old manatee
Banned
I loved the way that movie looked. They used natural light for the majority of it and I honestly think it is incredible what they accomplished with very limited resources. As a photographer I was geeking out watching it.
Movies You've Seen Recently |OT| August 2016
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I loved the way that movie looked. They used natural light for the majority of it and I honestly think it is incredible what they accomplished with very limited resources. As a photographer I was geeking out watching it.
it would have been a lot better as a short, the last half is devoid of ideas or energy.
also lol at the idea that lanthimos isn't for everyone, he's not like jonas mekas or something.
Only the extreme of an example can be a valid one?
Lanthimos' MO is to basically run with a gimmick for two hours with a detached and violent style, in dead worlds populated by robotic, childish people; it can easily get irritating for a lot of people.
It's not like i'm claiming he's unintelligible, just that his approach can be grating.
That is the worst part of the movie, so youre over the hump now.
Everything about the series sounds like it'd be a waste of time, since they straight-up pilfer the movies for plot points and even straight up remake them. And I'm sure if I watched it, I would probably violently destroy my TV if I got to the final episode and watched what unfolds in it. The final film was smart to ignore the TV series.
Saw these last weekend but forgot to post about em.
Cafe Society
As far as modern Woody Allen goes, this is about what you'd expect. Far short of Vicky Cristina/Midnight in Paris/Blue Jasmine, but not on the lower dull end of the spectrum either; square in the middling middle. Kristin Stewart, whose acting I only know about from Twilight trailers and a small part in Still Alice, is surprisingly charming here. I also quite liked Blake Lively, even if she only really had a couple actual scenes. Jesse Eisenberg is either perfectly cast or totally miscast; his character is a complete asshole whose every line of dialogue or delivery choice grates, but I really don't know how intentional that is. :lol Vittorio Storaro lends a very lovely eye (though I think I'm more fond of Darius Khondji's work on the last several Woody films). The classic Hollywood setting is unfortunately pretty underused and basically doesn't matter at all to the movie, unlike, say, Hail Caesar. The highlight for me was Corey Stoll and his whole subplot, which made me wish Woody had just made a pastiche '30s gangster movie led by Stoll instead.
3/5
Super Fly
My next foray into blaxploitation. I think I liked this more than Shaft. The story was more interesting and Ron O'Neal is a better actor. I think the actual filmmaking might have been sloppier and the soundtrack, while still nice, not as good as Shaft's. Dope theme song though.
3/5
Cafe Society
As far as modern Woody Allen goes, this is about what you'd expect. Far short of Vicky Cristina/Midnight in Paris/Blue Jasmine, but not on the lower dull end of the spectrum either; square in the middling middle. Kristin Stewart, whose acting I only know about from Twilight trailers and a small part in Still Alice, is surprisingly charming here. I also quite liked Blake Lively, even if she only really had a couple actual scenes. Jesse Eisenberg is either perfectly cast or totally miscast; his character is a complete asshole whose every line of dialogue or delivery choice grates, but I really don't know how intentional that is. :lol Vittorio Storaro lends a very lovely eye (though I think I'm more fond of Darius Khondji's work on the last several Woody films). The classic Hollywood setting is unfortunately pretty underused and basically doesn't matter at all to the movie, unlike, say, Hail Caesar. The highlight for me was Corey Stoll and his whole subplot, which made me wish Woody had just made a pastiche '30s gangster movie led by Stoll instead.
3/5
Super Fly
My next foray into blaxploitation. I think I liked this more than Shaft. The story was more interesting and Ron O'Neal is a better actor. I think the actual filmmaking might have been sloppier and the soundtrack, while still nice, not as good as Shaft's. Dope theme song though.
3/5
Lanthimos isn't for everyone, Mekas is for no one
ViewtifulJC
Banned
diane keaton streetwear
As fashionable as ever.
Not a film but as we do not have a TV thread any more, finished watching Battlestar Galactica. This is off topic so I'll be brief. There's some astounding episodes in there (The Hub is the freshest in memory) but as a whole the show really falls apart by focusing on resolving/delivering on a central mystery.
Not a film but as we do not have a TV thread any more, finished watching Battlestar Galactica. This is off topic so I'll be brief. There's some astounding episodes in there (The Hub is the freshest in memory) but as a whole the show really falls apart by focusing on resolving/delivering on a central mystery.
I continued on and quite enjoyed it!
outside of puppy dogs nothing is for everyone, and lanthimos, especially the lobster, is as un-challenging as you can get in the semi-indie world.
Again, it's a dark comedy with a grating style and annoying characters (intentionally so, but nevertheless).
It's not gonna have the same wider appeal as something like Me, Earl and the dying Girl, or even Queen of Earth.
