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Movie of the Year
- Thread starter norinrad21
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Ninja Scooter
Member
OMG ASIANS!!!@1!
3-Iron is supposed to be fucking phenomenal. Spring, Summer, Fall, Winter... and Spring was also incredible, and I'm a huge fan of Kim Ki-Duk. My friend Linden went to the Bermuda Film Festival and gave rave reviews about 3-Iron, so I'm absolutely off the wall with anticipation on this.
Maxwell House
Member
The movie of the year will be Mike Judge's new film coming out in August which still doesn't have a working name. At least I hope.
I am praying that it will be as good as Office Space. The premise holds promise:
I am praying that it will be as good as Office Space. The premise holds promise:
Ash Housewares
The Mountain Jew
Maxwell House said:
I was going to mention it just as a chance to call it "untitled Mike Judge project=movie of year!" except that it has a title now which diffused the humor of it, I saw it listed as "3001" on imdb
galeninjapan
Banned
For a thread about the movie of the year, there is a severe lack of Sin City.
LinesInTheSand
Banned
meh, crash looks like pretentious trash, like closer made for retards.
the trailer for crash is basically trailer trash. It gets all sappy. overdone. Nothing like the movie.
The actual movie is shocking, funny, full of twists and quite moving. You'll be up, down, left and right, sideways... And you'll be questioning yourself after it.
The movie is simply the best film you'll see all year. Bar none.
The actual movie is shocking, funny, full of twists and quite moving. You'll be up, down, left and right, sideways... And you'll be questioning yourself after it.
The movie is simply the best film you'll see all year. Bar none.
I've decided to completely hijack this thread.
Here's a recent review from Elle magainze for Crash (May 6th)
An excerpt:
"Crash is driven not by an agenda but by the kind of deeply felt storytelling that takes you places you didn't expect to go and might never have reached on your own. It's that rarity: a deadly serious movie that isn't just entertaining but is also an emotional roller coaster ridethrilling, scary, and punctuated by moments of truth so raw and surprising they put you in freefall. It does for race what Robert Altman's ruthless, witty 1993 film Short Cuts did for sexlays it bare in all its lack of glory. And like Altman's, Haggis' star-studded cast is sufficiently large that, ready or not, you will find yourself in its mirror. Haggis isn't interested in assigning blame; rather, Crash shows how racism blinds us all. The amazing grace of this electrifying film is the way every elementevery small, startling plot twist; every nuance of character; every conflicted emotionserves a single passionate intention: to make us see."
I agree with everything said in this review.
And here's the most current movie poster:
Here's a recent review from Elle magainze for Crash (May 6th)
An excerpt:
"Crash is driven not by an agenda but by the kind of deeply felt storytelling that takes you places you didn't expect to go and might never have reached on your own. It's that rarity: a deadly serious movie that isn't just entertaining but is also an emotional roller coaster ridethrilling, scary, and punctuated by moments of truth so raw and surprising they put you in freefall. It does for race what Robert Altman's ruthless, witty 1993 film Short Cuts did for sexlays it bare in all its lack of glory. And like Altman's, Haggis' star-studded cast is sufficiently large that, ready or not, you will find yourself in its mirror. Haggis isn't interested in assigning blame; rather, Crash shows how racism blinds us all. The amazing grace of this electrifying film is the way every elementevery small, startling plot twist; every nuance of character; every conflicted emotionserves a single passionate intention: to make us see."
I agree with everything said in this review.
And here's the most current movie poster:
Foreign Jackass
Member
Short Cuts wasn't even mainly about sex, what kind of reference is that? Oh my god, they talk about sex during 10% of the movie! It's about sex! And Altman is a genius! Let's make it a reference!Iceman said:I've decided to completely hijack this thread.
Here's a recent review from Elle magainze for Crash (May 6th)
An excerpt:
"Crash is driven not by an agenda but by the kind of deeply felt storytelling that takes you places you didn't expect to go and might never have reached on your own. It's that rarity: a deadly serious movie that isn't just entertaining but is also an emotional roller coaster ridethrilling, scary, and punctuated by moments of truth so raw and surprising they put you in freefall. It does for race what Robert Altman's ruthless, witty 1993 film Short Cuts did for sexlays it bare in all its lack of glory. And like Altman's, Haggis' star-studded cast is sufficiently large that, ready or not, you will find yourself in its mirror. Haggis isn't interested in assigning blame; rather, Crash shows how racism blinds us all. The amazing grace of this electrifying film is the way every elementevery small, startling plot twist; every nuance of character; every conflicted emotionserves a single passionate intention: to make us see."
I agree with everything said in this review.
