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Just stumbled onto this thread the other night, and it seems like a lot of fun. I guess my first duty is doling out an assignment, so:Basebf555 posted:
I just saw this one myself some months back, and it's a trippy good time. As to my own list of shame, for Christmas a few years ago one of my brothers got us all one of those scratch-off posts with 100 classic movies, and we've been having an ongoing competition ever since. I am in the lead at the moment, but I still have a lot of ground to cover. I'll draw my initial list from the poster: 1. Mr. Smith Goes To Washington (1939): I need a civics lesson. I like Jimmy Stewart, but I primarily know him through his work with Alfred Hitchcock. I've actually never seen It's a Wonderful Life, either, but I'm saving that for a Christmastime viewing. 2. Singing in the Rain (1952): I'm simply not a musicals guy, but even I know this titan is practically synonymous with the genre. 3. The Searchers (1956): Although I like westerns, I do not think I have ever seen a John Wayne movie. 4. The Bridge on the River Kwai (1957): I like war films, but when we get back to the fifties and earlier we are getting to the point where I have seen a handful of classics and things by directors I like but otherwise have a lot of blind spots. 5. Lawrence of Arabia (1962): I am not often going to sit down to watch a three-and-a-half-hour historical epic. 6. Midnight Cowboy (1969): It's wild to me there was a time when an X-rated film could pull in Best Picture at the Oscars. 7. E.T. The Extra-Terrestrial (1982): This movie is only a few years older than me, so I am surprised it wasn't in our VHS library somewhere when I was growing up. 8. Schindler's List (1993): This is the only film in the IMDB top 20 I have never seen. 9. Crouching Tiger, Hidden Dragon (2000): I like martial arts films, but I don't think I've ever seen one you would classify as wuxia. 10. Brokeback Mountain (2005): I would have to consider myself a Jake Gyllenhaal fan, and of course we lost Heath too soon. I vaguely remember finding Ang Lee pretentious and annoying in the press cycle/Oscar buzz period for the movie, which may have contributed to missing out on it at the time.
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Jun 3, 2022 05:59
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Zogo posted:
You have me at a disadvantage, because I have not seen anything on your list. But I have seen some Fassbinder films, and you're so close to finishing the Time Out list! Watched Midnight Cowboy (1969): In this X-rated Best Picture winner, Joe Buck (Jon Voight), a tall glass of water from Texas, moves to New York with nebulous plans to become a gigolo and making a living off of lonely middle-aged ladies. He soon runs into and teams up with another two-bit hustler, Enrico "Ratso" Rizzo (Dustin Hoffman). The great strength of this movie is the lead performances (both Voight and Hoffman got Best Actor nods at the Oscars). They're an odd couple drawn together by sheer ineptitude and desperation. Joe is so hapless that his first trick ends with HIM giving his client some cash for cab fare. And it's not the only time he forgets to negotiate payment up front, either. Ratso isn't much better. He fancies himself as street smart, but the only person we ever see him put one over on is Joe. His main skills appear to be petty theft and pickpocketing, which keep him alive but can't elevate him past squatting in a condemned building. Aside from the iconic "I'm walkin, here!" line, I didn't know much about this movie. I was surprised at how tame it is given the X rating, even considering the standards of the time. From what I gather reading up on it, the fact that Joe has some gay encounters pushed it over the edge, but the rating didn't stick and it was re-rated to R only a couple of years later. I live in New York, so I do enjoy seeing movies from days gone-by. This film shows off the seedy days of Times Square, and the characters end up at a Warhol-esque happening. Ultimately, this was a solid watch, but definitely a performances movies for me first and foremost. LIST OF SHAME: 1. Mr. Smith Goes To Washington (1939): I need a civics lesson. I like Jimmy Stewart, but I primarily know him through his work with Alfred Hitchcock. I've actually never seen It's a Wonderful Life, either, but I'm saving that for a Christmastime viewing. 2. Singing in the Rain (1952): I'm simply not a musicals guy, but even I know this titan is practically synonymous with the genre. 3. The Searchers (1956): Although I like westerns, I do not think I have ever seen a John Wayne movie. 4. The Bridge on the River Kwai (1957): I like war films, but when we get back to the fifties and earlier we are getting to the point where I have seen a handful of classics and things by directors I like but otherwise have a lot of blind spots. 5. Lawrence of Arabia (1962): I am not often going to sit down to watch a three-and-a-half-hour historical epic. 7. E.T. The Extra-Terrestrial (1982): This movie is only a few years older than me, so I am surprised it wasn't in our VHS library somewhere when I was growing up. 8. Schindler's List (1993): This is the only film in the IMDB top 20 I have never seen. 9. Crouching Tiger, Hidden Dragon (2000): I like martial arts films, but I don't think I've ever seen one you would classify as wuxia. 10. Brokeback Mountain (2005): I would have to consider myself a Jake Gyllenhaal fan, and of course we lost Heath too soon. I vaguely remember finding Ang Lee pretentious and annoying in the press cycle/Oscar buzz period for the movie, which may have contributed to missing out on it at the time. (and introducing...) 11. Tootsie (1982): Shame might be a strong word, but it IS on my 100-movie scratch-off poster. And it does have an appearance by my favorite actor, Bill Murray, smack dab inbetween Stripes and Ghostbusters. SHAME OVERCOME: Midnight Cowboy (1969)
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Jun 6, 2022 07:34
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Zogo posted:
Oh, man, I haven't seen this one, but I've just got to hear how Klaus Kinski handles himself in a Western. Watched E.T. the Extra-Terrestrial (1982): I thought there was an off-chance I'd seen this at a very young age and just forgotten, but after watching it I am now fairly certain I just never saw it period and only knew the broad outlines from cultural osmosis. You, too, must know the story: some kids take in the titular alien visitor after he is accidentally left behind during a visit to the Earth, and soon it's a race against time to help E.T. "phone home" to his ship for rescue before the government snatches him up. Even without any nostalgia, it's not hard to see why this is why this is arguably the most iconic and acclaimed work even among Spielberg's many heavy-hitters. It's a family-friendly movie in the sense that it has things to appeal to viewers of any age. I figured it would have that Spielbergian sense of wonder, perhaps with a coating of schmaltz, but I also got some good laughs (no one told me, for example, there's a scene where E.T. gets drunk), and I bet I would have gotten a few scares if I had seen it as a little kid, too. I was surprised by the look and design of E.T., which still holds up and was way more expressive than I gathered just from seeing random photos here and there. And, despite the obvious craftsmanship and skill in the filmmaking, I also appreciated the relatively small scale of the story. We're firmly in "kids on bikes" mode for our protagonists here. Even in the final act, when government doctors in hazmat suits descend upon the family's house, the result is a few cop cars chasing kids peddling as fast as they can down suburban streets. The little kid logic does get slightly silly at times, and E.T. is as smart or as stupid as the script needs to be for any given scene. But there's also something charming, even joyous, about touches like using a Speak and Spell as the main component in a communications array. Too bad I can't send this VHS back to my young self. LIST OF SHAME: 1. Mr. Smith Goes To Washington (1939): I need a civics lesson. I like Jimmy Stewart, but I primarily know him through his work with Alfred Hitchcock. I've actually never seen It's a Wonderful Life, either, but I'm saving that for a Christmastime viewing. 2. Singing in the Rain (1952): I'm simply not a musicals guy, but even I know this titan is practically synonymous with the genre. 3. The Searchers (1956): Although I like westerns, I do not think I have ever seen a John Wayne movie. 4. The Bridge on the River Kwai (1957): I like war films, but when we get back to the fifties and earlier we are getting to the point where I have seen a handful of classics and things by directors I like but otherwise have a lot of blind spots. 5. Lawrence of Arabia (1962): I am not often going to sit down to watch a three-and-a-half-hour historical epic. 8. Schindler's List (1993): This is the only film in the IMDB top 20 I have never seen. 9. Crouching Tiger, Hidden Dragon (2000): I like martial arts films, but I don't think I've ever seen one you would classify as wuxia. 10. Brokeback Mountain (2005): I would have to consider myself a Jake Gyllenhaal fan, and of course we lost Heath too soon. I vaguely remember finding Ang Lee pretentious and annoying in the press cycle/Oscar buzz period for the movie, which may have contributed to missing out on it at the time. 11. Tootsie (1982): Shame might be a strong word, but it IS on my 100-movie scratch-off poster. And it does have an appearance by my favorite actor, Bill Murray, smack dab inbetween Stripes and Ghostbusters. (and introducing...) 12. The Prestige (2006): I missed this when it came out, and I may have gotten a spoiler, which made it lose momentum in terms of a must-watch. It looks like a stellar cast, though, and someone did give me a copy on Blu-ray that's just sitting on my shelf. SHAME OVERCOME: Midnight Cowboy (1969); E.T. the Extra-Terrestrial (1982)
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Jun 19, 2022 09:41
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Cat Hassler posted:
You've got a lot of heavy hitters ahead of you, but I just rewatched this somewhat recently myself so I'm particularly curious to get your take on Casablanca. Watched The Prestige (2006): This movie was the last time poor Christopher Nolan had to scrape by with a sub-100-million-dollar budget. Hugh Jackman and Christian Bale are a pair of stage magicians in 19th century London. They start off working as assistants for someone else, but split apart when Jackman's wife dies during a magic trick gone wrong and he blames Bale. Each of the two become successful solo headliners, particularly when Bale debuts "The Transported Man," a trick in which he seems to instantaneously warp between two doors across the stage from each other. Jackman wants revenge for his wife's death, sure, but he becomes arguably even more obsessed with their professional rivalry as he tries to find out how the trademark trick is done. We've got a knotty narrative here, as we start with one character on trial for the other's death before we pull back to their early days, cutting back and forth in time to fill in the blanks leading up to the present day. To further complicate matters, the magicians get ahold of each other's diaries, so we're seeing the story from multiple points of view. And they might not be reliable narrators, either. At some point since this was released I did learn that at least one version of the trick involves cloning, but it wasn't as much of a spoiler as I had feared. There are tons of twists and secrets in this movie, so it's just one among many. Besides, it was fun to look for hints along the way and, more importantly, there was enough characterization and motivation underlying the mechanics of the story that knowing what happens isn't the be-all and end-all. The answers to the puzzle aren't always satisfying, and some aspects came across as pretty illogical to me, but at its core the movie is about obsession and that carries it through a lot of Nolan's standard sloppy screenwriting. The performances are great, and I could understand the motivations and care for the characters a bit more than usual for Nolan, particularly for Jackman. The aspect with Bale regarding him being a pair of twins that inexplicably secretly share one identity and trade off day by day doesn't make much sense to me, although, who knows, there are probably hints and details that would surface on a rewatch. I was worried this would be purely about the mystery aspects, but there's more to it than that, which goes a long way. LIST OF SHAME: 1. Mr. Smith Goes To Washington (1939) (added 06-03-22): I need a civics lesson. I like Jimmy Stewart, but I primarily know him through his work with Alfred Hitchcock. I've actually never seen It's a Wonderful Life, either, but I'm saving that for a Christmastime viewing. 2. Singing in the Rain (1952) (added 06-03-22): I'm simply not a musicals guy, but even I know this titan is practically synonymous with the genre. 3. The Searchers (1956) (added 06-03-22): Although I like westerns, I do not think I have ever seen a John Wayne movie. 4. The Bridge on the River Kwai (1957) (added 06-03-22): I like war films, but when we get back to the fifties and earlier we are getting to the point where I have seen a handful of classics and things by directors I like but otherwise have a lot of blind spots. 5. Lawrence of Arabia (1962) (added 06-03-22): I am not often going to sit down to watch a three-and-a-half-hour historical epic. 8. Schindler's List (1993) (added 06-03-22): This is the only film in the IMDB top 20 I have never seen. 9. Crouching Tiger, Hidden Dragon (2000) (added 06-03-22): I like martial arts films, but I don't think I've ever seen one you would classify as wuxia. 10. Brokeback Mountain (2005) (added 06-03-22): I would have to consider myself a Jake Gyllenhaal fan, and of course we lost Heath too soon. I vaguely remember finding Ang Lee pretentious and annoying in the press cycle/Oscar buzz period for the movie, which may have contributed to missing out on it at the time. 11. Tootsie (1982) (added 06-06-22): Shame might be a strong word, but it IS on my 100-movie scratch-off poster. And it does have an appearance by my favorite actor, Bill Murray, smack dab inbetween Stripes and Ghostbusters. (and introducing...) 13. Heat (1995) (added 07-01-22): I've never seen a Michael Mann film, and this sounds like a doozy. SHAME OVERCOME: Midnight Cowboy (1969); E.T. the Extra-Terrestrial (1982); The Prestige (2006)
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Jul 1, 2022 07:00
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Zogo posted:
