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Kull the Conqueror posted:I suppose they're a little unpolished, but I think they're a far cry from badly edited. The sequence where Ethan is trying to get the weapons out of the locked chest is masterfully tense stuff, and when he tosses that shotgun to Wilson right as the bad guys are coming through the window...whew. That right there is why I love Carpenter. And you didn't even mention the soundtrack! Mostly I was comparing the 7 minute-long alley fistfight over whether or not to advance the plot in They Live, with the 3 straight minutes they are all huddled on the floor waiting for the shooting to stop in Assault. I want to say that it feels like Carpenter is making these shots last an incredibly long time for some dramatic purpose, but it ends up just feeling like when Stewie is making fun of Brian about his novel. It works, then it's a bit too long and you want it to be over, then it's even longer and you're just marveling at how long it could actually last, then it's LONGER and you're saying "what the hell, how could anyone have let this through, is this a parody of pacing, why are they..." and then it's finally over. But maybe it's just his style and something I have to get used to. I actually wasn't terribly impressed with the soundtrack. The synthesizer in the opening and closing themes seemed really out of place, like maybe it was the instrument he was most comfortable with or easiest to use, but it did not fit the tone or the genre at all. I'm not recalling any music during most of the movie, which probably speaks for a positive, as it blended in and became part of the film. I don't mean to poo poo all over the movie, these are pretty minor gripes overall. Horror and Action are my two least favorite genres, which is why I picked John Carpenter, so I can work my way through some of the "Gold Standard" stuff and try to see the good in it.
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Apr 21, 2012 19:29
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The alley fight in They Live wasn't supposed to be that long - supposedly, it was originally only 20 seconds long, but Piper and Keith David worked out the extended fight scene on their own, and Carpenter thought it was great and kept it. It's definitely unusual, and breaks up the flow of the film, but it's also really memorable and it's hard to imagine that movie without it now.
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Apr 21, 2012 20:28
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Daveski posted:The alley fight in They Live wasn't supposed to be that long - supposedly, it was originally only 20 seconds long, but Piper and Keith David worked out the extended fight scene on their own, and Carpenter thought it was great and kept it. It's definitely unusual, and breaks up the flow of the film, but it's also really memorable and it's hard to imagine that movie without it now.
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Apr 21, 2012 23:06
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Director currently working on: Joe Dante Progress: 7/19 (still rewatching ones I've seen) Just watched: I couldn't find Hollywood Boulevard anywhere, so I settled on Joe's first solo effort for Roger Corman: Piranha.  Piranha, as a B movie ripoff of Jaws, wears its influences/sources on its sleeve. Combining a science-gone-awry monster movie with a summer camp slasher, the film is nothing if not ambitious. The prologue features that classic horror movie staple of an amorous couple sneaking into a river that has been marked "No Trespassers," and for good reason: they are quickly gobbled up. After the credits, Joe Dante's credit is superimposed on a Pong-like version of the Jaws game, which the lead character herself is playing:  Maggie McKeown is an intrepid reporter trying to break the glass ceiling by taking her first out-of-town story, investigating the missing teenagers. Her boss has little to no faith in her, playing a trick on her by hiding her plane ticket, which strengthens her determination to prove herself.  Maggie and Paul Grogan (Bradford Dillman), the town drunk who begrudgingly joins forces with Maggie, uncover the secrets of "Project Razorteeth," where scientists are breeding genetically enhanced piranha for the sake of biological warfare in Vietnam. The "piranya," as Kevin McCarthy's scientist calls them, are let out of the scientific facility and into the river by the overenthusiasm of Maggie's intrepid desire for investigation (and, by extension, validity in a man's world of aggressive journalism).  These piranhas don't just chew at flesh, either; their intelligence has been enhanced along with their appetite. At one point, they chew at the ropes of the protagonists' raft to get to their sweet mammal meat in a tense scene that sees their raft fall apart, log by log, as they try to get to land. Eventually, the leads get involved with both the military and the denizens of a girl's summer camp, all of whom fall victim to the piranhas' wrath. Maggie and the aptly-named Dr. Mengers (close to Dr. Mengele) have ethical discussions about the dangers of toying with nature, while the grizzled military general says his exposition with gruff urgency. Some of the dialogue, by Corman staple John Sayles, is actually pretty charming: (Maggie and Grogan, on the subject of escaping the guard at the military base) Grogan: First, you're going to have to distract him. Maggie: How? Grogan: Oh, you know, come on to him. Maggie: (long beat) What if he's gay? Grogan: (sigh) then I'LL distract him.  