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I both really like the podcast and hit the skip 30 seconds button way more than I should have to. Committing to bits that they know aren't funny with the idea that if they just keep going it'll come around to being funny again is certainly a choice, but not one that needs to be made numerous times in every episode. I did very much appreciate their defense of GLASS though.
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Jun 19, 2019 10:00
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Coheed and Camembert posted:It's very weird, because it's got the traditional Mann stuff down. Guy is really good at his job, guy will do anything to keep his spot at the top, guy ruins interpersonal relationships in the process, but he's still really really good at his job. Sprinkle in the use of handheld digital video at the beginning and that's every Mann movie ever. It's the traditional biopic stuff after the first half hour that drags it down for me, like it's trying to do too much at once. It also doesn't help that he chooses to cover mostly the same period that WHEN WE WERE KINGS covered brilliantly. It's easy to see why Mann would be attracted to it since, like you say, it's right up his street. However I don't think he really knows what he wants to do with it. It almost felt like he had to spend the first act explaining who Ali was for people who didn't know before he got to the 'real' movie. Anyhow, to go back to MANHUNTER it was great to see Griffin gush over how good William Petersen is and how he inhabits Will Graham. If you watch the scene where he meets Lector in prison and compare it to the one from RED DRAGON it's night and day. Norton plays it like Will Graham had a bad day, but Petersen is almost fearful. He's broken.
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Jun 20, 2019 15:16
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stratofarius posted:Mark Ruffalo looks so weird in Collateral and also he gets straight up forgotten about. A third of the movie is him trying to catch up to Vincent and Max, and then he gets shot and that's it, bye Mark Ruffalo. Kinda weird. Originally Val Kilmer was supposed to do it, but it all feels a bit too engineered to give you a 'shock' moment in a movie that doesn't need it at all. Also, Frank Darabont did a huge amount of work on that script. He moved the location from NY to LA and I'm pretty sure the guy on the train story was his, as is quite a bit of the dialogue.
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Jul 2, 2019 10:35
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Jose Oquendo posted:I haven't had a chance to listen to the latest episode, but it's interesting the are doing the pilot episode of Miami Vice. Mann didn't direct it, but it sure as poo poo feels like he did. I am guessing they'll discuss it. The pilot has Mann written alllll over it. Its funny because Mann has talked about how it was actually CRIME STORY that he was most proud of and was something that he was more directly involved with than MIAMI VICE.
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Aug 21, 2019 14:13
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Decent JOKER discussion, though I kind of don't know why it happened. Its not bad in any real enjoyable way, its just messy and unfocused and doesn't really know what it's trying to say.
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Oct 16, 2019 15:26
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https://twitter.com/blankcheckpod/status/1501598200360325123?t=lvciHpumoR-5Qz2_dX_TaQ&s=19
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Mar 11, 2022 10:41
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Neither have seen THE QUICK AND THE DEAD so that's going to be a blast.
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Mar 11, 2022 13:05
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checkplease posted:I don’t know any of the Gethard back drama, but episode seems fine for me after listening to 2 hours of it. The Letter was silly, but funny and didn’t take up too much time. It’s an easy mash of the skip button a few times if you want. Derails on Star Wars haven’t seemed any worse than normal ones. I thought that WRATH OF MAN he did recently was great. His MAN FROM UNCLE was a blast as well. There are a ton of working Directors I would put above him in the 'bad filmmaker' rankings.
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Jun 2, 2022 09:38
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I never thought that they could make talking about a fun movie like DRAG ME TO HELL a chore, but here we are.
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Jun 13, 2022 21:43
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Drunkboxer posted:I think people get too hung up on whether or not a character’s horror movie transgressions are deserving of the punishment they get inflicted with. This is a genre where if someone is rude in the first act we expect them to be dead by the time the credits roll. I don’t think her one selfish action deserves a literal eternity of torment, but it makes perfect moral sense in a horror movie. Trying to puzzle out if a fictional character “deserves it” seems like an odd way to watch a movie to me. It’s also weird to only being able to relate to a character if they completely match your morality and decision making. Yeah and the Raimi quote that Griff reads at the start literally spells this out. It's a really lovely and unfair fate, and that's just how this particular story goes. The same is true of countless TALES FROM THE CRYPT stories (which were clearly a huge influence on Raimi). Also, probably best to not look up what Alison Lohman is up to now.
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Jun 17, 2022 09:42
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The STAR 80 episode was a rough one. It's far too easy to fall back on the language of 2022 to try and explain something decades old, but it doesn't always seem fair. I don't think Fosse was making the portrait of an Incel because that term and everything around it didn't exist. You can still have empathy or sympathy for aspects of someone's life or character while finding them abhorrent as people. And I don't think you're a bad person, or questionable, for wanting to make art that explores that. Like with some of the DRAG ME TO HELL episode, it starts to feel like a cudgel to wield when you don't like something and you don't want other people to disagree. Weirdly I thought the LMM episode was a highlight because it was a lot of solid insights and he came prepared. It's clear that Fosse and ALL THAT JAZZ means a lot to him.
