Charles Foster Kane
Rosebud
Almost. I'm a very emotional guy lol. Very good acting during that scene. Will do, yeah I got the dvd.
Weird. I haven't posted there.
Movies You've Seen Recently: Return of the Revenge of the Curse of the...
- Thread starter Cosmic Bus
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Almost. I'm a very emotional guy lol. Very good acting during that scene. Will do, yeah I got the dvd.
Weird. I haven't posted there.
SCULLIBUNDO
Banned
Oh fuck Warlock scared the shit out of me as a kid. I remember I was even trembling while playing the videogame on the Genesis/Megadrive. Did you ever watch Warlock II: Armageddon? I think that might have been even worse, but I can't remember. I think I was like five or something when I saw that movie.
Charles Foster Kane
Rosebud
lol. I completely forgot. Thanks!
It was actually Warlock II: The Armageddon! Fucking scared me. There was a scene with one of those magic trick knife coffins, another one where he ran over a bunny and one where he turned a guy into a triangle or something lol. Nightmares right there. I was like 7 and not usually exposed to violence. It was burned to my subconscious. Never forgot the telekinesis knife either.
That thread actually got me to try to remember movies I watched as a child, but I forgot I posted anything in it. It was hard finding out the name for The Gonnies. I loved it, but didn't know it's name. Google searched the hell out of it.
Dragoon En Regalia
Member
Slacker (Linklater)
Slacker would have done better if the marketers pinned it as a road movie and not a full-blown comedy. Not only does it not fit the literary definition of comedy, it doesn't strive for the kind of blunt humor most comedy films go after. Linklater's film precedes Tarantino's first by a year, yet Slacker's approach to divulging monologues and dialogues on how pop culture has become a new cultural medium is long-winded and demands attention. Because the movie dives in and out of interconnected segments, each corresponding to an overall theme (essence vs. existence; cognitive dissonance; the importance of JFK's assassination relative to the relevance of a Madonna pap smear), nothing ever feels fully developed. This is the difference between Reservoir Dogs and Slacker: the former uses non-linear structure for its plot, while the latter doesn't need a plot. It sticks to nebulous thematic connections; I certainly prefer Tarantino's decision, since Linklater took on a more ambitious subject field in a more obtuse manner for his sophomore feature.
It's not that Slacker doesn't provide interesting commentary on life in Austin—in middle-class central Texas, really. But directors like Linklater ought to care more for how segments transition into one another. Some sequences in Slacker follow one another with complete disregard for themes previously presented. One vignette might deal with a young man's selfishness compared to his girlfriend's selfless-ness; immediately following that comes a brief moment with a JFK conspiracy theorist! It's one thing to demand concentration from eager viewers, but it's another to go off of a tangent without having a point to said editing choice. It defines the film not through plotted acts, but through sketches of varying efficacy, all sketchy standalone. Metaphorical travel movies like Slacker should have no problem avoiding this problem, but Linklater's savvy mix of Bresson, Ray, and Antonioni suffers from it big-time.
That's the only flaw I can think of, though. Everything else in Slacker services a unique vision of privileged Americans, college drop-outs, and plain strange people. The cinematography ensures that viewers never find intimacy in the film's subjects, instead keeping a steady distance at all times. The non-actor actors play themselves effortlessly, as if the camera were but a fly. And, when it works, the story format teases details and leaves the actions of local Austinites up to interpretation, just the way I like it. Slacker injects its own abstraction into what would otherwise be a people's documentary. Linklater succeeds in creating contrasting moods that accurately portray the variety and spice of life found in a sweaty, throbbing city like Austin. It has one of my favorite endings, where both construction (the camcorders recording) and destruction (the man ditching his camera into a lake) of viewpoints meet in one abrupt climax.
Joe Bob sez check it out!
***
Slacker would have done better if the marketers pinned it as a road movie and not a full-blown comedy. Not only does it not fit the literary definition of comedy, it doesn't strive for the kind of blunt humor most comedy films go after. Linklater's film precedes Tarantino's first by a year, yet Slacker's approach to divulging monologues and dialogues on how pop culture has become a new cultural medium is long-winded and demands attention. Because the movie dives in and out of interconnected segments, each corresponding to an overall theme (essence vs. existence; cognitive dissonance; the importance of JFK's assassination relative to the relevance of a Madonna pap smear), nothing ever feels fully developed. This is the difference between Reservoir Dogs and Slacker: the former uses non-linear structure for its plot, while the latter doesn't need a plot. It sticks to nebulous thematic connections; I certainly prefer Tarantino's decision, since Linklater took on a more ambitious subject field in a more obtuse manner for his sophomore feature.
It's not that Slacker doesn't provide interesting commentary on life in Austin—in middle-class central Texas, really. But directors like Linklater ought to care more for how segments transition into one another. Some sequences in Slacker follow one another with complete disregard for themes previously presented. One vignette might deal with a young man's selfishness compared to his girlfriend's selfless-ness; immediately following that comes a brief moment with a JFK conspiracy theorist! It's one thing to demand concentration from eager viewers, but it's another to go off of a tangent without having a point to said editing choice. It defines the film not through plotted acts, but through sketches of varying efficacy, all sketchy standalone. Metaphorical travel movies like Slacker should have no problem avoiding this problem, but Linklater's savvy mix of Bresson, Ray, and Antonioni suffers from it big-time.
