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jodeke
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PostPosted: Wed Oct 05, 2022 5:12 pm    Post subject:

Baron Von Humongous wrote:
non-player zealot wrote:
Omar Little wrote:
I dislike him intensely as a person, but Tom cruise is an elite actor. Absolutely, unequivocally brilliant. And that’s beyond the idea that the camera loves him.


He was excellent in Eyes Wide Shut, too. He was what largely held that movie up, being the most misunderstood and one of the least appreciated Kubrick films. It has gained respect over time, tho. But watching Tom and Nicole, it felt like you were getting glimpses into their actual failing marriage at the time. Props to both of them for being willing to do that.

Both elite performances, although Cruise feels like the easier role technically while he's still brave enough to play the cuckold on screen at the height of his fame.

Kidman was overburdened with prosthetics in Destroyer (2018) but it was nice to see her trying to stretch her acting muscles in a lead performance again. I miss the Nicole of Dead Calm, To Die For, Eyes Wide Shut, and Birth.


I'm not sure. Was Bell pregnant? She was rubbing her stomach when she was sitting in her car at the climax. Did I hear a gunshot? of Destroyer? Did she commit suicide?
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PostPosted: Sat Oct 08, 2022 1:37 pm    Post subject:

jodeke wrote:
Baron Von Humongous wrote:
non-player zealot wrote:
Omar Little wrote:
I dislike him intensely as a person, but Tom cruise is an elite actor. Absolutely, unequivocally brilliant. And that’s beyond the idea that the camera loves him.


He was excellent in Eyes Wide Shut, too. He was what largely held that movie up, being the most misunderstood and one of the least appreciated Kubrick films. It has gained respect over time, tho. But watching Tom and Nicole, it felt like you were getting glimpses into their actual failing marriage at the time. Props to both of them for being willing to do that.

Both elite performances, although Cruise feels like the easier role technically while he's still brave enough to play the cuckold on screen at the height of his fame.

Kidman was overburdened with prosthetics in Destroyer (2018) but it was nice to see her trying to stretch her acting muscles in a lead performance again. I miss the Nicole of Dead Calm, To Die For, Eyes Wide Shut, and Birth.


I'm not sure. Was Bell pregnant? She was rubbing her stomach when she was sitting in her car at the climax. Did I hear a gunshot? of Destroyer? Did she commit suicide?

You know, the movie didn't stick in my head enough to remember the ending. If it's streaming, I'll fast forward to the end and double check.
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PostPosted: Sat Oct 08, 2022 2:24 pm    Post subject:

Amsterdam (2022) - David O. Russell tries to make a Coen brothers-esque screwball period comedy loosely based on a true story of America First Nazi sympathizers' attempted power grab (the Wall Street Putsch of 1933) and ends up creating a total mess of a movie that's easily the most interesting thing he's directed since Three Kings (1999).

D.P. Emmanuel Lubezki (Malick's regular) is the true MVP, turning Russell's normally workmanlike images into flashes of shocking beauty. I don't know that it tonally works, but Lubezki's lensing makes Amsterdam a stranger, more exciting film - every face in the movie looks spectacular, Washington and Robbie's in particular, and there's a brief sequence in a WWI military hospital that's one of the most striking scenes I've seen in a 2022 movie.

The film is overstuffed with stars like it's trying to be It's a Mad, Mad, Mad, Mad World - hey, look! It's Mike Myers in a blonde wig! - and everyone seems to be Acting at each other (except DeNiro who's back in coasting mode), but another one of Christian Bale's overly affected performances eventually becomes endearing while Washington and Robbie have a strange sort of chemistry that earns Amsterdam it's bluntly earnest, anti-fascist heart in siding for love and kindness over hate and cruelty. Playing the cornball hits in a Bale voice over at the end still lands because what's true can't ever be too schmaltzy to be false.

There are so many inexplicable cuts, random French New Wave inspired montages (admittedly all very pretty), multiple violations of the 180° rule, reverse shots where eye lines can't possibly match up, etc. that it feels shoddy while Lubezki professionally captures the expensive, skilled production design and costuming that's jarring and maybe... unintentional? I'm inclined to think Amsterdam is a mish mash of talented performers and collaborators often at cross purposes that editor Jay Cassidy was able to wrestle something coherent out of despite David O., but maybe I'm being too harsh toward Russell who is now entering a new, more interesting phase after cornering the market on mid-budget, mid-wit Oscar bait prestige pablum while being tolerated as a fuming, small d!cked tyrant on his sets for the past decade. Who knows?

