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xcore posted:The Steve Jobs movie with Kutcher / The Steve Jobs movie without Kutcher Having seen none of the 3 movies, I'd say After Earth/Oblivion is a better match, since (at least according to the trailers) they are about exploring an Earth long since left by the majority of humanity. Edit: I forgot to add my own addition, Armageddon/Deep Impact
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Mar 18, 2014 05:59
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And we mustn't forget 1994: Drop Zone/Terminal Velocity The Professional/The Specialist Those last two were nothing alike, but it wasn't hard to mix them up based on the title.
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Mar 18, 2014 06:18
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Skwirl posted:Having seen none of the 3 movies, I'd say After Earth/Oblivion is a better match, since (at least according to the trailers) they are about exploring an Earth long since left by the majority of humanity. If I had to describe something similar to After Earth it would be the CW show The 100, which is about a bunch of young adults coming back to earth after spending a century on a space station for reasons unknown. If Oblivion is similar to anything, it's Moon, in that both are basically caretakers for a station that basically no one else is around for. Also, lots of clones.
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Mar 18, 2014 12:58
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Question: Do you guys think of M. Night Shyamalan as an auteur? He's a really interesting figure to me, because while he has a definite authorial voice (to me) people by-and-large seem to hate him and his voice and joke about him always using twists. His 'authorial voice' is viewed as a crutch when no-one does the same for, for example, Kubrick and his goddamn voiceovers. I just saw Lady in the Water, and it manages to be incredibly subtle while being incredibly unsubtle, like a mobius strip. It's not just a story, but a story about trying to adapt a bedtime story to a film while trying to maintain the qualities that make it function as one. It's, like, whoa.
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Mar 18, 2014 16:47
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Hbomberguy posted:Question: Do you guys think of M. Night Shyamalan as an auteur? He's a really interesting figure to me, because while he has a definite authorial voice (to me) people by-and-large seem to hate him and his voice and joke about him always using twists. His 'authorial voice' is viewed as a crutch when no-one does the same for, for example, Kubrick and his goddamn voiceovers. Yeah, definitely. It's independent from quality.
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Mar 18, 2014 17:00
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morestuff posted:Yeah, definitely. It's independent from quality. Right. Godfrey Ho is a goddamned auteur.
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Mar 18, 2014 17:56
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Gonna add one more pair: Dark City/The Matrix. They even share some sets.
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Mar 18, 2014 19:39
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VROOM VROOM posted:Gonna add one more pair: Dark City/The Matrix. They even share some sets. And the third Matrix basically has the same ending as Dark City
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Mar 18, 2014 19:43
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VROOM VROOM posted:Gonna add one more pair: Dark City/The Matrix. They even share some sets. Also The Thirteenth Floor.
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Mar 18, 2014 21:14
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morestuff posted:Yeah, definitely. It's independent from quality. Ed Wood is an auteur as well. Whatever else you can say about them, there's never any doubt that his movies are from anybody else.
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Mar 18, 2014 21:25
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Vulpes posted:Also The Thirteenth Floor. Also also The Thirteenth Floor and Existenz.
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Mar 18, 2014 21:27
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Uwe Boll: auteur?
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Mar 19, 2014 01:10
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Definitively. I've probably said this like a billion times by now, but watch Uwe Boll's films in chronological order, right now. It's the best thing I've ever done. I'm going to do it again with friends and videotape it. It's like watching a child learn to do movies slowly but surely, culminating in several fun and good movies.
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Mar 19, 2014 01:19
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Hbomberguy posted:Definitively. I've probably said this like a billion times by now, but watch Uwe Boll's films in chronological order, right now. This doesn't sound fun at all.
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Mar 19, 2014 01:38
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Can anyone point to a site that has a collection of movie posters made by small theaters? Not necessarily ones made by foreign theaters, but small US theaters that had to make their own posters in the 50s/60s/70s and so on. For whatever reason, I can't seem to think of the right combination of words to find what I'm looking for on Google.
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Mar 19, 2014 01:46
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Can someone who is smarter and better at movie watching please explain Mudholland Drive to me? I don't think I've ever been so confused by a movie. From what I could tell Nomi Watts is Dianne, and pretty much the entire movie is her dreaming about being an actress. She gets very resentful and jealous of the other actress and hires a hitman?
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Mar 20, 2014 16:06
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Your Gay Uncle posted:Can someone who is smarter and better at movie watching please explain Mudholland Drive to me? I don't think I've ever been so confused by a movie. Lynch gave 10 "clues" to the movie, but I always thought that was self-defeating. It works pretty well without a clear narrative.
