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 death is my amigo » Thu Feb 21, 2019 5:44 am

the high and the mighty (1954)
insane movie

"Can you take something else in your stride?"
"I can try."
"Good. I want you to do me a favour. Look, when I tell you, sit down there with your back against that seat, stay there, no matter what else is going on. Don't try to be a heroine because in those last few moments, there isn't anything in the world you can do to help anybody. You know, your face can improve any landscape. I want you to keep it that way. So the favour for me is this pillow. Hold it tightly over your face, for yourself and for me. With the wind and the sea neither God nor Sullivan can set this thing down tonight like an egg crate. We might just as well slam into a mountain. Dan knows it. I know it. And so does Sullivan."
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Postby delgriffith » Thu Feb 21, 2019 9:51 am

Sweet Gregory Pectin wrote:i'm sorry if that sounds pretentious or whatnot i've never seen it so i have no idea what the movie is except for the trailer but it feels like the type of movie owned by someone where you go to their apartment and the only piece of media they have is a blu ray of a most violent year next to their tv

lol it definitely isn't this. Good flick!
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Postby aububs » Thu Feb 21, 2019 9:55 am

I thought a most violent year was fairly awful. mutton dressed as lamb.
no buddy not really
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Postby walt whitman » Thu Feb 21, 2019 12:43 pm

aububs wrote:I thought a most violent year was fairly awful. mutton dressed as lamb.

yeah p good airplane movie fare, but that's about it
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Postby walt whitman » Thu Feb 21, 2019 12:57 pm

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the thing (2011)
a lousy clone of a remake. ugh, where to begin. it substitutes awkward CG for the haptic body-horrors and special fx of the original. the performances are lackluster. there is an inexplicable overabundance of flame throwers?? in trying to copy almost all the story beats, setting, and scares of carpenter's the thing, almost everything here is markedly worse, except the arctic team's use of a tooth exam in place of the blood test, to determine one's (alien) ontology, which was kind of cool.

the biggest missed opportunity was the mis-use of women scientists on the research expedition. remember that the original was populated by an all male crew. the creators were wise to recognize (though didn't follow thro on) the gender dynamics, potential conflict and collaboration of having a mixed gender cast. but alas, nothing comes of this.

the remaking (or, i guess here, prequeling) of classic movies by way of inserting women, minorities, people of color, into what were originally all-male, nearly-all-white casts, is maybe the only point of interest here, but unfortunately the script doesn't experiment with this rich vein of narrative possibility- there are no mutations featuring male-female transgender combinations, no tests/battle lines drawn based on gender biology. not even an attempt at romantic/sexual drama. PASS.
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Postby high bias » Thu Feb 21, 2019 1:04 pm

walt whitman wrote:
aububs wrote:I thought a most violent year was fairly awful. mutton dressed as lamb.

yeah p good airplane movie fare, but that's about it


yeah i watched this on a flight and thought is was ok. didn't make an impression
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Postby Plainsong » Thu Feb 21, 2019 5:22 pm

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Jeanne Dielman, 23 quai du Commerce, 1080 Bruxelles (1975)- Chantal Akerman
Was really intrigued by this and liked it overall. Was not expecting that kind of an ending.
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Journey To Italy (1954)- Roberto Rossellini
Loved this. Bergman and Sanders were brilliant and the cinematography was perfect.
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Postby scrambled » Fri Feb 22, 2019 1:02 am

blockers was so good
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Postby naturemorte » Fri Feb 22, 2019 3:37 am

caught a 70 minute program of laida lertxundi's films tonight. great to revisit some of these pieces, some of the sturdiest and most intentional in experimental film of the last decade. hard not to see earlier films like "cry when it happens" and "the room called heaven" as definitive and program-setting for experimental film in the 2010s--but also that many of the subsequent films are really playing out the ramifications of this earlier work. even if "cry when it happens" is an early peak, it's wonderful to see the work in sequence, because of the quality of unfolding that plays out between them. seeing them together also helps to clarify exactly what a viewer is called to do with her films--the way i described it to myself was that sometimes one watches her films like a wind passing through them, and other times one moves through them like someone seeking their way in a house full of closed doors.

