Those shots were stunning, btw. Also that commentary is funny.
Those shots were stunning, btw. Also that commentary is funny.
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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?
Everything comes back around! Jordan Peele's Get Out was the first commentary I listened to in at least a year and it's super strong too! (As well as the deleted scenes and his discussion of those.) Also The Disaster Artist release that just came out is sure to be crazy as its commentary is by the two Francos with Greg Sestero and Tommy Wiseau.Quoting Peng (view post)
Naturally, as CMBYN is my favourite film of last year, I'm gonna need to own and listen to this soon.
Last 11 things I really enjoyed:
Speed Racer (Wachowski/Wachowski, 2008)
Safe (Haynes, 1995)
South Park: Bigger, Longer & Uncut (Parker, 1999)
Beastie Boys Story (Jonze, 2020)
Bad Trip (Sakurai, 2020)
What's Up Doc? (Bogdanovich, 1972)
Diva (Beineix, 1981)
Delicatessen (Caro/Jeunet, 1991)
The Hunger (Scott, 1983)
Pineapple Express (Green, 2008)
Chungking Express (Wong, 1994)
This wasn't quite as special for me as others found it. There's a meandering quality to this one that I expect makes it extraordinary for those who are 100% on its wavelength, but there were two or three instances where I waited for a scene to end the film only for it to continue. Guadagnino has perhaps his most successful direction here--even though I prefer the bombastic nature of I Am Love over this one--and the piano score works.
If anything, I felt that Armie Hammer's character needed to be doing some more scholarly to justify the time in Italy; I realize that research is perhaps the least cinematic thing to be doing, but the film never truly established Hammer's credentials as a graduate student since there's so little of his professional work embedded in his time there. There's enough of an instance to establish the profession, but not in any depth or actuality. For a film that otherwise so clearly cares about moments, it was odd that there wasn't more of one on this front.
The Boat People - 9
The Power of the Dog - 7.5
The King of Pigs - 7
I think there's enough of it in there, especially when it's certainly not the focus of the story. The discussion about the origins of the word apricot, the visit to the statue coming up out of the water, his various talk about papers printed off down in the square, etc., are meant to hint at that side. Plus they get to include snippets like that with the Perlmans and Elio around to also serve as character moments or push the relationships along at the same time.
"How is education supposed to make me feel smarter? Besides, every time I learn something new, it pushes some old stuff out of my brain. Remember when I took that home wine-making course and forgot how to drive?"
--Homer
I feel similarly; it was fine for the most part, but was still a somewhat overly low-key experience for the most part, and it didn't really get emotional until the final 15 minutes, which were enough kicked the film up a notch for me (although I still didn't like it as much as I hoped to). Then again, it's a lot like the other, more "slice-of-life" Best Picture noms from last year (like it, Phantom Thread or Lady Bird) in the sense that I "just" liked them, and didn't love any of 'em, while the more fantastical noms like Dunkirk, The Shape Of Water, or even the rather divisive Three Billboards, I felt more fondly towards all of them, but I guess that just goes to show you, there's no predicting when and if you'll line up personally with overall critical consensuses, y'know?Quoting dreamdead (view post)
Obviously I love it, but I'm still wrapping my mind around Phantom Thread being described as "slice-of-life".
Midnight Run (1988) - 9
The Smiling Lieutenant (1931) - 8.5
The Adventures of Robinhood (1938) - 8
Sisters (1973) - 6.5
Shin Godzilla (2016) - 7.5
When compared to Dunkirk, Three Billboards, or Shape Of Water? Absolutely, as far as I'm concerned.Quoting Peng (view post)
Watched it a third time. The film climbs up in three viewings from great (9/10), added admiration after reading the book (9.5/10), to finally full-on adoration as one of my all-time favourites now (10/10).
My second watch (one month after the first) was focused on how much impact the it had on me in seeing Ivory's powerful adaptation choices for the third act. The distance of two years later though finally boosts the film into its own thing. It retains that magical first impression and the lingering raw power added after reading the book, but now stands unique and tall as a cinematic snow globe of pure summer bliss.
The film has that rare quality of an absolute favourite by being very familiar, yet every time you return to it you keep finding new fresh details to enrich the experience further. This time I'm wrecked by the tiniest movements and looks in Oliver's increasingly halting manner throughout the film, and by Mrs. Pearlman's amusedly knowing smiles and glances towards a blossoming relationship, which are nevertheless completely loving, always ready to be there anytime her son might need her. The languorous pleasure of a perfect holiday with the haunting power of a deep remembrance; maybe the most bittersweet hangout film ever made.
Midnight Run (1988) - 9
The Smiling Lieutenant (1931) - 8.5
The Adventures of Robinhood (1938) - 8
Sisters (1973) - 6.5
Shin Godzilla (2016) - 7.5