That's the only flaw I can think of, though. Everything else in Slacker services a unique vision of privileged Americans, college drop-outs, and plain strange people. The cinematography ensures that viewers never find intimacy in the film's subjects, instead keeping a steady distance at all times. The non-actor actors play themselves effortlessly, as if the camera were but a fly. And, when it works, the story format teases details and leaves the actions of local Austinites up to interpretation, just the way I like it. Slacker injects its own abstraction into what would otherwise be a people's documentary. Linklater succeeds in creating contrasting moods that accurately portray the variety and spice of life found in a sweaty, throbbing city like Austin. It has one of my favorite endings, where both construction (the camcorders recording) and destruction (the man ditching his camera into a lake) of viewpoints meet in one abrupt climax.
Joe Bob sez check it out!
***
Dragoon En Regalia
Member
Thank you for the correction.
Dragoon En Regalia
Member
It's in the works. The only other Linklater I've watched is Dazed and Confused, so I oughta get crackin'.
I think Before Sunrise/Sunset are his best so far, I haven't seen Suburbia, but that's the only one. Slacker and Waking Life are very scattered films, but it's by design, I'm sure you'll find his other films a lot more cohesive.
Plow is a very interesting film, Linklater has a reputation for this conversation heavy style of films, but Plow has almost no dialogue at all, it's a travel log and loose commentary of life in Austin.
Plow is a very interesting film, Linklater has a reputation for this conversation heavy style of films, but Plow has almost no dialogue at all, it's a travel log and loose commentary of life in Austin.
Femmeworth
Banned
I watched Tape a while back and it was quite good, minus the early digital camera visuals. So many of his films I still need to watch.
I watched How To Train Your Dragon earlier. It's alright, it actually reminds me a lot of Brave. It's about the rocky relationship between child and parent, the parent tied fast to tradition, the child having developed a moral code that differentiates them from their upbringing, and the eventual turn around of the parent. They even look similar. I imagine that's possibly offensive to some people, in terms of the traditional Scottish attire versus Vikings, I have no idea, but they're certainly very similar to me.
Although I primarily watched it because I was looking to see if I wanted to get it on 3D BluRay, I'm glad I gave it a chance, because I haven't seen a DreamWorks animated film for a while, and although I know the general belief seems to be they pale in comparison to Pixar, and certainly this is no exception, they're very much stepped up their craft since the days of Chicken Run and Shrek, both of which are wretched rubbish.
I was disappointed to see there is a sequel, and sequel to that sequel, already announced. I don't know exactly what it is that I find so irritating about sequels to animated films, but it's an instance turn off for me.
Although I primarily watched it because I was looking to see if I wanted to get it on 3D BluRay, I'm glad I gave it a chance, because I haven't seen a DreamWorks animated film for a while, and although I know the general belief seems to be they pale in comparison to Pixar, and certainly this is no exception, they're very much stepped up their craft since the days of Chicken Run and Shrek, both of which are wretched rubbish.
I was disappointed to see there is a sequel, and sequel to that sequel, already announced. I don't know exactly what it is that I find so irritating about sequels to animated films, but it's an instance turn off for me.
Charles Foster Kane
Rosebud
Am I the only who disliked How To Train Your Dragon around here? Many love it, I didn't think it was anything special, maybe for message sake for kids or something. It was entertaining, and better than general Dreamworks stuff, but too contrived. Then again, maybe I'm being overly critical. The animation was cool though.
The sequel thing is really unnecessary.
The sequel thing is really unnecessary.
Starting to annoy me too. It seems every successful animated movie is getting a sequel now.
On the horizon, we have:
Monsters University (Pixar)
Finding Nemo 2 (Pixar)
Cloudy With a Chance of Meatballs 2 (Sony)
Despicable Me 2 + Minions spinoff (Illumination)
Kung Fu Panda sequels (Dreamworks)
How To Train Your Dragon sequels (Dreamworks)
Madagascar 4 (Dreamworks)
Rio 2 (Blue Sky)
Possible Wreck-it-Ralph sequel (WDAS)
Then again, I am a hypocrite as I'm anticipating HTTYD2 the most among Dreamworks future output.
Tangled is on UK TV at the moment, but I just watched it again a few days ago, or I'd be watching it now.
The one that concerns me, and so far there's no reason to know it's going to happen, but if Pixar do Wall-E 2, I'm going to be royally pissed.
TheKaeptain
Banned
Marry Django Unchained Day film-gaf!
Charles Foster Kane
Rosebud
We already got Finding Nemo 2 which is similarly upsetting. Damn movie didn't need a sequel (just like Monsters Inc, but that's a prequel). The only Pixar movie that I thought asked for a sequel was The Incredibles. I can't believe we got fucking cars 2 first.
