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[Charles Foster Kane]

Been years since I've seen Gigi, thought Going My Way was alright, Chariots of Fire....eh, Gump sucked, liked Crash but it didn't deserve to win

Gigi is just a bore. Going my Way is alright, just meh.

 

[xXBetter Off DadXx]

"Do you want me to stay"

"Yes"

"Do you want me to go?"

"Yes"

"You say yes to whatever. Are you stupid?"

"Yes"

Just got done watching my first Goddard film, A Woman is a Woman; really, really enjoyed it. I was impressed how he managed to integrate the score in such a unconventional way, and it worked. Same with those breaking the fourth wall moments, which if not done well, can come off terribly; here they worked really well I thought.

Oh yeah, and I'm most definitely in love with Anna Karina.

Rewatched The Master I seriously love this film.

I find it very rare these days that I want to rewatch a film so soon after first seeing it, but I saw The Master for the first time about two weeks ago, and I find myself really wanting to watch it again.

 

[luso]

Schindler's List

And with that, I have finally seen all the Best Picture winners......I really should get out more

Anyone already saw/want to see every Palm d'Or winners? Now that would be a challenge!
Edit: Actually I saw 23/86

Oh yeah, and I'm most definitely in love with Anna Karina.

I demand a duel!

 

[Discotheque]

palm d'or winners were much better choices than the oscars for the past few years.

 

[Divius]

The Spiral Staircase - Very dated and not very thrilling, but it still works. Beautifully shot and well acted with a nice ending. Also; if you are a mute and your only way of communication is writing you might want to work on getting nicer handwriting than this: http://i.imgur.com/IbyrnVs.png I mean, come on lady put some effort in it ***
Hak hap AKA Black Mask - Great choreography and fightscenes ruined by shitty directing/writing **
The Limey - It took me a bit to get used to the weird editing but it did gave the movie an unique vibe. Terrence Stamp was terrifying. One of the better Soderbergh movies I have seen, up next: Sex, Lies and Videotape + Traffic ****
Elephant - If you were to remove all the shots of people walking down hallways you'd have about 15 minutes of film left **

I find it very rare these days that I want to rewatch a film so soon after first seeing it, but I saw The Master for the first time about two weeks ago, and I find myself really wanting to watch it again.

I watched it twice in one week. First I went in blank, after watching I read some reviews/articles and then rewatched the movie if I could discover new qualities to it.

 

[OfWhiteSkinOnRedLeather]

"Do you want me to stay"

"Yes"

"Do you want me to go?"

"Yes"

"You say yes to whatever. Are you stupid?"

"Yes"

Just got done watching my first Goddard film, A Woman is a Woman; really, really enjoyed it. I was impressed how he managed to integrate the score in such a unconventional way, and it worked. Same with those breaking the fourth wall moments, which if not done well, can come off terribly; here they worked really well I thought.

Oh yeah, and I'm most definitely in love with Anna Karina.

Awesome! Glad you liked it. It's definitely one of my favorite films. As for Anna Karina; you and every other man in the world, so get in line, buddy!

 

[Dead Man]

Killer Joe - Well. That certainly didn't go where I expected it. Saw it described as a 'Southern Gothic black comedy crime film' and I expected some dark laughs. I won't go into it too much, but lets say there is not much comedy (black or otherwise) or Southern Gothic, and a whole lot of 'watch the persons face explode in blood and (mild story spoilers)

Spoiler

'lets sell my sister as a sex slave'

.

Gina Gershon was great, after her ridiculous introduction. Really diappeared into the role. Thomas Hayden Church was good as a bumbling redneck with no real antipathy towards anyone, but no empathy either. Matthew McConaughey was fantastic as Killer Joe. Very understated, very creepy. The rest of the cast was fair to middling.

The movie itself suffered from some not very believable characters and dialogue and it seems like it was edited funnily, seems almost like there were a couple scenes that just got left out.

After all that it was still worth watching, it was just a lot more brutal and a lot less funny than I expected. Probably a 3/5

 

[BioHazard]

Wow, last night I saw Leviathan in theaters. It is honestly one of the most stunning films I've seen in a while. It is a documentary, but it is so unlike an other doc, it more of like a stock footage film actually. There is no dialogue, conflict, plot, interviews, narration . It follows a fishing ship out of Bedford, MA and, well, just films them doing their job pretty much. The camerawork is amazing, it is all in this hyper-upclose, detailed, almost "Go-Pro" like filming style, and you get to see some amazing shit (sometimes you don't even know what you are looking at for a while).

