Messofanego
Banned
What are the signature elements of Naruse and Ozu? I haven't seen either's films so got no clue.
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Movies You've Seen Recently |OT| May 2017
- Thread starter Divius
- Start date
I forgot to mention! I also saw at the end of April, but never added it to the thread:
The Overnight
What a strange little film. A couple makes new friends and go to a dinner party. The night takes a turn. Perfect casting on Adam Scott and Jason Schwartzman, and Taylor Schilling and Judith Godrèche do a great job, too. The comedy hit for me, though it goes a little wonky at spots. I liked it, but it felt a little slight and I wish it went a little further.
Adam Scott processing "it's just a friend's kiss" is the highlight.
Just watched:
The Discovery
A Sundance 2017 film that Netflix snagged. It has a solid idea, but the movie has this very awkward tone to it that I'm not sure works. Rooney Mara Rooney Mara's the hell out of this movie, Jason Segel feels out of place, Robert Redford doesn't go as far as he should, and neither does the film. It meanders a little too much, and doesn't quite earn the ending. I still enjoyed it, though, as down as I sound on it. I much, much prefer The One I Love over this one.
The Overnight
What a strange little film. A couple makes new friends and go to a dinner party. The night takes a turn. Perfect casting on Adam Scott and Jason Schwartzman, and Taylor Schilling and Judith Godrèche do a great job, too. The comedy hit for me, though it goes a little wonky at spots. I liked it, but it felt a little slight and I wish it went a little further.
Adam Scott processing "it's just a friend's kiss" is the highlight.
Just watched:
The Discovery
A Sundance 2017 film that Netflix snagged. It has a solid idea, but the movie has this very awkward tone to it that I'm not sure works. Rooney Mara Rooney Mara's the hell out of this movie, Jason Segel feels out of place, Robert Redford doesn't go as far as he should, and neither does the film. It meanders a little too much, and doesn't quite earn the ending. I still enjoyed it, though, as down as I sound on it. I much, much prefer The One I Love over this one.
Puck Beaverton
Banned
What's this news about the Blackhat DC appearing on FX?
I'm confused and need answers.
I'm confused and need answers.
Outside of this:
http://theplaylist.net/directors-cut-michael-manns-blackhat-make-world-broadcast-premiere-week-teases-changes-heat-20170508/
It's the first I've heard of it! I'm definitely going to DVR this, I never saw the theatrical cut!
Edit: As if, Canada's not getting it. We just have reruns of New Girl and The Americans instead
Cripplegate
Member
Well they are both associated with "shomin-geki" (working class dramas) so you can see similar themes throughout their films (e.g. family, the different generations, modernization) but again that's superficial. Stylistically, they seem very different to me. Ozu is famous for the tatami shot (i.e. he places his camera three feet off the ground, or roughly from the perspective of someone sitting on a tatami mat) and otherwise breaking with traditional film "rules" (e.g. he throws the eyeline match in the trash bin). He has a singular, recognizable aesthetic. I haven't seen enough Naruse to tell if he develops his own style, but from what I have seen, there is a lot more movement (e.g. Ozu moves the camera less and less in his career, to the point that static shots are something associated with his name, whereas in the Naruse I've seen, the camera is all over the place, adopts various perspectives, etc. - and no tatami shots anywhere, obviously). The big difference though is the tone. Naruse's films seem to be more traditional melodramas, and are more "heightened" as a result. The clearest difference for me is the ending of Wife! Be Like a Rose!, for example, where the emotions all come rushing to the surface via pointed emotional pleas and closeups on actors, whereas the conclusion of a film like Late Spring finds its power in a simple, mundane gesture and image (i.e. no dialogue or big emotional epiphanies and speeches). Based on a first impression (because that's all I can offer with only a handful of films under my belt), Ozu strikes me more as a poet and Naruse more as a traditional dramatist. Both incredibly talented, however, and I've enjoyed all of their films so far.
Messofanego
Banned
Thanks for the thorough description. Ozu sounds like my cup of tea. Is Late Spring his most well known film?
Puck Beaverton
Banned
Tokyo Story is probably his most popular, although you should start with Late Spring.
Messofanego
Banned
Thanks, Pucker.
True Savior
Member
I Am Twenty (Mne dvadtsat let) - Marlen Khutsiev
Probably Khutsiev most famous film and an unprecedented critical view of Soviet Russia, portraying the difficult and aimless lives of young people, some of their fascination about the west and the hardship of society, not in a dramatic way but in sort of a mundane way. Much less rigid that the soviet type of filmmaking, the camera just follows the youth, almost exclusively in handheld, structurally in a vignette style mimicking a bit their lack of direction in life. One of the best neo-realism film that soviet cinema has to offer. Krushchev wasn't a fan.
Probably Khutsiev most famous film and an unprecedented critical view of Soviet Russia, portraying the difficult and aimless lives of young people, some of their fascination about the west and the hardship of society, not in a dramatic way but in sort of a mundane way. Much less rigid that the soviet type of filmmaking, the camera just follows the youth, almost exclusively in handheld, structurally in a vignette style mimicking a bit their lack of direction in life. One of the best neo-realism film that soviet cinema has to offer. Krushchev wasn't a fan.
MidnightCowboy
Member
For anyone who has watched Chantal Akerman's films, is the silent documentary stuff worth it or should I just move onto her features? Just watched La Chambre and don't know if I need more of that lol.
I think I'm just watching a bunch of Miike films now. I'm not crazy enough to try and track down everything he's done, since that would probably fill out the rest of the year for me, but it's still a pretty impressive ouvre to pour over, not to mention some long overdue rewatches.