Unless you're into Lanthimos' gimmick, there's little else to latch on to,
It's not gonna have the same wider appeal as something like Me, Earl and the dying Girl, or even Queen of Earth.
Unless you're into Lanthimos' gimmick, there's little else to latch on to,
Ghost_Messiah
Member
Bone Tomahawk: Great film. I watched this one on this thread's recommendation and was pleasantly surprised. It's really well made with some amazing visuals, vistas and cinematography. Production values are top notch. The audio is particularly amazing. Every gunshot has power and impact. It's really immersive and draws you in. The plot is quite simple but also quite captivating. There's this foreboding sense of dread and impending doom for much of it which is just chilling. Overall I found the film to be extremely enjoyable.
I'd give it four stars out of five. Highly recommended.
I'd give it four stars out of five. Highly recommended.
The Lobster I can agree is extremely legible compared to other arthouse fare, though I also agree with UR that compared to the "indies" that come out of Sundance it's a more challenging proposition. Dogtooth and Alps are more advanced I'd say, though then again if you stand them up against other international festival fare they're far more widely appealing
B-B-Bomba!
Member
Samurai II - Duel at Ichijoji Temple
Samurai III - Duel at Ganryu Island
I watched the first film a couple of years ago and always wanted to finish the trilogy. So last night and earlier this week, I did. I love Asian period pieces and especially ones with a martial bent, so it's difficult to find a useful opinion to share. First of all, I was surprised at the production quality. Somehow I'd got into my head that these would be scruffy indie culty pulp, but they're genuine late 50's studio productions, Doris Day with katana. Some fabulous, colourful garments being worn all around. I was confused as to whether some of the outdoor shots were taken in the studio - on the one hand they was that familiar 'off-ness' such shots inevitably bring, while on the other hand the attention to details would have to have been pretty insane to get what they got. Given that plenty of shooting evidently did take place out of doors (the final duel is a notably insane feat of continuity), I'm drawing the conclusion that the fakey looking ones were done with a great deal of care and attention when greater control of the scene was felt to be necessary. There are some lovely looking skies and atomspheres in some of these shots.
Speaking of Doris Day, the lead women characters are appalling wet blankets. Part of the attraction of watching (esp. Asian) period films is taking a look at the occasionally astonishing set of manners - shame, deference, the honour of schools and households etc. - which purportedly held sway at the time. Then agan these are being seen through the filter of the time the film was made (and then again through my own, in an entirely different time and place), so it's only with a great deal more experience than I have that we can truly pick through what was ancient, and what was more modern. But these women ... All they seem to do is mope, and throw themselves about for the love of a good strong man. The main story seemingly being told, certainly across these two films as I don't recall the first all that well, is of Takezo's tribulous dedication to the life of the sword, and of the ramifications that has for his personal life. By the end, his eventual maturity in this regard - accepting there is also a place for personal relationships to be honoured - is contrasted against that of his rival, whose greater 'purity' becomes seen as a fault. As it happens, Takezo also treats this man with a great deal more care than the woman he supposedly loves.
Apart from the nauseating depiction of women, the films are highly enjoyable and beautiful to watch. Having read the Hagakure at some distant point in my youth, and having confused Musashi Miyamoto with Yamamoto Tsunetomo (the originator of said work) throughout my watching of these films, I was wrongfully disappointed with the absence of any deeper lessons about the nature and mindset of the Samurai. The second film seemed to begin (or continue) a tic where some philosophical bushido principle would be stated on screen in conjunction with Takezo learning a particular lesson; a tic apparently abandoned in the third film. I kept expecting a bit more exposition on the subject of service and the embrace of death, but as I've said, it was a wrongful expectation anyway. Overall a very pleasant digestive break from modern whizz-bangery.
Samurai III - Duel at Ganryu Island
I watched the first film a couple of years ago and always wanted to finish the trilogy. So last night and earlier this week, I did. I love Asian period pieces and especially ones with a martial bent, so it's difficult to find a useful opinion to share. First of all, I was surprised at the production quality. Somehow I'd got into my head that these would be scruffy indie culty pulp, but they're genuine late 50's studio productions, Doris Day with katana. Some fabulous, colourful garments being worn all around. I was confused as to whether some of the outdoor shots were taken in the studio - on the one hand they was that familiar 'off-ness' such shots inevitably bring, while on the other hand the attention to details would have to have been pretty insane to get what they got. Given that plenty of shooting evidently did take place out of doors (the final duel is a notably insane feat of continuity), I'm drawing the conclusion that the fakey looking ones were done with a great deal of care and attention when greater control of the scene was felt to be necessary. There are some lovely looking skies and atomspheres in some of these shots.
