last movie watched.

Health insurance rip off lying FDA big bankers buying
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Postby RIXX » Fri Nov 02, 2018 12:24 pm

mini wrote:this closed yesterday! hopefully it shows up somewhere else soon.

ah darn that sucks : ( i think it'll be picked up somewhere else for sure

I totally called Quad just now to see if I could buy the poster off them but apparently they return the posters to their distributors. Oh well, it works with some theaters.

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It's funny that the poster makes you think "oh the silhouette of a kid listening to a cassette player, what tired retro signaling in a movie named 1985," but in actuality what's happening at that moment in the film is like the most devastating soulcrushing thing imaginable
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Postby RIXX » Fri Nov 02, 2018 11:18 pm

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Boy Erased (2018, Joel Edgerton)

a just okay movie that left me kinda cold tbh but the performances of hedges and kidman were good. i find conversion therapy fascinating so I was very tuned in to those parts. lucas hedges is very talented young man and it's insane he's only 21, i think he really lifts up the quality of his films. it bugged me that he's played gay so many times recently but apparently he came out as sorta queer in an interview recently (trying not to be cynical about it). I certainly didn't have as much of a reaction to this film or see anything that believable or real in hedges as a gay teen (say versus 1985 where every line out of adrian's mouth was something i've said before, the difference is having a queer director). this film was pretty obviously made for straight audiences but if it helps get conversion therapy banned in the remaining 36 states then it was worth it. the only scene I found really affecting was near the end, it's a confrontation between hedges and his dad, if this wasn't based on a memoir i would've said it was wish fulfillment but i realized it was actually my own.

stayed for a garrard conley Q&A afterwards, he is an insanely charming man. said russell crowe spontaneously without telling anyone charted a jet to arkansas and dropped in to one of his dad's sermons and they texted each other for a month. it was interesting hearing him talk about his dad, someone asked about their relationship and how it's changed since the events of the film/book and he listed out some positives but admitted there is still a struggle there and a long way to go and that this shit takes forever with some people. and that is....the truth
Last edited by RIXX on Sat Nov 03, 2018 7:13 am, edited 4 times in total.
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Postby Giuseppe Castiglione » Sat Nov 03, 2018 6:31 am

burning - five bags of popcorn
western - five bags of popcorn

two films about homosociality and masculinity
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Postby Celiac Cruz » Sat Nov 03, 2018 11:31 pm

I watched Paddington 2: Tricky Bear Goes to Jail with my family, second time I've seen it and it was just as great. such creative filmmaking
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Postby red desert » Sun Nov 04, 2018 12:42 am

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Postby hiddenicon » Sun Nov 04, 2018 12:59 am

The Night Comes for Us on Netflix really hit the spot tonight. some great genre shit there... John Wick (well, closer to The Raid X Drug War, but I'm tryin sell this shit) meets absurd gory violence. so many broken bones/knife duels/disembowlments, all of it so lovingly choreographed and inventively shot.

(not the best trailer):
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Postby madness and chaos » Sun Nov 04, 2018 3:50 am

I tried to make it through Western since I downloaded it, but I'm not that sort of 'phile so I watched this instead

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Postby pizzapartiez » Sun Nov 04, 2018 11:10 am

night comes for us was fkn sick - the first fight is truly an all-timer - also a hilarious Low needle-drop at the very end
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Postby Gnarls » Sun Nov 04, 2018 2:28 pm

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My Brother's Wedding - Is this the best shot movie ever??
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Postby object » Sun Nov 04, 2018 4:30 pm

God's Own Country

Really liked it but, i'll be honest, i thought Alec Secăreanu's performance was lacking a bit, especially when compared to Josh O'Connor, who was great.

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Postby mellowgold » Sun Nov 04, 2018 6:08 pm

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"If Beale Street Could Talk" --I found this equally as romantic and melancholic as "Moonlight" but "Beale Street" i executed on a higher level. It's complicated, beautiful and has great performances (a crazy supporting cast; don't look it up just go into it). Still wrestling with some moments and Barry Jenkins needs to chill with the War Kong Wai homages lol.

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"The Kindergarten Teacher" - I loved this! Although the last few minutes really did not work for me but Maggie Gyllenhaal gives one of the best performances of the year. She's can switch from warm and kind to desperate and pathetic in a switch it's really something. This is on Netflix now, too.
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Postby Dedalus » Sun Nov 04, 2018 6:13 pm

Free Solo really delivered. If you are slightly afraid of heights it makes for a really visceral theater experience.
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Postby spix et chicho » Sun Nov 04, 2018 6:36 pm

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clean (2004, assayas)

this movie is real sad. very humanist look at like, what comes after "cool", so it ties into some of my recent obsessions. this is the only movie where a character has to try to ask Tricky for permission to see their son. also emily haines has lines, for some reason. anyways, this is an assayas movie with maggie cheung and don mckellar and 1/4 of it takes place in hamilton, ontario for some reason so i'm down.