Richard Brody likes the movie at least, which is interesting.
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PostPosted: Mon Oct 10, 2022 5:39 am    Post subject:

Been piecing together Barry Lyndon while it's free on YT. It's long and I've seen it a few times, so I've been more keen to see the best parts. Talked about it before, but it's the closest thing to an old master painting aesthetically that has or will ever be made (and it's 47 yrs old now). Kubrick accumulated a bunch of then-old cameras/lenses/etc that made some of the wide angle shots in sunlight and candlelight possible to the extent he achieved then. It's probably the most individually tailored costumed period piece ever, which probably cost a fortune, but it made it look more realistic in the absence of obvious costuming. As for the pastoral scenery, it's amazing how much of the outside world in 1974/5 still looked like it did 200 yrs prior.

Beyond that, the pacing, which can border on excruciatingly slow, fits well w/ the nature of a novel and our conceptions of how people lived in the 1700s. It's most likely a misconception that they walked as slowly as Ryan O'Neal did when calling upon the lady on the veranda, but it's logical that the money class back then didn't move fast because they didn't have to move for anyone (like Paulie). During his time, Stanley was criticized by gasbags after every one of his works, but I think the notion that Barry is boring overall is BS. It's got numerous moments of ribaldry and battle. The duel scene at the end is dope, too. I wish Barry would've shot the fancy lad instead, but alas.

You like BL, Baron? You're a cinephile, wot? This is at absolute worst a movie that cinephiles love for its movieness even if they have qualms about the story.
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PostPosted: Mon Oct 10, 2022 11:18 am    Post subject:

BL is an all-time favorite of mine and absolutely hilarious. Ryan O'Neal was (bleep) made for that role.
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PostPosted: Wed Oct 12, 2022 11:25 am    Post subject:

Cutheon wrote:
BL is an all-time favorite of mine and absolutely hilarious. Ryan O'Neal was (bleep) made for that role.


Thackeray was a cunning linguist, too. Love how florid his prose was as it was read as narration. Makes you feel like an aristocratic Miss Nancy/Lord while watching. Like Lord Bullington.
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PostPosted: Wed Oct 12, 2022 2:53 pm    Post subject:

Baron Von Humongous wrote:
jodeke wrote:
Baron Von Humongous wrote:
non-player zealot wrote:
Omar Little wrote:
I dislike him intensely as a person, but Tom cruise is an elite actor. Absolutely, unequivocally brilliant. And that’s beyond the idea that the camera loves him.


He was excellent in Eyes Wide Shut, too. He was what largely held that movie up, being the most misunderstood and one of the least appreciated Kubrick films. It has gained respect over time, tho. But watching Tom and Nicole, it felt like you were getting glimpses into their actual failing marriage at the time. Props to both of them for being willing to do that.

Both elite performances, although Cruise feels like the easier role technically while he's still brave enough to play the cuckold on screen at the height of his fame.

Kidman was overburdened with prosthetics in Destroyer (2018) but it was nice to see her trying to stretch her acting muscles in a lead performance again. I miss the Nicole of Dead Calm, To Die For, Eyes Wide Shut, and Birth.


I'm not sure. Was Bell pregnant? She was rubbing her stomach when she was sitting in her car at the climax. Did I hear a gunshot? of Destroyer? Did she commit suicide?

You know, the movie didn't stick in my head enough to remember the ending. If it's streaming, I'll fast forward to the end and double check.


I re-watched the movie. Bell died from wounds she got when her stomach was brutally stomped on during the robbery. There was no gunshot. The sound was the kids on skateboards doing tricks.
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PostPosted: Sat Oct 15, 2022 1:45 pm    Post subject:

Holloween Ends Didn't live up to the hype. It wasn't scary or gory. Actually, I was a little bored. I to 10 I give it 5.
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PostPosted: Fri Oct 21, 2022 5:52 am    Post subject:

Alex Garland's relationship status:

Ex Machina (2014): "My wife is super hot, but also strange and...kind of scary?"

Annihilation (2018): "Is my wife cheating on me?"

Men (2022): "Being divorced sucks, but I understand my wife even better now."
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PostPosted: Thu Oct 27, 2022 3:45 am    Post subject:

" Kiss me, boy, for we'll never meet again."
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PostPosted: Thu Oct 27, 2022 6:54 pm    Post subject:

What scene(s) in movies - horror or otherwise - gave/has given you nightmares?

