28 Film Discussion Threads Later

[Winston*]

I think the nuts represent Willem Dafoe's nuts.

[Skitch]

Why does everything in a film have to be a critical part of the narrative? Can a film not attempt expression without it relating directly to story or character development?

It doesn't, I just don't understand why it's acceptable in this instance, and considered a valid complaint in other films.

EDIT: Also, my question was relative to criticism I was getting at the time...so...you know...it was contextual.

[Skitch]

I think the nuts represent Willem Dafoe's nuts.

The

[

Show Spoiler

blood orgasm jerk off scene probably scarred me for life

]

so you're probably right. Willemonachin.

[Derek]

It doesn't, I just don't understand why it's acceptable in this instance, and considered a valid complaint in other films.

Because it's a 5-second shot, not 75% of the film a la Zach Snyder. It's acceptable for exactly what you mention below, context. Slow-mo is often used as a lazy, short hand way to amplify the importance of action, other times it punctuates an action scene and works beautifully and other times it is powerful and effective in evoking a certain mood. It's kind of silly thing to argue about - take any film technique and you can find films where they work wonderfully and film's where they're mishandled. But if you're going to label a technique "artsy-fartsy", don't be surprised when people look for actual reasons as to why you think it doesn't work.

EDIT: Also, my question was relative to criticism I was getting at the time...so...you know...it was contextual.

You complained that no one answered your questions and that was the only one I could find. I'm not sure how your question relies on context - you asked if that shot was necessary and I explained how it's important...

[Skitch]

I'm not sure how your question relies on context - you asked if that shot was necessary and I explained how it's important...

Because I didn't really care about it. :lol: I was showing that no matter how I've tried to break stuff down here, I usually get no response, so who knew saying what I did would set off such an argument. I really had no clue that everybody had such a passion for hating such a term...or that Anti Christ had such a loyal following.

[Spaceman Spiff]

Am I the only one who found Charlotte unbearably sexy throughout the entire movie? I'm guessing no, but I also have no idea what this says about me, (or you, you sick fucks).

[Derek]

I really had no clue that everybody had such a passion for hating such a term...or that Anti Christ had such a loyal following.

[Mysterious Dude]

The

[

Show Spoiler

blood orgasm jerk off scene probably scarred me for life

]

I'm not sure I'll ever be able to enjoy an orgasm again.

[soitgoes...]

Mini film festival. Which of these films should I prioritise? I've seen Antichrist, White Ribbon and Still Walking and The Hurt Locker is coming to regular cinemas.

http://www.worldcinemashowcase.co.nz/Thefilms2.html

There are two pages of posts between this one and my response, but I'm gonna throw Love Exposure out there. We'll see if Match-Cut's got my back as I catch up on the thread.

[Sven]

Guys: Paul Verhoeven is reading from his new book Jesus of Nazareth tonite. With the move from NYC, I was resolved to never get to see him. How wrong I was. I went from a super foul mood this morning to one of near rapture.

Guys: yes, yes, a thousand times yes. I have now touched Robert Altman, Werner Herzog, and Paul Verhoeven. His discussion about his book was endlessly fascinating (and captivating, given the man's bustling energy). At the risk of sounding corny, I will just say that I am feeling very inspired.

[Boner M]

I think the nuts represent Willem Dafoe's nuts.

Literally just did a spit take.

[soitgoes...]

Fat City is Huston's masterpiece. The end is so spot on perfect. Leading up to the end scene, I thought how in the world he was going to end this. I wasn't sure where it was leading, and then we are given the coffee scene.

[B-side]

Chameleon (Jost, 1978) -- Better in theory than in practice. Gets much more interesting after the halfway point. Very cool little performance piece near the end done in totally surrounding darkness being the highlight.

The Ladies Man (Lewis, 1961) -- Intermittenly funny. Surprisingly cinematic camera. Lewis is charming and off-putting in almost equal measure.

Knife in the Water (Polanski, 1962) -- Fairly intense stuff. One-upsmanship gone awry. Neat ambiguous ending. Some cool shots despite the restrictive setting.

[dmk]

Fat City is Huston's masterpiece. The end is so spot on perfect. Leading up to the end scene, I thought how in the world he was going to end this. I wasn't sure where it was leading, and then we are given the coffee scene.

Yep, completely agree. I think Qrazy got me to watch this... and he was right.

[Boner M]

Fat City is awesome though I think the very final minutes are what really makes the film. So, so poignant.

[B-side]

Hey Boner. Wanna rank your Jost viewings for me?

BTW, someone just upped a rip of Slow Moves to KG. Angel City was upped recently as well, but no one's ripped it yet.

[Boner M]

Hey Boner. Wanna rank your Jost viewings for me?

BTW, someone just upped a rip of Slow Moves to KG. Angel City was upped recently as well, but no one's ripped it yet.

1. Last Chants...
2. this video of him singing in his hotel room in the Phillipines

So yeah... I need to catch up.

[Raiders]

To Live and Die in L.A. (Friedkin, 1985) ***½

[Ezee E]

Saw Bruce Willis filming a scene in New Orleans. He was running down the street, shooting a gun at something. Extras running for life in the background. Camera was from inside a busted cop car.

This could be any Bruce Willis movie.

[Raiders]

Saw Bruce Willis filming a scene in New Orleans. He was running down the street, shooting a gun at something. Extras running for life in the background. Camera was from inside a busted cop car.

This could be any Bruce Willis movie.

True, but I can tell you it is Red.

Standard fare I'm sure, but that's a pretty wicked cast.

[Boner M]

Aye, it held up and is even better than I remember it being when I saw it in high school. It's really a film of pure momentum, almost Bresson-like in its fleet, staccato rhythms (that opening scene!), and yet I think Friedkin somehow manages to sustain a nice emotional undercurrent even as the film is almost entirely focused on external action and the elision of character psychology. Also Wang Chung's score has grown on me - the surging synths and electro beats obviously correlate with the film's sense of forward motion, but there are some moments where it mimics the diegetic sounds effectively, like the ringing siren in the airport scene.

Plus, it's just such an fn' cool film.

[number8]

Antichrist > Bruce Willis > The term "artsy fartsy".

[bac0n]

Saw Bruce Willis filming a scene in New Orleans. He was running down the street, shooting a gun at something. Extras running for life in the background. Camera was from inside a busted cop car.

This could be any Bruce Willis movie.

It's the latest Die Hard movie: Die Hard with Crawfish Etouffe'.

[Mara]

Antichrist > Bruce Willis > The term "artsy fartsy".

My Pictoral Representation of the Term "Artsy Fartsy">>>>

I was robbed of that art scholarship. ROBBED.

[Skitch]

Its time for...NAME...THAT...MOVIE! Made for tv made in the 80's starring (I think) Wilford Brimly as a time machine inventor. The time machine was fridge sized and spun the occupant around super fast then POOF! Some kid hops in the thing and goes to the fifties (I think). Can't find anything on this, and I need to see it again.