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Post by Valenti on Oct 8, 2006 7:23:52 GMT
Jesus...
I'll enter the cinema with cautious opitimism...I don't expect to cry, though.
The only movie I've ever cried at was Punch Drunk Love.
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Boz
Published writer
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Post by Boz on Oct 8, 2006 8:51:28 GMT
Forrest Gump. Dead Man Walking, The Shawshank Redemption, United 93 (almost), Elephant Man (almost), and one other one im forgetting.
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Omar
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Post by Omar on Oct 8, 2006 16:36:45 GMT
Wow, what a glowing review for "Children of Men". I've got to wait a couple more months for it, but now I can't wait.
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Post by Mike Sullivan on Oct 8, 2006 17:58:32 GMT
Damn, I kind of want to re-watch it now. I'm feeling like I went in expecting too much or something. Maybe that would be wise. I didn't have trouble understanding the plot. The twists and turns weren't so mind blowing as to loose me. Another look may help out the rating. I don't think it should be considered as a "guilty pleasure" at any rate. I personally feel that it is amoung Scorsese's best.
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Omar
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Post by Omar on Oct 8, 2006 18:30:22 GMT
I walked away with the impression that it was Scorsese's "Kill Bill", in a way.
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Post by Valenti on Oct 8, 2006 21:54:57 GMT
What's Tarantino been doing nowadays?
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Boz
Published writer
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Post by Boz on Oct 8, 2006 22:03:50 GMT
Making one half of Grind House with Robert Rodriguez. I'm more looking forward to Inglorious Bastards in a year or two.
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Capo
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Post by Capo on Oct 9, 2006 2:19:02 GMT
Forrest Gump. Dead Man Walking, The Shawshank Redemption, United 93 (almost), Elephant Man (almost), and one other one im forgetting. Oh, I've cried at other films too, but not in the cinema. I once felt strings being tugged whilst watching Crash (2004), but it was such a cheap scene, ruined moments later. Never mind.
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Post by Mike Sullivan on Oct 9, 2006 3:38:40 GMT
I walked away with the impression that it was Scorsese's "Kill Bill", in a way. You mean all style, no real substance? Just kidding. I was truly impressed with "The Departed".
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Omar
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Post by Omar on Oct 9, 2006 3:51:26 GMT
You mean all style, no real substance? Just kidding. Well, in some ways, yes. But then again, what defines substance?
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Post by Valenti on Oct 9, 2006 6:04:30 GMT
SPOILERS...SORT OF
Capo, I reckon you're talking about the 'shooting' of the locksmith's daughter, correct? That also had me about to sob.
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Capo
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Post by Capo on Oct 9, 2006 13:59:09 GMT
Yeah.
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Omar
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Post by Omar on Oct 9, 2006 15:40:17 GMT
The Man Who Wasn't There(2001/Joel Coen, Ethan Coen) [Second Viewing] A small town barber blackmails his wife's lover to invest in dry cleaning.Containing some of the best cinematography that has ever graced the screen, and a scene-stealing performance by Tony Shaloub, this Coen brother's film oozes with noir aspects and existentialism. The wonderful narration by Billy Bob Thorton (in a great subdued performance) reveals the story of a man with no purpose, a man who just "cuts the hair". And of course, the Coen's sense of humor appears in the most unlikeliest of places. Everything feels right in this film.
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Boz
Published writer
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Post by Boz on Oct 9, 2006 19:49:44 GMT
Definitely agreed in all you said. This is one of those few films where I can honestly say I don't feel like there's a shot out of place. Everything has been constructed perfectly. And the cinematography is great.
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Boz
Published writer
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Post by Boz on Oct 10, 2006 1:33:42 GMT
Reassemblage (1982/Trinh)An interesting experimental documentary, where the subjects of the film (the people of Senegal), are just as important to the overall mix as the filmmakers themselves. Not only a commentary on documentary filmmaking, but also just on the way we as humans look at different cultures and strange objects. This film, having been directed by a woman, also seems to have some sort of message about the female presence in the Senegal culture, although this was a little bit unclear. Technically, Trinh's rapid fire editing was enjoyable, but her choices in audio mixing seemed a bit odd at times.
