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Baron Von Humongous
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PostPosted: Tue Jul 23, 2019 6:29 pm    Post subject:

ocho wrote:
Baron Von Humongous wrote:
Anyone else caught Midsomnar? Thoughts?


Best thing I've seen in a while. Loved it.

Interesting. Very interesting. If you have time to write more, I would love to read it.
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PostPosted: Tue Jul 23, 2019 6:37 pm    Post subject:

Also, re: The Farewell, whatever minor issues I may have with some of Wang's occasional subjective camera flourishes, I loved (loved) her compositions and use of color throughout the film, which were artfully unobtrusive.
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PostPosted: Tue Jul 23, 2019 7:31 pm    Post subject:

Tarantino's Once Upon A Time... is coming to theaters this weekend and I am (bleep) stoked!
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PostPosted: Tue Jul 23, 2019 9:13 pm    Post subject:

Baron Von Humongous wrote:
ocho wrote:
Baron Von Humongous wrote:
Anyone else caught Midsomnar? Thoughts?


Best thing I've seen in a while. Loved it.

Interesting. Very interesting. If you have time to write more, I would love to read it.


I thought it was a knockout visually. Stunningly shot, and I love the choice to place a horror film almost entirely in broad daylight. The sun feels oppressive in a way darkness wouldn't. For those that have ever had too many mushrooms it also captures that experience visually in a way I've never quite seen on screen before. Great performances. Like Hereditary it explores grief but in a much more focused way that avoids what I felt was an unfortunate detour that movie took. I thought it had some interesting ideas about community and family as well. Loved the score. The production design was tremendous, with beautiful colors punctuating the madness and sets that were both elegant and terrifying. Can't wait to see what Aster does next.
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PostPosted: Wed Jul 24, 2019 8:31 am    Post subject:

Just thinking again about how much late career Scorcese is taken for granted. The man is in his 70s and his 2010s ouput is as varied, vital, and arguably great as in any decade of his illustrious career.

If another director in a ten-year span helmed Shutter Island, Hugo, The Wolf of Wall Street, Silence, and now Rolling Thunder Revue (with The Irishman still to come), we'd be calling him or her the most innovative director America has. What a gift if you love movies.
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PostPosted: Wed Jul 24, 2019 9:56 am    Post subject:

Baron Von Humongous wrote:
The Farewell may be screening at a theater near you and I highly recommend it. It's a lovely paean to that sensation of going home yet never being able to go home again and the deep, broad, simple emotions that govern families.

As an additional sell for what is mostly a Chinese language family drama about a grandmother with cancer, The Farewell is frequently really funny and the characters - especially the grandmother (Nai Nai) - are wonderfully written and acted with an impressive balance of tone. It's a rare indie crowdpleaser that brings a distinct visual style and doesn't get bogged down in trite mawkishness.


I live in Torrance and the closest showing was in Burbank but honestly, it was worth the hour drive.

I completely agree regarding the balance of tone. The facial acting by Billi was amazing - you really could understand what she was feeling and thinking without her having to say it.
Nai Nai talking s*** about her grandson's wife was hilarious and so realistic. So many of the relationships felt so authentic, they really felt like a family and not actors.
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PostPosted: Wed Jul 24, 2019 11:42 am    Post subject:

Baron Von Humongous wrote:
Just thinking again about how much late career Scorcese is taken for granted. The man is in his 70s and his 2010s ouput is as varied, vital, and arguably great as in any decade of his illustrious career.

If another director in a ten-year span helmed Shutter Island, Hugo, The Wolf of Wall Street, Silence, and now Rolling Thunder Revue (with The Irishman still to come), we'd be calling him or her the most innovative director America has. What a gift if you love movies.


He's my GOAT for this reason. In every era he's been in he has churned out greatness
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PostPosted: Wed Jul 24, 2019 8:38 pm    Post subject:

ocho wrote:
Baron Von Humongous wrote:
ocho wrote:
Baron Von Humongous wrote:
Anyone else caught Midsomnar? Thoughts?


Best thing I've seen in a while. Loved it.

Interesting. Very interesting. If you have time to write more, I would love to read it.


I thought it was a knockout visually. Stunningly shot, and I love the choice to place a horror film almost entirely in broad daylight. The sun feels oppressive in a way darkness wouldn't. For those that have ever had too many mushrooms it also captures that experience visually in a way I've never quite seen on screen before. Great performances. Like Hereditary it explores grief but in a much more focused way that avoids what I felt was an unfortunate detour that movie took. I thought it had some interesting ideas about community and family as well. Loved the score. The production design was tremendous, with beautiful colors punctuating the madness and sets that were both elegant and terrifying. Can't wait to see what Aster does next.


