'd revisit that once the humans returned to Earth, that perhaps it wasn't inhabitable, and that the plant was an anomaly because of where it was located. It just felt a bit weird that the only place where vegetation was really growing was tucked away from the atmosphere outside.

Protected from the sand storms.

[Kurosawa Fan]

Protected from the sand storms.

Okay, but then what would stop new vegetation planted by the returning humans from being destroyed by sand storms?

[Amnesiac]

You're trying to pidgeon-hole it too much. Film is metaphor. It is most of the things you mentioned to certain degrees, as well as many others.

I'm just trying to make sense of what the Leaud scene could be indicating. I wasn't seeking out an authoritative interpretation. I even conceded to the idea that Tsai's film may not be about that kind of totalizing analytical process, where one symbol indicates one thing.


Film is a metaphor.

Every film is a metaphor? Or film as a medium is a metaphor?

What?

[The Mike]

Boudu Saved From Drowning - Thoroughly effective comedy of manners, slightly marred by a flabby and repetitive mid-section.

I might identify with this. I too have a flabby and repetitive mid-section.

[Qrazy]

Okay, but then what would stop new vegetation planted by the returning humans from being destroyed by sand storms?

Greenhouses.

[Qrazy]

I'm just trying to make sense of what the Leaud scene could be indicating. I wasn't seeking out an authoritative interpretation. I even conceded to the idea that Tsai's film may not be about that kind of totalizing analytical process, where one symbol indicates one thing.



Every film is a metaphor? Or film as a medium is a metaphor?

What?

Reasonable, but there's your answer.

I didn't mean to add the 'a'... Film is metaphor.

[Kurosawa Fan]

Greenhouses.

Those giant stacks of garbage that Wall-E had created weren't a good enough windscreen for the sand storms, but greenhouses will be? And what are these greenhouses going to be made of, by those people, that they'll withstand those massive sand storms? And enough crops to feed all of those people are going to be in greenhouses? Giant fields of corn, peas, carrots, etc., all in greenhouses?

This is the problem that the first half of the movie created. But again, I don't think it's as damaging as Morris did, as the story transcended the flaws.

[Yxklyx]

Aside from the fact that after hundreds of years of leaving the earth to its own volition, it has finally recovered from the damage humans have done to it and shows proof that it is no longer toxic and can once again become habitable to us and we no longer need to live on a spaceship so long as we're willing to do the requisite work to clean up the mess and ensure that life continues to grow there, I see no reason at all to return either. I too like the idea of living out my existence in a plastic chair with a screen one foot in front of my face that assures me I'll never be bored.

Actually I think the plant just activated a virtual reality program. They're not really back on Earth.

[Raiders]

I am confident enough in the human race to find a way to harvest the new vegetation they plant without it being destroyed. This seems a completely pointless argument.

[MadMan]

Damnit I knew I should have seen Wall-E back when I had the chance to. Its just that I didn't want to go see it all by myself. I'm one of those people who really doesn't like going to movies alone, but mainly because I like to have someone to talk to about the movie after it ends. I'll be back in the thread later when the discussion is over.

[Kurosawa Fan]

I am confident enough in the human race to find a way to harvest the new vegetation they plant without it being destroyed. This seems a completely pointless argument.

Those people? Who didn't know what anything was? Only one guy is even halfway clued in to how things used to be. Hell, they can barely walk.

I don't think it's a pointless argument. I think the story is flawed. They made Earth too far gone and the human race too ignorant to just set them back down in that mess and have them sort everything out.

Again, I'll reiterate that I think the rest of the film overcomes these flaws, but they are flaws, there are leaps in logic, and it taints what could have been an incredible film. As is, it's a very good film, a solid entry for Pixar, but not their best work.

[Raiders]

I think we are expecting the scope of this film to be bigger than it ought to be. Their awakening and revitalization coupled with their curiosity and newfound resiliency to surviving separate from their technological prison is the ultimate point of the film. The whole thing is about WALL-E's revitalization of the human spirit through his own form of mimicked humanity. He accomplishes his goal. Now it is up to humanity to make itself prosper again.

[Yxklyx]

Personally I was surprised that the movie ended with them back on Earth. I thought it would take them a very very very long time to return (beyond the scope of the movie). I thought it would end with something like longing glances from afar and the beginning of preparations, or something like that, etc...

[Kurosawa Fan]

I think we are expecting the scope of this film to be bigger than it ought to be. Their awakening and revitalization coupled with their curiosity and newfound resiliency to surviving separate from their technological prison is the ultimate point of the film. The whole thing is about WALL-E's revitalization of the human spirit through his own form of mimicked humanity. He accomplishes his goal. Now it is up to humanity to make itself prosper again.

We're in agreement. However, considering that was the point, then they could have ended it exactly how Yxklyx just mentioned, or changed some of the other things we've talked about. Had they done that, the point would have stayed the same, and the film would have been better off. Landing an incredible amount of people, 99.9% of who have never even walked let alone know anything about Earth, and saying that these people would find the answers and motivation that their ancestors didn't when their own world was threatened to the point of extinction is a bit much to swallow.

[Raiders]

We're in agreement. However, considering that was the point, then they could have ended it exactly how Yxklyx just mentioned, or changed some of the other things we've talked about. Had they done that, the point would have stayed the same, and the film would have been better off. Landing an incredible amount of people, 99.9% of who have never even walked let alone know anything about Earth, and saying that these people would find the answers and motivation that their ancestors didn't when their own world was threatened to the point of extinction is a bit much to swallow.

But then where's the assurance they will go back to Earth? I don't know. I think there's something very cathartic about seeing humans on soil again.

Also, if we insist on thinking about this with strict logic, they have the advantage over their ancestors that the Earth's atmosphere seems to be able to sustain life again. Plus, they may not have the knowledge, but remember there is an entire computer system on board the ship that contains a lot of the information about the human race and Earth.