Capo
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Post by Capo on Jul 24, 2006 19:11:40 GMT
Casino Martin Scorsese 1995 US Nth time; DVD The rise and fall of a high-earning gambler put in charge of a Las Vegas casino by the Mafia. Scorsese, throughout his career, has always had a knack of telling inevitably tragic, somewhat predictable narrative arcs and making them engrossing, mostly by having the right actors in all the right places; we know fine well these characters don't really have anywhere to go but a hole in the desert, but we keep watching anyway, seduced by the director's always-moving camera, a fine soundtrack, and Technicolor which would have Sirk smiling throughout. Nevertheless, it remains a rambling extension--though not expansion--of themes covered in his previous films, a kind of three-hour epic consisting only of surface exposition; the final third tries to inject some character into these anonymous faces, but it is, for the most part, like reading a novel without any dialogue, and thus lacking in life.
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Boz
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Post by Boz on Jul 25, 2006 11:05:48 GMT
Citizen Kane 1941/Welles Just finished my sorely needed 2nd viewing. Hadn't seen this in probably a couple years at least. Definitely solidified as four-star, masterpiece film. I'm usually very critical of directors who seldom use camera movement but Welles is a clear exception. His shots are so well framed, so well planned and constructed, the camera doesn't need to move. Thanks to his pioneering of the universal focus technique, Welles can set up one shot that works on three levels simultaneously and just hold it while the viewers marvel at how much there is to look at. A true cinematic genius. I got a hold of Touch of Evil not too long ago but the copy was so scratched it didn't work. I'll have to get back to that at some point as well as The Magnificent Ambersons.
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Boz
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Post by Boz on Jul 25, 2006 11:06:48 GMT
Breakfast on Pluto (2005) Why the change?
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Capo
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Post by Capo on Jul 25, 2006 13:39:58 GMT
Paris, Texas Wim Wenders 1984 France/West Germany 2nd time; DVD After being missing for four years, a long lost brother returns to his former life in search of his wife and son. A film-lover's film, in that it must be seen to be appreciated; the use of colour is extraordinary, and in many ways it may well be Robby Müller's picture. But there are other elements at work here, so elusively woven together by Wenders that the finished product is a decidedly odd affair, and if Cinema is a catalyst for emotions deep within us rarely touched upon, this is essential viewing.The Brown Bunny Vincent Gallo 2003 US/Japan/France 3rd time; DVD A motorcycle racer travels across America to meet with his girlfriend; along the way, he tries to fill in her absence. An oddly beautiful, moving exploration of the self-desctructive result of sexuality and guilt, which, stripped to its bare bones, is a road movie with an interesting closure; captivating for those who can take the director's heavy self-indulgence.
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Post by The Ghost of LLC on Jul 25, 2006 15:57:28 GMT
Breakfast on Pluto (2005) Why the change? As I was constructing my "Best of 2000s" list, I was having trouble compiling the final two choices. I realized that I had put three star films ahead of it, and it arose the decision to go seize a second viewing, to be certain. I did, and I think three stars is much more suitable. Although, this is still probably one of the 15 or 20 best films I've seen of the decade.
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Post by Michael on Jul 25, 2006 16:14:42 GMT
Paris, Texas Wim Wenders 1984 France/West Germany 2nd time; DVD After being missing for four years, a long lost brother returns to his former life in search of his wife and son. A film-lover's film, in that it must be seen to be appreciated; the use of colour is extraordinary, and in many ways it may well be Robby Müller's picture. But there are other elements at work here, so elusively woven together by Wenders that the finished product is a decidedly odd affair, and if Cinema is a catalyst for emotions deep within us rarely touched upon, this is essential viewing. Glad you gave this a rewatch, and even happier you bumped it up to 3 stars. Your last comment couldn't be more true.
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Omar
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Post by Omar on Jul 28, 2006 3:48:20 GMT
16 Blocks(2006/Richard Donner) [First Viewing] An alcoholic cop is assigned to transport a witness uptown to testify in court.Ridiculous and implausible film. Right as it's getting started it immediately jumps into it's "plot" without having much time to establish a storyline that would make us care. Clerks II(2006/Kevin Smith) [First Viewing] 12 years after the original, the employees of the QuickStop find themselves working in the fast food industry.There are plenty of moments when the spirit of the original shine through, and the cameos made by Smith's regulars are very enjoyable. But, on the other end, it manages more often than not to take a rather familiar route, and aside from the donkey sex, feel like your average finding yourself type film.
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Post by Mike Sullivan on Jul 28, 2006 4:55:55 GMT
2001:a space odyssey Directed by: Stanley Kubrick Rating: [/b]
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Boz
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Post by Boz on Jul 28, 2006 19:41:41 GMT
Miami Vice 2006/Mann A decent film, although it seemed to be directed by a Michael Mann wannabe, not the Mann himself. Very light on real character development, but Foxx and Farrel are good enough. The plot felt contrived and forced at times, but the intense shootouts here and there kept it alive. Sadly, Mr. Mann has also fallen victim to the recent plague of freehand camera use throughout 75% of this movie. I feel like every movie I've seen so far this year, save for maybe A Scanner Darkly, has overused the freehand method, a trend that was perhaps set off by Steven Soderbergh with the release of Traffic in 2000. We may be looking at our first defining characteristic of new millenium cinema. Overall, Miami Vice, despite its many flaws, and the seeming absence of any real Michael Mann flair, is still a solid shoot-em-up picture, and one of the better films of the year so far.
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Post by Vercetti on Jul 28, 2006 20:02:49 GMT
Michael Mann wannabe? Odd.
Sadly, Mr. Mann has also fallen victim to the recent plague of freehand camera use throughout 75% of this movie.