The scenes where the piranhas strike are competently filmed, and the way the swarm engulfs characters like Kevin McCarthy are actually effective at conveying the efficiency by which the piranhas are meant to strike, with a strange, zithery synth sound effect accompanying their feasts. Another notable death is the early dockside slaughter of Jack (Keenan Wynn): previously seen to love the river in a lovely little monologue where he reveals that the river "washes his clothes, feeds him and gives him water," he finds the same river killing him and proving his loyalty to the river as folly. Lesson learned from Piranha, just as with Jaws: DON'T GO IN THE loving WATER. While being a fairly standard Roger Corman picture, Joe Dante already shows a decent knowledge of how to film a fun, corny yet suspenseful B-movie, complete with incessant shots of people precariously dipping their arms and legs in the water or just above. The performances are fun and full of enthusiasm, especially between the two leads and Kevin McCarthy. Dillman, in particular, has a fun diet-Charleton Heston intensity. The whole affair is treated with a sly sense of humor that adds to the charm of the flick, which is somewhat of Joe Dante's wheelhouse. All in all, it ends up being a fairly entertaining bayou monster flick. Dick Miller Sighting: As part of Dante's cadre of actors, Dick Miller is always a welcome sight, and so I'll be pointing out where you can find him in each of Dante's films in which he appears. Here, in his first appearance with Dante, he plays the mayor of the town who (just like in Jaws) wants to go ahead with their big fair event despite the danger that lies in the water. Next up: The Howling Hewlett fucked around with this message at 00:13 on Apr 22, 2012 |
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Apr 22, 2012 00:04
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Jeff Wiiver posted:This movie is often hailed as Beat's return to form Illinois Smith fucked around with this message at 00:20 on Apr 22, 2012 |
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Apr 22, 2012 00:18
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Man, I need to rewatch Piranha. It's been way too long.
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Apr 22, 2012 00:49
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BisonDollah posted:I scrolled past this and thought "Oh, someone picked Orson Welles." I'd also like to hear what you have to say about Brothers Grimm, as I saw it a long time ago but remember it not quite working for some reason. I remember feeling like they could've done more with the premise of the film than what they did.
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Apr 22, 2012 01:12
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Illinois Smith posted:I've read this a lot but it still doesn't make sense to me. Achilles & The Tortoise is easily in my top 3 Kitano films and the rest of his Introspective Old Man trilogy is at least interesting. Zatoichi contains lots and lots of awesomeness. God forbid a guy should want to make different stuff after more than a decade of yakuza movies.
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Apr 22, 2012 04:12
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Director currently working on: The Coen Brothers Progress: 8/15 Just watched: Raising Arizona is among my favorite movies of all time. It's hilarious of course, with plenty of great quotable lines and what may be the best chase scene ever, but what makes Raising Arizona special is that at its heart it's about redemption. Sure, these characters are gently caress-ups (I'm mostly talking about Ed and HI here but I think the same is more or less true about Gale and Evelle as well) but their love for each other, their desire for a family, makes it possible for them to rise above it. Then of course there are the performances, Holly Hunter and Nicolas Cage are quite simply perfect for their roles and the film wouldn't have worked nearly as well as it did without them. John Goodman and William Forsythe are also stand-outs as bumbling, incompetent criminals. Really just about everyone in the film is perfectly suited to their role. Next up: I'm rewatching Miller's Crossing.
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Apr 22, 2012 05:30
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I was considering doing David Lynch since I've only seen Mulholland Drive, Twin Peaks, Blue Velvet, Lost Highway and Dune. I consider myself a fan of his but I think marathoning stuff like Eraserhead, Inland Empire and Wild At Heart might do something to my psyche. Now I'm tossing up finishing off Danny Boyle and David Fincher's work since I've seen most of it. What do you guys think?