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Mar 20, 2014 16:13
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Your Gay Uncle posted:Can someone who is smarter and better at movie watching please explain Mudholland Drive to me? I don't think I've ever been so confused by a movie. There's no one true answer but yes the generally accepted explanation is that the first two thirds are the dream, and the last third is a mix of flashbacks that provides a sort of key for the dream, which is framed by two literal shots of the camera moving and out of a pillow. Obviously you could view it without a narrative, or with a more oblique narrative, but that's pretty much the literal process of events in the film and once that's clear you realize that the film is really no less straightforward than most movies. So you basically got it right: in real life Naomi Watts goes to Hollywood with an inheritance from her dead Aunt Ruth, meets, falls in love with, and is betrayed by Laura Harring, which drives her to commission an assassination, and the guilt drives her to suicide. Right before she kills herself she has a dream in which things are relived in a cathartic way, which usually means punishing those who wronged her and taking the blame off of herself while attempting to "save" Laura Harring.
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Mar 20, 2014 17:03
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Mulholland Drive: The interpretation I tend to go with is that the first portion of the movie is a dream, she's living out her fantasy of being a wonderful actress, solving a mystery, the beautiful stranger falls in love with her, etc. In real life she's washed up and her lover left her for the director; in her grief she commissioned the hitman. Representations of her guilt (the blue key, the monster behind the diner, the police knocking on the apartment door) keep intruding into her dream, culminating in the Club Silencio scene and unlocking the blue box. From there on we see a whirlwind of "real-life" scenes, ending with the attack of tiny old people and suicide. Of course, you shouldn't try to explain everything in the film literally, both because Lynch doesn't work that way, and it was cobbled together from a scrapped TV pilot. Edit: ^^^ what he said ^^^
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Mar 20, 2014 17:06
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A good portion of the film is Lynch messing with people's need to know entirely what a film is 'about' instead of enjoying it on other levels than literal plot, etc. - hence the scene where you are told there is no band and it's all pre-recorded, but get invested in the lady's singing anyway. I guess my point, your gay uncle, is what did you think it was about? What did it make you think about? The ten clues he released are a joke along these lines. The punchline is that if you obsess over the clues and all the tiny tactile things in the film you might literally go insane. You've gotta feel the movie, man. In his autobiography he has a chapter called 'the box and the key'. Copied here, verbatim, is the entirety of that chapter. I hope it helps you on your quest for knowledge: "I don’t have a clue what those are." edit: Also in my opinion the box is a physical representation of the symbolic order - the character's need to figure out what's inside the box and solve the mystery (aka obtain 'complete' knowledge of something) kills them by waking them up to the Real (in a Lacanian sense) world, in which they cannot cope with their existence and destroy themselves. I think this is Lynch trying to demonstrate how, if you try to eliminate or solve or understand all your fantasies and mysteries, you lose the very reality they helped structure. Understanding how atoms work makes you 'just carbon', or just meat, or whatever. Part of the beauty of human life is that extra something that exists beyond the mysteries we're capable even of solving, and maybe shouldn't even be solved. Hbomberguy fucked around with this message at 18:47 on Mar 20, 2014 |
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Mar 20, 2014 18:40
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Well done CD. Your next mission: Explain Inland Empire Ha-ha, just kidding.
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Mar 20, 2014 20:00
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I tried writing an analysis, but then my head opened and all my blood fell out of my body and I blacked out and woke up two minutes before I clicked post.
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Mar 20, 2014 20:38
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Really the best way to enjoy David Lynch is to just go with the flow.
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Mar 20, 2014 20:43
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I adore Lynch, and I've never once thought of his movies as "Figure it out" movies. I just sit back and let the weird wash over me.
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Mar 20, 2014 21:53
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Yeah, I always thought you were supposed to apply dream logic to Lynch. You're not supposed to spend too much time figuring it out proper, at best you just guess at maybe what was represented or why you reacted to it the way you did. This makes the movies much more rewarding too because you're not wasting your time on trying to apply your own biases and rules to the logic of the films.
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Mar 20, 2014 22:28
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I just finished Twin Peaks a few weeks ago, Mudhollan Drive was the first Lynch movie I've seen. It is probably the most unique movie I've seen in the sense that I had no idea how I feel about it. Watching it felt like what happens if I take an ambien. The movie honestly seemed like a dream where somethings had obvious meaning while others were just things that happe, then it's just over. I'm excited to watch it again just to see if it makes any more sense now that I've had a few days to mull it over. Are all the Lynch movies like this? Is there a reccomended order to watch them in or should I just dive in? I have Blue Velvet and Lost Highway sitting on my coffe table ready to go, I just haven't had the time to sit down and watch them.
