28 Film Discussion Threads Later

[Rowland]

Have at it, folks.

[Marley]

Cool.

[Kurosawa Fan]

I dig it.

[Sycophant]

It's the Great Pumpkin, Charlie Brown (Bill Melendez, 1966) ***
I'm not gonna press you too hard on it because, I mean, you like it. But I watched this again last night and still found it nearly flawless. Any particular qualms?

[Philosophe_rouge]

Groovy!

I fell madly and deeply in love with Shock Corridor (1963). It is campy and melodramatic, but they both work to create a compelling and sometimes frightening portrait of price of success (among other things...). The scenes with Brent, the African American who believes himself to be a white supremacist, and a member of the KKK are among the most disturbing things I've seen on film. Far removed (not as far as we think perhaps) from the racia tension of the civil rights movement, the scenes are intense and heavily charged with anger and confusion. I don't see myself forgetting them anytime soon. Mixing in some very wonderful/strange colour dream sequences and one of the coolest hallucinations committed to screen, I think this will be a favourite for a long time.

[Marley]

My mind has offically been blown by Whisper of the Heart. Life affirming and tenderly beautiful. *sigh*

[Sycophant]

My mind has offically been blown by Whisper of the Heart. Life affirming and tenderly beautiful. *sigh*You are now one of us.

[Philosophe_rouge]

My mind has offically been blown by Whisper of the Heart. Life affirming and tenderly beautiful. *sigh*
It's almost too wonderful and happy for it's own good, not Totoro level happiness but up there. I'm happy my sister made me watch it.

[Marley]

Groovy!

I fell madly and deeply in love with Shock Corridor (1963). It is campy and melodramatic, but they both work to create a compelling and sometimes frightening portrait of price of success (among other things...). The scenes with Brent, the African American who believes himself to be a white supremacist, and a member of the KKK are among the most disturbing things I've seen on film. Far removed (not as far as we think perhaps) from the racia tension of the civil rights movement, the scenes are intense and heavily charged with anger and confusion. I don't see myself forgetting them anytime soon. Mixing in some very wonderful/strange colour dream sequences and one of the coolest hallucinations committed to screen, I think this will be a favourite for a long time.

This sounds fascinating. I really need to see something by Fuller one of these days.

[Rowland]

I'm not gonna press you too hard on it because, I mean, you like it. But I watched this again last night and still found it nearly flawless. Any particular qualms?*shrug* It's not very funny.

Still, there is something oddly transportive about it, and compared to what passes for modern family entertainment, it's pretty much alien. It's terribly charming, but it doesn't leave much of an impression. The Reverse Shot piece on it did open my eyes a bit to its more thoughtful qualities though.

[Marley]

You are now one of us.

About time! (kidding)

It truely is one of the most moving film experiences I've had in a while.

[megladon8]

Hey everyone!

Love the new thread title, Rowland - I actually had to do a double take, because I wondered why a discussion of Y tu mama tambien was chosen as the first thread topic :D

[Sycophant]

The Reverse Shot piece on it did open my eyes a bit to its more thoughtful qualities though.
Wow. This really is (http://www.reverseshot.com/article/its_the_great_pumpkin_charlie_ brown) a good piece.

Out of curiosity, how do you generally feel about other Melendez-helmed Peanuts specials/films/whatever? Specifically, A Charlie Brown Christmas? I'll admit, of course, to not laughing out loud throughout these things, but my experience with the best of these is sublime, almost transcendental.

I, of course, have nothing near a spiritual experience watching Garfield's Christmas Special or whatever the hell it's called.

[Rowland]

Out of curiosity, how do you generally feel about other Melendez-helmed Peanuts specials/films/whatever? Specifically, A Charlie Brown Christmas?I haven't seen any of them in years, but now I'm looking forward to revisiting them.

I'm probably being hard on Great Pumpkin. Anything that feels like it's less than half of its actual length has to be doing something hella right.

[Marley]

It's almost too wonderful and happy for it's own good, not Totoro level happiness but up there. I'm happy my sister made me watch it.

I really didn't think the film was all that jubilant save for the last few scenes. Everything prior to those final closing moments of radiant optimism permeates with an underlying poignancy of disillusionment which is very affecting.

[megladon8]

Tears of the Black Tiger (Sasanatieng, 2000) **** [2nd]


Where did you get to see this? Do you have a copy?

I've been wanting to see it for quite a while.

[Philosophe_rouge]

I really didn't think the film was all that jubilant save for the last few scenes. Everything prior to those final closing moments of radiant optimism permeates with an underlying poignancy of disillusionment which is very affecting.
That's part of why I find it so joyous, there is that build up of uncertainty that works so beautifully in creating several moments of bliss and a wonderful end.

[Sycophant]

I really didn't think the film was all that jubilant save for the last few scenes. Everything prior to those final closing moments of radiant optimism permeates with an underlying poignancy of disillusionment which is very affecting.
Don't you find the ultimate statement, in the characters' extreme optimism a little chilling? Like the adult in you wants to cry tears of mourning for how this all is, like, not going to work out the way they think it will?

It's a glorious moment, one of the best in one of the best films, but that's what I love so much about it.

[Rowland]

Where did you get to see this? Do you have a copy?

I've been wanting to see it for quite a while.It's available as an R1 DVD.

[Marley]

That's part of why I find it so joyous, there is that build up of uncertainty that works so beautifully in creating several moments of bliss and a wonderful end.

Ah, good point.

[Marley]

Don't you find the ultimate statement, in the characters' extreme optimism a little chilling? Like the adult in you wants to cry tears of mourning for how this all is, like, not going to work out the way they think it will?

It's a glorious moment, one of the best in one of the best films, but that's what I love so much about it.

I was so caught up in both characters determination to do something positive with their lives that I failed to even consider the inevitable truth that you describe. Now I'm even more depressed. :(

[Sycophant]

Where did you get to see this? Do you have a copy?

I've been wanting to see it for quite a while.
It's been available in America now for the better part of a year, which is when I initially bought and watched it. My local film society's Westerns of the World program actually plugged it in in place of a Greek western they couldn't obtain in time. Seeing it in a theater, even if it was just a projected DVD rocked pretty hard. The film's a blast.

[megladon8]

It's been available in America now for the better part of a year, which is when I initially bought and watched it. My local film society's Westerns of the World program actually plugged it in in place of a Greek western they couldn't obtain in time. Seeing it in a theater, even if it was just a projected DVD rocked pretty hard. The film's a blast.

Wow, I had no idea that it was available.

*goes hunting on Amazon*

[Sycophant]

I was so caught up in both characters determination to do something positive with their lives that I failed to even consider the inevitable truth that you describe. Now I'm even more depressed. :(
Aw. But it's beautiful while it lasts, right? That's quite a something.

[Marley]

Aw. But it's beautiful while it lasts, right? That's quite a something.

I suppose you're right only it's difficult to shake that feeling of disappointment these characters are going to have to endure soon or later in their lives.

[koji]

Enthralled by Triad Election. Following an introduction about the origins of Hong Kong gangs, the film introduces us to Jimmy, a member of a HK gang , who has been a successful with pirate DVDs and wants to become a "legitimate businessman". He gets trapped in a dangled web. I enjoyed the plot, but even more so, the cinematography and music.

[Ivan Drago]

What up, y'all?

When I walked into film class today, I expected to hate Weekend (Godard, 1967). Turns out I loved it. I took it as Godard having fun with movie-making and purposely going against the typical way of Hollywood storytelling. The way Godard grabs the viewer's attention with the title cards and long takes puts the viewer in a trance for the entire movie, at least that's how it was for me. I also loved its imagery - especially in the opening sequence when the woman talks of her sexual escapade. It's sick and disgusting, but powerful as well.

[Mysterious Dude]

Much as I dislike the film, I do kind of like the way Godard uses titles.

[dreamdead]

I fell madly and deeply in love with Shock Corridor (1963). It is campy and melodramatic, but they both work to create a compelling and sometimes frightening portrait of price of success (among other things...). [...] I think this will be a favourite for a long time.

Excellent news. It really is a wonderful, albeit melodramatic, analysis of how the individual can be subsumed amidst the institutional pressures of society. I still have only seen two of Fuller's works, but they're both quality and he's slowly becoming a favored director of mine.

The Steel Helmet is next up on the queue, actually.

[MadMan]

Once again I post in a FDT with a title from a film I haven't seen. Heh. I want to check out Fuller's work, but so far the only film of his I've found around my area has been The Big Red One(1980). I guess I'll check that one out.

[Eleven]

I've been watching a bunch of things, some Rohmer here, some Griffith there, von Sternberg and Assayas in between. Also trying to start a Film Club in my last semester-and-a-half of school, so we'll see how that turns out. Anyone who's organization such a thing, either at school or socially otherwise, I'll love some tips or stories.

The most obscure Fuller (as well as one of my favorites) I've seen is Underworld USA, with a hard-bitten Cliff Robertson playing both sides of the eternal struggle between the cops and the criminals. Awesome if you can find it.

[monolith94]

A one-page paper I wrote for graduate school. I'm posting it here as it's film-relevant.

John Richards
One Pager #6, Oct. 26th
Maasik & Solomon: The Hollywood Sign

However admirable it may be that the authors of the essays in the chapter The Hollywood sign choose to focus on looking at cinema as a reflection of our human culture, I cannot in good conscience take the approach as given in the reading and apply it to my own (hypothetical) English classroom. For although several good and important points are made in the essays, and the reader is left with the sense that we must approach what the film industry presents us with a certain degree of skepticism and critical acuity, the overall critical neglect of the relevance of a film’s form to its message and meaning is shameful. As English teachers, we have an obligation to teach our students the mechanics of writing: metaphor, word-choice, grammar, imagery and so forth. If we are going to introduce young people to the study of film we have a similar obligation to give them the information they need to read a film lucidly, such as editing techniques, framing, lighting, and all of the artistic decisions that go into the making of a film.

For example, in Vicki Eaklor’s essay on Gone With The Wind, she might as well be talking about Margaret Mitchell’s book itself, for all of the information she provides us concerning the differences between the novel and the film. Yes, she does make note of some plot differences, such as the truncated role of the mother character (p. 350) but such differences are limited to matters of plot rather than differences in technique. Isn’t it important, after all, to consider the role of the camera as the eye of the audience? Ms. Eaklor never addresses the question of how the camera looks at the supposed femininity of Ashley, or conversely the masculinity at Rhett: rather she merely points to behaviors that we are shown in the film. And when Eaklor does provide an example of something from the film (p. 355) she provides us with just the dialogue, stripped of the visual context: we may as well be reading a play.

This general lack of concern with craftsmanship leads to some troubling errors and oversights. For example, in Charles Ealy’s Understanding Star Wars we are presented with the opinion of Dr. Taylor, who presents the single most ignorant cinematic remark that I have read in many years: the idea that C-3P0 and R2-D2 are drawn from the racist stereotype of “sassy, back-talking darky house servants.” (p. 328) Firstly, if C-3P0 is offensively regurgitating any cultural stereotype, the character is drawing from the stereotype of the limping, mincing homosexual. Secondly, it is well known that George Lucas ripped the idea of the story as shown via two servant characters from the Akira Kurosawa film The Hidden Fortress. If it has already been proven that George Lucas has already robbed the characters from one more modern and exotic source, how can Dr. Taylor make the claim that it was actually robbed from somewhere else? And Dr. Taylor’s characterization of Princess Leia as Lillian Gish revivified is simply deranged: white robe aside, Princess Leia has none of the timidity and naivety that we expect from a stereotypical Lillian Gish role.

While plot is important, indeed often central to the scholastic challenge of determining meaning in film, it cannot be the only concern, or the art of film itself will suffer. And considering matters of cinematic technique is all to the good of understanding the semiotic meaning of a film. For example, what is the semiotic meaning of the famous camera pull-back shot that closes Gone With the Wind? But such artistic explorations seem beyond the ken of these essayists, to their loss and ours.

[Rowland]

Right on, mono. Your argument sounds like it's right on the mark. I see what you are talking about all too often, where people take an altogether literary approach to their critical analysis of cinema and miss so much of the poetry (or lack thereof) as a result.

[Yxklyx]

Once again I post in a FDT with a title from a film I haven't seen. Heh. I want to check out Fuller's work, but so far the only film of his I've found around my area has been The Big Red One(1980). I guess I'll check that one out.

Speak of the devil - just saw his best - The Steel Helmet.

[Philosophe_rouge]

Excellent news. It really is a wonderful, albeit melodramatic, analysis of how the individual can be subsumed amidst the institutional pressures of society. I still have only seen two of Fuller's works, but they're both quality and he's slowly becoming a favored director of mine.

The Steel Helmet is next up on the queue, actually.
It's my first Fuller, although a few years ago I had seen the first twenty minutes of Pickup on South Street before the tape went wonky on me.

I agree with all your points, I personally have a deep rooted adoration for melodrama, even at it's worst. I think Fuller had enough control that the film didn't spin out of control despite his rather strange approach to the material.

[Philosophe_rouge]

I've been watching a bunch of things, some Rohmer here, some Griffith there, von Sternberg and Assayas in between. Also trying to start a Film Club in my last semester-and-a-half of school, so we'll see how that turns out. Anyone who's organization such a thing, either at school or socially otherwise, I'll love some tips or stories.