The move I'm reviewing for this round gave me a more glamorous look at the decade, and Cagney and Bogart sounds fun. Watched Singin' in the Rain (1952): It's the Roaring Twenties, and Don Lockwood (Gene Kelly) and Lina Lamont (Jean Hagen) are an acting duo at the top of their game during the silent film era, but change is in the air when The Jazz Singer, the first ever talkie, is released and changes cinema forever. Lockwood and Lamont need to retool the film they're in the middle shooting for the sound era. Lockwood's got a vaudeville background, so he's comfortable with speaking and singing. Lamont not so much--she's got a piercing Brooklyn screech that she can't turn off. Lockwood hatches a scheme to convert the film to a musical, and get his new chorus girl love interest Kathy Selden (Debbie Reynolds) to secretly overdub Lamont's part. It's definitely one of those nostalgic stories where Hollywood sucks itself off--and The Artist should be paying royalties to the screenwriters here--but this is tempered with some good-natured spoofing of the industry (although nothing like the "malicious satire" that Pauline Kael inexplicably described). Somewhat surprisingly, although the film was a hit, it was nothing like its iconic status might make you think--a solid number five at the box office that year, and a respectable two Oscar nominations. Hilariously, it was nominated for but failed to win Best Score. It's also note-worthy that most of the songs, even the titular number, were repurposed from previous works. "Singin' in the Rain" is, of course, iconic, and you've probably absorbed the general idea from cultural osmosis (https://www.youtube.com/watch?v=D1ZYhVpdXbQ), but don't sleep on "Make 'Em Laugh," in which Lockwood's sidekick Cosmo Brown (Donald O'Connor) gets a few minutes to steal the show with his acrobatic slapstick routine (https://www.youtube.com/watch?v=QTkKLWW_myw). Despite not being into musicals, it's not too hard for me to see why this is a beloved movie. It's consistently charming and engaging, and the low-stakes plot is a plausible enough framework to hang the songs on. LIST OF SHAME: 1. Mr. Smith Goes To Washington (1939) (added 06-03-22): I need a civics lesson. I like Jimmy Stewart, but I primarily know him through his work with Alfred Hitchcock. I've actually never seen It's a Wonderful Life, either, but I'm saving that for a Christmastime viewing. 3. The Searchers (1956) (added 06-03-22): Although I like westerns, I do not think I have ever seen a John Wayne movie. 4. The Bridge on the River Kwai (1957) (added 06-03-22): I like war films, but when we get back to the fifties and earlier we are getting to the point where I have seen a handful of classics and things by directors I like but otherwise have a lot of blind spots. 5. Lawrence of Arabia (1962) (added 06-03-22): I am not often going to sit down to watch a three-and-a-half-hour historical epic. 8. Schindler's List (1993) (added 06-03-22): This is the only film in the IMDB top 20 I have never seen. 9. Crouching Tiger, Hidden Dragon (2000) (added 06-03-22): I like martial arts films, but I don't think I've ever seen one you would classify as wuxia. 10. Brokeback Mountain (2005) (added 06-03-22): I would have to consider myself a Jake Gyllenhaal fan, and of course we lost Heath too soon. I vaguely remember finding Ang Lee pretentious and annoying in the press cycle/Oscar buzz period for the movie, which may have contributed to missing out on it at the time. 11. Tootsie (1982) (added 06-06-22): Shame might be a strong word, but it IS on my 100-movie scratch-off poster. And it does have an appearance by my favorite actor, Bill Murray, smack dab inbetween Stripes and Ghostbusters. 13. Heat (1995) (added 07-01-22): I've never seen a Michael Mann film, and this sounds like a doozy. (and introducing...) 14. Come and See (1985) (added 07-13-22): I hear this could be the rare anti-war film that effectively communicates its message without glamorizing war. SHAME OVERCOME: Midnight Cowboy (1969); E.T. the Extra-Terrestrial (1982); The Prestige (2006); Singin' in the Rain (1952)
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Jul 14, 2022 04:58
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Basebf555 posted:
I gave you an animated one last time I drew your number, and it just so happens I rewatched this myself some months back. Watched Schindler's List (1993): Steven Spielberg's celebrated film tells the story of the real-life German industrialist Oskar Schindler (Liam Neeson). At the onset of World War II, Schindler bribes his way into occupied Poland in order to buy a factory, hire up Jewish workers at meager wages, and profit off his lucrative business contracts with the Nazis. At first a callous businessman with a swastika pin on the label of his silk suit, Schindler--without ever really seeming to admit it out loud to anyone, even himself--slowly decides to use his factory as a haven to get his Jewish employees labeled as essential workers to keep them alive. In one early scene, an elderly, one-armed worker insists on seeing Schindler personally to thank him for the job (read: his reason to live in the eyes of the Nazi party). Schindler reacts with barely-contained annoyance, and later chews out his Jewish business partner for hiring a useless one-armed man. Even when the man is gunned down by guards and Schindler confronts Nazi officials, he frames it as a matter of lost profit that must be spent hiring and training a new worker. By the end of the movie, as the war ends and a now broke Schindler has to flee because he will be pursued as a war profiteer, he instead weeps at the sacrifices he didn't make that could have saved more lives: selling his Nazi pin alone could have financed one or two more workers. I've seen this scene blasted by the film's detractors (themselves outliers, admittedly), but I thought it was a plausible and powerful response to the enormity of the Holocaust. And it's not as though the film is some Spielberg schmaltz fest up until then. The film gives a plain look at the brutality of war, occupation, and genocide, particularly through the character of Amon Göth (Ralph Fiennes), the Nazi concentration camp commander. The moment feels earned. The film also excels as Spielberg, who's never had a problem with a crowd-pleasing blockbuster, also infuses some real elegance into the filmmaking. The movie is almost entirely in black and white, with only sparse uses of color--including a few individually tinted objects. Just superbly crafted and vital in every aspect. LIST OF SHAME: 1. Mr. Smith Goes To Washington (1939) (added 06-03-22): I need a civics lesson. I like Jimmy Stewart, but I primarily know him through his work with Alfred Hitchcock. I've actually never seen It's a Wonderful Life, either, but I'm saving that for a Christmastime viewing. 3. The Searchers (1956) (added 06-03-22): Although I like westerns, I do not think I have ever seen a John Wayne movie. 4. The Bridge on the River Kwai (1957) (added 06-03-22): I like war films, but when we get back to the fifties and earlier we are getting to the point where I have seen a handful of classics and things by directors I like but otherwise have a lot of blind spots. 5. Lawrence of Arabia (1962) (added 06-03-22): I am not often going to sit down to watch a three-and-a-half-hour historical epic. 9. Crouching Tiger, Hidden Dragon (2000) (added 06-03-22): I like martial arts films, but I don't think I've ever seen one you would classify as wuxia. 10. Brokeback Mountain (2005) (added 06-03-22): I would have to consider myself a Jake Gyllenhaal fan, and of course we lost Heath too soon. I vaguely remember finding Ang Lee pretentious and annoying in the press cycle/Oscar buzz period for the movie, which may have contributed to missing out on it at the time. 11. Tootsie (1982) (added 06-06-22): Shame might be a strong word, but it IS on my 100-movie scratch-off poster. And it does have an appearance by my favorite actor, Bill Murray, smack dab inbetween Stripes and Ghostbusters. 13. Heat (1995) (added 07-01-22): I've never seen a Michael Mann film, and this sounds like a doozy. 14. Come and See (1985) (added 07-13-22): I hear this could be the rare anti-war film that effectively communicates its message without glamorizing war. (and introducing...) 15. Tokyo Story (1953) (added 07-29-22): I've never seen an Ozu film, and this is considered a masterpiece. SHAME OVERCOME: Midnight Cowboy (1969); E.T. the Extra-Terrestrial (1982); The Prestige (2006); Singin' in the Rain (1952); Schindler's List (1993) Crescent Wrench fucked around with this message at 05:01 on Jul 30, 2022 |
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Jul 30, 2022 04:59
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Basebf555 posted:
OK, you get a break from the animation, simply because I need to watch this as well. I'll put it on my own list while I wait for you to report back. Watched Heat (1995): Michael Mann's sprawling crime thriller pits homicide detective Vincent Hanna (Al Pacino) against a crew of thieves led by Neil McCauley (Robert De Niro). At the start of the movie, McCauley and his crew pull off a daring daylight heist of an armored truck. They escape, but Hanna is on their trail and determined to apprehend them before they complete their next score. McCauley finds out they're being tailed, and from there it's moves and counter-moves as the two sides try to out-flank each other. This film reunites De Niro and Pacino for the first time since The Godfather: Part II, but here they actually get to share the screen. Not at first, though--for awhile the film shows a lot of restraint with a Wrath of Khan style approach where the two don't meet face-to-face, which is then unexpectedly subverted in a great scene where Hanna breaks his cover during a surveillance operation to pull McCauley over and... offer to buy him a cup of coffee. Heat stands on its own as a compelling crime flick, but this scene also shows how it's further elevated with the great character work and underlying themes about the codependent nature of these cops and crooks, both workaholics in their own way. De Niro and Pacino do great work in general. I really liked how Pacino's performance walked a fine line, allowing the more chaotic and scenery-chewing aspects of his personality in for controlled bursts. Leads aside, the cast is ridiculous. There are big names like Val Kilmer, Jon Voight and Ashley Judd in big supporting roles, but this is also a movie where Al Pacino gets to kick Henry Rollins's rear end. (Never thought I'd type that one.) The film pushes three hours, so there's plenty of time for the character moments to breathe alongside the superb action set pieces. Thoroughly entertaining. LIST OF SHAME: 1. Mr. Smith Goes To Washington (1939) (added 06-03-22): I need a civics lesson. I like Jimmy Stewart, but I primarily know him through his work with Alfred Hitchcock. I've actually never seen It's a Wonderful Life, either, but I'm saving that for a Christmastime viewing. 3. The Searchers (1956) (added 06-03-22): Although I like westerns, I do not think I have ever seen a John Wayne movie. 4. The Bridge on the River Kwai (1957) (added 06-03-22): I like war films, but when we get back to the fifties and earlier we are getting to the point where I have seen a handful of classics and things by directors I like but otherwise have a lot of blind spots. 5. Lawrence of Arabia (1962) (added 06-03-22): I am not often going to sit down to watch a three-and-a-half-hour historical epic. 9. Crouching Tiger, Hidden Dragon (2000) (added 06-03-22): I like martial arts films, but I don't think I've ever seen one you would classify as wuxia. 10. Brokeback Mountain (2005) (added 06-03-22): I would have to consider myself a Jake Gyllenhaal fan, and of course we lost Heath too soon. I vaguely remember finding Ang Lee pretentious and annoying in the press cycle/Oscar buzz period for the movie, which may have contributed to missing out on it at the time. 11. Tootsie (1982) (added 06-06-22): Shame might be a strong word, but it IS on my 100-movie scratch-off poster. And it does have an appearance by my favorite actor, Bill Murray, smack dab inbetween Stripes and Ghostbusters. 14. Come and See (1985) (added 07-13-22): I hear this could be the rare anti-war film that effectively communicates its message without glamorizing war. 15. Tokyo Story (1953) (added 07-29-22): I've never seen an Ozu film, and this is considered a masterpiece. (and introducing...) 16. A Streetcar Named Desire (1951) (added 08-08-22): Kazan and Brando's first collaboration, not to mention Brando's first Oscar nod. SHAME OVERCOME (6 and counting): Midnight Cowboy (1969); E.T. the Extra-Terrestrial (1982); The Prestige (2006); Singin' in the Rain (1952); Schindler's List (1993); Heat (1995)
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Aug 9, 2022 02:05
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Zogo posted:
Let's do something light, there's not a lot of rom coms percolating on the lists in here. Watched Crouching Tiger, Hidden Dragon (2000): Crouching Tiger, Hidden Dragon is my first foray into wuxia, or martial arts stories set in ancient China. I am probably not alone here, as it set a new records for both Oscar nominations and U.S. box office hauls for a foreign-language film. The martial arts are highly stylized, as the actors use elaborate wire work to help them jump and glide, running up walls and skipping along rooftops. This gives the fight scenes a dreamy quality, bordering on magical realism. I was smiling and laughing as this was introduced, particularly any time someone would try to float away and their opponent would grab them by the ankle and haul them back to earth. That must be a go-to move in this universe. It's a relatively bloodless affair--not that there are no stakes, just to say that they are personal and emotional in nature, rather than just a body count. Plotwise, the film balances a more standard martial arts revenge angle with a pair of forbidden romances, and I think this blend of action and drama must have done wonders for the mass appeal. All the leads turn in strong, often understated performances. I particularly enjoyed seeing Michelle Yeoh as one of the leads here. I have largely overlooked her movies in the past, and she rebounded nicely from my introduction to her in the turgid Star Trek Discovery with this and Everything Everywhere All At Once. And, of course, I should also tip my hat to director Ang Lee here. As you can see on my list below, I threw some shade his way in my entry for Brokeback Mountain, totally overlooking the fact that he had TWO films on my initial list of ten. Well played, Ang. LIST OF SHAME: 1. Mr. Smith Goes To Washington (1939) (added 06-03-22): I need a civics lesson. I like Jimmy Stewart, but I primarily know him through his work with Alfred Hitchcock. I've actually never seen It's a Wonderful Life, either, but I'm saving that for a Christmastime viewing. 3. The Searchers (1956) (added 06-03-22): Although I like westerns, I do not think I have ever seen a John Wayne movie. 4. The Bridge on the River Kwai (1957) (added 06-03-22): I like war films, but when we get back to the fifties and earlier we are getting to the point where I have seen a handful of classics and things by directors I like but otherwise have a lot of blind spots. 5. Lawrence of Arabia (1962) (added 06-03-22): I am not often going to sit down to watch a three-and-a-half-hour historical epic. 10. Brokeback Mountain (2005) (added 06-03-22): I would have to consider myself a Jake Gyllenhaal fan, and of course we lost Heath too soon. I vaguely remember finding Ang Lee pretentious and annoying in the press cycle/Oscar buzz period for the movie, which may have contributed to missing out on it at the time. 11. Tootsie (1982) (added 06-06-22): Shame might be a strong word, but it IS on my 100-movie scratch-off poster. And it does have an appearance by my favorite actor, Bill Murray, smack dab inbetween Stripes and Ghostbusters. 14. Come and See (1985) (added 07-13-22): I hear this could be the rare anti-war film that effectively communicates its message without glamorizing war. 15. Tokyo Story (1953) (added 07-29-22): I've never seen an Ozu film, and this is considered a masterpiece. 16. A Streetcar Named Desire (1951) (added 08-08-22): Kazan and Brando's first collaboration, not to mention Brando's first Oscar nod. (and introducing...) 17. Purple Rain (1984) (added 08-19-22): Prince's eighties run of albums was godlike, but I've never seen the purple one on the silver screen. SHAME OVERCOME (7 and counting): Midnight Cowboy (1969); E.T. the Extra-Terrestrial (1982); The Prestige (2006); Singin' in the Rain (1952); Schindler's List (1993); Heat (1995); Crouching Tiger, Hidden Dragon (2000)
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Aug 19, 2022 09:38
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smitster posted:
