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Cutheon
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PostPosted: Fri Jan 07, 2022 9:58 am    Post subject:

jodeke wrote:
Baron Von Humongous wrote:
Cut, Licorice Pizza is so, so good. It's a hetero Thunderbolt and Lightfoot. I'm going to watch it a million times.

I have in on my IPTV. It's a bootleg. Video and sound are terrible. It'll clear up in time to Dolby Surround sound and 4K video. It usually takes about 2 weeks. I can wait.


Well worth the wait.
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PostPosted: Thu Jan 13, 2022 4:36 pm    Post subject:

Baron Von Humongous wrote:

West Side Story (2021) is now my favorite Spielberg film, I'd argue it's at worst his fifth greatest achievement as a film director, it bests Wise's 1961 masterpiece, and it stands as one of the greatest depictions of movement ever captured on screen. This can only be a movie. Only movies can make this kind of magic, and Steven Spielberg is among a small handful of ever living directors who could've ever created something this kinetic and alive. Maybe the greatest cinematic flex in modern Hollywood history.


Would be interested to see your ranking of his movies. Critics are critics, but you gotta be an ahole to sit there during a Spielberg film and go, 'Yuck, populist..." Populism and interesting perspective shots are Stephen's skyhooks. E.T. had the juice to be re-released in Summer of 85 and it did well the 2nd time, too. And the VHS wasn't released until 88 and it cost 100 bucks and people bought it. The man has done something right in the industry. The recent documentary about his life is interesting as well, if you haven't seen it. Shows scenes in his movies that are biographical. EG: The scene in Close Encounters where the boy walks in and sees his father crying and starts shouting, "You crybaby!" and Terri Garr shouts, "Go away!" and slams the door? That's something that Stephen did as a child, it was a confused/emotional outburst at his father crying.
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PostPosted: Fri Jan 14, 2022 5:51 am    Post subject:

New Jackass coming out!

Nobody (better call Saul meet John Wick)
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PostPosted: Sat Jan 22, 2022 8:10 pm    Post subject:

I watched a few reaction vids by youngsters on Alien lately. Being how blatant they were about mixing eroticism w/ death, sex and fear, innate human fears of first-time sex, parasites, penetrations, suffocation, etc. I wonder how it takes most people multiple viewings and a working knowledge of HR Giger to recognize the phallic imagery, much less all the imagery about things in peoples' mouths/throats, gestation/reproduction, etc. Maybe because the scenes are spaced out, they seem more random.

Three scenes of note:

1) Ash trying to kill Ripley. He throws her onto a desk area where the wall is covered w/ nudie pics and forms a porno mag into a phallic shape and attempts to ram it into Ripley's mouth.

2) Alien kills Lambert suggestively/off-screen. All you see is the tail slowly working its way up between her legs. Only female who does die is killed in that different manner than all the male characters.

3) Ripley startles Alien in escape pod. She's wearing undersized tank top and panties and the camera is focused at waist level when she gets into space suit, so her crack is visible, public hair is visible from front, and then the camera stays there focusing on her panty swatch as she lifts her leg up to get it into the suit and immediately cuts to Alien's phallic inner jaw moving out of its mouth in a yawn (implying an erection).

It's an interesting film for its unspoken mix of eroticism and fear, life/death, procreation/gestation, etc. I liked Aliens, but I don't think it's a superior film. It may even be equally good on the whole, but one's a thoughtful film and the other is a thoughtful-enough Summer blockbuster. The "mouthparts" of the facehugger in Aliens is also clearly modeled after certain female human anatomy in a way the first movie failed to show. Dead "Navigator" in Alien is also sitting in a phallic chair/module. They really found the one right morbid Swiss artistweirdo to mine for conceptual ideas.
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PostPosted: Sat Jan 22, 2022 10:05 pm    Post subject:

I get that blockbuster, comic book, superhero movies are barely film. If at all.

But unlike most people out there. I thought Marvel's Eternals was way better than the most recent Spiderman movie.
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PostPosted: Mon Jan 24, 2022 10:13 am    Post subject:

Has anyone seen 355? It's in my IPTV queue. It's bootleg, bad quality, and sound. It'll clear soon to 4k Quality and Dolby Surround Sound. If you've seen it should I wait or pay to view it?
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PostPosted: Tue Jan 25, 2022 2:34 pm    Post subject:

Good football movie ANY GIVEN SUNDAY
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PostPosted: Thu Jan 27, 2022 3:27 pm    Post subject:

355 a good spy movie. Women are the main characters. I like it. I give it 7 - 8 on a scale of 1 to 10. They some bad asses.
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PostPosted: Wed Feb 02, 2022 8:30 pm    Post subject:

House of Gucci:

https://twitter.com/wtempfer/status/1489050541690966025?cxt=HHwWksC-4YHllaopAAAA
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PostPosted: Wed Feb 02, 2022 9:00 pm    Post subject:

non-player zealot wrote:
Baron Von Humongous wrote:

West Side Story (2021) is now my favorite Spielberg film, I'd argue it's at worst his fifth greatest achievement as a film director, it bests Wise's 1961 masterpiece, and it stands as one of the greatest depictions of movement ever captured on screen. This can only be a movie. Only movies can make this kind of magic, and Steven Spielberg is among a small handful of ever living directors who could've ever created something this kinetic and alive. Maybe the greatest cinematic flex in modern Hollywood history.