It has like the best unintentional cinematography ever and this guy with a super fancy go-pro and camcorder can make a more visually impressive film than AAA blockbusters. How they got some of shots is beyond me and blows my mind. It is very dark (literally and figuratively, usually are fishing at night or early in the morning), gritty/raw, and sometimes gross (mmm shredded fish guts). I think everyone should check it out, but, at the same time, it might not be for everyone, like if you need a "point" to the films you watch. But, if you can appreciate some amazing technical camerawork, you will love this. The sound is spectacular too. Hopefully it can get a proper Bluray release or at least on Netflix so more people can see it.

Damn. I should have been a badass fisherman.

 

[Charles Foster Kane]

Saw The Greatest Show on Earth. What a drag, it certainly wasn't the greatest show. Poor Cecil, I'm sure he had good intentions while making this, but it just doesn't work, he wasn't the best narrator either. Maybe it wouldn't have been so boring if he hadn't made us see the entire show (including the mounting and dismounting of the circus), the most hilarious thing was when sometimes the camera showed kids in the audience like :|. 3/10

After seeing it I have to agree it's the worst Oscar winner I've seen so far.

 

[Nyx]

Killer Joe

Did you crave KFC afterwards?

 

[Borgnine]

Elephant - If you were to remove all the shots of people walking down hallways you'd have about 15 minutes of film left **.

I KNOW RIGHT. I also just watched Gerry, which is about 10 times worse. And I mean that literally, there is 1.5 minutes of film surrounded by 94 minutes of walking in the desert. It actually works much better given the subject matter, but I'm not going to say it didn't try my patience. I did like it though.

Elephant also seems to have quite a lot of reviews and impressions out on the internet for such a small film. I suspect a lot of younger people heard about it and wanted to indulge their primal curiosity, only to be greeted with 5 minute behind the head tracking shots and dudes making out in the shower. OLOLOLOLOLOL TROLLED.

I also watched a fact-based historical drama called Argo. It's about the truthful events of an American Hero and his Canadian helpers (mostly getting coffee for him and the like). My favorite parts were the accurate portrayals of things that happened, which was the entire movie. A mildly entertaining thriller 5/10, though you could have powered a small town if you harnessed the energy from all the eye rolling.

 

[Minamu]

Just finished Watchmen Director's Cut again. I love it so much I never really got the Black Freighter allegory even when reading the comic but it's a nice addition to the movie imho. Gonna have to watch Under the Hood as well again, I always wished that was part of the movie as well (though it would've screwed up pacing immensely).

So if anyone has a good link about BF, feel free to share and/or explain. I could see a resemblance in the very last BF segment about good intentions but it feels a bit tacked on and forced. Maybe it's because of how the villain's plan of action is not at all like how the book is written?

 

[KingofGourds]

Perfect Blue (1997)

So I heard this was originally intended to be a live action film...well I'm so glad it ended up being animated. I loved it from start to finish. The whole psychological surrealism angle was played so well, and I suppose I would love that since it's one of my favourite tonal qualities in anything.

Can't believe when it screened in the west critics were asking why it wasn't done live action *sigh*.

 

[Lafiel]

Perfect Blue (1997)
Can't believe when it screened in the west critics were asking why it wasn't done live action *sigh*.

I can't imagine kon films in any other medium other then animation. Even his most down-to-earth film: Tokyo Godfathers has some really stylized character animation that take full advantage of the medium.

 

[moka]

"despite the fact that I've said I have several reasons but have only actually said one, you guys keep saying I've only said one reason"

comedy is massively subjective and if you'd said something like "not my humor" (which is what 3 of your bullet points amount to, you just wrote it differently a couple times) that would have been far more defensible. so you basically have two reasons for not liking 21js: not your humor (fine) and unrealistic (dumb). using "unrealistic" as a derogatory term is nonsensical. film is unrealistic to the core. propelling through time observing unreal situations from impossible vantage points. you cannot complain that a film is unrealistic. documentaries are unrealistic.

you can complain that a film doesn't have consistent internal logic. which I already pointed out. if you thought 21js was inconsistent and argo was consistent, then sure go for it. personally: 21js has a cartoon vibe throughout that it remains within. argo makes claims to realism, then bends events and reduces the Iranian people to background noise. one rubs me the wrong way just a bit, the other doesn't.

