28 Film Discussion Threads Later

[megladon8]

Let Sleeping Corpses Lie was a really, really great movie.

Sublime photography.

[Qrazy]

Yeah I wasn't being sarcastic when I posted it weeks ago...it's an awesome poster.

I have no doubt in my mind the movie is typically terrible STV crap, but that's a gorgeous DVD.

Oh... I was being sarcastic.

[Rowland]

The Naked City(1948) is really super cool, and a well made "realistic" type film noir/drama. There's tons of melodrama involved, but its really well made and crafted melodrama. I can see why Frank Miller choose this as part of his picks for Guest Programmer month.I didn't care for this. I suppose it has some historical value, but I found it a relatively uninteresting procedural comprised of mediocre actors standing around chattering endlessly, without much in the way of visual flair, thematic depth, or character detail to liven things up. The chase at the end woke me up a bit, but it was hardly an expertly staged action sequence, its main claim to fame being how it was filmed on the actual streets of NYC. Whatever to its status as a classic.

[Winston*]

I've just started Homicide myself; S1 was released on R4 last week (I noticed you were wondering about it in the Wire thread a while back).

Thanks but I already checked it out by other means. Awesome show.

[MadMan]

I didn't care for this. I suppose it has some historical value, but I found it a relatively uninteresting procedural comprised of mediocre actors standing around chattering endlessly, without much in the way of visual flair, thematic depth, or character detail to liven things up. The chase at the end woke me up a bit, but it was hardly an expertly staged action sequence, its main claim to fame being how it was filmed on the actual streets of NYC. Whatever to its status as a classic.I really liked it, but I can't understand anyone who thinks its a classic or is a great movie. To me the acting really wasn't important so much as the story and the themes of the city so easily devouring the innocent. Something that is also found in film noir. What really seals the deal for me is the case, which I find interesting, and the larger than life, fantastic depiction of New York City. Movies were meant to be made there. Honestly I don't care about the historical value of the movie, although I suppose that's an additional bonus or something.

Weekend:

*The Day the Earth Stood Still(1951)-Second viewing. No I will not be seeing the remake.
*Planes, Trains and Automobiles(1987)-Its been a while since I last saw this. Perfect for the holidays.
*Beyond the Fog(1972)-Yey for B-movies
*The Absent Minded Professor(1961)-Maybe
*Jeremiah Johnson(1972)

[NickGlass]

Thoughts on The Wrestler, Nick?

Very surprised by your rating.

Surprised, really? My reaction matched my expectations. I like Aronofsky in this mode: small, focused and simple. The down-and-up-and-down-and-up redemption trajectory follows a conventional structure, but the performances and naturalistic cinematography (it's like Rocky meets the Dardenne Bros.) elevate the material. Aronofsky and Co. tone down what could have been melodramatic and emphasize details. It's not subtle, but it's nicely observed. That's pretty much it: it's a nice, little film.


Hey Nick are you living in NYC now?

It's a long story that's actually a short story, but here's the tense answer: kinda. I work in NYC a couple days a week at an alt-weekly magazine, but don't have an apartment; I'm a NYC nomad, sleeping on the couches of siblings, friends and, errr, acquaintances.

[Spinal]

I really want to see Azur and Asmar this weekend, the new film from the director of Kirikou.

[dreamdead]

Anthony Mann's Border Incident is taut and thrilling entertainment with a solid noir-influence. The narrator at the beginning and ending, justifying the realism of the picture, comes off as a bit much, but once the story gets going it never lets off. Rather fascinating in its appropriation of noir angles and monochrome lighting, too, which makes the lack of noir storyline all the more striking. And the montage bit with Jack Burns and the tractor was more horrific than I'd thought filmmakers could convey in the '40s. Awesome filmmaking.

[Raiders]

Anthony Mann's Border Incident is ... Awesome filmmaking.

Indeed. Glad you loved it. I waver between this and The Tall Target as my favorite Mann film.

[dreamdead]

Indeed. Glad you loved it. I waver between this and The Tall Target as my favorite Mann film.

How odd that Netflix doesn't have the latter film available. I have Winchester '73 as well, though, and I'm excited after BI about prowling through Mann's filmography more next year (gonna try to see all the Stewart/Mann collaborations). The Naked Spur didn't excite me as much as I'd hoped (too schematic and typical for my taste) but BI was a wonder, so I'm optimistic again.

I had thought that The Furies (mmm... Stanwyck) would have received more raves given its Criterion treatment, but you and Boner seemed to be less enthused about it.

[Rowland]

Winchester '73 > The Naked Spur

[Boner M]

The climactic shootout of Winchester '73 is the most unexpectedly visceral action scene I've seen in a classic western; it actually had me physically jolting from side to side.

[Raiders]

I had thought that The Furies (mmm... Stanwyck) would have received more raves given its Criterion treatment, but you and Boner seemed to be less enthused about it.

Oh, it is very much worth seeing. As opposed to the rather succinct but nonetheless formally pristine Mann/Stewart westerns, this film is a Freudian mess. It's a heavy-handed film from the screenplay side, and I think it sort of shortchanges much of the dynamic between the characters in lieu of a select few haunting moments (one in particular with a pair of scissors) strung in between some more forgettable stuff. But, it is certainly worth seeing for Mann's spatial movement and all the performances, and for someone who found The Naked Spur a little too routine, it may come out being among your favorites by him.

[Derek]

Winchester '73 > The Naked Spur

This is incorrect, but I like them about the same. Regardless, The Man from Laramie is > both.

[Ezee E]

Hmm... So should I go with Winchester '73 or T-Men or The Furies?

[Yxklyx]

Hmm... So should I go with Winchester '73 or T-Men or The Furies?

Definitely Winchester '73!

[Derek]

Hmm... So should I go with Winchester '73 or T-Men or The Furies?

Winchester '73 is a pretty good place to start. My Mann rank 'n' rate for shits and giggles:

1. The Man from Laramie - 8.5
2. The Naked Spur - 8.0
3. Winchester '73 - 8.0
4. Men in War - 8.0
5. Man of the West - 7.5
6. The Tall Target - 7.0
7. The Far Country - 7.0
8. Bend of the River - 7.0
9. Raw Deal - 6.0

Dude's consistent if nothing else. Raw Deal needs another look since I saw it on an awful VHS a while back.

[Ezee E]

Neato. Anthony Mann and I have the same b-day.

[Derek]

Havoc (Barbara Kopple, 2005) / **

I realize you can play the Barbara Kopple card, but seriously, was there any reason you watched this whole movie as opposed to just the Anne Hathaway nude scene?

[Boner M]

Wats has seen Havoc more times than The Incredibles.

[Watashi]

Wats has seen Havoc more times than The Incredibles.
YouTube scenes don't count.

[Boner M]

YouTube scenes don't count.
Wats has spent more time watching Havoc than The Incredibles.

[soitgoes...]

Yeah, Mann's Winchester '73 trumps everything else he did. 1950 was just about a perfect year for him, as far as filmmakers go, 3 great films and also one good one. He still has a few works that I want to see, mostly his late 40's work and Men in War.

[Ezee E]

I realize you can play the Barbara Kopple card, but seriously, was there any reason you watched this whole movie as opposed to just the Anne Hathaway nude scene?
I added it to the queue after I saw Rachel Getting Married.

Gaghan script, I'm guessing it was written before his much better written scripts, and also Joseph Gordon-Levitt as a Wigga.

Plus, teh Hathaway.

Freddy Rodriguez needs to stop taking roles where he's a gangster. He doesn't have the look of one. He's too nice, like his role in Six Feet Under. The movie seriously had potential, but wasn't ballsy enough to go after a particular theme, many of which were interesting.

[Wryan]

Jimmy's final scenes in TNS better than any of his Hitchcock work?

Almost. Fuckin' almost.

:(

[Wryan]

You Don't Mess With the Zohan (Dennis Dugan, 2008) 60
The Fall (Tarsem, 2008) 55

I live for these moments...

[Qrazy]

I didn't care for this. I suppose it has some historical value, but I found it a relatively uninteresting procedural comprised of mediocre actors standing around chattering endlessly, without much in the way of visual flair, thematic depth, or character detail to liven things up. The chase at the end woke me up a bit, but it was hardly an expertly staged action sequence, its main claim to fame being how it was filmed on the actual streets of NYC. Whatever to its status as a classic.

It's probably the least of the Dassin films I've seen. Night and the City is much better.

[Grouchy]

Watching the original 1960 Village of the Damned, I couldn't help but go back to the oldster's axiom - movies were smarter when they had less technology to show off. It's a very simple film, almost like a Twilight Zone episode with an improbable premise (creepy genius kids with telepathic powers are born out the same time out of inmaculate conception), but it lives up to it wonderfully. George Sanders manages to trascend the fatal mistakes of his lead character and make him seem amiable and interesting - all of the characters are wonderfully put together, actually, and they're intelligent people in well over their head, not faceless scared twits. And that ending is the stuff of legend, with the clever yuxtaposition of mental images and the action going on. I can't compare it to Carpenter's, unfortunately, because I saw it when I was a kid and don't remember much other than that I liked it and that roasted guy at the barbecue. I'll watch both sequel and remake soon.

Another pleasant surprise was Boarding Gate, one of the best thrillers I've seen recently. Of course I only saw it for naked Asia, but I ended up glued to it even during scenes where she was dressed. Assayas manages to engage the audience even when he has very little and very loose plot. What matters, though, is the depiction of Asia as a tough but feminine victim of her lifestyle and surroundings - she's both predator and victim the whole time. In fact, I can't imagine the film working with any other actress, that huge is the fusion between her persona and the role she plays. She's amazing - I think this is by far the best I've seen her act. And she has exactly the sort of allure to keep her attractive even when she's puking into the W.C. of a night club. The film is very intriguing and you can't always tell what's going on except that it's interesting and wildly unfocused. I also suspect Assayas made the first twenty minutes purposefully cryptic and lingering so that the first plot twist (the penthouse shooting) sort of literally wakes the audience. The critics mised the goddamn spaceship on this one. As a side note, I've read five reviews and the five of them commented on the bad acting by Sonic Youth's lead guitar Kim Gordon. I didn't know who the fuck she was and I found her acting adequate.

[Dead & Messed Up]

Winchester '73 > The Naked Spur

True...

Both = awesome.

[Mara]

I'm looking through the films on my Netflix that I have rated one star, and I swear to you that there are about a dozen that I don't remember at all. For instance, this one (http://www.imdb.com/title/tt0218141/), which rang no bells until I noticed that Alberta Watson was in it. I sort of remember thinking, "Hey, look, Alberta Watson."

So here's my question: what sort of film is "worse"; the ones so bad that they are still painful, scabby memories in our mind, or the ones so bad that we forget we ever saw them?

[Dead & Messed Up]

I'm looking through the films on my Netflix that I have rated one star, and I swear to you that there are about a dozen that I don't remember at all. For instance, this one (http://www.imdb.com/title/tt0218141/), which rang no bells until I noticed that Alberta Watson was in it. I sort of remember thinking, "Hey, look, Alberta Watson."

So here's my question: what sort of film is "worse"; the ones so bad that they are still painful, scabby memories in our mind, or the ones so bad that we forget we ever saw them?

The ones that take up valuable space in our brains.

[Derek]

So here's my question: what sort of film is "worse"; the ones so bad that they are still painful, scabby memories in our mind, or the ones so bad that we forget we ever saw them?

That's a tough question, but I'd lean towards the blander, more forgettable ones being worse. For example, The Happening is godawful, one of the worst films of the year, but it has that tiger scene and Mark Whalberg talking to a house plant. Beat that, Appaloosa.

[megladon8]

I liked Appaloosa :sad:

[Robby P]

The Far Country is my favorite Mann movie. They're all pretty great, though.

[Derek]

I liked Appaloosa :sad:

I didn't hate it nor was it particularly awful. That was my point. It's simply bland, lifeless and completely forgettable which is almost worse than a complete debacle.

[megladon8]

I didn't hate it nor was it particularly awful. That was my point. It's simply bland, lifeless and completely forgettable which is almost worse than a complete debacle.


