28 Film Discussion Threads Later

[transmogrifier]

I don't know who that is. But I'm interested in finding out.

[Spinal]

I don't know who that is. But I'm interested in finding out.

http://en.wikipedia.org/wiki/Rip_Taylor

[transmogrifier]

He was born in the same year as the best Doctor Who, Tom Baker.

*ponders*

[Dead & Messed Up]

Agreed. Biggest surprise of 2007. I assumed I would hate both films, seeing as Kill Bill was so deathly dull in its magpie-art, and the fact that Rodriguez is Rodriguez. I'd buy them on DVD.

I can't say I agree. I thought both of them were really just leftovers from the two directors, indicative of their worst impulses and retaining very little of the "grindhouse" ideals to which they aspire.

It was a fun idea, and seeing it in the theater was kinda cool (especially the trailers), but I think the whole concept of Tarantino and Rodriguez combining forces to produce shlock was handled with brevity, wit, and energy aplenty in From Dusk Till Dawn.

[The Mike]

Man, just when I was getting used to this place, people start cuttin' on Rip Taylor. Not cool. :cry:

[Spinal]

Man, just when I was getting used to this place, people start cuttin' on Rip Taylor. Not cool. :cry:

I don't know what you mean. I love Rip Taylor.

[Ivan Drago]

I'll give a cookie to anyone who sees Fireproof. Just sayin' that right now.

[Morris Schæffer]

Agreed. Biggest surprise of 2007. I assumed I would hate both films, seeing as Kill Bill was so deathly dull in its magpie-art, and the fact that Rodriguez is Rodriguez. I'd buy them on DVD.

I recently bought both movies (2-disc special edition) so this is encouraging. I wonder about one thing. Will these allow me to see all 4 or 5 fake trailers?

[Winston*]

http://www.brandonbird.com/supper.jpg

[B-side]

Haha, awesome. But I might have to neg-rep you for stretching my page, you evil bastard.:twisted:

[Winston*]

Clint Eastwood gives a great performance in White Hunter, Black Heart, never seen him this animated before, took some getting used to.

[EyesWideOpen]

I'll give a cookie to anyone who sees Fireproof. Just sayin' that right now.

I'd rather spend money on a film i can mock then spend money on a film starring two actors way past their glory days who've become caricatures of themselves.

[Scar]

Clint Eastwood gives a great performance in White Hunter, Black Heart, never seen him this animated before, took some getting used to.

Love that movie. Especially when he tells that lady off at dinner.

[Grouchy]

There's something I don't get about that Last Supper. They're all James Woods, but Robocop is a Peter Weller. Right?

Sorry to spoil the fun.

[Qrazy]

There's something I don't get about that Last Supper. They're all James Woods, but Robocop is a Peter Weller. Right?

Sorry to spoil the fun.

Yeah that sort of baffled me as well.

[balmakboor]

I'll give a cookie to anyone who sees Fireproof. Just sayin' that right now.

I saw the trailer yesterday before Miracle at St. Anna. That tag line about not leaving anyone behind including your spouse made me throw up in my mouth. Can a metaphor be any more forced and idiotic?

[Raiders]

There's something I don't get about that Last Supper. They're all James Woods, but Robocop is a Peter Weller. Right?

Sorry to spoil the fun.

There's an amazing number of these Last Supper parodies/re-imaginings floating out there. Here is a cool site that lists all those found online:

http://culturepopped.blogspot.com/2007/04/suddenly-last-supper.html

[Derek]

I saw the trailer yesterday before Miracle at St. Anna. That tag line about not leaving anyone behind including your spouse made me throw up in my mouth. Can a metaphor be any more forced and idiotic?

Yeesh, I just watched it and it's worse than I could've imagined. "Marriages are fireproof. Sometimes you get burned." :lol:

[Sven]

There's an amazing number of these Last Supper parodies/re-imaginings floating out there. Here is a cool site that lists all those found online:

http://culturepopped.blogspot.com/2007/04/suddenly-last-supper.html

The Muppet one is unquestionably the winner, although I'm very fond of the Popeye one, as well as the casino one.

[Winston*]

There's something I don't get about that Last Supper. They're all James Woods, but Robocop is a Peter Weller. Right?

Sorry to spoil the fun.

The caption for the painting on the artist's site makes it clear he's well aware that James Woods didn't play Robocop.

[Scar]

Just watched Last Winter.....

These words spring to mind: Heavy Handed and CRAP.

EDIT: I'll give it credit for one thing, though. Makes me want to go watch The Thing again ASAP.

[MadMan]

There's an amazing number of these Last Supper parodies/re-imaginings floating out there. Here is a cool site that lists all those found online:

http://culturepopped.blogspot.com/2007/04/suddenly-last-supper.htmlThose are pretty awesome. Bookmarked.

In two days I shall begin my mini-October horror-a-thon. Should be good stuff.

[origami_mustache]

M. Hullot's Holiday (Jacques Tati, 1953)

http://3.bp.blogspot.com/_uhibHJyfDKk/SNb2h4gjuGI/AAAAAAAAB08/2WFPwGtD21M/s320/hulot2.jpg

I have often seen Tati be compared to the films of Chaplin and Keaton most likely because he directed and starred in them and due to the fact that they are comedies reliant on a lot of visual gags. Many have said Tati's films are almost like a silent comedy, but this is where I disagree. Although there is very little dialogue in his films, and what dialogue there is is hardly relevant to the story, I would say the sound design is one of the greatest aspects of his films, especially considering the period in which he was working in. M. Hulot's Holiday is a film that relies heavily on sound gags and motifs such as the creaking door, the bouncing ping pong ball, and the sputtering car. Sound is an important psychological element in film as well. The constant walla on the beach and in the resort just adds so much. My favorite gag in this film has to be where he accidentally pulls into the cemetery during a funeral and presents his spare tire covered with leaves as a wreath and then shakes the hands of the family while laughing because of an elderly woman's feathered hat tickling his face.


Mon oncle (Jacques Tati, 1958)

http://farm3.static.flickr.com/2047/1896291479_474e51fda5.jpg?v=0

Tati's second adventure as M. Hulot is a lot more satirical and a little less charming as he tackles modernity, superficiality, and consumerism as a status symbol. Mon Oncle is another comedic masterpiece, however I didn't like it quite much as Playtime or M. Hulot's Holiday due to the repetition and predictability of a lot of the gags. The opening credits might be the best I've seen though and once again sound design plays an enormous role. I love the fact that each character has distinctly different footstep motifs.

[Derek]

Although there is very little dialogue in his films, and what dialogue there is is hardly relevant to the story, I would say the sound design is one of the greatest aspects of his films, especially considering the period in which he was working in. M. Hulot's Holiday is a film that relies heavily on sound gags and motifs such as the creaking door, the bouncing ping pong ball, and the sputtering car. Sound is an important psychological element in film as well.

Totally. Tati makes amazing use of sound. The bee gag in Jour de Fete, the plastic chairs, clicking dress shoes and about 1,000 others in Playtime, the timing of the sounds of passing cars in Trafic as Tati struggles to catch a ride...all masterful.

EDIT: Also, while I agree the dialogue itself is hardly crucial, he does often place it in the background to perfect effect, particularly some of the comments of the American tourists in Playtime.

[Philosophe_rouge]

I'm pretty meh on Fischer's Dracula (1958), while infinetely more competent than Browning's, it doesn't really offer anything particularly new or interesting to an unfortunately tired story. Though it doesn't leave much opportunity to move beyond it's tight script and faithfulness to the original story, I do feel it squandered it's opportunity for exploring sexuality. The foundations are there, but they're just left largely underdeveloped. That being said, I do like the sets and the performances are quite good. There are moments that trascend, though they are few and far in between. It's not a bad film by any means, just not particularly relevant to my tastes.

[soitgoes...]

I watched one the worst movies I have ever seen. The Giant Claw. Featuring this badass monster:

http://i233.photobucket.com/albums/ee171/soitgoes22/77507192sk6.jpg

Hilariously bad.

[Dead & Messed Up]

I'm pretty meh on Fischer's Dracula (1958), while infinetely more competent than Browning's, it doesn't really offer anything particularly new or interesting to an unfortunately tired story. Though it doesn't leave much opportunity to move beyond it's tight script and faithfulness to the original story, I do feel it squandered it's opportunity for exploring sexuality. The foundations are there, but they're just left largely underdeveloped. That being said, I do like the sets and the performances are quite good. There are moments that trascend, though they are few and far in between. It's not a bad film by any means, just not particularly relevant to my tastes.

I really respond to its energy, and its devil-may-care adaptation of the original story. At that point, it was probably clear to anyone mounting a film version that the novel is damn near impossible to adapt. So Fisher said "Fuck it" and went and did his own thing. It's not a deep film, and I would agree that it doesn't explore the implications of vampirism in the way that others do (especially Martin, Habit).

I haven't seen all the major vampire films, but I've seen a good amount, and I haven't seen anything that bests the original Nosferatu.

[Sycophant]

Watched Cronenberg's The Fly again this weekend. Still amazing.

[balmakboor]

M. Hullot's Holiday (Jacques Tati, 1953)

http://3.bp.blogspot.com/_uhibHJyfDKk/SNb2h4gjuGI/AAAAAAAAB08/2WFPwGtD21M/s320/hulot2.jpg

I have often seen Tati be compared to the films of Chaplin and Keaton most likely because he directed and starred in them and due to the fact that they are comedies reliant on a lot of visual gags. Many have said Tati's films are almost like a silent comedy, but this is where I disagree. Although there is very little dialogue in his films, and what dialogue there is is hardly relevant to the story, I would say the sound design is one of the greatest aspects of his films, especially considering the period in which he was working in. M. Hulot's Holiday is a film that relies heavily on sound gags and motifs such as the creaking door, the bouncing ping pong ball, and the sputtering car. Sound is an important psychological element in film as well. The constant walla on the beach and in the resort just adds so much. My favorite gag in this film has to be where he accidentally pulls into the cemetery during a funeral and presents his spare tire covered with leaves as a wreath and then shakes the hands of the family while laughing because of an elderly woman's feathered hat tickling his face.


Mon oncle (Jacques Tati, 1958)

http://farm3.static.flickr.com/2047/1896291479_474e51fda5.jpg?v=0

Tati's second adventure as M. Hulot is a lot more satirical and a little less charming as he tackles modernity, superficiality, and consumerism as a status symbol. Mon Oncle is another comedic masterpiece, however I didn't like it quite much as Playtime or M. Hulot's Holiday due to the repetition and predictability of a lot of the gags. The opening credits might be the best I've seen though and once again sound design plays an enormous role. I love the fact that each character has distinctly different footstep motifs.

I see you are well on your way to agreeing with me when I say that Tati's Hulot films are one of cinema's truly great achievements. I love all four pretty much equally, though each for different reasons.

[Boner M]

Just Before Nightfall suffers from a bit of sloppiness (esp. those ugly, graceless zooms that Chabrol is so unfortunately fond of), but the moral complexity of the story and characters makes it completely compelling. I think Chabrol is probably the least formally exciting filmmaker that I've ever considered a 'favorite'; there's just something so addictive about his endless variations on a theme, not to mention his wonderful performers (Stephane Audran is fast becoming one of my favorite actresses).

[Grouchy]

I'm pretty meh on Fischer's Dracula (1958), while infinetely more competent than Browning's, it doesn't really offer anything particularly new or interesting to an unfortunately tired story. Though it doesn't leave much opportunity to move beyond it's tight script and faithfulness to the original story, I do feel it squandered it's opportunity for exploring sexuality. The foundations are there, but they're just left largely underdeveloped. That being said, I do like the sets and the performances are quite good. There are moments that trascend, though they are few and far in between. It's not a bad film by any means, just not particularly relevant to my tastes.
It's, in fact, a very unfaithful adaptation of the original story. Harker and Van Helsing are spies on a quest to kill Dracula instead of entering the story as victims of his plan. They never even go to London. I think Fisher was wise to the fact that his audience already knew the story and decided to skip the introductions - besides budget concerns, of course. I disagree with you that the film doesn't explore sexuality enough, I'd say it's Lee's performance and the frequent religious images that convey that sex vs. civilization debate that was a key part of Stoker's novel.

But, if you really want to see more sexual Dracula/Fisher films, just check out all the sequels. Horror of Dracula came out as early as 1958, so obviously they were a lot more limited.

[Philosophe_rouge]

I really respond to its energy, and its devil-may-care adaptation of the original story. At that point, it was probably clear to anyone mounting a film version that the novel is damn near impossible to adapt. So Fisher said "Fuck it" and went and did his own thing. It's not a deep film, and I would agree that it doesn't explore the implications of vampirism in the way that others do (especially Martin, Habit).

I haven't seen all the major vampire films, but I've seen a good amount, and I haven't seen anything that bests the original Nosferatu.
I realise there were many liberties taken with the original novel, but at the same time, it feels faithful in "spirit". Maybe I'm just being weird :p I don't think it needed to really explore the implications of vampirism necessarily, but for me at least, it was missing that extra edge to really sustain my interest. It seems like a film I would have loved as a kid though, it does have a fun sort of energy.

I still think Herzog's Nosferatu is the best, with Murnau's close behind.

[Philosophe_rouge]

It's, in fact, a very unfaithful adaptation of the original story. Harker and Van Helsing are spies on a quest to kill Dracula instead of entering the story as victims of his plan. They never even go to London. I think Fisher was wise to the fact that his audience already knew the story and decided to skip the introductions - besides budget concerns, of course. I disagree with you that the film doesn't explore sexuality enough, I'd say it's Lee's performance and the frequent religious images that convey that sex vs. civilization debate that was a key part of Stoker's novel.

