The Verdict is probably my fave of his, and his best from a directorial standpoint. Wanna see The Train most of all.
The Verdict is probably my fave of his, and his best from a directorial standpoint. Wanna see The Train most of all.
Frankenheimer. And it's awesome.Quoting Boner M (view post)
Last 10 Movies Seen
(90+ = canonical, 80-89 = brilliant, 70-79 = strongly recommended, 60-69 = good, 50-59 = mixed, 40-49 = below average with some good points, 30-39 = poor, 20-29 = bad, 10-19 = terrible, 0-9 = soul-crushingly inept in every way)
Run (2020) 64
The Whistlers (2019) 55
Pawn (2020) 62
Matilda (1996) 37
The Town that Dreaded Sundown (1976) 61
Moby Dick (2011) 50
Soul (2020) 64
Heroic Duo (2003) 55
A Moment of Romance (1990) 61
As Tears Go By (1988) 65
Stuff at Letterboxd
Listening Habits at LastFM
D'oh, I mean The Hill. Get those titles confused. Wanna see 'em both equally.Quoting transmogrifier (view post)
Yeah that movie sucks. I also don't like Withnail & I, so I apparently have issues with repellent, annoying English people.Quoting DavidSeven (view post)
Ratings on a 1-10 scale for your pleasure:
Top Gun: Maverick - 8
Top Gun - 7
McCabe & Mrs. Miller - 8
Crimes of the Future - 8
Videodrome - 9
Valley Girl - 8
Summer of '42 - 7
In the Line of Fire - 8
Passenger 57 - 7
Everything Everywhere All at Once - 6
I can understand disliking it for its pessimistic ugliness (and I do think it's a bit too forcefully contrived in that regard), but the events in it definitely happen with rhyme and reason. To quote my response to Pop Trash a few months ago, "It's a palpably grim inversion of The Odyssey that uses its mythic structure to explore modern alienation, misanthropy, and nihilism." All the characters' odious actions have a clear place in that structure. If you mean that there's no rhyme or reason in the sense of character motivation, I'm not sure which odious things you're referring to, since the protagonist is very distinctly defined (and one of the most memorable characters in any film, I think). The events at his girlfriend's house?Quoting StanleyK (view post)
And I completely disagree with your assessment that it's "just barely well-made enough". It combines Leigh's usual stark, meditative naturalism with a blistering intensity, especially in the dialogue, which is carried off by David Thewlis' equally blistering performance.
I am impatient of all misery in others that is not mad. Thou should'st go mad, blacksmith; say, why dost thou not go mad? How can'st thou endure without being mad? Do the heavens yet hate thee, that thou can'st not go mad?
lists and reviews
It's pretty weird how, despite absolutely loving Emak-Bakia the one time I saw it, I remembered none of the imagery in it. Literally the only thing I recognized (outside of maybe some of the rotating abstract shapes) was the woman with the eyelids painted to resemble open eyes, which happens at the very end. Not sure whether that's a good or a bad thing; in any case, the effect is that I was essentially seeing it for the first time again, and it is a wonderful, exhilarating film.
I did mean in terms of character motivation. There didn't seem to be any particular reason for Thewlis' actions. Why did he rape that girl at the beginning? Why did he hurt the roommate during sex? Why did he then leave in a huff? Why was he so fond of the Scottish dude and Maggie? Why did he annoy everyone he comes across? Why did he also hurt, and then steal the girl in the window's books? Why didn't he hurt/rape the waitress? Best I can think of is that he thinks that the world is coming to an end so there's no point to anything least of all being nice, which is a pretty fucking weak motivation. Sebastian Hawks was even worse; the hell was up with that guy? And yeah, the film definitely felt contrived in its ugliness, every action calculated to simply be as unpleasant as possible with little regard to logic or theme; felt rather like a shallow film to be honest, desperately posturing to be taken seriously.Quoting Melville
The filmmaking seemed purely functional to me. Thewlis' rant at the office building, as I said, was pretty good; maybe because it's the only thing he does which seems consistent, and also because it's one of the few shots that does something interesting with character placement and framing (granted, the latter half of the film does present some nice wide shots).Quoting Melville
I can't remember most of the details of the plot you mention, but his whole character is based around (a) his feeling that existence is ugly, meaningless, and doomed (either inherently or because it's been made so) and (b) his desire to maintain his own being by insisting upon it and forcing it on others. And he's a mirror of Odysseus: the clever man making his way with trickery and boastfulness, but now (as in most modern versions of The Odyssey) an antihero and a perpetual wanderer rather than someone who wants the fixed place (social and geographical) to return to. That's a gross simplification, but I think it's the gist of his character.Quoting StanleyK (view post)
To force himself upon something. And it's a play on The Odyssey: the Greeks begin their return home from the starting point of having metaphorically raped Troy and literally raped women (though I can't recall if Odysseus was guilty of the latter; the contrast works either way, either by contrasting the social meaning of rape then versus now, or by contrasting Odysseus with Johnny).
