Movie Thread re: Movies, Re-retitled :neutral:

Health insurance rip off lying FDA big bankers buying
Fake computer crashes dining
Cloning while they're multiplying
Fashion shoots with Beck and Hanson
Courtney Love, and Marilyn Manson
You're all fakes
Run to your mansions
Come around
We'll kick your ass in

Postby Mesh » Wed Jun 15, 2011 10:11 am

I often feel like I would derail those, so feel free to start up your own off-topic shit here.

Been reading:

Image

The long sections in which she goes Real Talk on La Notte, La Dolce Vita, and Last Year at Marienbad easily pushed me back into the meh column on La Notte. Need to see Mariendbad again and whether I care a lot about it this time.
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Postby razzle » Wed Jun 15, 2011 10:12 am

so this will be pretty much the same thing as the blu ray thread
At least we have Hamilton
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Postby swag motherfucker » Wed Jun 15, 2011 10:13 am



this is mixtape.
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Postby The Dirty Turtle » Wed Jun 15, 2011 10:20 am

you cant just make a new thread, there are rules
before you make a thread, always first go to a similar thread and ask them about your thread idea, be like, should i make thread x,y,z
see what they say, you might be surprised by what you find out
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Postby sevenarts » Wed Jun 15, 2011 10:21 am

La Notte is great. Not my favorite Antonioni or even my favorite from that loose trilogy (L'eclisse is a masterpiece and one of my favorite movies) but La Notte is pretty much a perfect realization of alienation and disconnection. And I love all the shadows and silhouettes.

Kael can be entertaining, but I'd never let her push me one way or the other on any movie. I think I've read that essay but I forget, what does she say about those movies?
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Postby Montague Terrace » Wed Jun 15, 2011 10:31 am

I always dreamed of making a buddy cop movie starring Jeff Goldblum, William Shatner, and Christopher Walken as partners
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Postby Mesh » Wed Jun 15, 2011 10:34 am

sevenarts wrote:Kael can be entertaining, but I'd never let her push me one way or the other on any movie. I think I've read that essay but I forget, what does she say about those movies?


I let her push me when her writing rings true, as it mostly does in that essay. The paraphrased upshot is like that Americans see the beauty and decadence of Europe in Antonioni et al. and kneejerk to thinking that such detached, alienated Europeans (as in La Notte, etc.) must be detached/alienated in some knowing and glamorous and interesting way. It's not far from how Americans kind of assume Simon Cowell is a solid judge of singing talent because he's from the UK.

Her rip on Last Year at Marienbad takes a different angle: like that if, as Resnais said, Marienbad was an attempt to get at the sort of interior thoughts of people, that he [Renais] chose some pretty damn dull-thinking people to go after and that it's a pretty damn exterior looking movie for one with opposite intentions.

She loved L'Avventura though.
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Postby razzle » Wed Jun 15, 2011 10:40 am

let's talk about the hugh jackman robot boxing movie
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Postby Mesh » Wed Jun 15, 2011 10:41 am

razzle wrote:let's talk about the hugh jackman robot boxing movie


Trailer made me laugh.
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Postby sevenarts » Wed Jun 15, 2011 10:48 am

Yeah, see, that's the kind of thing that bothers me about me Kael: she assumes that audiences must be thinking that something like La Notte is "glamorous" because it's European, and she rips the movie based on her assumptions about how its fans are receiving it. Armond White does this kind of shit (in an admittedly much less sophisticated way) all the time, and people rightfully call him out for it, but the tendency originated with Kael. I like La Notte because it so evocatively captures the emotions at the heart of an increasingly distant relationship, and it does in an aesthetically compelling way. It has nothing to do with American notions of European glamor.

As for Marienbad, I can understand why that film's easily dismissed. Resnais and Robbe-Grillet are pursuing a specific kind of circular thought process, exploring memory and fantasy and uncertainty, and it can be as maddening as it is intriguing. I find it hypnotic, but I certainly get that it's not for everyone. Resnais' Muriel and Je t'aime, je t'aime are his masterpieces as far as I'm concerned.
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Postby Mesh » Wed Jun 15, 2011 10:56 am

sevenarts wrote:Yeah, see, that's the kind of thing that bothers me about me Kael: she assumes that audiences must be thinking that something like La Notte is "glamorous" because it's European, and she rips the movie based on her assumptions about how its fans are receiving it. Armond White does this kind of shit (in an admittedly much less sophisticated way) all the time, and people rightfully call him out for it, but the tendency originated with Kael. I like La Notte because it so evocatively captures the emotions at the heart of an increasingly distant relationship, and it does in an aesthetically compelling way. It has nothing to do with American notions of European glamor.


I respond more to the pictures than to the relationships in Antonioni. But anyway, here's one of many things Kael actually says:

Here we are in an age of increasing mechanization and dehumanization -- with the trends horribly the same under both capitalism or socialism, with no relief in sight, and people go to Fellini's and Antonioni's Marxist-Catholic-Hollywood glamour parades and come away carrying the banner that fornication is the evil of our times! And whom do these directors pick to symbolize the victims of materialism: the artists -- just the ones who escape into freedom. I'll admit that I once knew an apparently bored artist, a famous composer, born wealthy, who said to me, "The days are always two hours too long for me." I wanted to hit him with a poker because the days are always too short for me and I am always trying to prolong them by staying up half the night. But I decided that he was using his boredom as a come-on -- a lure so that people would want to fascinate him, to awaken him from his sleeping beauty trance.