But, if you really want to see more sexual Dracula/Fisher films, just check out all the sequels. Horror of Dracula came out as early as 1958, so obviously they were a lot more limited.
I actually realise this difference from the original, maybe faithful was the wrong word to choose. It feels faithful, perhaps because it maintains the rhythm in terms of acts relating to location. I don't think not going to London effects the film, because for some reason they seem to be following the geographic path of Nosferatu rather than the novel. I'm probably just entirely wrong in saying faithful... yes. I will agree, skipping most of the exposition was a VERY good idea.

Maybe I was just being close minded, though I'm usually pretty nifty at picking these things up. It's certainly there, but again I'm not sure what new ideas are brought to the table. Obviously the 1958 date does hamper the film in some ways, but I don't think it's a fair excuse as many films made during the same time, or just a few years before in both Hollywood and England were able to channel into effective sexual tension that I felt was mostly missing. It could be, for whatever reason, I just failed to respond to it. I can't deny that Lee was sexy, his performance is quite excellent despite the limitations.

Are there any in particular you can recommend? Or Hammer films in general?

[Ezee E]

Thanks Netflix.

Bigger Stronger Faster
Iron Man
Forgetting Sarah Marshall

all arriving today. That never happens with new releases.

[Grouchy]

Are there any in particular you can recommend? Or Hammer films in general?
Dracula: Prince of Darkness is perhaps the best in terms of its imagery and direction. The rest is only good in moments, although I've heard great praise for Brides of Dracula, the only one I haven't seen yet and it doesn't star the Count, only Van Helsing and the brides. Dracula A.D. 1972 is a very funny, "cool" update, albeit very cheesy. Satanic Rites of Dracula is another update, only ten thousand times worse.

As for other Hammer films worth seeing, I wouldn't know where to begin. Just to get you started:

The Curse of Frankenstein
... and Frankenstein created woman
Frankenstein must be destroyed
The Two Faces of Dr. Jekyll
The Curse of the Werewolf
The Vampire Lovers (this one has a lot of sex alright)
The Gorgon
The Devil Rides Out

I have a soft spot for Frankenstein and the Monster from Hell, because it's absolutely insane, sadistic and it has one of the ugliest monster make-up jobs ever. I feel like warning you that most regular folks think it's a piece of shit. I think Hammer had the right idea about making their Frankenstein series about the Dr. and not the creature.

Not from Hammer but from the competition, Amicus Films, you just HAVE to see Horror Express.

[Grouchy]

Marx Brothers. Monkey Business.

"And now I'm going back into the closet, where men are empty overcoats".
-- Groucho Marx

Great times.

[D_Davis]

I am not as versed in Hammer Horror as I should be (thanks for those recs Grouchy), but one film I can totally vouch for is A Plague of Zombies. It's an old school, pre-Romero-era zombie film, and so it is much different as it deals with an older mythos. The film is in B&W, and contains some of the most haunting atmosphere I've ever seen. It is a great film, classy, and extremely well made.

[Kurosawa Fan]

Watched The Long, Hot Summer. Everything was going swimmingly, I was getting ready to log on and rave about it, until that putrid finale. Very disappointing. Still, a solid movie, and actually one of my favorite Newman performances (*sniff*). He just dominated that film. Orson looked like a shadow in comparison.

[Yxklyx]

Some pages back someone mentioned Dracula and Frankenstein in the same vein. No no no. While Dracula is fairly mediocre, Frankenstein is quite good. No one mentioned Dreyer's Vampyr - excellently creepy film.

[Grouchy]

I am not as versed in Hammer Horror as I should be (thanks for those recs Grouchy), but one film I can totally vouch for is A Plague of Zombies. It's an old school, pre-Romero-era zombie film, and so it is much different as it deals with an older mythos. The film is in B&W, and contains some of the most haunting atmosphere I've ever seen. It is a great film, classy, and extremely well made.
Well, that one is totally new to me. I'll have to track it down now.

Just goes to show how diverse Hammer Films was. Going outside of Horror, there are a lot of film-noirs and psychological thrillers by the company I haven't even touched. Haven't seen any Quatermass films, either.

[D_Davis]

Well, that one is totally new to me. I'll have to track it down now.

Just goes to show how diverse Hammer Films was. Going outside of Horror, there are a lot of film-noirs and psychological thrillers by the company I haven't even touched. Haven't seen any Quatermass films, either.

Like their Eastern brothers, The Shaw Brothers, Hammer Studios made all kinds of films, and one could spend a great deal of time digesting everything they had to offer.

I keep saying that this will be the year I'll finally get into the Hammer films, I need to get on that!

[Derek]

Brief thoughts on some recent viewings...

The Tall Target - Taut, tense film about a little-known assassination attempt of Lincoln shortly before his inauguration (although the screenwriters took more than a fair share of liberties in expanding on the few facts out there). What's strange here is that Mann is far more interested in the detective's (oddly enough named John Kennedy) pursuit of truth than the seemingly complex plot to set up the shooting. Set mostly on a train, Mann makes wonderful use of confined space to heighten the suspense and the shifting alignments as intentions are slowly revealed along with the intricacies of the plan Kennedy is unraveling. It's short, coming it an a mere 78 minutes, but Mann shows incredible restraint and patience by allowing everything to unfold at a slow-burn giving each moment an air of suspense and importance. Every minute of this baby counts.

Three on a Couch - My first multi-character Lewis film and his three-headed beast of ladies men, all characters within the main character (a hokey, down-home cowboy, an effeminate, nerdy zoologist and a smooth-talking health nut) work in near-perfect tandem with Janet Leigh's psychologist. The film is slightly tainted by the dated jabs at modern psychology, but the point that attempts to take something as wonderfully complex and enigmatic as the human mind and organize and compartmentalize it are hopeless plays out so beautifully and humorously in the final party scene that it's easy to overlook the flaw. Lewis's spastic, hammy acting is mostly hilarious (see: Rutherford and his mother in the apartment for an inspired comic sequence) and tempered by his mostly low-key protagonist (when he's himself obviously...), his straight-laced friend, Dr. Mizer, and Janet Leigh as nothing more than a romantic attachment. The Jer's direction is most assured and here he's using more intimate cinematography, as opposed to the Brechtian devices found in The Ladies Man and The Patsy, with close-ups and impressive blocking to create an emotionally dense core relationship to which the absurd sub-relationships are anchored too. The final party, as mentioned before, is particular impressive - Chris's plan slowly falling to pieces until every piece of his now fragmented personality is thrown into a blender and he's left trapped inside, forced switch personas on a whim all when he's so close to escape without Elizabeth knowing he's the one who freed her from her obligations. It's a remarkable sequence that highlights his skill as a comedian and as a director in full control of his bold vision.

Shivers - Like most of the Cronenberg's I'm not too big on, this one looks great on paper but leaves me cold in execution. It's decidedly conservative ideology is offputting and while other Cronenberg "body" films could fit that description, this one is most explicit in its portrayal of the dangers of sex, as the virus literally transforms into an alienlike being that spreads throughout the isolated apartment building until it turns everyone into mindless, horny zombies. Aside from a few suspenseful moments and a great final scene, there's not much to recommend in this rough-around-the-edges first feature unless you're a huge fan of the director.

[Raiders]

The Tall Target - Taut, tense film about a little-known assassination attempt of Lincoln shortly before his inauguration (although the screenwriters took more than a fair share of liberties in expanding on the few facts out there). What's strange here is that Mann is far more interested in the detective's (oddly enough named John Kennedy) pursuit of truth than the seemingly complex plot to set up the shooting. Set mostly on a train, Mann makes wonderful use of confined space to heighten the suspense and the shifting alignments as intentions are slowly revealed along with the intricacies of the plan Kennedy is unraveling. It's short, coming it an a mere 78 minutes, but Mann shows incredible restraint and patience by allowing everything to unfold at a slow-burn giving each moment an air of suspense and importance. Every minute of this baby counts.

Exactly. This film is pure awesomesauce. Why the low rating, then?

[SirNewt]

I see you are well on your way to agreeing with me when I say that Tati's Hulot films are one of cinema's truly great achievements. I love all four pretty much equally, though each for different reasons.

I've only seen Holiday and Oncle but I have to say I in no way consider Oncle inferior. I actually thought the shots led into each other more naturally than in Holiday.

On the subject of audio, I think the comparison to Chaplin is pretty relevant to most people as they know Chaplin through City Lights, Modern Times, and the reissue of the Gold Rush. In those three, of course, audio is key.

[Odile v.2]

I have no idea what to say. I'm back, if anyone remembers me.

Might as well jump right in with some small thoughts on The American Friend (Wim Wenders, 1977)..A very strange take on the 'buddy' film and the detective story. What initially impressed me was how easily the dialogue switches between English and German and how little it effects the flow of the film. A lot like the switching of languages, The American Friend also has some very strange and rapid tonal shifts from action to total silence that suprisingly don't effect the overall tone of the film. Like most of Wender's work, the film deals with art in one way or another and also how curious human relations can be. It's not my favorite of his work, but it's very interesting. I'm still thinking it over, a lot was going on.

[Yxklyx]

Who would have thought that Stanley Ridges would steal the show from both Karloff and Lugosi in 1940's Black Friday (d. Arthur Lobin). This was a very entertaining little yarn about a man (Ridges) who has a partial brain transplant so that his two personalities alternate between mild-mannered college professor and hardened criminal. The performance is nothing short of outstanding - yet hilarious at the same time with each transformation accompanied by a bombastic 3 note musical fanfare. 8/10

On the same DVD is a decent Sci-Fi flick called The Invisible Ray also starring Karloff and Lugosi. It's part of a Lugosi collection but his roles are rather minor in both films.

[Ivan Drago]

I saw the trailer yesterday before Miracle at St. Anna. That tag line about not leaving anyone behind including your spouse made me throw up in my mouth. Can a metaphor be any more forced and idiotic?

It's basically a Lifetime movie. Except some idiot thought it'd be a good idea to release it in theaters. The studio that released it will probably go down in flames.

[The Mike]

Who would have thought that Stanley Ridges would steal the show from both Karloff and Lugosi in 1940's Black Friday (d. Arthur Lobin). This was a very entertaining little yarn about a man (Ridges) who has a partial brain transplant so that his two personalities alternate between mild-mannered college professor and hardened criminal. The performance is nothing short of outstanding - yet hilarious at the same time with each transformation accompanied by a bombastic 3 note musical fanfare. 8/10

Agreed on all accounts.

[Boner M]

Bleak Moments - *squirm*

[Derek]

It's basically a Lifetime movie. Except some idiot thought it'd be a good idea to release it in theaters. The studio that released it will probably go down in flames.

Um, it opened at #4 and was made on a $500,000 budget. What morons.

[Philosophe_rouge]

Mario Bava's Kill Baby Kill (1966) is honestly one of the scariest films I've ever seen.It is an unnerving journey into superstition and the unexplained. A doctor is invited to a small village to perform an autopsy on a woman who died under mysterious circomstances. Though his findings are inconclusive, he finds himself caught in almost an ancient world, where curses exist and fear rules all. What really propels the film is the exciting and offbeat stylish touch. Even before the mysterious nature of the village is revealed, the unconventional colour palette, the strange set design, and the use of an ever moving camera contributes to an increasing sense of displacement in the viewer. Scenes are even edited in a way that further contributes to the strange and uncomfortable atmosphere. I don't even know what else to say, all I know is, I want to sleep with the lights on and my door locked.

[Sven]

Bleak Moments - *squirm*

Watch A Sense of History already!!

Despite the astronomical squirm element, something with which I am more often than not excessively combative, I find that Bleak Moments is one of Leigh's more resonant and successful films. I was fascinated all the way through. Devastating picture.

[Boner M]

Watch A Sense of History already!!

Despite the astronomical squirm element, something with which I am more often than not excessively combative, I find that Bleak Moments is one of Leigh's more resonant and successful films. I was fascinated all the way through. Devastating picture.
I definitely agree, though I thought the much-cited 'sherry and coffee' sequence lost its effectiveness as it went on; I could never shake off the feeling of watching a great big actor's workshop-oriented centrepiece, and thus it felt inorganic amidst the rest of the film. Still pretty great overall, and I might appreciate it more when I watch it on a better format (not the beaten-up VHS copy from my library).

Will watch ASoH soon!

[soitgoes...]

You know, when I signed on tonight, I was like, I'm tired of these Tati discussions, Mike Leigh isn't quite deep enough for my tastes. What I want to discuss is porn. As luck would have it, druttyjit1 registered right after me logging on, and made a compelling argument why porn should be discuss along side some of these other greats. Thank you druttyjit1! I didn't know that I could find porn on the internets. I thought it was exclusive to VHS tapes.

[Wryan]

Goddamn Gosford Park was about five times better than the awesomeness I remembered. Kelly MacDonald was perfect (this and NCFOM are a double-whammy of excellence for her). She needs more major roles.

[Ezee E]

You know, when I signed on tonight, I was like, I'm tired of these Tati discussions, Mike Leigh isn't quite deep enough for my tastes. What I want to discuss is porn. As luck would have it, druttyjit1 registered right after me logging on, and made a compelling argument why porn should be discuss along side some of these other greats. Thank you druttyjit1! I didn't know that I could find porn on the internets. I thought it was exclusive to VHS tapes.
Somewhere on this site it was discussed for about a page or so. It was fascinating to read.

[Saya]

Interesting article from Gizmodo that talks about Criterion's shift into HD (http://gizmodo.com/5052324/how-criterion-hones-its-restoration-magic-for-hd) and their consideration of digital downloads (http://gizmodo.com/5056297/criterion-considering-movie-downloads).