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Apr 22, 2012 06:40
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Bit of insomnia tonight. It's down to 47 titles now because Bernd Herzogenrath's biography maintains that Ulmer only produced, not directed, 1959's The Perjurer. It also appears to be a lost film anyway. That biography is my primary source, the internet is full of misinformation about Ulmer. Here's a fun fact about him: he co-directed films with the two other directors I was considering for this thread! Douglas Sirk reshot the opening of Ulmer's The Strange Woman when Hedy Lamarr was dissatisfied, and Frank Borzage was replaced by Ulmer when he health failed on Journey Beneath the Desert.  Director currently working on: Edgar G. Ulmer Progress 20/47 Next up: The Light Ahead or Hannibal Tonight I watched 1939's Moon Over Harlem, Edgar Ulmer's contribution to independent black cinema. Reportedly shot in three days for 8 grand in an abandoned cigar factory, it's remarkably economical. We juggle quite a few characters in a lot of different settings. I had high hopes for this one because as well as my Ulmer fetish I'm interested in black cinema from this period, especially the stuff coming out of the northeast. Unfortunately, It didn't satisfy me. There's little visual or thematic distinction here, except for a very well handled funeral scene near the end and a few moments of passing grace, like one short conversation three showgirls have while changing and bathing. The central performances are pretty good - Dollar Bill is captivating. Not counting a stock shot of a bartender, the only appearance from a white man is a fat mobster destroying the community, only seen from behind. The back of his head as he gives orders reminds me of the introduction of Marcellus Wallace. I might watch this one again. It's very short, had good music, and there's some cultural depth that's eluding me for sure. But as it stands, on a first watch, it's about seven really good minutes of 68. Low level Ulmer. penismightier fucked around with this message at 08:03 on Apr 22, 2012 |
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Apr 22, 2012 07:35
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Jeff Wiiver posted:I can't wait to watch the Old Man trilogy, I've heard great things about it. Jeff Wiiver posted:Finally, I was blown away by how Beat could take a very still shot, and make it look more like a beautiful painting than a shot from a movie.
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Apr 22, 2012 10:29
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The Birthday Party dir: William Friedkin In a way, this is almost thematically similar to The Prisoner, transforming slowly from a petty drama in a run-down boarding house to a pretty loony psychological drama. Very claustrophobic and uncomfortable, especially with the use of a roving handheld camera and I especially love the use of ripping newspaper as the title "theme", as there's no non-diegetic music. I don't think I've seen Robert Shaw as vulnerable as he is in this film. The final shots where the camera actually leaves the house for the first time since the beginning of the film, showing us a sleepy seaside community, comes as a relief. Really unusual stuff that feels properly hemmed in without being "stagey" but this must be squirmy as hell to watch on stage. next: The Night They Raided Minsky's, if I can find it.
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Apr 22, 2012 15:32
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HUNDU THE BEAST GOD posted:The Birthday Party Can't wait to see you do Bug.
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Apr 22, 2012 15:37
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I've forgotten enough about it that it'll be like watching it the first time. I'm looking forward to Blue Chips and The Hunted. I wrote like 1k words on Cruising once so I will probably just C&P that.
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Apr 22, 2012 15:54
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Illinois Smith posted:Achilles will blow your socks off, it's full of Kitano's real-life paintings. Hana-Bi does too. I've actually been on a big Takeshi Kitano kick lately, I just saw Outrage and Violent Cop recently and I'll be rewatching Hana-Bi soon. The guy's great.
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Apr 22, 2012 16:27
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cat doter posted:I was considering doing David Lynch since I've only seen Mulholland Drive, Twin Peaks, Blue Velvet, Lost Highway and Dune. I consider myself a fan of his but I think marathoning stuff like Eraserhead, Inland Empire and Wild At Heart might do something to my psyche. Do Lynch! You can break up the mindfuck stuff with The Elephant Man and The Straight Story. He also has a bunch of short films that are worth watching.
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Apr 22, 2012 17:32
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Wild At Heart isn't anywhere near his most mindfucky. If anything, it's a David Lynch comedy. I'm actually doing an analysis/critique of Lynch for a Writing About the Arts class I'm in now. I only need to watch at least three of his films but I considered putting him down here since I only have two features of his I haven't seen (Lost Highway and Dune) and a handful of shorts I don't really feel the need to see (I have watched the six included in that Short Films of David Lynch DVD set, in addition to assorted others). Anyway, I'd do Lynch. I find that the only problem with marathoning him is that his weirdness actually comes to feel like the norm, and that can lessen it's impact. But if you do, start with Eraserhead. It will feel fresh and you will feel like poo poo after (But you'll love it at the same time).
