28 Film Discussion Threads Later

[Ezee E]

Not liking Planes, Trains, and Automobiles is akin to not liking puppies or Iosos.

[Ezee E]

Weekend:
finish We Own The Night

and then...
Search for Dr. Mengele
All That Jazz
Midnight Meat Train

Coraline, The International, or The Reader in the theater...

[Sycophant]

Not liking Planes, Trains, and Automobiles is akin to not liking puppies or Iosos.

Iosos was a puppy.

Then he grew into a dog named Sven and left us. :sad:

[megladon8]

Weekend:

Continue watching "Ultraman Max", possibly one of the greatest television shows of all time.

[Ivan Drago]

I really like Planes, Trains and Automobiles, but I...uh...haven't seen Ferris Bueller's Day Off.


Iosos was a puppy.

Then he grew into a dog named Sven and left us. :sad:

Speaking of Sven, he added me on Facebook not too long ago.

Speaking of Facebook, did someone here try to add me a week or so ago?

Weekend:

Irreversible
The Oscars (yup I'm their zombie)

[Qrazy]

Not liking Planes, Trains, and Automobiles is akin to not liking puppies or Iosos.

Right... I think I'm more of a cat person.

[Raiders]

Planes, Trains, and Automobiles [52]
Ferris Bueller's Day Off [80]

Oy.

[Boner M]

I enjoy Ferris Bueller a lot more than PT&A, though I haven't seen the latter in a while.

[Spinal]

Yeah, Ferris Bueller is far superior to Planes, Trains. It's not even close.

[D_Davis]

Yeah, Ferris Bueller is far superior to Planes, Trains. It's not even close.

I agree.

[Russ]

Talk about Bizarro-world...

[number8]

Exactly what Hughes film is better than Ferris Bueller?

Hmm.

Oh yeah! NONE.

[Qrazy]

Neither is a good film.

[Spinal]

Exactly what Hughes film is better than Ferris Bueller?

Hmm.

Oh yeah! NONE.

It's the only one I still like.

[Raiders]

Didn't realize P,T&A was so maligned around here.

Sad. Very sad.

[megladon8]

I like Weird Science.

[Rowland]

*shrug* Ferris Bueller is so clearly the superior film, in virtually every respect, that I find myself equally baffled. I'm not a Hughes fan though, so Bueller is the only film of his I really like without any serious reservations.

[Boner M]

Uncle Buck kinda rules too.

[Rowland]

The Breakfast Club has its moments, but the ending kills much of my goodwill for the picture.

[Ezee E]

I prefer Ferris Bueller, but still have PT&A in high regard.

[Mysterious Dude]

Ferris Bueller and The Breakfast Club are both wretched films. I can kind of understand the appeal of Ferris Bueller (though I hardly laughed at all the last time I watched it). But I am amazed that anyone identifies with The Breakfast Club. People should feel insulted by that movie.

[The Mike]

But I am amazed that anyone identifies with The Breakfast Club. People should feel insulted by that movie.

:confused:

Granted, I find it hard to feel insulted by any movie, but if I were to think of movies that it was remotely possible to feel insulted by, The Breakfast Club would never cross my mind.

[number8]

You guys are nuts. I pretty much still walk around with a leather glove and fist-pump the sky any chance I get, always pausing for a few seconds before moving again.

[Dead & Messed Up]

I just watched Something Wicked This Way Comes, and I rather liked it.

For avid fans of the book, there are some weird deviations and changes, most notably a climax switcheroo that now involves a hall of mirrors instead of the novel's parade showdown. But the tension between Dark and Charles Halloway is awesome - Jonathan Pryce is seriously creepy as the carnival owner, and Jason Robards plays the lovable old grump very well.

I'm not joking about Pryce. He's really fucking creepy.

http://img.photobucket.com/albums/v179/deadandmessedup/somethingwicked.jpg

[megladon8]

Oh! I forgot to mention that I re-watched Finding Nemo the other night.

I still love it, though not quite as much as other Pixar films. On one hand I'm a little miffed by how cliché-ridden the story is, but it's carried out with such vibrant style and humor that while I'm watching it doesn't really register - it's just after the credits role that I realize how the story kind of bland.

But as usual, it's populated with wonderul characters whom I wanted to see more of.

And I feel confident in saying that it's one of the most visually arresting films I've ever seen. I've always found the ocean both fascinating and terrifying, and Pixar nailed both of these elements.

While Ratatouille remains my favorite Pixar movie, saying one Pixar flick is better than another is like saying one type of sugar is better than another - they're all sweet.

[The Mike]

I just watched Something Wicked This Way Comes, and I rather liked it.
I really dig this one too. It's got a lot more intentional creepiness than most Disney flicks. :lol:

[Marley]

I still love it, though not quite as much as other Pixar films. On one hand I'm a little miffed by how cliché-ridden the story is, but it's carried out with such vibrant style and humor that while I'm watching it doesn't really register - it's just after the credits role that I realize how the story kind of bland.



Could you possibly disclose specifically what you found "cliche" about the story? Perhaps the film does get a little too over-sentimental at times and for this reason alone it doesn't have the same emotional impact on repeated viewings but I never really found the plot to fall into this category. Not my favorite Pixar but I still tremendously adore it.

[MadMan]

Planes, Trains and Automobiles sets in my DVD collection, begging to be watched. Come to think of it I've never seen the entire film, just most of the second half. But it made my laugh my ass off. I love Ferris Buller's Day Off and I think The Breakfast Club is a good movie. I also enjoy Uncle Buck. I like John Hughes, but I think that the 90s kind of killed off his career. The dude never should have done Home Alone, even though it was a huge success and a decent movie.

Oh and The 39 Steps is very enjoyable. I like seeing many of the Hitchcock traits that would later become part of many of his movies. Such as the wrong man plot, the main character using his wit and smarts to escape certain situations, the sharp placement of very funny humor, and the usual damsel that accompanies the hero in distress. This is a rather starkly simple film, one that really doesn't dive into complexities or its characters, but exists rather as an example of a basic early work from one of cinema's great movie makers.

[Marley]

I'd like to try and make an Uncle Buck pancake one of these days. :lol: This movie is pure nostalgia and is also one of my mom's favorite films so I've seen it plenty of times growing up. I'm not sure it would hold up very well now though.

I remember enjoying 39 Steps at the time but can't remember much of it other than the ending.

[Kurosawa Fan]

I'd like to try and make an Uncle Buck pancake one of these days.

If that's some sort of sex thing, you're going on my ignore list.

[Marley]

If that's some sort of sex thing, you're going on my ignore list.

Ha, I honestly didn't intend for there to be any sexual innuendo.

[megladon8]

Could you possibly disclose specifically what you found "cliche" about the story? Perhaps the film does get a little too over-sentimental at times and for this reason alone it doesn't have the same emotional impact on repeated viewings but I never really found the plot to fall into this category. Not my favorite Pixar but I still tremendously adore it.


It's full of scenes and situations that I felt like I've seen a million times before.

The whole scenario with Nemo having to overcome his doubts about his little fin so he could see he's the only capable of getting into the tank's filter. Similarly Willem Dafoe's character - the wounded hero who's passing the buck, I found the reveal that he, too, has a small fin almost eyeroll worthy.

Plus the whole main plot of "kid gets mad at parent for being overprotective, then ends up being taken away and put in grave danger".

But like I said, it's done with such style, humor and at times genuine emotion that I can easily look past these things while watching it.

[Wryan]

Uncle Buck rocks utterly.

Essentially, almost any movie would benefit from having an Uncle Buck walk into frame at certain sublime moments.

[number8]

I just watched a French horror-comedy called Teeth of the Night, and Tcekhy Karyo is the Duke of Vampires, wearing a ridiculous Fabio wig that always blows in slow motion randomly for no reason. :lol:

I love him.

[Pop Trash]

Uncle Buck rocks utterly.

Essentially, almost any movie would benefit from having an Uncle Buck walk into frame at certain sublime moments.
Yeah! I have good memories of house sitting last year and the lady's cable had about a hundred free on-demand movies, including Uncle Buck. I was amazed how well it held up considering I was setting myself up to be disappointed or only like it in a "guilty pleasure 80s cheese" kind of way. I love the conflict between the artsy proto-emo daughter and Buck. Plus Uncle Buck is just an awesome movie to watch while housesitting.

[Dead & Messed Up]

So I finally watched The Running Man, and it was incredibly stupid, but I thought it would be funny, and it kind of was, for about half an hour, but then it just kept going and going, and all of the stalkers chasing Arnie were clearly sub-par, so there wasn't a single hint of tension, but Richard Dawson was kinda charming, but even that was worn out and dull by the end, and what does it mean, exactly, when a film ostensibly satirizing the infantilizing nature of violent television is itself infantilizing and an ode to violent filmmaking, and then, after considering that, I looked back at the beginning of this paragraph and wondered why in the hell I used the word "finally," as though viewing such a stupid fucking movie was long overdue.

As a concession to those who waded through that disastrous attempt to review a film completely with one sentence, here's Dynamo:

http://img.photobucket.com/albums/v179/deadandmessedup/Dynamo.jpg

Considering that he looks just like Meat Loaf and sings opera, they should've just hired Meat Loaf. That would've been awesome.

[Boner M]

The Ascent was a little more emotionally remote than I'd hoped for, but Shepitko's formal mastery cannot be denied. Reckon it could've been just 2 hours of those zone-out/one-with-nature sequences and I'd still be a satisfied viewer.

[Bosco B Thug]

Perhaps, though I'd argue in turn that the chemistry between Michael Cera and Chris Pen- I mean Jonah Hill is more tangible than that between Franco and Rogen, the latter coming across as oddly forced in many scenes. Yeah, the building of their relationship was weak. Superbad's homoerotic undercurrents are emotional and psychological
(what else is that anecdote about obsessive penis drawing?), while PE's are very external and yep, super forced. The one reason it kind of works is the one-sided aspect of it, with Franco in puppy love and Rogen falling into it. Kinda Bringing Up Baby-ish. If I remember correctly, the fact that the "fucking" scene is essentially where it's all building up to (after that they're BFFs) is what makes that scene extra lame.

I think of all the interesting idiosyncracies about PE and the
awesome red-band trailer and I just feel sad I felt no dots connecting
while I watched it. I tell myself maybe a 2nd viewing might bring out
some more thoughtfulness I might have missed. DGG allows the irrelevance and 90s comedy antics to control the film instead of DGG controlling these sensibilities in order to create thematic rigor. Although I recall the outrageous dead-pan violence and I think, maybe I did miss something...

I'd love to attest to thematic rigor in Superbad, but I'm a coward
and I won't put my chips into a guy's one film, at least not until I see
it again. Whenever I think of Superbad, though, I think of all those dankly lit set-pieces: the corner market fantasy sequences, the slo-mo dancing, and a whirly-gig police car in a barren twilight parking lot and I think "Oh boy I better see this film again before I go attesting to any formal and thematic rigor."

[Bosco B Thug]

The Ascent was a little more emotionally remote than I'd hoped for I thought it had some very amiable aspects. Most every character was surprisingly lively and animated, it had humor, and I personally got buddy-comedy vibes from the film. Also hand-in-hand, (more compromisingly) homoerotic suggestions? No? Anyone?