The most obscure Fuller (as well as one of my favorites) I've seen is Underworld USA, with a hard-bitten Cliff Robertson playing both sides of the eternal struggle between the cops and the criminals. Awesome if you can find it.

I can't help you much as my school's film club, which I'm one of the few members is so disorganized we're not officially a club (one day late for official submission). Make sure the person in charge (you I presume, so I doubt there will be trouble) is reliable and organized, there is probably at least a fair bit of foot/paper work involved. It's also good to have a group of people interested in a club before you go about it. If you're doing it socially, I suppose you just need to find a dedicated group, and a venue... and probably a system of choosing what you are going to see. Regardless, the best of luck to you!

[Watashi]

Eh.

[D_Davis]

Enthralled by Triad Election. Following an introduction about the origins of Hong Kong gangs, the film introduces us to Jimmy, a member of a HK gang , who has been a successful with pirate DVDs and wants to become a "legitimate businessman". He gets trapped in a dangled web. I enjoyed the plot, but even more so, the cinematography and music.

It's probably the best music to ever be in a Johnny To film, although Exiled is up there. Election has great atmosphere, but it is not one of my favorite To films.

[D_Davis]

Just got back from seeing the new cut of Blade Runner at the Cinerama here in Seattle. It was pretty cool. This was my second time seeing this film on the big screen, but my first time seeing it on a screen this big; it looks and sounds great. Here is the short review: narration out, unicorn still in, backgrounds and cars look better, and Roy still rules. Although, I do have to say that I think A Scanner Darkly is now the best PKD adaptation. Not to disparage Blade Runner at all, but it has been dethroned as the best representation of Dick's masterful imagination.

[number8]

Just got back from seeing the new cut of Blade Runner at the Cinerama here in Seattle. It was pretty cool. This was my second time seeing this film on the big screen, but my first time seeing it on a screen this big; it looks and sounds great. Here is the short review: narration out, unicorn still in, backgrounds and cars look better, and Roy still rules. Although, I do have to say that I think A Scanner Darkly is now the best PKD adaptation. Not to disparage Blade Runner at all, but it has been dethroned as the best representation of Dick's masterful imagination.

Awesome. I'm not a huge Blade Runner fan (methinks it's pretty overrated), but I'm excited to see the new cut on the big screen. Can't wait.

[Boner M]

So, like, what's the appeal of Death Proof? I'm all for cinematic 'hanging out' (ala Rio Bravo), but the dialogue here is terrible - Kevin Smith-esque, even. The film stagnates everytime a female character open their mouth and every actor visibly struggles with their lines, and QT's idea of 'female empowerment' is as glib as can be. A few neat touches here and there (loved the b&w reel) and an undeniably thrilling climax, but overall pretty lousy. Maybe it works better in the context of Grindhouse. After this and Kill Bill I think I'm done with Tarantino, unless he takes some completely different direction.

Now, off to read the discussions...

[Ezee E]

Weekend:
American Gangster
Stanley Kubrick: A Life in the Pictures (I've never seen it beginning to end)

I'll be busy this weekend, so probably nothing else. Maybe Darjeeling Limited on Monday finally.

[Marley]

So, like, what's the appeal of Death Proof? I'm all for cinematic 'hanging out' (ala Rio Bravo), but the dialogue here is terrible - Kevin Smith-esque, even. The film stagnates everytime a female character open their mouth and every actor visibly struggles with their lines, and QT's idea of 'female empowerment' is as glib as can be. A few neat touches here and there (loved the b&w reel) and an undeniably thrilling climax, but overall pretty lousy. Maybe it works better in the context of Grindhouse. After this and Kill Bill I think I'm done with Tarantino, unless he takes some completely different direction.

Now, off to read the discussions...

Your complaints mirror my own completely. It's the first Tarantino I flat out disliked with a passion.

[D_Davis]

Awesome. I'm not a huge Blade Runner fan (methinks it's pretty overrated), but I'm excited to see the new cut on the big screen. Can't wait.


Just got back from seeing the new cut of Blade Runner at the Cinerama here in Seattle. It was pretty cool. This was my second time seeing this film on the big screen, but my first time seeing it on a screen this big; it looks and sounds great. Here is the short review: narration out, unicorn still in, backgrounds and cars look better, and Roy still rules. Although, I do have to say that I think A Scanner Darkly is now the best PKD adaptation. Not to disparage Blade Runner at all, but it has been dethroned as the best representation of Dick's masterful imagination.

As far as BR goes - I think it is pretty good. I like it, but I don't flat out love it. I use to like it a lot more than I do now. However, it is a film I will be eternally grateful for because it was my doorway to PKD. I remember seeing this on HBO when I was in 5th grade, 1985 I think, at my grandma's house and I asked her to take me to the book store the next day so I could buy "Do Androids..." I've been reading PKD ever since. So while I may not think it is the greatest film, I have a very special place in my heart for it.

[Dukefrukem]

Yesterday I watched:

the Host - very very visually well done with a story that you can still be hooked into... the cover of the box says "on par with Jaws" which i do not agree with, but it may in fact be the best creature/monster movie since Jaws... i mean what else is there? on top of the fact that it is very hard to do something that Jaws does so perfectly... A-


Planet Terror - what a fun movie... overly gory, funny and just an all out blast with the campiest ending from camp town.. what more could a zombie lover ask for than to see a zombie Bruce Willis bad guy or to see Quentin Tarantino's zombie nut sack.... A

Wednesday I watched

Captivity - as much as i wanted to see another Elisha horror film, im saddened the direction this move took in an abrupt saw wanna be attempt, with two twists that not only did not fit, but didn't really make much sense... worse than House of Wax? probably... C-

Spiderman 3 - never got to see the ending when i saw it in theaters cuz a kid had a seizure sitting next to me, but the ending was exactly how i figured it out be, not very good.. brought the whole move down with it... but i still enjoyed the first 90% of it... worst of the franchise so far... A-

[Spinal]

Maybe it works better in the context of Grindhouse.

No, it felt completely incongruous in Grindhouse. I agree with most of your criticisms.

[Dukefrukem]

No, it felt completely incongruous in Grindhouse. I agree with most of your criticisms.

haven't watched Death Proof yet... i hope its as good as Planet Terror

[Mr. Valentine]

haven't watched Death Proof yet... i hope its as good as Planet Terror

it's better.

[monolith94]

So, weekends anyone? Tonight I'm going to see Rescue Dawn and I hope to see Accatone sometime this week.

Plus, the Pats game!

[megladon8]

I really do seem to be one of the only people in the world who was underwhelmed by The Host.

[Dukefrukem]

I really do seem to be one of the only people in the world who was underwhelmed by The Host.

it was so cool. i was so into it. i think maybe the only thing i had a problem with was the origin of it, or at least what they wanted us to believe happened. the doctor's attitude at the beginning was a great way to fire me up.

[Spinal]

I really do seem to be one of the only people in the world who was underwhelmed by The Host.

There were others.

[Raiders]

There were others.

It took me forever to figure out why your av looked familiar. Even if her subsequent films aren't very good, at least that one was awesome.

[Mr. Valentine]

Hopefully this weekend i'll get to watch some of the Kubrick boxset. My wife has never seen The Shining and i'm dying to rewatch Eyes Wide Shut.

[Spinal]

It took me forever to figure out why your av looked familiar. Even if her subsequent films aren't very good, at least that one was awesome.

Beware my mighty 0 rep power.

Seriously though, I think we really only disagree on one film. Frida was indeed a disappointment.

[Bosco B Thug]

The film stagnates everytime a female character open their mouth and every actor visibly struggles with their lines, and QT's idea of 'female empowerment' is as glib as can be.

Now, off to read the discussions... I think the second act's female empowerment is supposed to belie itself with its glibness and lack of displays of vulnerability and emotional neediness, which the first act is full of. In the second portion, victimization rolls off their back like nothing, feeling no need to nurse their wounds or even prove themselves. I think the contrast Tarantino makes with the film is so so fascinating and reflexively shows us what we expected from what was supposed to be a novelty project (which, I suppose in many ways, it still is).

But then again, I loved every bit of dialogue, and I suppose that's the deal-breaker with this very very talky film. :D

[D_Davis]

Did you guys know that Blade Runner is practically a Shaw Brothers film? Run Run Shaw was an associate producer. I always get a kick out of this.

[Rowland]

what more could a zombie lover ask for than to see a zombie Bruce Willis bad guy or to see Quentin Tarantino's zombie nut sack.... As a zombie lover, I could have done without those things. Especially Tarantino... he was the weakest link in Planet Terror.

[Rowland]

I really do seem to be one of the only people in the world who was underwhelmed by The Host.Dude, where have you been? This forum is like a Bizarro World where half of the posters don't like the movie.

[Kurosawa Fan]

I really do seem to be one of the only people in the world who was underwhelmed by The Host.

There are quite a few of us. And we are right to be underwhelmed.

[Watashi]

Yeah, it seems that liking The Host will put you in the minority here. I don't know what meg is getting at.

[lovejuice]

It took me forever to figure out why your av looked familiar. Even if her subsequent films aren't very good, at least that one was awesome.

regarding titus, and spinal's avatar.

for a while, i thought you two are referring to laura fraser. i actually like her a lot, and wish one day she became better known.

[DavidSeven]

So, like, what's the appeal of Death Proof? I'm all for cinematic 'hanging out' (ala Rio Bravo), but the dialogue here is terrible - Kevin Smith-esque, even. The film stagnates everytime a female character open their mouth and every actor visibly struggles with their lines, and QT's idea of 'female empowerment' is as glib as can be. A few neat touches here and there (loved the b&w reel) and an undeniably thrilling climax, but overall pretty lousy. Maybe it works better in the context of Grindhouse. After this and Kill Bill I think I'm done with Tarantino, unless he takes some completely different direction.

Now, off to read the discussions...

Bah.

[MadMan]

Just got back from seeing the new cut of Blade Runner at the Cinerama here in Seattle. It was pretty cool. This was my second time seeing this film on the big screen, but my first time seeing it on a screen this big; it looks and sounds great. Here is the short review: narration out, unicorn still in, backgrounds and cars look better, and Roy still rules. Although, I do have to say that I think A Scanner Darkly is now the best PKD adaptation. Not to disparage Blade Runner at all, but it has been dethroned as the best representation of Dick's masterful imagination.Film wise I think that Blade Runner the DC is better than A Scanner Darkly. However both get a 10.0 from me, and the latter film was barely mentioned at all during 2006, which is a shame considering how awesome it was. Both films are by no means perfect ("Darkly" is messy in some aspects, BR has some scenes that drag) but both are great additions to the sci-fi genre. I'm envious that you got to see the new cut, and I actually think I should check out Dick's work to see the differences between his books and the films that were brought to the screen based on his work. I think the other Dick adaption (very loose in this case) that I've seen is Total Recall(1990) which I'm a big fan of.

I'd state my opinion on Death Proof, but I have many times already. I like it a lot but I will admit its one of QT's lesser works. I fear that QT is entering a creative decline, although Kill Bill Vol. 2 is excellent and is his second best film.

[D_Davis]

Film wise I think that Blade Runner the DC is better than A Scanner Darkly. However both get a 10.0 from me, and the latter film was barely mentioned at all during 2006, which is a shame considering how awesome it was. Both films are by no means perfect ("Darkly" is messy in some aspects, BR has some scenes that drag) but both are great additions to the sci-fi genre. I'm envious that you got to see the new cut, and I actually think I should check out Dick's work to see the differences between his books and the films that were brought to the screen based on his work. I think the other Dick adaption (very loose in this case) that I've seen is Total Recall(1990) which I'm a big fan of.

I can't argue which film is best as a stand alone film, but if I had to I would probably give the edge to Blade Runner. However, I do think that ASD more accurately captures the tone and atmosphere of the book it is based upon, and it also captures PKD's complex themes better than BR. In this regard I like ASD more, because it reflects more of things I enjoy about PKD the author. It also has one of my favorite all time performances in it, Robert Downy Jr. as Barris. Barris is one of my favorite literary characters, and Downy nailed his persona.

If you ever do dive into PKD's books, you will be astounded at the differences. Especially in Blade Runner. The book and film are vastly different. However, not as vastly different as Total Recall is to We Can Remember it for You Wholesale.

You're right though, ASD was criminally over looked in 2006. How it didn't win an Oscar for special effects I will never understand. The whole damn movie is an awesome special effect. It also should have been nominated for best adapted screenplay. It's better than any of the noms I've seen.

[Philosophe_rouge]

I don't know if anyone's seen No End in Sight, I had missed it that one week it was in theatres here and couldn't wait for the DVD release. It's easily one of the best films of the year, the information is concise and incriminating without being too exploitive. Not being overtly familiar with the Iraq situation, I found it very easy to understand without pandering to the lowest common denominator. I have a few very minor problems that are barely worth mentioning. Namely, the lack of much altering view points (although, it seemed very few people on the "other" side were willing to be interviewed). I also preferred it when we didn't hear Charles Ferguson asking the questions (which thankfully was very little of the film), because his tone and phrasing was leading or condescending. It also felt a bit too much like an Errol Morris film, but there are worse things :p Still, highly recommended.