I don't remember this...are you referring to the very ending? He hurts people during sex because he's sadistic and spiteful: he wants to torment people to exact his revenge on existence and to insist upon himself. He leaves because he spitefully wants to insist upon his hate of the world and he resents people treating him well or asking anything of him.
Because they're silly and pathetic (at least he thinks so) and they're already a couple (unless I'm mixing up characters), so he looks upon them from the outside; it's a different dynamic than the one-on-one relationships he has with other characters.
Again, to insist upon his Being to them, to force himself, and his view of the world, upon them.
I don't remember the details, but I remember her seeming kind of wounded and weak, which would invite his spite and desire to hurt her. I also remember her being friendly, which he would resent, leading to the theft.
I don't remember this. But you're making it sound like he should always act exactly the same, which isn't how any believable character operates.
He was definitely more of a thematic device than a well-developed character, but I think he works pretty well as an exemplification of a sociopathic, narcissistic, powerful person. And again he works in terms of a contrast with the Odyssey: in the original story, the suitors who have taken over Odysseus' home are all weak louts that Odysseus slaughters; here, the equivalent character is powerful, infinitely self-possessed, and actually owns the home (unless I'm misremembering) that Johnny is returning to—the hero of the story is powerless, despite his constant forcing of himself upon others.
You seem to be referring to cinematography alone. The whole film has a tactile grey grittiness to it, so I think visually it does its job well, but I was mostly thinking of the very punchy, often funny dialogue and performances.
I am impatient of all misery in others that is not mad. Thou should'st go mad, blacksmith; say, why dost thou not go mad? How can'st thou endure without being mad? Do the heavens yet hate thee, that thou can'st not go mad?
lists and reviews
It's above average, Dog Day Afternoon is infinitely better.Quoting transmogrifier (view post)
The Princess and the Pilot - B-
Playtime (rewatch) - A
The Hobbit - C-
The Comedy - D+
Kings of the Road - C+
The Odd Couple - B
Red Rock West - C-
The Hunger Games - D-
Prometheus - C
Tangled - C+
Quoting Melville (view post)
He doesn't hurt her physically, but he does tell her, right after she kicks him out, that . . .
[]
He left the roommate because. . .
[]
Quoting MadMan (view post)
Last 5 Viewed
Riddick (David Twohy | 2013 | USA/UK)
Night Across the Street (Raoul Ruiz | 2012 | Chile/France)*
Pain & Gain (Michael Bay | 2013 | USA)*
You're Next (Adam Wingard | 2011 | USA)
Little Odessa (James Gray | 1994 | USA)*
*recommended *highly recommended
“It isn't easy to accept that suffering can also be beautiful... it's difficult. It's something you can only understand if you dig deeply into yourself.” -- Rainer Werner Fassbinder
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I don't see Naked as being nihilistic; the music score seems consistently mournful of the nihilism and misanthropy displayed by its characters, and I think that's the attitude Leigh has as well. I think its title is more of a provocation than anything. After all, Leigh's style is hyper-natural rather than natural, characters larger-than-life in the David Lynch sense, with Manchester depicted as the post-apocalyptic wasteland* that Thewlis insists it'll become. It's more of an alternate reality sci-fi film than anything, imagining human affairs at their worst; the sad product of alienation and apathy taken to their logical endpoint. It's like a crotchety old man's vision of what the modern world has become, and in the best way. Plus, it's damn funny.
*For instance, this image and its corresponding scene could be something out of Stalker.
Gonna go see that new Mike Leigh joint this weekend, I think.
I imagine Attenberg will get a fair amount of love since it's similar in tone to Dogtooth, plus the director is Lanthimos' producer, and Lanthimos has a substantial supporting role in this. The story follows a young woman whose father is dying. She's never been with a man, and in fact thinks she may be asexual. She practices kissing with her best friend. Awkwardness ensues. She loves David Attenborough's animal documentaries. She acts out animal behavior with her best friend. She meets a man who awakens her sexuality. Great performance by Ariane Labed who has a major role in Lanthimos' upcoming Alps. It could be said the film is an anthropological view of a young Greek woman's coming of age, her first steps into adulthood, mirroring those documentaries she so loves.
There are parts of Summer Wars that work, and there are parts that don't. The OZ network concept is terribly unruly and unfortunately uninteresting (from my perspective anyway). The spectacle it provides is sometimes a fun bit of eye candy, but the rules of this world never seem quite sensible enough for me to feel invested in.
Ultimately, the human story provides some truly resonant sequences and there's an intelligent emotional core underneath it all. Its themes and messages seem particularly well suited for today's Japanese youth. I liked it, and it's worth watching, but The Girl Who Leapt Through Time this ain't.