After seeing it, I began writing a review. It actally turned out to be my longest review yet, but I scrapped it because it contained a full 2 1/2 pages of why I find the accusations of it being sexist to be totally ridiculous.

Maybe if I see it again when it comes to DVD, I'll try to re-write my thoughts in a briefer manner.

It's not one I'll be rushing to buy or anything, though, so it could likely be a while before that happens.

[soitgoes...]

The Far Country is my favorite Mann movie. They're all pretty great, though.
There's a few that are far from being great.

[Amnesiac]

Is anyone here a fan of Derrick Comedy (http://www.derrickcomedy.com/)? They have a channel on YouTube and have put out quite a number of funny videos, including Blowjob Girl (http://www.youtube.com/watch?v=0hm7pp_JFOs) and B-Boy Stance (http://www.youtube.com/watch?v=MY4kFSuMvKM&feature=channel). Anyone who hasn't heard of them owe it to themselves to at least check out those two videos.

Anyways. They took a hiatus from making videos over the summer and have churned out a feature-length film (http://www.youtube.com/watch?v=nxx1vOhlqmM&fmt=18) (well-done trailer, too), and it's actually going to being premiering at Sundance. Pretty cool.

This got me thinking about another popular YouTube star who found his way into the movie business: Brandon Hardesty (http://www.brandonhardesty.com/). He does the best Jurassic Park reenactment (http://www.youtube.com/watch?v=X6etg_fX1Pw) ever. And he's reenacted scenes from tons of other movies, too. Check his channel.

He first got into a Geico commercial because the folks from Geico saw all the funny faces he was making in one of his videos and hired him. He also got onto Jimmy Kimmel Live doing reenactments from 2007's Best Picture nominees. Then he got into an indie-movie called Bart Got A Room (http://www.imdb.com/title/tt0472050/) with William H. Macy and Cheryl Hines. And he's now got two other pre-production credits on imdb.

The point of all this? It's pretty interesting to watch people work their way up from humble beginnings. And it's also neat that YouTube is such an effective launching-pad.

[megladon8]

David Goyer wants to reboot the Blade series!

Yay!

:|

[Stay Puft]

David Goyer can fuck off.

edit - ok, that was a little unnecessary. But I've about reached the point where I can no longer tolerate: a) David Goyer projects; and especially b) Marvel franchise reboots.

You just made a terrible Blade movie, dude. Go find something else to do.

[Philosophe_rouge]

The Double Life of Veronique moves beyond simple emotional and intellectual appeal, reaching even deeper at something that is as mysterious as life itself. Is Kieslowski exploring the soul? I’m not entirely sure. What I remember from Trois Couleurs: Rouge was a fascination with the interconnectedness of life, the idea that our impact on each other is not miniscule, but crucial. Though made several years before, this film takes this idea to an entirely new level, presenting the idea that two lives and souls can be joined without ever knowing the other exists.

What can I say? This is one of the rare cases that I can sum up my experience as being filled with awe. I am hit with the powerful confrontation of witnessing and experiencing something special and rare, even though I don’t quite grasp why or what is happening.

[megladon8]

The Fall was quite the disappointment.

Beautiful to look at, but terribly artificial beauty which I found distracting.

There is a criticism I have read a few times regarding Hero, which I would apply to this film - it's hollow. Beautiful imagery does not a good film make. I did not feel a connection to the characters or the story, and thus I did not feel distraught with its attempts to woo me with emotion.

Also I thought its themes of the importance and power of stories were more eloquently done in Pan's Labyrinth.

[megladon8]

I think it's time for a thread title change.

I nominate "Film Discussion Thread: Swedish Vampire Movie"

[Ezee E]

I think it's time for a thread title change.

I nominate "Film Discussion Thread: Swedish Vampire Movie"
Sweet. I'll back it.

[Amnesiac]

Paul Thomas Anderson's first professional short has finally made it's way onto the internet, Cigarettes and Coffee (http://vimeo.com/2447683?pg=embed&sec=2447683).

He used the money he saved after dropping out of NYU Film School to fund it. It was screened during the 1993 Sundance Film Festival. Soon thereafter, Paul was invited to the Sundance Institute where he began to prepare, and shoot, aspects of his script for Hard Eight.

So, without this film, we may never have been graced by his wonderful oeuvre.

As for the film itself... it's definitely intriguing. On a first viewing, I noticed there are the seeds of some of PTA's thematic preoccupations, such as serendipity and coincidence. There is also his restless cross-cutting amongst disparate characters and stories ala Magnolia, and the fact their latent connections gradually become elucidated. But there also seems to be a greater deal of ambiguity and ellipsis at work here than in any of his other films.

[MadMan]

Gremlins 2 is utterly hilarious. I can only attribute the fact that I didn't fully appreciate this movie the first time I saw it to having been too young (I viewed it while still in middle school) to get most of the references (the Looney Tunes bits were fairly obvious back then however).
It has a madcap glee that flows throughout, and I love that Joe Dante isn't afraid to make fun of Gremlins, or actually mock the mythology behind Gremlins. Such as the scene where Billy's co-workers make fun of him while asking questions such as "What happens if the Gremlins are in a plane and it travels into a new time zone, and now its midnight?"
Plus of course the Brain Gremlin, who has the film's best line ("Well, it's rather brutal here. Right now we are advising all our clients to put everything they've got into canned food and shotguns."), and Gizmo going all out Rambo. Having now revisited one Dante film I want to see Piranha and The 'Burbs again, as its been a while since I last viewed both.

[origami_mustache]

Wes Anderson directs Brad Pitt in a Japanese cell phone ad/Jaques Tati homage. (http://www.youtube.com/watch?v=S-suSa6I5C8&eurl=http://www.tumblr.com/dashboard&feature=player_embedded)

[B-side]

Gran Torino isn't good. It's trite, cliche and predictable. 99% of the film's attempts at being intense end up funny or more worthy of an eye-roll than your proper attention. It's heavy-handed and in terms of the technical aspects, it's as bland as they come. It does have some redeeming value in that it's consistently funny. Its attempts at humor do work, but that aspect won't work for everyone as it hinges largely on whether or not you find Eastwood calling everyone various racial slurs funny. It's probably no better or worse than you think it's gonna be. It's also probably exactly what you think it's gonna be in terms of plot elements and themes. It attempts to touch on the ever-growing gap between the younger and older generations, but it's not explored in an interesting or intelligent manner, unless you consider watching Eastwood snarl at kids and tell them how they don't know anything because he's been in the war and they haven't interesting and intelligent.

[Sven]

Wes Anderson directs Brad Pitt in a Japanese cell phone ad/Jaques Tati homage. (http://www.youtube.com/watch?v=S-suSa6I5C8&eurl=http://www.tumblr.com/dashboard&feature=player_embedded)

I liked it!

[megladon8]

Today's my last full day in NYC so we're trying to decide what to go see.

We both really want to see [REC], which is playing at the Lincoln Center tonight.

But I'm also considering seeing Amarcord, which is down near where we saw Let the Right One In. Not exactly the nicest area - it's the "trendy" area of Manhattan, and you can practically cut the "pretentious douche" atmosphere with a knife...but they play some good movies.

So yeah...we're torn.

[Ezee E]

I think either decision will work out. I haven't see [Rec] though.

[megladon8]

I think either decision will work out. I haven't see [Rec] though.


We've also discovered that the IFC Center is playing Herzog's Nosferatu at 11:30pm.

That's like...OUR movie. But neither of us are too comfortable with the idea of coming home on the subway and walking down some very dark alleyways at like 2:30am.

Damn :sad: That would have been amazing.

[Sven]

Not exactly the nicest area - it's the "trendy" area of Manhattan, and you can practically cut the "pretentious douche" atmosphere with a knife...but they play some good movies.

Of all the pretentious areas of Manhattan, I think that the Upper West Side is probably the least trendy of the bunch. If you had decided to go to Nosferatu... now THAT neighborhood is trendy. The population of the Upper West Side (near midtown... it changes when you get into the 100s, near Columbia) is too old to be really trendy.

[dreamdead]

Kung Fu Panda was, as has been mentioned by several, a pleasant surprise. I liked the art style and the film never overstayed its welcome, exhibiting a fun knowledge of genre stereotypes and playing with them. Lots of good one-liners, considering the style of film. And despite the overkill of actor voices, they filled their parts well. This feels like it'll age like The Emperor's New Groove, growing better with time.

Mann's Winchester '73 is solid as well. A bit disappointing that the Netflix synopsis ruins character relationships from the start, but the film's structure and sense of rhythm is impeccable. As others noted, the ending is the key, as Mann conveys spatial geography simply even as he ratchets up the tension more. I liked the almost operatic sense of this film's character psychology. The need to have Winters' play the woman who'll offer a new life to Stewart seems a bit unnecessarily, and creates the only real formulaic aspect of the narrative, but otherwise plenty good. I'm finding a real appreciation for Mann.

[dreamdead]

The Double Life of Veronique moves beyond simple emotional and intellectual appeal, reaching even deeper at something that is as mysterious as life itself. Is Kieslowski exploring the soul? I’m not entirely sure. What I remember from Trois Couleurs: Rouge was a fascination with the interconnectedness of life, the idea that our impact on each other is not miniscule, but crucial. Though made several years before, this film takes this idea to an entirely new level, presenting the idea that two lives and souls can be joined without ever knowing the other exists.


I need to rewatch Red to make certain that it's not just the newness of the experience, but I've felt for the past year or so that Veronique might be the culmination of Kieslowski's prowess as a thinker and filmmaker. It has a touch of Tarkovskian spiritual ambiguity that makes it all the more powerful and contemplative. That final image by the tree is phenomenal. It's a film that is too sophisticated to be a mere romance, yet it has the outward appeal of a standard arthouse attraction thanks to Irene Jacob's beauty. It's probably my favorite of his play with color and lighting, too.

[Ezee E]

We've also discovered that the IFC Center is playing Herzog's Nosferatu at 11:30pm.

That's like...OUR movie. But neither of us are too comfortable with the idea of coming home on the subway and walking down some very dark alleyways at like 2:30am.

Damn :sad: That would have been amazing.
You're a big dude. Do it!

[Scar]

We've also discovered that the IFC Center is playing Herzog's Nosferatu at 11:30pm.

That's like...OUR movie. But neither of us are too comfortable with the idea of coming home on the subway and walking down some very dark alleyways at like 2:30am.

Damn :sad: That would have been amazing.

Walk like you own the place, eyeball everyone you see, keep your hands out of your pockets, and keep your head on a swivel. No problem!

[Qrazy]

Today's my last full day in NYC so we're trying to decide what to go see.

We both really want to see [REC], which is playing at the Lincoln Center tonight.

But I'm also considering seeing Amarcord, which is down near where we saw Let the Right One In. Not exactly the nicest area - it's the "trendy" area of Manhattan, and you can practically cut the "pretentious douche" atmosphere with a knife...but they play some good movies.

So yeah...we're torn.

Go see Amarcord.

[Ivan Drago]

Is anyone here a fan of Derrick Comedy (http://www.derrickcomedy.com/)? They have a channel on YouTube and have put out quite a number of funny videos, including Blowjob Girl (http://www.youtube.com/watch?v=0hm7pp_JFOs) and B-Boy Stance (http://www.youtube.com/watch?v=MY4kFSuMvKM&feature=channel). Anyone who hasn't heard of them owe it to themselves to at least check out those two videos.

Anyways. They took a hiatus from making videos over the summer and have churned out a feature-length film (http://www.youtube.com/watch?v=nxx1vOhlqmM&fmt=18) (well-done trailer, too), and it's actually going to being premiering at Sundance. Pretty cool.

This got me thinking about another popular YouTube star who found his way into the movie business: Brandon Hardesty (http://www.brandonhardesty.com/). He does the best Jurassic Park reenactment (http://www.youtube.com/watch?v=X6etg_fX1Pw) ever. And he's reenacted scenes from tons of other movies, too. Check his channel.