All those combine and I personally really found the film rather warm.

[Boner M]

I thought it had some very amiable aspects. Most every character was surprisingly lively and animated, it had humor, and I personally got buddy-comedy vibes from the film. Also hand-in-hand, (more compromisingly) homoerotic suggestions? No? Anyone?

All those combine and I personally really found the film rather warm.
I'm talking more about the final stretch of the film. I agree that there is a lot of warmth and even humor (more Beckett than buddy-com).

[MadMan]

Friday the 13th: A New Beginning actually was fairly decent. I was surprised, as its usually trashed as one of the worst films in the series, but the kills are awesome and there's an able amount of creepiness throughout. Sure some large plotholes exist and the camp almost overwhelms the picture, but I ended up liking it a good deal. Also that ending scene is damn freaky, and caught me by surprise.

Star Trek V: The Final Frontier on the other hand was a very mediocre movie. And yet, because there are some good elements, I did not hate it completely. Much of its main ideas and themes are too undeveloped to be interesting though, and it also got points for being (at times intentional, other times unintentionally) hilarious.

[Raiders]

I seem to remember being overwhelmed by the final stretch of The Ascent. Nope, don't remember anything being too "remote."

[Bosco B Thug]

I'm talking more about the final stretch of the film. I agree that there is a lot of warmth and even humor (more Beckett than buddy-com).
Ah, okay. Yeah, I don't know if this is one of the moments that nags on you, but the "final stretch," I remember, did manage to temper my enthusiasm a bit. For me, it was that I thought the character left behind at the end really got the short end of the stick, and the final few seconds' montage went on a bit too much rubbing it in our faces ("it" being his pitiable role in the allegory). If judgment calls were made to be that easy, we'd take the Bible much more seriously.

[Boner M]

I seem to remember being overwhelmed by the final stretch of The Ascent. Nope, don't remember anything being too "remote."
WELL AREN'T YOU GREAT THEN.

EDIT: Actually, I can drop the sarcasm of that previous sentence for your Class rating. Any thoughts?

[megladon8]

Cellular was actually kind of OK. Characters' intelligence seemed to fluxuate, and the script had some REALLY bad moments, but overall I enjoyed it. Quick, fun entertainment.

I really like Chris Evans, too.

Oh, and I was super surprised by how fantastic the DVD picture looked when playing on my BluRay player. It wasn't too far from actual BluRay quality.

[Raiders]

WELL AREN'T YOU GREAT THEN.

EDIT: Actually, I can drop the sarcasm of that previous sentence for your Class rating. Any thoughts?

It's a fiction film wanting to be a documentary then remembering it is a fiction film and giving us an unfortunate late shift into "plot."

...

OK, so it's more than that, and I liked a good deal of it. I'll post something in its own thread eventually.

[Wryan]

Just caught the recent Die Hard on HBO and I must apologize profusely for not seeing it in theatres. This was far better than I had given credit for imagining it to be. Ludicrous, but finely so. Patchy cgi in places, but great use of digital doubles for flying bodies and whatnot. I was really quite astonished and taken by the whole thing. Just fun. Didn't really need the R after all. Was fine as is. Certainly the modern Die Hard in all that this means, but I could easily watch another one from this crew. Enjoyed the shit out of it.

When he called the French parkour acrobat a "hamster," I just about peed myself.

[Rowland]

Madagascar 2 was better than I anticipated, certainly superior to the original, which had its charms but was more of a mixed bag. Less reliance on pop culture references and parent-baiting in-jokes, more witty slapstick and behavioral humor, the latter courtesy in large part of Sacha Baron Cohen and Tom McGrath as the penguin leader. The major narrative thread featuring Alex the Lion plays like a watered down redux of The Lion King, but the remaining subplots crammed within the picture's briskly paced 80 minutes make up for it. All in all a solid success, funnier than a cash-in sequel to the overly mediocre original has a right to be.

[Dead & Messed Up]

Cellular was actually kind of OK. Characters' intelligence seemed to fluxuate, and the script had some REALLY bad moments, but overall I enjoyed it. Quick, fun entertainment.

I really like Chris Evans, too.

Oh, and I was super surprised by how fantastic the DVD picture looked when playing on my BluRay player. It wasn't too far from actual BluRay quality.

Nice.

The script ain't perfect, but one thing it really has fun with is contriving of all sorts of situations and problems that occur with cellular phones. Using video playback, losing reception, and finding a charger become as exciting, if not moreso, than the gangster tomfoolery.

[Rowland]

Cellular is passable, but I prefer Phone Booth by a fair margin. You know, I read somewhere that Larry Cohen considers these two films and the much-maligned Captivity, all of which he penned to varying extents, a thematic trilogy. Captivity is easily the worst of the three, but I'd argue that it isn't half as bad as its harshest detractors insist. Not good, but interesting in certain respects.

[Boner M]

Say Anything... is probably my favorite Crowe film, but like his others, it's far too timid and polite to be memorable. It's comprised of lots of little specific details and events that never let you forget that this is based on Crowe's experiences, but they're negated by a central relationship that feels slightly south of truthful at every turn. Kept waiting for John Cusack to turn out to be a serial rapist or something; nobody IRL is that freakishly amiable without hiding a dark secret.

[transmogrifier]

Say Anything... is probably my favorite Crowe film, but like his others, it's far too timid and polite to be memorable. It's comprised of lots of little specific details and events that never let you forget that this is based on Crowe's experiences, but they're negated by a central relationship that feels slightly south of truthful at every turn. Kept waiting for John Cusack to turn out to be a serial rapist or something; nobody IRL is that freakishly amiable without hiding a dark secret.


I really disliked Say Anything. It would have been improved if:

(a) something interesting was incorporated into the script
(b) the entire last third was jettisoned
(c) it contained funny jokes and/or situations

I can't fathom how the stereo scene became a cultural touchstone. Demonstrates the paucity of the 80s, I guess.

[Winston*]

Midnight in the Garden of Good and Evil was boring. The Lady Chablis playing herself gives the film it's sole bit of juice. Eastwood's direction basically adds up to inserting courtroom reaction shots. Pretty sure John Sayles is the only living director qualified to make meandering Southern Mosaics.

[Watashi]

Say Anything... is probably my favorite Crowe film, but like his others, it's far too timid and polite to be memorable. It's comprised of lots of little specific details and events that never let you forget that this is based on Crowe's experiences, but they're negated by a central relationship that feels slightly south of truthful at every turn. Kept waiting for John Cusack to turn out to be a serial rapist or something; nobody IRL is that freakishly amiable without hiding a dark secret.

:|

Nice guys exist like that.

[Boner M]

:|

Nice guys exist like that.
Even so, they're boring to watch a movie about.

[Scar]

Just caught the recent Die Hard on HBO and I must apologize profusely for not seeing it in theatres. This was far better than I had given credit for imagining it to be. Ludicrous, but finely so. Patchy cgi in places, but great use of digital doubles for flying bodies and whatnot. I was really quite astonished and taken by the whole thing. Just fun. Didn't really need the R after all. Was fine as is. Certainly the modern Die Hard in all that this means, but I could easily watch another one from this crew. Enjoyed the shit out of it.

When he called the French parkour acrobat a "hamster," I just about peed myself.

I picked it up on DVD, since the Blu-Ray only had the PG13 cut (WTF?!), and I thoroughly enjoy it. I was not expecting something so goddamned entertaining. And the use of yippe-ky-yay at the end was awesome.

And, hell, I love the semi vs jet sequence. I just expected
McClane to punch the pilot after he ejected and landed :lol:

[Raiders]

Even so, they're boring to watch a movie about.

Not really since almost every movie presents the types of characters you seem to want; the nice guys who have some dark secret. It's both interesting and refreshing to see a movie that honors and respects its teenage characters.

[lovejuice]

As a concession to those who waded through that disastrous attempt to review a film completely with one sentence, here's Dynamo:

http://img.photobucket.com/albums/v179/deadandmessedup/Dynamo.jpg


if anything, i consider it an under-appreciated arnie's. apart from dynamo, there are three other equally stupid looking guys, if i remember this correctly?

[Qrazy]

Midnight in the Garden of Good and Evil was boring. The Lady Chablis playing herself gives the film it's sole bit of juice. Eastwood's direction basically adds up to inserting courtroom reaction shots. Pretty sure John Sayles is the only living director qualified to make meandering Southern Mosaics.

Yeah this was a very tedious, meandering film.

[megladon8]

Nice.

The script ain't perfect, but one thing it really has fun with is contriving of all sorts of situations and problems that occur with cellular phones. Using video playback, losing reception, and finding a charger become as exciting, if not moreso, than the gangster tomfoolery.


Yeah I thought it did a great job of making things exciting. Its handling of cell-phone activity reminds me of how often people screw up computer stuff in movies.

It's not interesting to just watch someone sitting at a desk typing away. There has to be something to bring tension to the scene, and they did a very nice job of making cell phone calls an exciting event.



Cellular is passable, but I prefer Phone Booth by a fair margin. You know, I read somewhere that Larry Cohen considers these two films and the much-maligned Captivity, all of which he penned to varying extents, a thematic trilogy. Captivity is easily the worst of the three, but I'd argue that it isn't half as bad as its harshest detractors insist. Not good, but interesting in certain respects.

I haven't seen Phone Booth since it first came out, but I remember enjoying it quite a bit.

Heck, Colin Farrell was great in that movie. I'd say that may be his best performance - but, again, I havent' seen it in years.

I never saw Captivity because, well, it looked so terrible. I may check it out now, since I didn't know 'til now that Larry Cohen penned it. I'm not rushing to see it or anything, but I'll check it out if it's on the tube.

[Wryan]

Michael Rosenbaum was fantastic in Midnight in the Garden though. Talk about making the best of a few moments.

[MadMan]

I'm glad I saw Live Free or Die Hard in theaters. I had a blast. One of my favorite films from 2007.

Sex Drive is indeed a typical teen sex romp (big surprise there). But at the same time much of its jokes are funny, and some of the characters are actually fairly hilarious. I'd say it was good for what it was, although I'll probably forget it in two days.

Oh and I remember liking Phone Booth, but I haven't seen it in 4-5years. I was surprised to discover that Larry Cohen had wrote it.

[Boner M]

Not really since almost every movie presents the types of characters you seem to want; the nice guys who have some dark secret.
When did I say I wanted to see that type of character? Also I don't think the film's honor and respect towards its teenage characters is interesting since it really only extends to Lloyd - who is essentially the Crowe surrogate - and Diane, because she loves Lloyd. The other teenage guys are interchangeable doofuses that seem to exist only as a contrast; to re-affirm how charming and genuine Lloyd is in comparison. Yawn.

[Raiders]

When did I say I wanted to see that type of character? Also I don't think the film's honor and respect towards its teenage characters is interesting since it really only extends to Lloyd - who is essentially the Crowe surrogate - and Diane, because she loves Lloyd. The other teenage guys are interchangeable doofuses that seem to exist only as a contrast; to re-affirm how charming and genuine Lloyd is in comparison. Yawn.

Right, it places two unique and interesting characters in the middle of a genre film. It's an interesting amalgamation. Also, the central relationship in this film is not Lloyd and Diane--it is Diane and her father. The title comes from their bond and open relationship.