Would be interested to see your ranking of his movies. Critics are critics, but you gotta be an ahole to sit there during a Spielberg film and go, 'Yuck, populist..." Populism and interesting perspective shots are Stephen's skyhooks. E.T. had the juice to be re-released in Summer of 85 and it did well the 2nd time, too. And the VHS wasn't released until 88 and it cost 100 bucks and people bought it. The man has done something right in the industry. The recent documentary about his life is interesting as well, if you haven't seen it. Shows scenes in his movies that are biographical. EG: The scene in Close Encounters where the boy walks in and sees his father crying and starts shouting, "You crybaby!" and Terri Garr shouts, "Go away!" and slams the door? That's something that Stephen did as a child, it was a confused/emotional outburst at his father crying.

My issue with Spielberg is that the populism and spectacle can overwhelm humanism in his movies. More often than not he's a genius literalist; there are very few moments in his entire filmography that can be misinterpreted - ambiguity doesn't have much purchase in his cinematic universe. His contemporary and friend, Scorsese, is also at heart a populist entertainer, but he's capable of being an all-time great lyricist - the hell of NYC to Travis Bickle's fractured psyche; the almost tangible transcendence of Buddhist faith in Kundun; etc. - that often create larger, slipperier interior worlds out of smaller budgets.

I've come to peace with Spielberg over the past couple years. The opening scene in Minority Report is some of the most phenomenal filmmaking ever, and there's a shot when Tom Cruise rushes through the front door of a D.C. brownstone to stop a pre-crime murder from happening - and the camera smash zooms in to the door - that I don't think any other director who has ever lived would've thought of let alone chosen to do. It's uncanny visual instinct.

With WSS Spielberg has a movie where he's at his most liberated when it comes to movement and color and by dint of the source material and Tony Kushner's brilliant adaptation, that emotional, humane, lyrical essence infuses Spielberg's special gift for marrying bodies and camera in motion to create something transcendent. It's still my favorite Spielberg a few weeks later, though a top 5-10 would be difficult without more time. I need to think about it some more.

I haven't seen the recent Spielberg documentary - from 2017? I'll definitely check it out now. Thanks for the rec.
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PostPosted: Thu Feb 03, 2022 10:22 am    Post subject:

Baron Von Humongous wrote:
House of Gucci:

https://twitter.com/wtempfer/status/1489050541690966025?cxt=HHwWksC-4YHllaopAAAA

I watched House of Gucci. I like the movie. It's about climbing business and social ladders. Knowing the film was based on a true story made it more interesting. A Woman Scorned is apropos.

I didn't recognize Lady Gaga as Patrizia Reggiani. I didn't know she was that hefty. I thought she was petite in stature.
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PostPosted: Fri Feb 04, 2022 8:21 pm    Post subject:

jodeke wrote:
Baron Von Humongous wrote:
House of Gucci:

https://twitter.com/wtempfer/status/1489050541690966025?cxt=HHwWksC-4YHllaopAAAA

I watched House of Gucci. I like the movie. It's about climbing business and social ladders. Knowing the film was based on a true story made it more interesting. A Woman Scorned is apropos.

I didn't recognize Lady Gaga as Patrizia Reggiani. I didn't know she was that hefty. I thought she was petite in stature.

It's still playing in theaters near me this week even as it hits VOD. I have to see this thing in theaters.
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PostPosted: Fri Feb 04, 2022 8:41 pm    Post subject:

Samuel Fuller's great Pickup on South Street is leaving the Criterion Channel at the end of this month, and if you appreciate crime pictures, it's an exceptional film to make time for.
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PostPosted: Sat Feb 05, 2022 2:58 pm    Post subject:

Nostalgia: I rewatched Oliver Twist 2005. It's costume, color and settings are very artful. Whoever did the makeup should have been up for some kind of award. The facial hair and wigs were beautifully done. They looked so real and authentic for the period. Ben Kingsley as Ffagin was unrecognizable. He did a masterful job of acting. I gained respect for his acting ability. GOOD WATCH.
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PostPosted: Sat Feb 05, 2022 6:42 pm    Post subject:

I'm pretty sure Haus of Goochi will suck, but I'm still going to cop it soon. Adam Driver is bae.
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PostPosted: Sun Feb 06, 2022 4:42 pm    Post subject:

Baron Von Humongous wrote:

My issue with Spielberg is that the populism and spectacle can overwhelm humanism in his movies. More often than not he's a genius literalist; there are very few moments in his entire filmography that can be misinterpreted - ambiguity doesn't have much purchase in his cinematic universe. His contemporary and friend, Scorsese, is also at heart a populist entertainer, but he's capable of being an all-time great lyricist - the hell of NYC to Travis Bickle's fractured psyche; the almost tangible transcendence of Buddhist faith in Kundun; etc. - that often create larger, slipperier interior worlds out of smaller budgets.

