They all seem the same when you're drunk.
But for real, Scott Pilgrim was what worked for me. But everyone's different.
They all seem the same when you're drunk.
But for real, Scott Pilgrim was what worked for me. But everyone's different.
Soooo, based on its VERY bad reviews and huge number of credited directors, Movie 43 has to be a shoe-in for next year's Worst Director Razzie, no?
Definitely. And one of them, brill, has been nominated before. Rather is there too. Elizabeth banks will get swept in. All of them. Like when an entire ensemble is nominated in an acting category together.Originally Posted by Juno's Ponytail
Eternal Sunshine of the Spotless Mind
I talked to a friend yesterday who's a student at AFI and I asked him what his favorite movie of 2012 was. He said The Impossible. When he asked me what my favorite was I said Holy Motors and he seemed baffled saying he only saw that short film leading up to it with that little leprechaun running in the sewers and he said he refused to see the rest of the movie.
I'm with CocoActual Items
In the Year 2000
As more and more people start having sex with robots, it will become increasingly embarrassing to buy a can of WD-40.
This is a more of a disturbing reflection on admission standard/criteria of AFI. Lol.
That's awful Jeff. I hope your friend gets better.
Oh dear, Jeff. Sad.
The Haunting in Connecticut 2: The Ghosts of Georgia.....worst movie title ever?
Anyhow, saw Mama with my mom tonight and we had an amazing time. The film does have its moments.
I am now afraid for humanity.
Damn. I managed to avoid the whole "twist" in the Catfish film, but then the whole Manti Te'o and Andersson H thing happened and I know exactly what the film is about. Oh well, now that I know, it sound pretty dull and I don't really care to see it.
I'm with CocoActual Items
In the Year 2000
As more and more people start having sex with robots, it will become increasingly embarrassing to buy a can of WD-40.
The "twist" comes reallllly early in the film. So it's not really reliant on that. It's an interesting study on the repercussions of being lied to at such a high level.
Will Oscar have Riva Fever?
Mes petites amoureuses (dir. Jean Eustache. 1974) was absolutely stunning and just a beautiful coming-of-age story. The film is less of a tight plot-driven narrative and more of a meandering series of episodes - gorgeously shot and conveying a genuine feeling of life. I thought that it was a sublime meditation on what it is to be a child, more akin to films like Davies' The Long Day Closes or Pialat's Naked Childhood. In this film, Eustache was also able to reflect on how we transition between environments - from the sprawl and leisurely pace of the country to the crampedness and haste of city life. The main character's treatment of girls made me uncomfortable at first, but the film handled that delicate subject well. At least for me, the datedness of how the female characters were presented seemed to stem more from the boy's perspective rather than as the statement of the film itself. This is Eustache's second (and last) film and, although shorter than his epic masterwork The Mother and the Whore, this one is just as beaming with life, love and tenderness. I hope more people get to see this. It is available on YouTube after all!
Under the Bridges (dir. Helmut Kautner, 1945) was one of the last films made in Nazi Germany and is quite the testament that artistic genius can flourish in the harshest of environments. I found it really surprising that there were no traces of Nazism in here, that it could be viewed as a very effective piece of escapism. But the film's themes are less escapist and more contemplative that I viewed the absence of political propaganda to be a rejection of the policies of the Third Reich. But enough about that, let us talk about actressing! Hannelore Schroth gives such a natural performance. I did not know her before but now I absolutely love her! And did I mention the gorgeous cinematography - combining the smooth movements of Ophüls's camera with the black-and-white chiaroscuro visual flair of The Night of the Hunter. Just lovely! Overall, this reminded me of Jean Vigo's L'Atalante, a film that I was not a great fan of but a film that I now want to revisit.
Speaking of actressing (and actoring, for that matter), Masaki Kobayashi's Black River (1957) may have its share of faults here and there but it was such a magnificent showcase of performances. The absolute standout here was Tatsuya Nakadai, who played the ruthless gangster Killer Joe (). Although it is easy to dismiss this as liberal posturing from Kobayashi, this film definitely resonated with me in its potent examination of the social ills and corruption around US military bases in Japan. The same phenomenon happened in the Philippines after the Second World War, from stories that I have read and heard of. Although brutal with its honesty and intense with its realism, this film is more than just a literal look at post-war Japan. It works very well as a metaphor for the difficulties that the archipelago faced in its transition, and also for the universal feeling we get from the push-pull dynamic between security and uncertainty.
Finally, I watched Shades of Fern (1984) from revered AD auteur Frantisek Vlácil (yet another cinematic metaphor!). The cinematography expectedly was wonderful - I was impressed with my first viewing of a Vlácil film in colour (I have only seen Marketa Lazarova, The Devil's Trap and Valley of the Bees). The lone user review in IMDb (lol) states that this could be called "Hansel and Hansel", and I could not disagree. There were definitely some homoerotic underpinnings (and tension) in here but I admire the fact it was never realized, thus, maintaining the film's overall mystery. Oh, and I just love how the film seamlessly weaves in vignettes of fantasies, dreams and memories to craft a memorable allegory on how we relate to each other and to nature (some even argue that the film is an indictment of communism). And that ending!
"I'm Easy" in Nashville. Always gets me.
My favourite scene ever is the one in which Keith Carradine's character performs 'I'm Easy' at a bar where all the woman he's had prior trysts with are in attendance; Lily Tomlin's acting was tremendous in that scene.
I rewatched that a few months ago and now I just want to watch it again.
One of my three favorite comedies of all-time, probably.I'm finally gonna watch Some Like It Hot this weekend!
I am going to see Swept Away.
The Madonna version?!
Posting Permissions
