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Post by Michael on Aug 15, 2006 23:21:41 GMT
StalkerRich, spiritual and contemplative journey through the fantastic inner world of human hope, desire, disillusions and beliefs. The imagery is absolutely stunning, and the score is beautiful. "The Zone" sometimes appears to be not real, but rather a symbol of the inner cosmos of the three main characters. Tarkovsky abolishes the difference between inner and outer world, and also stretches his cinematic boundaries by switching from monologues to dialogues, from black/white to color, from close-ups to totals, and vice-versa. To me, this film is the pure definition of cinema as art.
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Post by Vercetti on Aug 16, 2006 2:05:36 GMT
Apocalypse Now (Original Cut) - (Francis Ford Coppola;1979;USA) A dillusioned captain is sent on a mission to assassinate a renegade Colonel.A film not about Vietnam, but about the effects of war in general. Coppola's final masterpiece is a haunting depiction of the degradation of sanity. Coppola brings us an environment that seems to stand on it's own when compared to other war films. It doesn't feel like reality, but an almost brooding nightmare that ultimately isn't resolved. Everything works together from the vivid cinematography, powerful performances, and fantastic direction to create a film about a detachment far away from normal society. I watched this three times over the last few days. Collateral - (Michael Mann;2004;USA) A contract killer and a taxi driver's lives are forever changed in the course of one night.Michael Mann redefines the Neo-Noir with one of the best films of the last few years. Mann's use of DV enhance the cinematography, giving L.A. real depth and character rather then functioning as a mere background for the action. Mann's perfectionist character development shows everywhere from some of the most powerful moments to the little moments some might disregard. Tom Cruise gives his best performance as the sociopathic killer, with Foxx giving a very good performance as Max. This film bleeds style and substance like most films these days lack. Ultimately this death filled thriller isn't about a twist, but about living.
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Post by The Ghost of LLC on Aug 16, 2006 5:56:34 GMT
Network 1976/Lumet My 2nd Lumet after Dog Day Afternoon. Found this one much more impressive. Probably one of the most simply made films I've ever seen, shot with little extravagance, and the entire story is just dialogue, but man, what dialogue it is. Writer Paddy Chayefsky crafts several incredibly defined characters and all are fufilled with amazing performances from nearly the entire cast. Works both as a satirical dark comedy and as a dramatic piece. Never boring or over-sentimental, or too over the top. Lumet sustains graceful balance throughout. I'm interested in seeing more of his work. I loved it, but did you sense it getting a bit dramatic rather quickly in scenes of high emotional context? I'm not sure if it was intended as such, but I read it as sort of a stab at the over-dramatic value of television.
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Boz
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Post by Boz on Aug 16, 2006 10:21:39 GMT
I don't know, I didn't really get any of that while I was watching. That might be true now that you mention it, although I got the feeling as though the Peter Finch monologues were the only parts that Lumet meant to be satirical.
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Boz
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Post by Boz on Aug 17, 2006 2:56:54 GMT
A History of Violence 2005/Cronenberg My first Cronenberg. Visually worthwhile, and although Cronenberg succeeds in estabishing an interesting premise early, the story just seemed to proceed to flip flop back and forth between predictability and schmaltz from there on out. A couple of the side plot lines served no real purpose either. Overall, the performances were the saving grace. Definitely still interested in seeing some more Cronenberg though.