[Derek]

So, like, what's the appeal of Death Proof? I'm all for cinematic 'hanging out' (ala Rio Bravo), but the dialogue here is terrible - Kevin Smith-esque, even. The film stagnates everytime a female character open their mouth and every actor visibly struggles with their lines, and QT's idea of 'female empowerment' is as glib as can be. A few neat touches here and there (loved the b&w reel) and an undeniably thrilling climax, but overall pretty lousy. Maybe it works better in the context of Grindhouse. After this and Kill Bill I think I'm done with Tarantino, unless he takes some completely different direction.

Now, off to read the discussions...

I really like the dialogue even though all the character's sound more like Tarantino talking than actual girls sitting around in a bar. I guess my favorite aspect of the film is how it slowly sheds its 70s grindhouse roots and opens up to the modern world. The cell phone at first seems like an amusing anachronism, but we eventually see what an outsider Stuntman Mike is. He's comfortable only within the film's aesthetic, which beginning with the final chase scene loses the skips, jumps and grimy feel begins to go away. By the time we're in the clean world of mini-van's, he's left castrated and completely inept.

[MadMan]

I can't argue which film is best as a stand alone film, but if I had to I would probably give the edge to Blade Runner. However, I do think that ASD more accurately captures the tone and atmosphere of the book it is based upon, and it also captures PKD's complex themes better than BR. In this regard I like ASD more, because it reflects more of things I enjoy about PKD the author. It also has one of my favorite all time performances in it, Robert Downy Jr. as Barris. Barris is one of my favorite literary characters, and Downy nailed his persona.Ah, that makes sense to me. And hah yeah Downy was brilliant at Barris. The film's entire cast was perfectly assembled in my opinion.


If you ever do dive into PKD's books, you will be astounded at the differences. Especially in Blade Runner. The book and film are vastly different. However, not as vastly different as Total Recall is to We Can Remember it for You Wholesale.Duly noted, and I figured that as such. Isn't Minority Report another Dick adaptation? I can't remember. And if I have the right low expectations I may even see Paycheck some day.


You're right though, ASD was criminally over looked in 2006. How it didn't win an Oscar for special effects I will never understand. The whole damn movie is an awesome special effect. It also should have been nominated for best adapted screenplay. It's better than any of the noms I've seen.The film should have also been nominated for Best Animated Movie. It would have probably won.

[D_Davis]

The film should have also been nominated for Best Animated Movie. It would have probably won.

But the animation purists would have cried like little babies, "Rotoscoping is not animation!" Even though their beloved Disney used the technique.



Duly noted, and I figured that as such. Isn't Minority Report another Dick adaptation? I can't remember. And if I have the right low expectations I may even see Paycheck some day.

Minority Report is, and it is quite different as well.

I have not read Paycheck, but yes it is also a PKD story.

Out of all the adaptations, Total Recall is probably the most different, but I, too, love the film.

[MadMan]

So that's probably why it didn't get nominated? Screw the purists. Darkly looked like animation to me, damnit.

[Rowland]

I have only read one PKD book, I'm ashamed to admit. It was Ubik, which I loved. Come to think of it, why haven't I read more? I should get on that.

[Sycophant]

I ended up liking Lucky McKee's May more than I thought I would. There was only one real problem I had with it, which was the complete 180 the tone of May's character took for about twenty minutes in there. However, overall, I was very impressed with it. Very well edited, I thought.

[Rowland]

I ended up liking Lucky McKee's May more than I thought I would. There was only one real problem I had with it, which was the complete 180 the tone of May's character took for about twenty minutes in there. However, overall, I was very impressed with it. Very well edited, I thought.Why the low expectations? I was pleasantly surprised by May as well.

Most of the reactions I've read around here regarding his follow-up The Woods have been overly negative, but I highly recommend it. Approach it as a companion piece to Suspiria.

[Sycophant]

Why the low expectations? I was pleasantly surprised by May as well.

Most of the reactions I've read around here regarding his follow-up The Woods have been overly negative, but I highly recommend it. Approach it as a companion piece to Suspiria.
I'm not sure why low expectations. iosos has been singing its praises for four years, but I thought he was kind of a lone wolf on that one.

Watching the film made me feel guilty about not prioritzing more Argento. I'll try to get to both Suspira and The Woods sooner rather than later.

[Rowland]

I'm not sure why low expectations. iosos has been singing its praises for four years, but I thought he was kind of a lone wolf on that one. Nope. I'm a big supporter of the movie, and I know that Spinal loves it.


Watching the film made me feel guilty about not prioritzing more Argento. I'll try to get to both Suspira and The Woods sooner rather than later.There isn't much of an Argento influence on May IIRC, but there definitely is on The Woods.

[Sycophant]

There isn't much of an Argento influence on May IIRC, but there definitely is on The Woods.Now, the only Argento I've actually seen is Deep Red, but I felt some influence, largley in dealing with some musical cues and the flashbacks. Also, Sisto's character was off to see an Argento film at some point. That's what really reminded me of my deficiency.

[soitgoes...]

I don't know if anyone's seen No End in Sight, I had missed it that one week it was in theatres here and couldn't wait for the DVD release. It's easily one of the best films of the year, the information is concise and incriminating without being too exploitive. Not being overtly familiar with the Iraq situation, I found it very easy to understand without pandering to the lowest common denominator. I have a few very minor problems that are barely worth mentioning. Namely, the lack of much altering view points (although, it seemed very few people on the "other" side were willing to be interviewed). I also preferred it when we didn't hear Charles Ferguson asking the questions (which thankfully was very little of the film), because his tone and phrasing was leading or condescending. It also felt a bit too much like an Errol Morris film, but there are worse things :p Still, highly recommended.
The fact that he was condescending when he was questioning was a pretty big deterrent for me. I hate it when the interviewer passes judgment in a documentary. For one of the many Iraq related docs to come out lately, I prefer My Country My Country more. No End in Sight did have some good tidbits of information, and besides the few patronizing remarks, is well made. But man, your subject and the light you want to shed it in comes off so much better when you let the pictures and the people tell the story.

[Kurosawa Fan]

I've been eagerly anticipating No End in Sight after reading a bit about it. It's on top of my queue, so I'll be seeing it shortly.

[Philosophe_rouge]

The fact that he was condescending when he was questioning was a pretty big deterrent for me. I hate it when the interviewer passes judgment in a documentary. For one of the many Iraq related docs to come out lately, I prefer My Country My Country more. No End in Sight did have some good tidbits of information, and besides the few patronizing remarks, is well made. But man, your subject and the light you want to shed it in comes off so much better when you let the pictures and the people tell the story.
I definetely agree, which is why I pointed it out. On one hand, they kept this to a minimum and on the other, the bias becomes unavoidable because the only time the "voice" emerges is when discussing the opposite view point. Without that, the film could have been slightly better. I haven't seen My Country, My Country, but will definetely check it out. I love me a good documentary

[soitgoes...]

I've been eagerly anticipating No End in Sight after reading a bit about it. It's on top of my queue, so I'll be seeing it shortly.
It really does present a lot of interesting stuff, and in its defense there was only one interview where he acts condescending. It just left a bad taste in my mouth after that point.

[D_Davis]

I have only read one PKD book, I'm ashamed to admit. It was Ubik, which I loved. Come to think of it, why haven't I read more? I should get on that.

UBIK is amazing. Somewhere out there is an epic 300 page screenplay that PKD wrote for this. He was contracted to adapt his own book but he failed to edit it and relinquish control to the filmmakers. I would love to read it. The book is just so out there, and gonzo.

[Kurosawa Fan]

It really does present a lot of interesting stuff, and in its defense there was only one interview where he acts condescending. It just left a bad taste in my mouth after that point.

Fair enough. I'll keep it in mind while watching. I've never even heard of My Country My Country. I'll have to seek it out.

[Eleven]

For my second Hou film after Good Men, Good Women, The Puppetmaster proved to be an engaging look at history, storytelling, and a form of theater I'd never really considered before. It reminds me of the self-reflexive Iranian films of the 90s by Kiarostami and Makhmalbaf, what with the intertwining of real people and historical reenactment, and I couldn't help but make parallels with the personal/public forms of narrative and meaning in Midnight's Children, which I just finished as well (and I'm starting up UBIK next, coincidentally enough). I can begin to see why Hou is so revered in certain circles.

Still, it doesn't compare to the similarly-titled, absurdly-long series of goofy horror films. Nope.

[soitgoes...]

Fair enough. I'll keep it in mind while watching. I've never even heard of My Country My Country. I'll have to seek it out.
It follows an Iraqi doctor, I believe, as he runs for elections a couple years back. Its more of a personal film, rather than an overview of everything that's gone wrong in Iraq narrated by a random American. There is no narration. Just those in Iraq speaking of the situation in Iraq. Very much apolitical.

[Boner M]

I really like the dialogue even though all the character's sound more like Tarantino talking than actual girls sitting around in a bar. I guess my favorite aspect of the film is how it slowly sheds its 70s grindhouse roots and opens up to the modern world. The cell phone at first seems like an amusing anachronism, but we eventually see what an outsider Stuntman Mike is. He's comfortable only within the film's aesthetic, which beginning with the final chase scene loses the skips, jumps and grimy feel begins to go away. By the time we're in the clean world of mini-van's, he's left castrated and completely inept.
I hadn't considered that gradual 'opening up'... to me the entire film felt equally mired in past & present pop culture. The one point of interest to me is how the bisection of the narrative allows us to view the second half with the benefit of hindsight; in turn representing how he's appropriated the cinema he loves, where things like the reel playing in b&w are no longer (calculatedly) spontaneous but deliberate formal experiments. It should be more interesting than it is, but it all felt like one big hangover to me, from the anachronistic pop culture references to the clever dialogue... that it's dialogue is pure male fantasy-speak isn't bothersome on its own, but all the women seemed stifled by having to wrap their tongues around QT-speak, which made most of it fairly dead-in-the-water.

[megladon8]

I have to ask, what exactly does "gonzo" mean?

I am totally oblivious to its usage.

[Spinal]

I have to ask, what exactly does "gonzo" mean?

I am totally oblivious to its usage.

Wikipedia helps in situations like this:

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

[Spinal]

Or if you prefer:

http://en.wikipedia.org/wiki/Gonzo_%28Muppet%29

[D_Davis]

Google - define:gonzo -

bizarre: conspicuously or grossly unconventional or unusual; "restaurants of bizarre design--one like a hat, another like a rabbit"; "famed for his eccentric spelling"; "a freakish combination of styles"; "his off-the-wall antics"; "the outlandish clothes of teenagers"; "outre and affected stage ...

Gonzo is a style of reportage, filmmaking, or any form of multimedia production in which the reporter, filmmaker or author is intrinsically enmeshed with the subject action (rather than being a passive observer). The style was popularized by Hunter S. Thompson.

An adult genre where the performers acknowledge the presence of the camera or there is the use of a "talking camera". ...



Sometimes used to mean something that is balls-out bonkers, no holds barred, stark raving mad...and so on.

[megladon8]

Ah, thank you :D

I thought it had something to do with Hunter S. Thompson, but wasn't sure.

[Rowland]

Nick Davis on the rise of documentaries. (http://filmexperience.blogspot.com/2007/10/2007-non-fiction-edition.html)

[Boner M]

http://www.majorityreportradio.com/gonzo_muppet.jpg

[Spinal]

Gonzo is pretty much the coolest character ever. I think that's indisputable.

[D_Davis]

Gonzo is pretty much the coolest character ever. I think that's indisputable.

I'm more partial to Grover, but Gonzo does rule.

http://upload.wikimedia.org/wikipedia/en/1/1a/The_Monster_at_the_End_of_This _Book_Starring_Lovable%2C_Furr y_Old_Grover.jpg

[Kurosawa Fan]

Grover's my favorite as well.

[Spinal]

I love that book!

[Sycophant]

Gonzo is pretty much the coolest character ever. I think that's indisputable.Columbia Pictures launched a counterargument to this in 1999 called Muppets from Space. That Gonzo was able to weather that storm and still be pretty much the coolest character ever is a testament to his status as such.

[megladon8]

Oh my god!!

I love that book, D!

I remember reading it as a kid and actually being freaking terrified of what monster was going to be at the end of the book :D

[Spinal]

Grover's my favorite as well.

All right, all right, you guys are right. NEAR! .............. FAR! Hard to top that.

[D_Davis]

All right, all right, you guys are right. NEAR! .............. FAR! Hard to top that.


Exactly. Near.....Far.....

Rules.

And that book! Among my favorites, that and Hooper Humperdink? Not Him!

[number8]

Anyone saw No Country For Old Men in festivals? I can't remember who did.

Anyway, I loved it.

[Sycophant]

The God Who Wasn't There (Flemming, 2005) 8So you know, I was only able to identify you as EyesWideOpen by this rating from the old site that is still boggling my mind.

[Duncan]

I watched Double Indemnity the other night. I remember some accusations about bad writing over at the previous site. While I do not agree that it is poorly written, I do think that the dialogue is self-consciously clever. I think I'm guilty of this in my creative writing sometimes. I have this ridiculous habit of rhyiming words and using alliteration when it's often just distracting. Wilder's witticisms, I think, are distracting. It's a layer of artificiality that didn't really work for me. This is partly because Wilder is intentionally playing up the noir tropes. Noir, in general, is not my favorite genre. The first meeting between Neff and Dietrichson was particularly bad in this regard. It always felt as though a femme fatale was speaking, never a woman.