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Aug 1, 2022 11:43
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Eggnogium posted:I liked the episode, I think both Griffin and Julie are making excellent points and hers is super far from a lazy critique. I agree with you that art about horrible people can be great and doesn’t have to explicitly moralize or center good people, but the problem here is that Fosse decided to base it on a real story about real people, and that does a disservice to Stratton because she is used once again as a prop in a man’s venture. It didn't hit the depths of the DRAG ME TO HELL episode at least, mainly because I think that Klausner has a stronger point of view than just "portraying Gypsies this way is problematic". As for the real story, real people aspect of it; this has come up again now with that Marilyn Monroe film and I don't know. It's fiction. Simplistic I know. As unpleasant as people may find it, yeah at the end of the day you're using real people to tell a story that interests you. Shakespeare did it too. I guess I don't think that Fosse focusing the story where he does is a failing of the movie, or of Fosse as a storyteller (or person for that matter). Our interests usually lie in stories of people who do bad things and why they do them, rather than the victims. Generally it always has. And for Fosse he clearly sees some aspects of himself in that character, which to be fair they get to in the episode. I feel sometimes these arguments come down to criticising it because it wasn't the movie you wanted, or the movie you would make and there's nowhere to really go with that. I sounded harsh in my talking about the episode. I thought it was good! It was just a little thornier than I expected.
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Aug 1, 2022 19:16
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graventy posted:Yeah, I listened to the Lolita podcast around the same time, and it was pretty disappointing how tepid their analysis and conversation about it was in comparison. Granted that was a thorough deep dive. Problem with the Duvall thing is that the claim is so often that Kubrick treated her so poorly it *ruined* the rest of her career which is kind of the opposite of what happened. Kubrick gave people a hard time, it's well documented (There's that hilarious story of Adam Baldwin saying out loud "Jesus what does this guy want?" after Kubrick asking for another take and when the set fell silent Kubrick peered out from behind the camera and said "How about some acting?") and he certainly gave Duvall a hard time, but by her own admittance it wasn't the nightmare people think it was and that they shared plenty of laughs. It's not how I would do it but It's simply how he was. So then why are people so fixated on the Duvall thing if not to make a point that this has altered Duvall in some way? It's pretty disrespectful to her when people repeat that stuff without even looking at what she did with her career after that. DrVenkman fucked around with this message at 13:16 on Nov 10, 2022 |
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Nov 10, 2022 13:13
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I like Sorkin even while the pendulum on him is swinging this way. TRIAL OF THE CHICAGO SEVEN and that Lucille Ball movie he did are genuinely dreadful though.
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Jan 27, 2023 21:19
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I think MEMORIES OF MURDER cover similar ground but in a way I preferred. Also, and I get this is just a me issue, I can't believe they put so much stock into Robert Graysmith and his questionable work. It wouldn't bother me as much if they didn't talk about how accurate they wanted the film to be (well as accurate as a work of fiction can be). I own ZODIAC (I even had it on hd-dvd) but there's something about it that leaves me cold every time I watch it. The first hour is masterfully done, but past that there's little meat on the bones.
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Nov 5, 2023 14:06
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checkplease posted:Mank just doesn’t work for me. I guess I don’t find the writing process as interesting or fun as Citizen Kane itself. It's a bafflingly bad movie based on a faulty and largely discredited hatchet job by Pauline Kael. Even Fincher in interviews repeated the same claims about Welles. 5 minutes of research would have revealed a number of times where Welles directly credits other people for helping him on CITIZEN KANE. As with ZODIAC, there's some self satisfaction with accuracy despite the fact Fincher relies on some wildly inaccurate people. Outside of that it just doesn't do anything for me. The B&W photography and the attempt to emulate old Hollywood doesn't work with the digital sheen and Oldman feels, pardon the pun, too old for the part. All this series has really done is prove to me that I think Fincher is a somewhat middling Director. I want to like his stuff more than I do but I just don't think his movies are all that good. DrVenkman fucked around with this message at 11:50 on Nov 21, 2023 |
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Nov 21, 2023 10:12
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ROLLERBALL had the distinction of trying to use AIN'T IT COOL NEWS to drum up interest. They flew out Harry Knowles personally to view a cut of the movie, laid out the whole red carpet for him, gave him one on time time with McTiernan and he STILL gave it a negative review, that's how bad it is.
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Jan 9, 2024 18:45
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Thing is that ROLLERBALL is kind of a good candidate for a remake because while it has interesting parts it never works quite as well as a whole, and then the remake completely blunders it.
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Jan 30, 2024 15:39
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I think that while there's weirdness in MD it's actually relatively straightforward as a narrative. Nearly everything you see ties together in some logical way if you want to think about it like that. Of his weirder films it's pretty accessible. It's handy timing though given that Isabella Rossellini just addressed Roger Ebert's famous pan of BLUE VELVET (In which he thinks she was exploited by Lynch) by saying that she was a woman in her 30s when she starred in it and she knew exactly what she was getting into. I love Ebert but it was still such a bizarre criticism to make and felt like he couldn't address his actual feelings about the movie and had to resort to this weird sort of fantasy where no woman would knowingly star in a movie like this.
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Apr 2, 2024 12:55
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