You have a lot of tempting choices on your list, but I suspect this one in partiuclar might not be what you were imagining in terms of tone and entertainment value. Watched Tootsie (1982): A struggling actor named Michael Dorsey (Dustin Hoffman) secretly dresses up as a woman to rebrand himself as the fictional actress "Dorothy Michaels" and lands a juicy, star-making role on a popular soap opera. It got an eye-popping ten Oscar nods--practically unthinkable for a comedy these days--although it took home just one trophy (Jessica Lange for Best Supporting Actress). And it was second place at the U.S. box office in 1982, behind only the unstoppable juggernaut that was E.T. It's the most acclaimed man-in-drag flick this side of Some Like It Hot, and I'm not sure I get it. The movie hits the typical beats the viewer has come to expect from the premise. Will Dorothy struggle to adopt convincing feminine habits? Will there be a gag where she shows off her hidden masculine strength? Will the romantic interest be confused about her chemistry with her new female friend? What do you think? A lot of the logistics don't make sense. Part of the fun in this kind of movie is the way the hare-brained scheme is hatched and the way the male character gets dolled up. Here, without a single line of foreshadowing, Michael is told his difficult reputation has made him unhirable and there's a smash cut to him walking down the street in full Dorothy gear, including professional quality hair, make-up, and wardrobe. The nods to social commentary about gender roles don't amount to much, either. Unsatisfied with her meek, stereotyped role on the hospital soap, Dorothy starts improvising her scenes to make her an assertive, powerful, independent woman. We get montages of piles of fan mail rolling in while Dorothy poses for the cover of every magazine in publication. They pay lip service to the shockwave Dorothy's unmasking would have on the legions of women who would find out their new barrier-breaking role model is a man, but we never see the after effects. None of this would matter as much if the movie was knee-slappingly funny, but it's merely pleasant, almost aggressively so, in fact (particularly the score, full with a literal theme song, that would have been rejected from a period sitcom as too schmaltzy). To be fair, my criticisms have more to do with the disproportionate acclaim, as I had this on my list to help me complete a 100 essential movies scratch-off poster. It's slick and entertaining, and the performances are strong throughout. Hoffman, Lange, and Teri Garr all got Oscar nominations, Bill Murray brings some trademark smarm, and even the debuting Geena Davis sparkles in her small part. I leave you with the theme song as a bonus: https://www.youtube.com/watch?v=Y9AVoIROBt0. LIST OF SHAME: 1. Mr. Smith Goes To Washington (1939) (added 06-03-22): I need a civics lesson. I like Jimmy Stewart, but I primarily know him through his work with Alfred Hitchcock. I've actually never seen It's a Wonderful Life, either, but I'm saving that for a Christmastime viewing. 3. The Searchers (1956) (added 06-03-22): Although I like westerns, I do not think I have ever seen a John Wayne movie. 4. The Bridge on the River Kwai (1957) (added 06-03-22): I like war films, but when we get back to the fifties and earlier we are getting to the point where I have seen a handful of classics and things by directors I like but otherwise have a lot of blind spots. 5. Lawrence of Arabia (1962) (added 06-03-22): I am not often going to sit down to watch a three-and-a-half-hour historical epic. 10. Brokeback Mountain (2005) (added 06-03-22): I would have to consider myself a Jake Gyllenhaal fan, and of course we lost Heath too soon. I vaguely remember finding Ang Lee pretentious and annoying in the press cycle/Oscar buzz period for the movie, which may have contributed to missing out on it at the time. 14. Come and See (1985) (added 07-13-22): I hear this could be the rare anti-war film that effectively communicates its message without glamorizing war. 15. Tokyo Story (1953) (added 07-29-22): I've never seen an Ozu film, and this is considered a masterpiece. 16. A Streetcar Named Desire (1951) (added 08-08-22): Kazan and Brando's first collaboration, not to mention Brando's first Oscar nod. 17. Purple Rain (1984) (added 08-19-22): Prince's eighties run of albums was godlike, but I've never seen the purple one on the silver screen. (and introducing...) 18. A Woman Under the Influence (1974) (added 08-31-22): The most iconic film directed by John Cassavetes, who I've thus far only seen on the other side of the camera. SHAME OVERCOME (8 and counting): Midnight Cowboy (1969); E.T. the Extra-Terrestrial (1982); The Prestige (2006); Singin' in the Rain (1952); Schindler's List (1993); Heat (1995); Crouching Tiger, Hidden Dragon (2000); Tootsie (1982)
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Aug 31, 2022 18:46
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Zogo posted:
John Carpenter script directed by Irvin Kershner? Definitely interested to get a review on this one. Watched The Searchers (1956): This Western is the most celebrated feature by the director/actor duo of John Ford and John Wayne--indeed, it is one of the most critically acclaimed films of all time. It's also my personal introduction to the pairing. In this film, set a few years after the Civil War, Wayne plays Ethan Edwards, a Confederate Army vet returning home to his family after a long absence. A local band of marauding Comanches is able to distract Ethan and most other able-bodied men in the community into chasing a decoy operation, during which they raid Ethan's brother's home, killing most of the family and abducting his two young daughters. Ethan, along with his adopted nephew, Martin, go on a years-long mission to track the missing girls down. On a filmmaking level, this is quite accomplished, although there was a little more sloppiness in some areas than I expected from a master like John Ford. Visually, the landscape shots are wonderful, which makes it stand out a lot more when Ford relies on sound stages. The main plot is handled with the appropriate gravity. A lot of violence against Ethan's family is left to the imagination. This may be as much a product of the era's standards and censorship as it is any artistic decision, but it works in the film's favor. For example, when Ethan finds his eldest niece's corpse, it's kept off-camera. He hides this information from her boyfriend until they're far away, and when asked for details, he snaps at him: "What do you want me to do? Draw you a picture? Spell it out? Don't ever ask me! Long as you live, don't ever ask me more." Leaving the violence (and implied rape) to the imagination is much more powerful. But this does contrast with the lousy B-plot, which mostly consists of asking the audience to accept foreign accents as comic relief. These parts drag, and make the film feel all of it's two hours. And, as to the accents, on the film's Wiki page, the first subsection under "Critical interpretations" is "Race relations," and I definitely agree it's hard to talk about this film without addressing that aspect. Ethan is a virulent racist. He constantly berates Martin as a "half-breed" (he's one-eighth Cherokee), and when he first finds his surviving niece, he's so horrified that she's been assimilated into the Comanche culture that his first instinct is to shoot her to put her out of her misery. This latter viewpoint is echoed by at least one other, less hot-headed character. In his review, Roger Ebert wrote "I think Ford was trying, imperfectly, even nervously, to depict racism that justified genocide." I'm honestly not sure where it all fits on the spectrum between outright prejudice and a more critical evaluation of those attitudes. It's definitely messy, and plays strangely for a modern viewer. Still, John Wayne's old-school movie-star charisma is an interesting match for such a flawed protagonist. I'd be curious to know how the Searchers compares to their numerous other collaborations in this regard.  SPOOKY DISCLAIMER: I'll be watching horror movies for the October challenge, so to whoever picks my next film--I won't forget about you, but you won't see feedback until November hits! LIST OF SHAME: 1. Mr. Smith Goes To Washington (1939) (added 06-03-22): I need a civics lesson. I like Jimmy Stewart, but I primarily know him through his work with Alfred Hitchcock. I've actually never seen It's a Wonderful Life, either, but I'm saving that for a Christmastime viewing. 4. The Bridge on the River Kwai (1957) (added 06-03-22): I like war films, but when we get back to the fifties and earlier we are getting to the point where I have seen a handful of classics and things by directors I like but otherwise have a lot of blind spots. 5. Lawrence of Arabia (1962) (added 06-03-22): I am not often going to sit down to watch a three-and-a-half-hour historical epic. 10. Brokeback Mountain (2005) (added 06-03-22): I would have to consider myself a Jake Gyllenhaal fan, and of course we lost Heath too soon. I vaguely remember finding Ang Lee pretentious and annoying in the press cycle/Oscar buzz period for the movie, which may have contributed to missing out on it at the time. 14. Come and See (1985) (added 07-13-22): I hear this could be the rare anti-war film that effectively communicates its message without glamorizing war. 15. Tokyo Story (1953) (added 07-29-22): I've never seen an Ozu film, and this is considered a masterpiece. 16. A Streetcar Named Desire (1951) (added 08-08-22): Kazan and Brando's first collaboration, not to mention Brando's first Oscar nod. 17. Purple Rain (1984) (added 08-19-22): Prince's eighties run of albums was godlike, but I've never seen the purple one on the silver screen. 18. A Woman Under the Influence (1974) (added 08-31-22): The most iconic film directed by John Cassavetes, who I've thus far only seen on the other side of the camera. (and introducing...) 19. True Stories (1986) (added 09-30-22): I've been a diehard Talking Heads fan for almost as long as I've followed pop music, but I've never seen this musical comedy, David Byrne's sole directorial credit for a feature film. SHAME OVERCOME (9 and counting): Midnight Cowboy (1969); E.T. the Extra-Terrestrial (1982); The Prestige (2006); Singin' in the Rain (1952); Schindler's List (1993); Heat (1995); Crouching Tiger, Hidden Dragon (2000); Tootsie (1982); The Searchers (1956)
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Sep 30, 2022 22:19
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Is there any good logical intermission point during Lawrence of Arabia if I try to split it over two days?
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Dec 3, 2022 22:31
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Hmm, OK, thanks for the context. I'll have to play it by ear. Ideally I'd like to do it all in one sitting, of course, but having the option to split it over two days with the intermission might allow me to fit it in sooner. We shall see!
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Dec 10, 2022 01:53
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Heavy Metal posted:Harold and Maude - Keeping some vibes and motifs going, a movie I've meant to see for years. I had an extremely strong reaction when I saw this, so I'd be curious to hear about it through fresh eyes. And, for my part, I am pleased to announce I have finally overcome the challenge of balancing having a baby and managed to block off 4 hours for a certain marathon of a film... Watched Lawrence of Arabia (1962): This epic historical drama tells the story of real-life British Army officer T.E. Lawrence, particularly his missions during World War I to help unite disparate Arab tribes in their fight back against the Ottoman Empire. "Epic" isn't an exaggeration, either in the scope of the narrative or the length of the film. Nearly five minutes pass before there's an image on screen, as we open with a musical overture over a black screen. It's definitely a picture that takes it's time. Rather than an over-stuffed war-time adventure film, Lawrence of Arabia really slows down and breathes. The desert scenes, filmed in Jordan, Morocco, and Spain, are gorgeous. They truly capture the vast emptiness of the desert, especially those shots on the sweltering horizon when you can never be sure if you REALLY see someone over the horizon at first. I have a nice-sized modern TV, but, man, I'd love to see this on the big screen. Despite the WWI setting, it's pretty sparse on action, especially before the intermission about two hours in. A successful raid on a strategic seaport, for example, is over in minutes, focusing instead on the development and execution of the sneak attack from the unguarded desert-facing part of an oceanside city. But there's a lot to heft to the smaller-scale moments, and you feel the weight Lawrence carries around as his new friends and companions die, whether in the war itself, inter-tribe fighting, or just the natural dangers of the desert. The approach to characterization is interesting. Lawrence is introduced as an over-educated, under-performing soldier, and there's no indication anyone is treating his initial mission as much more than an afterthought. But he takes it seriously, and earns the respect of those he meets, although his inner motivation seems somehow elusive, aside from what you can extrapolate from his changing personality. (I really have no idea how historically accurate the film is--Lawrence and others are real people, but others are composites.) I don't have too many nitpicks. There is an unnecessary framing device in which the movie begins with Lawrence's fatal motorcycle accident, then has some scenes of reporter trying to interview people about the man after his funeral. I'd forgotten about it by the time the film ended, but it was an odd, somewhat pointless way to start off. And, unfortunately, as you might expect from the era and the setting, you've got to get past some brownface. There are two major Arab characters played by British actor Alec Guinness and Mexican actor Anthony Quinn. Yes, it was 1962. Yes, they are great, respectful performances by acclaimed actors. And, yes, it was ultimately Egyptian actor Omar Sharif who got the Oscar nod for Best Supporting Actor. It's just a sad reality that dated the film a bit. Overall, though, I am very glad I was able to carve out an afternoon to take this one in. LIST OF SHAME: 1. Mr. Smith Goes To Washington (1939) (added 06-03-22): I need a civics lesson. I like Jimmy Stewart, but I primarily know him through his work with Alfred Hitchcock. I've actually never seen It's a Wonderful Life, either, but I'm saving that for a Christmastime viewing. 4. The Bridge on the River Kwai (1957) (added 06-03-22): I like war films, but when we get back to the fifties and earlier we are getting to the point where I have seen a handful of classics and things by directors I like but otherwise have a lot of blind spots. 10. Brokeback Mountain (2005) (added 06-03-22): I would have to consider myself a Jake Gyllenhaal fan, and of course we lost Heath too soon. I vaguely remember finding Ang Lee pretentious and annoying in the press cycle/Oscar buzz period for the movie, which may have contributed to missing out on it at the time. 14. Come and See (1985) (added 07-13-22): I hear this could be the rare anti-war film that effectively communicates its message without glamorizing war. 15. Tokyo Story (1953) (added 07-29-22): I've never seen an Ozu film, and this is considered a masterpiece. 16. A Streetcar Named Desire (1951) (added 08-08-22): Kazan and Brando's first collaboration, not to mention Brando's first Oscar nod. 17. Purple Rain (1984) (added 08-19-22): Prince's eighties run of albums was godlike, but I've never seen the purple one on the silver screen. 18. A Woman Under the Influence (1974) (added 08-31-22): The most iconic film directed by John Cassavetes, who I've thus far only seen on the other side of the camera. 19. True Stories (1986) (added 09-30-22): I've been a diehard Talking Heads fan for almost as long as I've followed pop music, but I've never seen this musical comedy, David Byrne's sole directorial credit for a feature film. (and introducing...) 20. Caddyshack (1980) (added 03-10-23): Despite growing up on a healthy diet of '80s movies and Bill Murray being my favorite actor, I don't think I've so much as caught five minutes of this on cable. SHAME OVERCOME (10 and counting): Midnight Cowboy (1969); E.T. the Extra-Terrestrial (1982); The Prestige (2006); Singin' in the Rain (1952); Schindler's List (1993); Heat (1995); Crouching Tiger, Hidden Dragon (2000); Tootsie (1982); The Searchers (1956); Lawrence of Arabia (1962)
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Mar 11, 2023 02:20