[Boner M]

Right, it places two unique and interesting characters in the middle of a genre film. It's an interesting amalgamation. Also, the central relationship in this film is not Lloyd and Diane--it is Diane and her father. The title comes from their bond and open relationship.
I did like most of the scenes between Diane and her father, probably where a bulk of my rating comes from. Largely because of John Mahoney's wonderful performance.

[Qrazy]

I did like most of the scenes between Diane and her father, probably where a bulk of my rating comes from. Largely because of John Mahoney's wonderful performance.

Kudos on your Faces rating.

[Boner M]

Kudos on your Faces rating.
It's devastating.

[Raiders]

Pretty in Pink made the "outsiders" cool and placed an emphasis on different social classes coming together through the idea of high school. But like most high school films it existed in a world with no parents or higher social order. Crowe took it further with Say Anything, making the heroine the class president and valedictorian whose most meaningful relationship is with her dad. It honestly presents a case of a "daddy's little girl" without a hint of irony or sarcasm. Lloyd is the opposite, he lives with his sister and is often not at home and has no future plans, but is equally free from the typical manic-depressive or aloof teenagers that Crowe fills out the film with as a sort of contrast, but one that is made meta by his understanding that the film itself looks to honestly and sensitively move outside the realm of Hughes' insular universe. Where most high school films end when high school ends (or at least keep their frame of mind and maturity level at that of a high schooler), Crowe's film begins there and looks beyond. I love the late film agony Diane's father expresses that he is, essentially, being replaced by Lloyd and that he doesn't deserve it. It shows the two different kinds of love, and men, Diane has now in her life. Mahoney's shame is remarkably palpable and is a scene I do not think you could find in most any other film like this.

In the end, if you can't find it a more honest and sensitive portrayal, from the way characters interact to its view of backseat love, than I doubt there is really anything I can say to properly elucidate why it is a film far and above most any other of its kind.

[Pop Trash]

Say Anything is a great high school film. Up there with Fast Times at RH, although FTARH is a lot more cynical about high school.

[Watashi]

Pretty in Pink made the "outsiders" cool and placed an emphasis on different social classes coming together through the idea of high school. But like most high school films it existed in a world with no parents or higher social order. Crowe took it further with Say Anything, making the heroine the class president and valedictorian whose most meaningful relationship is with her dad. It honestly presents a case of a "daddy's little girl" without a hint of irony or sarcasm. Lloyd is the opposite, he lives with his sister and is often not at home and has no future plans, but is equally free from the typical manic-depressive or aloof teenagers that Crowe fills out the film with as a sort of contrast, but one that is made meta by his understanding that the film itself looks to honestly and sensitively move outside the realm of Hughes' insular universe. Where most high school films end when high school ends (or at least keep their frame of mind and maturity level at that of a high schooler), Crowe's film begins there and looks beyond. I love the late film agony Diane's father expresses that he is, essentially, being replaced by Lloyd and that he doesn't deserve it. It shows the two different kinds of love, and men, Diane has now in her life. Mahoney's shame is remarkably palpable and is a scene I do not think you could find in most any other film like this.

In the end, if you can't find it a more honest and sensitive portrayal, from the way characters interact to its view of backseat love, than I doubt there is really anything I can say to properly elucidate why it is a film far and above most any other of its kind.

Indeed. Plus, Gabriel.

[megladon8]

Any thoughts on Peter Medak's Let Him Have It?

Just discovered it on IMDb today. It has Christopher Eccleston (who is always great to watch) and the plot sounds really interesting.

[Winston*]

The Last Winter - Gaia, the Spirit of the Earth, can no longer stand the terrible destruction plaguing our planet. She sends elk monsters to make everyone go crazy. This movie was stupid. Also, Larry Fessenden still strikes me as fairly amateurish as a director. Character focus in his horror movies is appreciated, I guess.

[Rowland]

The Last Winter - Gaia, the Spirit of the Earth, can no longer stand the terrible destruction plaguing our planet. She sends elk monsters to make everyone go crazy. This movie was stupid. Also, Larry Fessenden still strikes me as fairly amateurish as a director. Character focus in his horror movies is appreciated, I guess.
I was grooving on this one until the closing act, which struck me as lazily thought-out and poorly executed, although I did admire the stab at pathos with the flashback grace note during the otherwise absurd climax. The first two acts worked for me fairly well though, and I generally like his direction, which pays a more acute sense to form than most horror without shedding his predication for loose experimentation. I loved the hallway shot, though the use of a prominant musical cue from The Shining was unfortunate. Wendigo is the superior picture by a sizeable margin in my estimation.

[Winston*]

Was that flashback a flashback to the same house in Wendigo? I thought it was. Is the movie supposed to be a sequel or something? I don't like either of these films.

I think my last post might be overstating my dislike for the film, the first two acts are serviceable enough and the acting is good, but man, that final shot really makes me feel like hating it

[Dead & Messed Up]

The Last Winter - Gaia, the Spirit of the Earth, can no longer stand the terrible destruction plaguing our planet. She sends elk monsters to make everyone go crazy. This movie was stupid. Also, Larry Fessenden still strikes me as fairly amateurish as a director. Character focus in his horror movies is appreciated, I guess.

I'd say he's one of the strongest formalists in his genre. His control of atmosphere is really something. Even into the disappointing ending, I found the film engaging.

That said, both this and Wendigo cower before the might of his Habit, a film with more personality and Fessenden's only genuinely satisfying climax.

[Bosco B Thug]

I'd say he's one of the strong formalists in his genre. His control of atmosphere is really something. Even into the disappointing ending, I found the film engaging.

That said, both this and Wendigo cower before the might of his Habit, a film with more personality and a strong climax. Personality-less might be a good word to throw at The Last Winter. I feel it was too convinced of the inherent terror, evocativeness, and emotionality of its vague, cosmic environmental horror that it forgets to really make a strong point or concrete sense of the world-view it presents. This film might be a case of genre trappings vanilla-izing the film. What're some random crows really supposed to be telling us about the disintegration of the camp's psychological bearings? In the same way, while I loved what he was trying to do with the "flashback," there's little context for it and it just comes off as random.

I agree Fessenden's formalist skills are at a certain refining stage here, though. That circling of the camp upon a current of snow? That was ambitious and not completely an empty flourish.

I think Habit is definitely his most successfully cerebral work, but Wendigo is just so full emotionally. I'm up-in-the-air about his fondness for overly-processed horror imagery and montage transitions, which is probably his most "amateurish" tendency; they might be accepted as the creative liberty of an indie film, but I feel they're empty stylistics and atmospherics. They work within the dreamy atmosphere of his films, though, thus their not tempering my love of 'Wendigo' and 'Habit.'


Strangers on a Train is the first Hitchcock in a long time that I've come away feeling a bit underwhelmed. Shadow of a Doubt is a much more poignant picture of deviant personality lashing out against certain uglinesses of pompous normalcy. 'Strangers' certainly has a lot of visual wit and biting undercurrents, but I think its finally a case of Hitchcock's rigorous constructions and narrative tightness piling too thickly and overcoming subtextual insight. Even the much-touted merry-go-round finale seemed less "evocative imagery" than just a plot device (even though of course it is to some degree, can't take it all away from Hitch with this film).

[Mara]

22 Crucial Film Cadavers. (http://www.avclub.com/articles/and-playing-the-part-of-the-corpse-22-crucial-film,24121/)

[Rowland]

I wasn't really interested in the Oscars, since I haven't yet seen many of the movies nominated, so I watched Kit Kittredge instead, which ranks with CJ7 and Wall-E as one of last year's best family entertainments.

[Ezee E]

By the way, under our noses, Tyler Perry continues his path to owning Hollywood. His latest Madea Ernest Goes To Jail made a ridiculous $41 million.

Coraline seems to have legs though. In the 50's now.

[megladon8]

Today I spent more than an hour talking with a guy I went to the Script Writing course with - a self-proclaimed "militant gay man".

He was telling me how absolutely disgusted he was with The Dark Knight and its "blatant anti-gay propaganda". He kept using works like "clearly" and "obviously" as though he thought everyone must see this, and the fact that I didn't agree with him meant I was the odd-one-out.

Here are some of the scene analyses/points he made:

-The Joker was "clearly" a gay man angered at society for not letting him marry his lover in the past; his speech to Rachel about his wife was him referring to the other man in the same way that gay men will refer to their partners as such

-the Nolan brothers painting the Joker this way was showing that in their eyes being gay is no different than being a murdering sociopath

-Batman's line "I've seen now what I have to become to stop men like him" and subsequent "quitting" the work of Batman was showing how Batman was so disgusted by this gay man (The Joker) rising to power that he'd rather quit then have to deal with him

-Harvey Dent - another character he claimed was a closet homosexual - turning into Two-Face showed society's view that a man seen as straight who turns out to be gay is practically a monster


And what did I take from all this?

Jeez, I just wasted more than an hour of my life.

[Dead & Messed Up]

...Jeez, I just wasted more than an hour of my life.

When you stop and consider how genuinely gay Batman and Robin was, this becomes only more absurd.

[Sycophant]

Well, I'm sure he didn't take much from it either, Meg.

Your point, DaMU, actually would strengthen this reading, as Nolan's Batman is obviously a vehement refutation of Schumacher's Batman.

[Winston*]

When you stop and consider how genuinely gay Batman and Robin was, this becomes only more absurd.

The series' reboot with Batman Begins was a reactionary move against the pro-gay sentiment expressed in Batman and Robin.

[Sycophant]

Hey, Winston* and I said more or less the same thing at more or less the same time.

[Winston*]

Hey, Winston* and I said more or less the same thing at more or less the same time.

Were we both joking?

[Sycophant]

Were we both joking?

I don't know.

EDIT: Which is to say that I wasn't, really.

[Spinal]

The most effective response would have been to argue that Milk is blatant anti-superhero propaganda.

[number8]

The most effective response would have been to argue that Milk is blatant anti-superhero propaganda.

:lol:

[Spinal]

OK. Gotta take a quick break from watching Wanted to say ...

BWAHAHAHAHAHAHAHAHAHAHAHA ....

*deep breath*

... HAHAHAHAHAHAHAHAHAHAHA ...

All right, I'm going back in for more.

[megladon8]

OK. Gotta take a quick break from watching Wanted to say ...

BWAHAHAHAHAHAHAHAHAHAHAHA ....

*deep breath*

... HAHAHAHAHAHAHAHAHAHAHA ...

All right, I'm going back in for more.



The first half hour felt like it was trying to get this reaction out of me, and I was actually having fun with it.

Then it became both self-serious and overly-retarded at the same time, and those two ingredients just did not mix.

[Watashi]

"Shoot this motherfucker!"

[megladon8]

"Shoot this motherfucker!"


Just before Christmas the Virgin Mega Store in Times Square was looping that part.

It was hilarious.

[Mysterious Dude]

Tomorrow at 10:00 a.m. eastern, Turner Classic Movies is going to play The Four Days of Naples, which is about how the citizens of Naples fought against Nazi occupiers during World War II. It is not available on DVD, so this may be your last chance to see it. It is damn near my favorite World War II film, so you should all set your VCR's to record it (because I assume you are all still using VCR's, like I am).