Quoting Rowland (view post)
Last 10 Movies Seen
(90+ = canonical, 80-89 = brilliant, 70-79 = strongly recommended, 60-69 = good, 50-59 = mixed, 40-49 = below average with some good points, 30-39 = poor, 20-29 = bad, 10-19 = terrible, 0-9 = soul-crushingly inept in every way)
Run (2020) 64
The Whistlers (2019) 55
Pawn (2020) 62
Matilda (1996) 37
The Town that Dreaded Sundown (1976) 61
Moby Dick (2011) 50
Soul (2020) 64
Heroic Duo (2003) 55
A Moment of Romance (1990) 61
As Tears Go By (1988) 65
Stuff at Letterboxd
Listening Habits at LastFM
Yeah, this one ends up being a bit above average for Leigh. Not one of his best, but solid and Manville is brilliant in it. It doesn't really generate much in the way of discussion afterwards, I'm finding, but well-acted throughout. The Joe/Mary scenes have an odd vibe about them, as Joe himself isn't sure what he wants.Quoting Winston* (view post)
The Boat People - 9
The Power of the Dog - 7.5
The King of Pigs - 7
Likely, as more people find the site, dates get corrected. Did you see the details for The General:Quoting StanleyK (view post)
Japan 31 December 1926 (Tokyo) (premiere)
http://www.gildasattic.com/buster.html
"Perhaps sensing a box-office fiasco, Keaton and his associates at United Artists took the unprecedented and extraordinary step of first releasing THE GENERAL in Japan in December, 1926, under the title KEATON, SHOGUN, before premiering it in New York City on February 5, 1927."
I think you're being a bit kind (which is fine, since--by the end--the film has gone from alienating to inviting), but I guess I don't even see any opinion in your paragraph--just synopsis. What did you think about the film?Quoting soitgoes... (view post)
As I said in another thread, it's unique but awfully scattered. And, sure, occasionally its observation of eccentric human behavior is similar Dogtooth, but without the actual, convincing narrative frame necessary to shape it. This, consequently, made Dogtooth so significant, but without the framing makes Attenberg feel somewhat inconsequential and rather frivolous.
I'm writing for Slant Magazine now, so check out my list of reviews.
Hopefully I'll have the energy to update my signature soon.
Anyone got some thoughts on JCVD? I checked for a thread, but could not find one.
[+] closer to next rating / [-] closer to previous rating
- Dark (S3) ✦✦✦½ [-]
- Fall (Mann, 2022) ✦✦✦½ [-]
- Ms. Marvel (S1) ✦½ [+]
- Dark (S2) ✦✦✦✦
- Moon Knight (S1) ✦✦½ [-]
- Get Carter (Hodges, 1971) ✦✦✦½ [+]
- Prey (Trachtenberg, 2022) ✦✦✦ [-]
- Black Bird (S1) ✦✦✦✦
- Better Call Saul (S6) ✦✦✦½ [+]
- Halo (S1) ✦✦✦ [-]
- Slow Horses (S1) ✦✦✦½ [+]
- H4Z4RD (Govaerts, 2022/BE) ✦✦½ [-]
- Gangs of London (S1) ✦✦✦½ [+]
- We Own This City (S1) ✦✦✦½ [+]
- Thor: Love and Thunder (Waititi, 2022) ✦✦ [+]
Well it was a merely solid movie at best. I've stopped explaining myself because of Criticker-my ratings for every movie I've seen are up there. Eventually I hope to work all ratings into my blog, so I can just point to it and stop having to even post thoughts, or anything meaningful :PQuoting Brightside (view post)
BLOG
And everybody wants to be special here
They call your name out loud and clear
Here comes a regular
Call out your name
Here comes a regular
Am I the only one here today?
I just found it funny the way you worded that. I don't know about you, but I only enjoy movies that are entertaining.Quoting MadMan (view post)
Last 5 Viewed
Riddick (David Twohy | 2013 | USA/UK)
Night Across the Street (Raoul Ruiz | 2012 | Chile/France)*
Pain & Gain (Michael Bay | 2013 | USA)*
You're Next (Adam Wingard | 2011 | USA)
Little Odessa (James Gray | 1994 | USA)*
*recommended *highly recommended
“It isn't easy to accept that suffering can also be beautiful... it's difficult. It's something you can only understand if you dig deeply into yourself.” -- Rainer Werner Fassbinder
twitter | next projection | criticker | frames within frames
Heh, I think what I meant was that movie is merely entertaining fluff-compared to, say, Lumet's more meaty and meaningful movies like Network, 12 Angry Men, and even Before the Devil Knows Your Dead it was just him having fun making a movie with Sean Connery, Matthew Broadwick, and Dustin Hoffman. The cast also elevates the material above mediocre, too.Quoting Brightside (view post)
BLOG
And everybody wants to be special here
They call your name out loud and clear
Here comes a regular
Call out your name
Here comes a regular
Am I the only one here today?
Close.Quoting MadMan (view post)
My laziness and unwillingness to look up how to properly spell names knows no bounds ritch:
BLOG
And everybody wants to be special here
They call your name out loud and clear
Here comes a regular
Call out your name
Here comes a regular
Am I the only one here today?