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Zwille posted:Nobody mention The Big Lebowski yet? Pfft. I've been watching shitloads of noir lately, and there's a bunch more I could add to my list, but one is an absolute must-see: The Lineup. loving awesome.
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Mar 3, 2010 01:08
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Ninja Gamer posted:This could be a thread in itself: "Why you hate movies that others love". I can't count the number of times we've had that thread, or variations of it.
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Mar 23, 2010 19:55
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Brolita posted:Who directed the commercials in RoboCop? I remember hearing somewhere it was someone like the Coen Brothers or Trey Parker and Matt Stone, but I can't find any info on it. AFAIK, Paul Verhoeven directed them. And WTF... Trey Parker and Matt Stone? They were still in high school.
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Mar 29, 2010 05:59
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Penpal posted:Also, a general movie question: Have any really good DP's gone on to direct really good films? Christopher Doyle's segment of Paris je t'aime was my favorite, really genius. I haven't seen any of his features, though.
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Apr 7, 2010 06:16
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I probably sound like a broken record by now, but you really ought to check out some film noir. Most of them treat firearms very seriously, with all the weight and menace they merit. edit: also Stray Dog sounds like exactly what you're looking for
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Apr 18, 2010 22:46
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Binowru posted:But is that really the kind of movie that belongs in the Criterion Collection? Why not? The action blockbuster is a perfectly valid subset of cinema.
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Apr 26, 2010 22:01
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I imagine that a lot of it has to do with what they could get the rights for.
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Apr 26, 2010 22:16
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Parachute posted:That definitely seems way more appropriate than Armageddon. 1) There was an Armageddon Criterion before Minority Report was even in theaters. 2) I doubt Criterion could get the rights to a Spielberg movie (although they did get Close Encounters on laserdisc) Anyway, if we're talking about a film to represent the typical blockbuster -- lots of big stars, big explosions, cheesy rock soundtrack, "turn your brain off" fun -- Armageddon is a better fit. FitFortDanga fucked around with this message at 22:27 on Apr 26, 2010 |
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Apr 26, 2010 22:25
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I would rather re-watch Armageddon over Jubilee or Sweet Movie any day.
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Apr 27, 2010 00:55
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penismightier posted:Ditto Life Aquatic, The Night Porter, Shoot the Piano Player and Chasing Amy I'll agree with you on Night Porter and I'm equally indifferent toward Chasing Amy. But I'd rather watch Life Aquatic even though it's my least favorite Wes Anderson film. And Shoot the Piano Player? You are a bad person with no soul.
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Apr 27, 2010 01:47
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Akuma posted:I watched Kick-rear end last night, and it got me thinking; how often do films use pieces of music from another film's score? I'm sure it must happen a decent amount, but I'm drawing a complete blank. Most or all of the score in Man on Wire is cribbed from Michael Nyman's scores from various Peter Greenaway flicks (Drowning By Numbers, The Draughtman's Contract, et cetera). Apparently the director wanted to hire Nyman to compose a new score but couldn't afford him.
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Apr 27, 2010 14:22
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InfiniteZero posted:(*) Shaw Brothers films also often share not only music, but entire sets. If you watch a lot of their films you start to recognize sets between films which is odd but some critics like Bey Logan will argue that it actually makes a fan of their films feel sort of "at home" when you start constantly seeing the same set. This also happened frequently under the old Hollywood studio system. You spend a lot of money on a set, you want to get the most out of it.
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Apr 27, 2010 16:19
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InfiniteZero posted:Are the reused sets very recognizable in those films? I don't do a lot of these films myself so I've never noticed this. With Shaw Brothers films, the sets are often barely changed between films (there's a dining room/restaurant set that I think gets used in almost every film and it is instantly recognizable, for example). I don't notice it unless it's pointed out to me. On the featurette for Dangerous Crossing they showed how it was the exact same ship as Titanic (the 1953 version, of course) and Gentlemen Prefer Blondes. It would have been really obvious if you were looking for it.
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Apr 27, 2010 17:45
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spe posted:Is there a region 2 equivalent to Criterion releases? Colour me jealous, I want such a comprehensive package with excellent picture quality and piles of extras! Masters of Cinema/Eureka, Optimum, and BFI.
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May 1, 2010 21:39
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spe posted:
Have you seen Baraka? You'd probably dig it.