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Capo
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Post by Capo on Aug 17, 2006 14:05:06 GMT
The Fly David Cronenberg 1986 UK / Canada / US 1st time; DVD A hermit scientist experimenting in the teleportation of living objects falls in love with a journalist, but finds he has somehow fused himself with an insect during one of his tests. Heartbreaking film which wastes no time at all in introducing its characters, developing them, and ultimately destroying them; it may or may not be about AIDS, but any social comment found by critics is besides the point: this is a beautifully crafted, wonderfully executed film with a fine balance between horror, romance and humour. Goldblum is fantastic.Videodrome David Cronenberg 1982 Canada / US 2nd time; DVD An operator of a cable TV programme responsible for graphic violence and softcore porn happens upon a mysterious show which takes over the mind; then the body… Fast-moving thriller with complex visuals: what we are watching is often somebody watching somebody or something else, and the introduction to Deborah Harry's character is brilliant, with the most simple of pans to a live TV set-up, behind which she sits, and on which she is shown. Deeply rich with intertextuality throughout, Brian O'Blivion, who never appears on TV ("except on TV"), warns our protagonist that hallucinations could possibly take over his whole concept of reality; and so the second half of the film degenerates into an extended fantasy of dreams within dreams and frames within frames, before it explodes upon itself. Excellent stuff. ;D
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Boz
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Post by Boz on Aug 18, 2006 2:42:07 GMT
Lucky Star 2002/Mann I had remembered reading about this a while back and decided to look it up on youtube today. This is a 2 1/2 minute preview for a fake film, "Lucky Star," which tells the story of a character named Mr H., played by Benicio Del Toro, who is seemingly always lucky. There is no director credited, but I did a little research and found to my surprise that Mr. Michael Mann himself directed. It's tough to tell on the small screen, but it looks like it might be some early experimentation with DV. And this little short has all the trademarks of Mann's work too; stylish lighting, atmospheric music, fast cars, etc. The interesting thing about the whole thing is that it's actually an advertisement for Mercedes Benz. A silver Benz features in the preview, although it is highlighted in no way that would indicate it's an advertisement of any kind. This was shown in theaters and on television in Britain, and many people thought it was a real film. It's interesting to see what Mann and Del Toro were able to do with the simple premise. If anyone's interested in seeing this, go to youtube.com and search Lucky Star Benicio.
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Capo
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Post by Capo on Aug 18, 2006 19:44:58 GMT
I remember that 'commercial' fondly, and at the time I was absolutely wetting my pants about seeing it. It broke my heart when I realised it wasn't actually going to be a film. From what I remember, it was DV, or at least looks it; most of it is shot at night, and it has a graint quality about it. I had no idea Mann directed it. Thanks for that.
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Capo
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Post by Capo on Aug 18, 2006 20:07:16 GMT
La Chinoise Jean-Luc Godard 1967 France 1st time; DVD A group of Parisian students discuss Art, Marxism-Leninism, and play with the idea of a Maoist revolt. Obscure, often inaccessible work, furiously political but fascinating all the same, because Godard never neglects his art. Engrossing, extended lectures substitute narrative, with the director, as ever, constantly making apparent of how artificial his medium is: while conversations take place between his young students, he cuts to shots of clapper boards from the beginning of the actual take. And there's a moment a la Le mépris' opening credits, early on, when Jean-Pierre Léaud talks to someone off camera, as if in an interview; the questions are hardly audible, and not subtitled, so his answers form an extended monologue. The theatrical barriers of the scene are destroyed when he mentions the camera and crew in front of him - and we cut to a reverse shot of the camera filming Léaud...or, with recurring questions throughout regarding the reflection of reality, is he filming us?
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Capo
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Post by Capo on Aug 19, 2006 14:59:42 GMT
Détective Jean-Luc Godard 1985 France 1st time; DVD The lives of several people intertwine in a Parisian hotel, the house detective, a boxing promoter, an assassin and his adulterous wife among them. What appears to be clumsy is deceptive: Godard films scenes as if the camera was simply set up to face anywhere (it opens with an unflinching shot from a surveillance cam), with characters sometimes filling the frame but also often walking out of it, so that they become a sort of dispensable prop caught in an otherwise void space; the result is fragmented, difficult and claustrophobic. Visual gags are tremendous, including the boxer who is constantly shadow-sparring in the background of shots - even when on a bed with a beautiful, naked woman, all he can do is gently punch her loose breasts as if they were punch bags.
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Omar
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Post by Omar on Aug 20, 2006 4:59:09 GMT
Snakes On a Plane(2006/David R. Ellis) [First Viewing] A criminal has hundreds of poisonousness snakes put on a plane to kill a witness that will testify against him.Probably the stupidest thing I've ever seen, but at least the filmmakers and cast were in on the joke. Seriously, after the ridiculous opening scene and Samuel L. Jackson's abrupt entrance, you know this film is meant as a joke. No thrills, just laughter. There's even a fake music video. A film that is only meant to be seen in the cinema. And you've gotta love the snake-vision. I'm on to Kurosawa's filmography next.