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fox and his friends (1975, fassbinder)
ali: fear eats the soul (1974, fassbinder)

fassbinder has been a blind spot in my viewing history so i'm correcting that now. fox and his friends was a pretty thrilling watch. fassbinder's performance as fox is so sweet and charismatic. was a little less thrilled by ali, I know that's the big one for a lot of people and it was great, but also I dno. I think I get more invested in love stories where someone is clearly getting fucked over. fox is like a treatise on love being intrinsically tied to money as, like, bait and hook. ali by comparison feels pretty broad and crowd pleasing. maybe i missed something tho!
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Postby madness and chaos » Sun Nov 04, 2018 6:39 pm

spix et chicho wrote:fox and his friends (1975, fassbinder)
ali: fear eats the soul (1974, fassbinder)

fassbinder has been a blind spot in my viewing history so i'm correcting that now. fox and his friends was a pretty thrilling watch. fassbinder's performance as fox is so sweet and charismatic. was a little less thrilled by ali, I know that's the big one for a lot of people and it was great, but also I dno. I think I get more invested in love stories where someone is clearly getting fucked over. fox is like a treatise on love being intrinsically tied to money as, like, bait and hook. ali by comparison feels pretty broad and crowd pleasing. maybe i missed something tho!


had never watched him myself, watched these exact two and thought the exact same thing. so I'd be interested in where to go next from here (for the both of us)

I'll probably watch World On A Wire and Querelle tho regardless
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Postby incoherent grunting » Sun Nov 04, 2018 6:44 pm

Dedalus wrote:Free Solo really delivered. If you are slightly afraid of heights it makes for a really visceral theater experience.

Yup, this was good.
I'm not really interested in climbing, but the doc was good enough to stand on its own. Interesting dynamic with the girlfriend..
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Postby bunejug » Sun Nov 04, 2018 6:48 pm

I can't comprehend watching ali and thinking it lacks an asymmetrical dynamic. the core conflict of the movie is so distressing for exactly that reason.
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Postby spix et chicho » Sun Nov 04, 2018 7:03 pm

I didn't say that? obviously the social dynamic is heavily weighted in favor of Emmi.
it's the resolution that appears to me as, these two characters are going to struggle to protect their love against external and internal prejudices, but they are committed for now. there's a happy ending, for all intents and purposes. love doesn't really conquer all, it's more the characters are saddling themselves for a lifelong fight. the movie is pessimistic about society but idealistic about individuals.

fox is just pure pessimism. I mean, i've never been one for romantic movies.
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Postby madness and chaos » Sun Nov 04, 2018 7:04 pm

I was pretty bored by Ali and not so bored by Fox. I don't know if I'm a Fassbinder guy.
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Postby hey nathan » Sun Nov 04, 2018 7:08 pm

try Satans Brew!!
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Postby bunejug » Sun Nov 04, 2018 7:17 pm

spix et chicho wrote:I didn't say that? obviously the social dynamic is heavily weighted in favor of Emmi.
it's the resolution that appears to me as, these two characters are going to struggle to protect their love against external and internal prejudices, but they are committed for now. there's a happy ending, for all intents and purposes. love doesn't really conquer all, it's more the characters are saddling themselves for a lifelong fight. the movie is pessimistic about society but idealistic about individuals.


yes this sounds like a sirk adaptation. not liking a movie because it didn't pan out the way you wanted it to is a hollow criticism.
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Postby broodstar » Sun Nov 04, 2018 7:27 pm

if you want something really not crowd pleasing

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Postby spix et chicho » Sun Nov 04, 2018 7:40 pm

bunejug wrote:
spix et chicho wrote:I didn't say that? obviously the social dynamic is heavily weighted in favor of Emmi.
it's the resolution that appears to me as, these two characters are going to struggle to protect their love against external and internal prejudices, but they are committed for now. there's a happy ending, for all intents and purposes. love doesn't really conquer all, it's more the characters are saddling themselves for a lifelong fight. the movie is pessimistic about society but idealistic about individuals.


yes this sounds like a sirk adaptation. not liking a movie because it didn't pan out the way you wanted it to is a hollow criticism.


I... didn’t even say I didn’t like it!! I did like it! I liked Fox better! I’m not a film critic!
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Postby Buzz Fledderjohn » Sun Nov 04, 2018 7:45 pm

Sweet Gregory Pectin wrote:Image
wildlife

i really liked this if you're on the fence about seeing it fret not worst case scenario you won't regret seeing it furthermore

i think the mom wanted to fuck the son


i thought this was mostly good, especially the performances and the subtle direction + score. stylistically i was picking up some The Master vibes in those aspects, especially the score and some of the close-ups and scenes like the portrait studio.

i'm not sure i totally bought mulligan's transition though. i get that it was supposed to come off as erratic and ambiguous for at least the middle portion of the film, but the way it went from point a to b to c felt a little jarring or rushed or something. seems a script issue more than anything.Toggle Spoiler
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Postby naturemorte » Mon Nov 05, 2018 2:46 am

finally saw First Reformed, spoilers


i've been both really eager and really anxious about seeing this movie. my climate change anxiety is insanely fucking high and, as i've said in other threads, i'm also opposed to having children for the same reason that Michael gives early in the film. i knew it was going to be intense for me, but i basically think about climate change when i'm watching any contemporary movie at this point--if, as walter benjamin wrote, "there is no document of civilization which is not at the same time a document of barbarism," then there is no film made in 2018 which is not also a document of our failure to meaningfully address the biggest crisis we've ever faced as a species.