He first got into a Geico commercial because the folks from Geico saw all the funny faces he was making in one of his videos and hired him. He also got onto Jimmy Kimmel Live doing reenactments from 2007's Best Picture nominees. Then he got into an indie-movie called Bart Got A Room (http://www.imdb.com/title/tt0472050/) with William H. Macy and Cheryl Hines. And he's now got two other pre-production credits on imdb.

The point of all this? It's pretty interesting to watch people work their way up from humble beginnings. And it's also neat that YouTube is such an effective launching-pad.

I like their Mafia video.

"But when you say that you could mean a guy who's talking to the Feds or a rat who has somehow gained the power of speech! If that's the case, we are FUCKED as a human race!"

[Amnesiac]

"But when you say that you could mean a guy who's talking to the Feds or a rat who has somehow gained the power of speech! If that's the case, we are FUCKED as a human race!"

Haha. Yeah, I just re-watched that. Hilarious.

Check out Jerry (http://www.derrickcomedy.com/2007/08/21/jerry/) and Winks (http://www.derrickcomedy.com/2007/12/04/winks/). So funny.

[NickGlass]

Today's my last full day in NYC so we're trying to decide what to go see.

We both really want to see [REC], which is playing at the Lincoln Center tonight.

But I'm also considering seeing Amarcord, which is down near where we saw Let the Right One In. Not exactly the nicest area - it's the "trendy" area of Manhattan, and you can practically cut the "pretentious douche" atmosphere with a knife...but they play some good movies.

So yeah...we're torn.

Superficially speaking ill of the West/East Village and, in particular, the Film Forum, will inch you closer and closer to negative rep.

And, yeah, "pretentious douchebag" certainly doesn't fit for Lincoln Center, right?

Every area of Manhattan--and, to a degree, Brooklyn--has its ration of "pretentious douchebags" (a different form of pretension in each, surely) so don't wield the phrase as if you knew how to apply it.

[Amnesiac]

Megladon8, did you by any chance stay in a really affordable yet satisfactory hotel?

I really wanna' visit New York sometime soon and I'm trying to seek out a fair price on a good hotel in a good location. But I guess that might be next to impossible.

[NickGlass]

We've also discovered that the IFC Center is playing Herzog's Nosferatu at 11:30pm.

That's like...OUR movie. But neither of us are too comfortable with the idea of coming home on the subway and walking down some very dark alleyways at like 2:30am.

Damn :sad: That would have been amazing.

I don't know where Jen lives, but unless you're walking through a timewarp to the 80s, you likely don't have much to worry about.

And, also, referring to the West Village as "not the nicest area" is hilarious. Have no fear, dear megladon; most of NYC crimes happen in restaurants and stores, when you see the price of everything.

[NickGlass]

Megladon8, did you by any chance stay in a really affordable yet satisfactory hotel?

I really wanna' visit New York sometime soon and I'm trying to seek out a fair price on a good hotel in a good location. But I guess that might be next to impossible.

Ask Boner M about hostels.

[Amnesiac]

Ask Boner M about hostels.

I've never stayed in a hostel before. Therefore, when someone says "hostel", I think of Hostel (http://www.imdb.com/title/tt0450278/). :sad:

Actually, I think a friend of mine stayed in one during his recent trip to NYC...

[Bosco B Thug]

I need to rewatch Red to make certain that it's not just the newness of the experience, but I've felt for the past year or so that Veronique might be the culmination of Kieslowski's prowess as a thinker and filmmaker. It has a touch of Tarkovskian spiritual ambiguity that makes it all the more powerful and contemplative. That final image by the tree is phenomenal. It's a film that is too sophisticated to be a mere romance, yet it has the outward appeal of a standard arthouse attraction thanks to Irene Jacob's beauty. It's probably my favorite of his play with color and lighting, too. 'Veronique' is a really stunning and ultimately a wonderful movie, but I'm not sure, and I'm afraid to say it, but, one can't blame me for wanting some more "meat" (a pragmatic sort of meat?) to the story, can one?

And I think I really favor Blue because I love the repeatedly watched Blue but I recall being underwhelmed by the once-watched Red (relatively - it was still a invigorating 8/10 pic) ... but Red needs a rewatch, so yeah.

[Qrazy]

I don't know where Jen lives, but unless you're walking through a timewarp to the 80s, you likely don't have much to worry about.

And, also, referring to the West Village as "not the nicest area" is hilarious. Have no fear, dear megladon; most of NYC crimes happen in restaurants and stores, when you see the price of everything.

When I was living there I remember being more nervous walking home off the F train to Brooklyn at around 4:00am then being around the downtown at a similar hour. As long as it's a populated area there's not much to fear but Brooklyn is dead as the dodo around that time.

[Qrazy]

'Veronique' is a really stunning and ultimately a wonderful movie, but I'm not sure, and I'm afraid to say it, but, one can't blame me for wanting some more "meat" (a pragmatic sort of meat?) to the story, can one?


Yes one can, and one will.

Heh.

But yeah I'm not sure where I stand on his films. For me Kieslowski didn't make any one film that is massively better than the rest. His filmography on a general level is just very strong and he's the type of filmmaker where his work taken as a whole adds up to something more than each individual part. Red, White, Blue and Veronique all bring something unique and excellent to the table. White is probably the weakest of the four but it still has a lot to say. Camera Buff is a very strong early work. No End is less interesting but still worth seeing and Blind Chance is conceptually excellent but rough around the edges. The first, last and killing episodes of the Decalogue are some of my favorite work from him. The last because it's really quite funny and it's rare to see Kieslowski attempt something like that, the first for it's raw emotional power and the other because I think it's the most nuanced condemnation of the death penalty I've yet seen. The Scar is the only film I've seen from him that I don't have much interest in revisiting. It showcases his early promise but it's also padded out with many tedious and uninteresting episodes. His shorts are also excellent, I still have quite a few of those left to see.

[Grouchy]

When I went to New York I took subways at 3 a.m. on the Village area. I actually expected it to be dangerous and got nothing.

I remember seeing Strangers on a Train on the Film Forum. Great times.

[Amnesiac]

I've been looking at the New York Inn (http://www.newyorkinn.com/) as it's not too pricey and it's in a good location...

[Ezee E]

Compared to Ottawa, I bet anywhere in New York City is sketch.

[megladon8]

And, also, referring to the West Village as "not the nicest area" is hilarious. Have no fear, dear megladon; most of NYC crimes happen in restaurants and stores, when you see the price of everything.


I was referring to it as "not the nicest area" because of its pretentious douchebag factor.

And yes, I do know how to "wield the term properly" - the Angelika Felm Center features a café where several tables sat 20-somethings who were wearing all black and berets. = Douche.

[megladon8]

So we've decided not to go to any movies today/tonight, since we couldn't decide on one, and it's freaking cold as hell outside.

So we're going to have a night of beer, chips and movies at home, filled with laughing and joking. That's a great night to me, I dunno about you guys...

Right now we're watching Murder Party and I'm surprised by how good it is. The script is awesome.

[Watashi]

If you're in NYC with Jen, why the hell are you on Match Cut to begin with?

[Amnesiac]

So we're going to have a night of beer, chips and movies at home, filled with laughing and joking. That's a great night to me, I dunno about you guys...

Yes.

Anyways, did you miss my question a few post back?


Megladon8, did you by any chance stay in a really affordable yet satisfactory hotel?


Then again, you said "at home", so maybe you're lucky and have a house there or something.

[Qrazy]

If you're in NYC with Jen, why the hell are you on Match Cut to begin with?

To drop the earth shattering bomb that he's decided to watch a movie at home. Duh.

[Sven]

Oh come on. You're really going to criticize a dude for taking a few minutes out of his vacation to post something? Vacations don't exist in a vacuum.

[megladon8]

Yes.

Anyways, did you miss my question a few post back?


Yes, I missed it, sorry.

No, I'm staying with Jen. I don't think there are really any "affordable yet liveable" hotels in NYC. It's an expensive place.

I'm lucky ro have Jen here, because I've fallen in love with the city. I hope to call it my home someday.

[megladon8]

Bob Clark's Deathdream (aka Dead of Night - title changed because there was already a well-known horror film by that name) was actually pretty good.

The main actor played the character well, and the make-up combined with his dead stare was really effective at creeping me out.

And there were some surprisingly heartbreaking moments with the family (the story being that a young man is killed in Vietnam, but comes home a zombie-like monster who still looks human but needs human blood to keep himself from rotting).


And Murder Party was great. The script was its greatest strength - very funny at times, and some really strong character work.

Quite the gorefest at the end, too.

EDIT: Watched it again with commentary and found that a lot of the scenes were improvised.

My favorite dialogue:

While under the influence of "truth serum"...

PAUL: I can lie. Seriously, somebody ask me a question.

MACON: Hmm...what's your favorite colour?

PAUL: Blue...see? It's purple.

BILL: Purple's got a lot of blue in it.

[Qrazy]

Monicelli's My Friends (Amici Miei) was hilarious. See it.

[Duncan]

I've honestly never felt scared in New York. I felt a little overwhelmed when I first moved there, and it's not like I'd go waving money around in any area, but overall I never felt threatened, even in the "sketchy" areas. Nick's right. It's not the 80's.


Watched Charade last night. Eh...Hepburn was pretty.

[megladon8]

I've honestly never felt scared in New York. I felt a little overwhelmed when I first moved there, and it's not like I'd go waving money around in any area, but overall I never felt threatened, even in the "sketchy" areas. Nick's right. It's not the 80's.


Watched Charade last night. Eh...Hepburn was pretty.


Not feeling scared and being irresponsible are two different things.

I'm not frightened in the least walking around Manhattan and the Village at any time of day or night by myself.

But there are still very shady areas, and areas that are known as places that people pretty much don't go in to unless they're looking to buy drugs.

[soitgoes...]

Monicelli's My Friends (Amici Miei) was hilarious. See it.
I will.

[Duncan]

Also, maybe those 20-somethings in black are interesting people with thoughts worth hearing. And maybe dismissing them and a whole neighbourhood because of what kind of hats they're wearing is a bit...I dunno...weird or pretentious or something.

edit: anyway, doesn't matter. I just have a bunch of friends who live around there. I don't think any of them own berets, but still.

[Qrazy]

I will.

It's also the last film Germi wrote so that has to count for something too.

[soitgoes...]

It's also the last film Germi wrote so that has to count for something too.
I got The Railroad Man up next. I'm interested if non-satirical Germi is as entertaining.

[Qrazy]

I got The Railroad Man up next. I'm interested if non-satirical Germi is as entertaining.

Nice, let me know. Once I'm done my Monicelli binge I'll have to tackle Germi. Jedimoonshyne on RT spoke well of The Railroad Man:

http://www.rottentomatoes.com/vine/showpost.php?p=14126007&postcount=223

His Italian Cinema thread is a good read in general.

[soitgoes...]

Nice, let me know. Once I'm done my Monicelli binge I'll have to tackle Germi. Jedimoonshyne on RT spoke well of The Railroad Man:

http://www.rottentomatoes.com/vine/showpost.php?p=14126007&postcount=223

His Italian Cinema thread is a good read in general.
Cool. Thanks, I'll read through this later tonight.

[Ezee E]

Hmm... Looks like the director of 13 Tzameti is Americanizing his film in the next couple of years, with a cast of Mickey Rourke, Jason Stattham, Ray Winstone, Ray Liotta, and 50 Cent.

I say they keep the trailer the exact same. It's one of the best trailers I've seen period.

[Bosco B Thug]

Hitchcock's Frenzy gets uninteresting real fast. Somewhere around the potato truck scene. The "Inspector & His Wife" scenes I felt thinned-out more than filled-out the movie, even though I appreciated what they were trying to do. And maybe Hitch was going for blase with the film's conclusion, but nothing really resonated with me about it and the whole final act.

But wow, the first half of the film is phenomenal. Hitch's camera never stops figuring with its movements and compositions. It's a versatile London Hitchcock regains in his return to the locale, and man, the big Barbara Leigh-Hunt scene is heart-clutchingly awful.

[The Mike]

Hmm... Looks like the director of 13 Tzameti is Americanizing his film in the next couple of years, with a cast of Mickey Rourke, Jason Stattham, Ray Winstone, Ray Liotta, and 50 Cent.