Criterion is releasing its first Blu-ray films in November, starting with The Third Man, The Man Who Fell to Earth, The Last Emperor, Bottle Rocket and Chungking Express. They plan to release two films a month in Blu-ray next year, with HD releases ramping up as sales shift from DVD to Blu-ray.

[Hugh_Grant]

Goddamn Gosford Park was about five times better than the awesomeness I remembered. Kelly MacDonald was perfect (this and NCFOM are a double-whammy of excellence for her). She needs more major roles.
I'm currently watching State of Play, and she's great in that as well.

[MadMan]

Some pages back someone mentioned Dracula and Frankenstein in the same vein. No no no. While Dracula is fairly mediocre, Frankenstein is quite good. No one mentioned Dreyer's Vampyr - excellently creepy film.I'm eagerly looking forward to watching Vampyr this month on TCM. Since the first time I saw the film I was watching a really old and poor copy of it on a local cable channel. Very creepy flick, and one day maybe my review of it will be posted. I seem to write a lot on paper, more so than computer, actually. I find it more enjoyable and easier, although it does result in me having a very large back load of material.

Oh and yesterday I decided to rent the following for my planned Horrorfest 2008:

*The Screwfly Solution(One of the Master of Horrors segments, directed by one of my favorite directors, Joe Dante)
*Count Yorga: Vampire(Yey for delicious vampire camp)
*Versus(Every since I last saw it, I've desired a second viewing. Zombies with guns!)
*The Omen(Its the original, and its also the latest collectors or special edition. I will compare/contrast it with the remake later this month when I view that one, also)

I think this month will feature me diving mostly into 80s-00s horror, if only because after this I will try to get my hands on more 60s horror such as Bava and of course Argento as well.

[Russ]

I think this month will feature me diving mostly into 80s-00s horror, if only because after this I will try to get my hands on more 60s horror such as Bava and of course Argento as well.
If you decide to dip into the 70's, (if you haven't seen it) be sure to track down the 1975 TV-movie Trilogy of Terror (it's on DVD), then skip to the last story, Prey. It's the one with Karen Black being terrorized by a Zuni fetish doll. It should be a staple for anyone's Halloween viewing. You won't regret it.

[MadMan]

If you decide to dip into the 70's, (if you haven't seen it) be sure to track down the 1975 TV-movie Trilogy of Terror (it's on DVD), then skip to the last story, Prey. It's the one with Karen Black being terrorized by a Zuni fetish doll. It should be a staple for anyone's Halloween viewing. You won't regret it.Yeah I've heard of that one, and its been on my radar for some time. I've seen the ending of it on YouTube, and that final scene is pretty damn creepy.

[SirNewt]

I just watched Bucaneer Bunny and I have to say Riaders, that the cannon gag is hilarious. I probably haven't seen this short in ten years but I remember dying when I first saw this gag back then too.

[Ezee E]

Whoa, the Netflix Watch Now feature just got a whole lot more movies. Good ones no less.

[Rowland]

Damn, I wish I had a PC powerful enough to handle the Watch Now feature.

[Dead & Messed Up]

Whoa, the Netflix Watch Now feature just got a whole lot more movies. Good ones no less.

Yep. I just watched Vacancy with it. Fun movie.

[B-side]

I was actually pretty underwhelmed by Vampyr. Just wasn't particularly engaging or haunting, I found. Hm.

[Ezee E]

Yep. I just watched Vacancy with it. Fun movie.
Enchanted for me.

[Philosophe_rouge]

Saw Shanghai Express on the big screen today, though it turns out it's probably my least favourite of the Sternberg/Dietrich collabs I've seen so far, it's still incredibly beautiful. It might also be where Dietrich looks her very best, the film is just an incredible visual treat. I think just watching Dietrich the whole film would have been wonderful, if she was alone, or nearly alone in every shot it could have been perfect.

http://i282.photobucket.com/albums/kk248/zombierougegrr/Annex-DietrichMarleneShanghaiExp-2.jpg

http://i282.photobucket.com/albums/kk248/zombierougegrr/Annex-DietrichMarleneShanghaiExp-1.jpg

http://i282.photobucket.com/albums/kk248/zombierougegrr/Annex-DietrichMarleneShanghaiExpres. jpg

[SirNewt]

Whoa, the Netflix Watch Now feature just got a whole lot more movies. Good ones no less.

I think they pulled some stuff too, though. Vertov's "Man with a Movie Camera" is no longer available.

EDIT: Same goes for "3 Women", "Broken Blossoms", and others.

[soitgoes...]

Weekend options:

China (Antonioni)
Prison (Bergman)
The Tracker
Don't Torture a Duckling
Paranoid Park
The Strange Vice of Mrs. Wardh

[origami_mustache]

weekend:

A Fist Full of Dollars
For a Few More Dollars
The Good, The Bad, and The Ugly
and maybe Blindness

[Watashi]

Weekend:

Choke
Religulous
Appaloosa

[Morris Schæffer]

Weekend:

Maybe Eagle Eye or Tropic Thunder.

[Boner M]

Weekend:

Bay of Blood
Hatchet For the Honeymoon
L'Enfance Nue
Boarding Gate
Parade
Repast
Two English Girls

[Raiders]

Weekend:

Blindness
Appaloosa
Little Odessa
Fata Morgana

[Boner M]

Little Odessa
Awesome. If it weren't for the entire population of France, James Gray would be my pick for the best hidden-in-plain-sight auteur working today.

[Raiders]

Awesome. If it weren't for the entire population of France, James Gray would be my pick for the best hidden-in-plain-sight auteur working today.

Yeah, I saw The Yards a couple weeks ago and though it was a little weaker overall than the excellent We Own the Night, it definitely displayed a serious directing talent.

[Boner M]

Yeah, I saw The Yards a couple weeks ago and though it was a little weaker overall than the excellent We Own the Night, it definitely displayed a serious directing talent.
I think all of his films suffer from rather schematic plotting, but Little Odessa less so than his subsequent two. He's also surely one of the best actor's directors working today; Roth and Furlong are exceptional in particular.

[Yxklyx]

Weekend:

Terror by Night
The Mummy's Hand
The Mummy's Tomb

Hopefully:

Tarantula
The Mole People
Revenge of Frankenstein

[Grouchy]

*Count Yorga: Vampire(Yey for delicious vampire camp)
*Versus(Every since I last saw it, I've desired a second viewing. Zombies with guns!)
*The Omen(Its the original, and its also the latest collectors or special edition. I will compare/contrast it with the remake later this month when I view that one, also)
I feel like warning you that Count Yorga is a fucking abomination. It's camp, sure, but I don't know if you'll get many laughs out of it. Not a big fan of Omen either, but it's worth watching, specially for Gregory Peck's performance. I love Versus, but then again you've already basked in that wonderful stuff.

I second the Trilogy of Terror recommendation.

[SirNewt]

weekend:

A Fist Full of Dollars
For a Few More Dollars
The Good, The Bad, and The Ugly


This is pretty much your Saturday right here. You won't be disappointed though.

[Ezee E]

Weekend:
Forgetting Sarah Marshall
Bigger, Stronger, Faster*

The Lucky Ones
Eagle Eye
Blindness

[Sycophant]

Weekend:
Religulous
Miracle at St. Anna
Man on Wire

And I think I might feel like rewatching some Woody Allen or Takeshi Kitano.

[Spinal]

The theater just down the street is playing Burn After Reading now, so if I don't see it this weekend, I can be considered a failure.

[MadMan]

The theater just down the street is playing Burn After Reading now, so if I don't see it this weekend, I can be considered a failure.I think you would really like it Spinal. I sense it might be up your alley. Although I've never stopped to think about that statement before. What alley? Where is the alley? Why would it be up your alley? Hmm....


I feel like warning you that Count Yorga is a fucking abomination. It's camp, sure, but I don't know if you'll get many laughs out of it. Not a big fan of Omen either, but it's worth watching, specially for Gregory Peck's performance. I love Versus, but then again you've already basked in that wonderful stuff.

I second the Trilogy of Terror recommendation.I'm expecting with Yorga a pretty campy, cheesy but enjoyable film. Nothing more, nothing less. As for "Omen," I have heard good things about Peck's performance. I'm due for seeing more of his work. I'm sure if I owned "Versus" it would probably end up being one of my favorite action films.

I already posted what I'm going to be viewing this weekend.

[Rowland]

Weekend:
Rogue
The Prestige
Premonition
New Police Story
Mindhunters

[The Mike]

Weekend:
Blindness
Appaloosa
Dead & Buried
Killer Tomatoes Eat France!
The Return of Doctor X
L.A. Confidential

[Philosophe_rouge]

Weekend:
Blindness
Appaloosa
Blood of Dracula
Suspiria
Black Sunday

Possibly some other stuff.

[Grouchy]

I think you would really like it Spinal. I sense it might be up your alley. Although I've never stopped to think about that statement before. What alley? Where is the alley? Why would it be up your alley? Hmm....
I always think of anal rape when someone uses that sentence.

[SirNewt]

Weekend:

The Return of Doctor X


Is this on DVD?

[Winston*]

Year of the Dog
Shooting Dogs
District B-13

[Rowland]

Pathology (Marc Schoelermann, 2008) 39

Hideously ugly in an over-produced-sans-wit-or-invention kinda way, this tasteless romp is lumbering even at a mere 93 minutes. The director and writers have devised a narrative devoid of rooting interest, containing a host of unlikeable, barely-written characters acting unbelievably in an environment so lacking in consequence as to sap the proceedings of much potential suspense. There are a few blatantly exploitative kicks to be had, and even less fleeting moments clever enough so that one wishes those involved in this mess had more ambition. For the most part though, this remains a distasteful, half-formed slice of a pseudo-griminess.

Cassandra's Dream (Woody Allen, 2008) 45

There's a tossed-off quality here that is oddly refreshing in an age where over-produced histrionics dominate the mainstream. Many scenes are comprised of a single master shot, free from additional coverage, close-ups, shot/reverse shot, and what have you, which is indicative of confidence or, just as likely, laziness on Allen's part. Nevertheless, this quality, when coupled with the operatic score courtesy of Philip Glass, makes the movie oddly watchable, if also occasionally ramshackle in feel and appearance. The actors do passable work, but unfortunately for them the writing isn't terribly witty or insightful, barring a few memorably human moments, and Allen doesn't do enough with the material and the morality play it sketches to provoke much thought or interest, though I did get the impression that his class consciousness was genuine. Truth be told, I nearly forgot I watched this the very next day. The climax, at which point I'd already lost most interest, is a clunky fizzle as well.

Billy Madison (Tamra Davis, 1995) 52

Sandler's persona is so abrasive in this early star vehicle that many scenes are borderline-unwatchable, as he presses his obnoxious man-child schtick too aggressively for even a down-is-up Dadaist defense to suffice. Nevertheless, there is enough surreal absurdity and amusingly light-hearted buffoonishness here to render the whole refreshingly unhinged and consistently engaging.

Thoughts on Redbelt to come. Preview: Awesome

[balmakboor]

Weekend (starting tonite):

Days of Heaven on the big screen tonite
Cool Hand Luke
Appaloosa or Blindness

Was going to watch Evil Dead Trap but my free "4 out" plan ended at Netflix. I'll have to send something back first.

On another note, I rewatched Paths of Glory last night. Wow! A lot better than I remembered and I liked it a lot before. Interesting how much it resembles Barry Lyndon and Eyes Wide Shut. I'd only previously noticed the obvious resemblances to Dr. Strangelove and Full Metal Jacket.

[Derek]

Definitely this weekend:

Happy-Go-Lucky

Maybe:

Appaloosa
Blindness
Retribution
or none of those and something else instead

[Kurious Jorge v3.1]

weekend:

Story of Adele H.
Judex (Franju)

possibly others but Cubs games on Sat/Sun will take up most free time.

[Winston*]

Mindhunters

What circumstances have made you make the decision to watch this horrible movie a second time through?

[Rowland]

What circumstances have made you make the decision to watch this horrible movie a second time through?I haven't watched it in a few years, and I've chuckled several times over the past few days while recollecting its finer moments. Another viewing will clarify whether or not it qualifies as one of my favorite schlocky guilty pleasures of the oughts, and I think my girlfriend will like it. School and financial difficulties have been stressful on us lately, so I was looking for something silly and fun.

[Stay Puft]

Weekend:
Oh! Soo-jung (aka. Virgin Stripped Bare by Her Bachelors)

Well, assuming I can find time...

[Scar]

New TV weekend, so probaby:

Iron Man
Transformers
No Country For Old Men

All Blu-Ray

[Ezee E]

New TV weekend, so probaby:

Iron Man
Transformers
No Country For Old Men

All Blu-Ray
Bastard. I gotta get me one of those.

[Boner M]

the writing isn't terribly witty or insightful
Really? I thought the part when the moody and ambitious actress says "I'm moody and ambitious" was tremendously insightful.

[NickGlass]

Weekend:
Oh! Soo-jung (aka. Virgin Stripped Bare by Her Bachelors)


I haven't seen that one, but I'll be checking out Hong Sang-soo's newest film, Night and Day, on Saturday. A relationship drama centered on a lonely student traveling around Europe and settling in Paris to study? It seems like a done deal for me.

[Bosco B Thug]

So who's seen Antonioni's Red Desert? My expectations were perhaps too high, but it definitely is his weakest film for me - the first of the five films I've seen of him I'd be very close to not recommending if Antonioni wasn't such a strong director. It's basically his first three film with Vitti (in somber, striking color, of course) but without the tight sense of structure that makes those films so gripping, and with dialogue more airy and broad.