Shinjuku Triad Society: Absolutely wild gritty crime drama that could only have been made by Takashi Miike. It's all over the damn place, with all kinds of ultra-violence, wacky characters and sexual debauchery to fill in the gaps between whenever it feels like telling its story of dirty cops and even dirtier gang members, but Miike does find an enticingly gritty atmosphere in the proceedings, and it can't be denied that its willingness to go places few would dare to helps give the film a nice energy that it maintains throughout. As is usually the case (again, usually), there are some emotional stakes at play here that does ground the madness somewhat, which do mostly pay off by the end. It being an earlier film, it's not as polished as Miike's later films are, but it already bore unmistakable signatures and provides a nice window into his potential that would be met before too long.
Rainy Dog: Outside of an early scene that takes the piss out of Japanese censorship, Miike plays things very straight and very somber in this tale of discarded people and the lives that trap them. At its core, it has the typical "hit man on the run" hook that was a well overdrawn, but Miike shifts things ever so slightly with the tragic air that permeates the film from the first frame, opting for far less of a focus on the violence that will unfold and more on the introspection that our eventual trio of heroes undergoes in their desperate struggle to not only stay alive, but to find some kind of meaning in their lives. It's not a fun film by any stretch of the imagination, but Miike grasps onto the emotional center early on and doesn't let go, and allows for the drama to unfold quietly and organically. It sure doesn't hurt that the setting, Taipei in the middle of a ceaseless downpour, is utilized rather beautifully as the ramshackle nature of the slums makes for a enticing locale for all the action to take place in. It shouldn't be that surprising that Miike could put something like this film out, as his versatility as a filmmaker has been proven countless times over, but it is nevertheless a real treat to see him pull off a film like this and remind you that he's a lot more than the gory and sexual excesses can give him credit for.
Ley Lines: This one splits the difference between Shinjuku Triad Society's batshit crazy eccentricities and the more down to earth character focus and tragic bent of Rainy Dog to good effect. The Black Society Trilogy's big focus on the biracial experience in Japan is right at the forefront here, as all of our heroes (and even eventual villain) struggle with their place in Japan, though these aren't the type to go quietly into that Tokyo nightlife. The eccentricities pile up, not only with the scenarios, but particularly with Miike having lots of fun with colored lighting in many of the interiors that gives Tokyo's underbelly a downright Argento-esque nightmarish feeling. The characters get in on that fun on occasion, but at the end of the day, it's all in the service of the near-complete level of disconnect that they have with their environment with all of them hiding just how much they hate the fact that no matter how hard they try, they're never going to fit in "properly," which informs everything from the strange family unit that they wind up forming to the fateful decisions made in desperation to go anywhere else. Miike takes a really big step forward in terms of his direction, with a lot of well composed shots that highlight the intimacy of following these characters which range for sharply shot candid wide shots of them going about their not-so-legal business to virtually stalking the characters with the camera as if to suggest that the film could very well turn rather horrific at any given moment. Even the nuttier moments that happen in the film's last third, filled with moments that only Miike would dare to pull off in a generally serious film, have a nice sense of grounding to them that helps sell the sorrow of their situation and the offbeat triumphs that they manage to find along the way (the ending, in particular, is surprisingly upbeat given the context). This is the kind of film that does a great job of reminding you of why Miike is such a treasure: it's provocative, irreverent and gross, yet it's also genuinely heartfelt and dares to go into great depth on an unusual but fascinating subject matter without feeling like its preachy.
Shinjuku Triad Society: Absolutely wild gritty crime drama that could only have been made by Takashi Miike. It's all over the damn place, with all kinds of ultra-violence, wacky characters and sexual debauchery to fill in the gaps between whenever it feels like telling its story of dirty cops and even dirtier gang members, but Miike does find an enticingly gritty atmosphere in the proceedings, and it can't be denied that its willingness to go places few would dare to helps give the film a nice energy that it maintains throughout. As is usually the case (again, usually), there are some emotional stakes at play here that does ground the madness somewhat, which do mostly pay off by the end. It being an earlier film, it's not as polished as Miike's later films are, but it already bore unmistakable signatures and provides a nice window into his potential that would be met before too long.
Rainy Dog: Outside of an early scene that takes the piss out of Japanese censorship, Miike plays things very straight and very somber in this tale of discarded people and the lives that trap them. At its core, it has the typical "hit man on the run" hook that was a well overdrawn, but Miike shifts things ever so slightly with the tragic air that permeates the film from the first frame, opting for far less of a focus on the violence that will unfold and more on the introspection that our eventual trio of heroes undergoes in their desperate struggle to not only stay alive, but to find some kind of meaning in their lives. It's not a fun film by any stretch of the imagination, but Miike grasps onto the emotional center early on and doesn't let go, and allows for the drama to unfold quietly and organically. It sure doesn't hurt that the setting, Taipei in the middle of a ceaseless downpour, is utilized rather beautifully as the ramshackle nature of the slums makes for a enticing locale for all the action to take place in. It shouldn't be that surprising that Miike could put something like this film out, as his versatility as a filmmaker has been proven countless times over, but it is nevertheless a real treat to see him pull off a film like this and remind you that he's a lot more than the gory and sexual excesses can give him credit for.