No need to worry, I think. Even in today's sequel happy atmosphere, they won't be crazy enough to do it.
Aye dude I've just finished watching it. I can't believe I've never seen it.
Net_Wrecker
Member
The Passion of Joan of Arc (1928) (Carl Theodor Dreyer): The camerawork in this really took me by surprise for something so old. All the super close ups, low angle shots, pans, etc. seemed way ahead of their time. Maria Falconetti's performance lived up to the hype as well, but it's the score, Voices of Light, that really took this up a notch. Amazing music. The first ~50 minutes is just great track after great track.
Indeed, although I said I'm against it, that's because most of them leave no serious need for follow ups, but The Incredibles is a great exception, that feels like it was meant to be a serialized thing. I'd welcome a sequel, or even a very good TV series.
Now?
Feels worse now because even the less prominent animation studios are getting in on the act. Sony and Illumination have only made a few movies so far yet are already proceeding with sequels and spinoffs off their most successful film. And in the case of Blue Sky, it seems that half of their output are sequels.
And of course Pixar are making a whole bunch of pre/sequels now after a run of 7 original films between Toy Story 2 and 3.
I hated it. The characters were obnoxious (those US teenager stereotypes ... ugh), the plot didn't make any sense. If I was in a situation where my village was routinely demolished by dragons I would beat the kid who was trying to make friends with one senseless. My sense of disbelief kept crashing to the earth due to the constant stupidity of the characters. I only watched half of it before I turned it off. Waste of money. I don't understand why it was a hit while Brave (a far better movie) did only so so.
Femmeworth
Banned
I don't love it, but I quite like it. The script leaves things to be desired, but the direction makes up for it.
Extra Sauce
Member
Killer Joe: For my money Matthew McConaughey's best performance yet, with one of the most disturbing scenes I've seen on film in a long time.
Rust and Bone: The
scene made me go "fuck that movie" for a second there. Like how much
But then
had me bawling my eyes out, and I started seeing the aforementioned scene as a metaphor for Ali's entire life/persona; a hazardous penchant for recklessness redeemed by exceptional mental (and physical) strength.
Rust and Bone: The
frozen lake
bad luck can you throw at your characters before your movie starts feeling implausible.
the cathartic phone call at the hospital
abolisher6812
Member
I finally saw How To Train Your Dragon. I really liked it. I found the score to be quite remarkable.
That's hardly a fair depiction of the story. He doesn't set out to befriend the Dragon, he attempts to kill it. He doesn't out of compassion.
SCULLIBUNDO
Banned
45 mins till I finally see The Hobbit!
48fps?
SCULLIBUNDO
Banned
Well, I could have seen you opting for IMAX. I was sure 48fps was in your future, just not so immediately.
I'll be interested to see your impressions, it's pretty remarkable.
SCULLIBUNDO
Banned
These days I will never opt for IMAX unless the film has been shot for IMAX.
Maybe I'm misremembering, but you favored the saturation/brightness of the Avatar at the IMAX over the alternatives, right? If so, what changed your mind since?
SCULLIBUNDO
Banned
The massive amount of cinemas that have become digital since then. Anyway, leaving now.
Watched The Breakfast Club and Donnie Darko for the first time.
Loved both movies, and I must say that Donnie Darko was fucked up. I kinda had some previous insight on the movie and knew what it was sort of about so it may have helped my experience, because what I've read about it is that people who watch it without knowing anything get lost and not end up enjoying it.
The Breakfast Club was a nice light movie, somewhat depressing, but enjoyable none the less.
Going to see Django tonight....expecting great things.
Loved both movies, and I must say that Donnie Darko was fucked up. I kinda had some previous insight on the movie and knew what it was sort of about so it may have helped my experience, because what I've read about it is that people who watch it without knowing anything get lost and not end up enjoying it.
The Breakfast Club was a nice light movie, somewhat depressing, but enjoyable none the less.
Going to see Django tonight....expecting great things.
BassForever
Member
Saw Les Miserables just now, great film even if Crowe needed about 19 years of singing lessons before he was cast in the role of Javert.
HTTYD had a lot more interesting ideas concerning character design and art direction, but overall Brave has a much better execution. That hair simulation technology is astounding.
Chastain was what really sold me on ZDT.
Chastain was what really sold me on ZDT.
Yeah, I really liked her in The Tree of Life. I wasn't interested in the subject matter before hand, and remember dismissing the film when I first saw the trailer. I liked The Hurt Locker though, and was really surprised at how much I liked ZDT. The bin Laden scene was intense, but maybe because I'm one of those movie goers that let themselves get completely immersed into the film.
Technosteve
Banned
i wished i could of saw django unchained on film
Illithid Dude
Member
Just finished watching The Killing of a Chinese Bookie. Jaw dropping, incredible, borderline experimental film. I loved it.
AlternativeUlster
Absolutely pathetic part deux
Is there a best films of 2012 thread yet?
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