[Ezee E]

Troy Duffy isn't just a crappy director, he's a crappy person as well, and the documentary Overnight pulls no punches when showing that. So rare is it that a person has such a great shot at fortune and directing movies. Is it bad to say that I enjoy seeing it all get stripped away? Probably, as it is tough seeing it wear on the decent people that surround him that could've succeeded as well.

[soitgoes...]

So has anyone seen Antonioni's China? It's a documentary on, wait for it... China. He made it in the early 70's just as the country was getting awkwardly comfortable with idea of opening itself up to the world. Apparently not enough for them to show it to their own people for over 30 years, but you know, baby steps and all that. Anyways I watched the first segment last night, and it was pretty interesting seeing a China that is quite removed from the one we see now. I look forward to seeing the rest of it later this evening.

[MacGuffin]

So has anyone seen Antonioni's China?

No, but I'd sure like to hear your thoughts on this if possible since I've kinda wanted to see it regardless of constant negative feedback:


Les Enfants terribles (Melville 50) - 5.5

[soitgoes...]

No, but I'd sure like to hear your thoughts on this if possible since I've kinda wanted to see it regardless of constant negative feedback:I completely was "out of the movie," if that makes sense. I was never drawn in to the world Cocteau envisioned. Maybe it was an off night for me, but the whole thing just seemed too disjointed. Having Cocteau writing the novel, screenplay and then narrating the film with Melville directing probably, just speculation on my part, led to some run ins to how it should be presented. It definitely didn't feel like a Melville film. I'm not sure if that is enough of an answer for your question, but that's all I got. My least favorite out of 7 I've seen from him.

If you're looking for early non-gangster Melville, check out the much better Le Silence de la Mer.

[MacGuffin]

I completely was "out of the movie," if that makes sense. I was never drawn in to the world Cocteau envisioned. Maybe it was an off night for me, but the whole thing just seemed too disjointed. Having Cocteau writing the novel, screenplay and then narrating the film with Melville directing probably, just speculation on my part, led to some run ins to how it should be presented. It definitely didn't feel like a Melville film. I'm not sure if that is enough of an answer for your question, but that's all I got. My least favorite out of 7 I've seen from him.

If you're looking for early non-gangster Melville, check out the much better Le Silence de la Mer.

I have only seen Le samouraï, but Melville is definitely someone I would like to see more movies by. He has an interesting style, and I would even like to see the aforementioned movie again eventually. I guess I always thought Les Enfants terribles would be like the snowball fight in The Blood of a Poet at full length, but with more cohesion of course.

[MadMan]

I always think of anal rape when someone uses that sentence.Makes sense, I guess :lol:

[Qrazy]

So who's seen Antonioni's Red Desert? My expectations were perhaps too high, but it definitely is his weakest film for me - the first of the five films I've seen of him I'd be very close to not recommending if Antonioni wasn't such a strong director. It's basically his first three film with Vitti (in somber, striking color, of course) but without the tight sense of structure that makes those films so gripping, and with dialogue more airy and broad.

Yeah I'm inclined to agree... although not as strongly. I liked it somewhat but I find it to be weaker than the loose trilogy, Passenger and Blow-up although for those two it's a bit of a toss up... still it's substantially better than the shitfest that is Zabriskie Point. I still have Il Grido to watch, I'll probably do that sometime this week. Israfel really loves Red Desert so there are big fans out there to be sure.

[Qrazy]

I have only seen Le samouraï, but Melville is definitely someone I would like to see more movies by. He has an interesting style, and I would even like to see the aforementioned movie again eventually. I guess I always thought Les Enfants terribles would be like the snowball fight in The Blood of a Poet at full length, but with more cohesion of course.

Les Enfants Terribles is one of the few mediocre to bad films I've seen from Melville. He's a consistently strong director. I have about three of his films left to see.

[MacGuffin]

Les Enfants Terribles is one of the few mediocre to bad films I've seen from Melville. He's a consistently strong director. I have about three of his films left to see.

Is the book by Jean Cocteau any good at all?

[Qrazy]

Is the book by Jean Cocteau any good at all?

Dunno but I would guess yes... but based on the screenplay I have my doubts... it's very self-indulgent. Still I have no first hand experience with it.

[soitgoes...]

I have only seen Le samouraï, but Melville is definitely someone I would like to see more movies by. He has an interesting style, and I would even like to see the aforementioned movie again eventually. I guess I always thought Les Enfants terribles would be like the snowball fight in The Blood of a Poet at full length, but with more cohesion of course.Basically if you've only seen one Melville film, and you would like to further explore his body of work, go for something else he has done. In addition to the one I already mentioned, Bob le flambeur, Le Doulos, Le Deuxième souffle, Army of Shadows, and Le Cercle rouge are all superior.

[Philosophe_rouge]

Blood for Dracula was an interesting little film. Both hilarious and disturbing, it certainly held my interest throughout. I'm still trying to put together exactly what I thought about it, but I think I liked it.

[SirNewt]

Basically if you've only seen one Melville film, and you would like to further explore his body of work, go for something else he has done. In addition to the one I already mentioned, Bob le flambeur, Le Doulos, Le Deuxième souffle, Army of Shadows, and Le Cercle rouge are all superior.

Going to have to concur on Les Enfants. Army of Shadows is amazing though and should be watched by all.

[Winston*]

First 25 minutes of District B-13 I was like "this is pretty awesome" and thought there would be a continuing escalation in awesome in the ensuing minutes rather than the sharp drop off in awesome that I received. What a letdown, screw this movie.

[MadMan]

If only more horror films were as entertaining as Versus is. There's not a great deal of horror elements aside from the zombies, but hey man its zombies with guns! Crazy kung fu action and wacky reincarnation. Warriors locked in eternal struggles. Idiots and badasses all mixed together. Good stuff. A bite gets lost in some of the silliness, but there's enough here to result in one of the coolest films of the decade. Not sure what the whole portal business is really about either, but in the scheme of things it wasn't really important.

[The Mike]

Is this on DVD?

Yup, but only in Warner's "Hollywood's Legends of Horror" box set (with the original, Karloff & Myrna Loy in The Mask of Fu Manchu, AND Peter Lorre in Mad Love!)

[Yxklyx]

Is the book by Jean Cocteau any good at all?

I liked it but I read it a long time ago. I have the film in my queue but don't care much for Melville so have put it off.

[Ezee E]

First 25 minutes of District B-13 I was like "this is pretty awesome" and thought there would be a continuing escalation in awesome in the ensuing minutes rather than the sharp drop off in awesome that I received. What a letdown, screw this movie.
I heard the final action sequence was pretty awesome.

[Kurious Jorge v3.1]

Blood for Dracula was an interesting little film. Both hilarious and disturbing, it certainly held my interest throughout. I'm still trying to put together exactly what I thought about it, but I think I liked it.

the soundtrack is certainly awesome.

[Winston*]

I heard the final action sequence was pretty awesome.
Eh.

[D_Davis]

First 25 minutes of District B-13 I was like "this is pretty awesome" and thought there would be a continuing escalation in awesome in the ensuing minutes rather than the sharp drop off in awesome that I received. What a letdown, screw this movie.

The first 25 minutes are awesome, then it just gets kind of stupid and, worst of all, boring.

[Ivan Drago]

Overnight (Tony Montana, 2003) / ***

:eek: :lol:

[Raiders]

:eek: :lol:

Yes, even Scarface makes movies.

[Sycophant]

Not sure of what to make of Bill Maher and Larry Charles's Religulous. I'm certainly the choir, and I think Maher has a very noble point that he's trying to make. Unfortunately, the middle meanders, despite a pretty good opening and beginning. The film takes some cheap shots it doesn't need to make its point, and perhaps undermines the film's intent.

In a lot of ways, it reminds me of Dawkins's The Root of All Evil? in structure, but much more flippant. I will admit that I found most of it hilarious (and they found two of the baddest ass Vatican Catholic priests one could ever hope to interview) and I'm always on Maher's side ultimately. However, in a very good opening sequence, set in a quaint and cramped truckers' chapel, Maher stands behind the pulpit and declares his gospel as "I don't know" and occasionally circles again around what could have and should probably have been its central theme--the problem of certainty.

I'd fault a lot of this with whoever it was who set the interview subjects and schedule. They often went with the flashiest and most immediately interesting religious subjects (they were trying to get the Pope or a Cardinal when they found their priests; they interview a rabbi who went to Ahmedinejad's Holocaust conference with whom Maher is too disgusted to finish the conversation). It's telling that the less controversial or showy the interview subject, the more interesting and challenging the sequence was.

But as an entertainment film, it didn't fail. I was thoroughly entertained (though as an ex-Mormon, it pained me to see that their choice of Mormon subjects wasn't either a believer or any of the more interesting ex-Mormon intellectuals, while some of their media depictions were taken from such ridiculous things as that silly anti-Mormon seventies cartoon sensation), as was the audience I saw it with.

[Thirdmango]

Just watched Pee Wee's Big Adventure for the first time since around the time it came out. Brought back a lot of good memories, and was just as creepy as I remember it being.

[EyesWideOpen]

District B-13 > Versus

[D_Davis]

Not sure of what to make of Bill Maher and Larry Charles's Religulous. I'm certainly the choir, and I think Maher has a very noble point that he's trying to make. Unfortunately, the middle meanders, despite a pretty good opening and beginning. The film takes some cheap shots it doesn't need to make its point, and perhaps undermines the film's intent.


Does he interview any of the more open minded intellectuals, and less fundamentalist theologians/spiritual advisors/religious peeps like Cornell West, Tony Campolo, Nhat Hanh, Brian D. McLaren, Richard Halloway, Francis Collins, and others, or does he just go after the uber, close minded, bigoted, fundamentalist, soft target idiots? Or was it a good mix of both?

Just curious.

Is it only western religion he disparages?

If it's anything like his stance on religion from Real Time, which I listen to frequently on the podcast, I'd say it's less noble, and more just an exercise in polemics, but none the less entertaining and funny because of a) how crazy the extreme fundamentalists are, and b) how angry and bigoted Maher can be. I often times just shake my head and a) agree because of how so many of the western religions choose to present themselves now, and b) want to reach out to people like Maher just to let them know that we aren't all morons.

I'm really curious what Mr. West has to say about the film. He is a frequent guest on Maher's show, and Maher seems to respect him quite a bit, and rightfully so, but I wonder how Mr. West views this kind of thing?

I'm definitely looking forward to this on DVD.

I would love to be able to create the ultimate discussion. I'd have Dawkins, Hitchens, S.T. Joshi, and Maher sit down with Father Thomas Merton, C.S. Lewis, Nhat Hanh, and Tony Campolo. Man, this would be so awesome to listen to.

[D_Davis]

Just watched Pee Wee's Big Adventure for the first time since around the time it came out. Brought back a lot of good memories, and was just as creepy as I remember it being.

It's a really great movie.

[Sycophant]

Does he interview any of the more open minded intellectuals, and less fundamentalist theologians/spiritual advisors/religious peeps like Cornell West, Tony Campolo, Nhat Hanh, Brian D. McLaren, Richard Halloway, Francis Collins, and others, or does he just go after the uber, close minded, bigoted, fundamentalist, soft target idiots? Or was it a good mix of both?
He's much more interested in leaders. With the exception of a couple of lay people and some scientists who are religious, that's who the focus is on. His attack line (and it's an attack; there's no pretension of giving religion a fair shake). They weren't necessarily all bigots, but there are some freak show elements, when he interviews Jose Luis de Jesus Miranda and the aforementioned rabbi.


Is it only western religion he disparages?
Yeah, he doesn't touch Eastern religions. Just the so-called Big Three.

[Boner M]

Two English Girls was surprisingly great; found it infinitely more involving than Jules and Jim. I usually find Truffaut too playful and frivolous at the expense of any sort of emotional weight, and there's elements of that here as well, but it feels more appropriate in this case; the theme of trying to cling on to one's innocence is central to the film (as well as the Leaud protag whose viewpoint we're aligned with). Great final scene too. Might watch it again since I was kinda in a combatively passive viewing stupor for the roughly the first half or so.

[D_Davis]

Cool thanks.

I like that you brought up the idea of certainty. I believe this can be a major problem. Certainty breeds fundamentalism, which in turn gives way to closed mindedness, stifles open communication, understanding, and tolerance. Certainty is problematic on both sides of aisle. Worst of all, certainty leads to combativeness, with people fighting over who is right. That's just sad.

[Ezee E]

:eek: :lol:
What a silly alias. No wonder that's his only credit.

Or to keep him alive when Troy Duffy goes out to search for him.

[Ezee E]

No Forgetting Sarah Marshall thread? Bummer.

Consistently funny the entire way through, with each minor character contributing a good amount without getting annoying (that includes Jonah Hill).

I really want to see Dracula: The Musical.

[Qrazy]

Cool thanks.

I like that you brought up the idea of certainty. I believe this can be a major problem. Certainty breeds fundamentalism, which in turn gives way to closed mindedness, stifles open communication, understanding, and tolerance. Certainty is problematic on both sides of aisle. Worst of all, certainty leads to combativeness, with people fighting over who is right. That's just sad.

Ironically I find many agnostics can be just as arrogant in the certainty of their uncertainty.

[Thirdmango]

Two okay but not phenomenal movies in one night. How To Lose Friends and Nick and Norah.

How To Lose Friends I wanted to see because of Simon Pegg but I did make the mistake once of seeing Big Nothing because of Simon Pegg. This one had funny moments, and it was a nice story for a little while. The end had like three musical montages all in a row which got quite annoying. When I walked out I was sorta meh.