Ley Lines: This one splits the difference between Shinjuku Triad Society's batshit crazy eccentricities and the more down to earth character focus and tragic bent of Rainy Dog to good effect. The Black Society Trilogy's big focus on the biracial experience in Japan is right at the forefront here, as all of our heroes (and even eventual villain) struggle with their place in Japan, though these aren't the type to go quietly into that Tokyo nightlife. The eccentricities pile up, not only with the scenarios, but particularly with Miike having lots of fun with colored lighting in many of the interiors that gives Tokyo's underbelly a downright Argento-esque nightmarish feeling. The characters get in on that fun on occasion, but at the end of the day, it's all in the service of the near-complete level of disconnect that they have with their environment with all of them hiding just how much they hate the fact that no matter how hard they try, they're never going to fit in "properly," which informs everything from the strange family unit that they wind up forming to the fateful decisions made in desperation to go anywhere else. Miike takes a really big step forward in terms of his direction, with a lot of well composed shots that highlight the intimacy of following these characters which range for sharply shot candid wide shots of them going about their not-so-legal business to virtually stalking the characters with the camera as if to suggest that the film could very well turn rather horrific at any given moment. Even the nuttier moments that happen in the film's last third, filled with moments that only Miike would dare to pull off in a generally serious film, have a nice sense of grounding to them that helps sell the sorrow of their situation and the offbeat triumphs that they manage to find along the way (the ending, in particular, is surprisingly upbeat given the context). This is the kind of film that does a great job of reminding you of why Miike is such a treasure: it's provocative, irreverent and gross, yet it's also genuinely heartfelt and dares to go into great depth on an unusual but fascinating subject matter without feeling like its preachy.
i would say they are more engaging than la chambre, but you should jump to jeanne to see if she's for you before going further into that direction
Fancy Clown
Member
Horror of Dracula is a mostly perfunctory adaptation that is pretty light on both chills and atmosphere. It's saving grace is in the casting of its leads. Christopher Lee (rightfully) gets a lot of praise for his charmingly sinister interpretation of the character that can become animalistic at the flip of a switch, but Peter Cushing's Van Helsing really holds the thing together with his icy blue eyes, baller fur coat, and sheer power of will that will have you fully believe he could have Dracula on the run from him in a climactic scooby doo chase.
Snowman Prophet of Doom
Member
I'm not familiar enough with Naruse to comment, but Still Walking is VERY Ozu, both in its aesthetic and in the ways it goes about conveying dramatic subtleties. It's not 1:1, of course, but I think he may be too close to the work if he can't see the grounds for the Ozu comparisons.
I haven't seen all of his films, but of the Koreeda films I've seen, it certainly seems like Still Walking was the film he was building toward throughout his career, in terms of depth of characterization and subtlety of filmmaking.
Net_Wrecker
Member
This Blackhat Director's Cut nonsense smh. Just put out a blu-ray. Now I have to watched a 180 minute commercial filled version just to see the differences ughughughugh
___________________________
Anyway, I've been hoarding some hot takes:
Threads (1984) (Mick Jackson): One of those "What if modern nukes were dropped, like, for real" large scale anti-war movies that apparently scared the hell out of everyone old enough to comprehend it in the 80s, and for good reason. What starts as a fairly mundane look into a few different British lives on the eve of the apocalypse quickly turns into a grim story of survival, slow death, and the collapse of modern society as every emergency plan put in place to ease suffering fails. This covers a surprisingly large span of time which I wasn't expecting, and basically turns into a low budget Mad Max feral children + Half Life 2 combine soldiers in the last 3rd. If you're in the mood to watch everything crumble in a depressing nuclear winter scenario, this has held up fairly well.
Red River (1948) (Howard Hawks, Arthur Rosson): Finally got this one off of my watchlist. I don't think the end really does justice to the journey, undercutting a lot of the crotchety tension built for the majority of the movie, but there's a bunch of great, lean Hawks dialogue throughout, so it remains incredibly watchable. With a more substantial ending I would've loved it.
Ugetsu (1953) (Kenji Mizoguchi): Super atmospheric (partially supernatural) story of how war in feudal Japan tore apart families and friends through greed, ambition, lust, and the erosion of values. So many great scenes and visuals.
The Life of Oharu (1952) (Kenji Mizoguchi): A lot of good stuff in this heartbreaking tale of a woman's life spiraling into the gutter due to a societal constraints outside of her control, forced out of and into relationships before being exiled to a life of hard knocks. Unfortunately all the suffering and bad luck started to run its course with me at some point during the movie and I started to feel that 2h30m length. I can totally see why this has a reputation as a classic, but I'll need to revisit it in a few years to see if it connects with me a little more.
(I'll get to Sansho The Bailiff soon)
Ghost World (2001) (Terry Zwigoff): Amazing. I could watch Thora Birch be an idiosyncratic lost soul snapping at everyone while Steve Buscemi awkwardly recoils forever and ever. Love the writing. Bonus points for the tinge of sadness.
Lost in America (1985) (Albert Brooks): I saw this years and years ago, but I couldn't remember anything aside from Albert Brooks' outburst toward his boss early in the movie, so I figured a rewatch would be about right with Criterion announcing it for July. This is damn hilarious. Might have some of the funniest "WHAT DID YOU DO?!?!?" rants I've ever seen in a movie. Sure the ending is abrupt as all hell and basically leaves you in what feels like is about to be the next great bit, but the journey is so, so, so, so worth it.
This led me on a little Albert Brooks adventure:
Real Life (1979) (Albert Brooks): Incredibly prescient story of a director basically trying to create reality TV, and all the little dumb gags that occur when you need to ensure drama manifests in the lives of people on camera for months. The cameramen killed me every time they popped up on screen. This would be an interesting double feature with Network (or triple feature with Broadcast News) that basically explains TV as we know it in 2017.
Modern Romance (1981) (Albert Brooks): Woody Allen-esque display of the jealousy, narcissism, paranoia, and insecurity of a film editor as he goes through his on-again, off-again relationship that gets both funnier and more uncomfortable with each passing line. Albert infuses this character with neurotic quirks that build and build like some kind of asshole megazord to the point that you start to view him as this unending tragic jerk going in circles, forever unsure of anything. Well, that is, except at his job where he seems like a competent film editor, so of course the overbearing, obsessive director pops in every so often with some great "taste of you own medicine." Shout out to the post production foley sound guys who provide some of the driest joke delivery in the movie.