like this is fine but like I said when your opinions are mega simplified it's very easy to brush an opinion aside, and statements like "gets quite intense at times" are kinda empty, no what I mean? like, if a thriller DOESN'T get sort of intense at a couple moments, it's a humongous problem. or, "good acting": when you say "good acting" you make it real easy for someone to respond "no, bad acting." when you get specific about your experience, maybe say like "I thought arkin gave his character enough weight without negating any of the levity of the hollywood side of the story" you're giving a more detailed opinion and therefore a better review that doesn't read really elementary.
note I'm not even disagreeing with anything you said here. just pointing out how your pretty reductive posts make for thin arguments and that's why people in here are finding it so easy to argue with you.
it's also emblematic of a problem everyone struggles with: focusing on tangible details. a film shouldn't be a checklist. "ok good cinematography...good editing..." nah. the intangible is where it's at.

expression through omission dude. when literally the only specifics you offer are "I liked one film because it was real, and didn't like another because it wasn't" you're heavily implying that the only thing you look for in a film is realism. that is not a ridiculous assumption at all.
and the fact that you included "Based on a real story" in your review of argo points to that too! so you're still implying that.
so I'd like to ask this because it's an argument worth having: what to you makes a story that makes claims to truth more valuable than one that is intentionally fake?
I'd argue: nothing. "truth" isn't more valuable than falsehood. what matters is what's communicated. what resonates. watch Life of Pi, that's a pretty great argument for stories being valuable. hell, watch 12 Angry Men to see how elusive truth is and why it doesn't really matter.

no I– I know what a trope is. your use of the word doesn't defend the insertion of a cliche into a story, just mentions that it happened. also the idea that tropes are inserted for effect is weird to me because like...what's not put into a movie for effect then?
simply a trope or cliche is a common repeated story-telling device. they aren't inherently unrealistic or inherently realistic. and saying that "oh well putting those events in there's ok because they're tropes" isn't a defense, it's a description. yes we know they're tropes, but are they consistent with the rest of the film and are they dramatically satisfying. believe it or not I'd say argo's finale, while a pretty cliche ending to a thriller, works well. the beats hit quickly enough that the thrills stay elevated and you don't get caught up in the ridiculousness in the moment.

well when you watched them doesn't really matter because you posted about them within days of each other. and they weren't unrelated, they were completely related because your entire comment on one film was about negative lack of realism and most of your comment on the other was on positive presence of realism (and then backpedaling on the value of realism when the veracity was taken away). so if you're really baffled by that, I dunno man.

Sorry for late reply, finally got some time on my hands!

21 Jump Street:

A pair of underachieving cops are sent back to a local high school to blend in and bring down a synthetic drug ring.

Grown ass men who both looked like they were in their 30's managed to pass of as high school students and I don't even think anyone questioned them. That's what I meant by unrealistic.

The police sending these so called 'underachieving cops' who can't even recite the Miranda Rights into an obviously challenging undercover operation which seems to be quite important since it's to bring down a 'synthetic drug ring', with little to no training? That's what I meant by unrealistic.

Ice Cube trying to act bad ass and serious, that's hilarious in its own right.

It was just terrible.

Adding extra suspenseful moments that didn't actually happen in real life? I'm OK with that. They were believable except maybe the scene

Spoiler

where there is trouble with the plane tickets.

Anyway, I think we should continue in PM because apparently, some people are getting pissed that I keep arguing here. Won't name no names.

 

[xXBetter Off DadXx]

Just finished Watchmen Director's Cut again. I love it so much I never really got the Black Freighter allegory even when reading the comic but it's a nice addition to the movie imho. Gonna have to watch Under the Hood as well again, I always wished that was part of the movie as well (though it would've screwed up pacing immensely).

So if anyone has a good link about BF, feel free to share and/or explain. I could see a resemblance in the very last BF segment about good intentions but it feels a bit tacked on and forced. Maybe it's because of how the villain's plan of action is not at all like how the book is written?

I watched it again recently, and everytime I watch it, I like it more. I'd say it's one of my favorite movies at this point.

I asked the same question to my friend about the BF stuff, and he said that the journey of the seaman was supposed to parallel the journey of Ozymandias, in that they both have "good intentions" that lead them to do terrible things.

I watched it twice in one week. First I went in blank, after watching I read some reviews/articles and then rewatched the movie if I could discover new qualities to it.

