last movie watched.

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 Franco » Wed Feb 13, 2019 9:57 pm

Outside of that (because I was more than fine with the look and feel) I think there’s also something to what he said about the effect it has on the performances. That a minimal set up has a way of inspiring something new in actors.
User avatar

Franco
 
Posts: 11958
Joined: Fri Jan 26, 2018 10:24 am

Postby creedence tapes » Wed Feb 13, 2019 10:08 pm

Ok hold on the kindergarten teacher was trash, explain yourselves
creedence tapes
 
Posts: 2581
Joined: Sun Jun 09, 2013 12:27 pm

Postby tricksforchips » Wed Feb 13, 2019 10:12 pm

Franco wrote:Outside of that (because I was more than fine with the look and feel) I think there’s also something to what he said about the effect it has on the performances. That a minimal set up has a way of inspiring something new in actors.

But this isn't new or interesting, to me. And it's not like there isn't OTHER set up around. You have extras, tons of actors, set designers, PAs, etc. I guess I just don't buy it. Good actors can tune out a huge set, anyways. If you're talking about working with non-professionals who are not comfortable on a film set, then that's a different story. I think a film like Tangerine did way more interesting things with the iPhone than High Flying Bird did. Like clearly this was a way to showcase the capabilities of the actual device, but it still looked terrible lol.
User avatar

tricksforchips
 
Posts: 4470
Joined: Sun Sep 04, 2016 1:21 pm

Postby Franco » Wed Feb 13, 2019 10:24 pm

I definitely agree re: Tangerine. I’ve had lesser but similar senses of immediacy and involvement from this and Unsane though. Definitely not looking for it to be an industry or SS standard but the bare bones vibe comes across and is interesting to me warts and all.
User avatar

Franco
 
Posts: 11958
Joined: Fri Jan 26, 2018 10:24 am

Postby pana » Wed Feb 13, 2019 10:27 pm

imagine daniel day lewis acting in front of an iphone, confused
User avatar

pana
 
Posts: 67562
Joined: Mon Dec 14, 2009 3:32 pm

Postby tricksforchips » Wed Feb 13, 2019 10:27 pm

I guess I just feel like it's disingenuous for a director to call a 5 million dollar film "bare-bones" or whatever term he actually used for it.
User avatar

tricksforchips
 
Posts: 4470
Joined: Sun Sep 04, 2016 1:21 pm

Postby Franco » Wed Feb 13, 2019 10:38 pm

Fair point. I don’t remember how he’s classifying it exactly off hand, more describing my experience.
User avatar

Franco
 
Posts: 11958
Joined: Fri Jan 26, 2018 10:24 am

Postby Franco » Wed Feb 13, 2019 10:39 pm

creedence tapes wrote:Ok hold on the kindergarten teacher was trash, explain yourselves


It’s a good low key horror movie actually. What is the problem
User avatar

Franco
 
Posts: 11958
Joined: Fri Jan 26, 2018 10:24 am

Postby furrowed brow » Wed Feb 13, 2019 10:42 pm

creedence tapes wrote:Ok hold on the kindergarten teacher was trash, explain yourselves


okay but you have to go first.
User avatar

furrowed brow
 
Posts: 11052
Joined: Sun Jun 23, 2013 8:45 pm

Postby neely o'hara » Wed Feb 13, 2019 11:01 pm

tricksforchips wrote:
Franco wrote:There was an interview posted today in the Soderbergh/high flying bird thread where he talks about the benefits of shooting that way - mainly logistics and opening up the possibility to happen upon new locations. Not to mention the fact the movie wouldn’t have gotten made if there was a large unwieldy crew

Yeah, Soderbergh has long given interviews like this and talked about the democratization of cinema and that's why he uses the iPhone... also its ease of use. But it's not like digital cinema outside of the iPhone entirely requires massive crews. It's all so advanced. Anyone with basic camera knowledge can operate a RED or an Alexa Mini or even a Blackmagic camera. They all look infinitely better than an iPhone even in natural light.