Defending Your Life (1991) (Albert Brooks): Cute rom-com fantasy story about the afterlife, or more specifically, the nuts and bolts of how our decisions exist beyond the moment, and what they mean in death. This comes together with a sci-fi like sensibility to the way the rules of the universe and its inner workings function, with comedy derived mostly from the reactions of the always flustered Brooks as he attempts to make sense of the whole thing and assure the gatekeepers that he's worthy of getting to the next level. Very charming, very breezy, occasionally touching, thoroughly entertaining.
The Breaking Point (1950) (Michael Curtiz): It's Michael Curtiz, of Casablanca fame (among, like, 100 other things) directing an "out of time, out of money, out of luck" crime story about a charter boat captain making bad decisions with bad people so he can catch a break. Noir as hell. Dope as hell.
Mildred Pierce (1945) (Michael Curtiz): What can I say about this? It's a classic. Joan Crawford carrying a melodrama-noir to great heights backed by fantastic craftsmanship from Curtiz, interesting characters, twists and turns galore, and one of the most unexpectedly hateable characters you'll ever see.
___________________________
Anyway, I've been hoarding some hot takes:
Threads (1984) (Mick Jackson): One of those "What if modern nukes were dropped, like, for real" large scale anti-war movies that apparently scared the hell out of everyone old enough to comprehend it in the 80s, and for good reason. What starts as a fairly mundane look into a few different British lives on the eve of the apocalypse quickly turns into a grim story of survival, slow death, and the collapse of modern society as every emergency plan put in place to ease suffering fails. This covers a surprisingly large span of time which I wasn't expecting, and basically turns into a low budget Mad Max feral children + Half Life 2 combine soldiers in the last 3rd. If you're in the mood to watch everything crumble in a depressing nuclear winter scenario, this has held up fairly well.
Red River (1948) (Howard Hawks, Arthur Rosson): Finally got this one off of my watchlist. I don't think the end really does justice to the journey, undercutting a lot of the crotchety tension built for the majority of the movie, but there's a bunch of great, lean Hawks dialogue throughout, so it remains incredibly watchable. With a more substantial ending I would've loved it.
Ugetsu (1953) (Kenji Mizoguchi): Super atmospheric (partially supernatural) story of how war in feudal Japan tore apart families and friends through greed, ambition, lust, and the erosion of values. So many great scenes and visuals.
The Life of Oharu (1952) (Kenji Mizoguchi): A lot of good stuff in this heartbreaking tale of a woman's life spiraling into the gutter due to a societal constraints outside of her control, forced out of and into relationships before being exiled to a life of hard knocks. Unfortunately all the suffering and bad luck started to run its course with me at some point during the movie and I started to feel that 2h30m length. I can totally see why this has a reputation as a classic, but I'll need to revisit it in a few years to see if it connects with me a little more.
(I'll get to Sansho The Bailiff soon)
Ghost World (2001) (Terry Zwigoff): Amazing. I could watch Thora Birch be an idiosyncratic lost soul snapping at everyone while Steve Buscemi awkwardly recoils forever and ever. Love the writing. Bonus points for the tinge of sadness.
Lost in America (1985) (Albert Brooks): I saw this years and years ago, but I couldn't remember anything aside from Albert Brooks' outburst toward his boss early in the movie, so I figured a rewatch would be about right with Criterion announcing it for July. This is damn hilarious. Might have some of the funniest "WHAT DID YOU DO?!?!?" rants I've ever seen in a movie. Sure the ending is abrupt as all hell and basically leaves you in what feels like is about to be the next great bit, but the journey is so, so, so, so worth it.
This led me on a little Albert Brooks adventure:
Real Life (1979) (Albert Brooks): Incredibly prescient story of a director basically trying to create reality TV, and all the little dumb gags that occur when you need to ensure drama manifests in the lives of people on camera for months. The cameramen killed me every time they popped up on screen. This would be an interesting double feature with Network (or triple feature with Broadcast News) that basically explains TV as we know it in 2017.
Modern Romance (1981) (Albert Brooks): Woody Allen-esque display of the jealousy, narcissism, paranoia, and insecurity of a film editor as he goes through his on-again, off-again relationship that gets both funnier and more uncomfortable with each passing line. Albert infuses this character with neurotic quirks that build and build like some kind of asshole megazord to the point that you start to view him as this unending tragic jerk going in circles, forever unsure of anything. Well, that is, except at his job where he seems like a competent film editor, so of course the overbearing, obsessive director pops in every so often with some great "taste of you own medicine." Shout out to the post production foley sound guys who provide some of the driest joke delivery in the movie.
Defending Your Life (1991) (Albert Brooks): Cute rom-com fantasy story about the afterlife, or more specifically, the nuts and bolts of how our decisions exist beyond the moment, and what they mean in death. This comes together with a sci-fi like sensibility to the way the rules of the universe and its inner workings function, with comedy derived mostly from the reactions of the always flustered Brooks as he attempts to make sense of the whole thing and assure the gatekeepers that he's worthy of getting to the next level. Very charming, very breezy, occasionally touching, thoroughly entertaining.
The Breaking Point (1950) (Michael Curtiz): It's Michael Curtiz, of Casablanca fame (among, like, 100 other things) directing an "out of time, out of money, out of luck" crime story about a charter boat captain making bad decisions with bad people so he can catch a break. Noir as hell. Dope as hell.
