I was with him (because bad online reporting is a serious problem right now), but then he went and used the C-word.
I was just as confused by the doorman and garbage man quips. Who says that?
I was with him (because bad online reporting is a serious problem right now), but then he went and used the C-word.
I was just as confused by the doorman and garbage man quips. Who says that?
Keeps getting bizarre. A bunch of critics who were there are now insisting on twitter that it was in fact him and that they did hear him say those things loudly. Dana Stevens from Variety was actually sitting at White's table. Filmlinc even posted an audio recording of the heckling.
White responded to this by saying that it's a some kind of a frame-up job and a deliberate smear campaign against him by the critics community.
I don't understand what White is doing here? What good is lying when you did it in a room full of journalists? Maybe he was really drunk so he genuinely doesn't remember saying those things, and why the insults made no sense?
Movie Theater DiaryQuoting Donald Glover
That makes the most sense to me. Although, it's kind of embarassing if you get blacked out drunk in a somewhat professional setting. Yikes.
Armond talks with the Filmcast podcast about this.
http://slashfilm.com/filmcast/?p=894
It's done.
Curious what his presence will be like from now on. They already took him off Rotten Tomatoes two years ago, and he no longer writes for NY Press.
Movie Theater DiaryQuoting Donald Glover
Very good news.
I Listened to the whole podcast with David Chen and it gets really weird around the 25 min mark where he blatantly goes out of his way to say he "didn't hear" the heckle and he also wants David Chen to define what a "heckle" is....
Just a strange man...
Largely harrowing as a work. The length that the film devotes to Solomon's "hanging" is likely the strongest moment for me--it records the passage of time and inability of the rest of the plantation to care, as they've been conditioned to expect such cultural logic as natural. That kind of scene is its own capsule.
I do agree that the big name actors become distracting when their characters aren't given enough time to be truly lived-in. Fassbender avoids that issue, and so Cumberbatch. Giamatti and Pitt less so. Further, the lack of time signifiers likely deny our ability to clearly mark time and feel confident that Solomon only has _____ until he's rescued, but the film did need a little more age makeup or some other form of transformation. The passage of the years felt a little too unrecorded.
I did think that the way the film records religious defense, and later accusations against that same defense, was one of its strong suits. Likewise, I found Lupita Nyong'o and Sarah Paulson gave the strongest, most dynamic performances.
The Boat People - 9
The Power of the Dog - 7.5
The King of Pigs - 7
It's amazing. The adults walk by and you assume they are afraid to show concern for fear or retribution, but then you seen the children playing in the background and realize it's just routine for them. Chilling.Quoting dreamdead (view post)
I had similar problems with it. There's a slow buildup here that I resented because it's manipulative. You'd have to be inhuman not to react to this stuff, but I also feel depicting it in this way is, similar to [I]Schindler's List/I], going after low hanging fruit. (Congratulations, Mr McQueen. You got audiences to flinch at barbourous human cruelty.)Quoting Qrazy (view post)
The scenes on Cumberpatch's estate said more than the rest of the film. And Cumberpatch was the most interesting character in the whole movie -- here's a guy who seems to he morally good but at the same time has no problem benefitting from what he knows to be a deeply evil system.
My biggest problem is that film was more descriptive than dramatic. As a protagonist Solomon is incapable of making meaningful choices because of his position in this world. His tiny arc is a good one. Breaking the violin, burning the letter, singing along the other slaves at graveside were all meaningful moments -- but are they enough?
I dunno. This is a simple movie about a complicated topic and I don't know how to react to it, or what to think.
Schindler's List had a more complicated conflict to the protagonist though. Solomon Northup just needed for himself to escape.
I love the movie, but Schindler's List sticks out as the better movie to me for this reason.
Upon further thinking, if 12 Years A Slave went the SL route, it would have made its main character Benedict Cumberbatch, and that would've been pretty ridiculous actually.Quoting Ezee E (view post)
I totally disagree. A lot of themes are inherent in the original story I'm sure, but I read a lot of metaphors in the film into the death of creativity and the death of identity vis-a-vis a capitalistic system. I'm sure this appealed to McQueen as an artist as well. I think anyone who is part of a "creative class" has had that moment where their art has to be thwarted or perverted for the sake of business or has had their identity diluted for the same reasons. Obviously this isn't nearly as horrid as it was in the antebellum south but it exists as a powerful metaphor all the same.
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'd buy into that more if this wasn't positioned on a true story based on a personal memoir, and it wasn't so exceedingly violent.
Also, I know didn't intend it this way, but even the faintest comparison between the problems of bourgeois artists and 400 years of enslavement and death reads as crass and myopic.
Edit: Glancing at Northrup's wiki page, the details of his life, including his kidnapping, are straight from his own book.
I'll buy the death of an identity, but you're reaching here.Quoting Pop Trash (view post)
The destruction of his violin = creative suicide of an artist.Quoting Ezee E (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 personally find Schindler's List much more formally remarkable but I agree in terms of their approach to similar thematic material and both also possess a certain sentimentalism.Quoting Irish (view post)
I think overall I just didn't buy it a historical document. It felt more like a cinematic essay to me than a realization of the time period. And fair enough, I can count on one hand the films that feel historically genuine. It's certainly one of the hardest realms of storytelling to pull off.
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+
"Cinematic essay" is a good way of putting it, but I'm not sure that makes it a bad film, either.Quoting Qrazy (view post)
The subject matter is rarely addressed with such detail and intelligence, and I really loved McQueen's spartan approach. Those elements alone make it a far cut above most of what comes out of Hollywood.
Well yeah, it's all relative. Compared to most Hollywood films it's certainly better. But while it's not a bad film in a formally objective sense I don't consider it a good film either.Quoting Irish (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+
I gave this a Nay. Perhaps it's excessive as it's not altogether a bad movie - just incredibly boring and disappointing. Agreed that the "big actor cameos" got embarassing after a while, particularly Pitt's character which is just too ill conceived.
Also, has anyone noticed how this is straight up exploitation material filtered through the polish of high profile filmmaking? In its eagerness to show extreme, painful and hardcore moments, it reminded me more of something like Christiane F. or Thriller than "serious" prestige cinema.
American slavery was exploitative, extreme, painful, and hardcore.Quoting Grouchy (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 know, but I feel that the kind of cinema this movie belongs with used to be classified as exploitation in any other decade. Now it's on top of the mainstream, winning the goddamn Oscar.Quoting Pop Trash (view post)
Mind you, this isn't a negative criticism of the film, just an observation. My negative criticism is that it's boring.
No it didn't.Quoting Grouchy (view post)
TV Recently Finished:
Catastrophe: Season 1 (2015) A
Rectify: Season 3 (2015) A-
Bojack Horseman: Season 2 (2015) A
True Detective: Season 2 (2015) A-
Wayward Pines: Season 1 (2015) B
Currently Playing: Viva Pinata: Trouble in Paradise (replay) (XB1) / Contradiction (PC)
Recently Finished: Everybody's Gone to the Rapture (PS4) A+ / Life is Strange: Ep 4 (PS4) A / Bastion (replay) (PS4) B+
Yes it did.Quoting EyesWideOpen (view post)