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Basebf555 posted:1. The Bad News Bears: Not sure how I avoided this growing up, but I enjoy Walter Matthau as much as the next guy so I'm sure I'd enjoy it. I just watched one I missed out on as a kid, so I'm in the mood to hear another nostalgia-free take on a comedy. Watched Caddyshack (1980): This is one of the few classic '80s comedies I just missed outright. I truly can't even say I have any half-remembered viewings from when I was a kid or from catching it on cable while channel surfing. I'm certain of that now because, after watching it, not a drat thing came back to me. To be honest, even the cultural osmosis factor failed me here. I had some vague notion that Bill Murray and his droopy lip were hunting gophers on a golf course. Maybe he said "So I got that going for me, which is nice." I recognized the Kenny Loggins theme song, but I'm not even sure I knew that was from this movie. Detached from any nostalgia factor, though, this was pleasant enough, but left me feeling a little flat. It's tricky to review comedy, especially one that you didn't connect with, because there's only so many ways to say "it wasn't funny." I do think a problem here is that there was just nothing driving the movie forward. Plenty of comedies are loose frameworks upon which to hang jokes, but this one REALLY feels meandering. There's a loose plot about a young caddy (Michael O’Keefe) trying to earn some scholarship money for college, but our would-be protagonist is a dud. He just adds some loose connective tissue for the grown-ups to come in and steal the show. There are tons of different tones and types of humor in here, to the point where it feels like all the main characters are on loan from other, better movies. Rodney Dangerfield and Murray, in particular, are off in their own worlds. Their improv is the funniest stuff in the movie, but it's so disconnected. Chevy Chase is solid enough (although arguably playing against type as someone who's supposed to come across as likable). Ted Knight gets the villain role as the self-important founding member of the country club who the caddy sucks up to until having a change of heart, but any slobs versus snobs storyline here must have ended up on the cutting room floor to make room for the jokes. For example, the first half of the movie builds up to a caddies only golf tournament that our hero desperately wants to win. Then, at the mid-point, we get to the tournament and he summarily wins it in under a minute of screentime. I think we see him swing the club twice. The finale of the film, a high-stakes golf game that pits Knight and his crony against Dangerfield and Chase, isn't even proposed until the last ten minutes or so. Bet I would have loved Murray fighting the Looney Tunes gopher puppet as a kid, though. LIST OF SHAME: 1. Mr. Smith Goes To Washington (1939) (added 06-03-22): I need a civics lesson. I like Jimmy Stewart, but I primarily know him through his work with Alfred Hitchcock. I've actually never seen It's a Wonderful Life, either, but I'm saving that for a Christmastime viewing. 4. The Bridge on the River Kwai (1957) (added 06-03-22): I like war films, but when we get back to the fifties and earlier we are getting to the point where I have seen a handful of classics and things by directors I like but otherwise have a lot of blind spots. 10. Brokeback Mountain (2005) (added 06-03-22): I would have to consider myself a Jake Gyllenhaal fan, and of course we lost Heath too soon. I vaguely remember finding Ang Lee pretentious and annoying in the press cycle/Oscar buzz period for the movie, which may have contributed to missing out on it at the time. 14. Come and See (1985) (added 07-13-22): I hear this could be the rare anti-war film that effectively communicates its message without glamorizing war. 15. Tokyo Story (1953) (added 07-29-22): I've never seen an Ozu film, and this is considered a masterpiece. 16. A Streetcar Named Desire (1951) (added 08-08-22): Kazan and Brando's first collaboration, not to mention Brando's first Oscar nod. 17. Purple Rain (1984) (added 08-19-22): Prince's eighties run of albums was godlike, but I've never seen the purple one on the silver screen. 18. A Woman Under the Influence (1974) (added 08-31-22): The most iconic film directed by John Cassavetes, who I've thus far only seen on the other side of the camera. 19. True Stories (1986) (added 09-30-22): I've been a diehard Talking Heads fan for almost as long as I've followed pop music, but I've never seen this musical comedy, David Byrne's sole directorial credit for a feature film. (and introducing...) 21. The Magnificent Ambersons (1942) (added 04-03-23): A big influence on my favorite film, The Royal Tenenbaums. SHAME OVERCOME (11 and counting): Midnight Cowboy (1969); E.T. the Extra-Terrestrial (1982); The Prestige (2006); Singin' in the Rain (1952); Schindler's List (1993); Heat (1995); Crouching Tiger, Hidden Dragon (2000); Tootsie (1982); The Searchers (1956); Lawrence of Arabia (1962); Caddyshack (1980) Crescent Wrench fucked around with this message at 01:19 on Apr 4, 2023 |
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Apr 4, 2023 01:16
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Zogo posted:Kids - This is one that would give a lot of parents consternation. I was a little young for this be on my radar as a film I'd actually watch when it came out, but I do recall one my friends tattled on his older sister after she stealthily snuck it into the family's order during a Blockbuster run. I still remember him telling us about his horror as she was watching it, and his decision to turn her in to the authorities. "Dad, she rented a sex movie!"
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Apr 7, 2023 05:42
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Zogo posted:#134 Dead of Night - An early horror anthology with a good reputation. 2/5/23 I'm always curious to get reviews on horror I haven't seen. Watched Come and See (1985): Arguably the anti-war films to end all anti-war films, Come and See takes place during the Nazi occupation of Belarus during World War II. Our protagonist, a young teenager named Flyora, joins the resistance movement without quite seeming to know what he's signing up for. Before long, he's separated from his unit, and returns home to find that his family--in fact, his entire village--has been massacred. From there, he's just doing the best he can to survive, sometimes on his own, sometimes with companions, but always confronted with an unflinching, first-hand look at the horrors of war. Analyzing this film does bring to mind Truffaut's hoary, oft-misquoted musings on the difficulty of making an anti-war film. But Truffaut died a year before Come and See was released, and it may just prove him wrong. Part of this is because Come and See avoids spending any real time on combat, which a century of wars films have demonstrated the camera can't help but make exciting. I don't think Flyora even fires his gun until the ending (which we'll get to). The violence here is sometimes swift, sometimes agonizingly drawn out, but always brutal. And, of course, having such a young protagonist is extremely effective. Flyora is lost and powerless throughout the film, unable to wrap his mind around the enormity of war and genocide. And I was often thinking of Grave of the Fireflies, another World War II film which focuses on the perspective of children (and which I found perhaps even more gut-wrenching than this). Narrative aside, the film is consistently visually striking in the way it mixes a kind of drab color palette made up of earth tones with varied cinematography. The film spends it's runtime in the dirt and the muck of forest militia camps and burned-out villages, but there's a compelling blend of the real and the surreal, the objective and the subjective. Some shots are straightforward, but then the camera takes time to linger on a tight close-up of someone's face fraught with emotion, or slips into a POV, or some other impressionistic technique. And then there's that ending, in which Flyora finally fires his gun... at a portrait of Hitler, causing him to see Hitler's life in reverse, back until his infancy, at which point Flyora breaks down and cries. He's been through too much. He knows it's not that easy. LIST OF SHAME: 1. Mr. Smith Goes To Washington (1939) (added 06-03-22): I need a civics lesson. I like Jimmy Stewart, but I primarily know him through his work with Alfred Hitchcock. I've actually never seen It's a Wonderful Life, either, but I'm saving that for a Christmastime viewing. 4. The Bridge on the River Kwai (1957) (added 06-03-22): I like war films, but when we get back to the fifties and earlier we are getting to the point where I have seen a handful of classics and things by directors I like but otherwise have a lot of blind spots. 10. Brokeback Mountain (2005) (added 06-03-22): I would have to consider myself a Jake Gyllenhaal fan, and of course we lost Heath too soon. I vaguely remember finding Ang Lee pretentious and annoying in the press cycle/Oscar buzz period for the movie, which may have contributed to missing out on it at the time. 15. Tokyo Story (1953) (added 07-29-22): I've never seen an Ozu film, and this is considered a masterpiece. 16. A Streetcar Named Desire (1951) (added 08-08-22): Kazan and Brando's first collaboration, not to mention Brando's first Oscar nod. 17. Purple Rain (1984) (added 08-19-22): Prince's eighties run of albums was godlike, but I've never seen the purple one on the silver screen. 18. A Woman Under the Influence (1974) (added 08-31-22): The most iconic film directed by John Cassavetes, who I've thus far only seen on the other side of the camera. 19. True Stories (1986) (added 09-30-22): I've been a diehard Talking Heads fan for almost as long as I've followed pop music, but I've never seen this musical comedy, David Byrne's sole directorial credit for a feature film. 21. The Magnificent Ambersons (1942) (added 04-03-23): A big influence on my favorite film, The Royal Tenenbaums. (and introducing...) 22. M (1931) (added 04-21-23): I've seen Metropolis ages ago, but never this crime film (which sounds like extremely heavy subject matter for the time period, as well). SHAME OVERCOME (12 and counting): Midnight Cowboy (1969); E.T. the Extra-Terrestrial (1982); The Prestige (2006); Singin' in the Rain (1952); Schindler's List (1993); Heat (1995); Crouching Tiger, Hidden Dragon (2000); Tootsie (1982); The Searchers (1956); Lawrence of Arabia (1962); Caddyshack (1980); Come and See (1985)
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Apr 21, 2023 21:19
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Zogo posted:I remember the realist interpretation being that he's just walking on a submerged pier. Ebert got pissed off about that in his "Great Movies" review: Roger Ebert posted:When I taught the film, I had endless discussions with my students over this scene. Many insisted on explaining it: He is walking on a hidden sandbar, the water is only half an inch deep, there is a submerged pier, etc. "Not valid!'' I thundered. "The movie presents us with an image, and while you may discuss the meaning of the image it is not permitted to devise explanations for it. Since Ashby does not show a pier, there is no pier--a movie is exactly what it shows us, and nothing more,'' etc. Which is a tad more, ahem, nuanced than his original review: Roger Ebert posted:Sellers wasn't warped by television, he was retarded to begin with 
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May 13, 2023 23:45
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Basebf555 posted:
And no reason not to give you another animated film! Watched Purple Rain (1984): Prince was already a star by the summer of 1984, but Purple Rain made him a phenomenon. The film was a solid box office hit--number 12 for the year--but it's the soundtrack album that has truly endured. It's one of the best-selling albums of all-time, and it gave Prince his first two number one hits in "When Doves Cry" and "Let's Go Crazy"--shockingly, the title track stalled out at number two behind Wham!'s "Wake Me Up Before You Go-Go." But we're here to talk about the movies. It's a semi-autobiographical tale starring Prince as The Kid, a Minneapolis musician. The Kid is the frontman of The Revolution, one of the house bands at a popular club, but a rival band leader, Morris Day of the Time, is trying to push him out. (Day, like pretty much everyone but Prince, plays a fictionalized version of himself using his real name.) And The Kid's got personal problems, too--Apollonia, a young aspiring singer, has just rolled into town, and The Kid and Day are vying for her affections. And The Kid's home life is a wreck, with an abusive father terrorizing The Kid and his mother. Yes, The Kid lives at home, which leads to bizarre sequences where he walks off stage, hops on his custom purple motorcycle, and pulls up in a driveway in the suburbs. But the film is full of oddities like this. Some of them are charming--it's pretty funny having this rockstar's girlfriend sneak in through his bedroom window so they don't wake up the parents. Other times it's pretty jarring. There are heavy themes like spousal abuse and suicide, but at one point Day and his lackey do what amounts to an extended riff on the classic "Who's on first?" bit. These things don't work in the same story. This probably sounds like I'm knocking the film way more than I intend to, because it's a great time. This is just to say it's not the tightest script in the world, but it more than gets by on Prince's charisma and songs. You hear every track on the album in the movie, usually via live sequences at the club. The film opens with an extended performance of "Let's Go Crazy" that's like a music video, and there isn't even any proper dialogue for 7 or 8 minutes. The film is largely building up to The Kid accepting help from his bandmates, which leads to him writing and performing "Purple Rain" and saving his career. This is the climax of the story, but the film takes a victory lap with a literal encore then The Kid comes back out and plays two more songs to take us to the credits. These songs are classics, although I will say I never singled out "The Beautiful Ones" as a highlight track on record, but it's inclusion in this movie really pops. This isn't just for Prince fans, though. Any fan of rock films will appreciate it. LIST OF SHAME: 1. Mr. Smith Goes To Washington (1939) (added 06-03-22): I need a civics lesson. I like Jimmy Stewart, but I primarily know him through his work with Alfred Hitchcock. I've actually never seen It's a Wonderful Life, either, but I'm saving that for a Christmastime viewing. 4. The Bridge on the River Kwai (1957) (added 06-03-22): I like war films, but when we get back to the fifties and earlier we are getting to the point where I have seen a handful of classics and things by directors I like but otherwise have a lot of blind spots. 10. Brokeback Mountain (2005) (added 06-03-22): I would have to consider myself a Jake Gyllenhaal fan, and of course we lost Heath too soon. I vaguely remember finding Ang Lee pretentious and annoying in the press cycle/Oscar buzz period for the movie, which may have contributed to missing out on it at the time. 15. Tokyo Story (1953) (added 07-29-22): I've never seen an Ozu film, and this is considered a masterpiece. 16. A Streetcar Named Desire (1951) (added 08-08-22): Kazan and Brando's first collaboration, not to mention Brando's first Oscar nod. 18. A Woman Under the Influence (1974) (added 08-31-22): The most iconic film directed by John Cassavetes, who I've thus far only seen on the other side of the camera. 19. True Stories (1986) (added 09-30-22): I've been a diehard Talking Heads fan for almost as long as I've followed pop music, but I've never seen this musical comedy, David Byrne's sole directorial credit for a feature film. 21. The Magnificent Ambersons (1942) (added 04-03-23): A big influence on my favorite film, The Royal Tenenbaums. 22. M (1931) (added 04-21-23): I've seen Metropolis ages ago, but never this crime film (which sounds like extremely heavy subject matter for the time period, as well). (and introducing...) 23. Sex, Lies, and Videotape (1989) (added 06-11-23): Soderbergh's debut is a landmark indepedent film, not to mention a Palme d'Or winner. SHAME OVERCOME (13 and counting): Midnight Cowboy (1969); E.T. the Extra-Terrestrial (1982); The Prestige (2006); Singin' in the Rain (1952); Schindler's List (1993); Heat (1995); Crouching Tiger, Hidden Dragon (2000); Tootsie (1982); The Searchers (1956); Lawrence of Arabia (1962); Caddyshack (1980); Come and See (1985); Purple Rain (1984)
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Jun 11, 2023 19:59
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I've gotta watch my movie, I've missed two opportunities to assign Wes Anderson flicks and been beaten to the punch. But glad they're getting into circulation all the same.