Even if I don’t always share your taste or conclusions, your reviews are themselves works of art.
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PostPosted: Wed Jul 24, 2019 8:52 pm    Post subject:

Omar Little wrote:
ocho wrote:
Baron Von Humongous wrote:
ocho wrote:
Baron Von Humongous wrote:
Anyone else caught Midsomnar? Thoughts?


Best thing I've seen in a while. Loved it.

Interesting. Very interesting. If you have time to write more, I would love to read it.


I thought it was a knockout visually. Stunningly shot, and I love the choice to place a horror film almost entirely in broad daylight. The sun feels oppressive in a way darkness wouldn't. For those that have ever had too many mushrooms it also captures that experience visually in a way I've never quite seen on screen before. Great performances. Like Hereditary it explores grief but in a much more focused way that avoids what I felt was an unfortunate detour that movie took. I thought it had some interesting ideas about community and family as well. Loved the score. The production design was tremendous, with beautiful colors punctuating the madness and sets that were both elegant and terrifying. Can't wait to see what Aster does next.


Even if I don’t always share your taste or conclusions, your reviews are themselves works of art.



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PostPosted: Wed Jul 24, 2019 8:57 pm    Post subject:

Omar Little wrote:
ocho wrote:
Baron Von Humongous wrote:
ocho wrote:
Baron Von Humongous wrote:
Anyone else caught Midsomnar? Thoughts?


Best thing I've seen in a while. Loved it.

Interesting. Very interesting. If you have time to write more, I would love to read it.


I thought it was a knockout visually. Stunningly shot, and I love the choice to place a horror film almost entirely in broad daylight. The sun feels oppressive in a way darkness wouldn't. For those that have ever had too many mushrooms it also captures that experience visually in a way I've never quite seen on screen before. Great performances. Like Hereditary it explores grief but in a much more focused way that avoids what I felt was an unfortunate detour that movie took. I thought it had some interesting ideas about community and family as well. Loved the score. The production design was tremendous, with beautiful colors punctuating the madness and sets that were both elegant and terrifying. Can't wait to see what Aster does next.


Even if I don’t always share your taste or conclusions, your reviews are themselves works of art.

You stole my line.
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PostPosted: Wed Jul 24, 2019 9:03 pm    Post subject:

loslakersss wrote:
Baron Von Humongous wrote:
The Farewell may be screening at a theater near you and I highly recommend it. It's a lovely paean to that sensation of going home yet never being able to go home again and the deep, broad, simple emotions that govern families.

As an additional sell for what is mostly a Chinese language family drama about a grandmother with cancer, The Farewell is frequently really funny and the characters - especially the grandmother (Nai Nai) - are wonderfully written and acted with an impressive balance of tone. It's a rare indie crowdpleaser that brings a distinct visual style and doesn't get bogged down in trite mawkishness.


I live in Torrance and the closest showing was in Burbank but honestly, it was worth the hour drive.

I completely agree regarding the balance of tone. The facial acting by Billi was amazing - you really could understand what she was feeling and thinking without her having to say it.
Nai Nai talking s*** about her grandson's wife was hilarious and so realistic. So many of the relationships felt so authentic, they really felt like a family and not actors.

Some of the actors were actually members of the director, Lulu Wang's, extended family!

I really thought the writing (and acting) shone through in the characters she created on screen and how economically she did so. It's a rare talent to avoid outright caricature while juggling so many developed characters in a comedy as Wang does.
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PostPosted: Thu Jul 25, 2019 12:36 am    Post subject:

Has anybody caught the new Jim Jarmusch zombie flick? I only ask because it did not receive stellar reviews, however because it is Jarmusch, perhaps it flew over people's heads? I thoroughly enjoyed Patterson, which was the last film of his that I watched.

I also plan on seeing Once Upon a Time in Hollywood this weekend.. can't wait.
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PostPosted: Thu Jul 25, 2019 6:54 am    Post subject:

panamaniac wrote:
Has anybody caught the new Jim Jarmusch zombie flick? I only ask because it did not receive stellar reviews, however because it is Jarmusch, perhaps it flew over people's heads? I thoroughly enjoyed Patterson, which was the last film of his that I watched.