[The Mike]

Tomorrow at 10:00 a.m. eastern, Turner Classic Movies is going to play The Four Days of Naples, which is about how the citizens of Naples fought against Nazi occupiers during World War II. It is not available on DVD, so this may be your last chance to see it. It is damn near my favorite World War II film, so you should all set your VCR's to record it (because I assume you are all still using VCR's, like I am).

Damn, I don't live in the Eastern time zone. :sad:

[Bosco B Thug]

man, that final shot really makes me feel like hating it Oh yeah, the coda is indeed very sucky.


Here are some of the scene analyses/points he made:

-The Joker was "clearly" a gay man angered at society for not letting him marry his lover in the past; his speech to Rachel about his wife was him referring to the other man in the same way that gay men will refer to their partners as such

-the Nolan brothers painting the Joker this way was showing that in their eyes being gay is no different than being a murdering sociopath

-Batman's line "I've seen now what I have to become to stop men like him" and subsequent "quitting" the work of Batman was showing how Batman was so disgusted by this gay man (The Joker) rising to power that he'd rather quit then have to deal with him

-Harvey Dent - another character he claimed was a closet homosexual - turning into Two-Face showed society's view that a man seen as straight who turns out to be gay is practically a monster Dude, even if there is a viable queer reading into the film along these lines, the guy would still be showing himself to have no grasp of subtextual figurations. If The Dark Knight has anything going for it, it's its very allowance of this anarchic presence of the Joker (stand-in for homosexual repression) to have any effect on the society he terrorizes (a city of corruption, organically risen from a failing, showing-as-exceedingly yellow-bellied and incompetent hetero-normative society of thoughtless sheep). Strangers on a Train's maybe-gay murdering sociopath serves a film very anti-hetero-establishment. It's sensibility is placed alongside the deviant agent, even if the stronghold to overcome exists. The guy can't say its depiction of the Joker isn't a slight bit anti-heroicizing, or he can, if he's as literal-minded as he seems!

Don't worry, the above was facetious ass-pulling-out-of. Though the guy is definitely a literal-minded joke who needs to learn how to hate properly.

[MadMan]

OK. Gotta take a quick break from watching Wanted to say ...

BWAHAHAHAHAHAHAHAHAHAHAHA ....

*deep breath*

... HAHAHAHAHAHAHAHAHAHAHA ...

All right, I'm going back in for more.The previews for it have made me roll my eyes. During the Oscar action movie montage last night, they showed a clip from it where the main dude curves a bullet to hit the other dude's bullet that he curved. I laughed. A lot. I don't think I'm a prime candidate to see it, and I'm an action movie junkie.

I don't get TCM :sad:

[Mysterious Dude]

Damn, I don't live in the Eastern time zone. :sad:
Are you joking? It's going to be shown in other time zones (in a few minutes). Surely you're aware of how television works.

[Ezee E]

The previews for it have made me roll my eyes. During the Oscar action movie montage last night, they showed a clip from it where the main dude curves a bullet to hit the other dude's bullet that he curved. I laughed. A lot. I don't think I'm a prime candidate to see it, and I'm an action movie junkie.

I don't get TCM :sad:
It was even better with the guy jumping through the window, screaming.

[MadMan]

It was even better with the guy jumping through the window, screaming.:lol: Wow. Okay now part of me has to see this movie. It sounds like something you would watch while getting drunk with some friends.

Also is The Reader really that bad? So far I've heard mostly weak buzz, and many people who have grumbled over the fact that it was nominated for Best Picture.

[DavidSeven]

Also is The Reader really that bad? So far I've heard mostly weak buzz, and many people who have grumbled over the fact that it was nominated for Best Picture.

If only there was some concentrated place, on the front page of this forum, where we could access views of this film from all the MC posters who have seen it. I propose we title this magical collection (or "thread") of opinions "The Reader" for easy identifiability. Perhaps someone like Watashi would like to start it off.

[MadMan]

If only there was some concentrated place, on the front page of this forum, where we could access views of this film from all the MC posters who have seen it. I propose we title this magical collection (or "thread") of opinions "The Reader" for easy identifiability. Perhaps someone like Watashi would like to start it off.Oh ho ho hum, yes I know there is a thread about the movie. But I was asking E about his opinion. Just his. If its there, then great. If he feels free to state in here, fantastic. I wasn't asking you, pilgrim.

[Ezee E]

Oh ho ho hum, yes I know there is a thread about the movie. But I was asking E about his opinion. Just his. If its there, then great. If he feels free to state in here, fantastic. I wasn't asking you, pilgrim.
Its there. But I'll tell you quickly, "It sucks." And the only person that seems to like it thus far is Barty, saying it's one of the best of the year.

[Winston*]

Hey, is the ending of Reprise supposed to be fiction within the context of the film? I saw it the other day and am embarrassed to say I didn't think of that until now.

[MadMan]

Its there. But I'll tell you quickly, "It sucks." And the only person that seems to like it thus far is Barty, saying it's one of the best of the year.I haven't seen it yet, and I'm often too easy on movies. So we'll see if I actually like it or not. It'll be a while though, as I'm just waiting for DVD.

[The Mike]

Are you joking? It's going to be shown in other time zones (in a few minutes). Surely you're aware of how television works.Yes, I was joking.

I actually meant to record it...and forgot to. :sad:

[megladon8]

I have a feeling that Sudden Impact would work better as a stand-alone film than an entry in the "Dirty Harry" series.

While all three series entries before it made very confused moral stances - but stances nonetheless - this film kind of turns everything from the previous films on its head by bringing the issue of rape into the mix.

Harry Callahan has always hated punks and criminals, but he has also been a staunch anti-vigilante in the past. As he so boldly proclaims in Magnum Force, "I've never shot anyone that wasn't trying to shoot me first."

He completely disregards this in the final scene of this film, Sudden Impact, about a woman getting revenge on the men (and woman) who raped her and her sister 10 years ago.

I agree with the notion that rape is one of the most sickening, heinous crimes anyone could commit...but murder is just as bad, or worse. Sorry, it is. And this strange ending decision by Callahan really threw me off.

On a side note, people who complain about today's incoherent action scenes should watch this movie. There are scenes where I honestly had no f-ing clue what the hell was going on.

Sudden Impact was okay...but the series certainly declines with each entry. I'm not expecting too much from The Dead Pool.

[EyesWideOpen]

There is going to be a Hirokazu Kore-eda film festival here in tempe, arizona from march 3-7 with a Kore-eda Q&A after each film. The films being shown are Maborosi, After Life, Nobody Knows, Hana, Still Walking. I've seen Nobody Knows and loved it but any other recommendations for must sees? I'm gonna try to go to all of them but what do you guys think?

[Sycophant]

I love After Life. So much.

[MadMan]

meg The Dead Pool is bad. Often times hilariously so, but not good never the less. I like Sudden Impact but I agree that its inconsistency hurts it overall.

[Spinal]

Stuart Gordon is one sick puppy. I'd rate Dagon even higher if it didn't make me slightly nauseous. Glad to see a film adaptation of The Shadow over Innsmouth. As I was reading it, I immediately thought it would make a tense, exhilarating film. Gordon takes it in a different direction and piles on the schlock, but I still think it's a pretty effective exercise in Lovecraftian atmosphere and weirdness.

[Dead & Messed Up]

Stuart Gordon is one sick puppy. I'd rate Dagon even higher if it didn't make me slightly nauseous. Glad to see a film adaptation of The Shadow over Innsmouth. As I was reading it, I immediately thought it would make a tense, exhilarating film. Gordon takes it in a different direction and piles on the schlock, but I still think it's a pretty effective exercise in Lovecraftian atmosphere and weirdness.

The middle sags something awful, but the film compensates with the atmosphere, as you said, and with a few moments of shocking gore.

And the final image, with the two fish-people swimming toward the giant eye in the ocean, is the most effective Lovecraftian image I've ever seen in a film.

[Dead & Messed Up]

Oh, and I watched Rashomon tonight. It was on TCM.

I really dug it, apart from Toshiro Mifune's aggressive overacting (something that really hurt Seven Samurai for me). Great way to tell a story, and I enjoyed watching the initial moral clarity quickly fall into a pit of confusion, especially regarding the nature of honor in Japanese culture.

I wonder if it's possible to re-translate those subtitles, though, because so much of the film was on-the-nose moralizing. E.g., "I have faith in humanity again!"

[origami_mustache]

I recently rewatched David Gordon Green's All the Real Girls and George Washington and to my surprise liked them just as much as I had after the first viewings several years ago. I actually watched All the Real Girls on Valentine's Day and my girlfriend cried almost the entire time (probably not the best choice.) I think ATRG is probably a less flawed film, and it's great that a love story like this exists among all the other crap that's out there, but George Washington strikes a chord with me in a way I can't really describe. It's a very flawed films, and borderline incoherent at times. I find myself grimacing at some of the dialogue, but at the same time the combination of the music and beautiful imagery, along with the raw performances from the children really resonates with me. Perhaps it reminds me of my childhood which is a good thing. (shrug)

[MadMan]

Oh, and I watched Rashomon tonight. It was on TCM.

I really dug it, apart from Toshiro Mifune's aggressive overacting (something that really hurt Seven Samurai for me). Great way to tell a story, and I enjoyed watching the initial moral clarity quickly fall into a pit of confusion, especially regarding the nature of honor in Japanese culture.

I wonder if it's possible to re-translate those subtitles, though, because so much of the film was on-the-nose moralizing. E.g., "I have faith in humanity again!"Still haven't seen that one. However, I love Mifune's overacting in Seven Samurai, because I feel that it works really well and is an aspect of his character in the film. He is less aggressive in Yojimbo and The Hidden Fortress, though.

[The Mike]

I spent the first 45 minutes or so of Dagon thinking "Wait, this is really the movie people liked?", and gave up on trying to make sense of it around then. I'll have to give it another chance someday.

I watched the Hammer Films/Bette Davis/eyepatch comedy The Anniversary tonight, and had a good time. About as dark as you could make a comedy at the time, and Davis hams it up with glee.

[megladon8]

Where did you feel Dagon sagged, DaMU? It's one of the most rewatchable movies I have on my shelf. I find it thoroughly entertaining from start to finish, and it's one I could pop in any time, anywhere and love it.


Mike, that Hammer film sounds fantastic. Have you seen one called The Man Who Could Cheat Death? It's from '59 and is directed by my favorite Hammer director, Terence Fisher. Sounds good.

[Benny Profane]

Oh, and I watched Rashomon tonight. It was on TCM.

I really dug it, apart from Toshiro Mifune's aggressive overacting (something that really hurt Seven Samurai for me). Great way to tell a story, and I enjoyed watching the initial moral clarity quickly fall into a pit of confusion, especially regarding the nature of honor in Japanese culture.

I wonder if it's possible to re-translate those subtitles, though, because so much of the film was on-the-nose moralizing. E.g., "I have faith in humanity again!"

YES THANK YOU.

[Spinal]

Where did you feel Dagon sagged, DaMU? It's one of the most rewatchable movies I have on my shelf.

I don't think I would ever want to rewatch the scene ...

... where the old man gets his face cut off.

Too much for me.

[The Mike]

Mike, that Hammer film sounds fantastic. Have you seen one called The Man Who Could Cheat Death? It's from '59 and is directed by my favorite Hammer director, Terence Fisher. Sounds good.
Not yet. I have the DVD that just came out, should see it soon.