The aspect of noir that I really do like, however, is its expressionist qualities. Lang is the most obvious example of this. Double Indemnity has a few moments of expressionism, but there is a very large difference between using a lot of shadows and the frightening, delerious play of light and shadow in, say, A Touch of Evil. I think Wilder mainly just uses a lot of shadows.

[lovejuice]

anyone saw new lumet's? critics're raving about it. wonder why it doesn't create more buzz, aside from the absolutely horrendous title. no matter how hard you try, it just doesn't roll off your tongue.

i might check it out since i'm lumet's fan.

[D_Davis]

While I do not agree that it is poorly written, I do think that the dialogue is self-consciously clever.

This is a trope in the literary genre these films are based upon. Cool characters who know they're cool, talking like they're cool, and acting like they're cool - because they are. It's all about these incredibly cool characters who can talk circles around normal people.

[Duncan]

This is a trope in the literary genre these films are based upon. Cool characters who know they're cool, talking like they're cool, and acting like they're cool - because they are. It's all about these incredibly cool characters who can talk circles around normal people.

Yeah, I know. It's always been an off putting facet to the genre for me because they're not usually cool. They're insurance salesmen and murderous housewives, in this case. Petty people. I have little attraction to them.

Or maybe I just don't like cool people.

[Derek]

Wilder's witticisms, I think, are distracting. It's a layer of artificiality that didn't really work for me. This is partly because Wilder is intentionally playing up the noir tropes.

I can't argue with your liking it or not, but I do find it strange that you seem to be bothered by artificiality in a genre which, as you say, is full of expressionistic flourishes. Realistic dialogue doesn't seem like something one should expect or demand out noir films, but I suppose I can see how this could cause someone to dislike the genre. Well, not really, but I'm trying to be polite. :)

FWIW, one of my favorite passages of dialogue in any film period is in that first Stanwyck/MacMurray encounter:

Phyllis: Mr. Neff, why don't you drop by tomorrow evening about eight-thirty. He'll be in then.
Walter Neff: Who?
Phyllis: My husband. You were anxious to talk to him weren't you?
Walter Neff: Yeah, I was, but I'm sort of getting over the idea, if you know what I mean.
Phyllis: There's a speed limit in this state, Mr. Neff. Forty-five miles an hour.
Walter Neff: How fast was I going, officer?
Phyllis: I'd say around ninety.
Walter Neff: Suppose you get down off your motorcycle and give me a ticket.
Phyllis: Suppose I let you off with a warning this time.
Walter Neff: Suppose it doesn't take.
Phyllis: Suppose I have to whack you over the knuckles.
Walter Neff: Suppose I bust out crying and put my head on your shoulder.
Phyllis: Suppose you try putting it on my husband's shoulder.
Walter Neff: That tears it.

[Sycophant]

Yeah, I know. It's always been an off putting facet to the genre for me because they're not usually cool. They're insurance salesmen and murderous housewives, in this case. Petty people. I have little attraction to them.

Or maybe I just don't like cool people.There's cool, as in the general positive modifier that is its most common colloquial usage. Then there's classic cool, the kind of cool that even a family-murdering, election-rigging, white-slaving asshole can have. They don't always overlap.

Personally, I'm not a big fan of cool people. But I do love them in movies.

[D_Davis]

Yeah, I know. It's always been an off putting facet to the genre for me because they're not usually cool. They're insurance salesmen and murderous housewives, in this case. Petty people. I have little attraction to them.

Or maybe I just don't like cool people.

But that's the thing, they're cool simply because they act and talk like they are. These characters are like the ultimate white-collar fantasy - salary men and their woman who are able to act upon repressed, secret, and dark desires. Through the genre conventions they are given the liberty to do the things that normal people cannot, and will not.

[Sycophant]

Somewhere in my above post, I meant to write the sentence, "Classic cool is pure artifice."

[megladon8]

Well, my dad and I watched Vanishing Point tonight and I can't say I was too impressed.

Car chases don't usually impress me much anyways, so it didn't really have a lot going for it to begin with.

I was surprised by how similar it was to Easy Rider in its themes, and even in its ending.

And saying that I liked this more than Easy Rider really says a lot about how much I liked Easy Rider :D

[Duncan]

I've gotta go, but I'll respond in a few hours.

[Derek]

anyone saw new lumet's? critics're raving about it. wonder why it doesn't create more buzz, aside from the absolutely horrendous title. no matter how hard you try, it just doesn't roll off your tongue.

i might check it out since i'm lumet's fan.

I just saw it a couple night's ago and really liked it. The story is fairly simple, but it's edited together in a way that each new scene adds an additional layer to the plot and constantly redefines the characters. Hoffman and Hawke are both great, though I do wish the film went a little deeper into their relationship with their father.

[Watashi]

Hey Raiders, are we still going to be continuing the Director consensuses?

[D_Davis]

Well, my dad and I watched Vanishing Point tonight and I can't say I was too impressed.

Car chases don't usually impress me much anyways, so it didn't really have a lot going for it to begin with.


For me, the great appeal of this film is the esoteric knowledge of DJ Super Soul, and his spiritual connection with Kowalski and his personal journey into oblivion. I find the film pleasing on a variety of levels beyond the cars and chases.

[Mysterious Dude]

anyone saw new lumet's? critics're raving about it. wonder why it doesn't create more buzz, aside from the absolutely horrendous title. no matter how hard you try, it just doesn't roll off your tongue.

i might check it out since i'm lumet's fan.
Lumet is one of my favorite directors, so I hope I'm able to see it in theaters. You're right about the title, though.

[megladon8]

For, the great appeal of this film is the esoteric knowledge of DJ Super Soul, and his spiritual connection with Kowalski and his personal journey into oblivion. I find the film pleasing on a variety of levels beyond the cars and chases.

Eh...personally I didn't see anything much past one big car chase movie. Some hippie philsophy thrown in there - some of it for gags, some serious - and just a general "gettin' in a big car and goin' as fast as you can frees your soul!" feeling to the whole thing.

I really have no interest in cars or driving. I'm 20 and I haven't even gone for the first test yet.

I'm sure there's more to get from this movie on repeat viewings, but it's just not a movie I enjoyed enough to really want to see it again.

[Mr. Valentine]

So you know, I was only able to identify you as EyesWideOpen by this rating from the old site that is still boggling my mind.

you've seen it?

[Ezee E]

Hey Raiders, are we still going to be continuing the Director consensuses?
LOL.

[D_Davis]

I really have no interest in cars or driving. I'm 20 and I haven't even gone for the first test yet.


That's not really what the film is about though, and even if it were just about cars, I think it is well made enough to transcend simple likes or dislikes for the setting or a thing used in the film. Kind of like slasher films. In real life I really don't like serial killers, but I do like movies like Halloween and F13.

So you've never been on a road trip with a group of friends? Man, that's one of life's great pleasures, at least for me. I'll never forget the time me and some friends drove from California to Austin, Texas, stopping at the UFO Museum in Roswell along the way. The open road, driving, and the freedom these two things allow can offer up all kinds of metaphors for life.

[MadMan]

I rented the following movies:

*Cowboy Bebop: The Movie
*Dave Chappelle's Block Party
*El Mariachi
*Repo Man

I think I'll watch Block Party first.

[Mr. Valentine]

I'm not a fan of El Mariachi but Block Party and Cowboy Bebop are both excellent.

[megladon8]

That's not really what the film is about though, and even if it were just about cars, I think it is well made enough to transcend simple likes or dislikes for the setting or a thing used in the film. Kind of like slasher films. In real life I really don't like serial killers, but I do like movies like Halloween and F13.

So you've never been on a road trip with a group of friends? Man, that's one of life's great pleasures, at least for me. I'll never forget the time me and some friends drove from California to Austin, Texas, stopping at the UFO Museum in Roswell along the way. The open road, driving, and the freedom these two things allow can offer up all kinds of metaphors for life.


Well, I guess my general feeling of discomfort with travelling kinda holds me back from anything like that. I get really panicky.

I like just sticking around home...or NYC, my second home :)

[Watashi]

Have you ever even been inside a car?

[Mysterious Dude]

Well, I kind of enjoyed 300 on several different levels. First, it's a completely ridiculous film, and also pretty funny. I laughed out loud several times, especially at the characterization of Xerxes. But I was also quite impressed by the digital backdrops, which I didn't really notice too many problems with. The whole thing looked like a commercial, though, what with its highly saturated colors. And I noticed that whenever there was blood splatter, it always looked like chunks of dirt being thrown, to me.

[Boner M]

Man With a Movie Camera was just awesome. Shouldn't have waited so long to see it.

I also have the score that Biosphere did lying around somewhere; might try and sync it up with the film sometime.

[ledfloyd]

Hey Raiders, are we still going to be continuing the Director consensuses?
we should start over.

[MadMan]

Well, I kind of enjoyed 300 on several different levels. First, it's a completely ridiculous film, and also pretty funny. I laughed out loud several times, especially at the characterization of Xerxes. But I was also quite impressed by the digital backdrops, which I didn't really notice too many problems with. The whole thing looked like a commercial, though, what with its highly saturated colors. And I noticed that whenever there was blood splatter, it always looked like chunks of dirt being thrown, to me.Yeah the movie is overly silly in many aspects, and is just overly crazy. But I couldn't help but enjoy its comic book style and its over the top, violent extreme swords and sandels beefcake epic ways. I'd call it my guilty pleasure of 2007, but I actively defend it as being a good movie considering that I don't think guilty pleasures really exist.

[Eleven]

Jim Emerson has posted up a nifty 12-minute video essay called "Written in the Flesh: A Crash Course in David Cronenberg." (http://blogs.suntimes.com/scanners/2007/11/written_in_the_flesh_a_crash_c .html) Needs more M. Butterfly, but no matter. More people should be doing stuff like this. Also check out "close up: a critical essay/dream sequence." (http://blogs.suntimes.com/scanners/2007/10/close_up_the_movie_essay.html)

[Yxklyx]

Is the opening scene of What Time is it There? as simple as what I make it out to be? It seems to me that the scene is just a microcosm of life and death with life represented by the food and death represented by the cigarette. Are cigarettes really representative of death?

[lovejuice]

i haven't watch anything for week and decided to break my hiatus with D.O.A. what a wrench decision. some nice cheesy moments, and i could really see how it may work. better than street fighter but not as good as the first charlie's angels.

[Sycophant]

you've seen it?
Yeah, I've seen The God Who Wasn't There. A stellar example of a film that I can both agree with on its arguments and still abhor. The filmmaking is artless and shrill. I think I wrote something more detailed on the old site about it when someone else saw it.

I'd be interested in knowing what you thought it did well.

[Duncan]

I can't argue with your liking it or not, but I do find it strange that you seem to be bothered by artificiality in a genre which, as you say, is full of expressionistic flourishes. Realistic dialogue doesn't seem like something one should expect or demand out noir films, but I suppose I can see how this could cause someone to dislike the genre. Well, not really, but I'm trying to be polite. :)
I said that layer of artificiality doesn't work for me, not that all artificiality doesn't work for me. I love artifice if it's used effectively. I also didn't say that I expected realistic dialogue from noir films. You are making the assumption that since I don't like this form of artificial sounding dialogue, I must only like realistic dialogue. This is not the case.

I think maybe a good way of thinking about this is to consider what is lost when either the affected dialogue is removed, or the expressionism is removed. They are both aesthetic choices, but the ends are very different. If you drop the dialogue, then the fantasy that Daniel refers to below suffers because it's much harder to see anything identifiable in the characters. Rather than crazy cool cats (I told you I use alliteration needlessly), they're just petty people. I would argue this is a good thing. I am not a fan of furthering audience fantasies. However, if you drop the expressionism, you lose character psychology. You lose the ambivalence, the moral ambiguities, the paranoia. In other words, the style of dialogue functions to further the aesthetic, while the expressionistic details have both aesthetic and ethical qualities.


FWIW, one of my favorite passages of dialogue in any film period is in that first Stanwyck/MacMurray encounter:

Phyllis: Mr. Neff, why don't you drop by tomorrow evening about eight-thirty. He'll be in then.
Walter Neff: Who?
Phyllis: My husband. You were anxious to talk to him weren't you?
Walter Neff: Yeah, I was, but I'm sort of getting over the idea, if you know what I mean.
Phyllis: There's a speed limit in this state, Mr. Neff. Forty-five miles an hour.
Walter Neff: How fast was I going, officer?
Phyllis: I'd say around ninety.
Walter Neff: Suppose you get down off your motorcycle and give me a ticket.
Phyllis: Suppose I let you off with a warning this time.
Walter Neff: Suppose it doesn't take.
Phyllis: Suppose I have to whack you over the knuckles.
Walter Neff: Suppose I bust out crying and put my head on your shoulder.
Phyllis: Suppose you try putting it on my husband's shoulder.
Walter Neff: That tears it.

Yep, this is the exact exchange I was thinking of. I thought it was silly. Like children wearing grown up clothes, these people don't fit the adroitness of the language.


But that's the thing, they're cool simply because they act and talk like they are. These characters are like the ultimate white-collar fantasy - salary men and their woman who are able to act upon repressed, secret, and dark desires. Through the genre conventions they are given the liberty to do the things that normal people cannot, and will not. Well, I know you're our resident defender of genre films so forgive me if I sound harsh when I say that this, to me, is why so many genre films aren't worth my time. What you're describing is an escapist cinema, or - as you call it - a white collar fantasy. This is not to say that the fantasies of white collar workers can't be interesting. What I'm saying is that uncritically embracing those fantasies makes for a boring film. Double Indemnity does not do this, of course. All one has to do is look at the ending. But in the meantime, Wilder tries to make his protagonists look pretty darn cool. You're right, they are vessels for our darker fantasies. So a whole lot of the film is spent trying to make us identify with those fantasies.

