And I'll take Pale Rider over Josey Wales for non-Unforgiven Eastwood westerns.
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And I'll take Pale Rider over Josey Wales for non-Unforgiven Eastwood westerns.
I may have missed one or two, but these seem to be the candidates for Scorsese to remake (assuming remaking a feature five times is off the table):
What's a Nice Girl Like You Doing in a Place Like This?
It's Not Just You, Murray!
The Big Shave
American Boy
Mirror, Mirror
Bad
Life Lessons
The Key to Reserva
I haven't seen most of those, but I did like Life Lessons a lot.
First Obstruction: You may not use Leonardo DiCaprio
Life Lessons is practically a full-length movie. Just less then an hour I think.
The Key To Reserva and The Big Shave seem like the easiest options. I figure he'll just to a new film entirely.
I would figure he'd play with different formats of film. 3D, 16MM... Maybe a straight shot...
Trouble the Water was an interesting documentary in the way that it not only brought into focus the racism and governmental negligence that took place during the aftermath of Hurricane Katrina, but in the damaging effect of capitalism as an ideology, the American education system, the justice system, etc. Kim and her husband, as well as many left devastated in the community, find a sense of purpose in the charity they are able to provide for others, and in the bond they form with those who are suffering with them. They form relationships and come to the aid of even complete strangers in a way the government fails to do. Prior to that they had been toiling in a ritually ignored area of the country, dealing drugs and trying to get by. They are all in a daily fight to survive and improve their lives post-Katrina, yet through that struggle, their happiest moments seem to emerge, and the only time the smiles fade and the spirits falter is when they're trying to secure money or security from FEMA, or when they learn of the shortcomings of a government that pretends to have their best interest at heart. One of the most shocking revelations comes when Kim's brother meets up with them in Memphis. Having been in a county jail during Katrina, he recounts the story, accompanied by photographic evidence by the filmmakers, of the prisoners not being told that Katrina was coming, and being abandoned by every employee of the prison, guards and warden included, left with no food or water, to die like rats.
Where the film falters is in portraying Katrina itself, and this has more to do with the effectiveness of Spike Lee's When the Levees Broke. There is no angle of the actual hurricane in which that documentary didn't cover completely, and because of that, about a third of Trouble the Water feels like a shallow retreading of ground that has been thoroughly covered, even with the first person narrative and the reliance almost exclusively of very raw self-shot footage during the storm. Despite this, the film is very effective as a searing examination of the effectiveness of our current political systems, and an almost Marxist position on the value of community and philanthropy in America.
I don't know if I'd go that far, but I'm bemused that Trier is remaking his own film about making another director remake one of his own films. Maybe it'll be a trilogy, and in the third, Leth and Scorsese will make Trier remake The Five Obstructions five times according to various arbitrary rules.
It's not hard to see why Ford sometimes considered The Fugitive the best thing he did. The usual Fordian moral ambiguity is taken to its most extreme here with a murderer dying a martyr and the titular fugitive being no less a criminal than those he blesses. Fonda's priest character is no longer a true priest not only because he can't identify as one where he is due to them being prosecuted in a Mexico currently experiencing a revolution, but because of the things he's being compelled to do due to the circumstances he finds himself in and the obligations he feels he has as a man of God. The bookends of the film are Ford at his absolute best, and this is the best I've seen Fonda. Where the hell is the DVD for this?
If we're gonna give B-side grief for Tony Scott, I can't really let this fly by unannounced.Quote:
Originally Posted by Boner M
I'll admit I've been in a pretty shit mood over the weekend. The rating partially reflects a resistance to candy-coloured surfaces and general frivolity. Even so, none of the satire felt particularly sharp, and the broad humour (popcorn explosions/pipe whistles during kisses, Loverdoll being being mobbed by young women, etc) didn't feel sustained. I liked the fourth-wall-breaking moments. Not much else.
I think Unforgiven is pretty masterful.
I'd be inclined to say that this is Ford's best looking film, maybe The Searchers, and the reason is Gabriel Figueroa. He worked on a handful, albeit some of the best, Buñuel films, but otherwise I feel he's a relative unknown. I discovered his work accidentally through Emilio Fernández films, which you might want to check out.
Way to make it personal when I was only insulting a director Derek. You have no class.
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