Yeah I went in blank the first time too, how did the second viewing turn out after taking in those ancillary materials?

I demand a duel!

Awesome! Glad you liked it. It's definitely one of my favorite films. As for Anna Karina; you and every other man in the world, so get in line, buddy!

Any other films with Anna Karina you guys would recommend? How about next Goddard?

 

[Jables Swan]

Killing Them Softly

A movie about the global financial crisis wrapped in a boring mobster movie. I was a bit bored.

 

[Dead Man]

Did you crave KFC afterwards?

I normally don't like legs, but I do have a craving now.

 

[MikeMyers]

I'm eating KFC right now!

Saw The Greatest Show on Earth. What a drag, it certainly wasn't the greatest show. Poor Cecil, I'm sure he had good intentions while making this, but it just doesn't work, he wasn't the best narrator either. Maybe it wouldn't have been so boring if he hadn't made us see the entire show (including the mounting and dismounting of the circus), the most hilarious thing was when sometimes the camera showed kids in the audience like :|. 3/10

After seeing it I have to agree it's the worst Oscar winner I've seen so far.

Aww man, I remember loving that film. Hope it holds up for me on the rewatch.

 

[BaronLundi]

Saw The Greatest Show on Earth. What a drag, it certainly wasn't the greatest show. Poor Cecil, I'm sure he had good intentions while making this, but it just doesn't work, he wasn't the best narrator either. Maybe it wouldn't have been so boring if he hadn't made us see the entire show (including the mounting and dismounting of the circus), the most hilarious thing was when sometimes the camera showed kids in the audience like :|. 3/10

After seeing it I have to agree it's the worst Oscar winner I've seen so far.

I loved loved loved this movie when I was a kid. James Stewart... And the Great Sebastian :/

Maybe when I'll watch it again I'll think it's terrible but it cannot be worse than Gigi. NO WAY.

Edit: god, academy awards are such a joke. Gigi winning over High Noon ? And the de Mille over Vertigo which wasn't even nominated for best picture. COME ON !

 

[Expendable.]

First four minutes of Criterion's restored Badlands! http://www.youtube.com/watch?v=DYqWIC4DM34&feature=youtu.be

I need to buy this.

 

[brianjones]

stoker was really dumb with great visuals and a solid cast

 

[BaronLundi]

First four minutes of Criterion's restored Badlands! http://www.youtube.com/watch?v=DYqWIC4DM34&feature=youtu.be

I need to buy this.

I'm saving up for the next B&N sale already. If my calculations are correct I'll be rewatching Badlands before next Christmas. woo hoo.

 

[OfWhiteSkinOnRedLeather]

First four minutes of Criterion's restored Badlands! http://www.youtube.com/watch?v=DYqWIC4DM34&feature=youtu.be

I need to buy this.

Ugh. Want to keep watching.

 

[mxgt]

First four minutes of Criterion's restored Badlands! http://www.youtube.com/watch?v=DYqWIC4DM34&feature=youtu.be

I need to buy this.

Beautiful.

UK release pls.

 

[bud]

are you guys talking about the film or the quality of the youtube video? if it's the latter, then... well, it still looks quite pixellated for me in 1080p.

 

[Charles Foster Kane]

Aww man, I remember loving that film. Hope it holds up for me on the rewatch.

I never saw it as a kid so I don't have that nostalgia attached, maybe it will for you.

I loved loved loved this movie when I was a kid. James Stewart... And the Great Sebastian :/

Maybe when I'll watch it again I'll think it's terrible but it cannot be worse than Gigi. NO WAY.

Edit: god, academy awards are such a joke. Gigi winning over High Noon ? And the de Mille over Vertigo which wasn't even nominated for best picture. COME ON !

Well Gigi is really really awful. Gigi was the one that beat Vertigo and Touch of Evil (which wasn't nominated either). The Greatest Show on Earth beat High Noon and Singing in the Rain (which wasn't nominated).

 

[Charles Foster Kane]

When I used to care even a little tiny bit about this stuff, I recall 1968 being the most pitifully embarrassing year, considering that classics like 2001: A Space Odyssey, Rosemary's Baby, Planet of the Apes, Night of the Living Dead, Once Upon A Time In The West, and The Lion In Winter all released, and of all things Oliver!, a film no one remembers and which was not even the best musical of that year (that would be Funny Girl, natch) won BP. Like, it just boggles my mind.

It's actually kind of hilarious. Damn at the amount of awesomeness that year had. It's like the academy was just trolling.