There's also a bit about what relatable portrait of emptiness is there, for the viewer, in watching a bunch of rich people fail to enjoy a party. That's a tension I feel a lot in watching this stuff.
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Postby pinkerton » Wed Jun 15, 2011 11:06 am

I watched Paul recently and while I thought it was pretty funny/heartwarming, the whole time all I could think was "why the hell is this rated R?" They could have made so much money just by cutting a few fucks and tit shots and making it PG-13.
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Postby Mesh » Wed Jun 15, 2011 11:11 am

pinkerton wrote:I watched Paul recently and while I thought it was pretty funny/heartwarming, the whole time all I could think was "why the hell is this rated R?" They could have made so much money just by cutting a few fucks and tit shots and making it PG-13.


Wait, why do I not remember tit shots in Paul?

All the jokes in that movie felt stale, despite the fact that I'm only now getting to Spaced and seeing why they felt stale.
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Postby pinkerton » Wed Jun 15, 2011 11:14 am

i am pretty sure i saw boobs in the SDCC scene at the beginning, might be imagining things.
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Postby razzle » Wed Jun 15, 2011 11:20 am

wasn't there a C-bomb in a Paul or was that bridesmaids i'm thinking of
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Postby Mesh » Wed Jun 15, 2011 11:34 am

Repost, but this is fun:

http://www.ebertpresents.com/movies/film-socialisme

"If you didn't know Godard made this, would you have been as wowed by it?"
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Postby sevenarts » Wed Jun 15, 2011 12:14 pm

"I'm not stupid, and I had no idea what this is about."

Awesome.
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Postby fuckles » Wed Jun 15, 2011 12:15 pm

are you guys gonna go see green lantern
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Postby Mesh » Thu Jun 16, 2011 10:28 am

Image

Undying love for this. Why did no one fill me in on how fucking amazing the hour of unused footage is?

It's weird to live in a world in which Frank Zappa hatred goes utterly understood and unchallenged, while no one has ever not liked R. Crumb and admitted it.
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Postby neuartillery » Thu Jun 16, 2011 10:33 am

Phew, no Criterion/BDs talk here!
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Postby Mesh » Thu Jun 16, 2011 10:38 am

neuartillery wrote:Phew, no Criterion/BDs talk here!


Guilty. Crumb love predates my awareness of Criterion by like a decade though. Never had it digitally until just now.
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Postby neuartillery » Thu Jun 16, 2011 10:41 am

I was tempted to mention it after the first post, which brings up Last Year at Marienbad, another Criterion BD.
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Postby Mesh » Thu Jun 16, 2011 10:45 am

neuartillery wrote:I was tempted to mention it after the first post, which brings up Last Year at Marienbad, another Criterion BD.


That one I would've pleaded to manslaughter, as I wasn't talking about Criterion or blu-rays at all.

I dunno, there's just not a lot of discussion in "last movie watched" and "criterion/BD" gives me the derailment sweats.

I'm not gonna go see Green Lantern at all.
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Postby Mesh » Thu Jun 16, 2011 11:00 am

Looks like I will miss seeing Film Socialisme on the screen in Chicago (unless I get ass in gear and see it tonight). How big a fuckup is this?
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Postby G_S » Thu Jun 16, 2011 11:11 am

Mesh wrote:
It's weird to live in a world in which Frank Zappa hatred goes utterly understood and unchallenged, while no one has ever not liked R. Crumb and admitted it.


this sentence just blew my mind
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Postby G_S » Thu Jun 16, 2011 11:17 am

and I love that Ignatiy guy's work but it's funny how limp his defense of Film Socialisme was when faced with what would presumably be the 'typical moviegoer' reaction. maybe it was the editing.

is he obligated to respond to it well? that's a somewhat interesting question that has probably been beaten to death somewhere else
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Postby OKterrific » Thu Jun 16, 2011 11:17 am

Mesh wrote:Image

Undying love for this. Why did no one fill me in on how fucking amazing the hour of unused footage is?

It's weird to live in a world in which Frank Zappa hatred goes utterly understood and unchallenged, while no one has ever not liked R. Crumb and admitted it.


Well, I don't care about comics and I only know him from this film (which is one of my favorites), but I think it's an unintended indictment of him as a person. First time I watched it I hated him by the end.
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Postby OKterrific » Thu Jun 16, 2011 11:19 am

but yeah this thread is pretty superfluous
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Postby Mesh » Thu Jun 16, 2011 11:22 am

OKterrific wrote:but yeah this thread is pretty superfluous


Haha you can say that again
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Postby Mesh » Thu Jun 16, 2011 11:30 am

OKterrific wrote:Well, I don't care about comics and I only know him from this film (which is one of my favorites), but I think it's an unintended indictment of him as a person. First time I watched it I hated him by the end.


There's a really conflicting swirl that goes on by the end of it, most of it about Charles. Like does he hate life because he's just sick or does Robert's "movie fame," added to his fringe comics fame, exacerbate it into suicide and then like what role does his moving to France play? R is basically like "Fuck them" to his mom and bro while the movers are packing up his shit. I certainly don't hate anyone for misanthropy or a strong distaste for America though.
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