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Capo
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Post by Capo on Aug 20, 2006 20:27:18 GMT
13 (Tzameti) Géla Babluani 2005 France/Georgia 1st time; DVD A young man in a dead-end job follows up on a letter he finds to his current employer; he ends up way in over his head. Impressive concept delivered without much conviction; existential to the point of an utter absence of psychology in its protagonist, so that if we are interested in the situation he has found himself in, we care little for the character himself.Saboteur Alfred Hitchcock 1942 US 1st time; TV A planes factory worker is framed for a fire in which his best friend was killed; he assumes the identity of the real villain, and tries to expose him, with the cops on his back. Overlong and lacking the attraction of stars, as well as distracting in its patriotic overtones, though blessed with well-handled set-pieces: an encounter between its innocent hero, his suspecting romance-to-be, and a travelling circus; the tense, seemingly deadend situation at a ball; and the amazing climax atop the Statue of Liberty.Torn Curtain Alfred Hitchcock 1966 US 1st time; VHS An American physicist 'defects' to East Berlin with the intention of double-playing the enemy and taking back atomic secrets to the West. Generally overlooked spy hokum, essential viewing due to the dazzling use of colour and the succession of set-pieces throughout: the elongated struggle between Newman and a German spy in a farm barn, culminating in an overhead shot of the latter dying with his head in an oven; the introduction of Newman's counterpart and quarry, with the editing making full use of the frame - Newman is shot in close-up, while the other is seen only in the distance, in a rather empty-looking lecture theatre; an unconventionally tense bus ride from Liepzig to Berlin; and a frantic finish in a crowded theatre hall, the exit from which echoes Cary Grant's escape from the auction in North by Northwest.Suspicion Alfred Hitchcock 1941 US 1st time; DVD A well-to-do woman marries a charming, habitual gambler, and comes to suspect he intends to kill her, to inherit insurance and pay off debts. Rambling and clunky if certainly watchable thriller; there is something minor about Hithcock's domestic thrillers, and if this is well-constructed as regards a mountingly suspenseful narrative, it lacks the visual touch of his other work.
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Boz
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Post by Boz on Aug 20, 2006 22:32:25 GMT
Meet the Fockers (2004/Roach)Decent enough, although not as funny as the original.
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Omar
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Post by Omar on Aug 21, 2006 3:39:24 GMT
Charlie and the Chocolate Factory(2005/Tim Burton) [First Viewing] A poor boy gets a rare invitation into an exclusive chocolate factory controlled by a mad man.I hate to say this, but if I had never seen the original so many times, than I probably would have liked this a lot more. Burton added an interesting look and mood to the film, but overall, I think in pails in comparison. And even though Depp does a marvelous job as Willy Wonka, I think Gene Wilder will always be better in the role.
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jrod
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Post by jrod on Aug 21, 2006 6:01:19 GMT
I dont understand why Torn Curtain is so lowly regarded among Hitchcocks work. Its obviously not one of his top five or so, but I thought it was very good. Glad you liked it Capo.
I agree with you on Sabetour in pretty much everything you said. One of Hitchcocks ideas (SPOILER) was that there should be almost nothing after the climax of the movie. I couldnt disagree more. Sabetour and North by Northwest end so abruptly. In Vertigo it worked in my opinion but not in his other works where this technique was used.
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Capo
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Post by Capo on Aug 22, 2006 19:41:43 GMT
Mr. & Mrs. Smith Alfred Hitchcock 1941 US 1st time; TV A happily married couple find that their marriage is illegitimate, and must rediscover their love for one another. Short enough to be watchable, slight enough to be missable, the character motivations are a little distractingly, unnecessarily ambiguous, and the writing could have been a lot sharper.
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Omar
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Post by Omar on Aug 23, 2006 3:51:31 GMT
Tora no o wo fumu otokotachi ( The Men Who Tread on the Tiger's Tail) (1945/Akira Kurosawa) [First Viewing] A lord hiding from his brother disguises himself and his followers as monks as they travel to safety.Despite the fact that there isn't much going on and the film lacks set pieces, this is still mildly entertaining. The final shot is beautiful.
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Post by Michael on Aug 23, 2006 5:53:26 GMT
2046This is a film in which all its elements form together beautifully to create a wonderful exploration of time, memories, and love. Fantastic film, everyone who loves cinema should see it.
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