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May 2, 2010 03:44
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about Koyaanisqatsi
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jjack229 posted:It seems war movies (from the US) are almost always about WWII or Vietnam and that WWII movies also always seem to be fighting against the Germans, or ocasssionally the Japanese, but never the Italians and the movie never takes place in Africa. Wooden Crosses (WWI) Gallipoli (WWI) The Red and the White (Russian Civil War)
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May 6, 2010 03:53
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codyclarke posted:I know there will be black bars, since obviously the film isn't 16:9, it's 2.35:1. However there's a difference between 2.35:1 being displayed in a 16:9 area and a 4:3 area. Apparently, the new Seagal DVD is 2.35:1 in a 4:3 area, thus making it tiny on a 16:9 screen if viewed in its proper dimensions. My question is whether this is the case for a lot of 2.35:1 movies that are blu-ray, or if this is just some weird, lazy isolated incident with this one particular title. I very much doubt that Marked for Death, or ANY Blu-Ray, will be non-anamorphic. Where the hell are you getting this info from?
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May 11, 2010 05:35
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codyclarke posted:Alright maybe I received really bum information from these strangers complaining on Amazon. This is good news. Amazon review posted:PLEASE DO NOT BUY THIS. PLEASE!, January 28, 2010 Note the bold part. It's a review of the DVD.
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May 11, 2010 05:38
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Green Crayons posted:So, here's my subjective question: Why do people really enjoy Lady Vengeance? Help me understand what I missed. I'll just quote my own review: FitFortDanga posted:The film is visually delectable, with oodles of striking images and clever effects. The story is rich and multi-faceted, without needing to resort to convoluted plot twists or cheap thrills. It's funny, moving, tense, engaging and often heartbreakingly beautiful.
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May 11, 2010 16:06
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The mirrors are actually windows with identical actors on the other side painstakingly mimicking the main actors.
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May 16, 2010 09:20
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Ninja Gamer posted:So I haven't seen Metropolis yet(I know, I'm a plebian neophyte). It's on my netflix queue but I was wondering, is it worth tracking down a copy that has the score done by Queen or would whatever netflix gives me be just as good? Wait for the restored version coming out soon on Blu-Ray.
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May 21, 2010 02:02
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I'm trying to remember which Kurosawa film has an insane arterial spray in it. I know there's a good gusher in Ran, but there's an even bigger one in a black & white film. I think it's Throne of Blood.
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May 25, 2010 15:50
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HUNDU THE BEAST GOD posted:You would be thinking of the final duel in Sanjuro. It's absurdly over top in the same way that the finale of Throne of Blood is utterly ridiculous. Oh yeah that's right, I see it clearly now. http://www.youtube.com/watch?v=rvaGe9iqO0U FitFortDanga fucked around with this message at 16:08 on May 25, 2010 |
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May 25, 2010 16:04
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anticake posted:Throne of Blood was the MacBeth one right? Mifune gets filled with like a hojillion arrows before he dies being the ridiculous bit? Or am I forgetting something? That is correct.
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May 26, 2010 14:37
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the Bunt posted:My problem is that most of the time, I can't for the life of me distinguish many of the actors from one another. For instance, I recently watched Wong Kar-wai's 2046 and until halfway through I didn't realize that the protagonist was having flings with several different women. This really confused me. Most of the time, I have to look at an actor's hair style or other defining features because their faces look so similar. I know I'm a filthy gaijin but I was wondering if it ever gets easier the more films I watch. Um, I guess? I have this problem once in a while, but only rarely. It sounds like you've already watched a lot though, so I don't know how much better for you it can get. 2046 has some very popular actresses (Gong Li, Faye Wong, Maggie Cheung, Ziyi Zhang) so I'd think you would know their faces by now. the Bunt posted:Tsai-ming Lai Do you mean Tsai Ming-liang? I just reviewed his newest in the "Rate the Latest" thread (it's terrific!).
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Jun 1, 2010 04:27
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the Bunt posted:Yup yup. I was mixed up. The Hole: 2000 Seen By and Rebels of the Neon God are two of my most favorite films. FYI, "2000 Seen By" isn't part of the title, it's just The Hole. "2000 Seen By" is a collection of 10 films, each by a different director from a different country, each containing the moment we switched from 1999 to 2000.
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Jun 1, 2010 10:19
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As I've been going through heaps of film noir, I love freeze-framing whenever there's a headline shot. It's fun to see which ones actually bothered to type up a whole story and which ones just slapped a headline on some completely unrelated story. Most are the latter.