Mildred Pierce (1945) (Michael Curtiz): What can I say about this? It's a classic. Joan Crawford carrying a melodrama-noir to great heights backed by fantastic craftsmanship from Curtiz, interesting characters, twists and turns galore, and one of the most unexpectedly hateable characters you'll ever see.
The Great Wall: 5/10. Definitely trash but it gets hot when their doing some Minas Tirith shit. Chinese people done whitewashed their own damn movie smh.
They All Laughed: 4/10 Well I didn't. Just checked it out for Dorothy Stratten after hearing about her on You Must Remember This dead blondes series. Seems like one of those movies where both the makers and watchers of the film were high as shit so they thought it was great.
Nocturama: 6/10. Kind of like Dawn of the Dead but with terrorists before turning in to
Great tension in the opening, soggy middle, ends on a high note.
Its Only the End of the World: 4/10. Mostly just annoying. Also is it just me or are there only like 4 French actors? Help me out on this Baron, does it feel that way over there? Like whenever a movie is being produced in your country you're like oh look it's VINCENT FUCKING CASSEL and LEA SEYDOUX. Wonder why Juliette Binoche wasn't in this.
Computer Chess rewatch, 9/10 god I love this movie. Why did this guy take all this brilliance and follow it up with some middling romcom that I didn't even watch. And where is he now? Nowhere.
They All Laughed: 4/10 Well I didn't. Just checked it out for Dorothy Stratten after hearing about her on You Must Remember This dead blondes series. Seems like one of those movies where both the makers and watchers of the film were high as shit so they thought it was great.
Nocturama: 6/10. Kind of like Dawn of the Dead but with terrorists before turning in to
Splinter Cell.
Its Only the End of the World: 4/10. Mostly just annoying. Also is it just me or are there only like 4 French actors? Help me out on this Baron, does it feel that way over there? Like whenever a movie is being produced in your country you're like oh look it's VINCENT FUCKING CASSEL and LEA SEYDOUX. Wonder why Juliette Binoche wasn't in this.
Computer Chess rewatch, 9/10 god I love this movie. Why did this guy take all this brilliance and follow it up with some middling romcom that I didn't even watch. And where is he now? Nowhere.
Dead or Alive: The film that proudly suggests that an 11 simply isn't off the charts enough. Opening with about as perfect a tone establishment as you can ask for, a five plus minute orgy of violence, sex, drugs and noodles that whirls on by with the intensity of a hurricane, you're already strapped in for a wildly unpredictable ride. Mixing together a cops vs. gangster plot with a surprisingly large domestic drama component and enough gonzo moments throughout to suggest that snorting a school bus-length rail of cocaine (this is a thing that happens) wouldn't be enough to come up with even half of the insanity foists upon the viewer. While Miike does touch upon some of the biracial themes of the Black Society Trilogy, they're pushed way into the background for a decidedly more over-the-top genre exercise that can almost be best summed up with the phrase "a cop getting tips from a guy who films bestiality porn for a living is one of the more subtle elements of the film" (again, thing that actually happens). As mentioned, it's not all batshit crazy, as the surprisingly serious tone that the drama can take sticks rather well and gives the film a nice edge that makes even the more deranged moments feel genuinely disturbing (a certain swimming pool scene definitely takes the cake in that regard) and helps the film to linger well past the shock of, well, damn near everything that happens in it. It makes it all the more memorable that it's a rather professionally-made film, which shouldn't be that surprising given Miike's talents, but a lot of similar films are content to just coast on by their concepts and rarely ever do anything proficiently cinematic with them. Add in two charmingly straight-laced performances from leading men Riki Takeuchi and Show Aikawa, both of whom are game for anything Miike throws at them, including the film's extraordinary final 15 minutes that makes damn sure we get a final fight to end all final fights, and you've got a film that stands up to the scrutiny of being an instant cult classic and will certainly surprise even the most seasoned of genre lovers with a taste for the wildest cinema out there.
La Ronde (1950): Max Ophüls' film glides through a cross-section of lives at turn of the century Vienna, addressing a variety of romantic entanglements with what at the time was probably considered a very frank touch. From today's vantage, of course, a non-judgemental look at adulterous conduct (by several parties) isn't revolutionary, but it remains a pleasant viewing experience, particularly the somewhat whimsical master of ceremonies played by Anton Walbrook.
Big Trouble in Little China (1986): This has become a cult film, as I understand it. It's...fine, I guess. There are clever moments, and everybody involved is giving their all, but I didn't love it the way a lot of people clearly do.
Big Trouble in Little China (1986): This has become a cult film, as I understand it. It's...fine, I guess. There are clever moments, and everybody involved is giving their all, but I didn't love it the way a lot of people clearly do.
Escape Goat
Member
Dream catcher
I really don't know what this movie was. So much shit going on. Like a ADD addled film school drop out saw The Thing and was given 20 million dollars to make a film. I'm going to go read the wiki and see if that helps. Maybe there's nothing to get.
I really don't know what this movie was. So much shit going on. Like a ADD addled film school drop out saw The Thing and was given 20 million dollars to make a film. I'm going to go read the wiki and see if that helps. Maybe there's nothing to get.
Hexxen-Panda
Member
Five Came Back really got me into an old Hollywood appetite lately. Decided to have a John Huston double feature earlier today, as I've never seen any of his works.
The Treasure of Sierra Madre
Really great take on the western/adventure film genre. While Walter Huston deservedly got an Oscar for his performance here, Humphrey Bogart's work is also very remarkably different from what I usually associate with him. It has a kind of melodramatic flair to it that heightens the sense of adventure, but it also goes into very dark places. John Huston's style of directing is very understated, but it is truly effective and impressive with how it conveys the paranoia and temptations that afflict these characters.