I say they keep the trailer the exact same. It's one of the best trailers I've seen period.

I read about this, but doubt it'll be the same. Rourke says he's playing a character that wasn't in the original.

[Amnesiac]

Hitchcock's Frenzy gets uninteresting real fast.

I don't recall it getting too uninteresting in its second half, but I was really surprised at the level of brutality in the film. The tie strangling seemed very blatant and crude for someone like Hitchcock. From what I remember, it seemed to lack the restraint and suggestion of the shower scene from Psycho. Much more in-your-face and yeah, much more unsettling.

I also recall Barry Foster as Rusk giving a pretty disturbing, but effective, performance.

I think I like it a lot more than Family Plot, but it's been a while since I've seen either one.

[Qrazy]

I don't recall it getting too uninteresting in its second half, but I was really surprised at the level of brutality in the film. The tie strangling seemed very blatant and crude for someone like Hitchcock. From what I remember, it seemed to lack the restraint and suggestion of the shower scene from Psycho. Much more in-your-face and yeah, much more unsettling.

I also recall Barry Foster as Rusk giving a pretty disturbing, but effective, performance.

I think I like it a lot more than Family Plot, but it's been a while since I've seen either one.

Yeah Frenzy is indeed better than Family Plot and both are better than Topaz.

[Qrazy]

God damn the traffic these days = fail. Post you bastards. I know someone has seen some hidden gem they want to share with the world.

[Philosophe_rouge]

God damn the traffic these days = fail. Post you bastards. I know someone has seen some hidden gem they want to share with the world.
I have been trying to find hidden gems and failing epically, tried to watch this old french silent called The Inhuman Woman, one of the worst films I've ever tried to watch. I turned it off.

Ta-da!

[The Mike]

I'm watching Gargoyle: Wings of Darkness, as seen on the Sci-Fi Channel, if that helps.

[Winston*]

God damn the traffic these days = fail. Post you bastards. I know someone has seen some hidden gem they want to share with the world.

I watched 10 minutes of Man of the House last night. I got to see Tommy Lee Jones say "That's Old School". He did not look comfortable.

[Pop Trash]

...

[Ezee E]

Perhaps I'll watch Shotgun Stories.

In 100 minutes or so, I'll let you know how it was.

[Qrazy]

Yeah... well looks like I'll have to start up a list of films not to see.

I downloaded Lindsay Anderson's Britannia Hospital. He has such a short filmography I figure I might as well finish it up. Have to get my hands on In Celebration and The Whales of August next... anyone seen any of these three?

I also procured Hillcoat's Ghosts of the Civil Dead... was it Raiders top 100 that had it as any entry?

[Qrazy]

I have been trying to find hidden gems and failing epically, tried to watch this old french silent called The Inhuman Woman, one of the worst films I've ever tried to watch. I turned it off.

Ta-da!

Next time watch Imamura's The Insect Woman instead. :)

[Raiders]

God damn the traffic these days = fail. Post you bastards. I know someone has seen some hidden gem they want to share with the world.

Um, the posting rate is the highest it has been since April.

[Ezee E]

I also procured Hillcoat's Ghosts of the Civil Dead... was it Raiders top 100 that had it as any entry?

Bastard. I want to see that.

[Ezee E]

Um, the posting rate is the highest it has been since April.
The TV THemes Battle is probably a good cause of that.

[Raiders]

The TV THemes Battle is probably a good cause of that.

It was getting there before that started, but yes, it has helped.

[Qrazy]

Um, the posting rate is the highest it has been since April.

Yeah well there's a bunch of new posters as well but that's general statistics. Some days are quite slow, such as today.

[Bosco B Thug]

I don't recall it getting too uninteresting in its second half, but I was really surprised at the level of brutality in the film. The tie strangling seemed very blatant and crude for someone like Hitchcock. From what I remember, it seemed to lack the restraint and suggestion of the shower scene from Psycho. Much more in-your-face and yeah, much more unsettling. It is a pretty brutal and indelicate pic. But that Leigh-Hunt scene, despite its cruelty, is filmed with such a sense of the ordeal of the victim it's pretty stunning. I might even say I prefer it to the shower scene, but I might not, because the shower scene is just too formally innovative and well-done (and means more within subtext of the whole picture, to boot).


Yeah Frenzy is indeed better than Family Plot and both are better than Topaz. I will watch Hitchcock's boring films someday (Topaz and Torn Curtain). I actually suspect I'll have had too high of expectations for them once I've finally witnessed them.

[Ezee E]

Has anyone seen Shotgun Stories? I'm a half hour into it, it's very good. David Gordon Green fans would definitely approve.

[Qrazy]

It is a pretty brutal and indelicate pic. But that Leigh-Hunt scene, despite its cruelty, is filmed with such a sense of the ordeal of the victim it's pretty stunning. I might even say I prefer it to the shower scene, but I might not, because the shower scene is just too formally innovative and well-done (and means more within subtext of the whole picture, to boot).

I will watch Hitchcock's boring films someday (Topaz and Torn Curtain). I actually suspect I'll have had too high of expectations for them once I've finally witnessed them.

Yeah I still need to see Torn Curtain and a lot of his earlier work.

[Derek]

Yeah... well looks like I'll have to start up a list of films not to see.

Isn't that what film swaps are for?


I downloaded Lindsay Anderson's Britannia Hospital. He has such a short filmography I figure I might as well finish it up. Have to get my hands on In Celebration and The Whales of August next... anyone seen any of these three?

I've only seen Britannia Hospital and it's absolute mess. And not in a glorious O Lucky Man! way, more of a what the hell are you thinking Lindsay?" way. I know origami has seen it and dislikes it as well, but I haven't come across anyone who's seen it. I hope you end up liking it since there's probably something interesting going on in there that my general attitude of annoyance blocked out.


I also procured Hillcoat's Ghosts of the Civil Dead... was it Raiders top 100 that had it as any entry?

Another one I meant to Karagarga. Thanks for the reminder.

[Derek]

I have been trying to find hidden gems and failing epically, tried to watch this old french silent called The Inhuman Woman, one of the worst films I've ever tried to watch. I turned it off.

Ta-da!

Have you seen History is Made at Night? It's not exactly a hidden gem, though it's definitely underseen considering its pure awesomeness. Seems right up your alley too.

[Rowland]

Has anyone seen Shotgun Stories? I'm a half hour into it, it's very good. David Gordon Green fans would definitely approve.I thought it was pretty good, if a bit generic in the realm of the idyllic indie genre, and not as convincing as it could have been. My favorite stuff involved the brother who aspires to coach basketball.

[Bosco B Thug]

Yeah I still need to see Torn Curtain and a lot of his earlier work.
I think I will hit his Foreign Correspondent and Young & Innocent next, two films I've heard some acclaim for that I've never once even looked at.

[Ezee E]

I thought it was pretty good, if a bit generic in the realm of the idyllic indie genre, and not as convincing as it could have been. My favorite stuff involved the brother who aspires to coach basketball.
I liked it more than you did, just because of how they're able to respect the lives of these people, and do it well. It easily could've been put in the wrong hands of someone and become a mockery.

The idea of his basketball seems to work with the rest of the film. Same with the broken down tractor.

[MadMan]

Jeremiah Johnson (1972) is as much a film about a man becoming disconnecting himself from civilization as it is also one noting the harsh, uncompromising, unforgiving nature of the wilderness. The movie also sports a pretty solid performance from Robert Redford, who for the most part with a few exceptions carries the movie entirely on his back. I may dwell on this one for quite some time, as it did manage to live up to expectations. Also Robert Redford kills a lot of Indians in this movie. I was kind of surprised about that.

[Rowland]

I liked it more than you did, just because of how they're able to respect the lives of these people, and do it well. It easily could've been put in the wrong hands of someone and become a mockery.

The idea of his basketball seems to work with the rest of the film. Same with the broken down tractor.I thought it sometimes skirted the edge of being outright hicksploitation, which left a bit of a sour taste in my mouth at points, and the minimalism is sometimes too minimal for its own good, to the extent that it dulls emotional clarity and resonance. I agree however that the film ultimately proves to have respect and sympathy for its characters.

[Watashi]

I need to try out Rowland's 40-70 rating scale.

[MadMan]

I'm going to rate movies using the !@#$ symbols on the keyboard. Then no one will figure out if I like a film or not. "He gave it a $/*@(!$%^#). What the hell does that mean?" :P

[Philosophe_rouge]

Next time watch Imamura's The Insect Woman instead. :)
Strange, I had actually first heard of this movie earlier today and read the opening paragraph of a review. Then you tell me to watch it. I feel like God is telling me something, what? I do not know.


Have you seen History is Made at Night? It's not exactly a hidden gem, though it's definitely underseen considering its pure awesomeness. Seems right up your alley too.
I have! And it is! It's been a few years, but I remember it quite fondly. Due in large part to my adoration of both Boyer and Arthur. I remember them dancing, and the ship... oh the ship. Lovely film.

[Philosophe_rouge]

I actually saw a really brilliant film recently, if not underseen, I don't think people talk about it much.

Ménilmontant brings together the best of the experimental and narrative worlds to present a moral tale of enormous weight. The film begins with a surprisingly violent sequence, edited alongside childhood innocence. Two young sisters play in the garden, laughing and hanging from trees as their parents are brutally murdered with an axe. No one could have prepared me for the strong sense of visuals and framing, and I was immediately drawn into what is perhaps the very strongest avant-garde film of the 1920s.

Blah blah blah. Amazing film though.

[Boner M]

A Tree Grows in Brooklyn - Kazan ain't much of a stylist, but he's a first-rate dramatist, and his attention to emotional detail both grand and minute keeps this film cinematic, while also steering clear of the maudlinness that he could easily veer into (the depiciton of the effects of a major character's death is strikingly sobering and reflective, rather than an opportunity for pissing-contest actorly histrionics). Maybe a little too much of a 'family film' to truly cut deep, but always poignant.

Gimme Shelter - Between this and Salesman, I find it a little difficult to rate the Maysles compared to Frederick Wiseman, whose shaping of his raw materials strikes me as far more artful and invigorating than the former. The bulk of my rating comes mostly from the fact that the raw material here is so utterly thrilling and fascinating, and thus I'll give them the benefit of a doubt.

Warrendale - Another doco from the 60's verite heyday, this time easier to judge simply because of the long-winded scenes of troubled children freaking out, that go from being merely difficult-to-watch to a numbing spectacle, the only flaw in an otherwise quite harrowing and humorous look at the titular institution.

Who'll Stop the Rain - I wasn't a fan of Karel Reisz's irritating Morgan, A Suitable Case For Treatment, but this offbeat, cynical genre-bender is muscular and provocative in the Sam Fuller tradition, with gratifyingly complex characters embodied by a trio of terrific actors (Nick Nolte, Tuesday 'drool' Weld, Michael Moriarty). A protracted Rambo-esque climax detracts from the precedings; I was hoping that it'd settle down after the pulpy beginning ala Nick Ray's On Dangerous Ground, but the way it embraces Hollywood-isms while consistently undermining them is part of the appeal.

[Philosophe_rouge]

I've yet to see A Tree Grows in Brooklyn, though I'm generally quite fond of Kazan. Have you seen Baby Doll? It's one of my favourite films, very pulpy, a great little sex "dramady"... but more comedy, less drama.

[Boner M]

I've yet to see A Tree Grows in Brooklyn, though I'm generally quite fond of Kazan. Have you seen Baby Doll? It's one of my favourite films, very pulpy, a great little sex "dramady"... but more comedy, less drama.
Been on my for 'to see' list for a while. Now it's even 'to see'-er!

[Philosophe_rouge]

Been on my for 'to see' list for a while. Now it's even 'to see'-er!
Awesome :D It's an incredibly sexy film, the best Tennessee Williams I've seen on the screen (the only original screenplay he wrote). Makes me :frustrated: that Eli Wallach was not given more opportunities to take such prominent roles, what an incredible talent.

[Yxklyx]

I actually saw a really brilliant film recently, if not underseen, I don't think people talk about it much.