The film cost 5 million dollars to make, having 3 camera assistants wouldn't break the bank. If you're talking about the democratization of cinema, you should make a movie with an iPhone for 50$. As far as I'm concerned, if your budget is that high, you are using the iPhone as a gimmick and that's it -- even if you say otherwise. It's posturing.

even the most basic camera package can become unwieldy and expensive, and more so when you add in grip equipment, dollies, cranes. DPs love to add in as much expensive/bulky equipment as they possibly can - i don't blame them, but they can easily sink a budget and eat up time on set.

i don't love soderbergh's iphone cinematography (haven't seen high flying bird, thought unsane looked OK), but he clearly knows the exact money value of paying a 1st AC to pull focus vs. poking a screen and instantly doing it. and i think someone working at soderbergh's level (vs. gritty non-union indie filmmaking) has to make very bold decisions if they want to not get bogged down by the built-in costs of using experienced labor.
User avatar

neely o'hara
 
Posts: 881
Joined: Mon Nov 13, 2017 10:26 pm

Postby creedence tapes » Wed Feb 13, 2019 11:24 pm

Fair enough. I watched it with someone who works with children who are often developmentally disabled, emotionally challenged or have very insecure home lives. They pointed out that the movie sets up a lot of very convenient ways to avoid showing what would realistically happen were that kid to be displaying some of the tendencies they had. Obviously, yea, this could happen, and does, kids don’t get the help they need all the time. But the movie wants to tell a very specific version of that story that foregrounds a supremely self-involved character whose pretentious ass midlife crisis eclipses any other point the movie was trying to make. Like it took a completely silent teachers aid character, a clueless babysitter, a confusingly portrayed single dad, and at least one supremely dumb parent of a classmate to allow this plot to happen. To me, that says the movie was way more concerned with emperors new clothes literary world jabs, turn your stomach but ultimately toothless pedophilia baiting (which is supposed to be the low key horror you’re referring to?), and maybe a bit of private school send-up then engaging with the Macguffin of a child they wrote. Fuck all this, what’s the point.

Maggie G is fine in it, but the wardrobe and the Subaru she drives are more cliche then the rich details the movie thinks they are. The whole thing felt very impressed with itself for setting up a a taut slow-burner but really the strings being pulled are way too visible.
creedence tapes
 
Posts: 2581
Joined: Sun Jun 09, 2013 12:27 pm

Postby furrowed brow » Wed Feb 13, 2019 11:50 pm

lol, good post. Yeah, I was going to pass over the central premise entirely because I'm not on the spectrum and I don't know anything about it, but yeah, the plot is very regressive in that way. The "low key horror movie" comment I assume refers to how this is a movie about someone who is batshit insane. The film plays with our expectations of Hollywood films; it sets us up for a supremely unrealistic savior story, dripping with emotional manipulation and self-impressed controversy-baiting pontifications and then it pulls the rug out from under us and exposes the perverse core of its character/itself. The amount of self-awareness this movies has is key in whether or not it is a triumph or a disaster; you decide how generous you'll be with the filmmakers.
Last edited by furrowed brow on Thu Feb 14, 2019 12:33 am, edited 1 time in total.
User avatar

furrowed brow
 
Posts: 11052
Joined: Sun Jun 23, 2013 8:45 pm

Postby furrowed brow » Wed Feb 13, 2019 11:55 pm

You're right about a lot of things lining up to make the ending possible but I think her aid and Becca are realistically characterized and believable.
User avatar

furrowed brow
 
Posts: 11052
Joined: Sun Jun 23, 2013 8:45 pm

Postby naturemorte » Thu Feb 14, 2019 4:59 am

About to fly out of Berlin after my first Berlinale. I ended up sticking almost entirely to the Retrospective, Forum and Forum Expanded programs which was probably a mistake--I'm getting super tired of bog-standard "experimental" films and toothless political documentaries. The dominant modes are just SO dominant--revisiting earlier political histories through unusual archives, landscapes with voiceovers, "spontaneous" 16mm footage of beautiful people, and drones, so many fucking drones...Feel like I did a lot of running to stand still overall--hitting five or six programs per day, of which maybe one or two didn't feel like mistakes. I wish I was a little more adventurous when it comes to going blind into the Panorama section stuff, but bland arthouse shit drives me up the wall too.