And here's the most current movie poster:
Apharmd Battler
Member
Iceman said:I've decided to completely hijack this thread.
Here's a recent review from Elle magainze for Crash (May 6th)
An excerpt:
"Crash is driven not by an agenda but by the kind of deeply felt storytelling that takes you places you didn't expect to go and might never have reached on your own. It's that rarity: a deadly serious movie that isn't just entertaining but is also an emotional roller coaster ride—thrilling, scary, and punctuated by moments of truth so raw and surprising they put you in freefall. It does for race what Robert Altman's ruthless, witty 1993 film Short Cuts did for sex—lays it bare in all its lack of glory. And like Altman's, Haggis' star-studded cast is sufficiently large that, ready or not, you will find yourself in its mirror. Haggis isn't interested in assigning blame; rather, Crash shows how racism blinds us all. The amazing grace of this electrifying film is the way every element—every small, startling plot twist; every nuance of character; every conflicted emotion—serves a single passionate intention: to make us see."
I agree with everything said in this review.
And here's the most current movie poster:
This sounds very interesting, I'll have to keep an eye out for this one....thanks for the post.
Foreign Jackass said:
okay, I don't agree with that in the review -- I haven't seen Short Cuts.
edit: Ristamar, just finding any review that doesn't come from IMDB or isn't just a snippet from someone's Toronto Film Festival notebook is really difficult. It has almost no advertising money behind it. It's a 10 million dollar flic. That's it. And it's Lion's Gate releasing this.. their last big movie was Monster's Ball. That should tell you something about to what degree they'll be able to push this movie.
I'm sorry, they also had Saw (and the upcoming Saw 2)
cloudwalking
300chf ain't shit to me
We're choosing movie of the year already and we're only 4 months into the year?
More reviews:
Liam Cullin (webmaster, killermovies.com)
8/10
"And the writing. And the directing. I'll give credit to the writers (Paul Haggis and Bobby Moresco) for having the balls to put this script on paper and to director Haggis for actually putting it on film. At times the words aren't pretty and the movie is pretty much laced with every racial stereotype you can think of, from blacks to whites to asians to latinos to middle eastern people. Not pretty - and this movie isn't for the faint-hearted. But the message about racial stereotypes and intolerance is loud and clear. (Although I didn't really understand the point of the asian people. It seemed their role was supposed to be more but ended up cut - and not very well.)"
Aaron Licht (some guy who went to the Toronto Film Festival)
4.5/5
"Following multiple lead characters with intersecting stories creates the danger that no single plot line reaches its full dramatic potential. The viewer may expect a gimmicky story arc resulting in all characters coming together at the single climax. Not the case in Crash. Each of the five lead characters have a fully developed story with their own dramatic climax. Grand coincidences of character intersection are easily overlooked for their thematic strength. Its a moving drama with a razor sharp sense of humour. "
Shlomo Schwartzberg (boxoffice.com)
2/4? stars
"There are some smart scenes in "Crash," such as one in which a black police chief explains why he has to tolerate a racist cop under his command, that are genuinely unsettling and thought-provoking. And there's some good acting in the movie, notably by Sandra Bullock as a lonely, angry housewife and Don Cheadle as a troubled detective. Yet "Crash's" virtues are undone by its heavy-handed symbolic imagery--i.e., the myriad car accidents that occur throughout the film--which generally fails to make meaningful the connections between us all."
Harry Haun (filmjournal.com)
no score
"Paul Haggis, in a flashy, razzle-dazzle debut as film director, surprises as much as he stuns, unraveling this credibly complex portrait of racial conflicts boiling and bubbling in L.A. of today. He came up the storyline himself, crisscrossing an intricate variety of interlocking plots while still stirring the cauldron of distrust and unrest in this melting pot. The script-by Haggis and producer Bobby Moresco, both men still wearing their Million Dollar Baby Oscar glow-musters some unexpected laughs as well."
Mark Jenkins (Washington City Paper)
no score
"Crude, heavy-handed, and manipulative at every turn, this is one of those Hollywood movies that confuses hostility with honesty. Even Ku Klux Klan members probably have more complicated motivations than the tiresome characters depicted by this array of underemployed bit players."
Emmanuel Levy (Emmanuellevy.com)
B
"Lacking subtlety, the film's first part is too blatant in its expositions and too heavy-handed. Every character is on the verge of hysteria or nervous breakdown, which keeps the story tense, but also makes it preachy, predictable, and tiresome in the first chapters. Gradually though, 'Crash' ceases to divide its characters into good and bad, heroes and villains, and situates itself in the ambiguous gray area between black and white, turning victims into aggressors and vice versa."