Ménilmontant brings together the best of the experimental and narrative worlds to present a moral tale of enormous weight. The film begins with a surprisingly violent sequence, edited alongside childhood innocence. Two young sisters play in the garden, laughing and hanging from trees as their parents are brutally murdered with an axe. No one could have prepared me for the strong sense of visuals and framing, and I was immediately drawn into what is perhaps the very strongest avant-garde film of the 1920s.

Blah blah blah. Amazing film though.

Yes, very excellent film but my favorite of the Avante Garde era is L' Étoile de mer by Man Ray.

[Rowland]

I need to try out Rowland's 40-70 rating scale.All the movies I've been watching lately have happened to fall within the two to three star range (as I find most films tend to do), so it's a good thing I have the number scale to discern between them. This would be my signature with the star scale:

Deliverance (John Boorman, 1972) ***
Shotgun Stories (Jeff Nichols, 2008) **1/2
Iron Man (Jon Favreau, 2008) ***
Happy-Go-Lucky (Mike Leigh, 2008) **1/2
Rachel Getting Married (Jonathan Demme, 2008) ***
Sex and the City (Michael Patrick King, 2008) **
You Don't Mess With the Zohan (Dennis Dugan, 2008) ***
The Fall (Tarsem, 2008) **1/2
In Bruges (Martin McDonagh, 2008) ***

*yawn*

[Wryan]

Ya know what's still a great movie? Apocalypse Now. I thought all the dithering and obviousness of its status would tarnish its sheen a bit over time. But, uh, no.

Does anyone dislike this film? Hate it?

[Ezee E]

Ya know what's still a great movie? Apocalypse Now. I thought all the dithering and obviousness of its status would tarnish its sheen a bit over time. But, uh, no.

Does anyone dislike this film? Hate it?
The Redux version is a bit long. That's the only complaint I have.

[Yxklyx]

The Redux version is a bit long. That's the only complaint I have.

Yeah, I don't like the extended French farm sequence. I chapter skipped through that the last time. I wish I had the original theatrical release on DVD instead.

[Ivan Drago]

You Don't Mess With the Zohan (Dennis Dugan, 2008) ***

Uhhh...

What?

[Yxklyx]

The Burmese Harp was not very good - way too over-sentimental for my tastes. It starts off excellently but goes downhill pretty fast.

[Rowland]

Uhhh...

What?Like you should be talking?

[Ezee E]

Zohan better than Sally Hawkins, Lee Pace, and basketball hicks?

He's got a point.

[Sycophant]

I haven't been watching many movies lately, and what I have watched, I don't want to assign a score to. I think I'm going to start ranking my last five viewings; that's easier.

So my contributions have been sparse over the last five, six months. Sorry.

And I haven't watched a film in nearly a week. Should do something about that. Or cancel my Netflix. I haven't watched a Netflix film in 2 months.

[Rowland]

He's got a point.I'll ponder his point further and get back to y'all.

[Rowland]

Before the year is up, I hope to do some last-minute cramming with some of the most notable pictures I've missed this year through DVD and downloads, including Flight of the Red Balloon (which I will receive tomorrow from Netflix), Still Life, Paranoid Park, The Last Mistress, Up the Yangtze, My Winnipeg, Exte: Hair Extensions, My Blueberry Nights. Chop Shop, Standard Operating Procedure, Taxi to the Dark Side, [REC], Summer Palace, Sukiyaki Western Django, Baghead, Vicky Cristina Barcelona, Burn After Reading, Woman on the Beach... etc. This will undoubtedly spill over into most of January as well.

[Rowland]

Ed Gonzalez has posted some short thoughts for many of the season's new movies on the Slant Blog (http://www.slantmagazine.com/blog/default.asp?category=3). His favorites? The Curious Case of Benjamin Button, Gran Torino, and Slumdog Millionaire.

[soitgoes...]

The Burmese Harp was not very good - way too over-sentimental for my tastes. It starts off excellently but goes downhill pretty fast.
:twitch:

[Stay Puft]

Yeah, I'm down to like a movie a month. Viewing habits just aren't what they used to be. I'm going to try and do some cramming, though, like Rowland. Went ahead and started working on a ballot for the 2008 MC awards just to try and get myself motivated, then realized I haven't seen much I actually feel strongly about. I'm looking at what I have so far and thinking to myself, "this is boring." Hurry up and surprise me, 2008.

[Amnesiac]

Flight of the Red Balloon

I really want to see this, too. And I will, as soon as humanly possible. Especially since my recent viewing of Millennium Mambo turned out to be quite memorable.

[Watashi]

I watch about one movie every other day.

[Stay Puft]

Oh, and I watched The Red Ballon last week. I was going to rent it with the Hou Hsiao-hsien, but (surprise) didn't bother getting that far.

I started watching My Blueberry Nights the other day but turned it off after ten minutes and went to bed.

That's my month so far.

[Sycophant]

For the first half of the year I was watching 7 to 10 movies a week. Now I'm watching one or two every week or so, and even then, most are primarily excuses to get together with friends and are often rewatches. Perhaps I burnt out. I think I'm going to try to get through some I've been meaning to watch (including my last film swap--sorry, Jorge!) once I finish the video game that's currently captured my attention.

[Watashi]

I'm trying to juggle video games, movies, TV, and a very slim social life all at once.

I expect once I go back to school, most of those will be cut out immensely. I'm at looking at you, social life!

[Sycophant]

Wats, I will never accuses you of being a man who doesn't have his priorities in order.

[Ezee E]

I'm off an on. With the cold weather and snow, I've been watching a lot of movies lately. Yesterday it was -5, so cold that I didn't even want to leave the house to go work out.

Plus, it seems like I'm working everyday, and when I start at 4-6 AMish, it's silly to have a social life. Can't wait for these holidays to be over.

[Pop Trash]

Has anyone seen Shotgun Stories? I'm a half hour into it, it's very good. David Gordon Green fans would definitely approve.
It is very good. It falls just outside of my top ten for this year. My only complaint is that its so DG Green-esque that it may as well be a DGG film. Oddly, I actually liked Shotgun Stories a little more than Snow Angels (and odder still I liked Pineapple Express more than either)

I don't think Rowland's complaint of "Hicksploitation" has any merit. I mean the director grew up in Arkansas and was making a film about types of people he knew in the area. And I don't think the characters are necesarrily hicks, just poor white southerners.

[Ezee E]

It is very good. It falls just outside of my top ten for this year. My only complaint is that its so DG Green-esque that it may as well be a DGG film. Oddly, I actually liked Shotgun Stories a little more than Snow Angels (and odder still I liked Pineapple Express more than either)

I don't think Rowland's complaint of "Hicksploitation" has any merit. I mean the director grew up in Arkansas and was making a film about types of people he knew in the area. And I don't think the characters are necesarrily hicks, just poor white southerners.
Although it may be exposure to a group of people we never see, it's certainly not exploiting them in this movie. It's so minimal and naturally played, that you almost don't think of how silly it is of how they power a blender.

Turns out that it was produced by David Gordon Green, so apparently, he thinks the same way. I still think Snow Angels is the best of those three, better than Shotgun Stories because it seems to have a better focus. Just slightly.

Michael Shannon is awesome though.

[Grouchy]

Well, I've been watching some serious movies for a change.

The least serious one was One, Two, Three. I was very surprised by James Cagney's manic performance, which I think is the best example of screwball nuttiness I've ever seen. The satire was multi-sided and spot on about many of the ridiculous aspects of the Cold War and the space race, and I was pleased that, even if the movie still (well, logically) leans towards capitalism, it attacks both systems. It also had some very racy lines that signaled to me that it was from the early '60s even before I looked it up on the 'net. It started out brilliantly and well into the middle mark I started to feel a little overwhelmed, but Wilder's frantic pacing is what makes you pay constant attention even though you know exactly where it's going simply by knowing genre rules. The final joke is awesome.

http://horsesthink.com/wp-content/uploads/2007/10/mouchette.jpg

Then I had this double bill of Au Hazard Balthazar and Mouchette. Fucking depressing. My previous experiences with Bresson included a film I loved almost beyond comprehension (Pickpocket) and one that I found unwatchable (Lancelot of the Lake), and this double bill helped me to better understand his quirky ideas on acting (or, should I say, non-acting) and fragmentating the mise-en-scene. I found many similarities between the two movies and yet they have almost radically opposite stories and protagonists. Balthazar is the one standard of innocence in a world where everybody is looking to validate himself through violence or pride, a creature that only wants to exist, while Mouchette is an initially innocent girl that has been mistreated so badly she's unable to understand kindness or any other emotion beyond anger and self-preservation. If I had to name one above the other, I think the winner would be Mouchette because I found it a more complex and difficult drama to pull off than Balthazar, which is basically like a catalogue of misery. Both great films and perfectly complimentary, though.

Then I started with Cassavetes, first with The Killing of a Chinese Bookie. Great fucking stuff. Gazzara as Cosmo carries the film on his shoulders, and the character is one of the most likeable in the man's body of work, a victim of circumstances and addiction that finds enough grit to survive despite the overwhelming waves of shit constantly falling on him. I was kind of disappointed that very few of the Cassavetes usual company showed up on this one, but Gazzara was really meant to be the star of the show. One thing I loved and one thing bothered me. The one I liked was that, even after the crime plot ended (or, more appropriately, sort of faded out), the movie went on just with the main character to a seemingly impossible lenght, defying both logic and genre. The one I didn't like was how Cassavetes refused to show the ending of the showdown in the garage. I can sort of see what he was aiming for (more genre deconstruction), and even then I don't like it and I don't think the movie benefits from it. It adds that extra spark of confusion and "reality", and it's not like the first time Cassavetes ends a scene before it reaches its logical conclusion, but it was very annoying, specially since a lot of suspense had been so well built until then. I think I watched the short version of the film, by the way, and when a second watch comes along, I'll aim for the extended.

http://dryden.eastmanhouse.org/media/openingnight.jpg

And, finally, Opening Night, which is a fucking amazing film. Again, a very simple situation is stretched by Cassavetes to exploit every level of meaning and nuance of the performances, and the movie actually does get kind of tiresome every now and then, but then sort of inmediately picks up with a great idea or an affecting moment, which made me think that, even if Cassavetes knew shit about lighting and camerawork, he really knew (or learned) how to cut up stuff together. On paper the story sounds dull (an aging actress witnesses a deadly car accident and reevaluates her life), but movies like this are meant to be experienced to fully understand their power. Specially the great and shit-ass long part where Myrtle Gordon, so drunk that she can't stand, tries to make it through the performance. Her improvisation match with Cassavetes in the show-within-the-show is a unique celebration of the power of acting and the magic of the theater. Gena Rowlands is at the top of her game, and this would make a great companion piece to A Woman Under the Influence and a night of hopeless hysterics. A little detail that I loved about the film is how it refuses to find an easy solution to Myrtle's problems. Sure, she's hallucinating and the young girl is obviously meant as a young alter ego, but she's the first one to dismiss the idea that she simply has an aging crisis. Great, great stuff.

Mostly I haven't been watching movies because I had to get through with Twin Peaks. Now that I have, both seasons back to back, I can go back to the game, and hopefully watch Fire Walk With Me soon. I have a raving hunger for movies because I'm gonna be doing a lot of travelling in January-February (I know, I'm a lucky bastard) and there'll be likely no time or money to spend on film.

[Amnesiac]

Then I started with Cassavetes, first with The Killing of a Chinese Bookie. Great fucking stuff. Gazzara as Cosmo carries the film on his shoulders, and the character is one of the most likeable in the man's body of work, a victim of circumstances and addiction that finds enough great to survive despite the overwhelming waves of shit constantly falling on him. I was kind of disappointed that very few of the Cassavetes usual company showed up on this one, but Gazzara was really meant to be the star of the show.

There is something really captivating about his performance. Something about his whole deportment is quite fascinating to watch. It has this natural and spontaneous element.

Although that speech in the dressing room still puzzles me. Like Gazzara's performance, it's also captivating but only in this elusive, hard-to-place sort of way.