 

[Polishin8r]

Sympathy for Mr. Vengeance
Chan-wook Park

4.5/5 and > Oldboy imo (which is still quite good in its own right)

oh man some goood stuff 1000/5 ftfy
you should watch Lady Vengeance and finish it of Audition (1999)

Hollywood needs to take notes on these Asian flicks

 

[Dragoon En Regalia]

Oliver won? That's pretty awful for the Academy. I'm glad to see their traditions haven't changed.

The House of Small Cubes (Kato)

I would personally name it The Animation of Suppressed Tears, a common phenomena that I came startlingly near to. Kato's previous animated exploits simply aren't as impressive as this compact, brief illustration of complacency, old age, and the strict desire for aged wine. The House of Small Cubes, with a plot as simple as it sounds, nonetheless takes its metaphorical post-apocalyptic setting and turns it upside down. If The Diary of Tortov Roddle played on the spiritual road trip, then this little ditty's a commentary on falling from grace. But both shorts are able to whirl those ideas 'round: Tortov's journey leads nowhere, and the old man here falls to the joyous memories of his youth. At the same time that he tackles typical subject matter in his works, director Kato varies them up with humorous, meditative flair.

It deserved to the animation Oscar. ****/*

Bad Day at Black Rock (John Sturges)

Tell me, PTA: John Sturges' commentary's a dime-a-dozen, but how about that explosive steam-train opening? The way it stops, ever so abrupt, sums up whatever the hell kind of movie this is: a genre-bending tale at odds with its contemporaries that, to this day, succeeds at being different. Sturges has this electric style of selecting the best details worth transmitting and then leaving plot puzzles and personality quirks up to his audience. It's nothing new to me: a heavy dosage of Roberto Rossellini historicals can purchase patience for even the most impetuous customer. But there's so much cinematic elegance to what the director worms out of the characters in this miserable little yarn that I can't help but notice when none of what I've just said actually happens. After all, it ain't pretty going from dramatic contrasts, many bordering on silly humor, to straight-up telling viewers about character motivations and important plot details—instead of telegraphing them through simple compositions and a focus on the cast.

To think it would have originally started with Ryan and Borgnine standing around! ****/*

Bound (Wachowskis)

Tilly and Pantoliano, as far as I'm concerned, sell the show above all others. I won't deny that Gershon tries to make the best of her character—easily the most shallow and contrived, being a working-class lesbian working-girl that could fit right into other movies from the period—but it's not easy to compete with what the other actress does for Violet. Her nasally voice and seeming innocence is the perfect counterpoint both to Corky's stand-off frankness and Caesar's classic Italian hospitality. And Violet's considerable development and realization of her own carelessness makes her a more relatable character than that of Corky, too. It makes sense for her to take top priority, given how the story centers around her and Caesar. But now Corky looks positively like wallpaper; Caesar does the same to Tilly's character, too. Tons of stuff's been written about how Pantoliano takes his character's personality by-the-balls, giving it an actor's compress of decisiveness mixed with insecurity. That's pretty much how I would describe Caesar: the harangued hail-bag for the elements to beat on. Giving an over-the-top character to this particular actor needs just the best titration, and it's this actor/character hybrid's effortless fit with Bound's aesthetics that makes both the plot and themes of female revenge work so well.

More thieves should drop money-bags in paint buckets. ****/*

Silver Linings Playbook (O. Russell)

Having de Niro, one of the great American actors, give a pep talk to his fictional son about the importance of giving back has to be one of the greatest jabs at contemporary romance comedies I've ever seen. It leads to a fitting conclusion for an exuberant ending, one that ensures Tiffany isn't wasted out of convenience for the protagonist.

Endings always seem better than middles these days, though.

That seems to be the case, though I enjoyed this a good deal. ***/**

Divorce American Style (Yorkin)

Shit. Total fuckin' disaster. I feel sorry for Jason Robards. */****

Seven Samurai (Surokawa)

Perfect. Well: almost there. I'm proud of Takashi Shimura. *****

Fearless Frank (Philip Kaufman)

This movie is the bastard child of Second City humor, a post-modern penchant for satirizing Lichtenstein, and a strange obsession with B-movie interpretations of Frankenstein that ends in tee-total travesty. It's also Voight's debut on the big screen, which makes the movie's theatrical release right after that of Midnight Cowboy's all the more confusing. Kaufman and crew are quite fearless themselves: this movie feels more like a botched independent production stitched together by a humorous Dick Tracy-like narrator. That fact's rather telling of the quality of the movie, too. If it ever takes a new element like that to redeem that weird wacko stuff a director and his friends have been cooking up, then the final product's probably naff anyway. The low-budget production behind this flick really shows. It's a massive cheese-fest meant to make the Batman TV series look tame, yet suffers from mediocre comedic performances (sans Voight) and isn't nearly as witty with its script as should be the case. Neither are the visual effects that enticing, predating Superman in a bad way and ultimately distracting from the few moments of superb execution that dabble this dot of a rotten jelly donut.