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Jun 7, 2010 23:29
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Elijya posted:Why is the movie Half Baked called that, and not just Baked? What is the rationale for the "Half"? It doesn't really work for the plot, and I've never heard 'half baked' as a drug term before. 1) Their plan is half-baked 2) It's just a play on words
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Jun 10, 2010 23:16
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The Lucas posted:I know FitFordDanga has the movie, but this is for anyone else as well. Could someone scan the cover of Todd Haynes' Safe for me? I need a new cover for it. I have the disc but I am a weirdo. I've looked all over the net! PM me your email address, I'll send it to you.
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Jun 13, 2010 06:19
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The Lucas posted:I don't have PMs but here is my email. lucaskollauf@gmail.com Email sent.
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Jun 13, 2010 08:07
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Schweinhund posted:Are there any movies (or any medium I guess) where they try to have something look like it was filmed a long time ago and it really looks like it? It seems like whenever they try to make something look like it was filmed like it was in the 30's or 40', or even the 60's or 70's or whenever, it always looks too crisp or just off in some way. Can't they just use an old movie camera and do it like that or is it something with modern film stock that makes everything look modern? Check out some Guy Maddin films. This short is one of his best works.
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Jun 23, 2010 05:07
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The Lucas posted:Is my By Brakhage Volume One Blu Ray hosed up? I go to watch The Act of Seeing With One's Own Eyes and I scroll on the time line to look for it and it isn't there. I checked after Dog Star Man where it is supposed to be and it wasn't there. Any ideas? I just checked mine and it's the same. I never use those timeline things on Criterion discs. Just select it from the index. e: beat me to it
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Jul 2, 2010 05:56
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fenix down posted:This has probably been asked before, but has there ever been a remake of a movie or TV show that rose above the source material or got good reviews? The original is better  The Thing is generally considered to be better than The Thing From Another World although I don't know if it was well-received at the time. More (some of these are debatable): The Maltese Falcon The Fly Ben-Hur Ocean's 11 Gaslight Imitation of Life His Girl Friday Little Shop of Horrors
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Jul 2, 2010 15:32
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NGL posted:I could see a good case being made for MASH MASH was a movie before it was a TV show.
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Jul 2, 2010 17:12
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SubG posted:I think Spike Lee is under some sort of contractual obligation to use this at least once per film. This. I haven't seen all of When the Levees Broke, but it wouldn't surprise me at all if he used that shot in it.
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Jul 2, 2010 20:05
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SubG posted:Edit: What was the first use of the more general moving point-of-view shot? I can think of scattered examples---the beginning Dark Passage (1947) and driving sequence in Gun Crazy (1950)---and I think of very early examples of static POV shots (like the 1931 Dr. Jekyll and Mr. Hyde). There's Lady in the Lake, which came out a few months before Dark Passage. There's probably an earlier example, though.
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Jul 2, 2010 20:25
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SubG posted:There are motion POV shots in Vertov's Chelovek S Kino-Apparatom/Man With A Movie Camera (1929), aren't there? While I'm not sure exactly what shots you're referring to, I would consider that to be debatable since there are no real subjective characters in Man With a Movie Camera. Unless you consider the camera a character, and that's a whole other can of worms.
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Jul 2, 2010 21:02
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Eggnogium posted:I'd like to briefly open that can of worms. Can someone explain to me what "camera as a character" means? I've always seen it as a hack phrase used by pretentious movie critics, but maybe I just don't understand the nuance. And I don't mean in out-there movies like Man With a Movie Camera (never seen it but I'm familiar with the premise), I mean in movies that are more or less traditional in their narrative techniques. I'm not terribly qualified to comment on this, but basically it means the camera has an agenda or a viewpoint of its own, distinct from simply providing a "neutral" vantage point for the action or representing the view of one of the actors.
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Jul 2, 2010 21:21
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SubG posted:I don't think you normally expect a POV shot to be literally from the point of view of one of the characters. The in-car camera shot in Gun Crazy is behind both of the characters (the camera being in the back seat), for example. Well now I'm getting confused. Isn't "literally from the point of view of one of the characters"... the definition of a POV shot? I'll have to pop in Gun Crazy later, I remember the scene but not the particulars of the shot. But what specifically makes it a POV shot and not just a camera inside the car? SubG posted:In Man With A Movie Camera I was thinking of the sequence where the two cameras, both in cars, are filming each other. Ah, I don't remember that. I've been holding out on rewatching MWAMC in the hopes of a Blu-Ray release.
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Jul 2, 2010 21:30
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Peaceful Anarchy posted:I just watched Wings and there's a shot where two characters are on a swing and the camera moves with them. I'm not sure if this is what you mean. Ray does that in Charulata too (and also Teen Kanya IIRC). Now I'm wondering if he got the idea from Wings.
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Jul 2, 2010 21:35
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