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Apr 22, 2012 17:47
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Illinois Smith posted:Achilles will blow your socks off, it's full of Kitano's real-life paintings. LtKenFrankenstein posted:Hana-Bi does too. I've actually been on a big Takeshi Kitano kick lately, I just saw Outrage and Violent Cop recently and I'll be rewatching Hana-Bi soon. The guy's great.
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Apr 22, 2012 18:17
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Daveski posted:Do Lynch! You can break up the mindfuck stuff with The Elephant Man and The Straight Story. He also has a bunch of short films that are worth watching. Lynch it is then! I'll have to round up the rest of his stuff then I'll get started.
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Apr 22, 2012 19:25
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Jeff Wiiver posted:This is what I'm watching next (Hana-Bi = Fireworks, right?), I'd love to hear your thoughts on it. Yeah, Hana-Bi = Fireworks. Mayhaps once I rewatch it I'll post some thoughts.
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Apr 22, 2012 20:48
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Director currently working on: Woody Allen Progress: 17/41 Just watched: Another Woman, a very Bergman-esque film. After caiman mentioned Wild Strawberries, I was looking for similarities and they are pretty obvious. I'd like to think I'm observant enough to have picked up on them on my own, but maybe not. Anyway, this is a pretty good movie. It seems like during the 80's, most of Allen's films center on middle aged, upper middle class characters, which I have a hard time identifying with (being a 20-something lower middle class guy and all), but the themes of memory and regret are pretty universal. Recommended for Bergman and/or Allen fans, but not really essential viewing (just watch Wild Strawberries instead). Next up: Stardust Memories
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Apr 23, 2012 01:28
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Director Currently Working On: Chan-wook Park Progress: 2/13 Just Watched: Lady Vengeance - This is the third of Chan-wook Park's Vengeance Series (not officially a series, just named so after the fact I believe). There isn't an order to the movies and none of the three have anything to do with the other two. As with Oldboy there are some great visuals paired with some great music. This movie is good, but not quite as memorable as Oldboy. Oldboy has the epic hallway fight scene, along with many WTF and disturbing moments. I was actually glad that this movie toned down the blood and gore a bit. There were some great scenes where the violence was happening off screen and let the viewer's imagination do the work. I was actually a bit disinterested during the first part of this movie. I feel I may have missed some of what the movie was trying to say by not knowing a lot about Korean culture. The second half was fantastic though, it didn't have the shocking twist of Oldboy, but I was really happy with where the story went. Overall I think Oldboy's story was more engaging, but Lady Vengeance still shows off Chan-wook Park's great visual style and a terrific second half makes this movie worth watching. Next up: Sympathy for Mr. Vengeance
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Apr 23, 2012 03:09
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As Prometheus is just around the corner, I'd like to pick Ridley Scott. While I have seen a fair percentage of his movies, with the exception of Legend (soooo bad) and Black Hawk Down (can't watch this pile of poo poo again) I plan to start from The Duellists and work my way though to Prometheus. Director Currently Working On: Ridley Scott Progress: The Duellists | Alien | Blade Runner | Next up: The Duellists
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Apr 23, 2012 05:09
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Director currently working on: John Carpenter Progress: 3/20 Most Recently Watched: Dark Star Well, that did it. I now have a deep respect for John Carpenter as a filmmaker and will watch the rest of his films with a renewed patience and hope for a little bit of the humor and human condition he showed in this one. The first scene is a 10-year-old transmission from Earth (speed of light delay and all) basically saying "Hey, it's cool that you guys are still alive... but you're on your own. Good luck!" They're tasked with finding "unstable planets" to blow up for the "eventual" colonization of space; basically a mission of mindless busywork that will never be recognized until long after they're dead. Seeing as how they're all Waiting For Godot, they've developed a pretty bleak sense of humor about day-to-day life, and of course they all pretty much hate each other. Red Dwarf is said to take its inspiration from this film, and I can see it. It's depressing, but funny in the way that things you can't change are funny because they have to be, and the film immediately puts you in there and gives you someone to relate to. There's even an alien that's a painted beachball with turkey feet. The score is perfect. The dialogue is stilted, but they all have Space Madness anyway, so it works. And this movie dealt with a psychotic AI better than 2001 ever did. 5/5  Wacky hi-jinx abound!  More wacky hi-jinx. Next Up: Probably Elvis
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Apr 23, 2012 05:41