For me I was really shaken by the home invasion sequence in Henry: Portrait of a Serial Killer, especially because when I first saw it I was around the same age as the teenage boy who had his neck snapped before his mother was raped and killed. I still occasionally (maybe once a year?) have nightmares about that scene.
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PostPosted: Fri Oct 28, 2022 8:50 pm    Post subject:

Great rewatch GOOD WILL HUNTING. Robin Williams was very good in his role.
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PostPosted: Sat Oct 29, 2022 3:17 pm    Post subject:

non-player zealot wrote:
Been piecing together Barry Lyndon while it's free on YT. It's long and I've seen it a few times, so I've been more keen to see the best parts. Talked about it before, but it's the closest thing to an old master painting aesthetically that has or will ever be made (and it's 47 yrs old now). Kubrick accumulated a bunch of then-old cameras/lenses/etc that made some of the wide angle shots in sunlight and candlelight possible to the extent he achieved then. It's probably the most individually tailored costumed period piece ever, which probably cost a fortune, but it made it look more realistic in the absence of obvious costuming. As for the pastoral scenery, it's amazing how much of the outside world in 1974/5 still looked like it did 200 yrs prior.

Beyond that, the pacing, which can border on excruciatingly slow, fits well w/ the nature of a novel and our conceptions of how people lived in the 1700s. It's most likely a misconception that they walked as slowly as Ryan O'Neal did when calling upon the lady on the veranda, but it's logical that the money class back then didn't move fast because they didn't have to move for anyone (like Paulie). During his time, Stanley was criticized by gasbags after every one of his works, but I think the notion that Barry is boring overall is BS. It's got numerous moments of ribaldry and battle. The duel scene at the end is dope, too. I wish Barry would've shot the fancy lad instead, but alas.

You like BL, Baron? You're a cinephile, wot? This is at absolute worst a movie that cinephiles love for its movieness even if they have qualms about the story.

It's a masterpiece though not my favorite Kubrick - I haven't seen it in 10+ years, though. Barry's a fun little stinker - a perfect role for O'Neal as Cut notes - while his shallow ambitions make sense in a bifurcated society based on birthright. I think I'd prefer to lie, cheat, and steal my way into the periphery of the landed aristocracy than toil my life away doing backbreaking farm labor in order to pay rent to those same aristocrats, too.

Most movie nerds seem to appreciate the pacing and the rise and fall narrative that feels full of episodic details but is deceptively straightforward. That didn't seem to be the case among critics when it was released, but cinephile opinion seems set on appreciating its story along with the gorgeous visuals.

Cutheon wrote:
BL is an all-time favorite of mine and absolutely hilarious. Ryan O'Neal was (bleep) made for that role.

It's odd to read old reviews of how it was perceived as a cold movie by critics when the movie's set in the most lush, alive environment of any Kubrick film, it's often hilarious, as you note, and there are two profoundly sad, humane moments - 1) the first battle sequence where the British front line fodder are ordered to march into enemy musket fire without firing a shot culminating in "Kiss me, my boy, for we'll never meet again" and 2) Bryan's fall from his horse through the duel into the brutal, darkly comedic epitaph.

There's such a rich admixture of tones so few movies have achieved that I'm blown away at the single tone readings - "cold" - it received for the first 25-30 years of its existence.
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PostPosted: Sat Oct 29, 2022 3:18 pm    Post subject:

TÁR: That Juilliard kid was a smarmy punk and Lydia was right to take his smug ass down.

Anyway, great movie.
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PostPosted: Sat Oct 29, 2022 4:56 pm    Post subject:

Baron Von Humongous wrote:
What scene(s) in movies - horror or otherwise - gave/has given you nightmares?

For me I was really shaken by the home invasion sequence in Henry: Portrait of a Serial Killer, especially because when I first saw it I was around the same age as the teenage boy who had his neck snapped before his mother was raped and killed. I still occasionally (maybe once a year?) have nightmares about that scene.


Forgot how old I was but the grandpa’s Achilles cut scene in pet cemetery, that was rough
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PostPosted: Sat Oct 29, 2022 11:03 pm    Post subject:

governator wrote:
Baron Von Humongous wrote:
What scene(s) in movies - horror or otherwise - gave/has given you nightmares?

For me I was really shaken by the home invasion sequence in Henry: Portrait of a Serial Killer, especially because when I first saw it I was around the same age as the teenage boy who had his neck snapped before his mother was raped and killed. I still occasionally (maybe once a year?) have nightmares about that scene.