Am I correct in assuming that Stinky Pete from Toy Story 2 is based off Walter Huston's character?
The African Queen
Another home run. I loved it a lot. The performances from both Katharine Hepburn and Humphrey Bogart was enchanting, as was the way the film structured its story. Yes, it's very Hollywood-like (fake) with its depiction of combat, jungle survival, and whatnot, but it's part of the charm for me. The beautiful technicolor photography, the obvious matte shots, and vintage colloquialisms adds to the magic of it. Great movie.
The Treasure of Sierra Madre
Really great take on the western/adventure film genre. While Walter Huston deservedly got an Oscar for his performance here, Humphrey Bogart's work is also very remarkably different from what I usually associate with him. It has a kind of melodramatic flair to it that heightens the sense of adventure, but it also goes into very dark places. John Huston's style of directing is very understated, but it is truly effective and impressive with how it conveys the paranoia and temptations that afflict these characters.
Am I correct in assuming that Stinky Pete from Toy Story 2 is based off Walter Huston's character?
The African Queen
Another home run. I loved it a lot. The performances from both Katharine Hepburn and Humphrey Bogart was enchanting, as was the way the film structured its story. Yes, it's very Hollywood-like (fake) with its depiction of combat, jungle survival, and whatnot, but it's part of the charm for me. The beautiful technicolor photography, the obvious matte shots, and vintage colloquialisms adds to the magic of it. Great movie.
Cripplegate
Member
There's nothing to get.
Just sit back, relax, and bask in the glory of Morgan Freeman's eyebrows.
Messofanego
Banned
What did he mean by this?
Member
Silence - had to stop halfway through because made my mother mad which led to christian debate. great movie
A Monster Calls - tad dull but great acting and beautiful art/animation and I certainly teared up
Collateral Beauty - AMAZING movie, loved it would recommend it endlessly the twist at the end blew my mind
A Monster Calls - tad dull but great acting and beautiful art/animation and I certainly teared up
Collateral Beauty - AMAZING movie, loved it would recommend it endlessly the twist at the end blew my mind
AngmarsKing701
Member
Bogey da Boss
That movie is shit...it's a very good Stephen King book made into that trash. Which apparently someone forgot to actually follow the book.
AngmarsKing701
Member
I couldn't stand that book lol.
One of the few King books I've read that I didn't enjoy.
The 90 minutes version
We had a one night only screening in France last week.
b&jy77VjiKn$#F
Member
Ahh thanks.
It's been so long since I've read it. I remember liking it but that awful movie has replaced it in my memory.
I did have an idea for a movie list to try. Book vs movie deathmatch. I've never read the Shining, Christine, Carrie, or Salems Lot for example. The Mist would be cool to read as well, loved the movie. Now I have read and watched Dreamcatcher obviously but both forms of the Stand were good, Pet Cemetery was good in both, Needful Things rocked as a book and sucked as a movie, probably some others I'm not remembering. I've watched a lot of his movies but haven't read as much of the novels.
Snowman Prophet of Doom
Member
Borgnine, despite your lack of appreciation for the greatness of Ozu, you remain a highlight of the thread.
How do you feel about Andrew Bujalski's previous mumblecore joints?
Should I watch those? >_>
muntersaur
Member
I've enjoyed reading your Miike reviews. It's been years since I last watched these films and it has brought back some fond memories. Like Rainy Dog was to Shinjuku Triad Society, Dead or Alive 2 is a very different film to Dead or Alive. I remember it being my favourite of the Dead or Alive trilogy
Rhomega Beta
Member
Back with more Shirley Temple
Curly Top: Animal crackers in my soup, monkeys and rabbits loop de loop...
There's a number of good musical bits in here, including a scene where portraits on the wall come to life a la Harry Potter. I'm disappointed like things set up in the first half that disappear into the second, like a trained pony that can pull off impressive tricks, and an old man who hates children having fun. I ultimately recommend this though.
Curly Top: Animal crackers in my soup, monkeys and rabbits loop de loop...
There's a number of good musical bits in here, including a scene where portraits on the wall come to life a la Harry Potter. I'm disappointed like things set up in the first half that disappear into the second, like a trained pony that can pull off impressive tricks, and an old man who hates children having fun. I ultimately recommend this though.
That's encouraging to here. If for nothing else, Miike and company made it really easy to go into a completely different direction for any sequel to Dead or Alive, given the rather explosive conclusion!
May be answering you late! It can definitely be emotional, depending on how deep you fall in love with it.
Rhomega Beta
Member
The Littlest Rebel: I'm beginning to notice that these movies are making sure to show off Shirley Temple's tap-dancing skills, as seen here. It's also a rare Civil War movie where the main characters are Confederates, but this also reaches across the aisle (so to speak) by having a Yankee colonel be an absolute genetleman towards Shirley and her family. There are several slaves here, but they're treated more as butlers and maids than actual slaves. It's a good, if unusual.
I'm sure you're noticing as I'm going through this is that I'm not talking a lot about great things about these movies along with giving them 3-star reviews on Letterboxd, and as I think about it, I've come to a realization: there isn't a lot of modern appeal for these movies, aside from starring a famous child actor from the '30s with some song and dance numbers. Curly Top is about a girl and her older sister who get adopted by a rich man. The sister gets engaged to a man she doesn't love. Does that sound appealing to you? These movies are cute and wholesome, but that's just all they are. At this point, Heidi and The Little Princess (which I've seen before) are still the best of them.
But I'm still going. Next is Captain January, which I like already because it prominently features a lighthouse.