[MadMan]

Block Party froze after 50 minutes. I'm pissed. Luckily for me there's another copy of the film at the video store. So far though I really dig it a good deal.

[number8]

Double feature of Q: The Winged Serpent and Gamera tonight. Is there a better way to spend friday night?

[Winston*]

I'm not sure if anything particularly good could've come out of the terrible film concept they came up with for Cars. I kind of would've liked to see a little more detail into how cars come to be in this vehicular world they've created though. Are they factory-produced with some automotive authoritarian regime watching over and regulating production to ensure the continuation of a model hierarchy within their society? Or is their some sort of car procreation process going on? Do cars have intercourse, since the two leads seem to exhibit sexual attraction towards each other? How would that work anyway? Do the pit-crew mobiles feel resentment towards their NASCAR employers for their preassigned allotment in life? Are Prius's a genetic defect or simply the next stage in automobile evolution?

This movie was dull.

[D_Davis]

Well, I know you're our resident defender of genre films so forgive me if I sound harsh when I say that this, to me, is why so many genre films aren't worth my time. What you're describing is an escapist cinema, or - as you call it - a white collar fantasy.

I guess that's a difference between you and I. I don't see a good fantasy as an escapist film. Well made fantasies draw upon mythology, and the common longing for the hero's journey in all of us. Any film, genre or not, can be an exercise in escapism, but a good film will drawn upon the deep rooted desires an audience has to be a "hero" (in (in the case of Double Indemnity, the misguided desires of heroism and the mythological power of temptation) and it will prey upon the conscious and unconscious, modern and ancient, mythological memes and currents that pulse through the very fiber of our beings.

It's not the escapism of genre that is appealing, but it is the mythology that genre films so expertly draw upon that interests me.

Double Indemnity is simply swimming in modern mythology, and in strong mythological archetypes, and like the best of the books written by Hammett and Chandler, it adds a dark, subversive, urban tone to its narrative.

[MadMan]

I'm not sure if anything particularly good could've come out of the terrible film concept they came up with for Cars. I kind of would've liked to see a little more detail into how cars come to be in this vehicular world they've created though. Are they factory-produced with some automotive authoritarian regime watching over and regulating production to ensure the continuation of a model hierarchy within their society? Or is their some sort of car procreation process going on? Do cars have intercourse, since the two leads seem to exhibit sexual attraction towards each other? How would that work anyway? Do the pit-crew mobiles feel resentment towards their NASCAR employers for their preassigned allotment in life? Are Prius's a genetic defect or simply the next stage in automobile evolution?

This movie was dull.All of your questions would result in a really awesome film. I'll eventually see Cars but I'm in no rush as it really looks like their weakest film since A Bug's Life.

[Rowland]

i haven't watch anything for week and decided to break my hiatus with D.O.A. what a wrench decision. some nice cheesy moments, and i could really see how it may work. better than street fighter but not as good as the first charlie's angels.A wrench decision?

I liked DOA. It's total juvenile nonsense, but it has some neat fights, it's colorful, spirited, packed to the brim with hot women, and over in a jiffy. The story is pretty hilarious too.

But yeah, I agree that Charlie's Angels, which is plainly from the same school of filmmaking, is better. DOA is on the same level as the first Mortal Kombat movie, which is similarly fun when approached with the right attitude.

[Mal]

Finally going to watch Tenacious D and the Pick of Destiny tonight. Even if it doesn't look very good, it's been a long time coming.

[Spinal]

Finally going to watch Tenacious D and the Pick of Destiny tonight. Even if it doesn't look very good, it's been a long time coming.

The first five minutes or so are awesome.

[Grouchy]

Yeah, back in the old haunt, when someone said Double Indemnity was badly written, I knew it was because they thought the dialogue sounded funny. But that's straight from the world of James Cain, and this is one of the fundational movies of the genre. I guess it's purely a matter of taste and habit.

I saw the '80s Swamp Thing movie by Wes Craven. What a hilarious piece of shit. It starts out pretty good, and I like the vibrant colors and cinematography, but once Swampy appears, the movie sinks where it should be at its more exciting. The rubber costume is silly, but it would look better if they had taken an effort to make the creature's first appearances more dramatic. The first time we see the monster is a full body shot of the back from a good distance, so you can totally apreciate how stupid the costume looks. Then it just quickly goes deeper and deeper into camp. The ending is a bit like a Power Rangers episode. At least it has Adrienne Barbeau naked. I lust for that woman. I have a wee doubt - is this previous to, during or after the Alan Moore run on the character?

[Rowland]

I saw the '80s Swamp Thing movie by Wes Craven. What a hilarious piece of shit. It starts out pretty good, and I like the vibrant colors and cinematography, but once Swampy appears, the movie sinks where it should be at its more exciting. The rubber costume is silly, but it would look better if they had taken an effort to make the creature's first appearances more dramatic. The first time we see the monster is a full body shot of the back from a good distance, so you can totally apreciate how stupid the costume looks. Then it just quickly goes deeper and deeper into camp. The ending is a bit like a Power Rangers episode. At least it has Adrienne Barbeau naked. I lust for that woman. I have a wee doubt - is this previous to, during or after the Alan Moore run on the character?Now you need to see The Return of Swamp Thing.

[MadMan]

So The Thing(1982) was awesome, and the ultimate in paranoia. It would be easily at home with fellow paranoia Cold War films such as Invasion of the Body Snatchers(1956) and The Thing From Another World, among others. Sci-fi/horror at its finest, and while it wasn't really all that scary apart from a view scenes it was very tightly paced, freaky, and suspenseful. The FX was extremely well done and the creature itself looked disgusting and creepy.
Oh and I didn't know that Keith David was in this flick-he almost out cools Kurt Russell in the badass department here. I'm actually wondering if this flick is as good as Halloween, which I regard as John Carpenter's masterpiece.

100th post. Radical :cool:

[Watashi]

Hey Raiders, are we still going to be continuing the Director consensuses?

*nudge*

[Bosco B Thug]

Watched Hairspray (2007). It was fun and all, nicely self-aware, and most importantly, candid as well as sly about its knowingly sugar-coated social message, but I dunno, can I blame this movie for not offering what I look for in movies technically? I like movies with continuity, and this film is pretty much musical number after musical number, many of which are either "montage" numbers in which the presence of a song allows the movie to jump through time or elaborately choreographed group numbers in which there are lots of random shots of random people jumping and twirling. The movie felt like a jumble of dance numbers with the characters hardly registering outside of them. Amanda Bynes' character hardly exists before she hooks up with that one guy and finally has a musical number.

I imagine directing and editing together these musical numbers must be difficult, but the movie has no real weight - every scene feels like it takes place in the studio set of the Corny Collins show. That's why the Pfeiffer seduction song felt like the most sustained moment of "real time" we got in the movie - intimate, characters singing to each other, no jumlbe of group dancing. I did enjoy it though, and I can't blame it for being a "dance number" musical. I can blame it for not causing me to transcend my prejudice and buy into its "dance number" ways, though. :D

The cast is uniformly good and self-effacing (I thought Travolta really did well in making Edna an endearing character, even though his voice was annoyingly rote and mumbled - his break-out dance in the end is pretty spectacular though). The climactic number goes on a bit too long.

[Ezee E]

*nudge*
Hence my LOL.

It ain't happening unless someone else starts it.

[MadMan]

Hence my LOL.

It ain't happening unless someone else starts it.Its not going to be me. I've started enough threads already.

[Derek]

I nominate E to start the Director Concensus since he never hesitates to give Raiders shit about not having time for it...

[NickGlass]

I made plans with a friend to catch an early screening of Southland Tales tonight, but I just rewatched the trailer. I just can't do that right now. I have to go cancel.

[Lucky]

I made plans with a friend to catch an early screening of Southland Tales tonight, but I just rewatched the trailer. I just can't do that right now. I have to go cancel.

Goooo! I would really look forward to seeing an advanced review from you.

[Kurosawa Fan]

I made plans with a friend to catch an early screening of Southland Tales tonight, but I just rewatched the trailer. I just can't do that right now. I have to go cancel.

You have to go. We all need to know if this is a complete disaster or inspired chaos.

[Lucky]

You have to go. We all need to know if this is a complete disaster or inspired chaos.

Exactly. I've read every review that has come out so far for this film and they have ranged from "worst movie I've seen in a long time" to "most inspired direction since Mulholland Drive."

I don't know what to think.

[MadMan]

I made plans with a friend to catch an early screening of Southland Tales tonight, but I just rewatched the trailer. I just can't do that right now. I have to go cancel.I wish I could see an early screening of the film. We need early word from you Nick about the flick. Take one for the team.

[soitgoes...]

"La Mer" in Blood of the Beasts has to be one of the best usages of an existing song in film.

[NickGlass]

You have to go. We all need to know if this is a complete disaster or inspired chaos.

This is exactly why I made plans. I'm curious myself, really. But the trailer was all shallow self-reflexivity, irritating caveats about the apocalypse, that damn liquid cinematography and condescending direction.

Someone around these parts will see it eventually, and I may too, but now is not the time.

[Mr. Valentine]

I nominate E to start the Director Concensus since he never hesitates to give Raiders shit about not having time for it...

If E needs help, i'm game. I offered to help last time.

[Lucky]

This is exactly why I made plans. I'm curious myself, really. But the trailer was all shallow self-reflexivity, irritating caveats about the apocalypse, that damn liquid cinematography and condescending direction.

I imagine that's the film's biggest pitfall.

[Derek]

This is exactly why I made plans. I'm curious myself, really. But the trailer was all shallow self-reflexivity, irritating caveats about the apocalypse, that damn liquid cinematography and condescending direction.

But...it's a trailer.


Juno: 4.5
Lars and the Real Girl: 5.5

Too high. :)

[NickGlass]

But...it's a trailer.

And trailers are often (and, well, should be) indicative of the feature. I'm not refusing to see the film altogether, I'm just not completely sold on the film yet.

[Derek]

And trailers are often (and, well, should be) indicative of the feature. I'm not refusing to see the film altogether, I'm just not completely sold on the film yet.

I guess I've come across enough trailers that are nothing like the actual films to not use them as a reason to dismiss a film that's getting such interesting reactions. Plus, if Southland Tales is awful, it'll be a disaster of Crashesque proportions which also makes it worth seeing.

[Philosophe_rouge]

My mom rented Memories of Murder (2003) for the whole familly to watch today, a strange choice considering she doesn't watch foreign films that aren't French, and watches almost exclusively "happy" movies, as she calls it. Surprisingly, the whole family (including myself) really dug it. It's wonderfully plotted, but it's the characters and the tone that keep it going. There is a slow and deliberate shift from "light" comic relief, to a serious drama, that the filmmakers pull off effortlessly. It's only when the murders become more immediate, as we literally begin to see more (either the murder, flashbacks, autopsies, etc.) that the film becomes more thrilling in the traditional sense of how we think of serial killer films. It's a film for the whole family, and I imagine if you liked Zodiac, you'd have a hard time not loving this.

[Boner M]

My mom rented Memories of Murder (2003) for the whole familly to watch today, a strange choice considering she doesn't watch foreign films that aren't French, and watches almost exclusively "happy" movies, as she calls it. Surprisingly, the whole family (including myself) really dug it. It's wonderfully plotted, but it's the characters and the tone that keep it going. There is a slow and deliberate shift from "light" comic relief, to a serious drama, that the filmmakers pull off effortlessly. It's only when the murders become more immediate, as we literally begin to see more (either the murder, flashbacks, autopsies, etc.) that the film becomes more thrilling in the traditional sense of how we think of serial killer films. It's a film for the whole family, and I imagine if you liked Zodiac, you'd have a hard time not loving this.
Yeah, it's one of my faves of this decade, and my mum really liked it too (I recommended it cos she digs police procedurals). If you thought the tonal shifts were what really made it special, you might end up being one of the few fans of The Host around here (also by Bong).

Coincidentally, I just finished rewatching Zodiac. A bit pissed off that I bought the bare-bones version before hearing about the soon-to-be-released director's cut, but I'll probably rewatch it enough until that version arrives. Such a gem.

[Eleven]

My mom rented Memories of Murder (2003) for the whole familly to watch today

I like this film the more times I see it, and I already adore it. There's a deft balance of idiosyncrasy and genre tropes from the very beginning, and despite dollops of humor it never becomes flippant about violence or crime. Even the thinly sketched characters have enough personality to stay above stereotype, and although they're not all likable, I feel that they're understandable. And just the most devastating ending.

And for the record, I'm a huge fan of The Host as well, it's definitely worth checking out, rouge.

[Philosophe_rouge]

Yeah, it's one of my faves of this decade, and my mum really liked it too (I recommended it cos she digs police procedurals). If you thought the tonal shifts were what really made it special, you might end up being one of the few fans of The Host around here (also by Bong).

Coincidentally, I just finished rewatching Zodiac. A bit pissed off that I bought the bare-bones version before hearing about the soon-to-be-released director's cut, but I'll probably rewatch it enough until that version arrives. Such a gem.