The one I didn't like was how Cassavetes refused to show the ending of the showdown in the garage. I can sort of see what he was aiming for (more genre deconstruction), and even then I don't like it and I don't think the movie benefits from it. It adds that extra spark of confusion and "reality", and it's not like the first time Cassavetes ends a scene before it reaches its logical conclusion, but it was very annoying, specially since a lot of suspense had been so well built until then.

I don't recall this bothering me too much.



Specially the great and shit-ass long part where Myrtle Gordon, so drunk that she can't stand, tries to make it through the performance. Her improvisation match with Cassavetes in the show-within-the-show is a unique celebration of the power of acting and the magic of the theater. Gena Rowlands is at the top of her game, and this would make a great companion piece to A Woman Under the Influence and a night of hopeless hysterics.

Yeah, I still greatly prefer A Woman Under the Influence but Opening Night undoubtedly offers another excellent performance by her. Cassavetes wasn't too bad, either.

[MadMan]

Das Boot(1981) is utterly fantastic. Despite its immense running time, the movie simply flies by. Highly engaging, and I noted that it makes you sympathize with the characters, even though they are sailors on a German U-Boat during WW II. I'm still collecting my thoughts on it, but I like this a great deal.

Apocalypse Now: Redux is almost as good as the original. But then I'm a huge proponent of the French plantation part of the film.

[balmakboor]

Two things that suck:

The only new movies that have opened here in the past two weeks were Happy-Go-Lucky (which I loved) and The Day the Earth Stood Still (which I haven't forced myself to see yet).

The high temp today was -14 F (-40 F windchill). Have you ever tried shuffling a driveway in -40 F? No fucking fun I tell you.

[Yxklyx]

Das Boot(1981) is utterly fantastic. Despite its immense running time, the movie simply flies by. Highly engaging, and I noted that it makes you sympathize with the characters, even though they are sailors on a German U-Boat during WW II. I'm still collecting my thoughts on it, but I like this a great deal.

Was there a new DVD release of this? This is the first movie I bought years ago and now every time I put it in I can't get past the opening because the quality is so bad.

[MadMan]

Was there a new DVD release of this? This is the first movie I bought years ago and now every time I put it in I can't get past the opening because the quality is so bad.No idea. I saw it thanks to TCM last night. The quality was pretty good from what I remember (I finished the movie at around 5 am).

[Ezee E]

Two things that suck:

The only new movies that have opened here in the past two weeks were Happy-Go-Lucky (which I loved) and The Day the Earth Stood Still (which I haven't forced myself to see yet).

The high temp today was -14 F (-40 F windchill). Have you ever tried shuffling a driveway in -40 F? No fucking fun I tell you.
At my work, I was on the roof walking around, checking the HVAC systems in -30 something wind chill. I was as bundled up as ever, and I don't ever want to do that again.

[Kurious Jorge v3.1]

March Criterions announced:
------------------------------
The Last Metro (Truffaut)
Do des'kaden (Kurosawa)
Danton (Wajda)
Il Generale Rovere (Rossellini)

+ Eclipse set
----------------
The Films of Hiroshi Shimizu (Mr. Thank You, Japanese Girls at the Harbour, Ornamental Hairpin, and The Masseurs and a Woman)

[soitgoes...]

New Criterions:
http://i233.photobucket.com/albums/ee171/soitgoes22/462_BD_348x490_w100.jpg
The Last Metro

http://i233.photobucket.com/albums/ee171/soitgoes22/465_box_348x490_w100.jpg
Dodes'ka-den

http://i233.photobucket.com/albums/ee171/soitgoes22/463_box_348x490_w100.jpg
Il Generale della Rovere

Danton - No box art yet

Also an Eclipse:
http://i233.photobucket.com/albums/ee171/soitgoes22/shimizubox_w100.jpg


Looks pretty sweet. I'm glad Shimizu gets a region 1 release. The Wajda and the, yet another, Rossellini are nice too.

[soitgoes...]

March Criterions announced:
------------------------------
The Last Metro (Truffaut)
Do des'kaden (Kurosawa)
Danton (Wajda)
Il Generale Rovere (Rossellini)

+ Eclipse set
----------------
The Films of Hiroshi Shimizu (Mr. Thank You, Japanese Girls at the Harbour, Ornamental Hairpin, and The Masseurs and a Woman)Argh!!! Damn pictures made me slow.

[Qrazy]

Dodeska'den isn't perfect but it's tone is damn infectious and delightful. I saw about half of Last Metro and had to delete it to free up harddrive space. The rest I'm interested in checking out.

[Sven]

Dodeska'den isn't perfect but it's tone is damn infectious and delightful.

Really? It kind of made me want to kill myself. Its uber-cynical core broke through its candy-coated shell, I thought, resulting in a dire (though important) movie. I'll certainly pick it up.

[soitgoes...]

Really? It kind of made me want to kill myself.
You're not the only one. Kurosawa felt the same way. :lol:

[Qrazy]

You're not the only one. Kurosawa felt the same way. :lol:

How do you mean?

[Derek]

Sorry iosven, I'm with Qrazy on Dodeskuden. It's been a long time since I've seen it so I can't offer more, but I remember it being uplifting as opposed to suicide-inducing.

Given the nature of its color cinematography, I will definitely give it another look when the Criterion is out and lock up the razor blades to be safe.

[Sven]

How do you mean?

He attempted suicide after making that movie.

[Derek]

How do you mean?

Kurosawa attempted suicide between making this film and Dersu Uzala.

[Sven]

For the record, Derek (and I think you know this already, but it's just a congenial reminder for you), I am with you 100% on Dersu Uzala as one of Kurosawa's strongest and most inspiring films.

[soitgoes...]

I need to see both Dersu Uzala and Dodes'kaden, my two largest Kurosawa blind spots.

[Qrazy]

I need to see both Dersu Uzala and Dodes'kaden, my two largest Kurosawa blind spots.

They're both pretty great. The only Kurosawa I've seen and had little use for was The Idiot.

[Derek]

For the record, Derek (and I think you know this already, but it's just a congenial reminder for you), I am with you 100% on Dersu Uzala as one of Kurosawa's strongest and most inspiring films.

You know, I always figured you liked it, but I don't ever remember you mentioning your opinion. That is great to hear though!

[Yxklyx]

I noticed my local store had Lars von Trier's Europa (1991). I highly recommend this film especially to those into Guy Maddin. The film reminds me a lot of Maddin's work - without the humor though.

[Boner M]

I think I'm finally coming around to Abel Ferrara's gonzo-art sensibility. Mary is a bit of a mess, with a few too many superimposition sequences and a music score that would be better suited to a direct-to-video Exorcist sequel, but the clusterfuck approach seems perfectly suited to the film's sincere spiritual inquiry, against all odds. As in most of his films, Ferrara alternates between being arcane and blunt, and sometimes it feels like whiplash. But some of the more obvious tropes (Modine's egotistical filmmaker character/blatant Ferrara stand-in) seem due less to a lack of imagination than Ferrara's desire for the audience to read everything on a meta-level, as if his faith in fictional narrative is really what's being put into question. Indeed, there's so much documentary footage involved that goes beyond simply setting a tone, and one noted moment where Ferrara lingers longer than usual over a woman, unrelated to the narrative, who prays at the altar in a church after Binoche has left the scene; his willingness to interrupt the story for such a digression, as if he momentarily decided that real people are just as worthy of attention as facile 'movie characters'... these are the marks of a true humanist iconoclast, the kind of which I've been leaning towards recently. Wouldn't be surprised if my rating went up upon contemplation.

[dreamdead]

Shepitko's The Ascent is magnificent in its formal mastery, blurring the lucidity of reality and fever dreams so wondrously that I was thrown the first time and deliriously confused. However, despite the brilliance of her aesthetics, and what's on display is frequently brilliant, the story never quite reaches the intimate levels of the best of Tarkovsky. That is to say, whereas his best works function as both allegory and story, here Shepitko remains stranded to a story that just doesn't stretch far enough to become lucid allegorically. The betrayal of honor for the "salvation" of life is nicely transposed, but the film lacks the intricacy of character motivations (arcs seem too static), and so I didn't come away as transformed as I expected to be. Thoroughly quality, though not the revelation I'd hoped for...

[D_Davis]

Last night, I went from :) to :sad: in two minutes.

I was all :) when I discovered that Netflix had Fear of a Black Hat as part of its 'instant view' program. This is one of my favorite films, a film that was unjustifiably left off of my Top 100. My wife had never seen it, so I sat her down on the catch and told her to prepare to laugh her ass off. I started up the Xbox 360, started the stream, and was planning to have a great time.

But then, the :sad: came. The version that Netflix carries is edited. All of the cussing is censored, and they even throw up a cartoon hat over the mouth of the people when they talk.

WTF?

Why is this movie censored?

Are all the DVDs like this, or is it only the streaming version?

I turned it off about 3 minutes into the film.

Lame.

[transmogrifier]

So Mamma Mia! is now Britain's highest grossing film ever.

You're never going to live that one down in the playground, Britain.

[Yxklyx]

Last night, I went from :) to :sad: in two minutes.

I was all :) when I discovered that Netflix had Fear of a Black Hat as part of its 'instant view' program. This is one of my favorite films, a film that was unjustifiably left off of my Top 100. My wife had never seen it, so I sat her down on the catch and told her to prepare to laugh her ass off. I started up the Xbox 360, started the stream, and was planning to have a great time.

But then, the :sad: came. The version that Netflix carries is edited. All of the cussing is censored, and they even throw up a cartoon hat over the mouth of the people when they talk.

WTF?

Why is this movie censored?

Are all the DVDs like this, or is it only the streaming version?

I turned it off about 3 minutes into the film.

Lame.

Bizarre. I've stopped watching several online movies from Netflix because they were full screen versions.

[Ezee E]

Bizarre. I've stopped watching several online movies from Netflix because they were full screen versions.
The Diving Bell and the Butterfly is dubbed on Netflix. Grr..

[D_Davis]

Yeah - their instant viewing on movies is strange. Lots of full screen versions.

Oh well - it's just a value added feature, and for TV shows it's pretty good.

[Sycophant]

So Mamma Mia! is now Britain's highest grossing film ever.

You're never going to live that one down in the playground, Britain.What the fuck?

I'm calling my Senator and writing a letter to both Bush and Obama. I suggest everyone do the same with their respective countries and regional authorities. We need to stage an intervention.

[Kurosawa Fan]

I've never had a problem with Netflix online streaming. I haven't watched much, but I know I've seen films with swearing and nudity and violence, and nothing was ever edited.

[Winston*]

So Mamma Mia! is now Britain's highest grossing film ever.

You're never going to live that one down in the playground, Britain.

It's the top grossing film of the year here too, you know. Take that The Dark Knight!

[Duncan]

Probably has a lot to do with 99% of movies being marketed to males. You get one film that satisfies a broad enough female demographic and some husbands and boyfriends and gay guys, you've got a massive hit on your hands.

[Rowland]

Tracey Fragments = huge disappointment.

WTF Sicinski/D'Angelo/Panayides/Heilman?

[transmogrifier]

It's the top grossing film of the year here too, you know. Take that The Dark Knight!


At least it's not OF ALL TIME.

UK, UK...what do we do with you?

[Ezee E]

Yeah - their instant viewing on movies is strange. Lots of full screen versions.

Oh well - it's just a value added feature, and for TV shows it's pretty good.
For TV it's great. No need to waste your spots with disc 1, disc 2 of a tv show.

If only more Networks would add their content. HBO specifically.

[Ezee E]

Tracey Fragments = huge disappointment.

WTF Sicinski/D'Angelo/Panayides/Heilman?
Horrible film. A few really like it here, but I can't see it through their reviews.

I also have not come across any edited movies that I'm aware of on the Netflix streaming. They're losing a lot of titles at the beginning of next year which is a huge bummer. I hope they can get around that.

[D_Davis]

I also have not come across any edited movies that I'm aware of on the Netflix streaming. They're losing a lot of titles at the beginning of next year which is a huge bummer. I hope they can get around that.

It looks like everything from Starz is being discontinued as of January 1. I need to watch the first season of Ghost in the Shell during the next week or 2. I wonder if it is like On Demand, where they will rotate titles?