So on my meh binge I went with Nick and Norah. Also tiny moments of funny, probably less then How to Lose Friends. It was a nice use of being a giant music video which I expected so it was disappointing in that way, though I'm not an indie guy. Though I really liked the Bait and Switch band. I also like the concept of a super good live band being so wacky as to make you search for them. But again, meh.

Sometimes I like watching meh movies. I was satisfied with meh last night.

[D_Davis]

Ironically I find many agnostics can be just as arrogant in the certainty of their uncertainty.

Well...
:)

[Boner M]

Sometimes I like watching meh movies. I was satisfied with meh last night.
Yeah, me too. Sometimes I don't want to be raped by awesome or horrible, and just need be meh'd into submission in the pursuit of a renewed appreciation of life's extremities.

[D_Davis]

I finally watched 2001 on DVD last, on my new TV. Haven't seen this since the VHS days. It was awesome. I wish more SF cinema got this kind of respect. I'd love to see something like More Than Human, The Stars My Destination, or The Three Stigmata of Palmer Eldritch given this kind of treatment.

[soitgoes...]

No Forgetting Sarah Marshall thread? Bummer.

Consistently funny the entire way through, with each minor character contributing a good amount without getting annoying (that includes Jonah Hill).

I really want to see Dracula: The Musical.I was really surprised at how funny it was, especially the then-unknown-until-I-watched-the-movie Russell Brand. He was pretty much the best part. It took about a half an hour into the movie for me to crack a laugh though.

[Thirdmango]

Yeah, me too. Sometimes I don't want to be raped by awesome or horrible, and just need be meh'd into submission in the pursuit of a renewed appreciation of life's extremities.

I really like that description.

[Spinal]

Ironically I find many agnostics can be just as arrogant in the certainty of their uncertainty.

I don't know why we get go caught up in who's arrogant and who's not. Does any of that matter in the long run? The important thing is that people need to provide legitimate support and evidence for their beliefs before they can expect the rest of us to take them seriously. Whatever Maher's tone, I am very happy to see a documentary in wide release that takes on the institution of religion so directly. Whether Maher wins people over or not is not important to me. What's important to me is that more and more people today realize that there is a choice. There has been substantial change in that regard, even during my lifetime.

People think, oh well religion's been around for thousands of years, it's not going anywhere. But religion has a relatively new enemy - mass media, which has only been around for less than a century and is growing more powerful all the time. Religion is going to have to work harder and harder to cover its ass and make sense out of its various holes in logic as nonbelievers across the globe are able to launch assaults that reach more and more people.

What disappoints me about what I hear about Maher's film is not his arrogance, but that it sounds like he does the tearing down without much in the way of building in its place. Both are important, because the large mysteries that give fuel to religion are important to confront and other dissenters do a great job of suggesting a positive, fulfilling approach once they have exposed the gaping plot holes in the fairy tale.

[Ezee E]

I was really surprised at how funny it was, especially the then-unknown-until-I-watched-the-movie Russell Brand. He was pretty much the best part. It took about a half an hour into the movie for me to crack a laugh though.
I was laughing pretty early on with the gigantic cereal bowl and the "I've got a surprise for you" wag.

[Grouchy]

I picked up The Eyes of Laura Mars because the cover said "written by John Carpenter" and the leads were Faye Dunaway and a really young Tommy Lee Jones. Bad mistake. I guess it's a film worth seeing once, but it's not good at all. Basically an American giallo about a female photographer who can see through the eyes of a serial killer when he murders people close to her. The movie would esentially be the same if Laura Mars didn't have this foreseeing ability, since it's all a very simple whodunit where the killer is very obvious and the red herrings are moronic. I guess there was potential for a great film in there, maybe if Carpenter himself had directed, but he was too busy with Halloween that same year. The performances and some inspired camerawork are about the only things that can make it somewhat appealing. The cinematography is boring - it has the look of a TV movie.

[MadMan]

Today I watched A River Runs Through It for a second time on TCM. Beautiful, wonderful movie, one that really speaks about the love of the outdoors and how it so easily connects into life itself. I actually want to buy it on DVD, but I have no idea if a copy of the film on DVD exists or not. The film also sports a pretty good Brad Pitt performance as well.

[Dead & Messed Up]

Last night I had the pleasure of watching two very good films.

The TV Set was a fun inside look at the television industry, as David Duchovny plays a writer whose most personal project is gradually turned from a low-key dramatic series into a sitcom replete with fart jokes. The cast plays well, although I wish Lucy Davis and Justine Bateman had more to do than play token wives. Sigourney Weaver is great as a shallow studio exec.

Invasion of the Body Snatchers, the 1978 version, was a successful reworking of the original story. The first hour matches and occasionally surpasses the '56 version, although the second half drags into repetition and occasional sound-and-fury. Did Sutherland really have to take on that plantation by himself?

Small note: the body snatchers in these types of movies (Invasion, The Thing, The Faculty, Slither) are universally dull. I wish alien parasites from beyond had more on their mind besides assimiliation and survival.

[Sven]

Small note: the body snatchers in these types of movies (Invasion, The Thing, The Faculty, Slither) are universally dull. I wish alien parasites from beyond had more on their mind besides assimiliation and survival.

The dullness is key, though, because it's about stripping away uniqueness and individuality in favor of a faceless whole.

[Dead & Messed Up]

The dullness is key, though, because it's about stripping away uniqueness and individuality in favor of a faceless whole.

I have no problem with emotionless aliens. I have a growing problem with emotionless aliens whose chief purpose is zero-dimensional aggression. It's the same thing that's got me bored with the Alien series and zombie movies.

[MadMan]

The dullness is key, though, because it's about stripping away uniqueness and individuality in favor of a faceless whole.Exactly. Really do we need to learn more about the creature from The Thing or the aliens from the "Body Snatcher" films? Do you want to know their favorite color DaMU? Favorite book? What movie they like best? If they enjoy the pleasures of a good beer? :P

http://www.iconsoffright.com/Horror_Fanatics/Screwfly_Solution__03.jpg

The Screwfly Solution was vintage Joe Dante. Even though this "Masters of Horror" segment wasn't at all scary, I found the whole thing to have a thick layer of creepiness. Coupled with a heaping of paranoia, and a willingness to not try to explain what the cause of the whole situation was. This is good, because I think its freakier if there's no clear cut explanation to the problem.
Is it God causing males to go bat shit insane and kill females? Vengeful Mother Nature? The aliens? Or something else? Even though the characters aren't really well developed, they serve their purpose enough, and I'm glad that this was only an hour long. As I don't feel that there was enough material for a full length movie really, and it kept the tension pretty much intact. Oh and it was awesome to see Elliot Gould at work here, as the guy's career is pretty much shot. What a shame, as he's such a good actor.
At this point I'm pretty much a fan of Joe Dante, and I think I'll finally give The Howling another shot, along with trying to get my hands on Homecoming, which I've heard really good things about. 83

PS: Well, there was one thing I'm very unclear on:
What the hell were those things that suddenly appeared and zapped the faces of the two guys who were hunting Anne near the end? Aliens? Nature spirits? What the hell? Why did they save her? I don't understand that. Maybe I'm better off not know, as the answer may be too silly. I think they really didn't serve any purpose.

[The Mike]

The TV Set was a fun inside look at the television industry, as David Duchovny plays a writer whose most personal project is gradually turned from a low-key dramatic series into a sitcom replete with fart jokes. The cast plays well, although I wish Lucy Davis and Justine Bateman had more to do than play token wives. Sigourney Weaver is great as a shallow studio exec.


I really liked this one too. The bit where they discussed casting Hope Davis or Lucy Lawless killed me.

[Qrazy]

I don't know why we get go caught up in who's arrogant and who's not. Does any of that matter in the long run? The important thing is that people need to provide legitimate support and evidence for their beliefs before they can expect the rest of us to take them seriously. Whatever Maher's tone, I am very happy to see a documentary in wide release that takes on the institution of religion so directly. Whether Maher wins people over or not is not important to me. What's important to me is that more and more people today realize that there is a choice. There has been substantial change in that regard, even during my lifetime.

People think, oh well religion's been around for thousands of years, it's not going anywhere. But religion has a relatively new enemy - mass media, which has only been around for less than a century and is growing more powerful all the time. Religion is going to have to work harder and harder to cover its ass and make sense out of its various holes in logic as nonbelievers across the globe are able to launch assaults that reach more and more people.

What disappoints me about what I hear about Maher's film is not his arrogance, but that it sounds like he does the tearing down without much in the way of building in its place. Both are important, because the large mysteries that give fuel to religion are important to confront and other dissenters do a great job of suggesting a positive, fulfilling approach once they have exposed the gaping plot holes in the fairy tale.

Alright well if you were just using my comment as a springboard for a tangent than that's fine... But in relation to my comment all I'm saying is that it's kind of funny to me when both sides are arguing fiercely about who's right and wrong and then certain sub-sects of agnostics step in and say oh you're both wrong because we can't know for sure! This is funny to me.

[The Mike]

The Screwfly Solution was vintage Joe Dante. Even though this "Masters of Horror" segment wasn't at all scary, I found the whole thing to have a thick layer of creepiness. Coupled with a heaping of paranoia, and a willingness to not try to explain what the cause of the whole situation was. This is good, because I think its freakier if there's no clear cut explanation to the problem.
Is it God causing males to go bat shit insane and kill females? Vengeful Mother Nature? The aliens? Or something else? Even though the characters aren't really well developed, they serve their purpose enough, and I'm glad that this was only an hour long. As I don't feel that there was enough material for a full length movie really, and it kept the tension pretty much intact. Oh and it was awesome to see Elliot Gould at work here, as the guy's career is pretty much shot. What a shame, as he's such a good actor.
At this point I'm pretty much a fan of Joe Dante, and I think I'll finally give The Howling another shot, along with trying to get my hands on Homecoming, which I've heard really good things about. 83

PS: Well, there was one thing I'm very unclear on:
What the hell were those things that suddenly appeared and zapped the faces of the two guys who were hunting Anne near the end? Aliens? Nature spirits? What the hell? Why did they save her? I don't understand that. Maybe I'm better off not know, as the answer may be too silly. I think they really didn't serve any purpose.

This isn't one of my favorite of the MOH episodes, but I found it really interesting. The performances were good across the board, and the psychological aspects of the film were great.

My understanding of the finale, as I remember it, was that the aliens were trying to kill off humanity by making men take out the women and end reproduction, just as described with the screwflies in the opening. In essence, we were pests they'd rather get rid of than try to understand.

[Amnesiac]

I actually want to buy it on DVD, but I have no idea if a copy of the film on DVD exists or not.

It exists (http://www.amazon.com/River-Runs-Through-Brenda-Blethyn/dp/0767836359).

[Dead & Messed Up]

Exactly. Really do we need to learn more about the creature from The Thing or the aliens from the "Body Snatcher" films?

Frankenstein's monster killed out of desperate vengeance. Dracula killed out of tragic bloodlust. Hannibal Lecter killed because he found genuine pleasure in it. King Kong killed in self-defense. All of these infamous horror monsters have depth to their horrific acts. On the other hand, body snatchers kill because it is what they do.

I don't think it's a significant problem, since Kaufman's flick truly excels in its buildup of mystery and paranoia. Nor is it an issue for the original, or for The Thing, where the alien makes up for its superficiality with the brute force of its bizarre permutations.

But there's a bit less to chew on.


The Screwfly Solution was vintage Joe Dante. Even though this "Masters of Horror" segment wasn't at all scary, I found the whole thing to have a thick layer of creepiness. Coupled with a heaping of paranoia, and a willingness to not try to explain what the cause of the whole situation was. This is good, because I think its freakier if there's no clear cut explanation to the problem.

Is it God causing males to go bat shit insane and kill females? Vengeful Mother Nature? The aliens? Or something else? Even though the characters aren't really well developed, they serve their purpose enough, and I'm glad that this was only an hour long. As I don't feel that there was enough material for a full length movie really, and it kept the tension pretty much intact. Oh and it was awesome to see Elliot Gould at work here, as the guy's career is pretty much shot. What a shame, as he's such a good actor.

This feels like the Cinemax version of Children of Men. It's reasonable, and occasionally even frightening (the plane ride creeped me out), but the low budget really limits the possibilities. I do think Priestley and Gould put in some good work, though. And I really liked how open-ended the story was, in regard to...

the heroine pretty much trapped in a world on the brink of death. It's a poignant, affecting finale that follows the story through to conclusion. It's good enough to forgive the lame-ass aliens.

[Philosophe_rouge]

Onibaba (1964) was an extremely well crafted film that simply failed to capture my attention. The sound design especially, is created to build an incredible paranoid atmosphere, and the ever flowing tall grass makes for a very claustorphobic setting. Add in a boat load of sexual frustration, you'd think I'd love it... I'm not sure what it is about the film that just didn't reach me. Though the characters in themselves were interesting, I think part of it may have been exactly how the story unfolds, which is sorta meandering, and a bit redundant. I still think it's a good film, I even like it... I only wish it were a little more effective.

Also, I watched Possession (1981) yesterday, and am still at a loss for words. It's like someone punched all the breath out of me.

[soitgoes...]

A remarkable difference lies between Ophüls' From Mayerling to Sarajevo and The Exile. Ophüls made the first one in France just as WWII was breaking out, and he made the latter film in the US a couple years after it ended. He did nothing else in between.