I'm sure you're noticing as I'm going through this is that I'm not talking a lot about great things about these movies along with giving them 3-star reviews on Letterboxd, and as I think about it, I've come to a realization: there isn't a lot of modern appeal for these movies, aside from starring a famous child actor from the '30s with some song and dance numbers. Curly Top is about a girl and her older sister who get adopted by a rich man. The sister gets engaged to a man she doesn't love. Does that sound appealing to you? These movies are cute and wholesome, but that's just all they are. At this point, Heidi and The Little Princess (which I've seen before) are still the best of them.
But I'm still going. Next is Captain January, which I like already because it prominently features a lighthouse.
Your Name (2017) - ★★★★☆
Yeah so I watched Your Name as I have been anticipating it for two years, and it's the first anime I'm watching in the cinema since the first Pokémon film when I was a kid. This one was the perfect date movie, and there were a lot of young couples in the cinema, but I was fine watching it on my own. It was such an insane visual treat but also had a beautiful plot, that got a little bit too convoluted by the end for me. I needed someone to explain it to me after but then it also made sense. I loved the whole stick of these two people experiencing being in each others bodies, and how it all comes together throughout the movie. I wills surely give it a rewatch when it comes out on bluray or digital platforms.
Rhomega Beta
Member
Captain January: A movie split into two halves, the first dealing with Star's (Shirley) education, the second with Captain January losing his job, and his custody of Star, when the lighthouse becomes automated. The questions and answers for the school examination are done in the cutesy lateral-thinking kind of way. ("5 boats sail away, how many are left?" "Why did they leave?"). The drama gets interesting here as the Captain becomes desperate to keep custody Star, even fighting with his friend, played by Buddy Ebsen (you may know him as Jed Clampett). One of the best elements here is the villain, a truant officer that you immediately hate in an Umbridge kind of way.
Guardians of the Galaxy 2 - While I don't think it's as tight as the first, there's a lull once a character enters the picture and we see the end coming, it's so damn fun and good and comedic and has a ton of great action sequences it might still outdo the first. It still has the messages and emotions, and goes to logical areas with it in terms of family and relationships thanks to wonderful characters.
I don't have a lot of complaints, honestly. Maybe that the comedic moments can detract from what's meant to be a dramatic punch, but that also might be the crowd I was with because they laughed at seemingly everything.
Also I love Kurt Russell. So anything with him is automatically the greatest movie ever made.
Samurai Spy - The meat of this movie is fantastic. There's a center chunk of storytelling happening here that's some great intrigue and tension speckled with just enough swordfighting action. The problem is the first 20 minutes and the ending where it seemed to not quite know where it wanted to go after everything seemed fairly done and over with and it could have just called it a day and been fine.
The bigger issue is the set up, though. The first 20 minutes seems to be nothing but exposition and uninteresting characters that takes forever to really get going - there's nothing to really get you invested and it goes for too long to finally get in gear. When it finally does, goddamn I couldn't look away, but if it trimmed ten minutes and got through its set up in as good a fashion I'd think you'd have a legendary samurai flick.
I don't have a lot of complaints, honestly. Maybe that the comedic moments can detract from what's meant to be a dramatic punch, but that also might be the crowd I was with because they laughed at seemingly everything.
Also I love Kurt Russell. So anything with him is automatically the greatest movie ever made.
Samurai Spy - The meat of this movie is fantastic. There's a center chunk of storytelling happening here that's some great intrigue and tension speckled with just enough swordfighting action. The problem is the first 20 minutes and the ending where it seemed to not quite know where it wanted to go after everything seemed fairly done and over with and it could have just called it a day and been fine.
The bigger issue is the set up, though. The first 20 minutes seems to be nothing but exposition and uninteresting characters that takes forever to really get going - there's nothing to really get you invested and it goes for too long to finally get in gear. When it finally does, goddamn I couldn't look away, but if it trimmed ten minutes and got through its set up in as good a fashion I'd think you'd have a legendary samurai flick.
TheOnlyOneHeEverFeared
Member
So.. The Life and Death of Colonel Blimp eh. You can tell it was made in war time from the first 15 minutes of it. It's a film that shows a vision of England that is clearly adores and wishes to preserves in our hearts and minds, whilst also arguing that this England must fall, both physically, morally and in our minds, before it is destroyed forever.
Being the sort of person who loves to read military history, and specially 19th/20th century British military history, I did have some conception of what Colonel Blimp was before I sat down to watch this, but knowing that, I had no idea this is the film they'd make out of the concept.
To try and accurately summarise the plot would be a bit of a tiresome exercise, given its a surprisingly epic war drama comedy piece set over 40 decades of a British army officer's life, from the Boer War in 1902 to joining the home guard in 1940. It's epic, incredibly charming, and surprisingly touching in some of its themes, such as loss, regret, the feelings of desperation and grief, nostalgia for days and times and people gone past us as time forever leaps forward for us as it does for Clive Wing Candy.
I imagine it would ring especially true to a war time audience, but it goes just as well in 2017.
It's a deeply romantic film. It's main 'plots' if thats an appropiate word are all romantic, love lost, love found. It also showcases the kind of romance the flows and enrichs every aspect of our lives, as much in 2017 as in 1943, or 1918, or 1902. The romance of a life long friendship time and distance can never break, the romance of our visions of the world, the romance of love. The romance of aging and accepting the world will change, and choosing to age gracefully along side it.
And Roger Livesey, Deborah Kerr, and Anton Walbrook pull it off so well, I had tears in my eyes by the end.
Oh, and it also looks very nice, and sounds great.
I can sort of imagine people hating this film, or really not getting it. But it got me, it really did. I hate to use the term perfect for anything, but when its appropriate, its appropriate. The Life and Death of Colonel Blimp is a perfect film of what its trying to be.