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Jul 27, 2023 12:26
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Seaniqua posted:8.) The Searchers (1956) - I know nothing about this movie but I do like John Ford. 7/28/23 I watched this one for the thread last fall, so I'd love to hear another first-time viewer's take on it. Watched Mr. Smith Goes to Washington (1939): A prominent Senator dies just before the vote on a critical appropriations bill--a bill that just so happens to use public funds to purchase land a powerful political boss has been stockpiling. The political boss (Edward Arnold) and a tenured Senator Joseph Paine (Claude Rains) need a puppet Senator to get the bill through. They hit upon Jefferson Smith (Jimmy Stewart), a wide-eyed civics nerd and Boy Scout leader--in other words, the platonic ideal of a rube. Or so they think. Paine gives Smith the busywork of writing a bill to set aside land for a campground for scouts. But Smith wants to use the same land involved in the graft, and soon he finds himself framed as a corrupt Senator facing expulsion as part of the cover-up. Most of the last act is devoted to the most enduring part of the film, Smith's filibuster to clear his name and expose corruption. Although the finale is pretty famous, and I realized I'd caught bits on the end on TV at some point, I thoroughly enjoyed this overall. Wherever you find the film on the spectrum between idealistic and naive, it's undoubtedly earnest. During the big climax, there's even an honest-to-God moment when someone shouts "Let him speak!" Yet there's also some light-hearted stuff, and Jimmy Stewart's "aww shucks" nervous energy translates well to some physical comedy. The film is a solid two hours and change, but moves along at a brisk pace. It's pretty classic filmmaking, with a few interesting bits of stylistic flair. For example, some conversations are punctuated with jump cuts, which was so jarring I thought maybe my stream was having problems. I also liked the scene of Smith flirting with a woman in which the camera zooms in on his hands as he nervously fumbles with and repeatedly drops his hat. I primarily know Jimmy Stewart from his work with Hitchcock, so it was nice to fill in the blanks on one of his iconic roles. And Rains has a pretty good supporting role as an older version of Smith who DID compromise his morals, and is having a crisis of conscience as he looks in the mirror of what once was. Although it can come across corny by today's standards, it was actually the subject of some controversy at the time for daring to show Congress as anything other than unimpeachably moral and civic-minded. Imagine that. LIST OF SHAME: 4. The Bridge on the River Kwai (1957) (added 06-03-22): I like war films, but when we get back to the fifties and earlier we are getting to the point where I have seen a handful of classics and things by directors I like but otherwise have a lot of blind spots. 10. Brokeback Mountain (2005) (added 06-03-22): I would have to consider myself a Jake Gyllenhaal fan, and of course we lost Heath too soon. I vaguely remember finding Ang Lee pretentious and annoying in the press cycle/Oscar buzz period for the movie, which may have contributed to missing out on it at the time. 15. Tokyo Story (1953) (added 07-29-22): I've never seen an Ozu film, and this is considered a masterpiece. 16. A Streetcar Named Desire (1951) (added 08-08-22): Kazan and Brando's first collaboration, not to mention Brando's first Oscar nod. 18. A Woman Under the Influence (1974) (added 08-31-22): The most iconic film directed by John Cassavetes, who I've thus far only seen on the other side of the camera. 19. True Stories (1986) (added 09-30-22): I've been a diehard Talking Heads fan for almost as long as I've followed pop music, but I've never seen this musical comedy, David Byrne's sole directorial credit for a feature film. 21. The Magnificent Ambersons (1942) (added 04-03-23): A big influence on my favorite film, The Royal Tenenbaums. 22. M (1931) (added 04-21-23): I've seen Metropolis ages ago, but never this crime film (which sounds like extremely heavy subject matter for the time period, as well). 23. Sex, Lies, and Videotape (1989) (added 06-11-23): Soderbergh's debut is a landmark indepedent film, not to mention a Palme d'Or winner. (and introducing...) 24. Godzilla (1954) (added 07-29-23): Time to rectify having only seen the Roland Emmerich slop. SHAME OVERCOME (14 and counting): Midnight Cowboy (1969); E.T. the Extra-Terrestrial (1982); The Prestige (2006); Singin' in the Rain (1952); Schindler's List (1993); Heat (1995); Crouching Tiger, Hidden Dragon (2000); Tootsie (1982); The Searchers (1956); Lawrence of Arabia (1962); Caddyshack (1980); Come and See (1985); Purple Rain (1984); Mr. Smith Goes to Washington (1939)
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Jul 29, 2023 22:43
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Seaniqua posted:I also haven't seen it or heard good things about it, but for the sake of completionism, go for it!  I tried to get to my film as quickly as I could because I wanted to assign Nemesis as well. You beat me by about 20 minutes, but you got the job done.Seaniqua, nice write-up of The Searchers, I think you picked up on a lot of things that struck me when I watched it, but caught some stuff I hadn't thought through as well. I'd be interested to hear your take on... Seaniqua posted:4.) The Wizard of Oz (1939) - I've probably seen this whole movie over the course of my life, but I've never sat and watched the whole thing. 7/28/23 I'm in the same "probably seen most of it in bits and pieces" camp here. I'm going to have to sit down and watch it at some point for my scratch-off movies poster, so go ahead and scout it out for me. Watched M (1931): A child murderer (Peter Lorre) is stalking the streets of Berlin, and the police investigation is getting nowhere as the body count rises. The endless patrols, raids and public hysteria are also putting a serious damper on the city's criminal underworld, so much so that the crooks start their own independent operation to track down the killer. The bulk of the film follows the parallel investigations as the net tightens around the killer. I found this compelling and surprisingly modern. Indeed, you can draw a straight line from M to today's police procedurals and serial killer films. It's a relatively early talkie--director Fritz Lang's first--but sound is used as effectively as silence. There's no score to speak of, which makes it even eerier when the killer compulsively whistles a tune as he stalks his victims. (You'll never hear "In the Hall of the Mountain King" the same way again.) The ambient noise is used well as the characters stalk the sparse night streets, but sometimes Lang lets the sound drop out to ramp up the tension, particularly when the search parties have got the killer cornered. It's visually compelling as well, with lots of harsh, overheard camera angles giving things a voyeuristic, claustrophobic quality. As you'd expect for a film about child murder from the '30s, it's not explicitly violent, but the restraint is all the more chilling. In the opening of the film, we see the killer lure in a young girl by offering her a balloon from a street vendor. Then they disappear together, and all we get is a shot of the balloon floating off into the sky towards the powerlines above. Lorre is a great villain, both baby-faced and bug-eyed. I imagine Michael Shannon taking notes on that latter aspect. This was a superb film, and takes me interested to revisit Metropolis, which deserves better than a viewing on a crappy VHS tape when I was in high school. LIST OF SHAME: 4. The Bridge on the River Kwai (1957) (added 06-03-22): I like war films, but when we get back to the fifties and earlier we are getting to the point where I have seen a handful of classics and things by directors I like but otherwise have a lot of blind spots. 10. Brokeback Mountain (2005) (added 06-03-22): I would have to consider myself a Jake Gyllenhaal fan, and of course we lost Heath too soon. I vaguely remember finding Ang Lee pretentious and annoying in the press cycle/Oscar buzz period for the movie, which may have contributed to missing out on it at the time. 15. Tokyo Story (1953) (added 07-29-22): I've never seen an Ozu film, and this is considered a masterpiece. 16. A Streetcar Named Desire (1951) (added 08-08-22): Kazan and Brando's first collaboration, not to mention Brando's first Oscar nod. 18. A Woman Under the Influence (1974) (added 08-31-22): The most iconic film directed by John Cassavetes, who I've thus far only seen on the other side of the camera. 19. True Stories (1986) (added 09-30-22): I've been a diehard Talking Heads fan for almost as long as I've followed pop music, but I've never seen this musical comedy, David Byrne's sole directorial credit for a feature film. 21. The Magnificent Ambersons (1942) (added 04-03-23): A big influence on my favorite film, The Royal Tenenbaums. 23. Sex, Lies, and Videotape (1989) (added 06-11-23): Soderbergh's debut is a landmark indepedent film, not to mention a Palme d'Or winner. 24. Godzilla (1954) (added 07-29-23): Time to rectify having only seen the Roland Emmerich slop. (and introducing...) 25. Planet of the Apes (1968) (added 07-31-23): Another iconic film in the cultural osmosis/maybe seen bits and pieces in passing category. SHAME OVERCOME (15 and counting): Midnight Cowboy (1969); E.T. the Extra-Terrestrial (1982); The Prestige (2006); Singin' in the Rain (1952); Schindler's List (1993); Heat (1995); Crouching Tiger, Hidden Dragon (2000); Tootsie (1982); The Searchers (1956); Lawrence of Arabia (1962); Caddyshack (1980); Come and See (1985); Purple Rain (1984); Mr. Smith Goes to Washington (1939); M (1931)
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Jul 31, 2023 16:25
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Welcome to the thread, Big Mac and Clipperton! Big Mac posted:7. Videodrome - See above but Cronenberg. I was hung up about body horror for a long time and I don't know how over it I am. I would also have given you Eraserhead, the ultimate film about fatherhood, as your first pick. I think I've seen it three times in the theater. Henry is still my Letterboxd avatar. That being said, I think Videodrome is just as strange, and my favorite Cronenberg film. Have fun. Watched Planet of the Apes (1968): Astronaut George Taylor (Charlton Heston) and his crew take to space for an experiment: by hitting near-light speeds, they believe they can induce time dilation and jump centuries into the future while barely aging themselves. When they come out of cryogenic sleep, they find they're more than 2,000 years in the future and crash landing on a remote planet where humanity has regressed to a mute tribes ruled over by humanoid apes. If you know anything about this film, of course, you know the iconic ending where it's revealed this is actually the future of Earth. The science makes absolutely no sense, but it's more important as a pulpy sci-fi framework for some social commentary. Heston gives an appropriately larger-than-life performance as the avatar of humanity. There's even a solid chunk when he first gets captured by the apes where his throat has been injured and he's unable to speak. I liked watching Heston try to communicate his intelligence with only gestures and facial expressions. However, this segment does also have some problems with an "idiot plot" where it would be trivially easy for Heston to come up with better ways to communicate, and eventually act willfully obtuse. It makes a bit more sense with more context on the ape society, but there are still some shout at the screen moments. I thought the ape make-up/prosthetics held up reasonably well, accounting for the era and the inherent goofiness of the concept. The underlying performances by actors like Roddy McDowall, Kim Hunter, and Maurice Evans also go a long way to smooth over any technical limitations. The make-up was even given an honorary Oscar, as there was not yet a make-up category. The film also expertly shot in a way that negates the old cliche of an alien planet looking remarkably like the deserts of the American southwest. The opening act, in particular, has wonderful aerial shots, POV camerawork, and appropriately grand and strange cinematography. Really, there's a lot to enjoy here--Jerry Goldsmith's percussive, borderline avant-garde score; the practical effects and action set pieces; even a classic philosophical debate in the form of a courtroom scene. Planet of the Apes went on to be a successful franchise with four more movies in the early '70s, and I'd be curious to know how that played out, since this is a pretty self-contained tale. Historical fun fact--Planet of the Apes debuted in the U.S. the SAME DAY as 2001: A Space Odyssey. Pretty wild that two radically different approaches to cinematic sci-fi co-existed in such a big way. Isn't film wonderful? LIST OF SHAME: 4. The Bridge on the River Kwai (1957) (added 06-03-22): I like war films, but when we get back to the fifties and earlier we are getting to the point where I have seen a handful of classics and things by directors I like but otherwise have a lot of blind spots. 10. Brokeback Mountain (2005) (added 06-03-22): I would have to consider myself a Jake Gyllenhaal fan, and of course we lost Heath too soon. I vaguely remember finding Ang Lee pretentious and annoying in the press cycle/Oscar buzz period for the movie, which may have contributed to missing out on it at the time. 15. Tokyo Story (1953) (added 07-29-22): I've never seen an Ozu film, and this is considered a masterpiece. 16. A Streetcar Named Desire (1951) (added 08-08-22): Kazan and Brando's first collaboration, not to mention Brando's first Oscar nod. 18. A Woman Under the Influence (1974) (added 08-31-22): The most iconic film directed by John Cassavetes, who I've thus far only seen on the other side of the camera. 19. True Stories (1986) (added 09-30-22): I've been a diehard Talking Heads fan for almost as long as I've followed pop music, but I've never seen this musical comedy, David Byrne's sole directorial credit for a feature film. 21. The Magnificent Ambersons (1942) (added 04-03-23): A big influence on my favorite film, The Royal Tenenbaums. 23. Sex, Lies, and Videotape (1989) (added 06-11-23): Soderbergh's debut is a landmark independent film, not to mention a Palme d'Or winner. 24. Godzilla (1954) (added 07-29-23): Time to rectify having only seen the Roland Emmerich slop. (and introducing...) 26. Night on Earth (1991) (added 08-20-23): The only Jarmusch I haven't seen (aside from the music docs). SHAME OVERCOME (16 and counting): Midnight Cowboy (1969); E.T. the Extra-Terrestrial (1982); The Prestige (2006); Singin' in the Rain (1952); Schindler's List (1993); Heat (1995); Crouching Tiger, Hidden Dragon (2000); Tootsie (1982); The Searchers (1956); Lawrence of Arabia (1962); Caddyshack (1980); Come and See (1985); Purple Rain (1984); Mr. Smith Goes to Washington (1939); M (1931); Planet of the Apes (1968)