[D_Davis]

I didn't care for Dagon too much either. It was okay, but I was led to believe it was amazing; people often cited it as a brilliant Lovecraft adaptation, and I just didn't feel that. Maybe I was in the wrong mindset when I watched it; I know this is something that can happen when reading Lovecraft.

I'll have to check it out again to see if I feel the same.

My favorite Lovecraftian films are the Evil Dead movies. I think Raimi and co. did a great job of working in some of the mythos while adding their own layer to it. In many ways, they did exactly what authors like Lumley, Long, Derleth, CAS, Cisco and others did when they continued and added to the mythos tales, only Raimi and co. used a different medium.

Each of these films tackles the dangers of arcane knowledge, of the discovery of things better left unlearned, as well as the pressence of unholy cosmic forces on the threshhold of breaking into our world.

[megladon8]

I didn't care for Dagon too much either. It was okay, but I was led to believe it was amazing; people often cited it as a brilliant Lovecraft adaptation, and I just didn't feel that. Maybe I was in the wrong mindset when I watched it; I know this is something that can happen when reading Lovecraft.


Actually, aside from a few moments such as the one DaMU mentioned with the fish people swimming into the huge underwater monolith, I didn't think this was a particularly great Lovecraft adaptation.

Of all Gordon's films, it's probably the one that sticks closest to the source material in terms of narrative, but the tone is way off.

You should check out the 2005 silent film The Call of Cthulhu - brilliant adaptation of the mood evoked by Lovecraft's work.

Also check out Marebito if you haven't seen it yet.

And Cthulhu looks fantastic. Comes to DVD at the end of March. DaMU has been a huge champion of that one.

[D_Davis]

Marebito is great. Loved it. I had no idea it was going to be a mythos tale, and it did a fantastic job at conveying its grand scope with a limited budget.

[bac0n]

I think my favorite movie that mixes in Lovecraftian elements would be the original Hellboy film. In fact, the entire Hellboy mythos is, at its foundation, a fusion of Judeo-Christian lore mixed with Lovecraftian Old-Ones - type Ragnarok is but an easily-opened portal away type stuff. I love it.

[number8]

Toshiro Mifune in Rashomon is great.

[Dead & Messed Up]

Toshiro Mifune in Rashomon is great.

After his tale is over, he's better, because he's less obnoxious in the other versions of the story. But his acting seems needlessly large and self-aware, especially the disproportionate amount of diabolical cackling.

[Dead & Messed Up]

Also check out Marebito if you haven't seen it yet.

I'll probably have to rewatch this one, since I hated it on initial inspection.


And Cthulhu looks fantastic. Comes to DVD at the end of March. DaMU has been a huge champion of that one.

Indeed.

Another Lovecraft adaptation that succeeds is Dan O'Bannon's The Resurrected. It's a moody, tense adaptation of "The Case of Charles Dexter Ward." Unnecessarily good performances by John Terry and Chris Sarandon.

[Qrazy]

Toshiro Mifune in Rashomon is great.

Indeed.

[D_Davis]

Another Lovecraft adaptation that succeeds is Dan O'Bannon's The Resurrected. It's a moody, tense adaptation of "The Case of Charles Dexter Ward." Unnecessarily good performances by John Terry and Chris Sarandon.

I couldn't finish this one. Thought it was terrible.

[Dead & Messed Up]

I couldn't finish this one. Thought it was terrible.

Boo-urns.

[number8]

After his tale is over, he's better, because he's less obnoxious in the other versions of the story. But his acting seems needlessly large and self-aware, especially the disproportionate amount of diabolical cackling.

Well.... Yeah. His performance is dictated by the storyteller. I loved how in his story, Mifune's performance is grandeur, poseur and larger-than-life. Then in the woman's story, he's pretty much a feral beast. The movie is a great show for him.

[Wryan]

Well.... Yeah. His performance is dictated by the storyteller. I loved how in his story, Mifune's performance is grandeur, poseur and larger-than-life. Then in the woman's story, he's pretty much a feral beast. The movie is a great show for him.

Agreed. Not to say Mifune can't go a little far at times, though to be fair it's usually Kurosawa's fault, but he's great in Rashomon.

[Amnesiac]

Taschen is releasing another book on Kubrick in a few months. This one will focus solely on his unfulfilled Napoleon project:


http://hollywood-elsewhere.com/images/column/3109/kubricknapoleon.jpg

Should be interesting.

[Bosco B Thug]

I don't think I would ever want to rewatch the scene ...

... where the old man gets his face cut off.

Too much for me. Dude, same here. That was not cool.

The film, otherwise, is supremely watchable, despite giving off some DTV vibes.

[Winston*]

I'm watching Hot Rod. There is some hilarious stuff in this stupid movie.

[megladon8]

I'm watching Hot Rod. There is some hilarious stuff in this stupid movie.


I like Andy Samberg.

Haven't seen Hot Rod, though.

[soitgoes...]

Weekend Possibilities:

Whittle through Rohmer's Tales of the Four Seasons
The Philosopher's Stone
Age of Consent
The Fate of Lee Khan

[Boner M]

Just gonna watch Ugetsu (2nd viewing since five years ago) this weekend.

[megladon8]

Just gonna watch Ugetsu (2nd viewing since five years ago) this weekend.


I'm bringing this one with me to NYC next week in hopes that Jen and I will finally watch it :lol:

Same with The Wages of Fear.

[dreamdead]

I did a double-bill of Rohmer yesterday, knocking out both The Aviator’s Wife and The Marquise of O. The former film is fascinating in its satirical approach to voyeurism and spying, so that characters fashion devious and adulterous motivation to actions that they perceive only to have Rohmer evenhandedly subvert any such erotic tension. If we’re meant to read the film as a rebellion against the whole subgenre of the thriller, where our protagonist exposes all sorts of emotional intrigue, The Aviator’s Wife welcomes the sense of the banal and becomes even more critical of cinema’s tradition of eroticizing and fetishizing the unknown. In that respect, it works wonderfully as it takes the piss out of the whole dramatic arc.

The Marquise of O, meanwhile, is one of Rohmer’s literary-adaptation period pieces, focusing on a German woman who is impregnated without her knowledge and follows her travails to comprehend who would do her such harm. Since Rohmer is always interested in character psychology and gender relations, this film allows for female agency in new and valuable ways, highlighting the desire for our Marquise’s mother to demand that the Marquise hold out until her father forgives her for a transgression that she has no recollection of. Beyond the painterly palette that Rohmer invokes, using lots of muted oranges and natural light, the film evokes the themes of female subjugation and forgiveness that underscore his other work, yet the period nature of it grants a whole new immediacy to those themes.

[Wryan]

Gah! Been lookin for this for ages. This always got me weepy when I was first starting out as a film fan, even tho I hadn't seen many of the films involved. I just like the way its shot and edited, even if its edited for maximum cliched quote/mainstream understanding.

http://www.youtube.com/watch?v=E_fCRE5Xtnc

[Winston*]

Hey, is the ending of Reprise supposed to be fiction within the context of the film?
Answer me!

[dreamdead]

Answer me!

I would if the ending had remained more vibrant in my memory. :sad: I find that the beginning montage and the middle section of the film are the strongest, before Trier ends up having to adhere to the Bildungsroman archetype. Remind me what it includes... was it just the wedding and all of that, or something else?

[Winston*]

I would if the ending had remained more vibrant in my memory. :sad: I find that the beginning montage and the middle section of the film are the strongest, before Trier ends up having to adhere to the Bildungsroman archetype. Remind me what it includes... was it just the wedding and all of that, or something else?

Basically the whole third act. Everyone's all happy endings and shit. Seemed too phony to be mean to be real. Also, it had the same voice over that the film had at the start when it was describing those two's futures after their novels got published.

If it's supposed to be real, I don't think I like this film very much. If not, I dunno.

[Sycophant]

Hey, speaking of things we've been looking for for a while, I've been searching for a Toei-produced Japanese-Russian collaboration called Twelve Months (http://en.wikipedia.org/wiki/Twelve_Months_(1980_film)) from 1980 for a while. It had a noticeable American VHS release back in the mid-eighties. If anyone has a lead on it, I'd appreciate it.

[Raiders]

Hey, speaking of things we've been looking for for a while, I've been searching for a Toei-produced Japanese-Russian collaboration called Twelve Months (http://en.wikipedia.org/wiki/Twelve_Months_(1980_film)) from 1980 for a while. It had a noticeable American VHS release back in the mid-eighties. If anyone has a lead on it, I'd appreciate it.

You can buy it for $60 on Amazon. I can't find it anywhere else.

[Sycophant]

You can buy it for $60 on Amazon. I can't find it anywhere else.Thanks. I haven't quite yet reached that point of desperation to revisit my very fond childhood memories, but I may have to keep an eye on that page.

[dreamdead]

Basically the whole third act. Everyone's all happy endings and shit. Seemed too phony to be mean to be real. Also, it had the same voice over that the film had at the start when it was describing those two's futures after their novels got published.

If it's supposed to be real, I don't think I like this film very much. If not, I dunno.

Ah, that's right. I read those scenes as tipping its hat to its own knowing sense of (artificial) construction. Thus, while they can be read as a simple happy wrap-up, that overt sense of happiness being granted to everyone seemed to me a way to highlight the constructed authorship inherent to the voiceover and, thus, to the film. Because of that, I found myself questioning how believable Trier and his fellow screenwriter wanted me to take the scene, for it kinda devolves into facile romance-comedy at that point, and I don't think such a move is unintentional nor unconstructed. I see it ending formally somewhere before the wedding, and the rest is just a giant narrative construct.

Don't know if that makes it better for you or not, but that was my impression.

[lovejuice]

I did a double-bill of Rohmer yesterday.
i'm going to read six moral tales soon, and will post my thought in the screenplay discussion thread.

i finally come to the conclusion that movies ain't my things at all. from now on i'll just read the scripts and enter the discussion with you guys.

[Stay Puft]

Don't know if that makes it better for you or not, but that was my impression.

That was my impression as well.

I was also sure that sequence is punctuated by shots of Erik on the plane to indicate that it is a "projection" of events, similar to the beginning of the film, but more importantly, specifically Erik's personal narrative desire. And I just checked my copy to confirm this. The narrator continually says, "Erik would have" done so and so, and there is another shot of him on the plane just before the wedding scene. The narrator (or Erik, in this case), in fact (and I had forgotten this), is revising the narrative as he goes, saying he would have met Philip again at a cafe, then a restaurant, and then deciding finally on a wedding.

[MadMan]

Stay Puff that Vincent Price avatar rocks. What film is it from?

Weekend:

Nothing planned for once. Maybe one film or two if I have time.

[Sycophant]

Weekend Viewings:
Coraline

Also, Going to Meant to Have Watched:
Monsieur Verdoux (rewatch)
Dave Chappelle's Block Party
Executive Koala
The Bad Sleep Well

But am going to watch Milk tonight!

[MadMan]

Executive Koala=Sycophant I have a great interest in seeing this ever since I read about it in Fangoria magnazine. I'm curious to hear what you will end up thinking of it.

[Stay Puft]

Stay Puff that Vincent Price avatar rocks. What film is it from?