Speaking of Doris Day, the lead women characters are appalling wet blankets. Part of the attraction of watching (esp. Asian) period films is taking a look at the occasionally astonishing set of manners - shame, deference, the honour of schools and households etc. - which purportedly held sway at the time. Then agan these are being seen through the filter of the time the film was made (and then again through my own, in an entirely different time and place), so it's only with a great deal more experience than I have that we can truly pick through what was ancient, and what was more modern. But these women ... All they seem to do is mope, and throw themselves about for the love of a good strong man. The main story seemingly being told, certainly across these two films as I don't recall the first all that well, is of Takezo's tribulous dedication to the life of the sword, and of the ramifications that has for his personal life. By the end, his eventual maturity in this regard - accepting there is also a place for personal relationships to be honoured - is contrasted against that of his rival, whose greater 'purity' becomes seen as a fault. As it happens, Takezo also treats this man with a great deal more care than the woman he supposedly loves.
Apart from the nauseating depiction of women, the films are highly enjoyable and beautiful to watch. Having read the Hagakure at some distant point in my youth, and having confused Musashi Miyamoto with Yamamoto Tsunetomo (the originator of said work) throughout my watching of these films, I was wrongfully disappointed with the absence of any deeper lessons about the nature and mindset of the Samurai. The second film seemed to begin (or continue) a tic where some philosophical bushido principle would be stated on screen in conjunction with Takezo learning a particular lesson; a tic apparently abandoned in the third film. I kept expecting a bit more exposition on the subject of service and the embrace of death, but as I've said, it was a wrongful expectation anyway. Overall a very pleasant digestive break from modern whizz-bangery.
True Savior
Member
There's a few shoddy matte paintings in there. Probably cause of budget. I think Inagaki was really only interested in eventful films. This sort of big epic, with nice vistas and pure grandeur. As for who Musashi is, his ascension and philosophy of life, it's very underwhelming.
ViewtifulJC
Banned
User 479360
Banned
That's one of my favourite movies. It's utterly fantastic.
I need to watch it again.
Nightshade
Member
Just watched the Double after putting it off for some time because it didn't seem very similar to the director's last movie (Submarine.)
How wrong I was. Still darkly humorous with most of the same cast as well.
How wrong I was. Still darkly humorous with most of the same cast as well.
True Savior
Member
Suspicion - Alfred Hitchcock
I think this was just a cocktease exercise of frivolous suspense. Cary Grant is incredibly boisterous and convincing. The mofo was charming like no one else.
I think this was just a cocktease exercise of frivolous suspense. Cary Grant is incredibly boisterous and convincing. The mofo was charming like no one else.
Rhomega Beta
Member
Gladiator: I've seen bits and pieces of this, but now I've seen the whole movie. While this movie has good action scenes, it's all about how Maximus suddenly shows up in Rome, declares he was betrayed by Commodus, and the fallout from that. Complete with a bittersweet ending, this was a good movie. It's a good thing they didn't go with that screenplay for the sequel.
Today is the day I finally watched all of PTA's feature length films and as a fan of his style and integrity I am surprised at how lukewarm I find most of his output on balance.
There Will Be Blood - 10
Magnolia - 8
The Master - 7
Punch-Drunk Love - 6
Boogie Nights - 6
Hard Eight - 5
Inherent Vice - 3
Average: 6.4
Also, 'completing' a director so to speak led me to aggregate all of my favourite directors. According to the cold, hard stats my top 3 are as follows:
Ki Duk KIM - 8.5
Stanley KUBRICK - 8.4
Akira KUROSAWA - 8.2
Has anyone else aggregated their collective ratings for directors or have I simply went too deep?
There Will Be Blood - 10
Magnolia - 8
The Master - 7
Punch-Drunk Love - 6
Boogie Nights - 6
Hard Eight - 5
Inherent Vice - 3
Average: 6.4
Also, 'completing' a director so to speak led me to aggregate all of my favourite directors. According to the cold, hard stats my top 3 are as follows:
Ki Duk KIM - 8.5
Stanley KUBRICK - 8.4
Akira KUROSAWA - 8.2
Has anyone else aggregated their collective ratings for directors or have I simply went too deep?
ViewtifulJC
Banned
here we go
here we go
Messofanego
Banned
I don't watch many light-hearted films but I'm glad I did with Our Little Sister. Just a great laidback summery atmosphere while remembering about the dead
Our Little Sister and Everybody Wants Some are two great films from this year that show you don't need much conflict to still make for a compelling watch.
Oh hey, Andre Holland! Love him in The Knick. On the radar.