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Aug 20, 2023 13:48
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Zogo posted:new #151 Troll 2 - Troll was okay but I've avoided this infamous sequel for many years. 8/29/23 "You can't piss on hospitality!" Watched The Bridge on the River Kwai (1957): Another afternoon off, another chance to sneak in a David Lean war epic. It's World War II, and our protagonists are prisoners of war in a Japanese camp. The POWs are being forced to construct the Burma Railway, in particular the titular bridge (a real historical event serving as a loose backdrop for this fictional story). William Holden has top billing as American Commander Shears, but this film is really about British Colonel Nicholson (Alec Guinness) and Japanese Colonel Saito (Sessue Hayakawa). When Nicholson arrives, his troops enter the camp marching in crisp formation, but quick shots of bruised legs and soles falling off boots tell a different story about the condition they're in. When Saito gives the order to work on the bridge, Nicholson tries to keep a stiff upper lip and maintain order in an impossible situation. He waves around a copy of the Geneva Convention even under the threat of the firing squad. Indeed, the first act of the film is a stand-still between the two men, each clinging to their own code of honor. After Nicholson remains steadfast even after days in a torture cell, Saito finds a halfway plausible excuse to relent and let the POW officers simply oversee the project while the enlisted men get their hands dirty. Then there's the unexpected wrinkle. Nicholson arrives at the river to find his men putting in the bare minimum effort and finding any opportunity to delay the project. But rather than trying to stymie his enemies, Nicholson decides any job doing is worth doing well. He comes to take pride in completing the bridge, both as a way to keep his unit together and a way to build a legacy to British ingenuity. This is at odds with Shears who--after escaping early on and largely loving off for half the movie--has returned on a mission to demolish the bridge. As I said, this movie really belongs to the other guys. Guinness won Best Actor at the Oscars, and Hayakawa got a nomination for Best Supporting Actor. They absolutely anchor the movie. It's a fine film, and engaging throughout, but it loses something once they come to a compromise and Saito is largely sidelined. And the Shears stuff often felt like a distraction to me. The interludes of his escape and recruitment into the new mission interrupted the battle of wills between the more compelling characters. This also threw off the pacing and made the movie feel it's length at times. Lawrence of Arabia, for all it's sprawl an languid pace, is in many ways a tighter story. Really, this is more of a war film/prison film hybrid that excels with the characterization and feud at the heart of the story. LIST OF SHAME: 10. Brokeback Mountain (2005) (added 06-03-22): I would have to consider myself a Jake Gyllenhaal fan, and of course we lost Heath too soon. I vaguely remember finding Ang Lee pretentious and annoying in the press cycle/Oscar buzz period for the movie, which may have contributed to missing out on it at the time. 15. Tokyo Story (1953) (added 07-29-22): I've never seen an Ozu film, and this is considered a masterpiece. 16. A Streetcar Named Desire (1951) (added 08-08-22): Kazan and Brando's first collaboration, not to mention Brando's first Oscar nod. 18. A Woman Under the Influence (1974) (added 08-31-22): The most iconic film directed by John Cassavetes, who I've thus far only seen on the other side of the camera. 19. True Stories (1986) (added 09-30-22): I've been a diehard Talking Heads fan for almost as long as I've followed pop music, but I've never seen this musical comedy, David Byrne's sole directorial credit for a feature film. 21. The Magnificent Ambersons (1942) (added 04-03-23): A big influence on my favorite film, The Royal Tenenbaums. 23. Sex, Lies, and Videotape (1989) (added 06-11-23): Soderbergh's debut is a landmark independent film, not to mention a Palme d'Or winner. 24. Godzilla (1954) (added 07-29-23): Time to rectify having only seen the Roland Emmerich slop. 26. Night on Earth (1991) (added 08-20-23): The only Jarmusch I haven't seen (aside from the music docs). (and introducing...) 27. The New World (2005) (addded 09-01-23): The biggest gap in my Terrence Malick viewing. SHAME OVERCOME (17 and counting): Midnight Cowboy (1969); E.T. the Extra-Terrestrial (1982); The Prestige (2006); Singin' in the Rain (1952); Schindler's List (1993); Heat (1995); Crouching Tiger, Hidden Dragon (2000); Tootsie (1982); The Searchers (1956); Lawrence of Arabia (1962); Caddyshack (1980); Come and See (1985); Purple Rain (1984); Mr. Smith Goes to Washington (1939); M (1931); Planet of the Apes (1968); The Bridge on the River Kwai (1957)
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Sep 2, 2023 01:59
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BiggerBoat posted:Who the gently caress listed "Under the Cherry Moon" as a shameful omission? I'm the biggest Prince fan I know and I'd never tell someone to watch that poo poo. Parade's a pretty good album, though!
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Sep 7, 2023 00:21
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Zogo posted:#154 Gummo - This one looks strange. 9/11/23 “I knew a guy who was dyslexic, but he was also cross-eyed, so everything came out right.” (I just rewatched this a week or so before you put it on your list, so this is the way it's got to be.) Watched Brokeback Mountain (2005): It's Wyoming in 1963, and Jack (Jake Gyllenhaal) and Ennis (Heath Ledger) have gotten work on our titular remote mountain herding a flock of sheep for the summer. The isolation allows the two men to grow closer and, by the time they declare they "ain't queer," they've already shared a night of passion together. The summer ends and, for a time, the men part. Ennis came onto the mountain with a fiancée, Alma (Michelle Williams), back home, and Jack later settles down with a rodeo queen, Lureen (Anne Hathaway). But Jack and Ennis reconnect four years later, and the film follows their lives over the next couple of decades as they continue to meet up for "fishing trips" as often as they can justify. This tragic romance is very much a slow burn, with a languid but engaging pace throughout. The first act in particular gives itself over to lush cinematography that shows off the bucolic mountainside as the two closely-guarded (read: repressed) men start to open up. I think the dual true strengths of this movie, however, are the subtlety of the script and the nuanced performances. All four of the main actors are excellent, and all but Hathaway got Oscar nods. The script itself actually took home the gold. The movie's got a peculiar approach to the editing, which threw me off and even felt awkward at a few points in the early going. But once it starts jumping through the years I fell in line with the rhythm of it all. The moments in time that are shown do effective highlight how Jack and Ennis hang over every aspect of each other's lives, even during long stretches apart. Understated and quite effective overall. LIST OF SHAME: 15. Tokyo Story (1953) (added 07-29-22): I've never seen an Ozu film, and this is considered a masterpiece. 16. A Streetcar Named Desire (1951) (added 08-08-22): Kazan and Brando's first collaboration, not to mention Brando's first Oscar nod. 18. A Woman Under the Influence (1974) (added 08-31-22): The most iconic film directed by John Cassavetes, who I've thus far only seen on the other side of the camera. 19. True Stories (1986) (added 09-30-22): I've been a diehard Talking Heads fan for almost as long as I've followed pop music, but I've never seen this musical comedy, David Byrne's sole directorial credit for a feature film. 21. The Magnificent Ambersons (1942) (added 04-03-23): A big influence on my favorite film, The Royal Tenenbaums. 23. Sex, Lies, and Videotape (1989) (added 06-11-23): Soderbergh's debut is a landmark independent film, not to mention a Palme d'Or winner. 24. Godzilla (1954) (added 07-29-23): Time to rectify having only seen the Roland Emmerich slop. 26. Night on Earth (1991) (added 08-20-23): The only Jarmusch I haven't seen (aside from the music docs). 27. The New World (2005) (added 09-01-23): The biggest gap in my Terrence Malick viewing. (and introducing...) 28. The Passion of Joan of Arc (1928) (added 09-27-23): Universally considered one of silent film's greatest masterpieces. SHAME OVERCOME (18 and counting): Midnight Cowboy (1969); E.T. the Extra-Terrestrial (1982); The Prestige (2006); Singin' in the Rain (1952); Schindler's List (1993); Heat (1995); Crouching Tiger, Hidden Dragon (2000); Tootsie (1982); The Searchers (1956); Lawrence of Arabia (1962); Caddyshack (1980); Come and See (1985); Purple Rain (1984); Mr. Smith Goes to Washington (1939); M (1931); Planet of the Apes (1968); The Bridge on the River Kwai (1957); Brokeback Mountain (2005)
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Sep 28, 2023 04:16
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BiggerBoat posted:Holy poo poo. I can't wait to read this review. Escobarbarian posted:Gummo is one of my favourite movies. It kicks so much rear end The race is on!
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Sep 28, 2023 18:25
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Zogo posted:new #156 Phantasm II - I lurk those horror challenge threads every year and I was reminded that I should watch this one. I saw the original film many years ago and totally forgot to watch the others. 11/1/23 Absolutely zero chance I'm passing up the invitation to bring Phantasm into the thread. Watched Sex, Lies, and Videotape (1989): In the film's opening scene, Ann (Andie MacDowell) is talking to her therapist about how sex is overrated. She's not entirely convincing. Her husband John (Peter Gallagher) is having an affair with her sister, Cynthia (Laura San Giacomo). Then John's old friend Graham (James Spader) comes back to town after nine years, and the sexually repressed Ann finds out about his personal project (read: kink)--he likes filming interviews with women talking about their sex lives. Steven Soderbergh's debut feature had a hell of an impact on the American indie scene, launching his career as the youngest direct to win the Palme d'Or at Cannes. I'm a fan of his, but it's tough to know where to go in his prolific filmography, so it was nice to catch up with this. I'd definitely put it towards the top of what I've seen. This is a tight, well-acted character piece on the main four. Each of the characters has a specific, unique relationship to the other three, and it's compelling to watch them all pair off at various times and play off one another. There are only a handful of other speaking roles, and they're all characters with no proper names and only a handful of lines. I think the fifth biggest speaking role is a barfly who hits on the sisters. Spader gets top billing, and he's excellent, but this really feels like Ann's story to me, and MacDowell's performance is just as strong. Also, an aspect I enjoyed that I haven't seen commented on much was the score, which is mostly kind of droning, ambient noise which highlighted the simmering tension in the personal relationships between the characters. As fully formed a debut film you'll see by any director. LIST OF SHAME: 15. Tokyo Story (1953) (added 07-29-22): I've never seen an Ozu film, and this is considered a masterpiece. 16. A Streetcar Named Desire (1951) (added 08-08-22): Kazan and Brando's first collaboration, not to mention Brando's first Oscar nod. 18. A Woman Under the Influence (1974) (added 08-31-22): The most iconic film directed by John Cassavetes, who I've thus far only seen on the other side of the camera. 19. True Stories (1986) (added 09-30-22): I've been a diehard Talking Heads fan for almost as long as I've followed pop music, but I've never seen this musical comedy, David Byrne's sole directorial credit for a feature film. 21. The Magnificent Ambersons (1942) (added 04-03-23): A big influence on my favorite film, The Royal Tenenbaums. 24. Godzilla (1954) (added 07-29-23): Time to rectify having only seen the Roland Emmerich slop. 26. Night on Earth (1991) (added 08-20-23): The only Jarmusch I haven't seen (aside from the music docs). 27. The New World (2005) (added 09-01-23): The biggest gap in my Terrence Malick viewing. 28. The Passion of Joan of Arc (1928) (added 09-26-23): Universally considered one of silent film's greatest masterpieces. (and introducing...) 29. Plan 9 From Outer Space (1957) (added 11-05-23): Can I really call myself a bad movie fan until I see this? SHAME OVERCOME (19 and counting): Midnight Cowboy (1969); E.T. the Extra-Terrestrial (1982); The Prestige (2006); Singin' in the Rain (1952); Schindler's List (1993); Heat (1995); Crouching Tiger, Hidden Dragon (2000); Tootsie (1982); The Searchers (1956); Lawrence of Arabia (1962); Caddyshack (1980); Come and See (1985); Purple Rain (1984); Mr. Smith Goes to Washington (1939); M (1931); Planet of the Apes (1968); The Bridge on the River Kwai (1957); Brokeback Mountain (2005); Sex, Lies, and Videotape (1989) Crescent Wrench fucked around with this message at 19:13 on Nov 22, 2023 |