Samuel Fuller's The Baron of Arizona

[Spinal]

Weekend:

Blindness
Also going to give Re-animator another shot.

If I go see something in the theater, it will likely be The Wrestler.

[Russ]

Weekend:


Also going to give Re-animator another shot.
Re-animator is great. Did you not make it all the way through on your initial viewing?

[Spinal]

Re-animator is great. Did you not make it all the way through on your initial viewing?

Saw it several years ago and didn't like it.

[Scar]

Saw it several years ago and didn't like it.

Too much cock?

[Rowland]

Stuart Gordon is something of a mixed bag for me. I love Stuck, Dagon and Re-Animator are a lot of fun, Fortress is passable B-schlock, Dolls mostly just sucks, and I have fond memories of Space Truckers from my early teens, but I'd need to revisit it. I'm interested in catching up with King of the Ants and especially Edmond.

[Winston*]

especially Edmond.
It's quite terrible.

Weekend: The Fallen Idol, The World, Election 2

[Raiders]

It's quite terrible.

Yeah, sadly it kinda was.

[megladon8]

Yeah, sadly it kinda was.


Rep for the new avatar! Love it.

[The Mike]

Weekend:

Pineapple Express
Terminal Invasion
Dead Reckoning
She-Creature
Quarantine
Battlestar Galactica (80's style, bitches!)

[Qrazy]

Yeah, sadly it kinda was.

That's a The Conversation av right? If so, excited for Tetro?

[Ezee E]

Weekend:
What Just Happened?
Midnight Meat Train
Lenny
Dear Zachary

The International

[Rowland]

Anyone seen or hear anything about Tokyo Gore Police? I've heard it's pretty crazy, thought I'd give it a Netflix rental after I return Still Life (beautiful).

[Dead & Messed Up]

Too much cock?

There was cock?

[Dead & Messed Up]

Nightbreed shows off Barker's usual penchant for brilliant art design and creatures, but it also is just too damn much. There's a hundred monsters in this movie, and they're all monsters - there are no creatures of natural beauty, just beasts with absurdly violent powers. The underlying idea - that humans are the real villain - ends up feeling paltry and untrue, since these monsters were obviously born to destroy humans.

Barker said he wanted to make the Star Wars of horror, which is an interesting idea, but all he really made is a demo reel for Image, the company that designed these ghouls.

[Amnesiac]

Manoel de Oliveira.

Has anyone here seen any of his films? Thoughts? Recommended entry point?

[megladon8]

Anyone seen or hear anything about Tokyo Gore Police? I've heard it's pretty crazy, thought I'd give it a Netflix rental after I return Still Life (beautiful).


D_Davis saw it not too long ago and loved it.

I haven't seen it yet, but I want to. I think it's in the same vein as The Machine Girl - disgusting and hilarious.

[Rowland]

So yeah, I felt compelled to watch Still Life a second time before returning it to Netflix, and it's pretty damn great. This was my first exposure to Jia Zhangke, and I'm looking forward to eventually catching up with his past work. Any favorites of his around here?

[megladon8]

So yeah, I felt compelled to watch Still Life a second time before returning it to Netflix, and it's pretty damn great. This was my first exposure to Jia Zhangke, and I'm looking forward to eventually catching up with his past work. Any favorites of his around here?


This sounds really good.

*puts on Amazon wish list*

[Scar]

There was cock?

Just a touch....

[dreamdead]

So yeah, I felt compelled to watch Still Life a second time before returning it to Netflix, and it's pretty damn great. This was my first exposure to Jia Zhangke, and I'm looking forward to eventually catching up with his past work. Any favorites of his around here?

I wrote some, admittedly long, thoughts on Still Life here (http://match-cut.org/showthread.php?t=1193&highlight=still+life). I found it my favorite of those films released in the U.S. last year, and further testimony that '06 was a solid year internationally. It's conflation of reality and fiction to critique China's current modernization project is fascinating, and yet it yields a humorous touch that some of Jia's other films miss.

The World is variously loved or critiqued as too static in its critique of capitalism. I know that Rosenbaum loves it, and it's largely effective if not a bit one-note in its uses of capitalistic simulacra as identifying markers of Western society's almost museum project, where Westerners compartmentalize everything into a photographic representation. That said, it's still mighty interesting as a textual document about the nature of theme parks memorializing the past (or representations of reality that are far removed from that particular society's present). Platform is almost a free-floating non-narrative, tracing how the confines of society deny any real freedom or individual markers to young adult life. Throughout these three films, Jia proves himself as one of cinema's foremost formalists, as the visual aesthetic is both dominating and liberating to watch.

Unknown Pleasures is high on my list to watch, so that's the next of his that I'll tackle...

[balmakboor]

After leaving it on the shelf for a year and after doing some reading about the Mayans, I watched The Fountain again last night. It may well be my favorite movie now.

[megladon8]

After leaving it on the shelf for a year and after doing some reading about the Mayans, I watched The Fountain again last night. It may well be my favorite movie now.


It's in my top 10 of all time.

Isn't the music just flippin' incredible?

[balmakboor]

It's in my top 10 of all time.

Isn't the music just flippin' incredible?

Yes it is. This thing is just screaming for a Criterion Bluray treatment, for me at least. I can't remember. Is it already available on Bluray?

[Boner M]

This sounds really good.

*puts on Amazon wish list*
Wouldn't you need a little more info before making a blind buy? It doesn't strike me as a meg-ish film anyway.

As for Jia, The World is boring, Platform is very good, Xiao Wu is an impressive debut, and though I owe Still Life a second viewing, I greatly admired it nonetheless.

[Rowland]

It's conflation of reality and fiction to critique China's current modernization project is fascinating, and yet it yields a humorous touch that some of Jia's other films miss.I had mixed feelings with some of its more *ahem* fictional touches after my first viewing, but a second cleared many of them up (although I still could have done without some things, like the tightrope-walking man). I was also struck by how much humor and humanity there was bubbling under the surface after my second viewing as well, since I walked away from my initial viewing feeling that the leads were too ossified in characterization and performance.

As for Jia, The World is boring, Platform is very good, Xiao Wu is an impressive debut, and though I owe Still Life a second viewing, I greatly admired it nonetheless.I was tentatively around a 68-ish score at first, but a second viewing elevated it to 75, so it certainly helped me.

[megladon8]

Yes it is. This thing is just screaming for a Criterion Bluray treatment, for me at least. I can't remember. Is it already available on Bluray?


Yeah it's on BluRay but it's barebones.

At least it's a better transfer than the DVD. Seriously, that DVD should never have been released. It was insulting. There are actually sequences where the colour is drained so badly that it looks like it's black and white.

For a film with such striking visuals, this was a crime.



Wouldn't you need a little more info before making a blind buy? It doesn't strike me as a meg-ish film anyway.

I use my Amazon wish list as just a general way of keeping track of what I want to see. I don't do Netflix or anything like that, so it reminds me what I need to look for next time I visit the video store.

And, uh, what about the movie is not "meg-ish"? That's a bit presumptuous, don't you think?

[Sycophant]

And, uh, what about the movie is not "meg-ish"? That's a bit presumptuous, don't you think?

While you do like a wide variety of films, it does seem that a "meg-ish" film--one that you get all excited about watching and blind buy--are gory horror movies, giant monster movies, and superhero movies. I don't think it's a dig.

[megladon8]

I kind of understand the intent of the statement but it's still a little insulting.

I love plenty of more subdued, character-based dramas. Rowland has interesting tastes in film and his love for this movie had me interested.

[Ezee E]

I want to know if there are films that I haven't seen that are E-ish.

[Qrazy]

I kind of understand the intent of the statement but it's still a little insulting.

I love plenty of more subdued, character-based dramas. Rowland has interesting tastes in film and his love for this movie had me interested.

On the bright side even if you don't like the film you'll now have to convince yourself you did to prove him wrong... so you're guaranteed to like the film! He just did you a great favor. Blind buy that bitch.

[balmakboor]

I learn more about what films are f-ish each time I watch a new film.

[Sycophant]

I want to know if there are films that I haven't seen that are E-ish.You've seen Ghostbusters, right?

[/insult implying you're a pretty lowbrow guy who doesn't like anything but popular mid-eighties sci-fi-infused comedies with Bill Murray--because you're dumb]

[Russ]

I hope this doesn't mean I need to see Far and Away.

[MadMan]

Love Re-Animator. Easily one of the best horror movies I've ever seen.

[Ezee E]

You've seen Ghostbusters, right?

I LOVE GHOSTBUSTERS!!!!!



[/insult implying you're a pretty awesomelowbrow guy who doesn't like anything but AWESOMEpopularmid-eighties sci-fi-infused comedies with Bill Murray--because you're AWESOMEdumb]

Thanks dude!

[Sycophant]

Thanks dude!:cool:

No problem, slim.

[Raiders]

I hope this doesn't mean I need to see Far and Away.

No, but you should listen to the soundtrack. I find Williams a bit overrated in general, but it is easily among his very best.

[Dead & Messed Up]

Just a touch....

Interesting choice of words.

[Kurosawa Fan]

Anyone get this email:

file:///C:/Users/Mike/AppData/Local/Temp/moz-screenshot-3.jpghttp://promotions.deepdiscount.com/images/htmlemail/DVDdollardays_email_01.jpg (http://broadcaster.iripromotions.com/t?r=2&c=1753&l=18&ctl=9468:9F6497C9ED02739F7CF75 82E714BCD3C&?utm_source=WhatCounts&utm_medium=Email&utm_content=02-26-09&utm_campaign=DOLLARDAYS&promoCode=DOLLARDAYS) http://promotions.deepdiscount.com/images/htmlemail/DVDdollardays_email_02.jpg http://promotions.deepdiscount.com/images/htmlemail/DVDdollardays_email_03.jpg http://promotions.deepdiscount.com/images/htmlemail/DVDdollardays_email_04.jpg (http://broadcaster.iripromotions.com/t?r=2&c=1753&l=18&ctl=9461:9F6497C9ED02739F7CF75 82E714BCD3C&?utm_source=WhatCounts&utm_medium=Email&utm_content=02-26-09&utm_campaign=DOLLARDAYS&promoCode=DOLLARDAYS) http://promotions.deepdiscount.com/images/htmlemail/DVDdollardays_email_05.jpg (http://broadcaster.iripromotions.com/t?r=2&c=1753&l=18&ctl=9460:9F6497C9ED02739F7CF75 82E714BCD3C&?utm_source=WhatCounts&utm_medium=Email&utm_content=02-26-09&utm_campaign=DOLLARDAYS&promoCode=DOLLARDAYS) http://promotions.deepdiscount.com/images/htmlemail/DVDdollardays_email_06.jpg (http://broadcaster.iripromotions.com/t?r=2&c=1753&l=18&ctl=9462:9F6497C9ED02739F7CF75 82E714BCD3C&?utm_source=WhatCounts&utm_medium=Email&utm_content=02-26-09&utm_campaign=DOLLARDAYS&promoCode=DOLLARDAYS) http://promotions.deepdiscount.com/images/htmlemail/DVDdollardays_email_07.jpg


They have some great titles for $5 and $7, especially since shipping is free.

[Ivan Drago]

Random but rewarding: Rep goes to whoever has an mp3 of the Angkor Wat theme finale from In The Mood For Love.