I also plan on seeing Once Upon a Time in Hollywood this weekend.. can't wait.


I wanted to but after a few people who were excited for it said how disappointed they were I decided to skip it.

I have been hearing rave reviews for The Art of Self Defense though. I hear it's like Fight Club if the creators of Napoleon Dynamite made it.
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PostPosted: Thu Jul 25, 2019 7:30 am    Post subject:

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I have been hearing rave reviews for The Art of Self Defense though.


The new Drafthouse was having some early sneak peek screenings and I wanted to see this at one of them but didn’t have the time.
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PostPosted: Thu Jul 25, 2019 7:40 am    Post subject:

Both The Dead Don't Die and Art of Self Defense are absurdist, slow building, deadpan comedies. I don't know that either movie sticks its landing, but I appreciated Jarmusch's commitment to his premise and his movie's sheer anger whereas Riley's Self Defense seemed to undercut its premise at the end.

Neither movie is one I'd say you have to see on a big screen.
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PostPosted: Thu Jul 25, 2019 7:51 am    Post subject:

panamaniac wrote:
Has anybody caught the new Jim Jarmusch zombie flick? I only ask because it did not receive stellar reviews, however because it is Jarmusch, perhaps it flew over people's heads? I thoroughly enjoyed Patterson, which was the last film of his that I watched.

I also plan on seeing Once Upon a Time in Hollywood this weekend.. can't wait.

The Dead Don't Die is much more akin to Only Lovers Left Alive than Paterson.

Deadis an angry, angry film coming from a director whose movies are usually laconic, sardonic cool. It's a difficult tone to balance and I could see a lot of folks who watched it wondering what the whole point was if the underlying anger didn't come through in a movie about humanity basically being asleep as the world ends.
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PostPosted: Thu Jul 25, 2019 9:05 am    Post subject:

ocho wrote:
Quote:
I have been hearing rave reviews for The Art of Self Defense though.


The new Drafthouse was having some early sneak peek screenings and I wanted to see this at one of them but didn’t have the time.


I had no idea that a Drafthouse opened in LA until I read this. I'll have to check it out since it's a few blocks from my work.
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PostPosted: Thu Jul 25, 2019 9:09 am    Post subject:

loslakersss wrote:
ocho wrote:
Quote:
I have been hearing rave reviews for The Art of Self Defense though.


The new Drafthouse was having some early sneak peek screenings and I wanted to see this at one of them but didn’t have the time.


I had no idea that a Drafthouse opened in LA until I read this. I'll have to check it out since it's a few blocks from my work.


Yeah they’re still in a soft open i think. Can’t wait to check it out. I’m seeing Once Upon a Time at the New Beverly because that seemed appropriate.
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PostPosted: Thu Jul 25, 2019 10:04 am    Post subject:

Baron Von Humongous wrote:
panamaniac wrote:
Has anybody caught the new Jim Jarmusch zombie flick? I only ask because it did not receive stellar reviews, however because it is Jarmusch, perhaps it flew over people's heads? I thoroughly enjoyed Patterson, which was the last film of his that I watched.

I also plan on seeing Once Upon a Time in Hollywood this weekend.. can't wait.

The Dead Don't Die is much more akin to Only Lovers Left Alive than Paterson.

Deadis an angry, angry film coming from a director whose movies are usually laconic, sardonic cool. It's a difficult tone to balance and I could see a lot of folks who watched it wondering what the whole point was if the underlying anger didn't come through in a movie about humanity basically being asleep as the world ends.


Thanks, it sounds like it's a departure from his previous movies. You've convinced me to give it a watch.
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PostPosted: Thu Jul 25, 2019 10:49 am    Post subject:

^ I was thinking of doing the same but I'm so spoiled by reserved seating and bigger seats it made it hard to go back to the classic theater experience.

I did see Jaws in a throwback movie theater and it was incredible. I'm probably going to see The Thing in 35mm next month at Arclight Hollywood though.
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Baron Von Humongous
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PostPosted: Thu Jul 25, 2019 10:52 am    Post subject:

panamaniac wrote:
Baron Von Humongous wrote:
panamaniac wrote:
Has anybody caught the new Jim Jarmusch zombie flick? I only ask because it did not receive stellar reviews, however because it is Jarmusch, perhaps it flew over people's heads? I thoroughly enjoyed Patterson, which was the last film of his that I watched.

I also plan on seeing Once Upon a Time in Hollywood this weekend.. can't wait.