I've been meaning to see the Host, although the cheap bastard that I am I've been trying to convince my sister to rent it instead so I can mooch of her rental. I'll definetely give it a shot though.

Zodiac is one of the best films I've seen from the past decade, and so far fighting for my favourite film of 2007. It's so methodoligical and yet endlessly facscinating. As much as I love Se7en, this strikes me as a far more mature/less obvious approach to the serial killer story, and I can't help waiting for what Fincher has in store next.

[Philosophe_rouge]

I like this film the more times I see it, and I already adore it. There's a deft balance of idiosyncrasy and genre tropes from the very beginning, and despite dollops of humor it never becomes flippant about violence or crime. Even the thinly sketched characters have enough personality to stay above stereotype, and although they're not all likable, I feel that they're understandable. And just the most devastating ending.

And for the record, I'm a huge fan of The Host as well, it's definitely worth checking out, rouge.
The characters are painted rather thinly, but it's very much self-aware of that. The film doesn't really have illusions that the characters are a bit flat, but rather runs with it, working more with theme/tone, and underscoring scenes of intense emotion, which in the end I feel allows them to feel more sincere and in the end become more poignant. I think I'll enjoy seeing this again.

[Watashi]

Yes, I do like movies.

I don't believe you.

[Rowland]

I loved Memories of Murder. If only Bong didn't use the lame gag where he cuts away from someone being hurt to a shot of cooking meat on two separate occasions. I've seen variations of that visual gag so many times that it just felt cheap here... and if he was trying to make some broader point with the juxtaposition, I missed it.

[megladon8]

Wow...Gone Baby Gone was just...wow.

Seriously, that's probably the best movie I've seen this year. It's in the air between this and Sunshine.

Casey Affleck was fantastic, and I thought the ending worked really well, though I can understand how it's being heralded as quite polarizing with both audiences are critics.

The movie is entirely dialogue driven, and it's great dialogue at that. Why is it that Ben Affleck would waste his time and talent acting - which I happen to think he's not too great at - when he has so much going for him withhis writing and direction?

I think this movie will be in my mind for quite some time.

[MadMan]

Dude is Repo Man really about enlightenment or something of the sort? What the hell did I just watch? I think my mind was blown. That flick is the essence and enbodiement of the 80s. It was funny, contained sharp satire and social commentary, and by the third act it had descended into some sort of crazy, strange and odd movie that went over the top and beyond. I don't even know how to rate it at the moment or even what my exact thoughts are on it besides what I'm typing here. I'll probably dwell on this flick for the next week or so.

[Raiders]

Hence my LOL.

It ain't happening unless someone else starts it.

EDIT: I can't win.

[Mal]

Romero's The Dark Half (based on the King novel) has about 60 minutes of really good stuff, 30 minutes of eh, and the remaining 30 minutes being... oh for fuck's sake end this shit already.

[Sycophant]

I forget: How do people around here feel about Lust, Caution? I thought the entire act in Hong Kong was some of the best stuff I've seen all year, but found the pacing of the film toward the end just off. It either ended too soon or too late. That said, the actual ending was something I liked a great deal.

Definitely my least favorite of Ang Lee's work that I've seen.

[soitgoes...]

When Lion's Gate released their Bunuel boxset a couple months ago i decided to rent La Joven. To my surprise I ended up with Gran Casino because Lion's Gate fucked up the labeling of their discs. No problem. I watched Gran Casino and thus discovered my first piece of crap Bunuel film. This past week I thought I'd give it a go again, so I rented Gran Casino with the anticipation of getting La Joven. Wrong. Netflix it seems, or Lion's Gate, corrected the problem. So now I guess I'll just watch me some Woody Allen. Zelig here I come!

[Qrazy]

When Lion's Gate released their Bunuel boxset a couple months ago i decided to rent La Joven. To my surprise I ended up with Gran Casino because Lion's Gate fucked up the labeling of their discs. No problem. I watched Gran Casino and thus discovered my first piece of crap Bunuel film. This past week I thought I'd give it a go again, so I rented Gran Casino with the anticipation of getting La Joven. Wrong. Netflix it seems, or Lion's Gate, corrected the problem. So now I guess I'll just watch me some Woody Allen. Zelig here I come!

Blahaha amazing... supposedly La Joven is quite good... haven't seen it though. Just watched The Milky Way the other day. Perhaps the weakest of the trilogy, but very good in it's own right. The sectarian sword fight was a highlight.

Finally got around to Red River, good stuff but I could have used a few seconds more to account for Wayne's 180 shift at the end... perhaps a look of bottled anger and frustration suddenly turning itself inside out as he realizes what a ridiculous pompous asshole he's been... that or kill him off and end it as a tragedy, realizing the error of his ways as he dies... the new west vs. the old, etc.

Zelig is great fun.

Maria full of grace was weak-kneed and tedious, incredibly mediocre cinema.

Bus 174 was taut, engaging and relatively thoughtful... a good companion which in many ways fleshed out for me (and vice versa) it's fictional counterparts... Pixote (prison systems), Ali Zaoua (yeah Casablanca but still, the day to day life of the kids... glue huffing, etc), City of God (the drug circle), Tropa de Elite (corruption and frustration in the police force).

Southland Tales will be unmitigated garbage, mark my words.

Count me in as another one who enjoyed The Host.

And finally, really enjoyed my first viewing of The Changeling a few days ago.

[ledfloyd]

I just watched The Magnificent Amberons on TCM. I there any reason this isn't on DVD yet? Any reason at all? The hour of footage destroyed might be one of the most tragic losses the medium has ever suffered. What's survived is so good. Orson Welles' entire post-Citizen Kane career is quite tragic. I can't help but feel we missed out on several masterpieces.

Joseph Cotten is fantastic.

[Philosophe_rouge]

I just watched The Magnificent Amberons on TCM. I there any reason this isn't on DVD yet? Any reason at all? The hour of footage destroyed might be one of the most tragic losses the medium has ever suffered. What's survived is so good. Orson Welles' entire post-Citizen Kane career is quite tragic. I can't help but feel we missed out on several masterpieces.

Joseph Cotten is fantastic.
Although it's been years since I've seen it (it's not like I CAN see it again anytime soon as my library that had the copy has been closed, and as you mention NO DVD), it's still fresh in my mind. As much as I love Citizen Kane, Ambersons feels stylistically so much more controlled and patient. The visuals are far more in tune with content, and a bit less flamboyant; they don't distract but serve the plot and characters. If I could "save" one film, it would probably be this, even over the countless lost silents, including Greed (which I also love). Welles' career is tragic in so many ways... GAH!! Have you by any chance seen One Man Band? It's a documentary included on the F for Fake criterion about Welles' unfinished and lost films. It's very depressing, but also features a lot of footage and is welll worth seeing.

[NickGlass]

I forget: How do people around here feel about Lust, Caution? I thought the entire act in Hong Kong was some of the best stuff I've seen all year, but found the pacing of the film toward the end just off. It either ended too soon or too late. That said, the actual ending was something I liked a great deal.

Definitely my least favorite of Ang Lee's work that I've seen.

Lust, Caution is pretty creaky. I agree that the Hong Kong section is superior. The first half of the film is moderately enthralling as it unfolds, and the parallels between espionage and acting are somewhat thematically rich, but the last hour or so is absurdly uninteresting and conventional. Tony Leung himself and his character are just plain dull and their "relationship," however questionable the romance is supposed to be, is flat flat flat. As the ending is being spelled out, I had given up all interest, despite the amount of time I had invested in the film (I had the same experience the other day during the last 30 minutes of Gone Baby Gone, too, actually).

Sure, the set design is impressive, but I was just so tired of all the tasteful posturing by the last act. Plus, the dialogue is pretty awful.

[Philosophe_rouge]

I love pre-code cinema, and generally early sound films, although unfortunately you have to weed through a lot of mediocre/unwatcheable stuff before you come across something good. The Story of Temple Drake fits somewhere in the middle, as there are moments where the director even attempts to be visually interesting despite the confines of the plot that's really driven by a bare-bones plot. The performances are also quite good, Hopkins is always at the top of her game, and it's interesting to see her here in a dramatic role when I'm more familiar with her comedic ventures in Lubitsch comedies. Her best scene is probably when she tries to save the man she loves by pretending to love someone else... It's Jack La Rue who is most surprising though, it seems he was a rather succesful stage actor but lost out on many key breaks (narrowly beaten out for roles in Scarface and the Petrified Forest by Raft and Bogart). He has a ton of charisma and really pulls his performance off with his body language and face, moreso than many actors of the time who put so much emphasis on the dialogue. In the end though, the film is rushed and follows the formula I've seen a million times. I think it's worth seeing though for the pre-code qualities and performances.. it was actually banned in some States when released, and when the code was enforced was one of the first films to be critisized and forbidden play.

[Rowland]

Hey Philosophe, what did you make of the final scene in Memories of Murder? It seems that people either really like or really dislike it, without much in the way of middle ground. Personally, I think it's one of the most haunting closing scenes I've ever seen.

[Philosophe_rouge]

Hey Philosophe, what did you make of the final scene in Memories of Murder? It seems that people either really like or really dislike it, without much in the way of middle ground. Personally, I think it's one of the most haunting closing scenes I've ever seen.

I really liked it, it's puzzling and disturbing... it caused a bit of debate in the family though. I'm happy they added it as an "epilogue" of sorts though, I think I would have felt even more unsatisfied if they had left it off in 1986. The muders become all the more unsettling returning to the original scene and the exchange of dialogue.

[Sycophant]

At its best, DOA: Dead or Alive is gleefully stupid and delightfully gratuitous. The first twenty or thirty minutes rocked hard and I wish that that level of ridiculous energy could be maintained. Still, there were some wantonly silly, candy-colored sequences that worked. Sadly, there was some issue with being bogged down with the plot that didn't matter--I could have used less of that.

Pity Devon Aoki apparently can't act, like at all.

Oh, well. 86 minutes that, on the whole, I rather enjoyed.

[Derek]

I LOVE your avatar Philosophe. What film is it from? Miriam Hopkins is my biggest classical Hollywood crush behind Joan Fontaine.

[Philosophe_rouge]

I LOVE your avatar Philosophe. What film is it from? Miriam Hopkins is my biggest classical Hollywood crush behind Joan Fontaine.
Thanks, its' from The Story of Temple Drake. Hopkins is a wonderful person to crush on, she is a great screen presence, very intelligent and sexy. Joan Fontaine seems to be popular crushing material, although I've never been able to really enjoy her onscreen because she comes across as too sheepish for me... I do need to rewatch Rebecca though, maybe that'll change my mind.

[Boner M]

Watched Alice in the Cities, the first film of the Wenders' road movies boxset I bought last week. It's no Paris, Texas, but it does have a similarly effective mood of desolation as well as Wenders' ongoing themes of the increasing Westernization of Europe, and his love-hate relationship with American culture. A scene where the protagonist watches Ford's Young Mr. Lincoln on a motel TV, only to throw his shoe at it and then kick it over when it changes to a commercial provides an apt summation of this ambivalent relationship that fuels the film, and gives it an intriguingly neutral mood throughout. Wenders is great at handling relationships between older men and children, and the scenes between Vogler and Alice are just lovely without being sappy. Can't wait to see the other two films on the set.

[Rowland]

At its best, DOA: Dead or Alive is gleefully stupid and delightfully gratuitous. The first twenty or thirty minutes rocked hard and I wish that that level of ridiculous energy could be maintained. Still, there were some wantonly silly, candy-colored sequences that worked. Sadly, there was some issue with being bogged down with the plot that didn't matter--I could have used less of that.

Pity Devon Aoki apparently can't act, like at all.

Oh, well. 86 minutes that, on the whole, I rather enjoyed.Cool, I'm glad I'm not alone in enjoying this silly movie. I hope my little defense of it earlier in the thread (EDIT: or wherever it was) is what inspired you to watch it. :o

[Derek]

Thanks, its' from The Story of Temple Drake. Hopkins is a wonderful person to crush on, she is a great screen presence, very intelligent and sexy. Joan Fontaine seems to be popular crushing material, although I've never been able to really enjoy her onscreen because she comes across as too sheepish for me... I do need to rewatch Rebecca though, maybe that'll change my mind.

Hopkins is great in everything I've seen her in. I especially love her in Lubitsch's Trouble in Paradise and Design for Living (which you should see if you haven't) where she has is wonderfully conniving, sweet and sexy all at the same time. Oddly enough, my Fontaine crush started not with Rebecca, but Nick Ray's underrated Born to be Bad. She is anything but sheepish in that film and has the balls to take it to Robert Ryan of all people.

[Sycophant]

Cool, I'm glad I'm not alone in enjoying this silly movie. I hope my little defense of it earlier in the thread was what inspired you to watch it. :oIt was a combination of that and the breathless endorsement it received from a friend of mine. Generally, with stuff like this, I require two voices I respect to get behind it before I deign to spend my time with it. That said, based on what you said earlier, I will be checking out So Close sooner or later.

[Boner M]

I haven't seen DOA, but I've seen enough of it that seeing it with the same rating as O Lucky Man! makes me cry.