Anyway, the Schanelec is the only thing I saw that felt like a masterpiece, and I was very cool on The Dreamed Path. Heimat Is A Space In Time, a 4-hour essay film that rehearses the last century of East/German history (through landscape shots and personal archives!) is pretty good, but the visual motifs (crowds! trains! ruins! more trains, and more still!) are more than exhausted by the end. Bait was good, but is smashing the novelty buttons (it's shot with black-and-white 16mm, hand-processed, and edited like a Pudovkin film or something) really hard for what is narratively a die-stamped British Class Politics movie. "Just Don't Think I'll Scream" is an interesting found-footage film made mostly out of insert shots from obscure films--the only thing I consciously recognized was "Funeral Parade of Roses". I most hipinion members would, like me, identify deeply with the film's subject, about the difficulty of excavating oneself from out of the self-constructed caves of media, weed and despair we constuct to shield ourselves from the shittiness of the current moment, but that's what makes it kind of uninteresting as found footage. Every shot relates primarily to the narration and to the emotional identification of the narrator with that image, and so thee images rarely interact with one another in meaningful or challenging ways. Of the new films I saw, only Ute Aurand's "Rushing Green with Horses" really made me think in any exciting way--i think I need to write something about it. If the older films I saw, Marta Meszaros' "Adoption" was the only knockout for me.
chad wrote:"How can I make this about me and also congratulate myself in some way" - basically every hipinion bro
User avatar

naturemorte
 
Posts: 6714
Joined: Mon Dec 14, 2009 8:57 pm
Location: maxine's parlour

Postby Franco » Thu Feb 14, 2019 6:52 am

Re: Kindergarten Teacher. I used “horror” as a reference to Lisa’s increasingly blinding quest to chase this one thing, no matter the consequences or criminality. This is a dangerous place to be as a viewer when expected actions and circumstances start to not line up and the nature of her obsession is not fully revealed.

I also, admittedly, used “horror” as a lazy shorthand way of saying “I forgive the movie’s imperfections because once they present Lisa’s ride, that’s where I am, so let’s see where they want to land this plane.”

There was enough to Lisa and why she may have been that way that to me graduated out of a simple midlife crisis. But to creedence’s point, i could see those details lacking and the systemic depiction too unrealistic if you were thinking about them more than I was. Or more than the movie was, perhaps to its detriment.
User avatar

Franco
 
Posts: 11958
Joined: Fri Jan 26, 2018 10:24 am

Postby tricksforchips » Thu Feb 14, 2019 7:00 am

neely o'hara wrote:
tricksforchips wrote:
Franco wrote:There was an interview posted today in the Soderbergh/high flying bird thread where he talks about the benefits of shooting that way - mainly logistics and opening up the possibility to happen upon new locations. Not to mention the fact the movie wouldn’t have gotten made if there was a large unwieldy crew

Yeah, Soderbergh has long given interviews like this and talked about the democratization of cinema and that's why he uses the iPhone... also its ease of use. But it's not like digital cinema outside of the iPhone entirely requires massive crews. It's all so advanced. Anyone with basic camera knowledge can operate a RED or an Alexa Mini or even a Blackmagic camera. They all look infinitely better than an iPhone even in natural light.

The film cost 5 million dollars to make, having 3 camera assistants wouldn't break the bank. If you're talking about the democratization of cinema, you should make a movie with an iPhone for 50$. As far as I'm concerned, if your budget is that high, you are using the iPhone as a gimmick and that's it -- even if you say otherwise. It's posturing.

even the most basic camera package can become unwieldy and expensive, and more so when you add in grip equipment, dollies, cranes. DPs love to add in as much expensive/bulky equipment as they possibly can - i don't blame them, but they can easily sink a budget and eat up time on set.

i don't love soderbergh's iphone cinematography (haven't seen high flying bird, thought unsane looked OK), but he clearly knows the exact money value of paying a 1st AC to pull focus vs. poking a screen and instantly doing it. and i think someone working at soderbergh's level (vs. gritty non-union indie filmmaking) has to make very bold decisions if they want to not get bogged down by the built-in costs of using experienced labor.