I've come to peace with Spielberg over the past couple years. The opening scene in Minority Report is some of the most phenomenal filmmaking ever, and there's a shot when Tom Cruise rushes through the front door of a D.C. brownstone to stop a pre-crime murder from happening - and the camera smash zooms in to the door - that I don't think any other director who has ever lived would've thought of let alone chosen to do. It's uncanny visual instinct.

With WSS Spielberg has a movie where he's at his most liberated when it comes to movement and color and by dint of the source material and Tony Kushner's brilliant adaptation, that emotional, humane, lyrical essence infuses Spielberg's special gift for marrying bodies and camera in motion to create something transcendent. It's still my favorite Spielberg a few weeks later, though a top 5-10 would be difficult without more time. I need to think about it some more.

I haven't seen the recent Spielberg documentary - from 2017? I'll definitely check it out now. Thanks for the rec.


Yep, 2017. I think the failings of "1941" as a comedy made him gunshy to attempt other genres that weren't culminated in heartwarming endings (reunions or goodbyes). Or after his early career, movies of more limited or intimate scope. And he has a block when it comes to the nastier side of the human mind/body that Marty and others aren't afflicted with. Stephen couldn't bring himself to portray some of the tougher moments in the Alice Walker version of "Color Purple". He also has the stated block of not wanting to display violence for the sake of violence, even tho he did film one of Tony Montana's dead enemies in the "little friend" scene while visiting DePalma on set. His bad guy slumps down a couch and has a visible face -- unique perspective shot even in that scene. Even though Private Ryan and Schindler were violent, the context of the backdrop demanded it. I don't think he's capable of (at least, non-spectacle) gratuity in general, be it sexuality, violence, or in terms of doing anything even remotely akin to a character study of someone like Travis Bickle (tho I would love to see his version of Taxi Driver were he forced to do it). In his early TV movie "Duel", which is excellent if you've never, he managed to capture a terrifying scenario without a drop of blood. It has sequences chasing a character that continually shift beyond the reach of the viewer that are on par w/ the same/lauded technique DePalma showed in "Dressed To Kill".

I'm gonna sleuth out "Minority Report" on account of your considered opinion. Haven't gotten to that one yet. I've been in a new peep view the last couple days, have sat thru a few flicks that were freebies on YT.
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PostPosted: Sun Feb 06, 2022 5:33 pm    Post subject:

Spielberg suffers from Tom Hanks syndrome. He’s so successful while not being dark/edgy, that there’s a tendency among the critics and self appointed auteurs to try and tear him down simply because he’s so likable and so popular, despite the fact that there’s not a lot of real solid criticism of his talent as a filmmaker or storyteller. He tells stories that appeal to him, and tells them masterfully without having to be twee or gratuitous or self congratulatory.
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PostPosted: Sun Feb 06, 2022 5:49 pm    Post subject:

I agree, Spielberg's storytelling and style have always been straight-laced and there's nothing wrong with that. There's a pure sense of passion and excitement behind all of his projects, and you always get a sense of that. The fact that he can still, at his age and stature, make a pure joyride of a film like Ready Player One is pretty cool to me. And then the more dramatic stuff like Bridge of Spies (a top 5 Spielberg movie for me) is also excellent.
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PostPosted: Tue Feb 08, 2022 7:08 am    Post subject:

Many good Oscar noms this morning, but the acting categories remain a mess. Ruth Negga, Alana Haim, Jodie Comer, Jeffrey Wright, Simon Rex, and Oscar Isaac all snubbed.
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PostPosted: Tue Feb 08, 2022 3:45 pm    Post subject:

Omar Little wrote:
Spielberg suffers from Tom Hanks syndrome. He’s so successful while not being dark/edgy, that there’s a tendency among the critics and self appointed auteurs to try and tear him down simply because he’s so likable and so popular, despite the fact that there’s not a lot of real solid criticism of his talent as a filmmaker or storyteller. He tells stories that appeal to him, and tells them masterfully without having to be twee or gratuitous or self congratulatory.