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Nov 5, 2023 23:38
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Zogo posted:#159 Tetsuo: The Iron Man - It sounds like another interesting one. 11/15/23 I saw this quite awhile ago and have been wanting to rewatch it, could be fun to hear a review from a fresh perspective. Watched A Streetcar Named Desire (1951): After losing the family estate to an army of creditors, aging Southern belle Blanche DuBois (Vivien Leigh) has to slum it in New Orleans with her sister Stella (Kim Hunter) and her brother-in-law Stanley (Marlon Brando). It's a match made in Hell, as Blanche's demure manner is not only an attempt to cover up the truth about how far she's fallen, but well at odds with Stanley, who is an abusive lout on a good day. I've seen director Elia Kazan and Brando team up on the later On the Waterfront, but that one never really clicked with me. This one did. It's obviously very easy to focus on Brando's performance here, as he's absolutely magnetic. And, as the performance that launched his film career, it's arguably one of the most important and influential on-screen performances ever. Oddly enough, Brando would actually be the only one of the main four actors who did NOT take home the Oscar. But there's no shame in losing to Bogie. As good as Brando is, however, this is really Leigh's movie. Blanche is a complete nervous wreck, and it's a completely exhausting performance to watch (especially if you've ever dealt with a person who expresses their anxiety and trauma through endless prattling and fidgeting). But it's also extremely compelling, and her character arc is a total tragedy. This movie also has a lot of emotional punch even though this adaptation of Tennessee Williams play was softened by the censorship-heavy era. I think I actually saw a cut that restores a few minutes of trimmed footage, which doesn't totally honor the source material, but does restore some allusions to the racier elements. There are a few quick scenes in other locations to make it seem a little less obviously a stage play, but you really only need the apartment set. Gorgeously shot and superbly acted, this really holds up. LIST OF SHAME: 15. Tokyo Story (1953) (added 07-29-22): I've never seen an Ozu film, and this is considered a masterpiece. 18. A Woman Under the Influence (1974) (added 08-31-22): The most iconic film directed by John Cassavetes, who I've thus far only seen on the other side of the camera. 19. True Stories (1986) (added 09-30-22): I've been a diehard Talking Heads fan for almost as long as I've followed pop music, but I've never seen this musical comedy, David Byrne's sole directorial credit for a feature film. 21. The Magnificent Ambersons (1942) (added 04-03-23): A big influence on my favorite film, The Royal Tenenbaums. 24. Godzilla (1954) (added 07-29-23): Time to rectify having only seen the Roland Emmerich slop. 26. Night on Earth (1991) (added 08-20-23): The only Jarmusch I haven't seen (aside from the music docs). 27. The New World (2005) (added 09-01-23): The biggest gap in my Terrence Malick viewing. 28. The Passion of Joan of Arc (1928) (added 09-26-23): Universally considered one of silent film's greatest masterpieces. 29. Plan 9 From Outer Space (1957) (added 11-05-23): Can I really call myself a bad movie fan until I see this? (and introducing...) 30. McCabe and Mrs. Miller (1971) (added 11-26-23): Filling in some gaps regarding my Altman knowledge. SHAME OVERCOME (20 and counting): Midnight Cowboy (1969); E.T. the Extra-Terrestrial (1982); The Prestige (2006); Singin' in the Rain (1952); Schindler's List (1993); Heat (1995); Crouching Tiger, Hidden Dragon (2000); Tootsie (1982); The Searchers (1956); Lawrence of Arabia (1962); Caddyshack (1980); Come and See (1985); Purple Rain (1984); Mr. Smith Goes to Washington (1939); M (1931); Planet of the Apes (1968); The Bridge on the River Kwai (1957); Brokeback Mountain (2005); Sex, Lies, and Videotape (1989); A Streetcar Named Desire (1951)
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Nov 26, 2023 20:45
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Zogo posted:#144 The Phantom of Liberty - Sounds kind of like The Meaning of Life. 6/22/23 I just added a Buñuel film to my own list, so it only seems fair. Watched Plan 9 From Outer Space (1957) I love a good bad movie, but I've never seen the grandaddy of them all. Ed Wood's most "beloved" film is a sci-fi/horror flick with a convoluted plot involving aliens who are trying to prevent humanity from creating a doomsday weapon by... resurrecting the dead? And the movie ends with the human protagonists triumphantly killing the alien messengers? Fittingly for a so-bad-it's-good movie, most sentences about Plan 9 are bound to end in question marks. Fifties sci-fi/horror is often too corny my tastes, so I was a little worried my distaste for the time period that would make the charms of this film wash over me. But it did not disappoint. I've seen Tim Burton's Ed Wood, so I knew to expect things like the infamous plane cockpit set and the Bela Lugosi appearance cobbled together with footage from an abandoned film and a stand-in covering his face with his cowl. But Wood's incompetence is quite comprehensive. You've got lousy actors reading worse dialogue, sometimes clearly right off the script. There are blatant continuity errors between shots. At least a third of the movie takes place in a "forest graveyard" set that has less depth from front to back than an average high school play. There's a jump cut from people walking through the trees to different people walking through the trees, and the camera doesn't move an inch. I had to rewind it several times in disbelief. It's a "classic" for a reason. Tons of fun. LIST OF SHAME: 15. Tokyo Story (1953) (added 07-29-22): I've never seen an Ozu film, and this is considered a masterpiece. 18. A Woman Under the Influence (1974) (added 08-31-22): The most iconic film directed by John Cassavetes, who I've thus far only seen on the other side of the camera. 19. True Stories (1986) (added 09-30-22): I've been a diehard Talking Heads fan for almost as long as I've followed pop music, but I've never seen this musical comedy, David Byrne's sole directorial credit for a feature film. 21. The Magnificent Ambersons (1942) (added 04-03-23): A big influence on my favorite film, The Royal Tenenbaums. 24. Godzilla (1954) (added 07-29-23): Time to rectify having only seen the Roland Emmerich slop. 26. Night on Earth (1991) (added 08-20-23): The only Jarmusch I haven't seen (aside from the music docs). 27. The New World (2005) (added 09-01-23): The biggest gap in my Terrence Malick viewing. 28. The Passion of Joan of Arc (1928) (added 09-26-23): Universally considered one of silent film's greatest masterpieces. 30. McCabe and Mrs. Miller (1971) (added 11-26-23): Filling in some gaps regarding my Altman knowledge. (and introducing...) 31. Belle de Jour (1967) (added 12-07-23): Perhaps a bit more of a conventional narrative than I'm used to from Buñuel. SHAME OVERCOME (21 and counting): Midnight Cowboy (1969); E.T. the Extra-Terrestrial (1982); The Prestige (2006); Singin' in the Rain (1952); Schindler's List (1993); Heat (1995); Crouching Tiger, Hidden Dragon (2000); Tootsie (1982); The Searchers (1956); Lawrence of Arabia (1962); Caddyshack (1980); Come and See (1985); Purple Rain (1984); Mr. Smith Goes to Washington (1939); M (1931); Planet of the Apes (1968); The Bridge on the River Kwai (1957); Brokeback Mountain (2005); Sex, Lies, and Videotape (1989); A Streetcar Named Desire (1951); Plan 9 From Outer Space (1957) Crescent Wrench fucked around with this message at 14:16 on Dec 16, 2023 |
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Dec 7, 2023 19:50
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No update yet, but because I've got Godzilla on deck I'm hoping to do a quasi double bill and try to watch it and then go catch Minus One in the theater as the next flick I see. Got time off starting next week and hoping to work in lots of daytime theatergoing.
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Dec 17, 2023 02:04
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Zogo posted:#68 Twister - I'll like this if it's like Speed. 12/10/23 I think I saw bits and pieces of this on the cable movie channels as a kid. Watched Godzilla (1954) "I barely escaped the atomic bomb in Nagasaki, and now this!" This was a very timely assignment with Godzilla Minus One still in its theatrical run. I made a bit of a day of it by watching Godzilla in the morning before heading to see Minus One on the big screen. This isn't a review of both--although go see Minus One while its still playing if you are even marginally interested--but it did make for an interesting comparison. Much like my foray into Ed Wood with my last movie, I was mildly worried because '50s genre pictures sometimes leave me cold. This certainly didn't. It holds up extremely well and is pretty engaging. There's a little bit of the "this sci-fi monster picture is actually just scenes of scientists talking in rooms" vibe at times, sure. But it's paced appropriately with Godzilla's appearances starting early and increasing in intensity. Plus the talky bits are either fun logistical discussions about how to stop Godzilla's inexorable march to Tokyo or building the characters and interpersonal drama. I think it's in some ways darker thematically than Minus One, especially because it doesn't cop out on sacrifice at the end. The effects are obviously dated, but I found them pretty charming rather than comical. The black and white helps from letting it come across as too goofy, as well. That's important, because otherwise it could undermine the pervasive post-nuclear-weapon themes throughout. Yes, it's a guy in a rubber suit stomping miniatures, but it's also got meaningful conversations about the dangers of technology and the man's self-destructive nature. I'm still intimidated by how many movies there are in this sprawling franchise, but I'm also much more curious than I was. LIST OF SHAME: 15. Tokyo Story (1953) (added 07-29-22): I've never seen an Ozu film, and this is considered a masterpiece. 18. A Woman Under the Influence (1974) (added 08-31-22): The most iconic film directed by John Cassavetes, who I've thus far only seen on the other side of the camera. 19. True Stories (1986) (added 09-30-22): I've been a diehard Talking Heads fan for almost as long as I've followed pop music, but I've never seen this musical comedy, David Byrne's sole directorial credit for a feature film. 21. The Magnificent Ambersons (1942) (added 04-03-23): A big influence on my favorite film, The Royal Tenenbaums. 26. Night on Earth (1991) (added 08-20-23): The only Jarmusch I haven't seen (aside from the music docs). 27. The New World (2005) (added 09-01-23): The biggest gap in my Terrence Malick viewing. 28. The Passion of Joan of Arc (1928) (added 09-26-23): Universally considered one of silent film's greatest masterpieces. 30. McCabe and Mrs. Miller (1971) (added 11-26-23): Filling in some gaps regarding my Altman knowledge. 31. Belle de Jour (1967) (added 12-07-23): Perhaps a bit more of a conventional narrative than I'm used to from Buñuel. (and introducing...) 32. The Iron Giant (1999) (added 12-21-23): Came out at an awkward time when I was "too old for cartoons" and I never caught up on it. SHAME OVERCOME (22 and counting): Midnight Cowboy (1969); E.T. the Extra-Terrestrial (1982); The Prestige (2006); Singin' in the Rain (1952); Schindler's List (1993); Heat (1995); Crouching Tiger, Hidden Dragon (2000); Tootsie (1982); The Searchers (1956); Lawrence of Arabia (1962); Caddyshack (1980); Come and See (1985); Purple Rain (1984); Mr. Smith Goes to Washington (1939); M (1931); Planet of the Apes (1968); The Bridge on the River Kwai (1957); Brokeback Mountain (2005); Sex, Lies, and Videotape (1989); A Streetcar Named Desire (1951); Plan 9 From Outer Space (1957); Godzilla (1954) Crescent Wrench fucked around with this message at 13:29 on Mar 23, 2024 |
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Dec 22, 2023 04:36
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BiggerBoat posted:I'm just gonna clean up my list and change two I'd actually forgotten I'd seen if that's OK You get to pick for me then!
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Dec 23, 2023 18:00
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BiggerBoat posted:You sure? Ohh, I thought you were just posting a new list, I didn't know you had an outstanding assignment with a pending review. Carry on. (I watched Wait Until Dark a couple of years ago for one of the horror movie challenges, curious to read a fresh review.)