Rich Cline (shadowsonthewall.co.uk)
4/5
"This is clearly meant to be provocative and challenging, wrestling with difficult issues and approaching the themes from all kinds of angles. The script keeps things nicely grounded in honest reality, avoiding obvious flashpoints for something much more meaningful and resonant. But this means that it's also extremely over-constructed, relying heavily on coincidence and emotional manipulation. Essentially, it's an examination of the symptoms, never touching on causes or solutions. And it gets increasingly heavy and pessimistic as it goes. But the film is so well shot and edited, with such complex dialog and acting, that it still has the power to change the way we see the world."
Liam Cullin (webmaster, killermovies.com)
8/10
"And the writing. And the directing. I'll give credit to the writers (Paul Haggis and Bobby Moresco) for having the balls to put this script on paper and to director Haggis for actually putting it on film. At times the words aren't pretty and the movie is pretty much laced with every racial stereotype you can think of, from blacks to whites to asians to latinos to middle eastern people. Not pretty - and this movie isn't for the faint-hearted. But the message about racial stereotypes and intolerance is loud and clear. (Although I didn't really understand the point of the asian people. It seemed their role was supposed to be more but ended up cut - and not very well.)"
Aaron Licht (some guy who went to the Toronto Film Festival)
4.5/5
"Following multiple lead characters with intersecting stories creates the danger that no single plot line reaches its full dramatic potential. The viewer may expect a gimmicky story arc resulting in all characters coming together at the single climax. Not the case in Crash. Each of the five lead characters have a fully developed story with their own dramatic climax. Grand coincidences of character intersection are easily overlooked for their thematic strength. Its a moving drama with a razor sharp sense of humour. "
Shlomo Schwartzberg (boxoffice.com)
2/4? stars
"There are some smart scenes in "Crash," such as one in which a black police chief explains why he has to tolerate a racist cop under his command, that are genuinely unsettling and thought-provoking. And there's some good acting in the movie, notably by Sandra Bullock as a lonely, angry housewife and Don Cheadle as a troubled detective. Yet "Crash's" virtues are undone by its heavy-handed symbolic imagery--i.e., the myriad car accidents that occur throughout the film--which generally fails to make meaningful the connections between us all."
Harry Haun (filmjournal.com)
no score
"Paul Haggis, in a flashy, razzle-dazzle debut as film director, surprises as much as he stuns, unraveling this credibly complex portrait of racial conflicts boiling and bubbling in L.A. of today. He came up the storyline himself, crisscrossing an intricate variety of interlocking plots while still stirring the cauldron of distrust and unrest in this melting pot. The script-by Haggis and producer Bobby Moresco, both men still wearing their Million Dollar Baby Oscar glow-musters some unexpected laughs as well."
Mark Jenkins (Washington City Paper)
no score
"Crude, heavy-handed, and manipulative at every turn, this is one of those Hollywood movies that confuses hostility with honesty. Even Ku Klux Klan members probably have more complicated motivations than the tiresome characters depicted by this array of underemployed bit players."
Emmanuel Levy (Emmanuellevy.com)
B
"Lacking subtlety, the film's first part is too blatant in its expositions and too heavy-handed. Every character is on the verge of hysteria or nervous breakdown, which keeps the story tense, but also makes it preachy, predictable, and tiresome in the first chapters. Gradually though, 'Crash' ceases to divide its characters into good and bad, heroes and villains, and situates itself in the ambiguous gray area between black and white, turning victims into aggressors and vice versa."
Rich Cline (shadowsonthewall.co.uk)
4/5
"This is clearly meant to be provocative and challenging, wrestling with difficult issues and approaching the themes from all kinds of angles. The script keeps things nicely grounded in honest reality, avoiding obvious flashpoints for something much more meaningful and resonant. But this means that it's also extremely over-constructed, relying heavily on coincidence and emotional manipulation. Essentially, it's an examination of the symptoms, never touching on causes or solutions. And it gets increasingly heavy and pessimistic as it goes. But the film is so well shot and edited, with such complex dialog and acting, that it still has the power to change the way we see the world."
IAmtheFMan
Member
Haven't seen 3-Iron yet, but I do have a lot of respect for Kim Ki-Duk, not only for the great films that he makes, but at how prolific he is at making them. He's averaging like 2 a year.
obviously you havent watched sin city yet.norinrad21 said:
ToyMachine228
Member
There's no way that anything is going to top Sin Sity for my favorite movie of 2005. It's easily one of my favorite films of all time, and I highly doubt anything will even touch it's style this year, let alone, ever.
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