[MadMan]

Random but rewarding: Rep goes to whoever has an mp3 of the Angkor Wat theme finale from In The Mood For Love.When I saw that film three years ago, the score and the visuals were what stood out most in my mind. Followed by the fantastic performances and the fact that the film is emotionally powerful with a painfully bittersweet finale. Love that ending. I'm sure that a second viewing would boost my already high rating. Sadly I cannot help you find the music you seek, however.

[Ivan Drago]

When I saw that film three years ago, the score and the visuals were what stood out most in my mind. Followed by the fantastic performances and the fact that the film is emotionally powerful with a painfully bittersweet finale. Love that ending. I'm sure that a second viewing would boost my already high rating. Sadly I cannot help you find the music you seek, however.

Yeah it's been one of my favorites ever since I saw it for the first time a few years ago. The ending is beautiful based on the music alone.

[Qrazy]

When I saw that film three years ago, the score and the visuals were what stood out most in my mind. Followed by the fantastic performances and the fact that the film is emotionally powerful with a painfully bittersweet finale. Love that ending. I'm sure that a second viewing would boost my already high rating. Sadly I cannot help you find the music you seek, however.

For me it was the editing really, that and the sound design, some great sound design. Oh man and the costuming was something else, but it paled in comparison the art direction. The makeup was OK, but nothing to write home about. The direction was the highpoint though for sure.

;)

[Stay Puft]

Random but rewarding: Rep goes to whoever has an mp3 of the Angkor Wat theme finale from In The Mood For Love.

Check your PMs.

[Scar]

Interesting choice of words.

Precisely.

[Ivan Drago]

Check your PMs.

Thank you good sir.

[Scar]

The Fountain is not a Scar-ish movie.

[Sycophant]

The Fountain is not a Scar-ish movie.

Aw, Scar, don't be so hard on yourself.

[Raiders]

The Fountain is not a Scar-ish movie.

Ain't my kind of movie either, I guess.

[Spinal]

The Fountain is my kind of movie. I just wish it was better.

[D_Davis]

The Fountain is my kind of movie. I just wish it was better.

That.

[Qrazy]

That.

This.

My problems with the film are as follows.

1. The same problem many films have, insignificant secondary characters. The two guys with Jackman in the past segment for instance... they're thinly drawn characters with mediocre dialogue and the acting is mediocre.
2. The love story didn't sell me.
3. For all of Aronofsky's comments in interviews about use of mise-en-scene, framing, etc to tie together the three major threads, the actual application is obvious, simplistic and underwhelming. For instance the overhead whip pan of the car, horse and space bubble. It's a hollow gesture to link the mise-en-scene if the choice of shot isn't relevant on it's own. What does an overhead whip pan reveal about the film's deeper meaning? Please no one wax philosophical about objects moving through space, the effect of perspective and the transience of singular moments in time.

All that being said I did like the film, I just find all of the above severely downgrades it.

[Rowland]

They have some great titles for $5 and $7, especially since shipping is free.I went to the site and I don't see this. Help!

[Winston*]

I can go either way on The Founatin. I like how it puts it all out there.

[lovejuice]

The Fountain is my kind of movie. I just wish it was better.
as a buddhist, i find the film intentionally hilarious.

[Qrazy]

as a buddhist, i find the film intentionally hilarious.

Why intentionally?

[lovejuice]

Why intentionally?
unintentionally. my bad.

[Qrazy]

unintentionally. my bad.

Oh lol... I've heard mathematicians say the same thing about Pi although they usually substitute hilarious with asinine.

[megladon8]

You know what's a freaking fantastic movie?

The Taste of Tea.

And you know what desperately needs an R1 release?

Mind Game.

[MadMan]

For me it was the editing really, that and the sound design, some great sound design. Oh man and the costuming was something else, but it paled in comparison the art direction. The makeup was OK, but nothing to write home about. The direction was the highpoint though for sure.

;)I did write a review for it....but I never finished transfering it to the computer. And I owned a certain someone on the boards (name starts with an S, involves "Puff," and posts in FDT ;) ) that review, for a film swap. It took me two-three years to find it on DVD though, since I wasn't using Netflix.

[Qrazy]

I did write a review for it....but I never finished transfering it to the computer. And I owned a certain someone on the boards (name starts with an S, involves "Puff," and posts in FDT ;) ) that review, for a film swap. It took me two-three years to find it on DVD though, since I wasn't using Netflix.

Yeah it is a great film. I'd say Kar Wai's second best. I prefer Happy Together just slightly.

[megladon8]

Happy Together is another one I've had a biatch of a time finding a copy of.

I adore In the Mood For Love - it's another I've seen countless times. And 2046 was quite good, but not as good as the former in my books.

Of the three WKW films I've seen, I liked Chungking Express the least, but still really liked it. Have to admit that "California Dreamin'" did get a tad annoying by the end, but that's more a personal issue because it's a song I was already sick of by the age of 12 due to my parents' playing it so much.

[Qrazy]

Happy Together is another one I've had a biatch of a time finding a copy of.

I adore In the Mood For Love - it's another I've seen countless times. And 2046 was quite good, but not as good as the former in my books.

Of the three WKW films I've seen, I liked Chungking Express the least, but still really liked it. Have to admit that "California Dreamin'" did get a tad annoying by the end, but that's more a personal issue because it's a song I was already sick of by the age of 12 due to my parents' playing it so much.

Fallen Angels is right up your alley, check it out.

[Dead & Messed Up]

Holy fucking shit, Peeping Tom is amazing.

It's easily the equal of Psycho and Diaboliques, and I suspect it's better than the former.

Wow.

How amazing, and sad, and hilarious. It's undeniably a British film with its mordant sense of humor, but it's also got so much heart to it. I loved how the villain was allowed to be sympathetic, and the potent symbolism (that tripod "third leg" as a weapon - hah!) keeps things interesting on multiple levels. And everybody's always peeking at everybody else.

I'm just floored. I really am. I can't remember the last time a film excited me so much.

[The Mike]

Holy fucking shit, Peeping Tom is amazing.

It's easily the equal of Psycho and Diaboliques, and I suspect it's better than the former.

Wow.

How amazing, and sad, and hilarious. It's undeniably a British film with its mordant sense of humor, but it's also got so much heart to it. I loved how the villain was allowed to be sympathetic, and the potent symbolism (that tripod "third leg" as a weapon - hah!) keeps things interesting on multiple levels. And everybody's always peeking at everybody else.

I'm just floored. I really am. I can't remember the last time a film excited me so much.

Glad you loved it, it blew me away recently as well. I've quickly become a big fan of Powell.

[transmogrifier]

Holy fucking shit, Peeping Tom is amazing.

It's easily the equal of Psycho and Diaboliques, and I suspect it's better than the former.


Not difficult to be better than Psycho. Diaboliques is the best of the three, but Peeping Tom is good as well.

[Dead & Messed Up]

Not difficult to be better than Psycho. Diaboliques is the best of the three, but Peeping Tom is good as well.

Hey now!

:)

I recently conceded to a friend that Psycho loses interest (slightly) after the first forty minutes, but I still think it's an awesome flick. Anyway, my point was to praise this film as well as I could, which meant mentioning a thriller/horror that's widely considered as one of the all-time greats.

God damn it, I love the sixties. Easily suspense/horror's best decade.

[Amnesiac]

Peeping Tom is pretty creepy.

In case you didn't know, in Mark's ever-so pleasant home movies... that's Powell himself as Mark's father, and the boy who plays Mark at a younger age is Powell's son.

The motivations behind Mark's murders seem a tad nebulous sometimes, though. Why does he want them to look into the mirror so that he's not only capturing their death, but capturing their reaction to their own death? I suppose he is as much interested in how others digest horrific images as he is himself intensely attracted to those images. But why is the use of the mirror in particular important for him? Is it because he knew the final part of his twisted documentary...


...would involve his own death? And thereby, by analyzing their reactions to their own death, he could better prepare himself for his?

But if that's true, then is the mirror really necessary? Couldn't the preparation just take place from viewing their death alone?

Maybe it just has to do with how much his psychology and the act of looking/making/consuming images is so particularly imbricated. He is utterly obsessed with the consumption of images. For instance, he films one of his victims who is at the same time filming him. But, actually, that one I can more easily account for because it might be a manifestation of his long pent-up anger at his father, who always retained the agency of photographer and never the photographed.

It's also interesting how the camera is almost anatomically connected to Mark. He reaches for it desperately when the police have it. He fondles and embraces it as a substitute for physical interaction with another woman. He's totally invested in the photographic apparatus to the point where it's almost akin to some sort of parasitic connection.

[MadMan]

Holy fucking shit, Peeping Tom is amazing.

It's easily the equal of Psycho and Diaboliques, and I suspect it's better than the former.

Wow.

How amazing, and sad, and hilarious. It's undeniably a British film with its mordant sense of humor, but it's also got so much heart to it. I loved how the villain was allowed to be sympathetic, and the potent symbolism (that tripod "third leg" as a weapon - hah!) keeps things interesting on multiple levels. And everybody's always peeking at everybody else.

I'm just floored. I really am. I can't remember the last time a film excited me so much.I saw it last October, and was blown away as well. Its easily better than Psycho also better than Diaboliques. All three range from damn good to great, however. I'd post my review of it, but I think it does need some touching up. I'm also worried that it contains some spoilers.

70s>60s when it comes to suspense/horror :P Both are the last great decades for those two respective genres. Although some 80s horror is amazing as well.

[Amnesiac]

Its easily better than Psycho also better than Diaboliques.

It may be a better film than Psycho, but I'm not entirely convinced. However, Mark's psychology and motivations may be a tad more ambiguous or open to interpretation than Norman's, thanks to Psycho's infamous psychoanalytic babble.

I actually started this reply in order to post "Anthony Perkins' performance > Karlheinz Böhm's performance". But upon thinking about it, I'm really not entirely sure. I'm leaning towards Perkins but Böhm had a certain creepy magnetism as well. He really pulled off the role.

[MadMan]

It may be a better film than Psycho, but I'm not entirely convinced. Mark's psychology and motivations may be a tad more ambiguous or open to interpretation than Norman's, thanks to Psycho's infamous psychoanalytic babble.After seeing Psycho three or four times I no longer necessarily hold the psychobabble scene against it. But yes the fact that Peeping Tom does not have such a moment really helps it. As for Mark's motivations, I believe my crappy review discusses them, and at least speculates. Which is fun to do.


I started this reply to post "Anthony Perrkins' performance > Karlheinz Böhm's performance". But upon thinking about it, I'm not entirely sure. I'm leaning towards Perkins but Böhm had a certain creepy magnetism as well. He really pulled off the role.Both are great, but I think I'd give the edge to Perrkins. He was creepier and more un-nerving as Bates.

[Dead & Messed Up]

Peeping Tom is pretty creepy.

In case you didn't know, in Mark's ever-so pleasant home movies... that's Powell himself as Mark's father, and the boy who plays Mark at a younger age is Powell's son.

Yeah, I just read that. Very cool.


The motivations behind Mark's murders seem a tad nebulous...is the mirror really necessary? Couldn't the preparation just take place from viewing their death alone?

I tried to type a couple of answers to this one, but, honestly, I'm not entirely certain. It does make perfect sense symbolically, as yet another turn of the screw in the subtext of viewership.