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Capo
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Post by Capo on Oct 10, 2006 17:57:02 GMT
What's Eating Gilbert Grape Lasse Hallström 1993 US 1st time; DVD A small-town grocery store assistant works to provide for his obese mother while caring for his disabled brother. Hallström is very good at what he does: he takes a small, close-knit community and tells a story concentrating on one of its inhabitants - this one happens to be Johnny Depp, whose minimalist acting provides much room for empathy and emotional evocation. If the entire premise is contrived and unconvincing, Peter Hedges' script is subtle enough to be watchable, and DiCaprio's performance as Depp's brother is brilliant.Un chien andalou An Andalusian Dog Luis Buñuel 1928 France 3rd time; big screen Dead donkeys on pianos, a girl's eyeball being sliced open and a woman being knocked over. Buñuel and Dalí's famous short is full of independently memorable images (the sliced eye still shocks today), and shows much influence in the Quay Brothers' work and that of Lynch: editing shows connections, some vague and some explicit, between otherwise unconnected images.Mothlight Stan Brakhage 1963 US 1st time; big screen A strip of celluloid with mothwings and foliage stuck on, which can be viewed as a strip, or shown as a film, which, when played at 24 frames per second, runs for four minutes. Difficult to "analyse" as a piece of Cinema, because Brakhage removes the necessity of a camera to make a film, instead concentrating on the material itself. It's lacking in a soundtrack, and so, when seen in the complete silence of a darkened theatre, the abstract images formed from this unique form of film take on an almost profound weight. It certainly is essential "viewing" for those preoccupied with Film as Film, and other variations of interest.Berlin Horse Malcolm LeGrice 1970 UK 1st time; big screen Old stock footage of a horse circling its owner is repeated to a Brian Eno score; backwards, sped-up, slowed down, and in colour. Remarkable stuff, an original, very experimental short film which needed no cinematographer, since it uses film which LeGrice had already found, and re-edits to haunting, surreal effect, finding a new context in which these repeated circular movements can live.Bronenosets Potyomkin Battleship Potemkin Sergei Eisenstein 1925 USSR 2nd time; big screen A 25-year anniversary celebration of the mutiny on a Russian battleship, which was a vital turning point in the 1905 revolution. Best to approach this with a conscious eye for visual construction and meaning by means of editing; an excessive film which accumulates its power through the cuts between en masse movement within one frame, and close-ups of individuals caught up in the chaos. It features some wonderfully dense shots, of crowds and crowds of people, descending stairs, storming a pier, rebelling on a ship; Herzog must have loved it.
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Marty
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Post by Marty on Oct 10, 2006 18:07:47 GMT
Mothlight Stan Brakhage 1963 US 1st time; big screen A strip of celluloid with mothwings and foliage stuck on, which can be viewed as a strip, or shown as a film, which, when played at 24 frames per second, runs for four minutes. Difficult to "analyse" as a piece of Cinema, because Brakhage removes the necessity of a camera to make a film, instead concentrating on the material itself. It's lacking in a soundtrack, and so, when seen in the complete silence of a darkened theatre, the abstract images formed from this unique form of film take on an almost profound weight. It certainly is essential "viewing" for those preoccupied with Film as Film, and other variations of interest. Mothlight is an interesting piece of filmic art, whether it's cinema is questionable I feel, but that's only based upon my tastes. Never had the opportunity to see it screened large though. I know it's seen by many "titles" artists as quite inspirational. British director John Maybury always talks about it as an influence.
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Capo
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Post by Capo on Oct 10, 2006 18:12:29 GMT
It reminded my very much of some of Norman McLaren's animation.
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Post by Valenti on Oct 11, 2006 22:00:57 GMT
It's one of those few movies that is as good or better than the source material; in this case a comic book.
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