[Philosophe_rouge]

Hopkins is great in everything I've seen her in. I especially love her in Lubitsch's Trouble in Paradise and Design for Living (which you should see if you haven't) where she has is wonderfully conniving, sweet and sexy all at the same time. Oddly enough, my Fontaine crush started not with Rebecca, but Nick Ray's underrated Born to be Bad. She is anything but sheepish in that film and has the balls to take it to Robert Ryan of all people.
I've seen Design for Living all right, one of the sexiest films I've ever seen, bar none. That opening scene is pure gold. I actually haven't seen Born to be Bad, but you've definetely sold it on me. Ray, Ryan and non-sheepish Fontaine! I hope my video store has it.

[Sycophant]

I haven't seen DOA, but I've seen enough of it that seeing it with the same rating as O Lucky Man! makes me cry.If it makes you feel any better, I'd probably rank the most recent three films with three stars as follows:

1. O Lucky Man! (Anderson, 1973) ***
2. Lust, Caution (Lee, 2007) ***
3. DOA: Dead or Alive (Yuen, 2006) ***

But in terms of raw enjoyment, DOA wins in a heartbeat. I had some issues with O Lucky Man!, a lot of which had to do with length, the fact that it wasn't really, you know, even all that funny. Also, while I dug some of the music, some of it was just too damned heavy-handed for my taste, and went on for too long.

I loved the ending, though. Fabulous ending.

[Rowland]

I've seen enough of it that seeing it with the same rating as O Lucky Man! makes me cry.You must suppress those tears of joy. You're just embarrassing us all.

[soitgoes...]

I had a Woody Allen doubleheader last night. I watched Zelig and then Radio Days. I liked them both about equally, Radio Days perhaps a tad bit more. Zelig is one of Allen's more imaginative films, and while he does do a great job of incorporating Zelig into old film, it seems as if the film itself get to caught up in the "what crazy situation can we put him in" scenarios that haunt Forrest Gump. Some good laughs are to be had, especially Zelig's line about having to council a group of chronic masturbators. One of the best laughs I've had in an Allen film. Radio Days is a beautiful piece of nostalgia. A rare Allen film in which Allen himself doesn't appear, he does have quite a bit narration though. While the film bounces around a little too much at the beginning, it settles down in the second half. It really gives the viewer a taste of life in 1940s New York and the importance of radio in the lives of those present in the film. Obviously this film is fairly autobiographical in nature, hence the lack of Allen and in his place a young red-headed Seth Green. The acting is solid throughout, as can be expected in an Allen film.
To put numbers to these films, I'd give Zelig a 7.5 and Radio Days an 8.0. Good to be sure, but not quite on par with other Allen films I've seen from his middle period.

[Grouchy]

Now you need to see The Return of Swamp Thing.
Is there anything particularly cool about it? If I find it I'll see it, out of completism, fanboyism or a mixture of both.

I saw Kitano's Dolls, and it's one of the first films in a long time to make me tear up a little. It's really beautiful, and some shots look like they were achieved by magic. Out of pure coincidence, I've been watching some bunraku theatre in film class and it's great how Kitano used the genre with techniques and themes of modern storytelling. He's the strongest voice of Japanese film today, and he makes smart movies with material that in other hands would look campy and forced.

D.O.A. is a fun movie, by the way. It has the right running time to keep it from becoming too silly. I've only seen some scenes of Charlie's Angels on TV, but for masturbation material and girlfights, I'm staying with D.O.A. I think the Charlie movies need to become vehicles for Lucy Liu and dump the other two broads.

[Rowland]

I think the Charlie movies need to become vehicles for Lucy Liu and dump the other two broads.The first movie is actually really charming and a lot of slickly produced fun. The sequel is pretty painful though.

[ledfloyd]

Although it's been years since I've seen it (it's not like I CAN see it again anytime soon as my library that had the copy has been closed, and as you mention NO DVD), it's still fresh in my mind. As much as I love Citizen Kane, Ambersons feels stylistically so much more controlled and patient. The visuals are far more in tune with content, and a bit less flamboyant; they don't distract but serve the plot and characters. If I could "save" one film, it would probably be this, even over the countless lost silents, including Greed (which I also love). Welles' career is tragic in so many ways... GAH!! Have you by any chance seen One Man Band? It's a documentary included on the F for Fake criterion about Welles' unfinished and lost films. It's very depressing, but also features a lot of footage and is welll worth seeing.
i was lucky enough to tape it. so now i have a use for my vcr again. but seriously. with such a good print in existence. there's no reason why it shouldn't at least have a bare bones release by now.

[origami_mustache]

Southland Tales (Richard Kelly, 2007)

http://www.slashfilm.com/wp/wp-content/images/southlandtalespostertop.jpg

After hearing this film was the the most poorly received screening at Cannes in the history of the festival, I knew I had to see it. I attended the screening at the AFI film festival. The experience itself was much better than the film as the director along with members of the cast were in attendance and it was my first real experience with big name stars. Dwayne "The Rock" Johnson, Sarah Michelle Gellar, and Sean William Scott were all sitting in the row directly behind me. Also in attendance were Bai Ling, Will Sasso, and Kevin Smith. The film itself is an ambitious attempt at creating a political sci-fi apocalyptic satirical comedy with a cast boasting of the aforementioned celebrities above along with Mandy Moore, Justin Timberlake, Cheri Oteri, Jon Lovitz, John Larroquette, Amy Poehler, Janeane Garofalo, Wallace Shawn, Wood Harris, Eli Roth, and several other familiar faces. Despite the overwhelming cast, the film fails in many regards. The budget obviously wasn't substantial enough to support all of the things Kelly had in mind, as most of the special FX seem poorly conceived. The story is so ridiculous and performed in an over the top manner that it can't be taken seriously, yet the comedy isn't original nor funny enough to succeed. Like Donnie Darko before it, Southland Tales tries to convey itself as more important and thought provoking than it actually is, but to the film's credit it at least attempted to do something unique, the music of Moby, and some other song selections were enjoyable, and there was a fantastic little music video within the movie where Justin Timberlake lip syncs to "All the Things That I Have Done" by The Killers. The film is strange, but I felt it was just poorly written and lacked focus more than it was confusing. I wasn't thrilled with the cinematography either.

[balmakboor]

I just watched a double bill of films that could hardly be more different, and I really loved both.

Funny Games: I think I appreciated this more as a great horror film -- a sort of art film version of The Devil's Rejects -- than as the commentary on the nature of violence in cinema that Haneke prattles on about in his interview, but I did find the ways it breaks the fourth wall and pulls the viewer in as accomplice effective. What I loved the most though was the harrowing, real-time centerpiece with the man and his wife alone in the house, the first several minutes captured in an amazing long take.

The Taste of Tea: This sucked me in and enchanted me in ways that few films do -- My Neighbors the Yamadas and Gabbeh come to mind. I don't remember who recommended this but thanks. I plan to hang onto it and watch it again in a few days. Anything else good by this director?

[balmakboor]

P.S. - I just added Funky Forest to my radar. Can't wait for that DVD. Any thoughts on Shark Skin Man and Peach Hip Girl which I just added to my Netflix queue?

[D_Davis]

The Taste of Tea: This sucked me in and enchanted me in ways that few films do -- My Neighbors the Yamadas and Gabbeh come to mind. I don't remember who recommended this but thanks. I plan to hang onto it and watch it again in a few days. Anything else good by this director?

I love this film, but I love Funky Forrest even more. Both of these will be making it on my Top 10 first times for this year.

http://www.genrebusters.com/film/review_funkyforest.htm

Survive Style 5+ is also pretty awesome.

[MadMan]

origami_mustache your review of Southland Tales makes it sound like an interesting and entertaining failure. I may end up just renting it, although I must confess I'm still intriegue enough to go see it in the theater, provided it gets a wide release.

[Mr. Valentine]

I love this film, but I love Funky Forrest even more. Both of these will be making it on my Top 10 first times for this year.

http://www.genrebusters.com/film/review_funkyforest.htm

Survive Style 5+ is also pretty awesome.

i'll throw in another recommendation for Survive Style 5+, i don't think it has a region 1 release though.

[D_Davis]

i'll throw in another recommendation for Survive Style 5+, i don't think it has a region 1 release though.

No, it doesn't. I got a bootleg off of eBay. The back of the DVD includes a user submitted review taken from imdb.

[Sycophant]

Secret Sunshine (Chang-dong Lee, 2007) - 9.5Oh, good. I've got a copy of this that, for some reason, I just haven't gotten to yet.

[Sycophant]

P.S. - I just added Funky Forest to my radar. Can't wait for that DVD. Any thoughts on Shark Skin Man and Peach Hip Girl which I just added to my Netflix queue?Shark Skin Man and Peach Hip Girl is supreme popcorn entertainment, slick filmmaking to the max, while not being a wholly empty experience. It's smart and it's sexy.

However, don't expect anything nearly as sublime and transcendental as The Taste of Tea.

[Qrazy]

Why does it feel like all of the characters in Lawrence Kasdan films are slightly brain damaged?

[origami_mustache]

origami_mustache your review of Southland Tales makes it sound like an interesting and entertaining failure. I may end up just renting it, although I must confess I'm still intriegue enough to go see it in the theater, provided it gets a wide release.

Yes, an interesting and entertaining failure is a good description. I suppose it's worth watching just for the sake of curiosity.

[Qrazy]

Yes, an interesting and entertaining failure is a good description. I suppose it's worth watching just for the sake of curiosity.

I hear slitting one's wrists can also be quite fun the first go around.

[MadMan]

Yes, an interesting and entertaining failure is a good description. I suppose it's worth watching just for the sake of curiosity.That means its still worth watching to some extent. Due to be lazy I'll probably end up renting it in the end. As I said earlier, a theater viewing isn't out of the question though.


I hear slitting one's wrists can also be quite fun the first go around.That's some rather strong hyperbole there man :p

[Qrazy]

That's some rather strong hyperbole there man :p

My penchant for extreme hyperbole is my one saving grace... wait I mean... aw crap.

[MadMan]

My penchant for extreme hyperbole is my one saving grace... wait I mean... aw crap.Heh. I tend to favor extreme statements myself. That reminds me of the hilarious Extreme guys from Harold and Kumar. EXTREME! :D

[origami_mustache]

Heh. I tend to favor extreme statements myself. That reminds me of the hilarious Extreme guys from Harold and Kumar. EXTREME! :D

haha my sound design teacher was the sound designer for Harold and Kumar. If you have a chance watch the special feature on sound designing the scene in the girl's restroom; it's hilarious.

[Boner M]

Watched Decalogue 6 for the first time and Decalogue 5 for the second, in class today. It's nice to finally walk out of class and hear positive comments about the film we've watched, for once (Out of the Past, Lessons of Darkness and Breathless got eviscerated). Warms my soul.

[Grouchy]

Man, all of you need to stop whatever useless activity you're engaged in and go watch Profundo CarmesÃ* [Deep Crimson] by Arturo Ripstein. It's the best movie I've seen recently. Shot entirely in long takes, always keeping a prudent distance from the players, it tells the story of the Honeymoon Killers (Raymond Fernandez and Martha Beck (http://en.wikipedia.org/wiki/Raymond_Fernandez)) adapted to Mexican soil. The movie maintains a dirty, unhealthy atmosphere that makes its unbalanced characters feel right at home. The movie it reminded me of the most is Fargo, from the same year, because of its cold attitude and the feeling of desperation it invokes. I really think it's a remarkable experience. 500/500 Grouchies for this.

Now I need to see Hollywood's Hayek/Travolta version of the same story. And there's also a '70s movie about the same case.

[Briare]

I called the ridiculous ending of The Brave One a half hour into the movie- and boy, I have seen some ridiculous shit in my time, but that is just about the most ri-god-damn-diculous shit of them all. I was literally sneering at the stupidity unfolding before my very eyes and its not like the movie deserved to end weakly- the rest of the film was as dumb. The comparison of the "good cop" Terrence Howard, refusing to break the law even to bring justice and the vigilante killer Jodie Foster. Its like it was scrambling almost trying to find validity, with its ideals all over the map. Ethics aside, the quality of the film is poor. The music is annoying and the acting is terrible. Bluntly, one of the worst of the year.

[balmakboor]

Thanks Rowland for helping me with a new and improved Taste of Tea avatar.

[dreamdead]

Yeah, The Taste of Tea is pretty durned splendid. Just a joyous experience, shapeshifting across genres seamlessly. What's amazing is how simple the whole film is, yet it feels full of life and energy in every frame.

I'm showing Vertigo to one of my classes (the other class opted out of Hitchcock and picked Pulse, to my dismay), and I'm falling in love with it all over again. I'd missed the shot of Madeleine eyeing Scottie judgmentally in the dream sequence courtroom the first few viewings, and was shocked by how powerful that was. And of course, Midge leaving Scottie in the hospital is just as breathtaking as it was the first time...

[Raiders]

I'm showing Vertigo to one of my classes (the other class opted out of Hitchcock and picked Pulse, to my dismay), and I'm falling in love with it all over again. I'd missed the shot of Madeleine eyeing Scottie judgmentally in the dream sequence courtroom the first few viewings, and was shocked by how powerful that was. And of course, Midge leaving Scottie in the hospital is just as breathtaking as it was the first time...

Yay for correct opinions. Though I'm confused why a class selecting Pulse would be to your dismay.

[dreamdead]

Though I'm confused why a class selecting Pulse would be to your dismay.

It's Hitchcock. I understand their desire to watch something more recent, but it just seems unnatural to react negatively toward it and opt instead for Kiyoshi Kurosawa's film, which is a harder film to dissect for 5 pages. I don't think showing the students the two trailers did Hitch's film justice, however, as the Vertigo trailer has a very melodramatic feel, whereas Pulse's trailer hits you with image after image...