The Dead Don't Die is much more akin to Only Lovers Left Alive than Paterson.

Deadis an angry, angry film coming from a director whose movies are usually laconic, sardonic cool. It's a difficult tone to balance and I could see a lot of folks who watched it wondering what the whole point was if the underlying anger didn't come through in a movie about humanity basically being asleep as the world ends.


Thanks, it sounds like it's a departure from his previous movies. You've convinced me to give it a watch.

I'm a little worried now, but I hope you enjoy it

It's a dark comedy like Midsommar.
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PostPosted: Thu Jul 25, 2019 10:55 am    Post subject:

Criterion has announced a big one for release #1000: https://twitter.com/Criterion/status/1154440404042997761
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PostPosted: Fri Jul 26, 2019 5:11 am    Post subject:

Between Once Upon A Time... and Ad Astra I think we might have ourselves a Pitt-assaince!
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PostPosted: Sun Jul 28, 2019 8:49 am    Post subject:

In celebration of long ass movies: Hard-time for the Hardcore.

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As diverse as these behemoths of durational cinema may be, the inveterate patron of these films may recognize certain familiar sensations in submitting to the successful of their number: the initial antsiness when faced with such a vast expanse of movie, the gradual acclimation to the atmosphere of the film, the eventual subsuming and acceptance in which all thought of the world outside disappears, as though a switch has flicked and one feels finally that oh well, I guess this movie is just my life now. Imprisoning one’s self with a film, one is thrown back on one’s own resources, and the results may be enlightening. Apposite is a line that recurs through the filmography of Michael Mann but first appears in his 1979 prison-set TV movie The Jericho Mile: “I do the time, I don’t let the time do me.”

Durational epics may be prone to overestimation. As self-justifying creatures, we don’t confess to having wasted eight hours as readily as we would two. But where the durational epic often withholds the more traditional cinematic come-ons that Kael called “entertainment,” they can offer other pleasures in its stead. Individuals who’ve been confined at great lengths in darkness have reported seeing a show of colored lights, some of them resolving into recognizable shapes and patterns, that appear from out of the black. The phenomenon, born of isolation and deprivation, is called Prisoner’s Cinema, and it might be borrowed to describe something that I have found in the best of these megalith-movies, and the confrontations that they provoke between the viewer and work, between the viewer and themselves. For it describes the pleasures that can be found in not only going to the cinema but sentencing one’s self to it—the pleasures of punishment, of confinement, and of the disorientation of inevitable parole.

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PostPosted: Sun Jul 28, 2019 10:36 am    Post subject:

ocho wrote:
Baron Von Humongous wrote:
ocho wrote:
Baron Von Humongous wrote:
Anyone else caught Midsomnar? Thoughts?


Best thing I've seen in a while. Loved it.

Interesting. Very interesting. If you have time to write more, I would love to read it.


I thought it was a knockout visually. Stunningly shot, and I love the choice to place a horror film almost entirely in broad daylight. The sun feels oppressive in a way darkness wouldn't. For those that have ever had too many mushrooms it also captures that experience visually in a way I've never quite seen on screen before. Great performances. Like Hereditary it explores grief but in a much more focused way that avoids what I felt was an unfortunate detour that movie took. I thought it had some interesting ideas about community and family as well. Loved the score. The production design was tremendous, with beautiful colors punctuating the madness and sets that were both elegant and terrifying. Can't wait to see what Aster does next.

I agree with all of this and still felt a bit let down given all of the film's wonderful visual flourishes. As I saw the recent announcement that Cronenberg's masterpiece, Crash, is going to be re-issued in 4K later this year, it hit me how relatively tame Aster's kinks are for a director who seems to want to shock and titillate on a grand scale. Outside of the wonderfully absurd grotesquerie of the murder/suicide aftermath scene, I kept wanting something more fetishistic, more tactile, and more gonzo in Sweden, especially in the movie's climax. But maybe Aster is gradually testing how far he can go in becoming this generation's Ken Russell before the funding dries up - I just hope his movies continue to get kinkier and kinkier while retaining the dark humor of Midsommar.

I do enjoy the movie's critique of how inadequately we contend with trauma in American society: how embarrassing confronting and showing pain can be, and how pairing off into tiny communities of two people can be so ineffectual in dealing with the pain. Midsommar could actually be an odd companion piece to OUATIH since we follow Dani's journey as her family trauma and the terrible men around her lead her toward joining a white supremacist cult like the women of the Manson "family" did.
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