But hey: Jon Voight's cool. This was a wild ride. **/***

The Lion in Winter (Harvey)

My father went there when he was young, and he took his damn sweet time traveling all over. I'd cherish the ability to greet Geneva at golden hour, or the brisk train trips that I'm denied living in the sordid suburban wastes north of Dallas. Eleanor of Aquitaine could empathize: The Lion in Winter, James Goldman's most famed work to date, revolves partially around her desire to break free from a past she cannot remember, yet has locked her up in a castle only a mile away from the royal family's home at Chinon. But this story's about Henry II in particular, and his three sons who dare to usurp the throne for various reasons. For all of their talk of going off on business trips, to annul or to make war and peace with their French neighbors, Henry and his family are simply unable to depart from their careers and, consequently, from their duties to themselves and their peoples. Early on in this adaptation of the stage play, Henry notes how, under the leadership of proactive, overbearing rulers like him, whole nations can exhibit qualities of whole persons. So it is at Chinon that, in a Romanesque gumbo of tragedy and comedy, the royal family of England resolves its age-old quarrels in lighting-hot fashion. If I were visiting the same place in that same time in history, I wouldn't want to be anywhere near these hot-hearted fellows!

I'm not the biggest fan of Kat Heppy, but she's good here. ****/*

Neighbours (McLaren)

Alternate titles include "The Stepford Sons", "Updike's Lagomorph Special", and "A Day at the Homeowner's Association". And everything looks like a tribal Anger short at the end too.

It's one hell of an awesome short, I tell ya. *****

Choking Man (Barron, not doing Ninja Turtles for once)

I must admit: this is the first Malick-like movie I've seen with Aaron Paul serenading his Asian co-worker with "Fly Me to the Moon" atop a flying carpet behind the multicultural diner he works at.

A little something different, and not necessarily for the better. ***/**

 

[BaronLundi]

When I used to care even a little tiny bit about this stuff, I recall 1968 being the most pitifully embarrassing year, considering that classics like 2001: A Space Odyssey, Rosemary's Baby, Planet of the Apes, Night of the Living Dead, Once Upon A Time In The West, and The Lion In Winter all released, and of all things Oliver!, a film no one remembers and which was not even the best musical of that year (that would be Funny Girl, natch) won BP. Like, it just boggles my mind.

And this Oliver! you speak of was directed by Carol Reed ? Mind blown.

 

[Borgnine]

Guys it's K Fry C.

 

[Charles Foster Kane]

And this Oliver! you speak of was directed by Carol Reed ? Mind blown.

It's hard to believe it's the same guy who directed The Third Man (one of my favorite movies).

 

[MikeMyers]

Damn you guys hating on Oliver! too? I like that as well -_-

But yeah fuck the Oscars. I heard Eminem has more Oscars than Hitchcock.

 

[Dead Man]

Guys it's K Fry C.

Of course it is

 

[Charles Foster Kane]

Damn you guys hating on Oliver! too? I like that as well -_-

But yeah fuck the Oscars. I heard Eminem has more Oscars than Hitchcock.

I was going to say Three 6 Mafia did too, but I think he did get an honorary Oscar (don't know if those count though).

More like it is hard to believe that an otherwise unremarkable director like Carol Reed was responsible for one of the greatest movies ever made when Orson Welles was conspicuously also present on set. ;p

Yeah

 

[Aleph]

Just saw Event Horizon... I had read on Reddit and on some other placed that its a pretty good sci-fi horror movie. It has a pretty low score on Rotten Tomatoes, but I decided to watch it anyways. It was pretty bad. Very bad. Lots of cliches, predictable "jump" scare scenes, so-so acting... I really wish they had explored more the sci-fi themes, such as

Spoiler

the ship travelling to another dimension (hell?) or wht the ship was "alive".