Fancy Clown
Member
You went way too deep, but that's what we do here. We're all slaves to the almighty rankings and tier lists.
Net_Wrecker
Member
Tier lists >>> number ranking.
Directors aggregate ratings though? Chill breh, you're digging to China.
Mostly because it would let me know without a doubt how much I overrate my favorite directors. I don't need that in my life.
Directors aggregate ratings though? Chill breh, you're digging to China.
Mostly because it would let me know without a doubt how much I overrate my favorite directors. I don't need that in my life.
ViewtifulJC
Banned
cuz you know the Keep would keep Michael Mann's filmography down
A director who did 100 movies, with only 5 great ones, is the same as a director who only did 5 movies, all great, in my mind.
Net_Wrecker
Member
All the other 10/10s would carry The Keep's 1/10, it's fine.
Who are you talking about? Please tell me.
Fancy Clown
Member
Fits Brian De Palma pretty well. I can forgive all his garbage tier stuff for gracing us with dynamite like Blow Out, Dressed to Kill, and Carrie.
Fancy Clown
Member
It means he is equivalent to Charles Laughton
That's pretty good company. I think when a director only has one film I really love, its sort of depressing. How do you do that one thing so good and I don't care for anything else?
ViewtifulJC
Banned
I'm ok with that myself. I dont wanna marry a director's entire filmography. I just really want one, maybe two, in my personal canon. I just need Mulholland Dr, Thin Red Line, All That Jazz, Tokyo Story, Spirited Away; I dont really need the rest of them doing inferior variations of their thing.
Almost every one of those directors has multiple incredible films :\
Discotheque
Banned
I'm feeling #triggered by this
No to averages plz. Let me stan for Mann without the keep shitting down that average.
Snowman Prophet of Doom
Member
Ozu has like 6 great movies, at a minimum.
Rhomega Beta
Member
Good Will Hunting: I completely forgot Robin Williams was in this, but I have read that popular lakeside monologue about living life rather than just reading about it, and I've heard a number of other lines. This was a really good movie, and I feel it's because in the end, I can relate to Will in a way. I loved the baseball scene, the fact that
. I also love the ending:
Will doesn't immediately chase after Skylar. Almost makes you think he's just going to let her go and get a job in Boston.
Will just packs up and leaves, echoing a speech one of his friends made earlier, and he just drives across the country to San Francisco.
ViewtifulJC
Banned
I only need one of them. Maybe Late Spring, too.
Messofanego
Banned
Sometimes it can be it was just the right time and luck. Good screenplay, good studio relationship, good talent, all just happened to be there at that time and after that original spark, it never came back again cause studio maybe wanted more of that while director didn't want to go back to the well.
I don't watch many light-hearted films but I'm glad I did with Our Little Sister. Just a great laidback summery atmosphere while remembering about the dead
Our Little Sister and Everybody Wants Some are two great films from this year that show you don't need much conflict to still make for a compelling watch.
Everybody Wants Some is awesome and hilarious. Probably my favorite comedy of the year.
Our Little Sister actually was pretty hard hitting for me though. I'm big into broken families and relationships between such family members and the idea of searching for family due to my life experiences. There were a few moments had had me choking up a bit. Not that the movie is sad. No no. I wouldn't want to give that impression to anyone on the fence. It's more that some of the themes touched upon in this movie hit close to home.
No, i didn't have anyone in mind, i didn't crunch the math here, but some directors go the Kubrick route, and have a very tight filmography, with mostly good to great movies, others go the, say, Herzog route and put out a LOT of stuff, some great, some decent, and some bad.
It seems like two very different approaches to creating stuff, but i mean, as long as you have those home runs, i don't mind more or less effective experiments, along the way.
Despite me not quite getting the movie I appreciate the creativity and the tenacity that Sausage Party has where it just says "Fuck it", in more ways than one of course.
The movie illustrated a discussion worthy ending that can be left up to the viewers own interpretation of it.
I didn't really mind the exposition, I just think that the members of the Suicide Squad got shafted and the characters didn't deserve that treatment at all. Margot Robbie, Viola Davis and Will Smith are decent to great while the rest of the cast is either forgettable or bland.
Average movie, I got a few chuckles out of it. Matinee the movie if you're bored this weekend
Fancy Clown
Member
Lady Snowblood has a fun sense of style and incredibly gorgeous cinematography and production design full of poppy colors, but the movie itself is a little too empty for its own good. It hides behind a veneer of stylisticly bold transitions, and cast of cartoonish characters, holding you back from ever really engaging with the emotional core of the story. It's a fun and vivid watch, and a interesting to see exactly how much Tarantino lifted from this for Kill Bill, but it's not much more than that.
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