It's also interesting how the camera is almost anatomically connected to Mark. He reaches for it desperately when the police have it. He fondles and embraces it as a substitute for physical interaction with another woman. He's totally invested in the photographic apparatus to the point where it's almost akin to some sort of parasitic connection.

That was also fascinating. As Helen points out casually, it's like an extra limb.

Thanks for the thoughts! I Netflixed the Criterion, so I'm considering listening to the commentary by Laura Mulvey.

[Amnesiac]

I Netflixed the Criterion, so I'm considering listening to the commentary by Laura Mulvey.

Yeah, I'm actually pretty interested in giving that a listen as well.

[transmogrifier]

Bolt

Eh. Not nearly as funny as it could have been (seriously, nothing the hamster says raises so much as a chuckle), but cute enough, I guess. Travolta isn't much of a voice artist though.

Quantum of Solace

Better than Casino Royale, mainly because it doesn't have a completely dead mid section like its predecessor. Suffers a little too much from Bournitis, producing a pretty incoherent opening that is rescued by the rather excellent foot chase that follows. Probably would have worked better if the two films had been condensed into something leaner, meaner, hardened - the material may have produced an action masterpiece. Instead, the second film is merely pretty good, which makes it easily Forster's best film.

[Boner M]

Fallen Angels is right up your alley, check it out.
That's a little presumptuous, don't you think?

[megladon8]

Pineapple Express wasn't as wonderful the second time around, but it was still a fun comedy with some memorable moments and characters. Also, the fact that I wasn't stoned probably had something to do with my lesser enjoyment this time around.

Honestly, this movie would be nothing without James Franco. Seth Rogen is almost on Jonah Hill-mode here, where he just seems to constantly be yelling and flipping out. But Franco's hilarious little quips and comments and his funny gazes...it really makes the movie.

Is it a performance that should have won awards? No.

Was it one of my favorite performances of the year? Yes.

He totally nailed that passive-aggressive, sometimes overly-friendly stoner personality. He looked, acted and felt the way some of my closest friends are (aside from, you know, the drug dealing).

[Dukefrukem]

Clear and Present Danger was on AMC the other night. Fucking love that movie.

[megladon8]

Clear and Present Danger was on AMC the other night. Fucking love that movie.


Yeah, I'd say it's my favorite of the Jack Ryan movies.

Haven't seen The Hunt For Red October.

[Qrazy]

Peeping Tom is pretty creepy.

In case you didn't know, in Mark's ever-so pleasant home movies... that's Powell himself as Mark's father, and the boy who plays Mark at a younger age is Powell's son.

The motivations behind Mark's murders seem a tad nebulous sometimes, though. Why does he want them to look into the mirror so that he's not only capturing their death, but capturing their reaction to their own death? I suppose he is as much interested in how others digest horrific images as he is himself intensely attracted to those images. But why is the use of the mirror in particular important for him? Is it because he knew the final part of his twisted documentary...


...would involve his own death? And thereby, by analyzing their reactions to their own death, he could better prepare himself for his?

But if that's true, then is the mirror really necessary? Couldn't the preparation just take place from viewing their death alone?

Maybe it just has to do with how much his psychology and the act of looking/making/consuming images is so particularly imbricated. He is utterly obsessed with the consumption of images. For instance, he films one of his victims who is at the same time filming him. But, actually, that one I can more easily account for because it might be a manifestation of his long pent-up anger at his father, who always retained the agency of photographer and never the photographed.

It's also interesting how the camera is almost anatomically connected to Mark. He reaches for it desperately when the police have it. He fondles and embraces it as a substitute for physical interaction with another woman. He's totally invested in the photographic apparatus to the point where it's almost akin to some sort of parasitic connection.

Relatively interesting thoughts but his motivation and use of the mirror isn't really nebulous. The use of the mirror in particular is explained as a fairly major plot point. The point of the 'work' he's taken on is to try to illicit and capture the maximum fear response and he discovers that the only thing more terrifying than being murdered is seeing oneself as you're murdered... thus the mirror.

[Qrazy]

That's a little presumptuous, don't you think?

You're absolutely right... amended...

'Fallen Angels may or may not be right up your alley, do or do not check it out, maybe.'

[Dukefrukem]

Yeah, I'd say it's my favorite of the Jack Ryan movies.

Haven't seen The Hunt For Red October.

I wish they made more with Harrison Ford. How many did they do? Two? Patriot Games and this? Clancy has so many books ... wouldn't you think they'd make more of his films than King?

[megladon8]

I wish they made more with Harrison Ford. How many did they do? Two? Patriot Games and this? Clancy has so many books ... wouldn't you think they'd make more of his films than King?


Not really. King has a bigger market and fanbase than Clancy, and so many of Clancy's books are so immense that it's not too economical to make movies out of them. They either have to hire writers to do massive cuts and re-writes, or they have to make a mega-long movie.

[Dukefrukem]

Not really. King has a bigger market and fanbase than Clancy, and so many of Clancy's books are so immense that it's not too economical to make movies out of them. They either have to hire writers to do massive cuts and re-writes, or they have to make a mega-long movie.

I just did a search and it looks like they're making Without Remorse into a movie for a 2011 release. Yay

[lovejuice]

Clear and Present Danger was on AMC the other night. Fucking love that movie.

:rep:

that movie and the siege are two damn underrated action/political-thriller flicks. so is phillip noyce, the director of CaPD. and clancy's book is awesome too. the only thing from him that i reread.

are they still doing jack ryan movie that's not based on clancy's? well, clancy is no dostoevsky, but this shit makes me mad as hell.

[Amnesiac]

The point of the 'work' he's taken on is to try to illicit and capture the maximum fear response and he discovers that the only thing more terrifying than being murdered is seeing oneself as you're murdered... thus the mirror.

I must have not caught or remembered that bit of exposition/"fairly major plot point". That clears it right up, though.

For whatever reason, I thought back on the film as centering around a documentary that primarily observes death, rather than the elicitation of fear. But given his father's interest in the latter, I guess it makes sense that Mark was doing both. I'll have to go back to the film sometime and pinpoint where Mark mentions that as being the aim of his project, as well.

[Dead & Messed Up]

Right at Your Door is a serviceable little thriller done on a tight budget. Rory Cochrane plays an average Joe who freaks out when Los Angeles is hit with a number of "dirty bombs." After repeatedly calling his wife, to no avail, he goes to work sealing up his house with plastic and duct tape. Tension mounts when he encounters survivors and ominous men in hazmat outfits.

The film stays intimate, which is its only choice, but its apocalyptic tone doesn't jive with the low-key logic of its suspense and twists. In a sense, the film seems minor from the word go. And while the final twist is clever, it breaks down in retrospect.

Still, it's not too shabby, and the performances are effective, especially Mary McCormack as Cochrane's wife.

[Spaceman Spiff]

Not difficult to be better than Psycho. Diaboliques is the best of the three, but Peeping Tom is good as well.

Exactly this, actually. Although I merely like Peeping Tom.

Les Diaboliques is a stunning film. One of the very best, by my watch.

[Amnesiac]

A new The Shining discovery... or just shadow and light? You decide (http://www.youtube.com/watch?v=3REO2z4_0sk).

[Mysterious Dude]

A new The Shining discovery... or just shadow and light? You decide (http://www.youtube.com/watch?v=3REO2z4_0sk).
Rob Ager should watch some different movies, once and a while.

[Spinal]

Henry V (1989) **

There's something you don't see every day.

[Scar]

Watched Picnic at Hanging Rock today. It was.... ok. And then I read about the 'missing' chapter from the book that was later released, and that made me just sorta roll my eyes.

EDIT: The Secret of Hanging Rock: http://en.wikipedia.org/wiki/The_Secret_of_Hanging_Rock

[Raiders]

Watched Picnic at Hanging Rock today. It was.... ok. And then I read about the 'missing' chapter from the book that was later released, and that made me just sorta roll my eyes.

EDIT: The Secret of Hanging Rock: http://en.wikipedia.org/wiki/The_Secret_of_Hanging_Rock

Yeah, very smart I think to have originally cut that out.

[megladon8]

Right at Your Door is a serviceable little thriller done on a tight budget. Rory Cochrane plays an average Joe who freaks out when Los Angeles is hit with a number of "dirty bombs." After repeatedly calling his wife, to no avail, he goes to work sealing up his house with plastic and duct tape. Tension mounts when he encounters survivors and ominous men in hazmat outfits.

The film stays intimate, which is its only choice, but its apocalyptic tone doesn't jive with the low-key logic of its suspense and twists. In a sense, the film seems minor from the word go. And while the final twist is clever, it breaks down in retrospect.

Still, it's not too shabby, and the performances are effective, especially Mary McCormack as Cochrane's wife.



This is one I was pretty disappointed with.

Good performances from Cochrane and McCormack (and she is pretty fine)...but that twist bugged the hell out of me. I thought it was pretty dumb, and just there for the sake of tacking a twist on the end.

I think it would have worked better if...

...it wasn't a twist that the radioactive material was in his house and he was the one being quarantined. It should have been revealed like halfway through, and we got to see how he and his wife dealt with this and their limited means of communication. Maybe even have the wife ask to be put in there with him?

[Raiders]

I think I would really like Stephen King's novella The Langoliers as I found many of the ideas in the made-for-TV movie rather interesting and compelling, at least inasmuch as they offered something relatively new in the perception of space and time (and by extension, time travel). But, the supposedly very faithful adaptation suffers from being about twice as long as necessary. As a three-hour long movie (and four hour TV viewing with commercials), many scenes develop ridiculously slow. Honestly, the amount of inaction is almost absurd and though the empty, lifeless feeling is informed by the content it nevertheless seems overdone to the extreme. Just about everything, from the direction to the effects (seriously, the langoliers themselves should have just been left unseen) is amateurish, but the acting saves many of the scenes. In particular is an overactive, giddily strange performance from Bronson Pinchot and an appropriately quirky Dead Stockwell. Still, a rather dull movie propped up only so far by its intriguing premise.

[Mysterious Dude]

There's something you don't see every day.

I was really unimpressed by the production. Right before the battle, some of the actors look out at the battlefield, but we don't get to see what they're looking at. It reminded me of a line from MST3K's version of Time Chasers.

"It looks there was a war! (You'll have to take my word for it; we can't afford to show it.)"

I know it's probably a budget thing, but the movie seemed so limited. It's shot mostly indoors (compared to Zeffirelli's Romeo and Juliet and Polanski's Macbeth, both of which I found much more authentic), so it often felt like a stage production. I think it was the low budget and Branagh's desire to be faithful to the source material that prevented him from shaking things up a little. The acting was very theatrical, and of course you can't get rid of the silly narrator looking straight at the camera like Ferris Bueller.

I don't know if this is sacrilege, but I think I don't like the play very much. It's difficult for me to see it as anything but pro-war. I know some have interpreted it as anti-war, but I just don't see it. I can't get past the part where they compare casualties (10,000 to 25... right).

[eternity]

Are we counting The Hurt Locker as 2008 or 2009?

Cause either way, it's awesome.

[Spinal]

The acting was very theatrical, and of course you can't get rid of the silly narrator looking straight at the camera like Ferris Bueller.


Why is that silly? Why is this a narrative convention that you are unwilling to accept?