. Oh well. At least it has some memorable quotes ("Where we're going we don't need eyes to see!")

 

[MikeMyers]

I was going to say Three 6 Mafia did too, but I think he did get an honorary Oscar (don't know if those count though).



Yeah

I think honorary Oscar is basically their way of saying they fucked up by not giving him an Oscar when he should have gotten it.

 

[Borgnine]

I heard Eminem has more Oscars than Hitchcock.

I'm ok with this.

 

[Dragoon En Regalia]

I think honorary Oscar is basically their way of saying they fucked up by not giving him an Oscar when he should have gotten it.

Yep. And it never compensates for the system's injustices, lol. O'Toole never had a chance...

 

[HoJu]

Why do people believe that Welles was the real director of The Third Man? Is it just because he was apart of the production, or is there like, some book I should read or something?

Footnote 6/10 - the guy playing the father can act grumpy pretty well. i don't remember much else, except for the abrupt ending. meh

Bill Cunningham, New York 7/10 - an energetic and sweet look at a photographer whose life is devoted to his work. after watching it, i felt happy that this man exists, but then i realized that he probably doesn't. because of the director not wanting to upset the man, only about 2 minutes were spent on his life beyond his work, which made for a slightly shallow film.

The Prestige 7/10 rewatch -

Spoiler

the characters were never developed beyond a single aspiration. and even then, it felt like nolan betrayed his own character's identity. jackman was never focused or cared about evolving the "art" of magic. the only reason he cared about expanding his routine was out of revenge for bale's character. so at the when jackman says how it was all "about seeing the faces of the audience", that was bullshit. that was something bale's character should have said, but oops the one that cared about that was dead.

i mean i get it, this was clearly nolan talking about why he makes movies blah blah blah, but it was still bullshit and lazy and fuck.

pretty good movie though.

 

[Charles Foster Kane]

I'm ok with this.

 

[ViewtifulJC]

Why do people believe that Welles was the real director of The Third Man? Is it just because he was apart of the production, or is there like, some book I should read or something?

IDK, but I mean...tell you the truth, I liked The Falled Idol more >_>

Now Poltergeist? That was TOTALLY a Spielberg movie in everything but name. Only thing missing was John Williams(although Jerry Goldsmith aint chopped liver either)

Speaking of ol' Jerry, his Aliens score stood out to me in Aliens re-watch, because it's not all that. Most of it sounds like a rehash of stuff he did on Star Trek 2. Keep cashing dem paychecks, Goldy.

wait what am I talking about here. I'm rambling. Forgive me, ya'll

 

[SCULLIBUNDO]

IDK, but I mean...tell you the truth, I liked The Falled Idol more >_>

Now Poltergeist? That was TOTALLY a Spielberg movie in everything but name. Only thing missing was John Williams(although Jerry Goldsmith aint chopped liver either)

Speaking of ol' Jerry, his Aliens score stood out to me in Aliens re-watch, because it's not all that. Most of it sounds like a rehash of stuff he did on Star Trek 2. Keep cashing dem paychecks, Goldy.

wait what am I talking about here. I'm rambling. Forgive me, ya'll

Umm..

You do know that Horner did the score for Aliens. Goldsmith did the score for Alien. Also he's dead. I'm going to assume you meant to write Horner since you mentioned ST2's soundtrack specifically.

 

[ViewtifulJC]

See? I told ya'll I'm rambling

Spoiler

shit still sounds like rehashed Star Trek 2

 

[SCULLIBUNDO]

See? I told ya'll I'm rambling

Spoiler

shit still sounds like rehashed Star Trek 2

Because Horner also did ST2. Not Goldsmith. lulz.

 

[ViewtifulJC]

Well I know that now, goddamnit!

Spoiler

fuck you Sculli

 

[SCULLIBUNDO]

Well I know that now, goddamnit!

Spoiler

fuck you Sculli

You're Viewtiful, that's for suuuure.

 

[Frustrated_Grunt]

Oz the Great and Powerful- Enjoyed the various settings, and some of the characters were kind of charming, but it still ended up being an underwhelming film in my opinion. 6/10

 

[Charles Foster Kane]

Saw The Broadway Melody.

What a bore. It may have been something when it came out, but it doesn't have much going for it today. Definitely a beast of its time. The transition from silent films to talkies sure was odd. 3/10

The Wind should have won that year. The Oscars, getting it wrong from the beginning.