[Grouchy]

Well, what's the work the students have to do? How will they analyze each movie in 5 pages?

[Sycophant]

Vertigo's dream sequence is one of the best things ever. The image that's most haunted me since my most recent viewing a few months ago is when Scotty and what's-his-slime are standing by the window in the courtroom, a callback to an earlier scene, but now Carlotta's wrapped around the other guy and gazing up at Scotty.

You've probably mentioned it before, dreamdead, but what level of students do you teach?

Especially if they're more on the beginner's side, I can see why you'd prefer them to go Vertigo. It's more classical, there's more material available on it, and it's not nearly as ambiguous as Pulse.

But yay for Pulse anyway.

[Philosophe_rouge]

http://i152.photobucket.com/albums/s173/Justine_Smitha/ah_bm.jpg

One of my cinematic goals is to watch all of Audrey Hepburn's films. I just find her so incredibly charismatic and wonderful that even mediocre films are somehow worth seeing for her presence. I came one step further when I watched the stylistically exuberant Funny Face (Donen, 1957). Where the film lacks in plot, and romance (Hepburn makes it bearable, as much as I admire Astaire as a dancer I cannot buy him as a romantic lead), it makes up in it's energy and colour. The good to great musical sequences are enough to keep the film floating and interesting, as is Hepburn who lights up every frame. Best scenes are probably the photography shooting in Paris, that incorporates some interesting still work, as well as Hepburn's iconic "expression" dance.

[dreamdead]

Well, what's the work the students have to do? How will they analyze each movie in 5 pages?

It's just an average 5 page analysis essay, really. Pick a theme and study it thoroughly, anything from Scottie's narcissism, his desire to reconstruct Judy, Judy and whether or not she possesses any agency in the relationship, to Midge's failure as a romantic partner because of her availability. As long as students use Hitchcock's film and cite from it directly, plus use one of Robin Wood's essays on the film, I'll be pleased. Bonus points if they tackle a point I've yet to see any scholarly work on.

Pulse is a bit different, since it's more limited in its thematic focus. For example, my writing-prompt questions are more along the lines of whether or not there's anything on the screen beyond disconnection, exhaustion, alienation, and isolation? What does this suggest about the nature of technology?; How are familial relationships developed in the film?; How do these characters deal with a traumatic experience? What does that reaction reveal about society?

Another option, and the one I expect most students to follow, is an intertextual analysis (a side-by-side comparison of Kurosawa’s film together with the American remake of Pulse (2006), directed by Jim Sonzero). What changes between the two films? How do these changes influence our understanding of the texts? For example, the biggest difference between the two films is how the American film literalizes most of the thematic points that Kurosawa left ambiguous. Another difference between the two that begs for analysis is the shift from a quietly nihilistic ending in Kurosawa’s film to a more uplifting ending in Sonzero’s film—pragmatically, why might Sonzero utilize this ending?


You've probably mentioned it before, dreamdead, but what level of students do you teach?

Especially if they're more on the beginner's side, I can see why you'd prefer them to go Vertigo. It's more classical, there's more material available on it, and it's not nearly as ambiguous as Pulse.


I work with college freshmen in some introductory English classes. We're focused on composition and getting students to consider how visual analysis goes beyond some facile "Two thumbs up" method and into a sustained argument.

I like forcing difficult material on students, especially whenever they make some B.S. claim that they cannot read subtitles and follow a foreign film at the same time, but Vertigo does seem remarkably easier...

[lovejuice]

http://i152.photobucket.com/albums/s173/Justine_Smitha/ah_bm.jpg


how familiar are you with astaire's movie? because funny face is perhaps my least favorite. indeed he doesn't sell himself very well as a romantic lead. supporting cast are swell, and yes, audrey is a crush. the dances, i find, very lacking. i strongly recommend the gay divorcee and shall we dance?. (ever wonder where let's call the whole thing off came from?) if you've never seen them, you're in for a hell of a ride.

[Philosophe_rouge]

how familiar are you with astaire's movie? because funny face is perhaps my least favorite. indeed he doesn't sell himself very well as a romantic lead. supporting cast are swell, and yes, audrey is a crush. the dances, i find, very lacking. i strongly recommend the gay divorcee and shall we dance?. (ever wonder where let's call the whole thing off came from?) if you've never seen them, you're in for a hell of a ride.
I've seen The Gay Divorcee and Shall we Dance, both leave me cold excluding one or two numbers (among others Let's Call the Whole Thing Off, and if I remember correctly in Shall we Dance there is also You Can't Take that Away from me?...). I think I've seen one other Ginger/Astaire collaboration but in my mind they seem to melt into one film. They are light and a bit fun, but in my mind forgettable and very difficult to distinguish from each other. I'm still open to seeing more of his films, especially some of his Rita Hayworth collabs. but he himself has yet to win me over.

[Sycophant]

I didn't think I was a Fred Astaire fan. Then I saw The Band Wagon.

[Philosophe_rouge]

I didn't think I was a Fred Astaire fan. Then I saw The Band Wagon.
I still haven't seen that despite having a copy for nearly three months now. I hear nothing but raves... I should really get on it.

[dreamdead]

Snow Angels (Green, 2007) 5.5

Crap. Any thoughts?

[Rowland]

We Own the Night was a serious "meh." That was disappointing...

[lovejuice]

when you need him, where is buff to back you up on your choice of astaire's? :(

[Bosco B Thug]

Southland Tales (Richard Kelly, 2007)

After hearing this film was the the most poorly received screening at Cannes in the history of the festival, I knew I had to see it. I attended the screening at the AFI film festival. The experience itself was much better than the film as the director along with members of the cast were in attendance and it was my first real experience with big name stars. Dwayne "The Rock" Johnson, Sarah Michelle Gellar, and Sean William Scott were all sitting in the row directly behind me. Also in attendance were Bai Ling, Will Sasso, and Kevin Smith. The film itself is an ambitious attempt at creating a political sci-fi apocalyptic satirical comedy with a cast boasting of the aforementioned celebrities above along with Mandy Moore, Justin Timberlake, Cheri Oteri, Jon Lovitz, John Larroquette, Amy Poehler, Janeane Garofalo, Wallace Shawn, Wood Harris, Eli Roth, and several other familiar faces. Despite the overwhelming cast, the film fails in many regards. The budget obviously wasn't substantial enough to support all of the things Kelly had in mind, as most of the special FX seem poorly conceived. The story is so ridiculous and performed in an over the top manner that it can't be taken seriously, yet the comedy isn't original nor funny enough to succeed. Like Donnie Darko before it, Southland Tales tries to convey itself as more important and thought provoking than it actually is, but to the film's credit it at least attempted to do something unique, the music of Moby, and some other song selections were enjoyable, and there was a fantastic little music video within the movie where Justin Timberlake lip syncs to "All the Things That I Have Done" by The Killers. The film is strange, but I felt it was just poorly written and lacked focus more than it was confusing. I wasn't thrilled with the cinematography either. Well, as sad and self-revealing as it is to say, thanks for your review, I'm sorta glad it didn't blow the first person to see it here away, 'cause then I'd have to see it in theaters. Really doesn't look like my thing, though I'm sure it's worth something, as you suggest. Opens here the 16th. Same weekend No Country For Old Men and Redacted open here.

[Grouchy]

Another option, and the one I expect most students to follow, is an intertextual analysis (a side-by-side comparison of Kurosawa’s film together with the American remake of Pulse (2006), directed by Jim Sonzero). What changes between the two films? How do these changes influence our understanding of the texts? For example, the biggest difference between the two films is how the American film literalizes most of the thematic points that Kurosawa left ambiguous. Another difference between the two that begs for analysis is the shift from a quietly nihilistic ending in Kurosawa’s film to a more uplifting ending in Sonzero’s film—pragmatically, why might Sonzero utilize this ending?
I'm a big Vertigo fan and it's been my favorite movie for a long time, but this sounds like the easiest and most entertaining choice for an essay, maybe because I like genre discussion. Must be cool organizing classes on film.

[Sycophant]

Neil LaBute's In the Company of Men was searing, devastating, gut- and heart-wrenching, and positively spellbinding.

Netflix's Watch Instantly feature--which is how I watched this--is actually pretty handy.

[Mal]

Beyond the Valley of the Dolls

omg omg omg. So insane. I loved it. INSANE INSANE. Roger Ebert hates hippies. I swear.

[Briare]

We Own the Night was a serious "meh." That was disappointing...

Indeed. I kept hearing this film was a throwback cop movie and well, it certainly didn't feel like one of any real quality. I found it too short and the characters were severely undercooked. Especially Wahlberg who really has very little to do. spoilerThe movie could have killed him off much in the same way as Duvall. The film would've been better for it.

[ledfloyd]

i just watched Night of the Hunter. it was quite good. mitchum in particular was pretty haunting. however there was nothing aside from his performance that really set it apart as great for me.

[Qrazy]

i just watched Night of the Hunter. it was quite good. mitchum in particular was pretty haunting. however there was nothing aside from his performance that really set it apart as great for me.

I concur, very good film, but didn't weigh in as heavily as I thought it would on the masterpiece-o-meter.

[D_Davis]

Beyond the Valley of the Dolls

omg omg omg. So insane. I loved it. INSANE INSANE. Roger Ebert hates hippies. I swear.

Fantastic flick.

[D_Davis]

Neil LaBute's In the Company of Men was searing, devastating, gut- and heart-wrenching, and positively spellbinding.


It sure is. Such a harsh film, but one that is impossible to turn away from. It is a bold movie.

[Philosophe_rouge]

Beyond the Valley of the Dolls

omg omg omg. So insane. I loved it. INSANE INSANE. Roger Ebert hates hippies. I swear.
YES. One of my favourite movies. It's just so deliciously stylish, over the top and entertaining. I love the music far too muh.


i just watched Night of the Hunter. it was quite good. mitchum in particular was pretty haunting. however there was nothing aside from his performance that really set it apart as great for me.
Another favourite of mine. If you enjoyed it I recommend seeing it again, because for me at least it's a film the really improves on multiple viewings. I tend to gravitate towards films told from a child's POV, or generally fairy tales/mythological treatments of stories so it's only natural I adore this film. It's one of the best examples of expressionism I've seen commited to screen.

[Sycophant]

It sure is. Such a harsh film, but one that is impossible to turn away from. It is a bold movie.The entire experience was kind of like watching yourself drop a ceramic plate: It's falling, almost in slow motion, as you can do nothing but watch, and you're pretty sure how it's gonna turn out. Yet you just watch as the pieces shatter. What you don't expect is how it's going to put a gash in your foot.

[Qrazy]

The entire experience was kind of like watching yourself drop a ceramic plate: It's falling, almost in slow motion, as you can do nothing but watch, and you're pretty sure how it's gonna turn out. Yet you just watch as the pieces shatter. What you don't expect is how it's going to put a gash in your foot.

So what you're trying to say is you accidentally stepped on the dvd and now you're on crutches for a month?

[dreamdead]

Yeah, Labute's film is really solid. My two grievances on it are the jazz transitions, which feel too incidental and thus unneeded, and the cut to silence in the finale. It's interesting as a shift of viewer's subjectivity, but not entirely sucessful to me. That said, it's certainly one of the better 90's films.

[Raiders]

One Week ** 1/2

:| :crazy:

[megladon8]

:| :crazy:

:rolleyes:

You've been doing a lot of that lately.

[Raiders]

:rolleyes:

You've been doing a lot of that lately.

:|

[dreamdead]

:| :crazy:

In terms of shorts, The Goat was friggin' genius. This one, however, had more stunts and wackiness, yet somehow felt less inspired. It felt like the spurned boyfriend was more of a plot point to create a wacky house than any real sustained threat. I don't know, I enjoyed the short, but never really guffawed at any one bit, which I've always done in previous Keaton films.

[Derek]

Crap. Any thoughts?

There's not much to say which is part of the problem. Green's patented visual flourishes, which at least made Undertow somewhat interesting, are barely present here, preventing the rather mundane story and setting from becoming anything particularly special. There was the occasional brief moment where it looked like the film was heading somewhere interesting, but it never got there. I think it could have worked had he focused on one of the two story lines, since neither felt fully fleshed out, especially the (somewhat) coming-of-age story which ended up weighing the film down. Perhaps I'm underrating it a tad, but it's definitely Green's weakest film - something I was hoping I'd never have to say after seeing Undertow. The casting of Sam Rockwell and Nicky Katt, two actors who really should be getting bigger parts than they do, is easily the best thing about it.

[Spinal]

It felt like the spurned boyfriend was more of a plot point to create a wacky house than any real sustained threat.

Well ... yeah ...

The thin plots in Keaton shorts are an excuse to get to the stunts and gags. I don't see why this is a problem.

[dreamdead]

Well ... yeah ...

The thin plots in Keaton shorts are an excuse to get to the stunts and gags. I don't see why this is a problem.

I just think back to The Goat, or even Our Hospitality, when the Father is adamantly trying to injure Keaton, and the repercussions that are wrought because of those developments. Here I admired the technical virtuosity of the spinning house, but none of the gags resonated, save for the hand over the camera lens when the wife drops the soap. That was amusing and interesting as a subtle shock to the meta-ness of the whole affair.