From Mayerling to Sarajevo is a film based on the life, and of course eventual death, of Franz Ferdinand. No not the Scottish band, but rather the Archduke whose death was the impetus of WWI. Ophüls, in his way, makes the film mostly about the doomed Archduke's love for a lower caste woman, Sophie played by the lovely Edwige Feuillère. Ophüls' film has some of his characteristic sweeping pans, and features some strong acting by Feuillère, but for the most part is bogged down by a very wooden performance by future political all-star John Lodge. Ophüls, a product of his times, tacked on a needless bit of propaganda to the end of the film.

The Exile is a film based on a small portion of the life of Charles Stuart, King of Engalnd, while exiled from Oliver Cromwell's reign. Made in the US, Ophüls was able to make full use of the giant Universal Studios' sets. His camera flows like it never has before, training for what he would accomplish on his return to France in 3 short years. The story has Stuart and his crew on the run in Holland from the Puritan law. Douglas Fairbanks Jr. plays the lead with so much energy, he almost takes his role to the point of annoyance, that rest of the actors are merely wallflowers just trying to keep up. A very strong metaphor in this film is evident; the Stuart clan, a representation of the Free French Forces, and the Puritans as the unlawful usurpers of power would be Vichy/Nazi France. In the end, Fairbanks shows enough restraint and Ophüls' direction shines bright.

[Philosophe_rouge]

Black Christmas (1974) = :eek:

I am not going to sleep tonight :(

[Winston*]

Year of the Dog - I liked this. The kind of thing one can label a "nice little movie" without being patronising. Lead actress is very good, only ever seen her in backgroundy comedy parts before now. Looks like the next thing she's in is an American Kath and Kim remake with Selma Blair, there's no way that's not going to be horrible.

[Watashi]

Man, Snow Angels made me feel like complete shit. No idea why critics were meh all over it. I guess they also think that Olivia Thirlby's nerdy character could never exist in the real world. They only make 'em in the movies.

[Yxklyx]

Black Christmas (1974) = :eek:

I am not going to sleep tonight :(

Yeah, excellent dark film!

I saw The Revenge of Frankenstein, one of the Hammer films. For some reason I wasn't expecting much but it was fairly awesome - my second favorite Hammer I think after The Devil Rides Out.

[Ezee E]

Man, Snow Angels made me feel like complete shit. No idea why critics were meh all over it. I guess they also think that Olivia Thirlby's nerdy character could never exist in the real world. They only make 'em in the movies.
They didn't like it because it was "too depressing" from what I've gathered.

[Boner M]

I was disappointed by Black Christmas; I saw it less than two years ago and all I can remember is being engaged by Margot Kidder doing her hawt-wiseass thing and finding the horror stuff completely anonymous and forgettable.

Speaking of horror, Hatchet for the Honeymoon is one likeably oddball flick. Somehow it reminded me of Teshigahara's Pitfall, another genre/tone mashup that doesn't quite come together, but has a funky sense of bravado that results from the effort. The first waltz in the room full of mannequins is a wonderfully baroque set piece, and the Hitchcockian police investigation with the use of Black Sunday playing on TV as a decoy is ingeniously self-reflexive.

The Book of Life is just kinda annoying. I'd always had the impression that Henry Fool was the film that Hartley's prior work had been building toward, and the tired-ness of his deadpan dialogue and philosophical musings here seems to confirm that, with fugly video textures and perpetually tilted camera angles only making matters worse. PJ Harvey's kinda fun to watch, if only there for the 'hey, she's cool' value. The short included on the DVD, NYC 3/94, was a lot better.

[baby doll]

Atom Egoyan's Adoration is the best film of the year.

[chrisnu]

Man, Snow Angels made me feel like complete shit. No idea why critics were meh all over it. I guess they also think that Olivia Thirlby's nerdy character could never exist in the real world. They only make 'em in the movies.
My first guess would be that the morose storyline would be a turn-off, but critics loved Burn After Reading. Perhaps miserable and hopeless character pieces are only palatable when funny.

[Spaceman Spiff]

Atom Egoyan's Adoration is the best film of the year.

Funnily enough, I ran into him and a couple of others who worked on the film during nuit blanche, last night. It was probably the best exhibit I saw all night.

[Raiders]

Atom Egoyan's Adoration is the best film of the year.

I really can't wait for this film.

[Derek]

Appaloosa (2008) 38

Indeed. What a bland, lifeless, predictable film. It takes a special kind of meh to waste Jeremy Irons talents.

[Spinal]

Indeed. What a bland, lifeless, predictable film. It takes a special kind of meh to waste Jeremy Irons talents.

But what I really want to know is whether it's a reinvention of a dying genre. Or perhaps it's a love letter to a bygone era. I'm sure it must be one of those.

[Ezee E]

But what I really want to know is whether it's a reinvention of a dying genre. Or perhaps it's a love letter to a bygone era. I'm sure it must be one of those.
:)

[Rowland]

Speaking of horror, Hatchet for the Honeymoon is one likeably oddball flick. Somehow it reminded me of Teshigahara's Pitfall, another genre/tone mashup that doesn't quite come together, but has a funky sense of bravado that results from the effort. The first waltz in the room full of mannequins is a wonderfully baroque set piece, and the Hitchcockian police investigation with the use of Black Sunday playing on TV as a decoy is ingeniously self-reflexive.Indeed, I'm always disappointed to see this one generally go ignored, when I think it's more interesting and entertaining than some of Bava's more highly regarded/canonized movies. Even if I agree that the movie doesn't really come together, it's brimming with go-for-broke inspiration.

[Winston*]

Indeed. What a bland, lifeless, predictable film. It takes a special kind of meh to waste Jeremy Irons talents.

Hasn't pretty much anything Jeremy Irons has been in in the last 10 years wasted Jeremy Irons' talents?

[Derek]

Hasn't pretty much anything Jeremy Irons has been in in the last 10 years wasted Jeremy Irons' talents?

He was great in Inland Empire and the otherwise awful And Now...Ladies and Gentlemen. I'm not saying he's made the wisest choices in roles (Eragon?), but I've never seen him come across as flat and uninteresting as he did here. Of course, it helps that I haven't seen most of the crappy films he's been in over the past decade.

[balmakboor]

I must've picked the wrong time of year. It's been seven weeks now since I started my stint as film critic for the Bismarck Tribune. I've reviewed the following:

Tropic Thunder - mostly positive
Brideshead Revisited - mostly positive
Vicky Cristina Barcelona - negative
Now, Voyager - very positive (revival showing)
Burn After Reading - mixed
Igor - negative
Miracle at St. Anna - mixed

And now I'm about to write a mostly negative review of Appaloosa.

I get to freely choose what I review and I've consciously tried to pick things that I could rave about. But, damnit. All I've been able to honestly rave about so far is a classic from the 1940s. And my favorite new movie of the bunch was the one I had the lowest expectations for -- Tropic Thunder.

I'm starting to fear that the paper and the readership is starting to think I'm like John Simon or something and hate everything.

[Ezee E]

You can't even be the critic where, "If he hates the movie, it must be good."

[Mysterious Dude]

I don't think I could be a film critic. I'm having a hard enough time coming up with anything to write for my film swap review.

[Ezee E]

I don't think I could be a film critic. I'm having a hard enough time coming up with anything to write for my film swap review.
Getting paid to do it would make a difference.

[Spinal]

Beverly Hills Chihuahua is the #1 film in America. I don't know what this means, but I'm sure it can't be good.

[Ezee E]

Beverly Hills Chihuahua is the #1 film in America. I don't know what this means, but I'm sure it can't be good.
Enchanted may be one of the best spoof movies in years. Instead of relying on pop-culture jokes and randomly throwing in characters here and there, it actually spoofs. It loses a little steam when Susan Sarandon comes in, but Amy Adams is wonderful the whole way through.

If it weren't so girly-looking on the surface, I'd have expected it to be a hit here on Match Cut.

[Rowland]

I liked Enchanted okay, but the opening cartoon segment and basically the entire third act, beginning with that shopping montage (which I'm not convinced was intended as satire), are pretty clunky. Amy Adams was the primary element that pushed me to giving it a positive score.

[Watashi]

Beverly Hills Chihuahua is the #1 film in America. I don't know what this means, but I'm sure it can't be good.


It's pretty much just a live-action version of Lady and the Tramp.

No where near as bizarre as the trailer made it out to be.

[Watashi]

Enchanted may be one of the best spoof movies in years. Instead of relying on pop-culture jokes and randomly throwing in characters here and there, it actually spoofs. It loses a little steam when Susan Sarandon comes in, but Amy Adams is wonderful the whole way through.

If it weren't so girly-looking on the surface, I'd have expected it to be a hit here on Match Cut.

Dude, Enchanted sucks and I'm Mr. Disney freak here. It has one of the worst messages I've seen in a long time.

Also, it's not a spoof.

[Ezee E]

Dude, Enchanted sucks and I'm Mr. Disney freak here. It has one of the worst messages I've seen in a long time.

Also, it's not a spoof.
Please... It's a complete parody on all the early Disney films.

[Ezee E]

I was showing some of The Diving Bell and the Butterfly to a friend on the Netflix Watch Now feature and it was dubbed, with no option of putting it in subtitles. I hope this isn't the case for all their foreign language films.

Its a real bummer for this movie as I find the dubbing to be worse than most films. Completely distracting from the performances, especially in the scene with Amaric and Max von Sydow. Oi.

[Winston*]

Shooting Dogs - Very good film but I don't know why I thought watching a film about the Rwandan genocide would be a good thing to do on a Monday Night. I don't need to feel those emotions that early in the week, Thursday would have been a superior environment.

In any case, film gives further proof (if any was needed) that John Hurt is the world's greatest actor.

[Boner M]

Just got back from watching two hours of Tex Avery shorts at the cinematheque. I think this is the experience that best embodies the idea of 'too much of a good thing'.

[Spinal]

Watched about 20 minutes of Mother of Tears and I think I have to concede that these Italian horror films are just not my thing. I'm sitting here watching a woman get eviscerated and strangled with her own intestines and I'm thinking that there's much better things that I could be doing with my time.

[D_Davis]

I've always admired 2001, but I've never loved it.

I liked it more for its craft, and less for its narrative.

Until this weekend.

After my recent viewing on Friday night, I've become obsessed with it. It's all I can think about.

I watched it 2.5 times this weekend, and another time I watched the final segment synced to Floyd's song Echoes (which for me, by the way, is the best to watch this).

I watched 2 hours worth of documentaries, and read countless web sites devoted to uncovering the film's secrets.

I feel like a massive veil has been lifted from my eyes, and I am just now seeing the true beauty of the film; it has touched me on a profoundly spiritual level. The film has invaded my conscious and unconscious being.

I can't wait to watch again.

[Ezee E]

I've always admired 2001, but I've never loved it.

I liked it more for its craft, and less for its narrative.

Until this weekend.

After my recent viewing on Friday night, I've become obsessed with it. It's all I can think about.

I watched it 2.5 times this weekend, and another time I watched the final segment synced to Floyd's song Echoes (which for me, by the way, is the best to watch this).

I watched 2 hours worth of documentaries, and read countless web sites devoted to uncovering the film's secrets.

I feel like a massive veil has been lifted from my eyes, and I am just now seeing the true beauty of the film; it has touched me on a profoundly spiritual level. The film has invaded by conscious and unconscious being.

I can't wait to watch again.
I think that happens to every viewer of this movie at some point. Whether it takes one, two, ten... It will happen at some point.

[D_Davis]

I think that happens to every viewer of this movie at some point. Whether it takes one, two, ten... It will happen at some point.

You may be right.

last night, while at the Sigur Ros concert, I was wishing that they would have projected 2001 behind them. I kept closing my eyes imagining different parts of the film set to their music.

I am thinking that 2001 is a totally encompassing visual representation of good music. It's weird. It's such a visual film, but watching it is like listening to a great piece of music - it hits the same nerves with me. It puts my mind in the same state that the music I love does.

[balmakboor]

I've always admired 2001, but I've never loved it.

I liked it more for its craft, and less for its narrative.

Until this weekend.

After my recent viewing on Friday night, I've become obsessed with it. It's all I can think about.

I watched it 2.5 times this weekend, and another time I watched the final segment synced to Floyd's song Echoes (which for me, by the way, is the best to watch this).

I watched 2 hours worth of documentaries, and read countless web sites devoted to uncovering the film's secrets.

I feel like a massive veil has been lifted from my eyes, and I am just now seeing the true beauty of the film; it has touched me on a profoundly spiritual level. The film has invaded my conscious and unconscious being.

I can't wait to watch again.

Did those websites include anything by Len Wheat? He has offered the most comprehensive -- and at times most loony -- reading of the film so far. The big picture of what he says is very convincing and led me to once proclaim 2001 as the greatest sex flick of the 60s. Unfortunately, he loses it in the details occasionally.

One example: http://www.underview.com/bhpinsights.html

(I contributed to that one. I'm Todd Ford.)

[D_Davis]

Did those websites include anything by Len Wheat? He has offered the most comprehensive -- and at times most loony -- reading of the film so far. The big picture of what he says is very convincing and led me to once proclaim 2001 as the greatest sex flick of the 60s. Unfortunately, he loses it in the details occasionally.

One example: http://www.underview.com/bhpinsights.html

(I contributed to that one. I'm Todd Ford.)

I read a bit about his Triple Allagory, and added his book to my wish list. Thanks for the link, I'll read it today.

My favorite so far is this one:

http://www.collativelearning.com/2001%20analysis%20new.html

An exhaustive review by Rob Ager - his big thing is looking at the monolith as a movie screen.


While watching the film on Friday, I noticed how many times there are 3 screens on the screen, and I was instantly reminded of how films are projected at the Cinerama theaters. Kubrick seemed to be alluding to the physicality of the film itself.