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Dec 24, 2023 15:09
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Scones are Good posted:
Welcome aboard! This is the only one I've seen on your list so, although some others sound interesting, I'll stick with what I know for now. I haven't seen it since a film class longer ago than I'd like to admit, so could be fun to hear a fresh take. Watched The Iron Giant (1999) "Hands over your head/Keep low to the ground/Time to duck and cover/The bombs are comin' down!" The Iron Giant passed me by when in was in the theaters. Not only was it grossly underpromoted by the studio, but I was about 14, an awkward age when I thought I was too old for cartoons that weren't South Park. Coming to it as an adult, it's easy to see why it's such a beloved film. You've got a classic "little kid befriends magical creature scenario" set-up à la E.T. But the wrinkle is our magical creature is a giant robot that, unbeknownst to either the kid or itself, is programmed as a weapon. Soon enough, the feds and the military come snooping around. I often see people opining that children's movies don't have the darker edge they did a few decades back. I'm not up enough on modern children's movies to know for sure--although with a toddler I'm sure I'll become an expert soon enough--but The Iron Giant strikes a nice balance between the sense of wonder and the giant's tragic character arc. This is the first animated film I've watched for this thread. It looks great, but I was particularly impressed with the sound design. The Iron Giant's lowered voice and massive, echoing movements really sell the scale and heft. The movie's set in the '50s, and it has a fun period vibe with a beatnik character, the background of the Red Scare, and hammy sci-fi B-movies and talk shows glimpsed on TV. There's even a film strip about atomic bomb safety, which I quoted above, that was a laugh-out-loud rewind moment for me. I also watched the Signature Edition, which only adds two brief scenes that were storyboarded but not animated for the original release. They're seamless integrated into the cut, and in particular the scene of the Iron Giant's dream adds a lot. Tight movie all around. LIST OF SHAME: 15. Tokyo Story (1953) (added 07-29-22): I've never seen an Ozu film, and this is considered a masterpiece. 18. A Woman Under the Influence (1974) (added 08-31-22): The most iconic film directed by John Cassavetes, who I've thus far only seen on the other side of the camera. 19. True Stories (1986) (added 09-30-22): I've been a diehard Talking Heads fan for almost as long as I've followed pop music, but I've never seen this musical comedy, David Byrne's sole directorial credit for a feature film. 21. The Magnificent Ambersons (1942) (added 04-03-23): A big influence on my favorite film, The Royal Tenenbaums. 26. Night on Earth (1991) (added 08-20-23): The only Jarmusch I haven't seen (aside from the music docs). 27. The New World (2005) (added 09-01-23): The biggest gap in my Terrence Malick viewing. 28. The Passion of Joan of Arc (1928) (added 09-26-23): Universally considered one of silent film's greatest masterpieces. 30. McCabe and Mrs. Miller (1971) (added 11-26-23): Filling in some gaps regarding my Altman knowledge. 31. Belle de Jour (1967) (added 12-07-23): Perhaps a bit more of a conventional narrative than I'm used to from Buñuel. (and introducing...) 33. The Apartment (1960) (added 01-15-24): Getting some Billy Wilder into the rotation. SHAME OVERCOME (23 and counting): Midnight Cowboy (1969); E.T. the Extra-Terrestrial (1982); The Prestige (2006); Singin' in the Rain (1952); Schindler's List (1993); Heat (1995); Crouching Tiger, Hidden Dragon (2000); Tootsie (1982); The Searchers (1956); Lawrence of Arabia (1962); Caddyshack (1980); Come and See (1985); Purple Rain (1984); Mr. Smith Goes to Washington (1939); M (1931); Planet of the Apes (1968); The Bridge on the River Kwai (1957); Brokeback Mountain (2005); Sex, Lies, and Videotape (1989); A Streetcar Named Desire (1951); Plan 9 From Outer Space (1957); Godzilla (1954); The Iron Giant (1999)
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Jan 15, 2024 19:51
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Scones are Good posted:12. A Woman Under the Influence (1974) Love Cassavetes 1/21/23 This is now the longest-standing movie hiding out on my own list, so I'd be curious to get some discussion going. Watched Tokyo Story (1953) "No story could be simpler. An old couple come to the city to visit their children and grandchildren. Their children are busy, and the old people upset their routines. In a quiet way, without anyone admitting it, the visit goes badly. The parents return home. A few days later, the grandmother dies. Now it is the turn of the children to make a journey." I won't try to top Ebert's tight summary from his Great Movies review of Ozu's most celebrated film. This is the probably the most emotional, contemplative watch I've had for this thread. I've watched a few heavy films, but looking in on these intergenerational family divides was a more immediately relatable and intimate topic than anything that I've covered so far. I found myself pondering how my relationships with my family members have changed as I've grown into adulthood, relatives I wish I'd gotten to know better before they passed, and my own role in the larger family structure now that I'm a father myself. The film is straightforward yet subtle in how it engages with these issues. The dynamics are fairly clear, but most of the characters are very restrained in how much they openly acknowledge their own feelings (or lack thereof). I've obviously slept on Ozu for way too long. Just wonderful. LIST OF SHAME: 18. A Woman Under the Influence (1974) (added 08-31-22): The most iconic film directed by John Cassavetes, who I've thus far only seen on the other side of the camera. 19. True Stories (1986) (added 09-30-22): I've been a diehard Talking Heads fan for almost as long as I've followed pop music, but I've never seen this musical comedy, David Byrne's sole directorial credit for a feature film. 21. The Magnificent Ambersons (1942) (added 04-03-23): A big influence on my favorite film, The Royal Tenenbaums. 26. Night on Earth (1991) (added 08-20-23): The only Jarmusch I haven't seen (aside from the music docs). 27. The New World (2005) (added 09-01-23): The biggest gap in my Terrence Malick viewing. 28. The Passion of Joan of Arc (1928) (added 09-26-23): Universally considered one of silent film's greatest masterpieces. 30. McCabe and Mrs. Miller (1971) (added 11-26-23): Filling in some gaps regarding my Altman knowledge. 31. Belle de Jour (1967) (added 12-07-23): Perhaps a bit more of a conventional narrative than I'm used to from Buñuel. 33. The Apartment (1960) (added 01-15-24): Getting some Billy Wilder into the rotation. (and introducing...) 34. Laura (1944) (added 02-08-24): Adding a little film noir to the mix. SHAME OVERCOME (24 and counting): Midnight Cowboy (1969); E.T. the Extra-Terrestrial (1982); The Prestige (2006); Singin' in the Rain (1952); Schindler's List (1993); Heat (1995); Crouching Tiger, Hidden Dragon (2000); Tootsie (1982); The Searchers (1956); Lawrence of Arabia (1962); Caddyshack (1980); Come and See (1985); Purple Rain (1984); Mr. Smith Goes to Washington (1939); M (1931); Planet of the Apes (1968); The Bridge on the River Kwai (1957); Brokeback Mountain (2005); Sex, Lies, and Videotape (1989); A Streetcar Named Desire (1951); Plan 9 From Outer Space (1957); Godzilla (1954); The Iron Giant (1999); Tokyo Story (1953)
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Feb 9, 2024 02:40
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Zogo posted:The Seduction of Mimi - Lina Wertmüller's films are mostly a blind spot for me. 1/31/24 I'm not familiar with Wertmüller, but she's on your list twice so I'll prod you on your journey through her filmography. Watched A Woman Under the Influence (1974) Gena Rowlands (Mabel) and Nick (Peter Falk) are a struggling married couple. Mabel starts the film as a manic bundle of nerves, and she only declines from there until Nick has her involuntarily committed to a psychiatric hospital for 6 months. It's a dual character piece, as well as a study of how mental and emotional disturbances are treated (or, in Nick's case, tolerated) by the family unit and society as a whole. Mabel is suffering at time when there's, shall we say, limited understanding of mental health treatment. She's called "crazy" and sent to the "nuthouse," and at one point even the family doctor makes the "cuckoo" gesture during a house call. Yet Nick routinely verbally abuses and hits his wife, often very publicly, and no one speaks up. Other erratic behavior includes when he brings a dozen co-workers home announced at 7 a.m., or when he lets his elementary school kids drink beer with him in the back of a moving truck. Yet I was perusing reviews of the film, and even today there are viewers talking about how Nick is just a frustrated man dealing with his sick wife. Rowlands and Falk give powerhouse performances, of course, but this isn't just an actor's film. Cassavettes really uses his direction to make things feel tense and suffocating, letting scenes play out at almost unbearable length to let the tension really ebb and flow. Characters are sometimes shot in extreme close-ups, and sometimes shown in the background as a whirlwind of people circle about them. What a draining film, just an emotional marathon, but superb filmmaking with realistic, well-drawn characters. LIST OF SHAME: 19. True Stories (1986) (added 09-30-22): I've been a diehard Talking Heads fan for almost as long as I've followed pop music, but I've never seen this musical comedy, David Byrne's sole directorial credit for a feature film. 21. The Magnificent Ambersons (1942) (added 04-03-23): A big influence on my favorite film, The Royal Tenenbaums. 26. Night on Earth (1991) (added 08-20-23): The only Jarmusch I haven't seen (aside from the music docs). 27. The New World (2005) (added 09-01-23): The biggest gap in my Terrence Malick viewing. 28. The Passion of Joan of Arc (1928) (added 09-26-23): Universally considered one of silent film's greatest masterpieces. 30. McCabe and Mrs. Miller (1971) (added 11-26-23): Filling in some gaps regarding my Altman knowledge. 31. Belle de Jour (1967) (added 12-07-23): Perhaps a bit more of a conventional narrative than I'm used to from Buñuel. 33. The Apartment (1960) (added 01-15-24): Getting some Billy Wilder into the rotation. 34. Laura (1944) (added 02-08-24): Adding a little film noir to the mix. (and introducing...) 35. Rio Bravo (1959) (added 03-03-24): I'll take a recommendation from John Carpenter any day. SHAME OVERCOME (25 and counting): Midnight Cowboy (1969); E.T. the Extra-Terrestrial (1982); The Prestige (2006); Singin' in the Rain (1952); Schindler's List (1993); Heat (1995); Crouching Tiger, Hidden Dragon (2000); Tootsie (1982); The Searchers (1956); Lawrence of Arabia (1962); Caddyshack (1980); Come and See (1985); Purple Rain (1984); Mr. Smith Goes to Washington (1939); M (1931); Planet of the Apes (1968); The Bridge on the River Kwai (1957); Brokeback Mountain (2005); Sex, Lies, and Videotape (1989); A Streetcar Named Desire (1951); Plan 9 From Outer Space (1957); Godzilla (1954); The Iron Giant (1999); Tokyo Story (1953); A Woman Under the Influence (1974)
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Mar 4, 2024 01:13
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Doronin posted:I literally just saw the Devil Wears Prada this weekend, so I got one of these movies off my list finally. Well there's 4 out of 10 movies right there.
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Mar 4, 2024 22:46
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Zogo posted:SHAMEFUL: Everyone ITT owns a black cat. My mom has exclusively gone with black cats for probably a good 25 years now. She's currently got three. (Incidentally she's also largely responsible for my love of horror movies.)
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Mar 14, 2024 11:25
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Scones are Good posted:16. Alice (1988) - I have this on a DVD I stole from netflix. - 3/4/24 This is kicking around my watchlist, so I'd be interested to hear your thoughts. Watched The Passion of Joan of Arc (1928) This historical drama follows a very discrete period of time in the life of Joan of Arc, namely her heresy trial and execution. We're getting far back enough in film history where I'm very uneducated. The number of silent films I've seen is in the single digits, and this is the eighth oldest film logged on my Letterboxd. Despite my inexperience, I was engaged right away and it was immediately clear why this is still so revered. The style is immediately gripping, with a reliance on extreme close-ups of Joan and her judges. The intensity of emotion, particularly from the all-timer performance by Maria Falconetti as Joan, is overwhelming but effective. It's also against the backdrop of oddly expressionistic sets, and feels extremely claustrophobic. Later in the film, when Joan is executed and the crowd riots, there are even some precursors to extremely modern techniques like shaky cam and POV shots. I was also extremely impressed at how despite this being such a dialogue-heavy premise--it's essentially a courtroom drama for most of the runtime--the reliance on title cards didn't hinder it at all. Historical dramas and silent films are never at the top of my list, but this was superb. It was also my first Dreyer film, although I've got Vampyr waiting in the wings for a future horror challenge. That just jumped way up the list. LIST OF SHAME: 19. True Stories (1986) (added 09-30-22): I've been a diehard Talking Heads fan for almost as long as I've followed pop music, but I've never seen this musical comedy, David Byrne's sole directorial credit for a feature film. 21. The Magnificent Ambersons (1942) (added 04-03-23): A big influence on my favorite film, The Royal Tenenbaums. 26. Night on Earth (1991) (added 08-20-23): The only Jarmusch I haven't seen (aside from the music docs). 27. The New World (2005) (added 09-01-23): The biggest gap in my Terrence Malick viewing. 30. McCabe and Mrs. Miller (1971) (added 11-26-23): Filling in some gaps regarding my Altman knowledge. 31. Belle de Jour (1967) (added 12-07-23): Perhaps a bit more of a conventional narrative than I'm used to from Buñuel. 33. The Apartment (1960) (added 01-15-24): Getting some Billy Wilder into the rotation. 34. Laura (1944) (added 02-08-24): Adding a little film noir to the mix. 35. Rio Bravo (1959) (added 03-03-24): I'll take a recommendation from John Carpenter any day. (and introducing...) 36. Face/Off (1997) (added 03-14-24): I love Nic Cage and I've never seen a John Woo movie. SHAME OVERCOME (26 and counting): Midnight Cowboy (1969); E.T. the Extra-Terrestrial (1982); The Prestige (2006); Singin' in the Rain (1952); Schindler's List (1993); Heat (1995); Crouching Tiger, Hidden Dragon (2000); Tootsie (1982); The Searchers (1956); Lawrence of Arabia (1962); Caddyshack (1980); Come and See (1985); Purple Rain (1984); Mr. Smith Goes to Washington (1939); M (1931); Planet of the Apes (1968); The Bridge on the River Kwai (1957); Brokeback Mountain (2005); Sex, Lies, and Videotape (1989); A Streetcar Named Desire (1951); Plan 9 From Outer Space (1957); Godzilla (1954); The Iron Giant (1999); Tokyo Story (1953); A Woman Under the Influence (1974); The Passion of Joan of Arc (1928)
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Mar 14, 2024 14:22
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Zogo posted:new #167 Tomorrow I'll Wake Up and Scald Myself with Tea - This one seems like it has a unique story. 3/17/24 Here's another one on my own watchlist, let me know what you think. Watched McCabe & Mrs. Miller (1971) "McCabe, I'm here to tell you that this free enterprise system of ours works. And working within it, we can protect the small businessman and the big businessman as well." "Well, I just didn't want to get killed." When gambler and entrepreneur John McCabe (Warren Beatty) shows up at Presbyterian Church, Washington, it's still only the dream of a mining boomtown. The titular church is the only building, surrounded by tents and wooden frames. One of the next buildings to go up is the brothel he starts, and soon Mrs. Miller (Julie Christie), a more experienced, ahem, proprietor, shows up to assert herself into a business partnership. Then a big mining company shows up to buy them out, McCabe overplays his hand in the negotiations, and it's clear big capitalism's counter-offer is a bullet. When it comes to Robert Altman, I think 3 Women is a masterpiece, but that one kind of stands alone and none of his other films have hit me the same way. McCabe & Mrs. Miller didn't hit those heights, but could be my runner-up. McCabe has perhaps more ambition than business sense, and McCabe is too world-weary to truly keep him on track. There's a sense of inevitability throughout most of the story. McCabe and Mrs. Miller barely have time to enjoy their success before big business swoops in, and McCabe is looking over his shoulder for the back half of the film. And, true to Altman, the town feels extremely lived-in, and it's an interesting, if downtrodden, place to spend some time. The film also has a very dreary, foggy look. The surroundings are drenched in mud and snow, and a good portion of the scenes are bathed in brownish reds and oranges. A slow motion tragedy, but a compelling one. The American Dream favors the big guy. LIST OF SHAME: 19. True Stories (1986) (added 09-30-22): I've been a diehard Talking Heads fan for almost as long as I've followed pop music, but I've never seen this musical comedy, David Byrne's sole directorial credit for a feature film. 21. The Magnificent Ambersons (1942) (added 04-03-23): A big influence on my favorite film, The Royal Tenenbaums. 26. Night on Earth (1991) (added 08-20-23): The only Jarmusch I haven't seen (aside from the music docs). 27. The New World (2005) (added 09-01-23): The biggest gap in my Terrence Malick viewing. 31. Belle de Jour (1967) (added 12-07-23): Perhaps a bit more of a conventional narrative than I'm used to from Buñuel. 33. The Apartment (1960) (added 01-15-24): Getting some Billy Wilder into the rotation. 34. Laura (1944) (added 02-08-24): Adding a little film noir to the mix. 35. Rio Bravo (1959) (added 03-03-24): I'll take a recommendation from John Carpenter any day. 36. Face/Off (1997) (added 03-14-24): I love Nic Cage and I've never seen a John Woo movie. (and introducing...) 37. Pink Flamingos (1972) (added 03-31-24): Let's get filthy. SHAME OVERCOME (27 and counting): Midnight Cowboy (1969); E.T. the Extra-Terrestrial (1982); The Prestige (2006); Singin' in the Rain (1952); Schindler's List (1993); Heat (1995); Crouching Tiger, Hidden Dragon (2000); Tootsie (1982); The Searchers (1956); Lawrence of Arabia (1962); Caddyshack (1980); Come and See (1985); Purple Rain (1984); Mr. Smith Goes to Washington (1939); M (1931); Planet of the Apes (1968); The Bridge on the River Kwai (1957); Brokeback Mountain (2005); Sex, Lies, and Videotape (1989); A Streetcar Named Desire (1951); Plan 9 From Outer Space (1957); Godzilla (1954); The Iron Giant (1999); Tokyo Story (1953); A Woman Under the Influence (1974); The Passion of Joan of Arc (1928); McCabe & Mrs. Miller (1971)
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Mar 31, 2024 14:19
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