Yes, they're all very much worth watching. Home Sweet Home was the best of the bunch, imo. I'd put it up against some of his theatrical films.Quoting Boner M (view post)
Yes, they're all very much worth watching. Home Sweet Home was the best of the bunch, imo. I'd put it up against some of his theatrical films.
The Act of Killing (Oppenheimer 13) - A
Stranger by the Lake (Giraudie 12) - B
American Hustle (Russell 13) - C+
The Wolf of Wall Street (Scorsese 13) - C+
Passion (De Palma 12) - B
Hopper has been involved in many terrible projects. That's what's cool about him - he's a working actor. It's a job and a paycheck. And sometimes he does something great.
He loved Secret & Lies and Naked, so I figure he can handle a darker Leigh film. Plus, that's my second favorite of his.
Yep, pretty great - see sig.
It's cool that he's done shitty movies just for a paycheck? There are many things cool about Dennis Hopper, but that's not one of them.
Eh. People got to work. Got to pay for coke somehow.
The Crazies has some good sequences, but ultimately I never really cared about the main characters enough to give a damn about the end result. Also, the "sequel" possibility ending shots are getting pretty annoying.
Timothy Olyphant can make any role work though.
Oh, I have no problem with that either, but I don't think that's what's cool about him. I like him in good roles and good movies more.
I can see where D is coming from, but for an actor with the reputation and career that Hopper had, I think he made some terrible career choices.
I have a hard time understanding why actors like Hopper - or a better example now would be Nicolas Cage, since he's all-out bankrupt - need to do work for money.
The pay they get from a single film is more than most any of us will get in our lifetime.
If you're paid several million dollars for a single film, then a few years down the line you NEED to do some outright terrible movie just for the paycheck, you have terrible money-management skills.
"All right, that's too hot. Anything we can do about that heat?"
"Rick...it's a flamethrower."
$68 million for Eclipse's first day. Jeesus.
Twohy's last was a fine example that this point is true. When it was over I said I would have rather have seen a film built around Olyphant's character.
Fair. Have you seen him in The American Friend? Damn, he's good.
For some reason, this whole phenomenon reminds me of this Korean soap opera, Boys Before Flowers, which was huge in the early part of 2009. Just replace Kristin Stewart with the girl, Geum Jan-di, the vampire boy with Gu Jun-pyo in the centre, and the werewolf boy with the boy on the far right (whose name I forget).
Just because...
The Fabelmans (Steven Spielberg, 2022) mild
Petite maman (Céline Sciamma, 2021) mild
The Banshees of Inisherin (Martin McDonagh, 2022) mild
The last book I read was...
The Complete Short Stories by Mark Twain
The (New) World
Just re-watched this, wow:
"Women keep busy in towns like this. In the cities it's different. The cities are full of women, middle-aged widows, husbands dead, husbands who've spent their lives making fortunes, working and working. Then they die and leave their money to their wives. Their silly wives. And what do the wives do, these useless women? You see them in the hotels, the best hotels, every day by the thousands. Drinking the money, eating the money, losing the money at bridge, playing all day and all night. Smelling of money. Proud of their jewelry but of nothing else. Horrible, faded, fat, greedy women. Are they human or are they fat, wheezing animals, hmm? And what happens to animals when they get too fat and too old? "
Saw more Ruiz. Fell deeper in love. I feel that I should make it a weekly tradition to mention Ruiz in some manner in order to get you guys to seek him out. I will be as annoying as I possibly can without getting the banhammer.
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
Shadow of a Doubt?
If so, I salute you, sir.
I have his film That Day at home now from Netflix, any good? I really want to see Time Regained but for the past few months or so it's been showing up as unavailable on my queue.
Teh Sausage?
Nope
The Beaver Trilogy (Trent Harris, 2000) ****
A chance meeting back in 1979 between a Salt Lake City television station cameraman and a 21 year old “All-American” kid from nearby Beaver, Utah, provides the framework for this compelling documentary/fictionalized reimagining of the self-proclaimed “Rich Little of Beaver” and his inspired quest to appear on TV. The film is composed of three short segments, filmed over a period of several years, and was finally released in 2000. “Groovin’ Gary”, the subject of the documentary, is an affable, charismatic (and most definitely gender-confused) youth who is star-struck at the prospect of fame – to the point where he organizes a local talent show in Beaver for the purpose of providing the film’s director (Trent Harris), with “something memorable.” An understatement. He invites the cameraman to film his preparation -- at the local mortuary – where a bewildered, yet supportive, employee applies his makeup as he begins his amazing transformation in realizing his dream of performing (and being filmed for TV) as his idol, Olivia Newton-John. The original documentary chronicled the event but not the extraneous issues surrounding it, and that’s where the two subsequent fictionalized accounts come in.
Each of these closely mirror the actual documentary – down to exact line readings and sets. But they also seek to shed more light on the “how” and “why”, delving in to topics such as media exploitation and manipulation, filmmaker-subject trust, and the inevitable reaction of the townspeople, which likely had a negative effect on Gary, who, shortly after the initial short was produced, was hospitalized due to a self-inflicted gunshot wound and still distances himelf from the film. The later short films’ portrayal of these scenes certainly lends an air of poignancy and tragedy to the proceedings. The great coup for the filmmaker was in securing the talents of a very young (and at the time unknown) Sean Penn and, later, Crispin Glover, for their interpretations of “Groovin’ Gary”. Penn and Glover’s spellbinding full-drag portrayals of, respectively, Olivia Newton-Dawn and Olivia Neutron Bomb, are simultaneously courageous, sad, hilarious, and utterly surreal.
Highly recommended to anyone here not named Watashi.
Huh?
Sure why not?
STAR WARS: THE LAST JEDI (Rian Johnson) - 9
STRONGER (David Gordon Green) - 6
THE DISASTER ARTIST (James Franco) - 7
THE FLORIDA PROJECT (Sean Baker) - 9
LADY BIRD (Greta Gerwig) - 8
"Hitchcock is really bad at suspense."
- Stay Puft
Did you see that this film was, and still is, on my top 100?
Oh, Davis is totally talking about me, re: Knock Off brilliance. It's a damn smart movie.
Correct!
ritch:
Sorry Wats, 'twas only a good-natured jab at your once steadfast refusal to see the Hairspray remake because it featured John Travolta in drag (tho I seem to remember you've since seen, and enjoyed, it). The prospect of having to endure both Sean Penn and Crispin Glover in drag just didn't seem like your cup of tea.
I did not! Link?
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