[Winston*]

It looks like everything from Starz is being discontinued as of January 1. I need to watch the first season of Ghost in the Shell during the next week or 2. I wonder if it is like On Demand, where they will rotate titles?

Have you not seen Ghost in the Shell:SAC before?

[Rowland]

Horrible film. A few really like it here, but I can't see it through their reviews. I love the idea and sensibilities that went into it, but the execution is more often insipid than it is expressive.

[D_Davis]

Have you not seen Ghost in the Shell:SAC before?

Nope!

Not the whole thing, only a few episodes.

Looking forward to it.

[Winston*]

Nope!

Not the whole thing, only a few episodes.

Looking forward to it.

Really good show IMO. That reminds me I need to finish off the second season.

[D_Davis]

Really good show IMO. That reminds me I need to finish off the second season.

I've heard lots of great things about it.

It's been a long time since I've watched a full season of an anime, so it should be fun.

[Ezee E]

It looks like everything from Starz is being discontinued as of January 1. I need to watch the first season of Ghost in the Shell during the next week or 2. I wonder if it is like On Demand, where they will rotate titles?
Yep. Huge bummer. Some legal reasons with the studios involved I guess. Bah humbug.

[Yxklyx]

Probably has a lot to do with 99% of movies being marketed to males. You get one film that satisfies a broad enough female demographic and some husbands and boyfriends and gay guys, you've got a massive hit on your hands.

I thought the casting, location and story were very good. The execution was awful though. A more experienced movie director would have made a pretty decent film of it.

[Grouchy]

Children of the Damned is something of a disappointment. And it's not like I blindly expected it to be as good as the first one, but the awesome poster, the awesome opening sequence and the more contemporary and violent feel of the opening minutes made me think I was in for something. The premise sounds great for a sequel - substitute Midwich for London, introduce a good duo of scientific leads and new apparitions of the evil children. But, in many ways, this feels more like a new version of Village than an actual sequel - the kids are missing their signature blonde hair and, prepare yourself for the bummer, they're not even evil! Only misunderstood by society. Fuck that. I want my evil children back. The film quickly forgets the Horror elements to focus on lame "moral dilemmas" of accepting the unusual, disarmament and stuff like that. I was very pissed that the stupid psychologist who couldn't understand that the kids have to die was proposed as the true hero of the story. All the menace was stripped out of a great idea on this film.

[Grouchy]

There is something really captivating about his performance. Something about his whole deportment is quite fascinating to watch. It has this natural and spontaneous element.

Although that speech in the dressing room still puzzles me. Like Gazzara's performance, it's also captivating but only in this elusive, hard-to-place sort of way.
I attribute that speech to the fact that he suspects he's dying.


I don't recall this bothering me too much.
It bothered me because I was very engaged by the story and I felt that Cassavetes was being purposefully unfair with the audience denying them closure of such an important moment. Then again, considering the improvised way in which he shot many of his movies, I'm not even sure if the footage left him any choice in the matter.


Yeah, I still greatly prefer A Woman Under the Influence but Opening Night undoubtedly offers another excellent performance by her. Cassavetes wasn't too bad, either.
A Woman Under the Influence is still my favorite Cassavetes from what I've seen, quickly followed by Faces and this one.

[Boner M]

Tracey Fragments = huge disappointment.

WTF Sicinski/D'Angelo/Panayides/Heilman?
I'm starting to think I'm the only person here who liked - borderline loved - it. It's kinda embarrassing in places, but in a good way.

[Sven]

Films I watched for class this semester (nearly all of them I had already seen before):

History
A whole lot of Edison, Melies, and Lumieres of varying quality. Kind of dug Edison's Frankenstein.
Intolerance - loved it even more
The Gold Rush - was ambivalent before, now it's a Chaplin favorite
Assorted Chaplin shorts, my favorite not changing from Easy Street
Sherlock Jr. - great
The General - also great
The Cabinet of Dr. Caligari - a snoozefest
The Last Laugh - not quite as oppressive as I recall... definitely monumental
Ten Days that Shook the World - One of the few I had not seen. Technically massive, but dramatically inert.
Sunrise - Oddly, this time around I preferred The Last Laugh
Little Caesar - Absolutely beautiful. There's this shot where Rico realizes that he can't kill his best friend and Robinson is devastating.
Footlight Parade - Cagney sells a strange but brisk quasi-musical.
Mr. Deeds Goes to Town - I am so sick of this movie.
It Happened One Night - However, I don't think I'll ever tire of this one.
The Rules of the Game - The second time was even better, and the first time it was one of the greatest.
Port of Shadows - My favorite film that we saw in this class. Love that French Poetic Realism. Beautiful photography and music. Startling.
Gone with the Wind - I take back every bad thing I've ever said about this movie: it is superb.

Spike Lee
Joe's Bed-Stuy Barbershop: We Cut Heads - Oddly, I think this is one of his very best movies. Unpredictable and tense.
She's Gotta Have It - Frustrating and reductive, not very good.
School Daze - Cluttered, confusing, and, aside from Da Butt sequence, unexciting, though I love Lee's on-camera presence.
Do the Right Thing - Masterful, natch.
Jungle Fever - Better than I remember. Visually stunning, but kind of hollow at its core. Jackson is dynamite.
Malcolm X - Worse than I remember. Exceedingly watchable, but ultimately becomes didactic and distracted by Lee's sanctimonious myth-making.
Crooklyn - Ebullient and fun. One of his best.
Clockers - Also exciting. Love the train motif.
Four Little Girls - Run of the mill, production-wise, but its subject is immense.
He Got Game - Pretty great, performances especially.
Summer of Sam - One of his best--love the ambition, and Leguizamo stuns.
25th Hour - I think I might hate this movie. I'm not sure. It does a lot right, but ultimately feels very shallow. Plus, the women, as with most Spike Lee films, if not all, are unavoidably cipherous and offensively constructed, which is particularly risible here.
Bamboozled - His best film.
Inside Man - I liked it much more the second time. Love the energy and the deft Patriot Act dramatization.

[Ezee E]

How'd you get to see the Joe's Bed-Stuy Barbershop movie Sven? I must see it.

[Sven]

How'd you get to see the Joe's Bed-Stuy Barbershop movie Sven? I must see it.

I live in Brooklyn. There's a copy on every corner.

In reality, I'm not sure. My professor, who is a Spike Lee scholar, had a copy. Not sure of the format. The quality was a little grungy, but perfectly acceptable. It's good, too.

[Ezee E]

I live in Brooklyn. There's a copy on every corner.

In reality, I'm not sure. My professor, who is a Spike Lee scholar, had a copy. Not sure of the format. The quality was a little grungy, but perfectly acceptable. It's good, too.
I'd figure it would be on youtube. No luck though.

[Stay Puft]

Kind of dug Edison's Frankenstein.

Yeah, that one's pretty cool.

[megladon8]

Transsiberian was a little disappointing. Well-acted, but fairly by-the-numbers thriller.

I had hoped Brad Anderson would do more with it.

It's not bad in any way...it just doesn't stand out in any way, either.

[Sycophant]

Gone with the Wind - I take back every bad thing I've ever said about this movie: it is superb.

Now that's a reversal! Perhaps I should revisit it soon. I must confess to occasionally feeling like som philistine when you would rail against this one.


Crooklyn - Ebullient and fun. One of his best.
Yay!

[Raiders]

My wife loves GWTW. I have seen it numerous times. I still think the second half is a friggin' chore to sit through.

[Sven]

My wife loves GWTW. I have seen it numerous times. I still think the second half is a friggin' chore to sit through.

It's a magnificent movie. Even the second half, which flew by like nothing. I think it may be my interest in Rhett's imperfect humanity. I also dig the metonymic construction of Scarlett as a mirror for antebellum/Reconstructionist South. It gets more complex in the second half.

[Sven]

Now that's a reversal! Perhaps I should revisit it soon. I must confess to occasionally feeling like som philistine when you would rail against this one.

It's certainly not the kind of movie that a 16 year old boy watching alone in his room is going to wax rhapsodic about, methinks. Still, I am determined to be more careful about echoing my youthful impressions with such surety.

[Sycophant]

It's certainly not the kind of movie that a 16 year old boy watching alone in his room is going to wax rhapsodic about, methinks. Still, I am determined to be more careful about echoing my youthful impressions with such surety.

...

Quick, someone tell me I don't need to rewatch Save the Last Dance.

[D_Davis]

...

Quick, someone tell me I don't need to rewatch Save the Last Dance.

That film is sublime.

[Philosophe_rouge]

I LOVE Gone with the Wind, and one of the few times the movie is infinetely better than the novel.

[Ivan Drago]

Erm...I...haven't seen this...Gone With The Wind.

[Winston*]

Erm...I...haven't seen this...Gone With The Wind.

Neither have the majority of Match Cut, I'd bet. Including myself.

[Hugh_Grant]

So Mamma Mia! is now Britain's highest grossing film ever.

:pritch::pritch::pritch:

Awesom-o. I knew there was good reason to be an Anglophile!

[transmogrifier]

:pritch::pritch::pritch:

Awesom-o. I knew there was good reason to be an Anglophile!

Good things England have produced:

Rachel Weisz
The English language
Rugby
PJ Harvey
Radiohead
Cockney slang
The Sunday roast

THAT'S IT*!






*May not necessarily be it.

[Sycophant]

The Magna Carta was just O.K.

[transmogrifier]

The Magna Carta was just O.K.

Eh. I drafted up a better version last week, I'm just trying to find a publisher. Doesn't have enough wizards, apparently.

[MadMan]

Neither have the majority of Match Cut, I'd bet. Including myself.Yeah I haven't viewed GOWTW, either.

Leaving Shadow of a Doubt on in the background as I write papers for finals reminds me I owe that film a review. One of Hitchcock's best movies, easily. Joseph Cotton is kind of underrated as an actor.

[Philosophe_rouge]

Yeah I haven't viewed GOWTW, either.

Leaving Shadow of a Doubt on in the background as I write papers for finals reminds me I owe that film a review. One of Hitchcock's best movies, easily. Joseph Cotton is kind of underrated as an actor.
Cotten (with an "e", it annoys me sorry!), but yes, the more I see from him the more impressed I am. I think his best may be Shadow of a Doubt, but Portrait of Jennie is certainly worth investigating. I need to see more of his work.

[MadMan]

Cotten (with an "e", it annoys me sorry!), but yes, the more I see from him the more impressed I am. I think his best may be Shadow of a Doubt, but Portrait of Jennie is certainly worth investigating. I need to see more of his work.I always get names wrong. According to Criticker I have seen 6 of his films, and I have to say that actually my favorite role of his so far might be as one of the doctors targeted by Vincent Price in The Abominable Dr. Phibes. He's pretty great in "Doubt" and also in The Third Man as well.

[The Mike]

I also love Cotten. I don't know if Shadow of a Doubt would even make my Top 10 Hitchcocks, but it's still probably in my Top 200 or so favorites.

Gaslight is my favorite Cotten flick, I think. Duel in the Sun's close too.

[Raiders]

Citizen Kane and Portrait of Jennie are Cotten's best films. I'm not sure about my favorite performance.

I do know that the ridiculous though hilarious Duel in the Sun falls in neither category.

[Winston*]

Duel in the Sun is definitely one of the best terrible movies I've ever seen. Thanks to Russ for recommending it to me in a film swap a while back.

[Qrazy]

I think Kane or The Third Man are Cotten's best but I'll throw a nod to The Magnificent Ambersons as well. Also I have zero memory of his role in Soylent Green.

Also I am underwhelmed by Shadow of a Doubt and Gone with the Wind is a bad film. Cue sunset.

[Sven]

Gone with the Wind is a bad film.

I'd like to hear why you think so.

[The Mike]

Shoot, Cotten was in Soylent Green!

That's his best flick, then.

[Qrazy]

I'd like to hear why you think so.

Nah, sorry have had too many Gone with the Wind discussions, don't feel like having another. My reasons are the same as those of it's primary detractors.

I would however be willing to discuss Shadow of a Doubt of Soylent Green.

[Robby P]

I'd like to hear some dissenting thoughts on Shadow of a Doubt.