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Current Director Project: Michael Mann Just Watched: The Keep (1983) This has got to be the weirdest Holocaust movie ever made. It's like The Twilight Zone's "Death's Head Revisited" except instead of the SS facing reflection on their abhorrent actions by the ghosts of their victims, they are instead condemned by a symbol of the very blackness of their own souls. And it's very clearly not born from Christian notions of sin and forgiveness; the film goes out of its way to reject those principles and embody these themes in uniquely fantastical, culturally vacant mystical forces. The movie's mostly a mess; character interactions are consistently awkward and illogical, and sometimes it's even hard to tell how a scene got from point A to point B. On the other hand, it's got a fantastic Tangerine Dream soundtrack, and the cinematography is tops, yet another Mann example of architectural reverence. It's a film I hate to call bad, or good. It remains, above all else, "worth talking about," which is plenty enough for me. 70/100 Progress: 8/10 Up Next: Ali (2001)
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Apr 23, 2012 06:34
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Director currently working on: Martin Scorsese Progress 25/35 [ Just watched: Shine a Light is nowhere near the quality of The Last Waltz, and there are better Stone concerts out there in dvd. The band itself is well past it's good days, and all you want to see really is the black magic going on to keep these 4 dudes going. The whole concert is unremarkable, making the interviews between and the mock-documentary leading up to it the highlights. One thing that bothered me a lot, is that they invited Jack White to come on the stage and then handed him an acoustic guitar. What the gently caress? Maybe they didn't want Keith and Ronnie to look bad or something. This also became my lowest rated Scorsese film on criticker. (65/100) Next Up: My Voyage to Italy
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Apr 23, 2012 18:46
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Director Currently Working on:David Lynch I decided I will go with David Lynch first as my director. My experience with Lynch began when I watch Mulholland Drive and it became one of my favorite movies of all time. It would be a disservice to myself if I didn't seek out as much Lynch as possible. I will watch all of his features, although I am not sure what to do with Fire Walk With Me given that I haven't watched Twin Peaks. Is there any point including this movie? To make up my possible exclusion of one of his features, I will also be watching all of his short films that are readily available. Progress: 2/9 Eraserhead, The Elephant Man, Dune, Next Up: Eraserhead
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Apr 23, 2012 19:43
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WeaponX posted:I will watch all of his features, although I am not sure what to do with Fire Walk With Me given that I haven't watched Twin Peaks. Is there any point including this movie? To make up my possible exclusion of one of his features, I vote you watch Twin Peaks, because it's drat good television, and the movie will spoil the whole show for you otherwise. It also would be a lot harder to understand. It's worth the time though because Twin Peaks is great and the film is a worthy prequel.
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Apr 23, 2012 19:47
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WeaponX posted:Next Up: Eraserhead You are a lucky, lucky man.
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Apr 23, 2012 20:16
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The Boys In The Band dir: William Friedkin All I knew about this film, really, is the play being referenced alongside the novel "Faggots" in the seminal "And The Band Played On"; that and the fact that Pauline Kael hated it, or at least found the types on display far too broad to take seriously. Initially, I found the dialogue grating beyond belief. The cattiness goes so far around the bend that it ends up rear-ending itself, which is well enough because it actually ends up going somewhere. That somewhere can't be a coincidence because it deals with many of the same motifs as Friedkin's earlier The Birthday Party, down to the fact that someone plans a get together for someone elses' birthday, which leads from playful sniping to a stressful interrogation about identity, a motif that comes up a fair amount in Friedkin's 80's films. From what I understand, this is the original cast of the play, so Friedkin's heavy lifting comes from catching smaller moments, however stagey and "interior". The use of the handheld makes it's return but it's still not quite fully cinematic, especially when you consider Friedkin's use of location shooting in this and later films. Despite the stink of a certain type of strident "message" film, which interrogates its characters as well as it's audience, it's gripping enough to have kept me interested in its characters, who are all now recognizable gay "types" and indeed seem drawn too broadly at times, as though they're acting under instructions from a hypnotist. The focus on set-bound acting after the too-brief cinematic detour of the first act ends up being an asset rather than a detriment, which to some degree reduces Friedkin's visual sense to that of a mere framer of the commanding ensemble performance. I am suitably intimidated to go for The French Connection, which I haven't seen in years and is legitimately one of the best films ever made.