i've had it on my computer for a while but i waited to see it in a cinema. spontaneously decided, for some reason to eat 1/2 a sativa cookie beforehand, which was either the worst or the best idea, because i probably haven't had a film hit me this hard on the level of pure existential dread since i saw "songs from the second floor" in 2001. i was really squirming by the end, desperate to try to get my head out of the movie or to try to switch to a more critical register of viewing, which was hard, because it is really an incredibly engrossing film and Hawke's performance is unquestionably the most persuasive i've ever seen him give.

i think the film lets the air out of its own balloon, a bit–definitely in the last shot, but also in the many conspicuous nods it makes to its antecedents. i don't know how i feel about how self-referential schrader is being--is he just sticking climate change into a template? i don't think so, but at the same time, i'm not sure i believe that Hawke's character would really be looking at himself in the mirror with a suicide vest on if it weren't a direct taxi driver reference. like, the neil young song is both a cheap gag and a devastatingly direct statement of the central question of the narrative. if the film didn't have a subtly winking, generic framework, i doubt it would have either have been made, or would have gotten distributed by a24, or would have really been watchable. maybe it's not so much that schrader needs climate change to refresh his template, but that climate change needs a template like this to be representable at all...

i'm a bad critic in cases like this because i'll always feel a greater sense of responsibility to the cause than to the cinema. i can't help but fear that first reformed is actually Very Bad for climate activism because it makes people who are deeply conscious of the catastrophe seem at best like depressives and at worst like lunatics. of course, as Toller's fixation grows more intense, the venality of the Abundant Life church and the violence of the Balq company do as well... but i wonder about this question personally--is my anxiety around climate change and my decision to not have children rooted in a rational and reasonable awareness of the direness of the situation, or is it an expression of a deeper pathology? is it even possible to confront this catastrophe without engaging pathology in some form? (it seems so difficult to assign blame for climate change without pathologizing our species, for instance.)

but i also really hate that kind of instrumentalism--whether or not the film productively addresses climate despair, it's not really the responsibility of the film to do so. and it's so fucking well done otherwise. even the slight jankiness of the digital effects adds perfectly to the sense of despoliation surrounding us. great compositions, schrader's judicious use of closeups is so piercing, and i absolutely adored the levitation scene. the blatant absurdity and artifice of the ending works for me as a form of deliverance from the unbearable emotional realism of the film, just as it probably works for others as manifestation of grace or a depiction of the afterlife or whatever.

weirdly, i left the movie feeling just as hopeless, but also affectively recalibrated for the better, somehow. then i came home and my mom called, and, apropos of nothing really, starting asking if my partner and i were planning to not have children (not a conversation we've had yet). i didn't even really answer at first before she just started saying "i just want you to know that i totally support you if you don't want to have children, the world is in such a horrible place, and we have such a short time to fix climate change, that i don't blame you at all for not wanting to bring children in to this world." she proceeded to go on to say how guilty she felt because it was really her generation who destroyed the world. "i can't begin to describe to you the sense of abundance, freedom, and abandonment that my generation experienced," she said, "and we were probably the last generation to have that."

it was both extremely cool to know that my mom sees the same picture that i do and that she doesn't feel betrayed by my not wanting to have a child, but is supportive, and also extremely fucked up and upsetting and i'm honestly not sure how to process any of this. anyway, first reformed, good flick
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Postby madness and chaos » Mon Nov 05, 2018 3:46 am

Thank you for your review of First Reformed. I basically went into the film blind and absolutely loved it. Your posts like that are one of the many reasons I read this board and I appreciate it so much. Also, Songs from the Second Floor sounds familiar, but I have definitely never seen it and it didn't ring a bell when I looked it up... but I was sure to grab it. Looks extraordinary.

I'm going to throw this on right now.

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Postby aububs » Mon Nov 05, 2018 9:28 am

it's completely insane to me that fassbinder was dead at 37
no buddy not really
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Postby alex » Mon Nov 05, 2018 10:28 am

aububs wrote:it's completely insane to me that fassbinder was dead at 37

really? i'm surprised he didn't drop dead earlier. it's his prolific work rate that always blows my mind

premonitions and allusions to death are such a common theme for his films
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Postby aububs » Mon Nov 05, 2018 10:54 am

alex wrote:
aububs wrote:it's completely insane to me that fassbinder was dead at 37

really? i'm surprised he didn't drop dead earlier. it's his prolific work rate that always blows my mind


that's what I mean. he produced a huge body of great work, much larger than a lot of other prestigious directors, and did it all before the age of 37
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Postby alex » Mon Nov 05, 2018 11:12 am

his segment from GERMANY IN AUTUMN (1978) has been gnawing at me since i saw it earlier this year

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Postby Kevin McCallister » Mon Nov 05, 2018 11:24 am

I've never sat down and watched a Fassbinder movie because whenever I entertain the idea I see that the running time is 242 minutes and I decide to wait for another night.
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