28 Film Discussion Threads Later

[MadMan]

I've only seen 12 Angry Men (sad, I know-I'll get to the other two eventually, honestly!) but those covers are amazing.

Thanks to Icine, I've grown tired of rating the Coens Brothers movies. Especially since I still have much to view from them anyways.

[Ezee E]

Sucks for the 12th man that gets a Criterion sticker covering his face.

[MadMan]

Guess they didn't think he was too important.

[Yxklyx]

...
I want them all.

I'm very lukewarm on blu-rays now. They don't seem to have a good lifespan - any little smudge can ruin them. I rented Bleak House on blu-ray from Netflix - towards the end of the first disk it would get stuck. I looked at the disk for a very long time and could see nothing at all wrong with it. Went to the local store and rented the DVDs and watched the rest of the series on that format and the experience wasn't any less. Sure, when you compare the two side by side, blu-ray looks better but I find the movie watching experience nearly the same.

[MadMan]

I'll consider getting Blu Ray when the players finally go down a lot in price. The Blu Ray DVDs are reasonable enough, but the players are still too goddamn expensive.

[Boner M]

Criterion have been very yawn lately.

[B-side]

Criterion have been very yawn lately.

Tell me about it. We really needed another release of 12 Angry Men, huh?

[Watashi]

Tell me about it. We really needed another release of 12 Angry Men, huh?

Another? What the hell are you talking about?

[B-side]

Another? What the hell are you talking about?

There are already two R1 DVDs for it with great prints. It's Hollywood canon, it would've gotten a Blu-ray release or two by one of the major companies. I'd prefer Criterion focus on releasing films that actually need R1 releases, and films that wouldn't otherwise be top priority for release on Blu.

[Rowland]

Southern Comfort (Hill, 1981) ***½

I found the first half or so of this pretty grating, but it picks up considerably once the focus shifts from the badly written assholes walking circles in a thicket to the brilliantly orchestrated set pieces of the second half.

[transmogrifier]

I found the first half or so of this pretty grating, but it picks up considerably once the focus shifts from the badly written assholes walking circles in a thicket to the brilliantly orchestrated set pieces of the second half.

The ending sequence is awesome. But I like the first half as well.

[Boner M]

The first half is functional; only Keith Carradine emerges as a distinctive character and that's probably just from the presence he carries over from the Alan Rudolph films he's been in. The second half is murky, visceral, relentless grind in the best way possible, and the climax (particularly the cross-cutting emphasising alternately the violence and warmth of a culture existing in close proximity) is indeed awesome.

Cajun man's "KIIILLLL HIMMM" during the Powers Boothe/Fred Ward knife-fight is one of the most blood-curdling movie screams ever.

[Winston*]

Any recommendations for good Japanese films about the war or that have stuff in them about the war?

How about these?

Story of a Prostitute
Children of Hiroshima
Insect Woman

[B-side]

How about these?

Story of a Prostitute

This one's not bad.

[Boner M]

Insect Woman

I'll vouch for this, as well as Imamura's Pigs and Battleships.

[Raiders]

The first half is functional; only Keith Carradine emerges as a distinctive character and that's probably just from the presence he carries over from the Alan Rudolph films he's been in. The second half is murky, visceral, relentless grind in the best way possible, and the climax (particularly the cross-cutting emphasising alternately the violence and warmth of a culture existing in close proximity) is indeed awesome.

Cajun man's "KIIILLLL HIMMM" during the Powers Boothe/Fred Ward knife-fight is one of the most blood-curdling movie screams ever.

Still my favorite of Hill's films (with The Driver and The Long Riders close behind). But then again I really need to see Streets of Fire and Crossroads.

I'm stoked that he has finally starting shooting a new film, despite starring Stallone and sounding very blah.

[Boner M]

But then again I really need to see Streets of Fire

Oh man, ya gotta. Just a ton of fun; I know Derek things really highly of it too.

The Long Riders is next on my itinerary.

[Qrazy]

How about these?

Story of a Prostitute
Children of Hiroshima
Insect Woman

First and last are quite good. Second is adequate.

Gate of Flesh is Suzuki's best, and that's about the post-World War II Japan.

[Qrazy]

The Long Riders is next on my itinerary.

It's good.

[MadMan]

I've only seen some of The Long Riders. Southern Comfort is a priority, as is The Driver. I rather liked and enjoyed Streets of Fire-I'm sure Raiders will dig it a good deal.

[SirNewt]

If the Hallmark of a good documentary is the ability to manipulate you emotionally then "Bangkok Girl" is a genre masterpiece. If it's to illuminate a subject you may be unfamiliar with in an exciting way, then it's kinda crappy.

[B-side]

Southern Comfort (Hill, 1981) ***½

Grabbed this after you guys praised it and I enjoyed The Driver. By the looks of this download, I may not get to it for a few days, though.

[SirNewt]

The Killing



If during the last five minutes of Kubrick's 'The Killing' you're still wondering what is going to happen, you probably just need to watch more film noir. And that sentiment underscores the entire film. Everything is characteristically film noir and not necessarily Kubrick. Maybe I'm showing a lack of perspective when I come down on this film for reveling in tried and true tropes. I go back and forth between thinking, that this is a well constructed genre piece, and thinking, "how many marginalized gangsters can I see get gunned down or arrested simply because of fate or worse because crime doesn't pay." The ending, in particular, seems lazy. Other directors have gotten away with worse. But this is Stanley Kubrick. He ought to have known better! Perhaps, other directors would've received a pass from me and that is unfair.

When we discuss film. we often associate homage with attentiveness, passion, and tradition. We also often associate imitation with laziness, unawareness, and cynicism. And then we draw a line between the two. 'The Killing' lands pretty squarely on that line. Which makes it difficult to take apart.

When I look at the streak of films Kubrick will begin after this, it becomes difficult for me to accuse him of those traits we often attach to imitation. Overall, 'The Killing' is a good film noir, maybe even a great one. The film's themes are about at the end of their Hollywood lifespan and they're looking threadbare.

There are still a handful of reasons to watch 'The Killing'. It has a charismatic lead, who's character I might've liked had I got know him a little better. The film has a fantastic plot curve, [

Show Spoiler

where about half the film's cast die in one scene.

] And, it features a very well constructed heist, which I enjoyed, even though films like 'Rififi' have already overindulged my planning fetish. But, if you're expecting that later Kubrick, meta-level, you might be disappointed.

[soitgoes...]

I am going to make it a point to go to the theaters in every country I visit. I saw Green Lantern, and the cultural aspect actually made the overall experience enjoyable.

[Yxklyx]

John Schlesinger's Sunday Bloody Sunday is impeccably crafted, one of his best. The subject matter though (love triangle with Peter Finch and Glenda Jackson in love with the same man) didn't grab me much. Still, this is a must see film for most people in this forum. Excellent performances from Finch and Jackson - gotta re-watch Network now.

Note: the title is pretty misleading for Americans - there's no blood or violence at all.