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Apr 23, 2012 20:18
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caiman posted:You are a lucky, lucky man. I don't even know where I'd begin with Eraserhead.
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Apr 23, 2012 20:20
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TrixRabbi posted:I vote you watch Twin Peaks, because it's drat good television, and the movie will spoil the whole show for you otherwise. It also would be a lot harder to understand. It's worth the time though because Twin Peaks is great and the film is a worthy prequel. Seconded. The series can be a tough slog at times, but it's worth it just to enjoy FWWM if nothing else.
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Apr 23, 2012 20:29
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TrixRabbi posted:I vote you watch Twin Peaks, because it's drat good television, and the movie will spoil the whole show for you otherwise. It also would be a lot harder to understand. It's worth the time though because Twin Peaks is great and the film is a worthy prequel. I have wanted to dive into this show for awhile so I will just leave FWWM till the end and hopefully I am done with the show by then.
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Apr 23, 2012 21:51
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https://www.youtube.com/watch?v=sTOuzn5tmvU If this is the first time you're watching Eraserhead, do it properly.
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Apr 23, 2012 22:37
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HUNDU THE BEAST GOD posted:That's not the first time I've seen Assault on Precinct 13 called a zombie movie. It pretty much is one, though, if you stop and think. Compare to Prince of Darkness if you don't believe it; it's practically a horror remake of AoP13, just as Ghosts of Mars is the sci-fi version. However, AoP13 was specifically an homage to Howard Hawks's Rio Bravo.
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Apr 23, 2012 23:35
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Director currently working on: Woody Allen Progress: 18/41 Just watched: Stardust Memories - I was kind of worried that I had already seen all of his best films, but I really loved this one and my immediate reaction is that it's in my top 5 favorites of his. Obviously influenced heavily by 8 1/2 (influenced is the wrong word - he intentionally references that film throughout), this film has a great mix of Woody's humor and his more serious musings on life, love, and religion. Also, I'd like to add that I love his trademark of having old jazz recordings be the soundtrack to his films, instead of traditional scores. The music is so more memorable that way. Next up: Whatever Works
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Apr 24, 2012 00:49
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Daveski posted:Just watched: Stardust Memories I wanted to wait until after you watched it to say this: you said about Another Woman, "just watch Wild Strawberries instead." I felt that feeling even more with Stardust Memories, only instead of Bergman and Wild Strawberries it's Fellini and 8 1/2. Stardust Memories feels essentially like a lesser remake of 8 1/2. Not that that's necessarily a bad thing.
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Apr 24, 2012 01:15
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caiman posted:I wanted to wait until after you watched it to say this: you said about Another Woman, "just watch Wild Strawberries instead." I felt that feeling even more with Stardust Memories, only instead of Bergman and Wild Strawberries it's Fellini and 8 1/2. Stardust Memories feels essentially like a lesser remake of 8 1/2. Not that that's necessarily a bad thing. Yeah, it's certainly no replacement for 8 1/2, but I don't think it's trying to be, and I really enjoyed what he did with it. Maybe they would make an interesting double feature.
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Apr 24, 2012 01:29
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mickthathick posted:As Prometheus is just around the corner, I'd like to pick Ridley Scott. While I have seen a fair percentage of his movies, with the exception of Legend (soooo bad) and Black Hawk Down (can't watch this pile of poo poo again) I plan to start from The Duellists and work my way though to Prometheus. What's wrong with Black Hawk Down? Admittedly, it's been a while since I saw it, but I thought it was incredibly intense and remarkable and immersing you in a combat situation that goes horribly wrong. I was actually considering re-watching it since I'm re-reading the book right now.
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Apr 24, 2012 02:01
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