Soderbergh already shoots all of his stuff himself, regardless of whether it's an iPhone or not. In recent years he IS the camera crew. He IS the DP. When you're working with a 5 million dollar budget, the cost/benefit does not really matter for the types of films Soderbergh is making.

I disagree that the most basic camera package can become unwieldy. Sure, if you go all out you will need assistants. And I'm sure Soderbergh even had one for the iPhone (making sure the app is working right, cleaning the lens, etc). It's easy to leave that out of the narrative. But the RED is a very easy to use camera. For reference, I'm shooting my new documentary on a RED weapon. We're a three person crew. Soderbergh shot RED on Side Effects and was DP and cam-op.

If he just said "I like the images that the iPhone makes" I wouldn't have so much of an issue with his use of the iPhone. Instead he uses it as a platform to talk about the democratization of cinema and that is not what he's doing with his films as the budget he's working with is completely inaccessible to most up-and-coming filmmakers.
User avatar

tricksforchips
 
Posts: 4470
Joined: Sun Sep 04, 2016 1:21 pm

Postby walt whitman » Thu Feb 14, 2019 7:43 am

naturemorte wrote:About to fly out of Berlin after my first Berlinale. I ended up sticking almost entirely to the Retrospective, Forum and Forum Expanded programs which was probably a mistake--I'm getting super tired of bog-standard "experimental" films and toothless political documentaries. The dominant modes are just SO dominant--revisiting earlier political histories through unusual archives, landscapes with voiceovers, "spontaneous" 16mm footage of beautiful people, and drones, so many fucking drones...Feel like I did a lot of running to stand still overall--hitting five or six programs per day, of which maybe one or two didn't feel like mistakes. I wish I was a little more adventurous when it comes to going blind into the Panorama section stuff, but bland arthouse shit drives me up the wall too.

Anyway, the Schanelec is the only thing I saw that felt like a masterpiece, and I was very cool on The Dreamed Path. Heimat Is A Space In Time, a 4-hour essay film that rehearses the last century of East/German history (through landscape shots and personal archives!) is pretty good, but the visual motifs (crowds! trains! ruins! more trains, and more still!) are more than exhausted by the end. Bait was good, but is smashing the novelty buttons (it's shot with black-and-white 16mm, hand-processed, and edited like a Pudovkin film or something) really hard for what is narratively a die-stamped British Class Politics movie. "Just Don't Think I'll Scream" is an interesting found-footage film made mostly out of insert shots from obscure films--the only thing I consciously recognized was "Funeral Parade of Roses". I most hipinion members would, like me, identify deeply with the film's subject, about the difficulty of excavating oneself from out of the self-constructed caves of media, weed and despair we constuct to shield ourselves from the shittiness of the current moment, but that's what makes it kind of uninteresting as found footage. Every shot relates primarily to the narration and to the emotional identification of the narrator with that image, and so thee images rarely interact with one another in meaningful or challenging ways. Of the new films I saw, only Ute Aurand's "Rushing Green with Horses" really made me think in any exciting way--i think I need to write something about it. If the older films I saw, Marta Meszaros' "Adoption" was the only knockout for me.


thanks for report on berlinale

was there any VR cinema worth mentioning?

i was at sundance this year and while they had a lot of VR filmmaking, it was extremely small scale and nearly impossible to access (unless you wanted to wait in line for hours and hours). not sure if i missed anything tho- the descriptions of the works sounded like run-of-the-mill "gallery films" though without a critical posture, from what i could tell

sadly there are few platforms for this area of moving image art- again, i can't tell if the FOMO is real, or it is still too young to be good
User avatar

walt whitman
 
Posts: 5918
Joined: Sun Sep 25, 2011 3:26 pm
Location: pitt

Postby someguy » Thu Feb 14, 2019 7:55 am

The Kohlberger short at Berlin is good
apologies
User avatar

someguy
ok
 
Posts: 14775
Joined: Mon Dec 14, 2009 2:58 pm

Postby naturemorte » Thu Feb 14, 2019 8:13 am

someguy wrote:The Kohlberger short at Berlin is good

bummed i missed this–i liked "keep that dream burning" and imagine this would have played amazingly on some of the festival's massive screens