Being the sort of person who loves to read military history, and specially 19th/20th century British military history, I did have some conception of what Colonel Blimp was before I sat down to watch this, but knowing that, I had no idea this is the film they'd make out of the concept.
To try and accurately summarise the plot would be a bit of a tiresome exercise, given its a surprisingly epic war drama comedy piece set over 40 decades of a British army officer's life, from the Boer War in 1902 to joining the home guard in 1940. It's epic, incredibly charming, and surprisingly touching in some of its themes, such as loss, regret, the feelings of desperation and grief, nostalgia for days and times and people gone past us as time forever leaps forward for us as it does for Clive Wing Candy.
I imagine it would ring especially true to a war time audience, but it goes just as well in 2017.
It's a deeply romantic film. It's main 'plots' if thats an appropiate word are all romantic, love lost, love found. It also showcases the kind of romance the flows and enrichs every aspect of our lives, as much in 2017 as in 1943, or 1918, or 1902. The romance of a life long friendship time and distance can never break, the romance of our visions of the world, the romance of love. The romance of aging and accepting the world will change, and choosing to age gracefully along side it.
And Roger Livesey, Deborah Kerr, and Anton Walbrook pull it off so well, I had tears in my eyes by the end.
Oh, and it also looks very nice, and sounds great.
I can sort of imagine people hating this film, or really not getting it. But it got me, it really did. I hate to use the term perfect for anything, but when its appropriate, its appropriate. The Life and Death of Colonel Blimp is a perfect film of what its trying to be.
Thinking of starting a Ghibli movie marathon with my wife tonight. Has anyone seen them all? My wife isn't huge into anime and isn't really familiar with Ghibli so I'm worried about going chronologically because it's been years since I've seen any of the first 8 and I want to not start her out with something that will put her off the rest.
I loved Grave of the Fireflies the first time I saw it, but how is Castle in the Sky? Are there any really weak movies, or weak pockets of movies?
I loved Grave of the Fireflies the first time I saw it, but how is Castle in the Sky? Are there any really weak movies, or weak pockets of movies?
Hexxen-Panda
Member
Heat: Director's Definitive Edition
I didn't like this as much as when the first time I saw it. I loved the style of the picture, but 3 hours long? Certainly felt it seeing it a second time. Blu-ray is terrific though. The gunfights sound truly frightening on a 5.1 setup.
I didn't like this as much as when the first time I saw it. I loved the style of the picture, but 3 hours long? Certainly felt it seeing it a second time. Blu-ray is terrific though. The gunfights sound truly frightening on a 5.1 setup.
Rhomega Beta
Member
Castle in the Sky is great IMO. Spirited Away is a classic, and My Neighbor Totoro and Kiki's Delivery Service are always recommended.
Fancy Clown
Member
Wait Until Dark is certainly the best of the sensory deprived thrillers I've seen. It makes consistent and creative use of Hepburn's blindness to set up clever and suspenseful turns as a group of criminals try to con her, and worse. Hepburn occasionally overacts a bit and doesn't feel quite right for the role, but she's balanced out by Alan Arkin with an amazing turn as the menacing Roat. Unfortunately the movie does suffer from annoying child character syndrome as well. I think with a more visual director and surer hand with suspense, like if it were in the hands of Hitchcock, the film could have escalated into greatness.
Win It All
This could be Joe Swanberg's best movie, or at the very least my favorite movie of his. Jake Johnson gives his best film performance (Nick on New Girl is not in competition since that cannot be touched), and while you get this sinking feeling of, "NO! Why are you doing this?" throughout, it feels real for that exact reason. The final act is also incredibly tense and well done. Recommended!
Guardians of the Galaxy Vol. 2
I wish I liked this one more. It felt incredibly meandering, the jokes never really hit for me apart for a few (that
gag is amazing), and went a little too big for its climax and turned it from a sci-fi comedy adventure romp into a
fight. But the Gamora and Nebula relationship worked, Rocket and Yondu worked, Drax and Mantis worked, the visuals are fantastic, and the music selection is still good stuff. I liked it, but didn't end up loving it like the first.
The Lost City of Z
This will come off as hyperbole, but this one felt like a long lost movie from the David Lean days. Not to say it would ever compare to River Kwai and Lawrence of Arabia, but it's damn near as epic and engrossing. I found myself in awe of its cinematography, its scope, its careful and methodical pacing. It felt like a 1960's epic, and I absolutely adore those. Charlie Hunnam is very good, and Robert Pattinson puts in some damn work. Ian McDiarmid pops up, which is very nice to see. I had an excellent time with this one, and while I can see others being turned off from it and finding it a little dull, I loved every bit of it. Make more movies like this, damn it!
This could be Joe Swanberg's best movie, or at the very least my favorite movie of his. Jake Johnson gives his best film performance (Nick on New Girl is not in competition since that cannot be touched), and while you get this sinking feeling of, "NO! Why are you doing this?" throughout, it feels real for that exact reason. The final act is also incredibly tense and well done. Recommended!
Guardians of the Galaxy Vol. 2
I wish I liked this one more. It felt incredibly meandering, the jokes never really hit for me apart for a few (that
Zune
Man of Steel
The Lost City of Z
This will come off as hyperbole, but this one felt like a long lost movie from the David Lean days. Not to say it would ever compare to River Kwai and Lawrence of Arabia, but it's damn near as epic and engrossing. I found myself in awe of its cinematography, its scope, its careful and methodical pacing. It felt like a 1960's epic, and I absolutely adore those. Charlie Hunnam is very good, and Robert Pattinson puts in some damn work. Ian McDiarmid pops up, which is very nice to see. I had an excellent time with this one, and while I can see others being turned off from it and finding it a little dull, I loved every bit of it. Make more movies like this, damn it!