Forgot how old I was but the grandpa’s Achilles cut scene in pet cemetery, that was rough

Good one - slashed achilles tendons always freak me out (the newly released gore-fest movie Terrifier 2 involves a disgusting split achilles).

I've seen and enjoyed the underrated '89 movie directed by Molly Lambert, but I still wish someone could one day adapt the novel just right. King's Pet Sematary has one of the most sad, horrific passages I've ever read in one of his novels, which describes in detail how the father meticulously digs up his young son's grave in the present day after the universal adoption of the use of cement lined burial vaults. It's so harrowing in part because of how coldly precise it is and I think that that detailed grave robbing scene should be the central set piece of any future Pet Sematary adaptation.
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PostPosted: Sun Oct 30, 2022 9:58 am    Post subject:

Baron Von Humongous wrote:
TÁR: That Juilliard kid was a smarmy punk and Lydia was right to take his smug ass down.

Anyway, great movie.


Absolutely. Touch less than great for me personally - a bit long and I felt the exploration of her guilt vis a vis the metronome and other devices could have been cut (although I liked the references to Weerasethakul’s Blue [her burning in her bed]) as it seemed unnecessary (felt like it was sufficiently conveyed via her reaction to Krista’s emails and her assistant’s leaving). Fantastic (and oh so funny) ending.

Im a bit torn on field overall. I liked TAR and I thought In the Bedroom was good (again, not great). Haven’t seen his other feature. But his reputation seems to far exceed his talents—he must have a lot of friends in the industry. It helps too he’s been associated with Blood Meridian—genius by proxy I guess, although he’ll never actually make it.
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PostPosted: Sun Oct 30, 2022 10:01 am    Post subject:

Also BVH - that line you quote in BL I think was the influence on PTA’s similar line for Woodcock in Phantom: “Kiss me, my girl, before I’m sick.” Clear influence visually in terms of lighting and your pointing out that line in BL just made me realize that likely influenced Phantom Thread
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PostPosted: Sun Oct 30, 2022 1:30 pm    Post subject:

Finally saw Top Gun in a plane lol, Jennifer Connelly went from voluptuous young women to a slim MILF, 3 decades and counting, man, she is a beauty
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PostPosted: Sun Oct 30, 2022 3:17 pm    Post subject:

Decision to Leave: Park makes his Vertigo and it is a pure, quirky, beautiful, sexy joy. I don't know if I've seen another movie this year besides RRR where the director is clearly having so much fun in every scene. Tang Wei is so spectacular as a Korean speaking former Chinese refugee turned hospice nurse her performance in Blackhat is retroactively improved.

A lovely touch that might slip past non-Korean speakers is the contrast in lingual formality detective Hae-joon uses with his increasingly estranged wife (pan Mal) and with his prime suspect and illicit love interest, So-rae (Tang): "So-rae shi!" (서래씨), Hae-joon shouts to the end.

ETA: following in the steps of Personal Shopper, DtoL is one of the great modern technology movies, which is so lovely to see from Park coming off of two period piece movies.
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PostPosted: Sun Oct 30, 2022 4:27 pm    Post subject:

Loved Decision to Leave - lot more than TAR.

Banshees of Insherin is my pick for movie of the year thus far
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PostPosted: Wed Nov 02, 2022 10:52 am    Post subject:

Cutheon wrote:
Baron Von Humongous wrote:
TÁR: That Juilliard kid was a smarmy punk and Lydia was right to take his smug ass down.

Anyway, great movie.


Absolutely. Touch less than great for me personally - a bit long and I felt the exploration of her guilt vis a vis the metronome and other devices could have been cut (although I liked the references to Weerasethakul’s Blue [her burning in her bed]) as it seemed unnecessary (felt like it was sufficiently conveyed via her reaction to Krista’s emails and her assistant’s leaving). Fantastic (and oh so funny) ending.

Im a bit torn on field overall. I liked TAR and I thought In the Bedroom was good (again, not great). Haven’t seen his other feature. But his reputation seems to far exceed his talents—he must have a lot of friends in the industry. It helps too he’s been associated with Blood Meridian—genius by proxy I guess, although he’ll never actually make it.

The handful of (thankfully brief) dream sequences were the weakest part of the movie for me, as well, but I thought it was well paced for its run time by front loading the talkier character building/exposition scenes before her quick downfall near the end.