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Mar 21, 2014 01:15
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Your Gay Uncle posted:Are all the Lynch movies like this?
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Mar 21, 2014 01:41
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david_a posted:No. The Straight Story, for example, is very straightforward. Eraserhead, Lost Highway, Mulholland Drive, and Inland Empire are the really weird stereotypically "Lynchian" ones. Also Blue Velvet, while being weird in it's own right, is a fairly straightforward crime tale that doesn't rely on any kind of dream logic.
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Mar 21, 2014 01:51
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Hbomberguy posted:A good portion of the film is Lynch messing with people's need to know entirely what a film is 'about' instead of enjoying it on other levels than literal plot, etc. - hence the scene where you are told there is no band and it's all pre-recorded, but get invested in the lady's singing anyway. I guess my point, your gay uncle, is what did you think it was about? What did it make you think about? Catching the Big Fish is not an autobiography, it's just a collection of stuff he said during the Q&A part of his 2005ish meditation tour. The closest thing to an autobiography would be Lynch on Lynch. Probably the best biography would be Beautiful Dark, and if you are interested in Lynch via Lacan, check out The Impossible David Lynch if you haven't already.
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Mar 21, 2014 05:14
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Skwirl posted:Also Blue Velvet, while being weird in it's own right, is a fairly straightforward crime tale that doesn't rely on any kind of dream logic. Definitely. The Elephant Man is also really great and similarly incredibly "Lynchian" in tone but can definite been taken at face value.
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Mar 21, 2014 05:51
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caiman posted:I adore Lynch, and I've never once thought of his movies as "Figure it out" movies. I just sit back and let the weird wash over me. Silencio is one of the most sublime scenes I've experienced. I've never been particularly interested in what it means in some literal plot sense. That's not where the power of it comes from.
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Mar 21, 2014 08:30
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Lost Highway is my favorite, because it's 1/3rd a really really great cerebral thriller, 1/3rd noir film 1/3rd straight up Lynch film.
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Mar 22, 2014 06:58
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LordPants posted:Lost Highway is my favorite, because it's 1/3rd a really really great cerebral thriller, 1/3rd noir film 1/3rd straight up Lynch film. And Angelo Badalementini's weird rear end music is the 4th/3rd in this puzzle box. *Bill Pullman sax solo* 
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Mar 22, 2014 08:41
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There's also https://www.youtube.com/watch?v=KwPTIEWTYEI
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Mar 22, 2014 09:09
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david_a posted:No. The Straight Story, for example, is very straightforward. Eraserhead, Lost Highway, Mulholland Drive, and Inland Empire are the really weird stereotypically "Lynchian" ones.
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Mar 23, 2014 12:33
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david_a posted:No. The Straight Story, for example, is very straightforward. Holy hell. Lynch did that movie? That's...unusual. cheerfullydrab posted:The Straight Story is a dream that the lawnmower is having after the death of Alvin while it's rusting away out back because the daughter doesn't take care of it. The lawnmower imagines all these happy adventures they could have had together, but its condition in the real world keeps bleeding through the fantasy, creating the mechanical trouble scenes. That's more like it.
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Mar 24, 2014 15:35
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I'm looking for an old kung-fu movie I saw a long time ago, in a double feature with master of the flying guillotine (the superior movie of the two). I don't honestly remember much about the plot or the name of the film but the defining scene I remember is ninjas running on top of gigantic shurikens. I think the giant shurikens were thrown by their enemies.
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Mar 25, 2014 02:04
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FirstPersonShitter posted:I'm looking for an old kung-fu You might have more luck trying one Sticky down. http://forums.somethingawful.com/showthread.php?threadid=2177344
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Mar 25, 2014 02:55
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xcore posted:You might have more luck trying one Sticky down. Thanks, i thought 'this time i'll be smart and check the stickies for the questions thread' and I still manged to gently caress that up.
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Mar 25, 2014 03:33
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This is maybe not the perfect thread for it but it's killing me, who directed this video https://www.youtube.com/watch?v=BvBe5Wfsek0 Hat Thoughts fucked around with this message at 07:28 on Mar 25, 2014 |
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Mar 25, 2014 07:20
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