hoping it's at Ann Arbor this year

didn't see any VR stuff, ww. i don't go out of my way to see vr cinema, even if i thought something sounded interesting, it's way outside the purview of my programming.
chad wrote:"How can I make this about me and also congratulate myself in some way" - basically every hipinion bro
User avatar

naturemorte
 
Posts: 6714
Joined: Mon Dec 14, 2009 8:57 pm
Location: maxine's parlour

Postby Plainsong » Fri Feb 15, 2019 1:23 am

Image
Diary Of A Chambermaid (1964)- Luis Bunuel
Really liked it.
Image
Duelle (1976)- Jacques Rivette
Found it really fascinating and liked it overall.
Image
Equinox Flower (1958)- Yasujiro Ozu
Loved it. Found it amazing how confident Ozu was with colour so early on.
Image
Father Of The Bride (1950)- Vincent Minnelli
Loved it. Tracy and Taylor's performances were perfect.
User avatar

Plainsong
 
Posts: 1921
Joined: Thu Feb 23, 2017 5:08 am
Location: Perth

Postby warmjets » Fri Feb 15, 2019 11:21 am

Free Solo

saw it in the theaters but had to watch it again when i saw that it was released digitally.

christ what an achievement. i did a little bit of bouldering/rock climbing when i lived out west so i feel like i know a little bit about the technical shit involved and it is completely fucking insane that he did this. and in under 4 hours! he is a freak of nature, but he is still rolling the dice everytime he solos something like that. i wonder if he will be able to walk away from the sport alive. i dont know if he ever wants to stop though.
User avatar

warmjets
 
Posts: 4453
Joined: Sun Mar 11, 2018 3:52 pm
Location: dc

Postby antoine » Fri Feb 15, 2019 5:00 pm

Prometheus - I still like this movie even though it has a lot of problems. I wouldn't say it's a Good Movie but I find it extremely entertaining, especially the goofy parts. Also the visuals and world Ridley created are A+.

Alien Covenant - Not as good as Prometheus and again, tons of problems but I still find this movie enjoyable. Visuals are again top notch. The last act with the boring cgi xenomorph is so flat and shitty though. That's my biggest knock against it. Also somehow the characters are even more cardboard than in Prometheus. I still like it though.

On the whole I love the Alien franchise/universe, despite how uneven and dumb it can be.
User avatar

antoine
 
Posts: 57805
Joined: Tue Mar 02, 2010 9:32 pm

Postby aububs » Fri Feb 15, 2019 5:27 pm

uhhh wow thank you to whoever put this in the db. it's incredible. goes from really well observed teen hijinks to deep drama to pure terror, dern is astonishing right out the gate, climactic scene hovering between reality and dream/nightmare, forshadowing dern's work with lynch (blue velvet was her next movie), tightly written, confident....p much faultless. this movie doesn't fuck around. probably one of the best 80s teen dramas i've seen.

Image
no buddy not really
User avatar

aububs
 
Posts: 8350
Joined: Thu Feb 11, 2016 3:18 pm

Postby spix et chicho » Fri Feb 15, 2019 6:58 pm

Prometheus is definitely better than Covenant which is fucking nuts because Prometheus is a truly dumb ass flick
CIARA IS DEFIANTLY A MAN AND ITS DISGUSTING MY CUZIN WAS THROWING UP FOR 2 WEEKSM YUUUUUUUUCCCCCCCCCCCCCCCKKKKKKKKKKK PLEASE SIGN THIS B/C THATS JSUT HERENDOUZ
User avatar

spix et chicho
 
Posts: 24145
Joined: Mon Dec 14, 2009 6:21 pm
Location: montreal

Postby goofjan » Sat Feb 16, 2019 3:16 pm

I have the goddamn flu but a wonderful side effect is temporary relief of my usual "can't choose something to watch" ADD. I turned on the TV, randomly clicked on Murder on the Orient Express (1974) and away I went.