that said, it's a later film, 2016's "25 sunset red" is the most compelling to me. partially because the personal/political themes are handled so intriguingly, but more so because in so much of her work, "affect" is kind of a signifier, with certain talismanic shots of clouds and oceans and sentimental songs that should function as triggers for our emotions, but actually seem more like placeholders for it, or indexes of an emotion that has evaporated out of the work in the course of giving it shape, leaving an aftertaste of wistfulness and apathy. in "25 sunset red," though, i find that the emotions invoked are more vivid (political memory, passion, anger?), the shape they take more fluid, and addressed more towards the spectator than towards some structuring, unseen absence--she seems to be addressing the viewer more directly in seeking to solicit an embodied response, particularly through the unusually agitated montage and through the use of menstrual blood as a prop.

that said, i still think her newest film, "words, planets," is a step backwards, or sideways. part of it isn't her fault--some of her recurrent themes and tropes have been exhausted by both equal and lesser filmmakers in recent years. but i also can't but think that it smacks of exercise--if earlier films seemed to work by putting a group of strongly-articulated ideas to the test, her new film seems more passive. as one of the few filmmakers (Gary Beydler comes immediately to mind, and Robert Beavers) who succeed in bringing the Mélièsian tradition of theatrical/magical presentation to the depiction of landscape, it seems weird that her new film instead evokes Lumière so strongly. i think it could be an interesting direction for her to follow but it seems like an unsure step in a new direction compared to those promised in "25 sunset red".
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Postby milano boy » Fri Feb 22, 2019 10:21 am

i saw enter the void in a theater last night (lol)

the camaraderie of everyone in the theater laughing together throughout the whole movie was pretty great, but especially during the miracle of life dick shot scene
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Postby aububs » Fri Feb 22, 2019 10:23 am

I love that dick shot scene
no buddy not really
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Postby theta » Fri Feb 22, 2019 10:28 am

i went to see possession in a theatre last night, the sound was cranked up as loud as possible and some guy in the row behind me managed to fall asleep
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Postby broodstar » Fri Feb 22, 2019 11:45 am

reading anything about laida's films are always a pleasure. they seem nigh impenetrable but imo are anything but
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Postby Canadian Todd (for Canadians) » Fri Feb 22, 2019 12:24 pm

Sweet Gregory Pectin wrote:i'm sorry if that sounds pretentious or whatnot i've never seen it so i have no idea what the movie is except for the trailer but it feels like the type of movie owned by someone where you go to their apartment and the only piece of media they have is a blu ray of a most violent year next to their tv


i'm just kinda like who has a single or even like two or three physical movies? it's not good home decor or have any social currency (like having a bookshelf with 30 books you've never read) and if you don't really like movies or have much media in your place you're not gonna have a movie. you're gonna have like five records near a best buy turntable and prolly infinite jest and catch-22 on your bookshelf.
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Postby Canadian Todd (for Canadians) » Fri Feb 22, 2019 12:24 pm

i'm really invested in this hypothetical scenario, sgp. really invested.
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Postby aububs » Fri Feb 22, 2019 2:25 pm

a single movie is pushing it but there are def people who have the matrix, shrek, miss congeniality, and a most violent year on dvd, and nothing else
no buddy not really
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Postby Plainsong » Fri Feb 22, 2019 3:48 pm

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Last Tango In Paris (1973)- Bernardo Bertolucci
Brutal as all hell. The performances were incredible.
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Letter From An Unknown Woman (1948)- Max Ophuls
Beautifully heart-wrenching and totally ruled. Fontaine and Jourdan were brilliant.
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Lightmaze (2010)- Paul Clipson
Very Cool.
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Little Murders (1971)- Alan Arkin
Insane film and I loved it, all the performances were incredible.
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Postby mystery meat » Fri Feb 22, 2019 4:09 pm

theta wrote:i went to see possession in a theatre last night, the sound was cranked up as loud as possible and some guy in the row behind me managed to fall asleep

shoulda gone to this that movie's nuts
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Postby Eyeball Kid » Fri Feb 22, 2019 4:39 pm

mystery meat wrote:
theta wrote:i went to see possession in a theatre last night, the sound was cranked up as loud as possible and some guy in the row behind me managed to fall asleep

shoulda gone to this that movie's nuts

I love Possession but would be reluctant to see it in a theater because it's the kind of movie that would attract the sort of assholes who would laugh "ironically" at everything
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Postby Canadian Todd (for Canadians) » Fri Feb 22, 2019 4:41 pm

aububs wrote:a single movie is pushing it but there are def people who have the matrix, shrek, miss congeniality, and a most violent year on dvd, and nothing else


shout out to my dudes who got spreadsheets with multple tabs to keep track of their blu rays.
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Postby Canadian Todd (for Canadians) » Fri Feb 22, 2019 5:00 pm

Been on an italian western/neo-western phase lately. prolly gonna start reading from kill bill to shane and alex cox's book on spaghetti westerns soon.