Even at the beginning, with the black screen, I imagined that I was staring into the monolith.

However, I didn't really make the connection that the monolith itself might be a representation of a movie screen, even though it's dimensions are almost that of the Cinerama aspect ratio.

What's also funny is that new modern HD TVs are monolithic in their shapes and colors, adding another layer to this which I find quite interesting.

[balmakboor]

This must be a true rarity (my usual shipping location is Fargo, ND):

EVIL DEAD TRAP: SPECIAL EDITION was not available today at your local shipping center. Instead, we will be shipping this DVD from Southeastern, PA on the next business day. As usual, you will receive an email letting you know we shipped your DVD.

-The Netflix Team

[Kurosawa Fan]

That's happened to me a handful of times in the 5 years I've been a member.

[Rowland]

Redbelt (David Mamet, 2008) 75

Well under two hours in its running time, this densely plotted, invigoratingly tight picture packs a wallop of a punch. Mamet directs and edits the piece with measured, muscular craft, and his scripting is a pleasure to follow, as he lays out all the puzzle pieces without cheating the audience. More importantly however, he devalues the "gotcha!" narrative machinations in favor of a respectful, discerningly probing portrait of the lead character (performed with affecting grace by Ejiofor), and how his honorable ethics, reflected in his philosophical approach to fighting, are open for exploitation, and perhaps even naive, in a society where fiscal realities and greed trump all. Nevertheless, one is left with the distinct impression that Mamet genuinely believes dignity will ultimately prevail, a sincere and bracing cry for hope in these cynical times.

Head of State (Chris Rock, 2003) 18

How did someone who displays such a knack for cutting social commentary in his comedic acts write and direct something so insultingly naive, patronizing, and frankly, stupid? Embarrassingly incompetent behind the camera and less-than-engaging as an acting presence in front, Rock writes this vanity piece with a sledgehammer, displaying a witless, artless high schooler's level of understanding regarding our politics and approach towards satire, as he gravitates time and again towards easy targets, toothless observations, and repetitive, poorly executed gags. Terribly dated in the age of Barack Obama, this was a chore to sit through.

[MadMan]

I realized that 2001 was a truly great film only after seeing it the second time. Or was it the third time? I don't remember. The book is fantastic as well.

[Mysterious Dude]

This must be a true rarity (my usual shipping location is Fargo, ND):

EVIL DEAD TRAP: SPECIAL EDITION was not available today at your local shipping center. Instead, we will be shipping this DVD from Southeastern, PA on the next business day. As usual, you will receive an email letting you know we shipped your DVD.

-The Netflix Team

It's happened to me quite a few times. Usually with very obscure films.

[Amnesiac]

Completely distracting from the performances, especially in the scene with Amaric and Max von Sydow. Oi.

Hm. I haven't seen the movie since its theatrical release ... could you remind me of this scene and Max von Sydow's role in the film?



An exhaustive review by Rob Ager - his big thing is looking at the monolith as a movie screen.

I haven't thoroughly dug into his thoughts on 2001 yet (I did get so far as the monolith/screen metaphor, though) but I do really, really like his interpretation of Eyes Wide Shut.

[Ezee E]

Hm. I haven't seen the movie since its theatrical release ... could you remind me of this scene and Max von Sydow's role in the film?
Bwah? He plays the father. Jean-Dominique shaves him a week before the incident occurs, and then there's a phonecall where he breaks down while talking to him. It's a small performance, but as good as anything he's ever done.

[Amnesiac]

Bwah? He plays the father. Jean-Dominique shaves him a week before the incident occurs, and then there's a phonecall where he breaks down while talking to him. It's a small performance, but as good as anything he's ever done.

Oh, right. Yes. That is a very touching scene. I certainly didn't forgot about that scene. Just the actor playing the father, apparently.

You'll have to forgive me for not recalling who Max von Sydow played. I'm really not especially familiar with him (despite having seen The Seventh Seal and Minority Report, his name has never really stuck with me for some reason or another) -- in fact, I didn't even know that was him when I first watched the movie. And the name of his character on the IMDb listing is just 'Papinou', so it doesn't reveal the relation between him and Bauby.

Anyways. Thanks.

[D_Davis]

I haven't thoroughly dug into his thoughts on 2001 yet (I did get so far as the monolith/screen metaphor, though) but I do really, really like his interpretation of Eyes Wide Shut.

I'll have to read these as well.

[Amnesiac]

I'll have to read these as well.

Or you can watch the video (http://www.youtube.com/watch?v=Pj7Hw6OnbH8).

[D_Davis]

Or you can watch the video (http://www.youtube.com/watch?v=Pj7Hw6OnbH8).

Great - thanks.

(I'll do both!)

[Teh Sausage]

I am thinking that 2001 is a totally encompassing visual representation of good music. It's weird. It's such a visual film, but watching it is like listening to a great piece of music - it hits the same nerves with me. It puts my mind in the same state that the music I love does.

Heh. Very possibly intentional, since this reminds me of one of my favourite Kubrick quotes:

“A film is - or should be - more like music than like fiction. It should be a progression of moods and feelings. The theme, what's behind the emotion, the meaning, all that comes later.”

[Dead & Messed Up]

Beverly Hills Chihuahua is the #1 film in America. I don't know what this means, but I'm sure it can't be good.

It's an aggressively marketed family film, so I can't say I'm surprised. If it continues to make buckets of money, then I'll probably agree with you.

[Derek]

It's an aggressively marketed family film, so I can't say I'm surprised. If it continues to make buckets of money, then I'll probably agree with you.

I think Spinal's concern has less to do with surprise than fear and sadness. Then again, I'd take this over the Epic/etc. Movie abominations.

[Spinal]

I guess I missed the big marketing push for this one. I must not be watching the channels where it's being advertised.

[Dead & Messed Up]

I guess I missed the big marketing push for this one. I must not be watching the channels where it's being advertised.

For a while there, it was all I was seeing, so I can only imagine how much they were pushing it on Saturday mornings and after school.

[Dead & Messed Up]

Or you can watch the video (http://www.youtube.com/watch?v=Pj7Hw6OnbH8).

Thanks for the link.

His stuff on Eyes Wide Shut makes me want to watch it again, but his comments on The Shining make me wish I could un-see it. I really hate that whole "Jack as White Settler" angle.

[balmakboor]

Thanks for the link.

His stuff on Eyes Wide Shut makes me want to watch it again, but his comments on The Shining make me wish I could un-see it. I really hate that whole "Jack as White Settler" angle.

Yeh, his stuff is really interesting and well done. I watched the EWS one and watched most of the FMJ one before I got pulled away. I could tell that his take on The Shining was going to be more of that settler and Indians thing from a comment he made about the female sniper looking like Wendy Torrence which was another reference in FMJ to westerns. This was all an eye-rolling stretch for me, but forgivable. Everything else he was saying was interesting.

I'm still waiting to see if he mentions my favorite moment in FMJ. He didn't seem to my favorite EWS moment.

[Ezee E]

Yeh, his stuff is really interesting and well done. I watched the EWS one and watched most of the FMJ one before I got pulled away. I could tell that his take on The Shining was going to be more of that settler and Indians thing from a comment he made about the female sniper looking like Wendy Torrence which was another reference in FMJ to westerns. This was all an eye-rolling stretch for me, but forgivable. Everything else he was saying was interesting.

I'm still waiting to see if he mentions my favorite moment in FMJ. He didn't seem to my favorite EWS moment.
What's your favorite EWS moment?

I never really noticed all the paintings that are in that movie.

[Raiders]

Greg Mclean's Rogue seems a continuation of the themes of his Wolf Creek (or maybe vice-versa since this film was written in the mid-90s) in that we have a travelogue opening act exploring the wilderness of Australia followed by a territorial onslaught. Though here the savage beast is not a man run amuck of moral consequence but a huge and mythical creature (Mclean has stated he was inspired by the tales from his childhood hearing about the huge, centuries-old crocs that dominate some parts of the world). Of course, ultimately the film is nothing more than a taut, compact killer croc film and all that this implies. Thankfully lame character decisions are kept to a minimum though also predictably character development is also kept to a minimum. But that doesn't stop Mclean from getting a few grace notes in there, especially in the unexpected and suprisingly poignant moment of a man spreading his deceased wife's ashes into the river (it leads to another small, touching moment later over his concern for a sick, middle-aged woman). It isn't a particularly scary film and rather tame in its carnage, which isn't a complaint so much as a surprise. There's a bit of imbalance in the film's pristine visual quality and its attempt to be a throwback genre film of sorts, and the improbable late film survival is rather unfortunate, but all in all a very successful film.

[Grouchy]

Can't believe it took me so long -until last night- to check out Monsters Inc. It's a very fast-paced adventure and one of the most comedic Pixar films, mostly due to the Crystal-Goodman voice combo. It also made me think about how their movies have been getting increasingly more complicated and mature over the years. There are very simple plot conveniences in this one that they wouldn't allow nowadays, like Mike returning mysteriously just in time to save the day. I can't really figure out if I feel that way about the Toy Story films, though, so maybe it's just a defining tract of this one. Other than that, digital animation ages incredibly fast but this is still great to watch, with many small background details worth checking out. I really loved the set piece with the flying doors. Overall, I'd say it's tied with A Bug's Life for my least favorite Pixar that's still pretty damn good.

[Sven]

It also made me think about how their movies have been getting increasingly more complicated and mature over the years.

Neg rep.

[Amnesiac]

I never really noticed all the paintings that are in that movie.

Same here. I really like how Ager pointed that out, though ... the notion of this bourgeois, elite pretense concealing an inclination towards decadent perversity. And the way that the paintings effectively unmask those in attendance at the Somerton mansion as being a part of this elite. Fascinating subtlety.


His stuff on Eyes Wide Shut makes me want to watch it again, but his comments on The Shining make me wish I could un-see it.

Yeah, Eyes Wide Shut is such a fantastic film. I wouldn't mind giving it a re-watch sometime soon. I haven't looked Ager's The Shining analysis yet, though.

[Grouchy]

Neg rep.
Pixar ranking (feature films only):

1. The Incredibles
2. WALL-E
3. Ratatouille
4. Toy Story
5. Toy Story 2
6. A Bug's Life
7. Monsters Inc.

[balmakboor]

What's your favorite EWS moment?

I never really noticed all the paintings that are in that movie.

If you look at the two shots of the mask on the pillow at the end (remember how some critics cited the fact that there are two shots of the mask as evidence that the editing was still rough?), you'll notice they cast two very different shadows. The first is long-nosed and quite scary looking. The second is shortened up and quite calm and normal looking. I've never really developed an idea as to why this is though. But the first shadow is clearly a special effect because I don't see how the mask could cast a shadow of that shape.

I think two theories have really been valuable so far for looking at EWS: the dream-logic, psychological ones such as this one and the sociological one put forth in the essay "Introducing Sociology." Both are also keyed off of titles of books in Domino's room -- "Shadows in a Mirror" and "Introducing Sociology."

http://www.visual-memory.co.uk/amk/doc/0096.html

It really is a fascinating film.

[Ezee E]

If you look at the two shots of the mask on the pillow at the end (remember how some critics cited the fact that there are two shots of the mask as evidence that the editing was still rough?), you'll notice they cast two very different shadows. The first is long-nosed and quite scary looking. The second is shortened up and quite calm and normal looking. I've never really developed an idea as to why this is though. But the first shadow is clearly a special effect because I don't see how the mask could cast a shadow of that shape.

I think two theories have really been valuable so far for looking at EWS: the dream-logic, psychological ones such as this one and the sociological one put forth in the essay "Introducing Sociology." Both are also keyed off of titles of books in Domino's room -- "Shadows in a Mirror" and "Introducing Sociology."

http://www.visual-memory.co.uk/amk/doc/0096.html

It really is a fascinating film.
Interesting. In my mind I've always noticed something going on there, I just never figured it out. Now I'll have to see it again and look for it. Nice observation.

I honestly think it is Kubrick's best film, even if it isn't my favorite.

[balmakboor]

Some other points not mentioned in the video analysis of EWS that tie scenes together:

The opening shot links Alice, Ziegler, and the masked party. As mentioned, Alice's facing away from the camera and dropping her dress is like the women at the party. The shot also has a tennis racket leaning in the corner. Some of Ziegler's first words are about working on his tennis swing.

When Bill is "not looking at" Alice in the bathroom, notice where his eyes are looking -- above her head. Alice's counterpart at the masked party has a huge headress.

Walking away from the babysitter, Bill makes the same hand gesture we'll later see from Nick Nightinggale.

When Zielger is fiddling with a ball on the pool table, he swirls his hands around and taps balls on the table. The same motions as the swirling of the smoke pot and tapping the staff on the floor by the leader of the masked party.

[Rowland]

Greg Mclean's Rogue seems a continuation of the themes of his Wolf Creek (or maybe vice-versa since this film was written in the mid-90s) in that we have a travelogue opening act exploring the wilderness of Australia followed by a territorial onslaught. Though here the savage beast is not a man run amuck of moral consequence but a huge and mythical creature (Mclean has stated he was inspired by the tales from his childhood hearing about the huge, centuries-old crocs that dominate some parts of the world). Of course, ultimately the film is nothing more than a taut, compact killer croc film and all that this implies. Thankfully lame character decisions are kept to a minimum though also predictably character development is also kept to a minimum. But that doesn't stop Mclean from getting a few grace notes in there, especially in the unexpected and suprisingly poignant moment of a man spreading his deceased wife's ashes into the river (it leads to another small, touching moment later over his concern for a sick, middle-aged woman). It isn't a particularly scary film and rather tame in its carnage, which isn't a complaint so much as a surprise. There's a bit of imbalance in the film's pristine visual quality and its attempt to be a throwback genre film of sorts, and the improbable late film survival is rather unfortunate, but all in all a very successful film.Excellent, I'm happy you watched the film and all-around liked it. I'll respond with my own thoughts later tonight.