Image

Super balmy movie in a lot of ways. I didn't know the story at all, so the ending really surprised me even though in retrospect it's very obvious. Incredible performances but a lot of thick accents so subtitles were helpful. Finney is so sublimely irritating as Poirot and I guess that's the point but it took me about an hour to calibrate. Really enjoyed this one- couldn't pay me to see the remake.

imdb trivia has this nugget:

Since Albert Finney required many hours of make-up procedures before shooting each day, and because he was performing in a stage play at the same time, he didn't have much time for his badly needed sleep. A daily routine was developed, where an ambulance arrived to pick up the sleeping actor at his house, in his pajamas, carefully, trying not to wake him up. During the half hour commute to the studio, the make-up artists would begin the rough work on his face. The rest of the fine detail work was completed at the studio on a still sleeping Finney.
plz if u get a chanse put some flowrs on algernons grave kthxbye
User avatar

goofjan
 
Posts: 8775
Joined: Fri Oct 19, 2012 6:23 pm
Location: Searing Gas Pain Land

Postby pana » Sat Feb 16, 2019 3:18 pm

i bet that's what killed him
User avatar

pana
 
Posts: 67562
Joined: Mon Dec 14, 2009 3:32 pm

Postby goofjan » Sat Feb 16, 2019 3:30 pm

pana wrote:i bet that's what killed him

Look at Poirot over here.
plz if u get a chanse put some flowrs on algernons grave kthxbye
User avatar

goofjan
 
Posts: 8775
Joined: Fri Oct 19, 2012 6:23 pm
Location: Searing Gas Pain Land

Postby Honga Ciganesta » Sun Feb 17, 2019 8:33 am

Image

Image

Somehow only got around to this, incredible movie. Maybe the best. I wish I was watching it again right now
User avatar

Honga Ciganesta
 
Posts: 699
Joined: Wed Jan 23, 2013 8:12 pm

Postby Plainsong » Sun Feb 17, 2019 8:43 am

Image
Flesh And The Devil (1926)- Clarence Brown
Really loved it, Garbo, Gilbert, and Hanson all gave brilliant performances.
Image
Gaslight (1944)- George Cukor
Really liked it and loved all the performances, especially Boyer's and Bergman's performances.
Image
Grand Hotel (1932)- Edmund Goulding
Loved it. All the performances were brilliant.
Image
He Who Gets Slapped (1924)- Victor Sjostrom
Morbid as hell and I loved it.
User avatar

Plainsong
 
Posts: 1921
Joined: Thu Feb 23, 2017 5:08 am
Location: Perth

Postby Repo » Sun Feb 17, 2019 9:15 am

Honga Ciganesta wrote:Image

Image

Somehow only got around to this, incredible movie. Maybe the best. I wish I was watching it again right now


there's a moment when tina weymouth is smiling while playing this song, one of my favourite moments in time
User avatar

Repo
 
Posts: 4694
Joined: Thu Dec 10, 2015 4:15 pm

PreviousNext

Return to Mamma Mia... Here We Go Again....

Who is online

Users browsing this forum: adamtrask, ahungbunny, Althea, beefbroth inthe shitpipes, brent, brentwurst, Brunch Buttsteak, cam'ron hubbard, Canadian Todd (for Canadians), Christmas Ape, Cone, darger, davideotape, Dead_Wizard, DICK WOLF, Double McDouble, draw, Eyeball Kid, Flossed Out, giant_turtle, goofjan, Google [Bot], hazel, hbb, head gardener, honeypie, HotFingersClub, iambic, important dentist, Kaputt, klubrick, Lil Gugger, lust, Marcus, marta, mattstan, mchamartin, mcwop23, Merciel, Mesh, Milk, Mister Modular, mortimer, mynameisdan, neck, neta, odilon redon, poisoncup, powderfinger, quinine, Rainbow Battle Kid, rich uncle skeleton, riffraff, s/ns, screaming emphysema, seafoam, sevenarts, Shotfrog, sliiimer, sniplets, someguy, speakers, surly, thanks, The Producer, theta, trampoline, tsargaritaville, warmjets, wuk, xxx-xxx-xxxx