My fondness and appreciation for TÁR beyond the great craft and Cate's performance is that it has the intelligence, erudition, and wit akin to classic Whit Stillman, and it is both of its moment - the technology, the "cancel culture" discourse - while also feeling timeless in its engagement with forever questions about great art, the ever evolving canon, etc. It is also a thoughtful interrogation of those forever questions rather than a harangue or a "let's feel good about ourselves for being on the right side of history" speech. How many good movies are being made about art history and being an artist these days? There's a fair amount of crap about those subjects, of course, but outside of a Julian Schnabel movie once every decade, I'm not seeing a lot of quality films about art out there.

The trailer for the upcoming movie She Said about the investigation into Weinstein's crimes played before my TÁR screening and it reminded me of the "issues movie" garbage Hollywood has been making for about a century now, and how Field's film has the balls, talent, and creativity behind it to weaponize both the biopic and Oscar bait issues picture into a mainstream potential awards contender. And at the end of the day it is a great character study with an incredible central performance. Based on his work with Spacek and Wilkinson in In the Bedroom that facility to create rounded, thorny characters performed impeccably by his actors may be Field's auteurist signature along with his ability to build tightening tension within a scene/film.

Lastly, I think the hype for Field comes from 1) his infrequent output, 2) his proximity to late career Kubrick, 3) residual appreciation for In the Bedroom , 4) fond memories of him as Nick Nightingale, and 5) TÁR being a damn good, accomplished film. I don't know that after this awards season that Field will come up much in movie nerd conversations like he's Scorsese, Nolan, or even a James Gray. But I think he's gone from interesting cinema footnote to a real director to watch who I hope makes his next movie sooner rather than 15 years from now.
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PostPosted: Wed Nov 02, 2022 11:14 am    Post subject:

Cutheon wrote:
Loved Decision to Leave - lot more than TAR.

Banshees of Insherin is my pick for movie of the year thus far

Looking forward to Banshees. It should hit my area soon.

DtoL may be my favorite so far this year. Being honest, I don't even know if I even understand the plot in the second half, but it is so swooningly romantic and Park's decisions are all so thoughtful and work so well that I was caught up in the movie's emotional spell regardless of logic. The digital "stitching" from Hae-joon surveilling So-rae sleeping on her couch to the camera rotating into her living room with Hae-joon sitting next to her to catch the falling ash from her still burning cigarette made me gasp in the theater. How creative is that? How romantic is that??

Or the shot from "inside" Hae-joon's phone as we look up at him through his iPhone screen while he changes punctuation on his text to her(-니까? -니까. 니까...) so we can see Park Hae-il's emotions in the moment without having to cut back and forth for reaction shots - it's ingenious. I know these shots and sequences and subtle uses of digital technology can't be new - everything in art invariably seems to have been done by someone somewhere before - but DtoL legitimately feels chock full of fresh filmmaking techniques while also being a classically gorgeous unrequited romance fit for David Lean.

Tang Wei won't get the nomination she deserves for this, but she narrowly edges out Cate for best actress for me so far this year. Lust, Caution has moved to the front of my movie queue.

Or to sum up:
Quote:
“It’s called Decision To Leave, T. It’s about a chick that’s so hot that she makes a detective forget how to solve crime.”

https://twitter.com/RossWBermanIV/status/1587635180642222082?cxt=HHwWhIC-8Z_ytIgsAAAA
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PostPosted: Fri Nov 04, 2022 1:59 pm    Post subject:

Quote:

💜💜ȶɦɛ աօʍǟռ ӄɨռɢ💜💜
@NickPinkerton

Used to be you could make a western on a $14.4 million dollar budget in which Morgan Freeman, riding the high plains alongside Clint Eastwood, casually inquires as to if Clint has just been jacking off since his wife's death and it would earn $159.2 million dollars.

💜💜ȶɦɛ աօʍǟռ ӄɨռɢ💜💜
@NickPinkerton

You could then follow this with a $30 million dollar film in which a small boy walks in on Kevin Costner giving anilingus to a waitress at a roadside diner, and it would net a cool $135 million dollars.

Contemporary American audiences have simply failed the movies.
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PostPosted: Fri Nov 04, 2022 2:12 pm    Post subject:

H2N to me is a who you believe and how you perceive documentary film. It's based on Biblical and actual history.

Referring to Kyrie Irving it's not a link I'd post because it's promotional and contains racial tropes. He got a 5 day suspension. After he got suspended he apologized. If he'd done that in the first presser he wouldn't have been suspended.

On the other hand perception of the documentary as a whole is essential. I personally learned a lot about Black people and their contributions.
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