[Amnesiac]

I attribute that speech to the fact that he suspects he's dying.

In what ways do you feel that accounts for the speech?

[Sven]

My reasons are the same as those of it's primary detractors.

That you were young and stupid when you watched it?

Nah, I'm joshing you. That's fine, although really I am not sure what the primary detractors have against it, having never delved into the world of Gone with the Wind criticism. It's long? It's kinda racist? Whatever the reason, I find it a remarkable example of visual storytelling, pageantry, melodrama, and narrative artistry.

[Ezee E]

While Gone With The Wind is certainly long, it's definitely worth the watch.

[B-side]

Watched I'm a Cyborg, But That's OK last night. What a great film. Such an original fairy tale. Park's camera was impressive, too. Not a thin or fleeting film, either. It studies the effects of grief and the role the parents play in how our lives play out. It also has a special affection for the outcasts of the world. The guy who thought everything was his fault and felt so guilty he couldn't even walk forward was hilarious. It's such a sweet film.

Tonight I watched Secrets & Lies. This Leigh fella knows how to craft bittersweet drama. Saw Naked a while back and gave that the same rating. These are the only 2 I've seen from him, but they're filled with such claustrophobic intimacy and tension. He lays his characters out emotionally naked for you, but never in a forced or silly way. By the time I finished Secrets & Lies, I had been through a rollercoaster of feelings. His characters just feel natural and as if they exist in our world. I value warmth in a film, and Secrets & Lies is a fireplace of warmth.

[transmogrifier]

Watched I'm a Cyborg, But That's OK last night. What a great film. Such an original fairy tale. Park's camera was impressive, too. Not a thin or fleeting film, either. It studies the effects of grief and the role the parents play in how our lives play out. It also has a special affection for the outcasts of the world. The guy who thought everything was his fault and felt so guilty he couldn't even walk forward was hilarious. It's such a sweet film.


Pretty much the opposite of that is my opinion. Park's worst movie by many a mile.

[Derek]

Joe's Bed-Stuy Barbershop: We Cut Heads - Oddly, I think this is one of his very best movies. Unpredictable and tense.

:confused:

Good thing I'll be in Brooklyn for a few days around New Years. Hopefully we can meet up and I can smack some sense into ya. ;)

Seriously, I may have to smack you.

[Qrazy]

That you were young and stupid when you watched it?

Nah, I'm joshing you. That's fine, although really I am not sure what the primary detractors have against it, having never delved into the world of Gone with the Wind criticism. It's long? It's kinda racist? Whatever the reason, I find it a remarkable example of visual storytelling, pageantry, melodrama, and narrative artistry.

Or that you were old and senile when you re-watched it? Just joking.

See aside from a couple of stand out shots (caring for the wounded for instance) I don't find it to be a terribly remarkable film visually. There's certainly an overabundance of sunrise/sunset shots inserted for spectacles sake, but after the first instance of that it becomes somewhat redundant. It is indeed quite an example of pageantry and melodrama, but neither of those things interest me nor do I find them to be of much or any value. The narrative is passable, I didn't find the story particularly engaging, but the ending is certainly strong.

Don't respond to this post.

[Qrazy]

I'd like to hear some dissenting thoughts on Shadow of a Doubt.

It's a solid film and I liked it fine, I just don't think it gets anywhere near to touching Hitchcock's best work on a narrative or specifically a visual level. Most of my lack of enthusiasm stems from the camera work on the picture. It's mediocre. Although I fault Joseph Valentine more than Hitch. Valentine's best work with Hitchcock was probably Rope but even there it was really the performances coupled with the length of the takes that impressed much more so than the lighting or compositions. Robert Burks is far and away Hitchcock's best collaborator in my book and there was a noticeable decline in the visual strength of Hitch's final period films once Burks had passed on.

[Qrazy]

Quality Orson Welles interview/documentary that I watched tonight available on youtube...

http://www.youtube.com/watch?v=_1Ni0c5-a5c

Also watched Welles Fountain of Youth pilot on youtube and The Immortal Story last night... just have to get my hands on Mr. Arkadin and I'll have wrapped up his filmography.

[MadMan]

I think Kane or The Third Man are Cotten's best but I'll throw a nod to The Magnificent Ambersons as well. Also I have zero memory of his role in Soylent Green.

Also I am underwhelmed by Shadow of a Doubt and Gone with the Wind is a bad film. Cue sunset.He really wasn't in Solylent Green all that much from what I recall. It was more of a small role, almost a cameo, really.

[Sven]

Don't respond to this post.

:)

[Boner M]

Radio On - I imagine this would be a revelation had I not seen Wenders' early road movies, Two-Lane Blacktop, and other like-minded films beforehand, but it certainly epitomises that kind of spare, ennui-plagued road-to-nowhere genre better than any of the aforementioned. The namedropping (FRITZ LANG! NAGISA OSHIMA! KRAFTWERK! BOWIE!) is somewhat off-putting at first, but like Wenders, the film is so personal that the inescapable presence of Petit's obsessions bridges the divide between the protagonist and filmmaker in an exciting way; when the road trip starts, the film becomes close to a documentary of Thatcher-era malaise, with less attention to narrative progression than depicting the landscape as an extension of the psyche, and however unsubtle some of it is (making echoes into a giant canyon, deserted beaches, industrial wastelands, etc), it all works tremendously well. Worth checking out for the opening shot alone; a single-shot trawl through a recent suicide's apartment scored to Bowie's "Heroes" - a fairly thrilling encapsulation of post-punk nihilism.

[Sven]

I suppose, though, for the record, I should add that I'm not a particularly huge fan of pageantry and melodrama myself. But when it's done right, it can be very engaging (I'm thinking of the plethora of procession in Kurosawa films, and the heightened drama of Fassbinder). Mostly it's the size, the epicness, of which, when done right, I'm a total sucker for, about the film's presentation that I champion. Where folks like yourself can tolerate (and even like) the what-I-feel-to-be redundant palette and video-game-like visuals of Jackson's Lord of the Rings, I much prefer the concrete mattes and resplendent technicolors of 1939. Plus, the dialogue is pretty great (much preferred to the geeky speech-making in LotR). The tete-a-tete in the last half between Rhett and Scarlett is totally juicy. And as I mentioned before, the reflection of the south within the character of Scarlett transforms the narrative from one of traditional romantic interest into a complex depiction of socio-economic conditions. "Tomorrow is another day" reflecting not just personal hope for Scarlett's redemption at Tara but also an optimism about the direction of a south mired in Reconstructionist ill. It's pretty brilliant.

Sorry, I guess you could count that as a response.

[Sven]

:confused:

Good thing I'll be in Brooklyn for a few days around New Years. Hopefully we can meet up and I can smack some sense into ya. ;)

Seriously, I may have to smack you.

Really? You didn't like it? The actors were a little flat, but I thought the camera was utilized nicely and the story was never dull.

What days are you gonna be around? We're leaving town and are not going to be back until the 31st.

[Cherish]

Watched I'm a Cyborg, But That's OK last night. What a great film. Such an original fairy tale. Park's camera was impressive, too. Not a thin or fleeting film, either. It studies the effects of grief and the role the parents play in how our lives play out. It also has a special affection for the outcasts of the world. The guy who thought everything was his fault and felt so guilty he couldn't even walk forward was hilarious. It's such a sweet film.

I loved it, too! You’re right, it really does have some emotional weight to it, because it takes the characters’ grief and illness seriously. It’s dark comedy with a sweet tone, never a mean one. When the patients begin to use/combine each other’s delusions, all the varied pieces click into place and it becomes a wonderful fairy tale about empathy.

[Derek]

Really? You didn't like it? The actors were a little flat, but I thought the camera was utilized nicely and the story was never dull.

What days are you gonna be around? We're leaving town and are not going to be back until the 31st.

I wouldn't really say I disliked it, but I found it rather inconsequential in the context of Lee's entire career. Plus, I love 25th Hour.

I'll actually be coming up there on the 31st and leaving the evening of Jan. 3rd.

[Sven]

Plus, I love 25th Hour.

I liked it quite a bit the first time I saw it. And the second time. But something about this third time really rubbed me the wrong way, and I think it was my inability to make any resonant connection with the proceedings. Pepper's philandery and Hoffman's lust seemed like distractions, and Norton's impending imprisonment was absolutely deserved. I think Lee was trying to play the Monty-as-victim card (echoed in the film's overarching USA-needed-a-wake-up-call theme), and it left a quizzical and not entirely pleasant taste.

But like I said, it also does many things right. I like the way it resolves. I like the sorrow it invokes. I like the acting all around.


I'll actually be coming up there on the 31st and leaving the evening of Jan. 3rd.

Cool. If you're not too busy, you should give me a holler.

[Melville]

And as I mentioned before, the reflection of the south within the character of Scarlett transforms the narrative from one of traditional romantic interest into a complex depiction of socio-economic conditions. "Tomorrow is another day" reflecting not just personal hope for Scarlett's redemption at Tara but also an optimism about the direction of a south mired in Reconstructionist ill. It's pretty brilliant.
I don't mean to extend a discussion about a movie that most people here (including myself) dislike and/or find completely uninteresting, but how is that complex or brilliant? The movie depicts the civil war as the annihilation of the land of milk and honey and singing slaves. Its depiction of Scarlett's determination, comeuppance, and hope does nothing to rectify that—the fact that she is cast as a representative of the South is just another part of the film's whitewashed simplification of history.

[Sven]

I don't mean to extend a discussion about a movie that most people here (including myself) dislike and/or find completely uninteresting, but how is that complex or brilliant? The movie depicts the civil war as the annihilation of the land of milk and honey and singing slaves. Its depiction of Scarlett's determination, comeuppance, and hope does nothing to rectify that—the fact that she is cast as a representative of the South is just another part of the film's whitewashed simplification of history.

The condition of the South is told through Scarlett. It's a matter of defining land through humanity, which channels social characteristics through the individualized entity. This is one of the great things that art can accomplish, in my estimation--physically relating the individual to its surroundings, playing one off the other. This "land of milk and honey" is an accurate perception insofar as Scarlett's youth is one of impetuous, selfish recklessness. Meaning that the film is not uncritical. It is the loss of innocence, but facticity demonstrates that the innocence of antebellum is better-off obliterated (20/20 hindsight and all that). It is no small matter that Scarlett's final revelation is that of her connection to her blood roots--Tara. I think rectification is exactly what happens. That doesn't excuse the film's somewhat reductive depiction of slave life (I don't recall them singing, though, except in the march to fight for the South, but that's a fairly standard filmic depiction of soldiers). But the artistry of Scarlett's characterization (thanks in no small part to Ms. Leigh, who is incredible) echoing the condition of her surroundings is not an insignificant feat.

Granted, it must work as melodrama. Scarlett's sorrow at the destruction of her way of life must be felt on an emotional level. It is in juggling this rosiness with its critical eye that I can justify calling complex.

[Barty]

I don't mean to extend a discussion about a movie that most people here (including myself) dislike and/or find completely uninteresting, but how is that complex or brilliant? The movie depicts the civil war as the annihilation of the land of milk and honey and singing slaves. Its depiction of Scarlett's determination, comeuppance, and hope does nothing to rectify that—the fact that she is cast as a representative of the South is just another part of the film's whitewashed simplification of history.

Well, the Civil War was the annihilation of an entire country, so why wouldn't the film portray it that way?

[Melville]

Well, the Civil War was the annihilation of an entire country, so why wouldn't the film portray it that way?
Because that country was not the land of milk and honey and singing slaves? Alright, the slaves might have sang, but I doubt they were so happy about it.

[Duncan]

Because that country was not the land of milk and honey and singing slaves? Alright, the slaves might have sang, but I doubt they were so happy about it.

I think America had milk and honey back then too, Melville. Your argument is falling apart.

[Raiders]

Well, the Civil War was the annihilation of an entire country, so why wouldn't the film portray it that way?

You should write a history book one day. I'm not sure how much reading it would get under the Fiction section, but I would buy it.

[Melville]

I think America had milk and honey back then too, Melville. Your argument is falling apart.
:lol: