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[Snowman Prophet of Doom]

Yeah, I think I'll bow out of this one. As I said, I can't imagine anything coming of the discussion other than the same points that we've rehashed a bajillion times.

Edit: I technically have a Twitter, but I don't even remember what my username is. Unless I become famous, I'm not going to use it, and if I do, I'll use it to make snarky, Louis CK-esque comments.

 

[Meliorism]

Yeah, fucking join Twitter, dummy!

Also, Take Shelter is great. Shame is so much more polarizing but I loved it.

Le Havre is apparently on Hulu+ for those with that.

 

[SCULLIBUNDO]

I've realised another quirk of a favourite poster of mine: Expendable's tendency to compare (read overhype) upcoming films to 2001.

By my count he's done it for Inception, Tree of Life and most recently Prometheus.

 

[Meliorism]

He also likes to slam The Artist at every opportunity.

 

[Discotheque]

Well he does sort of have a point with Tree of Life.

 

[swoon]

Yeah, I think I'll bow out of this one. As I said, I can't imagine anything coming of the discussion other than the same points that we've rehashed a bajillion times.

Edit: I technically have a Twitter, but I don't even remember what my username is. Unless I become famous, I'm not going to use it, and if I do, I'll use it to make snarky, Louis CK-esque comments.

what if your fate was to become famous by using twitter.

 

[Snowman Prophet of Doom]

what if your fate was to become famous by using twitter.

Think CBS can spare a slot for Shit Snowman Says?

 

[Meliorism]

Yeah, I think I'll bow out of this one. As I said, I can't imagine anything coming of the discussion other than the same points that we've rehashed a bajillion times.

Edit: I technically have a Twitter, but I don't even remember what my username is. Unless I become famous, I'm not going to use it, and if I do, I'll use it to make snarky, Louis CK-esque comments.

Use it to chat with fellow gaffers, silly.

Wasn't its pet name Feces My Dad Says?

 

[_Isaac]

He also likes to slam The Artist at every opportunity.

Very true. I guess he feels it needs to be knocked down a few pegs.

 

[Meliorism]

Totally doesn't though. He champions The Descendants instead. Not worth it.

 

[Snowman Prophet of Doom]

Totally doesn't though. He champions The Descendants instead. Not worth it.

The Descendants isn't as good as Sideways, but it DOES have some good moments. The shot during the credits is my dad, 100%.

 

[Meliorism]

I don't dislike The Descendants. I just preferred The Artist. And I haven't seen Sideways in a long time to really compare the two.

 

[swoon]

also sefskillz should post more in this thread, while i'm making requests.

also someone should give me three movies to watch after the rousing success of the last movie swap thing.

 

[Count Dookkake]

also sefskillz should post more in this thread, while i'm making requests.

also someone should give me three movies to watch after the rousing success of the last movie swap thing.

TURKISH DELIGHT

THE FOURTH MAN

FLESH + BLOOD

If you have already seen them, watch them again.

 

[swoon]

TURKISH DELIGHT

THE FOURTH MAN

FLESH + BLOOD

If you have already seen them, watch them again.

i haven't seen flesh + blood and we just watched the first two within the last 4 months so pick two others! i think i've seen most of his films though.

 

[Snowman Prophet of Doom]

Well, I can't promise that I'll be on much - don't even have a phone that can Tweet - but I guess you can hit me up: SnowmanProphet

Edit: and I reiterate my question as to O Lucky Man! A three-hour musical satire starring Malcolm McDowell sounds fucking awesome, but it also sounds like it could be terrible.

 

[Count Dookkake]

SPETTERS

SOLDIER OF ORANGE

 

[swoon]

SPETTERS

SOLDIER OF ORANGE

is diary of a hooker or keetke tippel good? those are the ones i haven't seen. fourth man is my favorite by him.

 

[Count Dookkake]

IIRC, DIARY OF A HOOKER is also known as BUSINESS IS BUSINESS, right?

It's okay. Pretty much a straight up comedy.

I really like KEETJE TIPPLE, although it doesn't seem to get very good reviews. There is something about it I really like, but it would not be fair to discuss until you have seen the film's ending. The actress is smoking hot, too.

 

[Extra Sauce]

Very absorbing movie, keeps you sort of hypnotized throughout its lean 95 minutes running time. It's a bit disjointed and doesn't feel as good as it should have been, but definitely an experience that stays with you after the credits are gone. I liked it.

Also, what is it with

Spoiler

hammer

violence in movies this year?

 

[HiResDes]

I recall Snowy/Swoon debates all the time, and no I'm not being sarcastic

 

[Meliorism]

They're the best. Pity that Ulster doesn't post more. Cool dude and stuff.

 

[ULTROS!]

The Little Mermaid.

An animated masterpiece (I should watch Aladdin, I don't remember finishing that movie).

 

[Snowman Prophet of Doom]

Were I less afraid of my more controversial and/or pitiful posts biting me in the ass someday (acting is a business very dependent on others' perceptions of you, and "Spielberg is a hack" probably won't make me too popular around most parts), I'd give you guys a face pic for this "real pic January" thing so you could associate my verbosity with my giant head.

 

[ThisWreckage]

Why do films not feature a lot of interesting end credits sequences? I've been thinking about this a lot lately. I thought INLAND EMPIRE's end credits was well done.

 

[Meliorism]

Were I less afraid of my more controversial and/or pitiful posts biting me in the ass someday (acting is a business very dependent on others' perceptions of you, and "Spielberg is a hack" probably won't make me too popular around most parts), I'd give you guys a face pic for this "real pic January" thing so you could associate my verbosity with my giant head.

Kinda feel like the whole Spielberg is a hack thing might be something you and swoon could really get behind. But not sure. I really haven't seen too much but I don't really get into the whole sentimental thing that he's kinda built his reputation on.

 

[Count Dookkake]

Why do films not feature a lot of interesting end credits sequences? I've been thinking about this a lot lately. I thought INLAND EMPIRE's end credits was well done.

BILL AND TED'S BOGUS JOURNEY probably has the best.

WILD THINGS has a good one, too.

 

[swoon]

i like some spielberg movies, even at his worse he doesn't bother me that much. some of godard's assertions about him in historie du cinema and in praise of love are pretty on point though.

 

[_Isaac]

Run Lola Run has the credits scroll down instead of up.

 

[Count Dookkake]

Crispin Glover on Spielberg. A classic read.

http://web.archive.org/web/20060503191918/http://thecrispincorner.com/essay.html

 

[Nappuccino]

Kinda feel like the whole Spielberg is a hack thing might be something you and swoon could really get behind. But not sure. I really haven't seen too much but I don't really get into the whole sentimental thing that he's kinda built his reputation on.

Spielberg has a really hard time not pulling back and going for a happy ending by the end of the movie. But i think he has a wonderful cinematic eye and he has the ability to capture adventure like very few other people.

 

[TheKaeptain]

I'm about to watch the third movie in:

 

[Raziel]

Kill Bill

Should've been just one movie. As two volumes, each feels way, way bloated with tons of filler. It's really hard to enjoy because while watching, I can't shake the feeling that every other scene is drawn out 5 minutes too long, unnecessary, and is there to pad out the running time as much as anything (though both end up being overlong). Even with volume one - the 'action' volume - I was just kind of bored with everything between the fights that bookend the movie.

It's really a shame because I feel like between the two volumes there was the content to make a singular great action movie.

 

[Expendable.]

I've realised another quirk of a favourite poster of mine: Expendable's tendency to compare (read overhype) upcoming films to 2001.

By my count he's done it for Inception, Tree of Life and most recently Prometheus.

When a film is so groundbreaking, you can see its influences everywhere, certainly. I can't think of a sci-fi film that *doesn't* at least take a portion from it.

Also, I liked The Artist. It just has NO business being Best Picture, which it will so clearly win. Rides by on charming moments for a pleasing experience but it is a hollow shell of the movies it is emulating.

 

[Nappuccino]

Crispin Glover on Spielberg. A classic read.

http://web.archive.org/web/20060503191918/http://thecrispincorner.com/essay.html

Wait, he implies that the Columbine shooting wouldn't have happened if Spielberg never made his movies?

 

[Meliorism]

When a film is so groundbreaking, you can see its influences everywhere, certainly. I can't think of a sci-fi film that *doesn't* at least take a portion from it.

Also, I liked The Artist. It just has NO business being Best Picture, which it will so clearly win. Rides by on charming moments for a pleasing experience but it is a hollow shell of the movies it is emulating.

Which film do you think should win? Assuming, of course, that it'll be nominated. I know you go to bat for The Tree of Life, but we both know that's not getting nominated.

 

[Expendable.]

Which film do you think should win? Assuming, of course, that it'll be nominated. I know you go to bat for The Tree of Life, but we both know that's not getting nominated.

Yeah, many films I love don't have any sort of shot (Tree of Life, Tinker Tailor, Shame, A Separation). The Descendants is closest to being a real contender and something I really enjoyed. Hugo is on the bubble too. Then there are ones like Moneyball, Midnight in Paris, War Horse, The Help, etc. that were fine and have a better chance then most above, unfortunately.

It was an amazing year for indies, but pics that the Academy usually goes for AND I loved is almost a nonexistent section. There is certainly nothing like The Social Network this year.

 

[brianjones]

you really think the artist will win best picture?

man i have no idea who could win this year

 

[biosnake20]

Just saw the The Debt. Great movie. Great acting, interesting story, and solid action.

 

[mysticwhip]

Into the Wild
Man the ending was sad. fuck man, why couldn't it have been a happy ending?
the starvation thing always get to me man. Partially for the actor's dedication and me thinking about the horribleness of dying by starvation. Hunger did the same thing.

Emile Hirsch is a great actor, why hasn't he been in more films?

Half Nelson
Cool character study. I recognized a couple kids from The Wire as the classmates, they should have chosen one of them to be the lead kid. They're much better actors(Tristan Wilds especially) but I can see why they chose an unknown instead.
Never the less, about the actual movie, I liked it. didn't know why Ryan Gosling's character did the whole attempted rape thing, I know he was high and everything but in the end it didn't really have any impact on the film so I don't really know why it was even there, to end the relation ship? but whatever, character studies do this all the time. I guess it's a way to just show more of the character.

Watching both this and Blue Valentine has made me like Gosling as an actor more and more from initially not liking his face.

 

[overcast]

Fantastic Mr. Fox: So good I almost made a LTTP thread. Insanely clever, awesome animation. I loved the book as a kid, and I enjoy Wes Anderson films. This may be his best.

 

[SCULLIBUNDO]

Spielberg has a really hard time not pulling back and going for a happy ending by the end of the movie. But i think he has a wonderful cinematic eye and he has the ability to capture adventure like very few other people.

Or rather people forget the films where he doesn't go for the happy ending. But I think Snowman's problems with the berg go beyond his sentimental nature. Snowman hated Munich, Schindler's List and Saving Private Ryan. He didn't even enjoy Catch Me If You Can. They're like two positively charged ions. Though as far as I can tell he still enjoys the Indy movies.

 

[AAequal]

Harlan County, USA - Really interesting documentary and gives good insight to whole business about Unions in USA. Among best documentaries I have ever seen. Also I didn't know Unions had it so bad still in the 70s. Crazy.

 

[creativity]

art is the new relgion and has been since WE said i'm not going to belive in god, but i'm going to believe in keats. i know i made that pledge a long time ago and never looked back.

Amen. "Cinema is the secular church of modern life." - Phillip Lopate

also someone should give me three movies to watch after the rousing success of the last movie swap thing.

Well, you've seen goddamn everything according to ICM, but here are some you haven't checked that I liked:

Perceval le Gallois (Eric Rohmer)
Boyfriends and Girlfriends (Eric Rohmer)
Michael (Carl Th. Dreyer)
Syndromes and a Century (Apichatpong Weerasethakul)
The Horse Thief (Tian Zhuangzhuang)
Taipei Story (Edward Yang)
The Woman on the Beach (Jean Renoir)
A nos amours (Maurice Pialat)
Colossal Youth (Pedro Costa)
The Asthenic Syndrome (Kira Muratova)

Pick three or whatever if that's too many. If you'd like to return the favor, I'll watch anything you suggest so long as I can obtain it.

 

[Nappuccino]

Or rather people forget the films where he doesn't go for the happy ending. But I think Snowman's problems with the berg go beyond his sentimental nature. Snowman hated Munich, Schindler's List and Saving Private Ryan. He didn't even enjoy Catch Me If You Can. They're like two positively charged ions.

While I do agree that Spielberg has more non-sentimental films than he is given credit for, that aspect does crop up in some of his more challenging movies. Like the book end scenes in SPR "Am I a good person?" I think, once you see that in him, it is difficult not to see it.

 

[SCULLIBUNDO]

Not in Munich, damn you.

 

[brianjones]

swoon has seen all the movies

 

[Nappuccino]

Not in Munich, damn you.

I didn't say it did. I pointed out SPR specifically.

But when a director has made around 30 movies and only 1-2 of them have no extra sentimentality or happy endings... the 2 that don't fit the mold aren't exactly convincing people to change their minds about a director. Instead they go "Oh, I guess i can do it if he wants to. That's nice" and expect his usual self back for the next movie.

Its just simple conditioning and Spielberg doesn't exactly go out of his way to make us think otherwise.

This isn't inherently bad but it also doesn't mean that everyone will feel positively about it either.

 

[AlternativeUlster]

Hey swoon, finally watched Images by the way. Have VHS copies of Nightshift Nurse and Criss Cross since I was originally just going to watch the Youtube rips since I couldn't find them properly at a video store until recently.

OUT OF FIVE

Goke, The Body Snatcher from Hell - ** 1/2
Take Aim at the Police Van - *** 1/2
Shame - * 1/2
A Dangerous Method - *
Sherlock Holmes: A Book of Shadows - ** 1/2
Beauty and the Beast (1990 something, who cares)- **
Project A-ko - *
Duck Soup - **** 1/2
In a Glass Cage - **
Images - *** 1/2
Midnight in Paris - **** 1/2
Turkey Shoot - ** 1/2

The 3 movies I want to talk about: Shame, A Dangerous Method, and In a Glass Cage. Shame is downright embarrassing to anyone who has had more than 10 sexual partners in their lifetime and feels like what a virgin would write about a sexual addiction. During the end, my girlfriend and I started to laugh with us writing notes to each other that said "I have my shames" in reference to awful line in the awful Doubt. A Dangerous Method feels like a cheap Merchant Ivory with many embarrassing, flustering, unintentional hilarious moments. By the way, I think people at the Violet Crown hate me because I laugh really loud during moments that aren't supposed to be funny. Finally In a Glass Cage which I remember someone bringing up during a Salo debate is nowhere as crass even though it needed to be (one scene was nearly riveting until a moment of overacting that ruined it) and while I enjoyed the atmosphere and even the premise, the hand holding process is tedious and is incredibly dumb. After that I spit on my TV screen and rented 2 more Peter Greenaway films (already rented The Draughtman's Contract) so I can watch some real baroque cinema.

Also, Midnight in Paris was another rewatch and cemented as my favorite film of the year and I will probably go on a Marx Bros run after watching Duck Soup recently too.

 

[AlternativeUlster]

Amen. "Cinema is the secular church of modern life." - Phillip Lopate



Well, you've seen goddamn everything according to ICM, but here are some you haven't checked that I liked:

Perceval le Gallois (Eric Rohmer)
Boyfriends and Girlfriends (Eric Rohmer)
Michael (Carl Th. Dreyer)
Syndromes and a Century (Apichatpong Weerasethakul)
The Horse Thief (Tian Zhuangzhuang)
Taipei Story (Edward Yang)
The Woman on the Beach (Jean Renoir)
A nos amours (Maurice Pialat)
Colossal Youth (Pedro Costa)
The Asthenic Syndrome (Kira Muratova)

Pick three or whatever if that's too many. If you'd like to return the favor, I'll watch anything you suggest so long as I can obtain it.

I'll 2nd Syndromes and a Century. Easily the best Weerasthakul film I have seen so far. I am fucking jealous you have seen Taipei Story by the way creativity.