Even when Hanks rarely has to say the F word, it feels to me that it doesn't even count as an F bomb. It's somehow different in tone, I guess. The same feeling I get at Steve Martin's 17 straight Fs in P/T/&As. I don't ever recall Steve saying it in any other movie or context and he can stand there and say it 17x and it feels like the word loses its standard power and suddenly becomes fun/cute/jolly, even tho Steve's character is pissed off with an Edie McClurg telling her sister on the phone, "GOBBLE, GOBBLE! (cackles)...BLUH-LUH-LUH-LUH-LUH!...(cackles)..." That's a fun family movie w/ 17 Fs that sweeps around it simply because of the similar feeling we all have about Steve and Tom and others. You could never imagine Christopher Reeve cursing in a film at all. It's interesting that actors' personal sensibilities play a big role in how their career goes and what kind of roles they get.

In Oct, I watched "The Bounty" (1984) again. This was the version w/ a young Mel Gibson, Daniel Day-Lewis and Liam Neeson, and a youngish Anthony Hopkins, who was at peak devilishness in this one. Really a beautifully shot movie (reminded me of 1986's "The Mission" w/ DeNiro, Jeremy Irons, and Neeson). Excellent movie, "The Bounty", but Reeve was slated to play Gibson's character until a last second switch. Mel was quite good and not Super Mel, as he was prone to be. Like the difference between Al and Super Al with "GREEEAT AAASSS!" It would've been fascinating to have seen Reeves in such a role. Other actors who had Reeve's purity off the top of my head were Robin Wms, Belushi, Candy, Ritter, Swayze. They all possessed such great nobility, yet a sad undercurrent just under the surface. Their demises in most cases were probably felt inevitable to many of them and their worldviews and kindness were their ways of getting the most out of their existence. Now I'm tangenting pretty far off, but I feel typey at the moment. ABCDEFG!

Hopkins: https://www.youtube.com/watch?v=wUlgVqSeLRk
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PostPosted: Fri Feb 11, 2022 6:02 pm    Post subject:

Park Yoo-Rim gave the best performance I saw in any 2021 movie in one of the best overall acted movies of the year.

https://twitter.com/MoRientalist/status/1489935692578758660
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PostPosted: Fri Feb 11, 2022 8:34 pm    Post subject:

Hopkins makes The Bounty work because he is simultaneously cruel and principled. It is his unwavering belief in the nobility of his endeavor and the rules of the sea that allow him to be both morally upright and a tyrant. Against this, a young Gibson is allowed to exercise his easy charm and affability, and to be visibly dragged into the mutiny, finally placing loyalty to his men over that of loyalty to the law, the exact opposite of Hopkins. In truth, neither is protagonist nor antagonist, but parts of both, and it is both of them wrestling with that duality that creates the tension of the film.
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PostPosted: Fri Feb 11, 2022 9:23 pm    Post subject:

Omar Little wrote:
Hopkins makes The Bounty work because he is simultaneously cruel and principled. It is his unwavering belief in the nobility of his endeavor and the rules of the sea that allow him to be both morally upright and a tyrant. Against this, a young Gibson is allowed to exercise his easy charm and affability, and to be visibly dragged into the mutiny, finally placing loyalty to his men over that of loyalty to the law, the exact opposite of Hopkins. In truth, neither is protagonist nor antagonist, but parts of both, and it is both of them wrestling with that duality that creates the tension of the film.


Good assess. In the tribunal scenes, Hopkins comes off as upright, even tho goaded by one of the jurists who doesn't trust that he lost the Crown's expensive ship legitimately. Risking going around the Horn of Africa and the nubile women on the island are the two forces that destroy the balance of positions on the ship. The crew were tenuous from the start. Fear and lust. Base level emotions and feelings. Not exactly uncommon to see them at play as things that change plots in movies, but that's my favorite Bounty film. Visually sumptuous and Vangelis w/ the soundtrack. Shame it flopped. It's one of a number of movies that were a lot more artfully shot (and/or had artful sets) than they necessarily had to be in the 80s. Excalibur, Blade Runner, The Mission, Legend w/ Tom Cruise is a notable one given the subject matter. Having watched numerous Predator reactions from the young people, I might include Predator in that for the fact that its 1986 special and practical FX are somehow far beyond the look of the recent sequels.
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PostPosted: Sat Feb 12, 2022 5:21 pm    Post subject:

There's more male full frontal nudity in Jackass Forever than in Saló. I'm astonished it only got an R rating.
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PostPosted: Sat Feb 12, 2022 10:10 pm    Post subject:

Baron Von Humongous wrote:
There's more male full frontal nudity in Jackass Forever than in Saló. I'm astonished it only got an R rating.

John Waters must be doubled over in laughter. This is John Waters meets Buster Keaton meets Barnum & Bailey's. So much pig (bleep).
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