[MadMan]

I've been on a film watching binge starting back in September. So many movies, so little time to write reviews. I will be comparing The Omen with the remake (I got my hands on both and have already watched the awesome original). My review of the original needs some work though, and I'm very unsatisfied with it.

On Sunday I viewed The Princess Bride, which is a wonderful, amazing, funny, and delightful film. I was grinning the entire time, and engrossed throughout. Gotta love a good old fashioned fairy tale with a modern type twist of sorts. Sure it does play out a bit predictable, but there's so much awesome involved that it doesn't even matter.

And today I saw Altered States. That was one freaky trippy experience that blew my mind at times. I'm not sure what the hell I watched, but it was good.

[Amnesiac]

Some other points not mentioned in the video analysis of EWS that tie scenes together:

The opening shot links Alice, Ziegler, and the masked party. As mentioned, Alice's facing away from the camera and dropping her dress is like the women at the party. The shot also has a tennis racket leaning in the corner. Some of Ziegler's first words are about working on his tennis swing.

When Bill is "not looking at" Alice in the bathroom, notice where his eyes are looking -- above her head. Alice's counterpart at the masked party has a huge headress.

Walking away from the babysitter, Bill makes the same hand gesture we'll later see from Nick Nightinggale.

When Zielger is fiddling with a ball on the pool table, he swirls his hands around and taps balls on the table. The same motions as the swirling of the smoke pot and tapping the staff on the floor by the leader of the masked party.

Thanks for this. I wasn't aware of any of those (except for the analogous connection between the act of Alice dropping her dress, and that of the girl at the Somerton Mansion).

This is really one of my favorite films to attempt to dissect. Or, as it more frequently occurs, to revel in the fascinating dissections that others have done. Although I can't yet see that tennis racket connection being indicative of anything of particular significance ... it is a neat connection, and one I certainly hadn't noticed.

[balmakboor]

I just finished watching the video analysis of Full Metal Jacket on that collativelearning site. I think I now have about 450 new reasons to watch it again -- and I already thought it was one of the most intricate and fascinating films ever made.

[MadMan]

Full Metal Jacket is pretty great. Its due for a second viewing however.

[Ezee E]

I just finished watching the video analysis of Full Metal Jacket on that collativelearning site. I think I now have about 450 new reasons to watch it again -- and I already thought it was one of the most intricate and fascinating films ever made.
Link for that one?

[Winston*]

http://www.collativelearning.com/FMJ%20contents.html

I am unimpressed by your Googling abilities Bialas.

WTF at that site's design in 2008.

[Ezee E]

http://www.collativelearning.com/FMJ%20contents.html

I am unimpressed by your Googling abilities Bialas.

WTF at that site's design in 2008.
I was watching the Chris Rock stand-up. Thanks though!

[Winston*]

I was watching the Chris Rock stand-up.

The new one? Any good?

[Ezee E]

The new one? Any good?
Depends if you like Chris Rock or not. It won't get new fans, but his regular fans will certainly be pleased.

I was laughing the whole way through.

On paper his jokes may just be okay, it's the energy he's got that makes it hilarious.

[Mysterious Dude]

So, I have a question...

If Kubrick wanted to make a movie about the atrocities committed against Native Americans, why didn't he just... make one?

[Grouchy]

So, I have a question...

If Kubrick wanted to make a movie about the atrocities committed against Native Americans, why didn't he just... make one?
Why do you say he didn't?

Anyway, it sort of came with the package. That stuff is in the novel.

[Mysterious Dude]

Why do you say he didn't?Because, instead he made a movie about a family in a haunted house, and supposedly put messages in it relating to the Native American issue that are almost impossible to see, if indeed they are there.

Is that a trick question?


Anyway, it sort of came with the package. That stuff is in the novel.Which, curiously, Mr. Ager never mentions. He attributes it all to Kubrick.

[MadMan]

So, I have a question...

If Kubrick wanted to make a movie about the atrocities committed against Native Americans, why didn't he just... make one?If that's what The Shining is about, then okay. After only one viewing long ago I'm quite unsure as to what the movie was about, but then I think its all a moot point anyways. I just sit back and enjoy the amazing visuals, the creepy moments, and Jack Nicholson overacting and going crazy.

[Dead & Messed Up]

Why do you say he didn't?

Anyway, it sort of came with the package. That stuff is in the novel.

It's barely in the novel.

This analysis, strangely enough, is common in critical circles. My analysis teachers in college pointed those details out with stuffy pride.

What I don't get is why this specific aspect of the film - which accounts for maybe 1% of the running time - is so good for analysis. Why don't people discuss the film's perspective of spousal abuse? Why don't people discuss the film's differing levels of fantastic storytelling? Why don't people discuss Jack Torrance as representative of the dangers of a creative mind? Why don't people discuss the film as an implicit critique of social castes, as one man struggles to write the Great American novel in a hotel that's far too luxurious for him?

[Watashi]

I have conformed to D'Angelo's evil ways.

Rowland, Boner... you may flog me now.

[Boner M]

I have conformed to D'Angelo's evil ways.

Rowland, Boner... you may flog me now.
You've conformed to them before, you non-committal bastard.

[Watashi]

You've conformed to them before, you non-committal bastard.
I know. :sad:

Teach me your patience, Boner. How do you stay so strong?

[soitgoes...]

It's interesting that a German Ophüls was allowed to make two very Germanic films in France right on the cusp of WWII. Werther which is based on a book by the German, Goethe. As well as, From Mayerling to Sarajevo which deals with the Austria-Hungary Empire.

[balmakboor]

http://www.collativelearning.com/FMJ%20contents.html

I am unimpressed by your Googling abilities Bialas.

WTF at that site's design in 2008.

Thanks. That site is certainly an eye-sore.

I really love this video approach to film analysis though. The amount of time he must spend making these videos is mind-boggling.

[Wryan]

I know. :sad:

Teach me your patience, Boner. How do you stay so strong?

Because Mike seems like a gigantic ass knob?

[Grouchy]

Because, instead he made a movie about a family in a haunted house, and supposedly put messages in it relating to the Native American issue that are almost impossible to see, if indeed they are there.

Is that a trick question?
It's a very sincere question. How is it not a movie about the Indian massacre? That's like saying Dawn of the Dead is not a movie about consummerism because it's about a bunch of people fighting zombies. Or like saying High Noon is not a movie about the black listing in Hollywood because it's about a sheriff defending a town.


It's barely in the novel.
Heh. It's barely in the novel and barely on the film.

Anyway, even though I'm defending its validity, I have to agree with Dead & Messed in that it's not the richest, most rewarding interpretation of the film. The others you mentioned (marital relationships, creative struggle) are more interesting to me. It's also cool to watch the film with Todorov (http://en.wikipedia.org/wiki/Tzvetan_Todorov)'s writings on the fantastic genre in mind. Todorov's argument that the fantastic exists only when there's a doubt about whether something supernatural actually happens in the story is perfect for The Shining.

[Grouchy]

Somehow I forgot to mention I've seen F for Fake. Probably because I watched it during class in a shitty DVD copy. Anyway, it's an awesome vanity work from Welles, high on insanity and comedy. It makes me wish his '70s work wasn't THAT erratic and unfinished on the whole, because the man still had a lot to offer. I feel like praising the film because it should be insufferable in its quirkiness and seeming lack of purpose, yet it's very watchable and it has stuff to say about the artist as a poser, cinema as a medium and, of course, the general fakeness of things we take for granted.

And Oja Kodar is a babe. Orson, you lucky punk.

[MadMan]

After reading all of the talk about The Shining, I'm sure I'll be looking at it in a new light after a second viewing. If I can find a copy of the film this month I will rent it.

Grouchy I love F For Fake. One of the best documentaries ever, and also a fitting summary of Welles' life and work too. At least I think so.

[Mysterious Dude]

It's a very sincere question. How is it not a movie about the Indian massacre?Firstly, I don't find any of the evidence that it is very compelling.


That's like saying Dawn of the Dead is not a movie about consummerism because it's about a bunch of people fighting zombies. Or like saying High Noon is not a movie about the black listing in Hollywood because it's about a sheriff defending a town.At least consumerism was an issue that people faced in 1978. When Orwell wrote Animal Farm, Joseph Stalin was still in power. The allegory was clear. How did the genocide of Native Americans affect people in 1980? How were they supposed to recognize such subtle clues? Most people do not think about the issue that much, and The Shining does nothing to make them think about it. As it relates to the Native American issue, The Shining is a worthless film. Would you write an allegory about Joseph Stalin today?

Back in Aesop's day, people wrote fables to make fun of their leaders, since they could face punishment for doing so overtly. After a certain amount of time has passed, it seems rather strange to me to make an allegory about certain issues. I think the Native American issue is important to the extent that it relates to current U.S. policy and American behavior, and I think that would have made a better, more relevant film, if he really wanted to tackle the issue.

Besides, the "consumerism" aspect of Dawn of the Dead is a very obvious and small part of the film. Once you get past the fact that the dead have returned to the mall where they were used to being when they were alive, it's pretty much a movie about people fighting zombies.

[Dead & Messed Up]

Anyway, even though I'm defending its validity, I have to agree with Dead & Messed in that it's not the richest, most rewarding interpretation of the film. The others you mentioned (marital relationships, creative struggle) are more interesting to me. It's also cool to watch the film with Todorov (http://en.wikipedia.org/wiki/Tzvetan_Todorov)'s writings on the fantastic genre in mind. Todorov's argument that the fantastic exists only when there's a doubt about whether something supernatural actually happens in the story is perfect for The Shining.

Good point. I'm not a big fan of the picture, but I think the fantastic reading is a much more fruitful one, searching for the boundary between the uncanny and the supernatural.

[Dead & Messed Up]

Besides, the "consumerism" aspect of Dawn of the Dead is a very obvious and small part of the film. Once you get past the fact that the dead have returned to the mall where they were used to being when they were alive, it's pretty much a movie about people fighting zombies.

I think the most interesting thing about the film is the middle portion where the zombies are effectively subdued, and Romero focuses on the protagonist's willful return to the superficial trappings of domesticity.

[Derek]

Happy-Go-Lucky (Mike Leigh, 2008)

Comparisons to Naked are surprisingly apt as its cheerfully quirky protagonist and vivid color scheme is quite literally the polar opposite of Leigh's masterpiece. Despite the difference in their attitude towards a world often cruel and indifferent, Johnny and Poppy (I didn't until this moment even consider the similarities in their names) share the ability, or perhaps the need, to greet the world head on. The preview, and even the first 20 minutes, make Poppy seem a bit shallow or air-headed, but her buoyency and energy is every bit an approach to dealing with the world as Johnny's nihilism. I wouldn't view it as a corrective in any way, as Leigh isn't interested in judging the value of his characters (unless their upper class elites, in which case he's never hesitated to throw mud), but rather another character study that reflects as much on the general state of her surroundings as it does on the woman herself.

Radio Days (Woody Allen, 1987)

One of Woody's most personal films, whose brilliance lies in its avoidance of the typical biopic/personal narrative trappings through its creative blending of the biographical and fantastical. Woody accepts the fact that no matter how accurately period details are replicated and memories skimmed through, biographical realism will most often lead to the sort of mundane biopics flooding theaters for the past 5 years, checking off major events and love affairs while shaping them into a clean-cut 3-act narrative with perfectly rounded character arcs. The reek of bullshit is nowhere near this film and what's more, Allen has his cake and eats it too. The film has the genuine look of the period, the portrayal of the family (while at times broad in order to give it some levity and humor) fully formed, but it's the addition of radio play sub-plot that makes this something special. He's not simply reserved to the impossible task of recreating the past, but filtering through his own childhood memories and his family's obsession with the radio. It's a film that could only be made by someone a little older as the truth and accuracy behind early memories starts to fade and important events, both real and fictional, take on a life of their own. The ending oddly enough reminded me of Inland Empire in its offbeat, comical celebration of the filmmaker's own cinematic past.

[MacGuffin]

Whisper of the Heart. What is there to say about Whisper of the Heart? The animation is a notch above standard: I am still not too sure about animation, but whoever is in charge of the art design does a nice job with colors, especially during the night sequences. I saw this basically to get a sense of modern Japanese culture; it is really something that interests me. Any recommendations? And while the Japan I saw looked nice it, it felt very artificial thematically and in correspondence with the story. I watched the English dubbing, as it was the default on the DVD, I am familiar with the voice of Jean Smart, and it doesn't really matter anyways since their facial movements are not synced — if anyone has any differing opinions on precisely why I should watch an original soundtrack with anime, feel free to enlighten me, but I've always thought the American distributors do a fine job with dubbing — and it wasn't even something I can blame on voice narration, the script is just far too hyperbolic in emotions. Every line feels so exaggerated and immature. I know the last line is supposed to be a release of all the emotions bottled up by the dude during his relationship with that girl, but come on now? We could have been a bit more realistic with the wording, huh?

It's not just that line though, either. I'm used to the "huhs" and the yelling that usually accompanies animation for whatever reason; it's fine by me. I just can't stand the lack of realism in the dialogue when it isn't used for any particular effect. It is annoying. Otherwise, it's okay. I wouldn't recommend the movie, overall.

[Russ]

Any recommendations?

5 Centimeters per Second.


http://twitchfilm.net/site/images/entry_images/5cm5.jpg