Did you see Collateral? Most of the film is filmed with the Viper FilmStream camera. Look close at the seemingly steady scenes. You can notice slight zooms and such.
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Boz
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Post by Boz on Jul 28, 2006 20:11:03 GMT
I've seen Collateral 3 or 4 times, although it's been a while. I somewhat remember what you're talking about.
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Post by The Ghost of LLC on Jul 29, 2006 2:13:58 GMT
The Conversation (1974) Director: Francis Ford Coppola A master of surveillence, private investigator brings his line of work into question when the possibility of a man and woman's lives being put at stake results from one of his assignments.Well, hot damn. Wonderfully constructed... A beautiful piece of character development and study. This is probably one of the best films that studies insanities toll on a protaganist, save Taxi Driver. I've found myself in something of an interesting position; I'm seriously taking into consideration, the possibility that this is FFC's masterpiece, and not the much-acclaimed The Godfather Part II. The two come very close for me, and I simply cannot determine which is better in my eyes. Not yet. Once Upon a Time in America (1984) Director: Sergio Leone Thirty-five years after ratting on his friends, and being ran out of town by the mob, an ex-bootlegger returns to his old Jewish neighborhood in New York City.Bloody fantastic. It had been nearly a year since my last viewing, which is ridiculously inexcusable; so in the past 24 hours, I've watched this film twice. This film brings me to a very serine mood. Emotionally, it does a very unique job on me. The hallucination theories fit, and I've come acustom to the film being a dream. The flashbacks seem very vivid but a bit exagerated and self-indulgent, as do most old memories when looked back on by a single person, and the 1960s segments seem completely bizarre and hazy. The new plotlines that Noodles faces in these segments are completely warped and resemble an intoxicated dream; which is the best comparison I can offer to anyone who has at least fallen asleep drunk. I feel compelled to write a review for the site when I get around to it.
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Post by Mike Sullivan on Jul 29, 2006 3:48:39 GMT
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Post by Vercetti on Jul 29, 2006 4:54:26 GMT
Miami Vice - (Michael Mann;2006;USA) Two Miami Vice detectives are put under assignment to infiltrate a cartel.Where do I start? Michael Mann has done it again with some of his best visuals. The music is again excellent aside the Jay-Z/Linkin Park opening. In my local paper there was a photo of this film with an entire article describing the Buddy Films such as Bad Boys and such. Forget that. Mann brings us into one of the most gritty depictions of the drug trade, focusing on reality even in the most violent scenes as well as the emotions of the two lead characters. There's no corny Buddy moments. Even some of the cliche sounding dialogue flaunted in the trailer are less emphasized pieces of dialogue that blend in. The action scenes are excellent and made me feel as if I was there. It's not overdone, but genuinely thrilling. Michael Mann is perfectly summed as professional. Expect a review tomorrow. By the way Mista, I don't know what the hell you mean by "fallen victim to." Michael Mann hasn't fallen into anything. It's purely his style.
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Boz
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Post by Boz on Jul 29, 2006 6:06:18 GMT
(Double-replying.)
It's a style he's learned, that he's picked up recently.
If you look at his two best films, in my opinion, Heat and Thief, you don't see nearly as much of that, none in Thief. It's a style I wished he hadn't faded into.
Don't get me wrong, I thought Collateral was great. It just seemed really distracting here.
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Post by Vercetti on Jul 29, 2006 6:50:40 GMT
I consider Thief his worst and Collateral his best. As for Heat, it's great but come on, I can't fathom someone taking Heat's visuals over Collateral and Miami Vice.
Thief has some great visuals, but a lot of it is ruined by it's poor budget, especially the end shootout. I don't think anything is learned by Mann. He's simply working with materials that gives him more versatility, to me, on a par with Hendrix diversifying his musical sound with the availability of new stompboxes and pedals. Mann is simply more liberated with his budget and technology. Collateral and Miami Vice have a dimension his past films lack. Ali also features some great visuals, which is also filmed the same way.
There's one scene I recall in particular, while Foxx is negotiating a drug deal, Farrell looks out of the window at the distant sea in a seemingly split-second daydream. There are many visuals that are far superior in my opinion to his past work.
Mann's style is evolving.
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Boz
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Post by Boz on Jul 29, 2006 6:55:59 GMT
I strongly disagree. I watch these newer films and I just wish he would give me one, well-framed, still, nice shot for 10 seconds. But I never fucking get it. Showing off increased technical prowess, to me, is not creative evolution. Sometimes it's better to not do anything fancy.
I'll take Heat's visuals over Miami Vice's visuals anyday.
It's like the Godfather vs. The Bourne Identity.
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Post by Vercetti on Jul 29, 2006 7:09:16 GMT
You're making it sound like Man on Fire or Domino. Even though it isn't his best film I still think Miami Vice has some of his best moments when it comes to cinematography. Sometimes it's hard to believe he's actually filming it without CGI. Unfortunately, the CGI use in Heat turns me off somewhat, especially since it's obvious CGI use at times, such as the balcony shot with Neil and Eady. I still think it's great, but it's a more restricted Mann to me.
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Omar
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Post by Omar on Jul 29, 2006 14:43:16 GMT
Miami Vice(2006/Michael Mann) [First Viewing] Two Miami cops are recruited to go under cover in an international drug operation.Mann's most beautiful film. I'm glad that Mann chose a different route than merely paying homage to his original television show, and instead made something deeper. The action is taut, though never overbearing. This is Mann's version of a Hollywood blockbuster; a film with a lot of potential to go wrong, but luckily is being controlled by a master of his craft. The final moments, mixed with the cinematography and beautiful score, is the most devastatingly powerful sequence in any Mann film.
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