The Great Silence - Prolly Corbucci's best (then django, then the mercenaries, then hellbenders). It's filled with cynicism and p much an indictment on the idea that a single actor/the archetypal "the one" trope can somehow embody socialism and upend a ruthlessly individual status quo, even at a time when the old west was dying. real honest bummer ending. kinski is always gold in westerns, even though he sleptwalked through them.

If You Meet Sartana, Pray for Your Death - Parolini isn't one of the luminaries and he def rips off the lee van cleef archetype (man in black with gadget-grade weaponry), but this was more stylized than a lot of the cheap, mercenary productions. And it's odd...has a mordant sense of humor and plays like a twisting, turning neo-noir. complete with a femme fatale whose allegiances keep sliding. The lead laughs. In it, he essentially is a ghost - just manifesting with no clear-cut desire for revenge or the good. It just happens that his (mostly nebulous) aims end up being getting rich and then dematerializing again. You think Kinski's going to have a bigger turn, but he's out by the end of the first half hour. Parolini does this weird thing with the frame rate to speed up a guy's drawing on someone, and it looks bad.

Cut-Throats 9 - This and the Great Silence are all over hateful 8. It's one of the absolute nastiest movies ever and had this vaguely Sorcerer vibe to it (disparate criminals all thrown together and trying to survive in a life/death desperation run). It's real unique. Like, it has a strong preoccupation with gore - going beyond the smattering of bright red paint and prosthetics of a Leone flick. And you have these vile flashbacks scattered intermittently. Then there's the fact that your hero is dispatched half an hour in, leaving you with absolutely no moral focus beyond a poor young woman with this roving gang of cons and seeing how crestfallen she is at their continued survival. The surreal reverse house burning hallucination was great. It's a treasure.

The Magnificent Seven - an American Western that came just a bit too late to be a part of the classical cycle, but came just before the western became relegated to the province of tv. It's a bit too...sweet and too moralistic to be a neo-western. But everyone gets their business/their little arcs. They're sketches but they have just the right amount of backstory and motivation to invest you in their fates. James Coburn's primary propelling force being, "No one fucking takes my own gun from me" was bad ass. The "prospects: zero" speech shows venn diagram crossover of wandering, laconic loner masculinity that was written all over the western and the noir cycles. Robert Vaughn low-key steals the thing.

Hateful Eight - I've said a lot about it in the past but really what Tarantino has done in his last few moves is move past loving and literate film reference and pastiche to straight up making film criticism as movie. Iunno.
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Postby Buddy Glass » Fri Feb 22, 2019 9:31 pm

Eyeball Kid wrote:
mystery meat wrote:
theta wrote:i went to see possession in a theatre last night, the sound was cranked up as loud as possible and some guy in the row behind me managed to fall asleep

shoulda gone to this that movie's nuts

I love Possession but would be reluctant to see it in a theater because it's the kind of movie that would attract the sort of assholes who would laugh "ironically" at everything

Hey I was there, too! Second row. The sound was insanely loud and I loved every second of it. But yeah, there were a fair amount of annoying laughers throughout. Not necessarily ironic laughter as much as nervous laughter but still kind of aggravating.

I'd managed to never see this before and I can't stop thinking about it. I got home and ordered that fancy Mondo Vision blu-ray edition immediately.
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Postby Buddy Glass » Fri Feb 22, 2019 9:35 pm

Same theater is showing The Image Book this week, they are killing it with the programming lately (they had Patrick Wang's A Bread Factory recently as well). The Landmark meanwhile has been showing Roma, Green Book, Beale St and other Oscar hopefuls for what feels like 6 months at this point.
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Postby antoine » Fri Feb 22, 2019 10:08 pm

"Jaws: The Revenge" - this movie slaps.
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Postby incoherent grunting » Fri Feb 22, 2019 11:39 pm

I just watched SPIDERVERSE and holy moly cannoli that's a good movie
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Postby Plainsong » Sat Feb 23, 2019 4:48 am

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Double Suicide (1969)- Masahiro Shinoda
Totally ruled.
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Postby furrowed brow » Sat Feb 23, 2019 9:59 am

Leave No Trace was rated PG. That is all.
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Postby Franco » Sat Feb 23, 2019 10:08 am

It’s good!
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Postby soft milk » Sat Feb 23, 2019 10:15 am

it was rated PG though. thank you, no questions at this time.
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Postby Franco » Sat Feb 23, 2019 10:16 am

In that case.....PrettyGood
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